The album’s opener, ‘Disconnect’, is similar to their earlier work, utilising lead vocalist, Hayden’s voice to heave above the cohesive, but nonetheless loud instruments. The pounding drums are the first thing to push heads up and down, merging angst with suspension. The tone fails to fade with the tracks ‘Run Away’. ‘Run Away’ and ‘Liar Liar’ featuring rushed and breathy lyrics with the same element that ruled ‘Disconnect’: rock. But as the track progresses it hits a wall of grunge. This layered technique could go wrong so easily, but Calling All Cars make is seem too good to be true, lifting the weight of the climax with a softer dialect which leads onto the tone of next track and new song, ‘Not Like Anybody’.

Clearly, ‘Not Like Anybody’ is a massive departure from the restless mood that weaved behind the beginning of the album. While there are no ties to screamo, Ing belts his heart out in defiance that ‘it’s better to leave a bitter taste’. Another interesting twist in this particular track is contrast. At points you feel Ing must have no throat left but then he will warp his chorus back to the steady beginning. ‘Not Like Anybody’ has a certain mock toward rebellion, enhanced deeply through the second person recount which gives the effect of a more epic, more story-like tragedy unfurling.

The title track ‘Hold, Hold, Fire’ revs up the tempo. Sparing no drumbeat a lingering timeframe, ‘Hold, Hold, Fire’ builds its power through swirling guitar that swamps versus. Again, Ing rips out his voice, further proving his ability to drive a song that was already going faster than sound. Toward the bridge, we see a momentary respite only to come clashing back to reality with a bigger bite than before. ‘This Ship Will Sail Without You’ is no less alive but just a little slower, adding a fresh breath of diversity to album. The tracklisting is spot on. With the onslaught that we experience, and most overtly, the discontent, ‘This Ship Will Sail Without You’ gives a well needed rest. Back on the path of rock ‘Soldier On’ and ‘Accident Waiting’ are without comparisons to early days, but this time with intense pride and certainty. The same can be said for ‘How Long’ which demonstrates how far Calling All Cars has come musically, obviously picking up and fine tuning their abrasive tunes to come out with the perfect balance of melancholy, rage and hope.

The album ends how it begun, with steam to hiss. There are too many good things about Hold, Hold, Fire to count but the development in comparison to the earlier EP’s is undeniable. There is never a filler moment on Hold, Hold, Fire. The album is relentless and a full on ride for those who dare to embrace it. Calling All Car’s debut is reminiscent of the sun; perpetually burning and scalding, but will guide you in the right direction if you let it.

Review:

Coconut Records – Nighttiming.

Though the name is deceiving, Coconut Records is, first and fore mostly, not a record company.  It is Jason Schwartzman’s side project.  If you haven’t heard of Schwartzman before, now is the time.  He is the band Phantom Planet’s (who sung the ‘California’ theme song for teenage soap ‘The OC’) drummer and collaborative song writer and actor of, his arguably most successful film, I Heart Hukabees.  The debut from Coconut Records is named ‘Nighttiming’ and has been followed up with the sophomore release of ‘Navy’.  Forget about any references to a shade of blue, ‘Nighttiming’ is really something wonderful.  The 2006 cd was released in two halves.  The first being the proper produced album and the next being a collection of demos.  In total, 25 songs.

To kick things of ‘This Old Machine’ has a slow, melancholy feel.  It drags its heels in muddy lyrics ‘all of my life/I have waited for you’.  The piano clunks along with a soft melody to aid the crackling vocals.  Then we are introduced to ‘West Coast’.  Now this is a song, there is no doubt about it.  The start of the track will be lodged in your brain for the rest of the day and there is a mood reminiscent of sunshine scattered through the first verse.  ‘We both go together if one falls down/talk out loud like you’re still around’ is a gorgeous example of the lyrical nostalgia evident throughout the whole album.  ‘West Coast’ is the stand out track, there is no argument.  It will have you belting out ‘la, la, lahh’ in no time.

‘Back to you’ works in a similar way to ‘West Coast’ – big choruses, sing-along beat, but just doesn’t quite get there.  The end of the song is brilliant but is shrouded by the beginning.  You can tell that Schwartzman was so close to achieving the boisterous crowd chants, but comes up just short.  This is not a bad song, still thoroughly enjoyable, but takes too long to come into its own and being tracklisted adjacent to ‘West Coast’ does it no favors.

‘Summer day’ is a sweet ditty featuring actress Kirsten Dunst.  The vocals mix well and the light guitar adds to the sweepingly sleepy feel.  ‘Nighttiming’ and ‘Minding My Own Business’ are great.  They’ve got soul and need to be very, very loud.  Nothing more to be said.  ‘Slowly’ is a bit different.  The acoustic track has vocals from half of She and Him, Zooey Deschanel.  This song is the prettiest on the album.  It is fragile but holds its own with dignity.  Only complaint?  Deschanel’s vocals are heavier than the delicate Dunst’s and don’t complement Schwartzman’s as well as ‘This Old Machine’ or ‘Summer Day’.

‘Mama’ and ‘The Thanks That I Get’ add diversity to the record.  ‘Mama’ has an old, country diction to it.  The vocals are raspy and the lyrics vague ‘This whole town and don’t I know it’.  It is at this point doubt springs and suddenly you are not overtly convinced this is the best album ever made.  ‘The Thanks That I Get’ fares better with the change of direction; the end of the song is a delight.

‘It’s Not You It’s Me’ is gloriously poppy and has you want to click every beat with your fingers.  ‘Easy Girl’ tries for the same style of Elliot Smith but with less emotion.  It’s up-beat and saccharine but you’re left with the feeling that this song is about, well, nothing in particular and subsequently, is nothing memorable.  The closing song (depending on your version) ‘Ask Her To Dance’ finishes the album with sublime repetition ‘Am I making sense?’.  The backing choir (featuring, more cohesively this time, Zooey Deschanel) provides a mysterious air but the song doesn’t really feel like an ending, more of an interlude to the next album.

All in all, ‘Nighttiming’ is a wonderful album.  Though at times some tracks can feel like fillers, Jason Schwartzman has left us with something to love.  This is indie-pop in the golden stages.

TRACK LISTING:

1. 1. This Old Machine
2. 2. West Coast
3. 3. Back To You
4. 4. Summer Day
5. 5. Nighttiming
6. 6. Minding My Own Business
7. 7. Slowly
8. 8. Mama
9. 9. The Thanks I Get
10. 10. It’s Not You It’s Me
11. 11. Easy Girl
12. 12. Ask Her To Dance

FOR FANS OF:

• Elliot Smith with some additional instruments (‘Summer Day’ is possibly too close for comfort)
• Quirkiness of Phantom Planet
• Blind Melon
• At times an older, wiser version Chris Carrabba (of Dashboard Confessional fame)

SCORING:

• A breath-taking 91%

Thriving and following the steps of independent acts before them, benjalu is a band that prides themselves on the old school approach of constant touring to promote their music.

Since their formation in 2006 the Newcastle based roots-rock outfit have made the most of their successes. In 2007 benjalu concentrated on playing every week, mainly focussing on shows in their hometown. They capped off the year when the band released their debut EP ‘Reflecting On’ to an overwhelming response.

2008 saw the boys driving the highways and dirt roads of Australia, playing two to four gigs a week, clocking up over 130 shows. 2009 has also to been a huge year seeing benjalu release their second EP and playing over 120 shows already.

Benjalu have picked up spots on two nationally released compilation CD’s, Jam For Awareness and Home Grown Roots, placing the band along side artists such as John Butler, Missy Higgins, Gurrumul, Blue King Brown, Ash Grunwald, Grinspoon and many more.

Benjalu have shared stages with music luminaries such as The Beautiful Girls, State Radio (USA), The Sleepy Jackson, Josh Pyke, Kate Miller-Heidke, Rogerthat, Jason Lowe, The Agents of Peace, Jon Stevens, Diesel and Paul Greene.

Waterwalls has received an excellent response with songs getting airplay on various radio stations all over the country including JJJ and ABC.

Inspired by life and a fusion of different artists, benjalu’s sound is forever developing, never letting their music to be boxed into one style. Lilen Pautasso of “This Is Not Rolling Stone” writes, “ Each song takes on a uniquely different personality mixing elements of jazz, folk, blues and contemporary rock to maintain the groups fresh sound as well as keeping there listeners interested.”

Benjalu will continue touring to promote the release of ‘Waterwalls’. They have plans of breaking into new territories later this year, before commencing work on their debut album to see in 2010.

This week, ‘Fireflies’ from their lastest album, Ocean Eyes, has hit number 1 on the billboard top 100 charts list, so we decided to feature it here, as our first of many to come, feature albums on Coffs Harbour Geek Radio.

Website: http://www.owlcitymusic.com