Powderfinger Albums (6)
'Dream Days at the Hotel Existence'
Release Date 6/4/2007
Tracks 11
Label Universal
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What The Critics Say
The sixth studio effort from Powderfinger sees them largely revisit the sound of their Internationalist album, leaving behind much of the glam and swagger of 2003's Vulture Street. Despite the recruitment of Rob Schnapf (Beck, the Vines, Elliott Smith) in favor of three-time Powderfinger producer Nick DiDia, this appears to be a deliberate move to capture the magic and success of the late '90s. Coming together for their first album in four years, the Brisbane quartet chose to work in Los Angeles, except for "Black Tears," which was recorded locally. Partly inspired by the Palm Island death-in-custody trial of Senior Sergeant Chris Hurley, the song was garnering attention before the album's release, due to fears it could prejudice the proceedings. The band sought legal advice on the matter and changed lyrics of the second verse to "remove even the slightest suggestion of prejudice," according to lead vocalist Bernard Fanning. Controversy and hype aside, "Black Tears" is a stark, haunting piece about the injustices suffered by Aboriginal people ("There's blood on all our hands and blood on our boots/And black tears on a red rock"), almost like a bleak daughter of Goanna's "Solid Rock." The rest of Dream Days at the Hotel Existence features all the trademarks of classic Powderfinger: Fanning's commanding and distinctive vocals, the twin-guitar attack of Darren Middleton and Ian Haug, John Collins' innovative basslines, and the powerhouse drum work of Jon Coghill. The stadium anthem "I Don't Remember" is a great example of this, and the slow-burn assault of "Surviving" sees the band start on an easy groove, which would sound at home on a Faces record, and build it up to a sonic blast of rock. However, some of the tracks aren't as immediate as their previous work, and songs like "Head Up in the Clouds" and "Wishing on the Same Moon" need several listens before revealing their appeal. Even the first single, "Lost and Running," feels tired and sluggish until it has had a chance to sit in your brain for a little while. One of the best two-chord songs written in recent years, Fanning's octave jump in the last verse provides an uplifting rock moment -- a true album highlight. Another great asset is Benmont Tench (Tom Petty & the Heartbreakers), who plays keys on several cuts, notably the wondrous "Nobody Sees." While there are a couple of low points ("Ballad of a Dead Man," for one, seems a little tedious), this is a fairly strong album from a very accomplished band whose members know their musical strengths. Some of the songs need time to grow on you, so if you're willing to invest the effort, you will be rewarded. ~ Clayton Bolger, All Music Guide
'Vulture Street'
Release Date 7/29/2003
Tracks 11
Label Universal International
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What The Critics Say
The opening notes of this album have a great rock flavor to them, recalling Primal Scream circa Rocks, or early Rolling Stones on the playful "Rockin' Rocks." Led by the guitars of Bernard Fanning and Ian Haug, the chorus seems to stall a bit in its jerky arrangement, but settles back into a fine groove. This continues on the tight and impressive "(Baby I've Got You) On My Mind" which sounds very close to the Stereophonics rehashing old-school rock for a contemporary feeling. A blues opening on "Since You've Been Gone" leads into an uplifting gospel-tinged effort, ambling along beautifully in the heartfelt vein of the Black Crowes or Wide Mouth Mason. And the ragged nature to this album is its greatest selling point, providing and exposing far more soul than previous efforts. "Love Your Way" and its acoustic arrangement showcases the vocals quite well without venturing into a singer/songwriter idea, veering into a rock-blues blueprint. What is most surprising is the consistency of the record, especially the adorable "Sunsets," which could be Powderfinger's equivalent to the Verve's Lucky Man. The pop-rock quotient is abundant throughout, particularly during the Tom Petty-esque toe-tapper "Don't Panic." Perhaps the only run-of-the-mill performance is the mid-tempo, guitar crunchy "Roll Right by You." And even then it's able to surpass the high bar they've created thus far. "How Far Have We Really Come?" might be mistaken for Chris Robinson's solo album -- a reflective and swaying Southern rock effort. By the time "A Song Called Everything" appears, the album should have given you more than a sense of Southern satisfaction. An outstanding piece of work! ~ Jason MacNeil, All Music Guide
'Odyssey Number Five'
Release Date 3/20/2001
Tracks 11
Label Uptown/Universal
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What The Critics Say
Powderfinger's Odyssey Number Five is a slightly off-base perspective into the world of mid-'90s American grunge and its conspicuous debt to Neil Young. The title track takes Placebo -- sneers and all -- and places them in a pair of stadium trousers; single "My Happiness" drowns a hip-hop-inspired guitar riff better than most bands of their stature. ~ Dean Carlson, All Music Guide
What The Critics Say
Powderfinger's second album, Double Allergic, gained the Brisbane-based band the sort of attention that had eluded them with their first album (Parables for Wooden Ears) two years earlier. With Double Allergic, Powderfinger managed to successfully create an album of melodic pop songs coupled with noisy guitars, a trick that few bands have mastered (Therapy? and Catherine Wheel being two contemporary exponents of this sort of songwriting). Australian radio picked up Double Allergic straight away, mainly due to the strength of the first single "Pick You Up," although several other tracks also became radio staples (including the superb "D.A.F.", named for the chord progression in the song). A cohesive and mature effort, Double Allergic established Powderfinger as one of the most exciting Australian rock acts of the late 1990s. ~ Jonathan Lewis, All Music Guide
What The Critics Say
Following the massively successful Double Allergic, Powderfinger returned in 1998 with a new album titled Internationalist. Powderfinger's high profile in Australia meant that the album was sure to be a success, and the release of the haunting "The Day You Come" as a single served to increase the interest surrounding the album. Unfortunately, the rest of the album didn't measure up to "The Day You Come." While there were some fine tracks on Internationalist (the rocking "Don't Wanna Be Left Out" and the melodic "Already Gone" are two such examples), much of the album was a mix of styles and ideas that didn't quite sit right as a whole. Some of Powderfinger's uniqueness also seems to have been lost, with tracks like "Good-Day Ray" appearing to have been heavily influenced by the Foo Fighters, and "Hindley Street" by the Verve Pipe. Internationalist was not a bad effort by any means, but it seemed as if Powderfinger had just overstretched themselves musically. ~ Jonathan Lewis, All Music Guide
'Parables for Wooden Ears'
Release Date 1/1/1994
Tracks 13
Label Polydor
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