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REVIEW: KING CURLY - DOOMSDAY PIANO
Doomsday Piano

King Curly
Doomsday Piano

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Jet Star Magazine (March 2007 )
 
"This seems to me to be a recording an entirely new mode; neither jolly juke box collection, nor warts and all confessional. Here we have an autobiographical ant farm, or a house sawn in half to reveal kooky domestic tableaux: but the whole is produced with the deliberate intent and artistry of a painting as opposed to the pretence at real emotion and humanity that a lot of recorded music presupposes as a condition of its existence, not understanding that 'real' can be as much of a mask as any other performance persona. "Doomsday Piano" is a vivid personal artifact and Steve Appel's singing is fantastic."

Time Off

Humour and haunting darkness... wonderfully characterises Doomsday Piano.



Courier Mail, Brisbane

songs that sometimes sound as if they have beamed in from an alternative-pop dimension



Harry Angus, The Cat Empire, 2005

It's nice to hear a man with an acoustic guitar writing songs which are so strikingly original, musically and lyrically, that they can't really be compared to anything. A dog in the night... an underground kingdom... a magical man who liberates people from their grey office worlds King Curly is a modernday medicine man. 


Jarrod Watt, ABC Ballarat

A genre-defying album of intelligent, humorous songwriting and lyricism
that harbours wild ingenuity alongside dedicated musicianship.

Intelligence.
Humour. Complexity. These things, historically, have proven to be
absolute suicide for any Australian band or act to exhibit publicly via
their works. Yet here we are with King Curly and their third album, who
have wowed festival audiences from Byron Bay to Port Fairy to Perth,
garnered acclaim from the likes of Paul Kelly and the Cat Empire, and
there is little evidence they are going to go 'pop' - either
stylistically or in terms of commercial success.

They call their
music 'garage cabaret' - and it's instructive to read the liner notes
on this: especially when someone is credited with 'robo-hula vocals'.
Amongst the traditional guitar/bass/drums employed in making this album
you can find weatherboard bass, screaming cat's box viola, deliverance
banjo, high-school iron guitar, and spannerphone. What kind of nuts get
turned on by a spannerphone, you ask? Steve Appel is at the steering
wheel of this rollicking jalopy of sound, accompanied by co-writer Dan
Creighton and a first eleven of musicians, but don't mistake this for a
shambolic we-play-everything-cacophonously effort: the compositions are
tight, the playing is measured and the songwriting is delicious.

The title track sets out like it was the missing anthem from the underground Australian film classic Smoke 'Em If You Got 'Em
- a perfectly apocalyptic, regretful tune with a hint of humour and
suggestion there's a party going on in a bunker nearby; the lyrical
imagery suggests this song could become its own film at some point.

My Looks Have Gone But You're Still Here is more tender than its title suggests, with simple acoustic guitar accompanying Appel's vocals; White Boys of Rock and Roll is a nice little mid-tempo pop number infectious in its delivery and content, replete with falsetto chorus singers; I Am Coming Back (In A Revenge Song) just has to be the catchiest, foot-stompingest song about a zombie I've ever heard.

This
is an album which continues to endear - even once you've gone straight
to the track with the robo-hula vocals to figure out what on earth it
would sound like. It's imaginative, evocative and definitely not like
any other folk, roots or country music you're hearing at the moment.