Category: Reviews


Aa – mAate

(Sensory Projects, April 2011)

Let me introduce you to maximalism, a term and sub-genre entirely appropriate for Brooklyn’s Aa (pronounced ‘Big A little a’). They’ve recently dropped their electrifying album mAate, comprising of tracks off their previous releases, gAame and Glossy EP, as well as two previously unreleased live recordings. The result is a chaotic array of energetic percussion awash with a tangle of experimental synth and samples, topped off with incoherent gang shouts and hollers.

The voice is utilised as an experimental instrument throughout mAate, especially on tracks such as ‘Manshake’, as energetic cries and shouts charge through the intense musical layering of percussion and synth, before dying down to a steady bass and synth beat. Similar elements are evident in ‘Flag Day’, which sees the alien-esque sample and synth intro climax into a manic frenzy of primal screams and tribal percussion. The most coherent vocals are evident midway in ‘Fingers to Fist’, a hypnotic track of tuned percussion and brief chants, accompanied by vocals reminiscent of African tribal works.

The inclusion of the previously unreleased live tracks ‘Mario’ and ‘Away Away’, both recorded at KFJC, outline that Aa are able to pull off their ‘intensely stylized DIY maximalism’ in a live setting, as they have been doing so in the lofts and clubs of New York since 2002.

While I have singled out a few tracks, mAate is best listened to as a whole, allowing the sonic chaos to invade your mind-space.

mAate’s “polyrhythmic post- post-punk digital landscape” will suck you in and surround you as you are lost amongst the vibrancy and intensity created by Aa as they unleash on their respective instruments. Whilst the experimental nature of mAate won’t cater for everyone’s tastes, it will undoubtedly turn heads and have you moving and sweating in no time.



Byron Bay Bluesfest, 2011

Tyagarah NSW, April 21 – 26.

Campbell McNolty and Leigh MacDonald

Byron Bay was swamped by nearly 120,000 music fans of all ages over the six-day festival. The line-up was the most spectacular in Bluesfest’s 22-year history.

ZZ Top played on the first night, and they were still gloriously bearded. It was hard to tell whether they were trying to parody themselves, but they were as entertaining as ever.

The Snowdroppers demonstrated the perfect fusion of balls to the wall rock with a blues and country knack for story telling. The addition of banjo to some otherwise straight up rock tunes not only justified their inclusion on the bill but added a flair which many modern rock bands lack. The front man was in equal parts irritating and incandescent, but his dominating, often maniacal stage presence raised the final song, a cover of ‘Shout’, to fever pitch.

The Blind Boys Of Alabama played to a full house, and were so enthusiastic that they had to be repeatedly sat down by their minders to stop them hurting themselves.

Jackson Firebird’s dirty blues-rock got the crowd excited, but no one was as geared up as Kram, who made a spectacularly drunken guest appearance, dancing on stage before being escorted away for his own safety.

Jethro Tull’s Ian Anderson provided a master class in keeping young. Unlike many of the older acts on the Bluesfest lineup, the band lived up to the live performance that made them famous. Central to their live show is Anderson’s acrobatics on the flute. Far beyond being a gimmick the addition of the woodwind instrument takes the band far beyond a simple male fronted 70’s era rock band. Over the course of their one-hour set the band played many of their best-known songs, mostly from Aqualung.

On Monday night, Bob Dylan was as disappointing as everyone expected. He played an hour of obscure bluesy arrangements of his less popular songs, and refused to speak to the crowd or have the camera feed displayed on the big screens. Despite playing a nearly identical set list on the Tuesday, he was much more enjoyable if you lowered your expectations the second time around.

Those who could deal with the constant rain and ankle deep mud of the Tuesday were rewarded with a stellar set by Paul Kelly, who played with sisters Vika and Linda Bull and guitarist Ash Naylor.

The draw card act on the final day was George Clinton, an act many may have missed in favour of Bob Dylan’s second set. The timetable clash was unfortunate as Clinton’s P-Funk Allstars delighted the crowd with a slew of Parliament and Funkadelic classics. ‘We Want the Funk’ and ‘Psychoalphadiscobetabioaquadooloop’ were favourites for a crowd of diehards that was eager to dance. Perhaps the high point was a rendition on the ten-minute guitar solo track ‘Maggotbrain’ which was remarkably true to the original recording. Having reached the age of seventy Clinton’s extravagant lifestyle has taken its toll and his voice lacks its previous sonority, but his band are intergalactic funk pioneers of the highest order.


London Elektricity – Yikes!

(Hospital Records, April 25th)

At a time when the world seems to be falling apart, London Elektricty injects some warmth into the soul of the drum and bass scene with his fifth studio album Yikes!

Tony Colman has never been one to follow trends and Yikes! shows no indication of that changing. The album is overflowing with carefree piano hooks and poignant lurching bass while the lyrical content is, surprisingly, bursting with meaning and relevance. The album features vocals from Swedish singer/songwriter Elsa Esmeralda and a drum session from Pendulums’ KJ Sawka.

‘Elektricity Will Keep Me Warm’ is an emotional piece sparsely decorated with airy piano stabs and sombre vocals that hints to the reflective sound that the album is to maintain.

‘Meteorites’ piercingly breaks the gloomy hold of the opening track. The trance like synth stabs and piano rolls accompany not only the tone of Esmeraldas voice but the story that she is telling. Buoyant, panned and filtered percussion stochastically punctuate the silent parts of the track.

‘Had a Little Fight’ and ‘The Plan That Cannot Fail’ are indicative of older London Elektricity works. Modulated and swelling bass lines complement the euphoric chord progressions. Esmeraldas voice is replaced by equally tender lead synths that almost have a story to tell themselves.

The title track ‘Yikes!’ is a truly danceable track. The syncopated Jungle drums are carefully coated in vocal tweaks that intensify the incredibly upbeat and optimistic feel of the track.

The second half of the album takes a drastically different turn. ‘Fault Lines’ is a down tempo sullen track that comes in directly after the euphoria of ‘Yikes!’ It is eerily relevant to the natural disasters that struck Japan and New Zealand several weeks prior to the albums release. The track was however written and completed over a year ago. ‘U Gotta B Crazy’ is an odd track; it does however serve to lift the murky darkness that stemmed from ‘Fault Lines’. ‘Round the World In a Day’ features Pendulums’ KJ Sawka on the drums. The first minute of the track was recorded in 1978 by London Elektricity and has an antiquated vibe that strangely fits with the live drumming. The song sounds like it is futuristic rock and roll with a fast-soul-music edge. ‘Flesh Music’ is a full tempo roller that feels as though it was purposely squeezed in near the end to round off the album and unfortunately would have been better left out.

‘Invisible Worlds’ captures the state of the world today and is a perfectly executed closing track. It concludes both the album and Esmeraldas story fittingly. As a whole, London Elektricity’s tracks seem to progress in a way that not many in the scene are doing today. The second drop of each song is different to the first, but not by too much to distract from the song structure and by just enough to keep you listening and wanting more.

Architecture In Helsinki - Moment Bends

Architecture in Helsinki – Moment Bends

(Modular Recordings, April 8th)

Making a pop album today seems to be relatively easy, yet immensely methodical. With the revival of 80s electronica, auto-tune has become a necessity and an obscene repetition of lines has become a norm. Today’s pop music seems to be stuck in a ditch where musicians play pass-the-parcel with borrowed beats and tacky costumes.

Perhaps Architecture In Helsinki could rescue us. The quintet takes on a polished, pop-orientated approach with their fifth album. Ditching their quirky, diverse instrumentals for slick synthesizers and polished bass licks, Moment Bends offers a more mature and refined sound.

The opening track ‘Desert Island’ boldly dives into an oasis of bouncy strings and lush background vocals with a slight reggae feel. They paint a fantastical, dreamy landscape with heavy synthesizers and falsetto voices that would make Prince blush. ‘Contact High’ effortlessly stands out from Moment Bends as a fantastic pop song with its ridiculously catchy tune and breezy beat that is more than appropriate for a bedroom-only dance solo.

However, halfway in, its 80s revival charm starts to feel weary. This is exceptionally apparent in ‘W.O.W’ – an acronym for ‘walking on water’. Religious references aside, its staccato vocals and hypnotic tune draws disturbing comparisons to like Enya. ‘I Know Deep Down’ provides no compensation and instead, its dismissive tune is borderline cheesy. The album ends with ‘B4 3D’ that offers no salvation at all. With lines like ‘Baby don’t you know that it is understood/that if you take away the sunshine/then you take away the starlight and the moon’, it is almost certainly cringe-worthy.

The forty-minute long album does have its merits particularly with Sutherland’s endearing voice. She playfully sings ‘dressed up as bubblegum/I’m stuck to your shoe, let’s run’ on ‘That Beep’, a cheerful tune entwined with amusing, nonsensical beeps. Unfortunately, her sheen is lost on the subsequent track ‘Denial Style’ where it struggles to stay afloat in the sea of tedious synths and fillers.

With Moment Bends, the Australian band embarks on a different take with summer tunes that are sure to leave some fans out in their cold. Unfortunately, their venture falls short in their inability to retain their bizarre and infectious charisma. Their glossy new sound leaves listeners feeling frustrated once they realise there is not much substance behind their new, shiny style.


The Streets – Computers and Blues

(Atlantic Records, February 7th)

Mike Skinner is a man with a point to prove. Computers and Blues represents Skinner’s sixth try at stardom, and it really is a melange of dance-grunge, techno-soul and indie pop. The music itself is nothing to be sniffed at, but it’s a shame that Skinner’s voice sounds so distinctly ordinary against the rich backdrop. Skinner sounds anything but confident on any of the tracks, his unsure vocals matching his quite ordinary lyrics (“If you’re going through hell” repeats in “Going Through Hell” as if he had a momentary mental blank while penning it).

Skinner originally planned this as the last The Streets album, and it’s a shame that he didn’t produce a masterpiece to finish off a very decent spoken-word career. Computers and Blues meanders through around 40 minutes without ever causing anything more than momentary surprise at something breaking the monotony. Mind-numbing lyrics (“Puzzled by people” involves the depressingly simplistic “I’m two down you’re one across the room”) and a very distinct aversion to any sort of dynamic variation lead this album to become more effective as elevator music than something to hit the radio.

This isn’t to say it’s all bad, though. “Blip On A Screen” indulges in fanciful techno-RnB with orchestral licks and is big enough for a stadium but at the same time small enough for an intimate setting. “We Can Never Be Friends” makes use of warped acoustic guitar to a laid-back funk beat, and the chorus is an arm-waving crowd hit, before a tasteful guitar solo with lightly peppered percussion.

However, these are the exceptions. By and large, Computers and Blues tries too hard to be an epic hit along the lines of The Joshua Tree or Viva La Vida or Death and All His Friends, with a spoken-word twist. Skinner would have been better sticking to the style that saw Original Pirate Material widely acclaimed and declared Entertainment Weekly’s album of the year in 2003. Here, any attempt at variation by Skinner is either too laboured to spontaneously demonstrate his true creativity or too blase to reveal any of the depth that is undoubtedly there.


Linkin Park – A Thousand Suns

(Warner Bros, September 14th)

J. Robert Oppenheimer described the atomic bomb using the Hindu Sanskrit scripture Bhagavad-Gita: “If the radiance of a thousand suns were to burst at once into the sky, that would be like the splendor of the mighty one.” Linkin Park use similar concepts of human fear, nuclear warfare and technology to bring about an apocalyptic edge to this album. Contemporary concerns about the world are heightened in the moodiness and reflection that comes across throughout A Thousand Suns.

With A Thousand Suns, in the works from 2008, Mike Shinoda and Rick Rubin have continued their work of 2007’s Minutes to Midnight. The album was written by Linkin Park, who found many topics to write on within the context of the album.

In 2009 while revealing information about the album Shinoda said that they had intended to create an album that sounded different to all of their other work. This holds true to some of the tracks such as ‘When They Come For me,’ ‘Robot Boy,’ and ‘Fallout’; creating a new level of attention. However the frontrunner tracks, ‘The Catalyst’ and ‘Wretches And Kings’, of the album fail to establish a definitive sound separate from the band’s earlier popular works. Overall the tracks ‘Burning In The Skies’ and ‘Waiting For The End’ highlight the reflection and questioning radiance of the album.

Drummer Bob Bourdon confessed to their struggle for perfection and that with such an intense topic they had to evolve as musicians, as they wrote a lot but went through a lot of refining to arrive at a product that kept them interested and enjoying the process. “We’ve been used to making a certain type of music and using sounds to accomplish that. So to break out of that and push ourselves to grow is definitely challenging.”

A Thousand Suns
replaces aggression with contemplation. Transmissions from screaming vocals to the more refined rock tones to rap to harsh speech keep the track refreshing and the listener engaged. Striving for a style more natural than technical, Linkin Park still manage to make references to Public Enemy in ‘Wretches And Kings’ and feature samples of speech by political figures such as Martin Luther King Jr, J. Robert Oppenheimer and Mario Savio.

The tracks echo popular qualms about wars and technology. The sound patterning though the album ranges from that of an enjoyable to a tolerable variety. The messages would only apply to those who are like-minded. Similar to most of Linkin Park music, this album would be a hit among suitable audiences.


…And You Will Know Us By The Trail Of Dead – Tao Of The Dead

(Richter Scale, February 11th)

…And You Will Know Us by the Trail Of Dead have released their 7th studio album, Tao Of The Dead, in an explosion of progressive/ psychedelic/ post-hardcore scattered with spacey synth and electronica.

Written in an impressive ten days, Tao Of The Dead is intended to be listened in two parts; The first, written in D tuning, contains eleven tracks ranging from the minimalistic/ electronic approach of “The Spiral Jetty”, to the guitar driven “Summer of All Dead Souls”. The second, written in F and broken up into 5 movements, is a 16 minute rollercoaster of tempo and time changes complete with all the genre defying aspects evident throughout Tao Of The Dead.

“Pure Radio Cosplay” sets the pace for the album, with its driving beat and psychedelic guitar work abruptly bursting into heavy chords, pounding drums and a vocal delivery to match. The track builds up to a space rock jam, with the airy synth leading into the explosive punk influenced “Summer of All Dead Souls.” A somewhat lighter aspect of Tao Of The Dead is visited in “The Wasteland”, rising and falling from playful guitar and synth melodies with smooth bass embellishments, to grinding guitars and crashing cymbals.

After being brought down by “The Spiral Jetty”, we are reawakened through the steady 6/8 rhythm of “Weight of the Sun…” building through instrumental layering and unleashing a post hardcore assault of distorted chords, in-your-face drums and a chorus that will have you belting “you will pay” at the top of your lungs with your fist clenched high above your head.

By “Strange News From Another Planet”, the second part of the album, the grinding chords and ethereal synth and guitar melodies are becoming a little tiresome and repetitive, however there are still some welcome surprises arising from the haze. “Had a strange epiphany/As I woke out of a dream”, begins the fourth movement “Strange Epiphany”, which shifts comfortably from 4/4 to 7/4 and back again, and displays rolling drums and punchy chants. However the 16 minute culmination becomes slightly enduring, bringing to question the combination of the final five tracks.

These days the word ‘epic’ seems to be used grossly out of context so much it can make you cringe. However ‘epic’ sums up Tao Of The Dead brilliantly. …Trail of Dead have created an album which flows so effortlessly it sweeps you up and takes you along for the journey. You can listen to Tao Of The Dead as twelve separate tracks or two complete works, just make sure you listen to it.


thom yorke and fourtet

Burial, Four Tet and Thom Yorke – Ego / Mirror

In an alignment of fates that will have electronic music connoisseurs everywhere wetting their pants with glee, the boys behind Burial and Four Tet have teamed up with Thom Yorke to release the result of their collaborative efforts together, ‘Ego / Mirror’.

It’s been a colourful year for Thom Yorke, already – Radiohead dropped their latest effort ‘The King of Limbs’ mere weeks ago, to the surprise and delight of fans everywhere – a delicately-wrought album that takes Radiohead in yet another new, exciting direction (see Bill’s review here). Yorke also made a small splash online after footage of him doing a surprise DJ set at Low End Theory in Los Angeles emerged on the internet – you can watch Yorke get his mix on with some surprisingly dirty, deep cuts here.

Ego / Mirror follows in a similar direction to Yorke’s most recent work, with Burial and Four Tet’s washed-out, dreamy electronics complementing Yorke’s writing perfectly. The A-side Ego was premiered on dubstep pirate radio station Rinse FM, during a session with Four Tet and Floating Points. Copies of the 12″ on Four Tet’s label Text have been limited to a release of 300 and have, tragically, already sold out. Whether a release in digital format or otherwise is at this point unclear, but music fans everywhere are impatiently waiting for further word on the subject. Watch this space.


The Chemical Brothers Live 09/03/11

Before headlining Future Music Festival, still riding the highs from the release of their 2010 big-beat/psychedelic effort ‘Further’, the Chemical Brothers were kind enough to grace Melbourne with a full-length sideshow at the Rod Laver Arena on the ninth of March, supported by Art vs Science, James Holroyd and Zane Lowe of BBC Radio One. I got there about an hour after doors opened and caught the tail-end of Art vs Science, who sounded pretty tight and had the crowd going.

Don’t even get me started on James Holroyd: a total dickhead dropping appallingly bad commerical electro and top-forty rubbish with inane MCing over the top. Didn’t have a working subwoofer, either. Awful, awful. Was vaguely concerned by the fact that the crowd seemed to genuinely be getting into it – Future Entertainment gigs always seem to pull the most obnoxious kind of crowds, but in any case… Zane Lowe played for about forty-five minutes, from memory – musically speaking, a complete breath of fresh air. Rolling basslines; heavy, relentless cuts of deep house and minimal. Moody, evolving and always surprising, but not overwhelmingly so: an excellent build-up for the main act of the night.

The Chemical Brothers started around nine-fifteen and literally did not stop their aural assault for a full two hours. Aural assault of says it all about their set, really: a nonstop, absolute riot with a crowd of bodies that couldn’t stop dancing madly for the whole set. They’re the kind of electronic act that really know how to get a crowd off. One of the main weaknesses of most dance music acts who play live is that their performances can seem really stale and hackneyed – they don’t seem like they’re putting in any effort, it’s just pushing start and stop in front of a laptop or two. Not these guys, though, and I think that’s one of the main drawcards of the Chemical Brothers that puts them up there with the best in live dance music – their ability to respond to the feel of a crowd and work off them was incredible, a total joy to be a part of.

Two straight hours of watching them mix it up, playing both the old and the new with seamless transitions between tracks – everything from Exit Planet Dust to their latest album got love. ‘Block Rockin’ Beats’, ‘Leave Home’ and ‘Chemical Beats’ were highlights that had the old-school ravers rocking out hard, and hearing material fresh from Further was similarly incredible – ‘Horse Power’ had Rod Laver Arena completely letting loose to its roaring synthesisers and immense beats; the heady, unbridled joy of ‘Swoon’ had an ecstatic audience chanting “just remember to fall in love – there’s nothing else” as one, eyes closed and hands in the air.

‘Hey Boy Hey Girl’, ‘Star Guitar’, ‘Galvanise’, ‘Do It Again’ – hit after hit complemented perfectly by the stage setup they’ve developed for their Further tour, featuring video projections and clips from their music videos responding in time with the music, as well as an insane light show. Watching the lights slowly brighten as they made their presence on stage known, surrounded by a cage of lights – whoa.

A complete pleasure and an inspiration to watch – the brothers gonna work it out, indeed.

The Chemical Brothers, ‘Hey Boy, Hey Girl’


The Strokes – Angles

The Strokes were a band of a time. A time when music was drowning in a sea of synthpop, eurotrash beats, overproduced RnB and boy bands. They were a breath of life into an otherwise stagnating music industry. Their (almost single-handed) revival of the entire ‘indie’ scene spawned hundreds of imitators and henceforth made NYC the capital of cool.

Here’s the problem though: The Strokes will never be as relevant as they were. Angles is proof of that.

The Strokes are one of those bands that polarise the music world. Understanding them is completely different to liking them. Sure, screaming out all the words to ‘New York City Cops’ is good fun, but many of their albums don’t have the same effect. The Strokes haven’t matched up to their 2001 debut Is This It and middling albums such as Room On Fire, and First Impressions of Earth haven’t lived up to expectations. It’s no surprise that we’ve hyped up another Strokes album and been (shock horror) disappointed by it. It’s far from unlistenable, but it’s not what’s been promised.

‘Machu Picchu’, the album opener and standout track, is a successful combination of the danceable angular guitar rock and the slightly-but-not-really lo-fi garage sound that The Strokes have been working with for the past decade. First single ‘Under Cover Of Darkness’ isn’t quite as solid as the opener, but that Albert Hammond Jr. guitar solo muscles the song up into a catchy single. From there, the album starts to just blend together.

This article was nearly going to be a track-by-track review where each song got the same description: ‘This track sounds exactly like the Strokes, Julian Casablancas is whining about something he really should’ve grown out of, Albert Hammond Jr. is being awesome and Nick Valensi, Nikolai Fraiture and Fabrizio Moretti’s solid rhythm section provides a good, but not really memorable track.’ It seems like cheap journalism, but when each track has a slight distinction to alter it from the previous one, it’s fair journalism. ‘Two Kinds Of Happiness’, ‘Games’ and ‘Life Is Simple In The Moonlight’ have cliched 80’s synths. ‘Call Me Back’ is a slower track where Julian Casablancas doesn’t sound like he’s e-mailing it in. ‘Gratisfaction’ has blatant 60’s influences.

A band that recently dropped their 4th album, Interpol, came out of NYC at roughly the same time and have followed the same career trajectory as The Strokes. They’ve released album after album of okay songs, but unlike The Strokes, they’ve made a conscious effort to at least try to change their style from Post-Punk to a more atmospheric rock. The Strokes have stagnated.

The NYC lo-fi/garage/post-punk era has passed. May The Strokes (and Interpol), rest in peace. May the next counter-cultural bands to follow in their footsteps to revitalise the music industry learn from their mistakes.


Lupe Fiasco – Lasers

Lasers is Lupe Fiasco’s third attempt at an album in the last four years. He postponed both LupE.N.D and The Great American Rap Album to make Lasers. While his new album does have a few strong moments, at points you wonder whether it would have been better to release one of the others.

There are a number of well-balanced tracks on Lasers, but its producers smother half of the album. Too many guest vocalists providing corny or sugar-sweet also bring the album down.

‘I Don’t Wanna Care Right Now’ and ‘Beautiful Lasers’ are autotuned into submission, which is unfortunate because these tracks see Lupe rapping as well as he ever has. ‘All Black Everything’ is busily produced, but not overcrowded. It also sees Lupe reassert his strong views on racism in America; “We just close our eyes until it’s all black, everything.”

There are moments in Lasers where the heavy production compliments Lupe’s vocals. In the first single ‘The Show Goes On’, producer Kane Beatz works Modest Mouse’s ‘Float On’ into a clever hook. ‘Words I Never Said’ is another standout track. Alex da Kid’s low and rocking glitch-hop provides a foundation for more of Lupe’s politically charged lyrics, arguing that “the war on terror is a bunch of bullshit, just a poor excuse for you to use up all your bullets”.

A few piano-grooves are scattered throughout the album (‘Til I Get There’, ‘Coming Up’ and ‘Never Forget You’), providing some of the highlights. This lighter production much better suits Lupe’s style of rapping.

Lupe is still a talented lyricist and rapper, it’s just a shame that Lasers has been marred by several poor production choices and unnecessary choruses. Open-minded fans of Lupe Fiasco’s two previous albums will be able to overlook some of these obvious flaws and find a few excellent tracks in an otherwise passable album.


Wye Oak – Civilian

Wye Oak’s third album has been repeatedly described as ‘subtle’. It’s difficult to say whether Civilian is ‘good’ subtle, or just plain boring. Most of the songs lead the listener through airy soundscapes, but they never really arrive anywhere different.

That being said, the Baltimore indie-folk duo find some redemption halfway through the album, where there are a couple of truly brilliant songs. With its stunning, rolling verses punctuated by powerful and gripping breakdowns, ‘Dogs Eyes’ could be one of the best songs of the year if commercial radio picks it up. The title track ‘Civilian’ sees Jenn Wasner’s delicate vocals float above a rolling off-beat until the lightly fuzzy guitar tone reaches a steep wall of noise.

Unfortunately, apart from these two stellar tracks, there are no others which are memorable for any reason. Wasner seems proud that only one of her songs has a chorus, but the album could benefit from some more structure. For subtle folk-rock to be any good, there need to be well composed melodies hiding underneath, which this album lacks. With the exception of ‘Two Small Deaths’, the vocal melodies are rarely outstanding.

There are opportunities for the songs to really explode into something complex and beautiful, but they are rarely taken. ‘Fish’ and ‘Two Small Deaths’ are a little too shy to break out confidently. ‘Hot As Day’ makes an attempt at this, but without the success of ‘Dogs Eyes’.

Subtlety is often a trait some artists aspire to. Bon Iver, Nick Drake and others have it to thank for their success. But there is a fine line where that subtlety drifts into obscurity and sameness, and Civilian falls just on the wrong side of that line.