Axe & the Ivory
Pinball Machine
Something that younger artists and bands miss out on is the effect that acoustic guitars can have on your overall sound. Too many bands shun them because they’re too quiet in the live setting, but the mature bands know better. Having an acoustic in the foundation will always give you a wider dynamic to work with, and this band from Adelaide is a perfect example of that.
Axe & the Ivory formed out friendship and a love of music. It consists of Rosie Roberts (vocals & piano), Ben Lovell (vocals & guitar), Paul Cooper (banjo, mando & vocals) and James Lovell (drums & vocals). They’ve released 9 songs since 2015, with the tenth being “Pinball Machine,” releasing today. Through all of their tracks you’ll hear an exceptional consistency in the production quality, songwriting, vocals, non-traditional arrangements and massive sounds - thanks in large part to their acoustic foundation and the percussion skills of Jimmi Lovell. This track is a beautiful continuation of their work, and probably their finest yet. Here’s our review:
The track starts with an acoustic riff in C, up-tempo, pure folk-rock vibe. Rosie takes the first section and the melody floats perfectly above the pattern. She’s joined by some solid backgrounds underneath as her phrases end, and the musical accompaniment from the keyboards is a perfect touch. Love how when the word “storm” drops, you hear something reminiscent of thunder in the mix. Little surprises like that go a long way and show a depth to their production mindset. Next up is Ben as he starts high in his register and I love his tone and control. His “verse” is different from Rosie’s in the melodic structure, giving you a window into how they compose. It took me a while to figure it out - but this should probably be considered a chorus. Thankfully, they don’t follow a standard song format here - each part is more like a dream sequence or some sort of out-of-body experience - and this all happens before the percussion drops in. As a Yank, I have to say how much I adore their accents and pronunciations. We’re 1:15 into the song and I’m absolutely mesmerized.
The second “movement,” if I’m allowed to call it that, repeats the same three themes we heard in the first, but there’s more alterations to the melodies, as well as more layers to their vocals and accompaniment. The beauty of this section lies in the subtleties of just how much they’ve built it up vocally. Going back to my initial statement about acoustics, there’s no way you could base this composition around an electric, but, there’s definitely room for it here - in addition to a host of other instruments - because of how delicate good writers can be when they know how to do it right. Icing on the cake here are the stops that Ben takes advantage of before this section comes to an end. Those stops go hand in hand with the content of the lyrics - I’ll let you make your own assumption about what the song is about.
At 2:34, the build up begins and we’re beginning to feel the payoff. It’s as if the world has stopped, and begun to spin in the opposite direction. Acoustic pattern changes slightly, kick moves to four on the floor, and the banjo that Paul gently slips in there couldn’t be more perfect. There’s plenty of room for him to work with, but he wisely leaves the space for the main lyrical hook and all the vocal layers that are about to drop in. At 3:25, we’re going full on Mumford & Sons at Red Rocks - it’s an all out jam, and frankly I love how short it is. It’s a perfect correlation to the content of the lyrics and a lovely ending. Great track! Very warm and inviting, superb production, and a non-traditional arrangement that will keep you guessing - which I always love. You can tell that this quartet has been in the work that’s required of any band that wants to sound amazing. They’re meticulous with their voicings, patterns and delivery. And in doing so, have created a massive sound.
Make sure you scroll down to catch their socials and other tracks. Rosie’s vocal delivery and piano on “Find It” are stunning. Love the pauses in the second verse, and the entire production is excellent. It’s a great heart breaker of a song - make sure you catch the video on YouTube. “Deadweight” from 2015 is a great glimpse of where this band comes from sonically. Love the guitar work in conjunction with the percussion tracks. Absolutely love the riff that “Little Sister” is based off of - and it’s cool to hear Ben take the lead vocal track. Once again, James’s percussion work is massive and the entire package is just divine.
Great track, mates - best of luck with this release. I would love to see you live someday!