Plato's Dream Machine ~ Tal-Qamħa

New local folk-punk band Plato’s Dream Machine, waste no time jumping straight into business on their debut EP Tal-Qamħa. Five seconds into opening track Recession Street, and the listener is greeted with a contemptful “Rise and shine my son you’ve got to work.” Robert Farrugia Flores’ vocals force you to listen to his nihilist narrative of life wasted on mundane work. Bassist Frederick Abdilla, drummer Ryan Abela and flautist Justin Galea shout along, sounding like the street rabble from village festas.

The five songs on this EP ache with themes of angst, disenchantment, and political and social restlessness. Sugar in Your Poison is undeniably the most entertaining track of the bunch. Brian Tonna’s accordion playing here is a joy, and the chorus line is so hooky you can’t help but shout along with it.

But it is Fabbrika fuq l-Għolja which is perhaps the real standout track. Roberta Attard’s violin phrasings swoop and soar, washing beautiful textures over the sordid canvas. Flores also emotes better singing in his native tongue, consequently allowing the sorrow in his lyrics to come across with passionate credibility and authenticity.

PDM have decided not to polish their sound, instead opting to capture their organic-ness on record. The band have also embraced an organic DIY approach to the packaging of this EP, echoing the late spirit of late-'70s punk pioneers in the UK. The simple black cardboard sleeve-case brandishes a sprayed on golden grain of wheat, possibly an allusion to the everyman’s daily prayer; “Ħobżna ta'  kuljum  agħtina llum.”

While far from a perfect release, Tal-Qamħa does continue to reflect a renaissance of sorts in Maltese music. Along with fellow everyman-folksters Brikkuni, PDM are trying to tap into the emotions of social unrest in modern Malta, and that in itself makes this EP more relevant than most other recent local releases.

Standout tracks: Fabbrika Fuq l-Għolja//Sugar In Your Poison

The Temper Trap ~ Conditions

Conditions, debut album from the Aussie four-piece, displays an array of eclectic ideas and influences. The utterly irresistible Sweet Disposition finds Mandagi’s ghostly falsetto floating over celestial shimmering guitars and a steady pulsating rhythm, the band finally let loose when the anthemic chorus kicks in. Almost as impressive is the hooky indie-pop of Fader, undeniably the most fun these somber lads have on this debut. A couple more tracks in this vein certainly would not have gone amiss. The digital ghost in the machine makes its presence felt on tracks such as Fools and Science of Fear, adding texture and atmosphere that comfortably blends with the band’s more organic sensibilities. While not as trendsetting as other recent releases, Conditions is still an enjoyable and welcome treat.

Standout tracks: Sweet Disposition//Fader//Love Lost//Fools

Slash

The year is 2010, and I shall put forward one question; where the hell have all the rock'n'roll bands gone? Rock bands are ten a penny (argue amongst yourselves about who the better of those are) but true rock'n'roll bands, bands that ooze sleaze and swagger, have not been so frequent as of late. Arguably the last great rock'n'roll band is still Guns N' Roses. The ultimate train wreck of drugs, booze, sex and egos, Guns lived it like they played it. But frontman Axl Rose's volatile behaviour would eventually become too much for lead guitarist Slash, who quit the band in 1996. For the majority of fans, Slash's departure meant the end of Guns N' Roses and an end of an era.

Fast forward to 2004 and the rock world is buzzing. Ex-Guns N' Roses members Slash, Duff McKagan and Matt Sorum, form new band Velvet Revolver with guitarist Dave Kushner and ex-Stone Temple Pilots frontman Scott Weiland. Their debut album Contraband certainly showed the young'uns how it's done. The fusion of the classic GN'R sound with a 21st century snarl proved to be a winning formula, and Contraband eventually went on to sell an impressive 4 million copies worldwide. VR's voltaic performances definitely did not do sales any harm either. Fans were treated to an onslaught of seismic riffs and blistering solos that only Slash can deliver. Unfortunately VR lead guitarist/frontman relations became all too similar to previous events within GN'R. During the 2008 tour for second album Libertad, Weiland announced he would be leaving Velvet Revolver and the band has been on hiatus since.

During these Velvet Revolver years Slash in particular enjoyed a resurgence in popularity; he became something of an icon. Allegedly during concert performances when Slash's famous top hat would be carried out on stage by a roadie, it would get just as much applause and cheers as the guitarist himself. In 2007 Slash became the face of music video game Guitar Hero III: Legends of Rock, and an unlockable character within the game. But any artist who becomes just as famous for his persona as for his talents, starts to tread the murky waters that are self-parody and nostalgia act. What has saved Slash from falling into idiocy is his genuine passion for rock music, and the fact that he doesn't take the industry too seriously. Whereas albums with multiple collaborations, such as Santana's 9 time Grammy award winner Supernatural, can often feel like who-is-hot-in-the-biz-at-the-moment affairs, Slash's self-titled debut album intentionally steers clear of this. Slash explains, "This is like a backyard barbecue record, where you call up people and it's like, 'Come on down and have a beer' kind of thing". And it certainly feels like that.

Slash is unashamedly the equivalent to porn for the average rock fan. Starring a barrage of rock royalty, it will be hard for most fans to resist, even though some rock purists may be bewildered as to why their guitar hero has decided to include teeny pop artists such as Fergie and Adam Levine. Starting off with a riff that cheekily echoes GN'R stadium staple Welcome To The Jungle , stunning opener Ghost featuring Ian Astbury sets the pace on this no nonsense guitar driven album. Alter Bridge frontman Myles Kennedy gives a rock vocal master class on the infectious blues-rock infused Back To Cali, and leaves no doubts as to why Slash asked him to be his main vocalist when he takes the album out on tour. Elsewhere Chris Cornell is on fine form on Promise, which should redeem him in the rock community after the fiasco of his recent Timbaland produced album Scream. And Lemmy delivers a relentless performance on the hilarious Doctor Alibi. Perhaps the biggest surprises are in fact the tracks featuring the unlikely candidates. Adam Levine collaboration Gotten in particular is a true beauty.

Unfortunately there are a few duds. Nothing To Say is an undeniably boring and self-indulgent metal inspired number. Saint Is A Sinner is completely pointless as it gives no real indication that Slash is even on the track in any distinguishable way. And while I Hold On may be an OK song, it features Kid Rock, and that makes it rather worthy of ridicule. But make no mistake, there is more than half a great album here. Slash can still deliver enough raunchy riffs and heartfelt solos to get even the most rock-phobic individual rocking along.

Coming back to my initial point, in these monotonous years of mundane indie bands and EMO nonsense we are in desperate need for some good old fashioned rock'n'roll. So don't be a misery guts, go get your copy, turn up the volume and rock out.

Standout tracks: Ghost//Back From Cali//Promise//Gotten//Doctor Alibi//Baby Can't Drive

All Days Are Nights: Songs For Lulu

Rufus Wainwright’s latest offering All Days Are Nights: Songs For Lulu has been a long time coming. After a string of magnificently grandiose albums full of lush orchestral arrangements, complex harmonies, and flamboyant pop sensibility, it feels right that this quintessential singer-songwriter should strip things down to the bone. Each of the 12 new songs consists of nothing more than brooding vocals and piano. Extremely intense and intricate, All Days Are Nights is far from an easy listen, and fans who are accustomed to hearing Wainwright’s lighter and more playful side might at first be put off. But this is an album that demands repeated hearings before it reveals its complete beauty.

Opening track Who Are You New York? sweeps the listener all over the mentioned city in restless pursuit. Wainwrights' vocals soar and spiral, with hardly a breath between phrases they become overwhelming. In Martha we hear Rufus leaving a series of phone messages to his sister, their mother’s illness being of particular concern. Rufus and Martha’s mother, acclaimed folk singer-songwriter Kate McGarrigle passed away earlier this year after a 3 year battle with cancer. The sense of mourning is evident throughout the album, despite it having been completed some time before Kate’s death. However this album also finds Rufus mourning Lulu, a dark lady figure who represents his decadent yearnings and more destructive vices. It is to her that this album was written, and she makes her presence felt.

Three of Shakespeare’s sonnets are interpreted to music, and provide the classical air that Rufus so effortlessly exudes. They are equally delicate and menacing. But perhaps the highlight of the album is the dramatic What Would I Ever Do With A Rose? A piano motif that alludes to Tchaikovsky’s Swan Lake gives way to an achingly honest performance. When Rufus sings the final “Never does the dream come true/Without the nightmare”, you can sense the dark lady figure lurking behind him; she refusing to leave him be, him refusing to let her go.

Standout tracks: Martha//Sonnet 43//What Would I Ever Do With A Rose?