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TZU

Millions Of Moments

TZU have undergone a significant transformation since 2004’s Position Correction.  Back then they were hip-hop, albeit slightly unconventional. 

Now, I’m not sure how to define their sound. They have taken the atmospheric, synth-driven electronica hinted at in Computer Love and run with it. 

The Beginning of the End is the first track, and the album’s highlight. I wouldn’t go so far as to say it’s all downhill from there, but no other song matches its intensity. Beautiful comes a distant second. 

I saw TZU play earlier this year and the hip-hop faithfuls didn’t know how to take the band’s new direction. There is no rapping at all on this album. The move away from traditional Aussie hip-hop to mood-driven ambience, drum machines and lyrics about convicts is brave. In their own words, TZU called it a ‘‘sink or swim album, an album where we leave some of our audience in the dust ... because we as a group want the chance to challenge ourselves’’. An admirable sentiment, but The Presets, who also sing about Australian society on their new album, do it much, much better. 

– Lisa Rockman

GRINSPOON

Black Rabbits

THERE are generally two types of Grinspoon fans – those that love the punk-grunge of their debut Guide to Better Living or those that came on board for their most commercially successful LP New Detention. The Lismore quartet’s seventh album Black Rabbits is an unashamed plea to recapture the fans of the New Detention era. While the album has nothing to match the quality of Chemical Heart, vocalist Phil Jamieson has attempted to jam-pack the record with melodies and big choruses. Opening single Passerby has an annoyingly repetitive chorus. The few times the Grinners decide to crank up the guitars they deliver the album’s highlights in Final Reward and Just A Sound. Unfortunately those moments are too brief.

– Josh Leeson

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