Music review: The Paper Kites, States

I’m one of those annoying foreigners living overseas that whenever anything, absolutely anything, Australian related surfaces I find it necessary to bring it to everyone’s attention.

Oh is that Temper Trap playing? Yes they’re Australian.
Your Grandpa has a bionic ear? Yep, my people invented that.
Is that a Notepad you’re writing on? You’re welcome.

Naturally the most times I get to boast about the epic-ness of Australia is when certain music comes on. Sometimes I go above and beyond and set myself up in situations where I can boast. It’s not a hard task, the music coming out of that comically large island makes any expat proud to claim all and everything; The Paper Kites are, by all means, no exception.

After the release of two EP’s, Woodland (2011) and Young North (2012), finally a full-length album, States, has been released to the masses. Still keeping their fan base happy by hanging on with the folksy indie tunes, States takes that sound a step further. With the help of ARIA Award winning Wayne Connolly behind the sound board, the record goes a bit deeper with experimental new sounds and instruments.

The whole album features an array of emotions and it’s no false acclaim to say The Paper Kites are masters of the slow build-up. The combination of the finger style guitar and the harmonies between vocalist Sam Bentley and co-vocalist Christina Lacy leave behind a chilling yet romantic ethereal moodiness.

There’s a song for all the fans, from Living Colour, featuring an array of random instruments popping up throughout, to the stripped back Tin Lover. Tunes that I dug were St Clanty for all of its Banjo glory and Tennenbaum for its slow fingerwork and layered male vocals. Smooth, so smooth.

Speed is picking up for The Paper Kites. So I suggest you give them a spin and have some kind of claim that you ‘totally listened to them before they got so much exposure on the radio, totally.’

Review by Kaya Strehler