Copyright © 2005 Even As We Speak
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Email: evenaswe@yahoo.com.au
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Reviews
“Even As We Speak alternates sugary, dizzying pop songs with sinister mock-bluegrass banjo laments, bubble-gum New Wave, noisy semi-industrial grooves, surreal instructional-filmstrip narration, Mazzy Star-ish ambience and squeaky retro-funk. “Falling Down the Stairs” is one of the pop moments, a bouncy, ringing gem from their wonderfully titled studio album Feral Pop Frenzy, sprays of multi-tap guitar echo and gauzily angelic female harmonies weaving over a sturdy drum thump and, for several unsettling seconds in the middle, a writhing mock-Indian jam, like the idiosyncratic original of which the Bangles’ “Manic Monday” was a glossy reduction to stereotype.”
– The War Against Silence
“In a back to basics watering hole comfortably packed with fans of romantic dreamers, Even As We Speak are received like long lost acquaintances. Kids at the font feel a pang of nostalgia as they notice the bassist’s C86 cap and the bowlheads swaying behind them wonder whether their knees are trembling at the breezy, carefree tunes or the sight of the twinkle-eyed munchin-in-a-hat girl singer. Perhaps the greatest cause of celebration is pop music that proves itself by its very dreamy untogetherness. Even As We Speak relish life with a clutch of songs that evoke images of bright summer mornings in leafy suburbia. There’ a feeling of contentment that rose tints most of their lyrics, leaving the unwary listener floating between rich lilting instrumentation and slices of a supremely trouble-free life. Their only variation from this is when the rakish guitarist takes over on lisping, slurring vocals and suddenly know-it-all music critics can pat themselves on the back: Yes, this Australian band sound like the Go-Betweens. However, much more occurs during this oddball performance besides dreamy indie pop. Sure, wistful melody is the main order of the day, but the players spice things up for themselves with bizarre little side dishes. The Banana Splits theme tune in one song followed by Egyptian rhythms and “Killing An Arab” in another is out first indication of broader ideas though the rhyme or reasons is left suitably unclear. Then “Open Your Eyes” interrupts itself with what sounds like a Bavarian drinking song, replete with accordion and deep male vocal parts again, explanations are thin on the ground. Maybe it’s all to do with enjoying every aspect of music and thus life. Even As We Speak, someone is falling in love. The band in a nutshell.”
– Melody Maker
“Even As We Speak start off with their brand new song, “Makes No Sense.” This track flat-out rocks. Straight-forward guitars, an up-beat, poppy rhythm, and great female vocals give this song a feeling somewhere between garage rock and pleasant pop. The tempo is fast and fun, and the guitars really blaze. The nice vinyl pops and hiss provide a nice compliment to the band’s tight rock. Their second track, “Let it Shine,” was recorded on their last visit to England, and this is my favorite song here. Much more pleasantly poppy, the nice rhythm and saxophone give it an adorably, danceable feel, and the vocals are so sweet and happy. I could listen to this track over and over again, it’s so purely pleasant, and the sax – supplied by Louise Elliott of the band The Laughing Clowns – is a fantastic touch.”
– Delusions of Adequacy
Even As We Speak are in possession of two qualities which set them apart from you average guitar-pop band: firstly, a total lack of pretense which gives them a decidedly casual, almost offhand stage presense (rarely do they ever dress up, let alone pose) and secondly, the striking songwriting talent of singer/guitaruist Matthew Love, the author of neat pop sogs that manage to be emotive, offbeat and very appealing in the classic sense.
“His songs plunder a spectrum of themes: the tradegy of “Now She’s Gone”, terse frustration in “Truck Driving Song”, a sly poke at mass mentality with “Single to Central”, and the blinding optimism of “Maybe Tomorrow”. Tonight, their set included a couple of covers of sonsg by New Zealand bands The Bats and The Clean to acknowledge the influence this brand of subtly melodic pop has had over Love’s songwriting but on the whole EAWS are move incisive.”
– Live review. Sydney Harold Park Hotel