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| Lawson Fletcher |
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Name:
Lawson Fletcher
How did you first hear about PBS?
The old man has always been into good music and turned me onto it when I was about 16, after I’d stopped listening to pitiful, late ninties, dance pop.
How did you get involved with PBS?
Got in touch with the editor hoping to write some stuff. Thankfully my inability to construct coherent sentences went unnoticed, I was welcomed aboard.
What do you do at PBS?
Write music and gig reviews.
What do you like most about PBS?
Clearly the taste-making eccentric programming. But also: the oft-amnesiac voices its delivered in, that the tacky logo has only superficially changed over the past 25 years, and especially the Community Cup, which gave me my .5cm of fame (I’m in the back of the crowd in The Age photo).
What are your favourite PBS Programs?
Sunglasses After Dark, Rude Future.
Hobbies, interests etc?
I’m fairly dull – I like writing, listening to music, looking at art, seeing my girlfriend, trying to intellectualise pop music to anyone who cares to listen (ask me about how Pussycat Dolls represent the nadir of commercial music) and going to university. And yes, I’m an Arts student.
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CRUSTY DEMONS XII – DIRTY DOZEN (DVD – MRA ENTERTAINMENT)
I’m not sure what happened in the ten in between, but Dirty Dozen generates a definite feeling that, somewhere along the line, the Crusties have lost their way. What begun as a modest dirt bike video show with beautiful places and technical, solid riding has now devolved into a collection of cheap thrills and show-off tricks.
[more]
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DECEMBERISTS – THE CRANE WIFE (CAPITOL)
The album ostensibly extends the motifs of the Japanese fable of the crane wife, and whilst Moley’s lyrical palette is centred on ill-fated love and death, it also spins out into vivid scenes of war and murder. His characters – soldiers, boy butchers, lovers and thieves – inhabit an antique world of fantasy, yet their struggles seem magnified experiences of now.
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LITTLE BARRIE – STAND YOUR GROUND (PIAS/CREATIVE VIBES)
After declaring We Are Little Barrie in 2005, the band have taken on the advice of their sophomore title, Stand Your Ground, and gone about as far as their debut managed, which is nowhere. The second album, whilst slightly more vibrant, continues the white-boys-p(l)ay-tribute-to-the-fathers-of-funk /blues /soul that typified their first...
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DAMIERA – M(US)IC (EQUAL VISION, STOMP)
With a title as ridiculously inclusive as M(US)IC you’d think Damiera must be confident about wrapping us up in an ambitious, expansive and dynamic sound. Unfortunately the album falls far short of its title’s premise. Instead, Damiera have crafted a prog-punk album – that whilst technical and earnest – only really dreams...
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SWAN LAKE – BEAST MOANS (JAGJAGUWAR/STOMP)
Spencer Krug is a man that can’t sit still. Coming only months after releasing the second long-player from his side-project Sunset Rubdown, he has now teamed up with Dan Bejar (Destroyer, The New Pornographers) and Carey Mercer (Frog Eyes) for an album that approaches collaboration as an antagonistic process.
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THE KLAXONS
“I don’t know, I guess there was never like a conscious decision to make a rave record, you know we were influenced by that as much as we were by New York noise groups and David Bowie and Brian Eno, it was just like another kind of influence, it wasn’t like a big deal. Like we always wanted to be comedians, keep people getting..."
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ANNUALS – BE HE ME (ACE FU RECORDS)
Taking their cue from the resurgent indie-folk-noise paradigm, Annuals gallantly attempt to push the organic and experimental into the constructed to come up with a powerful paradox. However, for whatever reason, this biomechanic tendency doesn’t properly fit. The first song, Brother, opens with the chirping of crickets in the rain...
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MISTER SPEED – THE DREAMER (CREATIVE VIBES)
I really don’t like criticising something when the artist seems so fully into what they’re doing, but The Dreamer really isn’t for me. I know this statement seemingly breaks a fundamental rule that music journalists must be, or appear to be, objective. However it’s a valid point, because Mister Speed’s music forces an entirely subjective appraisal.
[more]
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