Death Cab for Cutie
Codes and Keys
WEA
On their seventh album, Codes and Keys, Death Cab for Cutie have exchanged guitars for synthesizers. This outing is somewhat less melancholic overall than previous albums featuring upbeat tracks like Portable Television and Stay Young, Go Dancing. Long-time fans will still find solace in the somber tones of Underneath the Sycamore. Prominent chords provide momentum for Gibbard through a thoughtful feminist exploration in Some Boys. Particularly poignant for OUTinPerth readers perhaps, the track You are a Tourist, speaks to those who are itching to leave a place in search of a wider world.
– Claire Alexander
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Junior Boys
It’s All True
EMI
The fourth release from Canadian electro-pop duo Junior Boys, Jeremy Greenspan and Matt Didemus offers a trendy mix of slow tempo house beats, mouth-watering synth and sweet lyrics. It’s the kind of album you might pop in the player at six on a Sunday morning; and you wouldn’t be disappointed. It’s full of magically light techno beats, over the top of soothing vocals that have up-lifted listeners previously. It’ll have your head bopping and toe tapping with tracks You’ll Improve Me, and A Truly Happy Evening, but as the sun comes up and it’s time to get down, head to track seven Kick the Can and you just might get lucky. – Joe Cassidy
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Selena Gomez & The Scene
When The Sun Goes Down
Hollywood Records
This is the Justin-Bieber-dating, Disney songstress’ third studio album, and band’s highest charting to date. The lead single Who Says delivers an important message of self-empowerment, and is sung in both English and Spanish. Selena has had the help of a few pop-celebrity collaborators – Britney Spears co-wrote Whiplash, with beats reminiscent of Spears’ Womanizer, Katy Perry had input into That’s More Like It, and Pixie Lott co-penned We Own The Night. Body image, boyfriends, revenge – this album delivers it all in one pop electro-disco package. – Claire Alexander
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SebastiAn
Total
Warner Bros
The cover of this album is incredibly reminiscent of Suede’s 1993 debut, so much so you hope its some kind of homage, but this French electro artist sounds nothing like the ground breaking Britpop band. This is album is stuffed full, with 22 tracks, sonic contusions filled with filtered vocals and serious beats. The tunes are short and sharp which powers the album along at a fine pace. A regrettable element is guest artist Mayer Hawthorne’s vocals are so treated, losing some of the quality of his beautiful voice but it’s an interesting collaboration, different to his usual soul fare. – Graeme Watson
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Catherine Traicos and the Starry Night
Gloriosa
An Ocean Awaits Records
Former Perth singer song writer Catherine Traicos faces a dilemma that many female singer song writers in Australia have, how do you stand out from a crowded field? There seem to be girls with guitars and tales everywhere you look. On this new collection of tunes Traicos is unashamedly country, not cringe country but the soothing sound of slide guitars and late nights. None of the tracks are exceptional stand outs, more the whole collection is suited for drifting off to. Lush soothing sounds reminiscent of artists like Hope Sandoval or The Cowboy Junkies. – Graeme Watson
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Hayley Beth
Spirits
Blackbird Studios
Dripping with heavy bass, the second independent record by local artist Hayley Beth is dark and stinging – just like good bourbon. The first track, Son of Bachelors sets a groaning tempo – a primal, rhythmic beat. Beth belts out some lofty numbers throughout this record, her soulful voice hanging on and on and on. Scarlet Fever and Grey-Summers are both surprisingly soothing. If you like Nick Cave or Jace Everett (True Blood theme tune), then you’ll get some kicks out of this record. – Benn Dorrington
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Wynter Gordon
With The Music I Die
Big Beat / Atlantic
This cheeky little debutant had a lot to answer for after her provocative debut single Dirty Talk. After a first listen, she manages to tick boxes but I was left feeling a little disillusioned. Strung together with a consistent dance beat the tracks have their own flare and energy. She’s managed to keep a little personality in tracks like Back 2 U, which comes across as honest and real. Undeniably she has a great voice, but I couldn’t help but want something more. Let’s hope this album isn’t a flop like her Mardi Gras performance. – Ollie Pincott
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