The Starks started out as a two piece and have now expanded to a full band, bringing all their influences, thoughts and musical maturity to their debut album, THE EARTH AND THE EGO.
Every now and then, whilst out walking, one may come across an object that has worked its way through the bush floor and worked itself to the surface; this album is one of those finds. The sepia sleeve of the album gives little away but take a listen to any one of those 11 tracks and you will find a diverse track list that fits neatly together like a meticulously hand crafted jig saw puzzle. There are no, repeat, no fillers on this album.
There’s a slight familiarity about this album, but not one that breeds contempt. The Starks is very much a band of its own making, but certain elements and influences resonate throughout the album. What those are, I’ll let you decide for yourself for the moment!
This album has obviously been a labour of love and during its creation, babies have been born and fatherhood has become a reality within the band.
What better a number to open the album with than The Morning Sky; this is powerhouse music at its best, gentle chord opening with a sudden rush of adrenaline like psychedelia and Gallagheresque vocals. Strong lyrics with a lingering melody ensure this grabs your attention. Following this is the album title track, The Earth and The Ego which is something I’m certain Lennon would have loved to have written, given its structure.
Pamela is a cleverly constructed track, full of surprises and musical journeys; lie back to this one and float away but take notice of what is going on musically.
Scene Of The Crime is this album’s ballad number, but it is not full of twee comments and rhyming phrases; it is more than that and sets a standard for others to follow. Summer Breeze, the finale, follows in similar vein and is a strong number to finish an outstanding album on.
Mention has to be made of Superglue, which uses some clever phraseology and additional tenor sax (as played by guest muso Steve Williams from John Farnham’s band) giving extra depth to this track.
The Starks is a tightly knit band that deserve to go onto greater things and I can only but hope that the main stream media does not ignore yet another more than worthy band.
Catch them live at one of their many upcoming gigs, purchase their album and re-discover music at its best and take careful note how it should be played.
Tony Bates
Uncut and Unsigned
3MDR 97.1 FM-Mountain District Radio
Every now and then, whilst out walking, one may come across an object that has worked its way through the bush floor and worked itself to the surface; this album is one of those finds. The sepia sleeve of the album gives little away but take a listen to any one of those 11 tracks and you will find a diverse track list that fits neatly together like a meticulously hand crafted jig saw puzzle. There are no, repeat, no fillers on this album.
There’s a slight familiarity about this album, but not one that breeds contempt. The Starks is very much a band of its own making, but certain elements and influences resonate throughout the album. What those are, I’ll let you decide for yourself for the moment!
This album has obviously been a labour of love and during its creation, babies have been born and fatherhood has become a reality within the band.
What better a number to open the album with than The Morning Sky; this is powerhouse music at its best, gentle chord opening with a sudden rush of adrenaline like psychedelia and Gallagheresque vocals. Strong lyrics with a lingering melody ensure this grabs your attention. Following this is the album title track, The Earth and The Ego which is something I’m certain Lennon would have loved to have written, given its structure.
Pamela is a cleverly constructed track, full of surprises and musical journeys; lie back to this one and float away but take notice of what is going on musically.
Scene Of The Crime is this album’s ballad number, but it is not full of twee comments and rhyming phrases; it is more than that and sets a standard for others to follow. Summer Breeze, the finale, follows in similar vein and is a strong number to finish an outstanding album on.
Mention has to be made of Superglue, which uses some clever phraseology and additional tenor sax (as played by guest muso Steve Williams from John Farnham’s band) giving extra depth to this track.
The Starks is a tightly knit band that deserve to go onto greater things and I can only but hope that the main stream media does not ignore yet another more than worthy band.
Catch them live at one of their many upcoming gigs, purchase their album and re-discover music at its best and take careful note how it should be played.
Tony Bates
Uncut and Unsigned
3MDR 97.1 FM-Mountain District Radio
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