Доброжелатель
vinyl 10"
- Name
- Серхио
- Sex
- мужской
- Location
- ещё никто не возвращался
- Messages
- 4,533
- Joined
- Jan 6, 2010
- Reaction score
- 20,316
Тим Роджерс - бывший бас-гитарист Expatriate, начал свою сольную карьеру под псевдонимом Jack Ladder в 2005-ом году (и правильно сделал!) Глубокие тексты его песен вполне подстать проникновенному баритону (нечто среднее между Ником Кейвом, Леонардом Коэном и Энтони Хегарти, хотя вокал Тима обладает и своими отличительно-интригующими чертами) Начинать саветую с последнего альбома (ах, какая же там Blinded By Love) :in_love:
Дискография:
2005 - Not Worth Waiting For (разыскивается)
2008 - Love is Gone (VBR V0)
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2011 - Hurtsville (VBR V0)
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It wasn’t until the third listen that I came around to Jack Ladder’s third album, the long-awaited follow-up to the Sydneysider’s AMP-nominated Love is Gone.
Suddenly all the things that irked me about it—the cheesy punch-line lyrics, the exaggerated dourness of his voice, the soft ’80s sheen of the music, the way songs stretch languidly to seven or eight minutes—became offbeat strengths. There are still moments where Ladder (real name Tim Rogers) seems like he’s auditioning to be Nick Cave’s understudy (‘Position Vacant’) and others where he might as well be covering Bruce Springsteen (‘Dumb Love’) or Leonard Cohen ('Blinded by Love'), but between his atmospheric band and his undisguised love of clichés, Ladder’s reverbed brooding does exactly as advertised.
The album is called Hurtsville, after all. Recorded with Burke Reid in the same remote mansion where Reid cut Gareth Liddiard’s Strange Tourist, it’s steeped as much in the gothic musings of The Triffids and Bauhaus as in Cave and Springsteen. There’s a kitschy element that never abates, from long runs of soggy metaphors to turns of phrase like “I’ve seen every shrink/I’ve been shrunk” and “I wanna make like a tree/I wanna leave” It’s so self-conscious it becomes second-generation: the title track is less a Springsteen-style small-town portrait than a carefully composed Hipstamatic photo of a Springsteen-style small-town portrait. What's more, it makes Ladder's invocations of love, loss and constant stream of non sequiturs ("A tribute to trapdoors was erected in a tent / Twelve hundred monks transcribed scriptures in wet cement", etc) sound hollow; as if they haven't been lived. It’s yearning for a sense of yearning.
Once I accepted these things, I enjoyed Hurstville much more. Backing players Laurence Pike, Kirin J Callinan, and Donny Benét (aka the Dreamlanders) respectfully colour this world of rain-streaked synths and slowly bubbling rhythms. Particularly Callinan, whose signature swooping and reverb-drenched guitar work has been an unmissable influence on Jack Ladder's sound ever since he signed on to tour Love is Gone. And for all the garish lyrics, Ladder fully commits to his hangdog delivery and finds powerful shades of emotion in his lost-soul baritone. Apart from the Suicide throb of ‘Short Memory’ and the rockabilly growl of ‘Position Vacant’, these songs are less self-contained pieces than one endless continuum of searching and despair.
While Ladder has yet to lyrically stray far beyond his playful folk-isms, what intrigues about his three-album path is the chameleonic shift behind each. His debut Not Worth Waiting For was a creaking, organic, acoustic outing; follow-up Love is Gone a tight, nervy, soul escape. While this third album does explore more expansive melodrama, the sound, lyrics and overall settings are achingly familiar. But maybe that’s the point: we’ve all been here before, and we’ll be back again. Maybe that’s Hurtsville.
Doug Wallen
Suddenly all the things that irked me about it—the cheesy punch-line lyrics, the exaggerated dourness of his voice, the soft ’80s sheen of the music, the way songs stretch languidly to seven or eight minutes—became offbeat strengths. There are still moments where Ladder (real name Tim Rogers) seems like he’s auditioning to be Nick Cave’s understudy (‘Position Vacant’) and others where he might as well be covering Bruce Springsteen (‘Dumb Love’) or Leonard Cohen ('Blinded by Love'), but between his atmospheric band and his undisguised love of clichés, Ladder’s reverbed brooding does exactly as advertised.
The album is called Hurtsville, after all. Recorded with Burke Reid in the same remote mansion where Reid cut Gareth Liddiard’s Strange Tourist, it’s steeped as much in the gothic musings of The Triffids and Bauhaus as in Cave and Springsteen. There’s a kitschy element that never abates, from long runs of soggy metaphors to turns of phrase like “I’ve seen every shrink/I’ve been shrunk” and “I wanna make like a tree/I wanna leave” It’s so self-conscious it becomes second-generation: the title track is less a Springsteen-style small-town portrait than a carefully composed Hipstamatic photo of a Springsteen-style small-town portrait. What's more, it makes Ladder's invocations of love, loss and constant stream of non sequiturs ("A tribute to trapdoors was erected in a tent / Twelve hundred monks transcribed scriptures in wet cement", etc) sound hollow; as if they haven't been lived. It’s yearning for a sense of yearning.
Once I accepted these things, I enjoyed Hurstville much more. Backing players Laurence Pike, Kirin J Callinan, and Donny Benét (aka the Dreamlanders) respectfully colour this world of rain-streaked synths and slowly bubbling rhythms. Particularly Callinan, whose signature swooping and reverb-drenched guitar work has been an unmissable influence on Jack Ladder's sound ever since he signed on to tour Love is Gone. And for all the garish lyrics, Ladder fully commits to his hangdog delivery and finds powerful shades of emotion in his lost-soul baritone. Apart from the Suicide throb of ‘Short Memory’ and the rockabilly growl of ‘Position Vacant’, these songs are less self-contained pieces than one endless continuum of searching and despair.
While Ladder has yet to lyrically stray far beyond his playful folk-isms, what intrigues about his three-album path is the chameleonic shift behind each. His debut Not Worth Waiting For was a creaking, organic, acoustic outing; follow-up Love is Gone a tight, nervy, soul escape. While this third album does explore more expansive melodrama, the sound, lyrics and overall settings are achingly familiar. But maybe that’s the point: we’ve all been here before, and we’ll be back again. Maybe that’s Hurtsville.
Doug Wallen
- Description
- indie rock, rock'n'roll, post-punk, singer-songwriter - Australia
