Artist info

Genre

Pop, Rock


band members

Nick Allbrook / Cam Avery


Bio

Big 'Art out now. Digital. Worldwide. Wait 'til Morning - http://youtu.be/KborhKE8BHg Empty - http://youtu.be/76i_tKJ8VHE In early 2011, Nick Allbrook, homeless, moved into the tiny back room of Cameron Avery’s house. They discovered a mutual appreciation of mooshy-weepy-sentimental lo-fi music. They had a really good summer - joyrides in their friends decrepit Holden Astra, duck watching at the local park, drinking large bottles of porter, making nocturnal excursions to Ezy Plus for Gummi Bears and soy crisps and generally being tight bros. They also finished recording a pile of songs, which eventually revealed themselves as being part of what is generally considered an “album”. Now that album is called Big ‘Art. It is a crude attempt by two simple young men to mash their high-minded ideals of 50’s girl-pop romance and glam-rock optimism through the awkward fractures between their souls and brains. The gunk that came out the other end is strangely smeared with distortion and wailing guitars and synths and phasers, but it is ass shaking and truthful, so that’s all fine, right? Allbrook/Avery have something to do with a bunch of Perth bands - Mink Mussel Creek and Pond and Tame Impala and the Growl - and have played a bunch of shows under the devastatingly unoriginal band name Allbrook, Avery & Co. with the help of good buddies and musical collaborators Clint Oliver, Lloyd Stowe (The Silents) and Kevin Parker. Allbrook/Avery are lovely chaps who would love to meet you, have a drink and possibly expel their sonic and emotional refuse all up in your poor face and ears. Mwah!

Review

Reviewed by Dave Ruby Howe Dave Ruby Howe

14 Dec 2011

Triple J
40

Oddly hypnotic production on this that just builds with more guitar scrapes and handclaps as things go along. And there's an almost Bowie-like quality to the vocals. All these things are winners for me.

Oddly hypnotic production on this that just builds with more guitar scrapes and handclaps as things go along. And there's an almost Bowie-like quality to the vocals. All these things are winners for me.

Review

Caleb_Widener

17 Mar 2017

40

This up beat, psychedelic song opens with a strong synth at the beginning, grabbing the attention of the listener. With Nick Allbrook on lead vocals and Cam Avery on the backup vocals its gives a hypnotic feel to it. With a simple handclap beat that goes on throughout the duration of the song, it gives it a jolly feel to it. The synth gives it a great psych tone to it, which I love a bout it. T...

This up beat, psychedelic song opens with a strong synth at the beginning, grabbing the attention of the listener. With Nick Allbrook on lead vocals and Cam Avery on the backup vocals its gives a hypnotic feel to it. With a simple handclap beat that goes on throughout the duration of the song, it gives it a jolly feel to it. The synth gives it a great psych tone to it, which I love a bout it. The harmonies in the chorus makes the vocals sound much fuller than in the verses. The acoustic guitar is a great choice as it keeps everything nice and simple, whereas an electric guitar would take away from the strong synth chord progression.

The strong synth accents and the acoustic strums in the intro causes tension for when the vocals come. The drums comes in perfectly with the vocals, and it fits seamlessly throughout the first verse. When the pre chorus comes in, the tempo speeds up a bit, building anticipation for the chorus. This is a great technique as it doesn't make the song 'one dimensional'. The upbeat synth, guitar, drums and vocals make it perfect to bob your head to. The drums are simple, allowing more room for the vocal, complimenting the two well.

The electric guitar in the pre-chorus has subtle heavy effects, making it easy to miss. However the use of heavy effects helps build up tension for the chorus, making it more exciting to listen to. With effects on the vocals, it lets the song compliment the vocals.

The chorus uses the same riff and beat as the verses, though the vocals have more layers to it making it sound very 'Bowie' like. Everything about the chorus is calm and inviting. Not much changes in the chorus, until it goes it goes back to the verse.

The outro is very groovy. The cymbals and snare work well with what is happening with all the other instruments. It is a rather long outro lasting one minute, with "ahh" melodies going over the drums, synth and guitars.

Overall I think that the track is really good for the budget and instruments they had. Its really catchy with a groovy synth and guitar riff. I would've liked to seen a similar riff in the chorus, rather than using the same one, however the verse riff works well with the chorus. They had a great use of reverb, giving it more space in the the song. I would rate the song a 3.9 out of 5 and will gladly continuing listening to it over time.

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Review

Review by meaghan_w meaghan_w

12 Jun 2014

45

a deliciously lo-fi adventure brimming with gorgeous, catchy melodies thriving in and amongst the vocal lines. really nice, upbeat vibes - & you'll be making those finger pop sounds w/ your mouth before you know it!

a deliciously lo-fi adventure brimming with gorgeous, catchy melodies thriving in and amongst the vocal lines. really nice, upbeat vibes - & you'll be making those finger pop sounds w/ your mouth before you know it!