by clicking the arrows at the side of the page, or by using the toolbar.
by clicking anywhere on the page.
by dragging the page around when zoomed in.
by clicking anywhere on the page when zoomed in.
web sites or send emails by clicking on hyperlinks.
Email this page to a friend
Search this issue
Index - jump to page or section
Archive - view past issues
Coasting : Issue 11 May 2010
6 central coast • new south wales By DAVID STEWART COASTING MUSIC Melancholy on a slow burn Idon't like records that you put on and love every track," Mark Moldre says matter of factly. "I find that with those sorts of records, in about a month, I'm not putting them on any more. "I like records that when I put them on I discover something that I didn't hear before. Or I get something new out of the lyrics that I didn't get the first time. Or little bits of the melody or a guitar part stick in my head after three, four or five listens, and it draws me back." It comes as no surprise, then, that the Terrigal singer-songwriter's debut solo album is a slow burner. The Waiting Room is rich in melancholic melodies, lyrics that are at times ambiguous, insightful and nostalgic, and soundscapes which ooze atmosphere and imagery. Like some of his musical influences -- Bob Dylan, Neil Young, Tom Waits and Elliott Smith -- Moldre, 39, writes songs that don't hit you straight away. put on to play if I was putting some music on myself." But this album is not about the pop songs that could have been contenders. It's about the wonderfully melancholic and haunting music in songs about life. The song Troubled Genius, for instance, is dark and foreboding. The song was inspired by three of Moldre's favourite people -- legendary musical producer Phil Spectre, the Beach Boys' Brian Wilson, and jazz musician Chet Baker. "They're three people that I really like. They were all geniuses, but a little unhinged," Moldre said. And then there is Lifeboat, a sad piano-driven track inspired by a chapter in the book The Life of Pi, by Yann Martel, but a moving metaphor for anyone who has felt stranded by life's ordeals. Vocally, Moldre does angst well, and is never shrill. And for the first time he has recorded a few songs in a lower register. It's another subtle aspect to the light and shade of a memorable album. This is not to say, however, that he can't write a pop song. As Drum Media observed, Moldre has a gift for melodies and "has this pop thing completely sussed". His recurring riff on the pop- sounding track, In This Life, for instance, is the sort that seeps into the listener's head and can't easily be shifted. Likewise, the album's title track, and Ferris Wheel demonstrate Moldre's capacity to create the elements that make up a radio-friendly record. And yet Moldre rarely even looks at the signposts that point to the commercial path -- even though his songs have won airplay on radio stations such as Triple J, ABC and FBi. "For the kind of stuff I do, it's only ever going to be indie and community radio stations," he says of the prospect of having his music broadcast over the airwaves. So, does he one day dream of having that killer hit on commercial radio? It's a weird hing, but I don't know how important that is to me," he said. "It would be a nice thing to happen. But I've never picked up my pen and said I want to write a hit song. I just write what comes out, or what feels natural, or the type of music that I would HOME TOWN: Moldre at Terrigal Beach. Picture by Aaron Brown. I don't listen much to commercial radio. And to tell you the truth, to write some massive big hit... I'm not su that I'd know how to do it e sure t. "I th I
Issue 10 April 2010
Issue 12 June 2010