WE ALL WANT TO

The latest project of Screamfeeder frontman Tim Steward, We All Want To’s eponymous debut album was recorded over a year across multiple recording studios with a laundry list of respected producers – from Magoo to Darek Mudge. While the band have since expressed regret over pursuing such a wilfully complicated approach to recording, nothing else in the record’s genealogy more effectively conveys the egalitarian spirit of We All Want To’s idiosyncratic blend of professional focus and artistic whimsy.
Not unlike Steward’s work in Screamfeeder, the record is defined by the ongoing struggle between evocative texture and meticulous songcraft – with the key difference of We All Want To prioritising the latter as opposed to the former. Lead single A La Mode is perhaps the most extreme example of the album’s beautiful dichotomy. Steward’s co-vocalist Skye Staniford precisely constructed the song from simple instrumental and vocal loops but, as the track progresses, the song transforms its prevailing aesthetic from accomplished indie-pop song to well-intentioned sonic cacophony.
While the relationship is never as pronounced as in A La Mode, a similar thread of chaos/control runs through the rest of the album’s tracks. Japan alternates between gorgeous clean-picked guitar lines and swelling flights of electrifying texture, Underwater expands from a lonesome bass-line and solemn drum beat to a dramatic, noisy crescendo of backing vocals, organ and guitar and Cyclone undercuts Staniford’s stripped-back vocal with a pulsing, melodic foundation.
Under normal circumstances, one would expect the formula to grow tired. Fortunately, the band’s various members excel in bringing colour and imagination to the most tired of structures and, in Staniford and Steward, the group have two songwriters and vocalists of complementary charisma and undeniable talent. An unsurprisingly exceptional debut. - Time Off

Damn, that Tim Steward can really write a song.

In 2010, this is no real revelation: after all, Steward's distinctive vocal delivery previously led the wonderful Screamfeeder, a Brisbane-based, self-proclaimed 'noisy pop' trio who emerged in the early 1990s. While they never quite achieved the wider success of alternative rock peers like You Am I or Jebediah, they remain one of the nation's finest acts. Though Screamfeeder never quite hung up their boots - last year, they even toured a Don't Look Back-style reprisal of their 1996 classic Kitten Licks - Steward's creative soul evidently remains restless.

In many ways, We All Want To could be considered a spiritual sequel to the songwriter's past affiliations. Here, alongside four collaborators, several of Steward's stylistic hallmarks remain intact. Minus one exception in the recorder-based 'A La Mode', the songs are arranged around guitar, which alternates between clean-picked phrases and sheets of pleasantly-distorted chords. Like Screamfeeder, central to this band's appeal is the vocal interplay between genders. In co-singer Skye Staniford, Steward has found a remarkable foil. Their softly-spoken melodies entwine beautifully on standout track 'Japan', whose lyrics concern a sense of equilibrium often overlooked when travelling the world. Steward counts off the destinations he's visited ("There's stamps in my passport that say I've been to Japan / Germany, and Mexico / I watched the Christmas lights come on in Amsterdam / The sky was all aglow") - but there's always "as many goodbyes as there are hellos". He and Staniford conclude that "The stamps in my passport mostly say / There's as many comebacks as gone-aways". They seize and reprise that final line in the coda, as their bandmates crash around them in tightly-orchestrated chaos. Forgive the extended analysis of just one track, but in 'Japan', We All Want To reveal their songwriting template: mood, restraint, tension, release.

Elsewhere, Staniford sings lead on the snappy 'Cyclone', as well as the self-penned 'A La Mode'. Though the song initially repels due to its variation from the indie-guitar schtick, its beauty reveals itself in time: what begins as a simple composition of looped vocals, handclaps and recorder spirals into an elegant symphony. 'Already Too Late' is endearing indie pop at its finest: it has the world’s simplest vocal hook, yet despite the title, ample slide guitar imbues the track with a sense of urgency. Early single 'Back To The Car' is a quintessential Steward narrative, whose inspiration lies in the mundane. Scenarios described in the chorus ("On your way back to the car / When the party's a bit of a let down"; "Fighting your way through the past / Just tryin' to feel connected") are familiar to everyone, yet surrounded by a drumbeat and a few chords, Steward and friends make the mundane sound grandiose.

In truth, it's probably not fair to compare We All Want To to Screamfeeder. They're different beasts from different eras. Arguably artists should be judged against their latest work, not their past achievements. Either way, Steward wins: plainly, the dude's quality control is impeccable, as I've still not heard a bad song attached to his name. In We All Want To, Steward has found like-minded souls with whom he can build upon an already outstanding career. - The Vine

We All Want To's self titled album defies expectations, a deliberate attempt to confuse those who wish to dissect it, the message is 'shut up and listen'. In a music world of image marketing and genre classification this is a pleasant surprise. Self-classified as “German Pop” - if this is what they are aiming for they are sure to follow a long tradition of successful Brisbane bands. This debut album comes hot on the heels of their EP Back to the Car. The recording is polished, yet not annoyingly pristine – just as we would want from a talented home-grown live act.

Tim Steward from Screamfeeder has a very distinctive raw voice which is now teamed up with songbird Skye Staniford, who is also with a band- Golden Virtues. They perfect the boy-vs-girl vocal harmony in melodromatic power pop, with subtle narrative lyrics and a sound that could have come out of any foreign port. Should one dare relate them to anything else? This is strictly original music but the sound will get you all nostalgic about their obvious influences – as frequenters of sweaty festival mosh pits of the noughties and nineties. As with their Indie Pop/Rock compadres from the Stars, The Clouds to the Shout Out Louds, music from We All Want To cannot be dumbed down by explanation.

Stand out tracks are the happy clappy 'A la mode' with plenty of flutes and some vocal percussion – Skye's looped composition is like a break in the weather. The drums laid on top are particularly fancy.

The musical composition on 'Fleas' is quite diverse and breaks into a real shindig. 'Trigger Fingers' is sensational, starts off small and sparkly, and builds to a brilliant crescendo of fuzz guitar – on the high of Skye's voice. The driving rock mantra is going to 'Get your trigger fingers ready, everything's about to change forever'.

This five piece band meld together their diverse musical pasts in tunes like 'June and July' and digital bonus track 'Brink of Badness' on the darker side. 'Mostly Dry,' another digi bonus is the most original piece on the album, laid back electric with subtle lyrics.

'Japan' begins with a nice little pop tuneage, then kicks it to a new level with bass, drums and vocal enslaught. There are those who believe Pop is a naysay word, to them I say this is powerful stuff and quite masterful in originality.

You can listen to the the album on www.screamfeeder.com/ the site to find Tim Steward's music projects. We All Want To hear them live! - thedwarf.com.au

Imagine this: you are part of a major Australian band, on tour in the UK. You play your final date, wave all but one of your band-mates off at the airport and start looking forward to relaxing in London. Suddenly, you receive a call asking the band to do another show, but with only yourself and one other band member in town what do you do? This is the situation that Tim and Dean from Screamfeeder found themselves in last year. What did they do? Well, they formed a two-piece, called themselves the Whats and took it to the stage. For the next few weeks they spent time gigging around the UK and the US, before returning to Australia.

It is this spontaneity, intensity and enthusiasm that oozes out from this debut release, All Mouth and No Trousers. Make no mistake; this is genuine, original music like nothing Tim and Dean have done before. You could be forgiven for thinking that it would sound like a Screamfeeder rip-off, sans bass and keyboards, but if you did you would be really off the mark. You could also be forgiven for thinking that this album probably sounds like a cross-between the Black Keys, the Mess Hall and any other two-piece around at the moment, but the truth is that band are not about stereotypes or the blues. It is unashamedly bold, a little bit pop, genuinely rough and a lot of fun.

As you would expect with a two-piece, the songs are short and punchy. There is a certain minimalism that invades the songs, but it is something that adds to the overall atmosphere. The rhythm and melody is the only focus, and it is clear that the band relish the challenge and thrive in the new-found space they have created for themselves.

Opening with Oh, Honey, I Ain't Made of Money (which will hopefully be picked up by radio stations as the first single) and Trouble it is a remarkable introduction. The songs burst with energy and reveal some accessible, erstwhile lyrics about money, getting on with everyone around you and joining the army.

Slumming bounces along and almost feels like a Clash song in parts (…almost) as it talks about bad hair and fashion and the fickleness of trends “…don’t put the same saddle on the horse/pissing on the past wont get you ‘round the course”.

Uneducated Guess follows a more typical verse/chorus song structure, and even though there are only two instruments there is a tremendous depth to the song. The vocals and the guitar work around each other in the lead up to a great sing-a-long chorus.

Some of the songs, take Boys and Girls and Where Was I? for example, seem to be possessed by the spirit of the Melbourne rock and roll scene from years passed, and would not sound out of place on an Albert Records release.

The album has already shifted through several gears before it hits Always. A subtle, subdued track it highlights how well the Whats have embraced the concept of a two-piece and moulded it into a new form. However, the highlight is the last track. Ziney Anecdotal is a terrific song. It shimmers and sparkles in all the right places. The guitar chords seem to cascade around you during the chorus. The drums don’t merely mark time, they add colour and emphasis to the song.

This album is a reminder that honest, three chord rock can still be entertaining and engaging, and relaxed but passionate. Clearly, the Whats have stumbled across something right. It would be a shame if this were the band’s only release. It would be criminal if they didn’t tour on the back of the album.
- FasterLouder.com.au

All Mouth No Trousers is one of those albums that contain what are best described as unpolished gems. The instrumentation is basic and bare, the songs extremely danceable, and the vocal delivery harks back to the day of cutesy indie pop bands - rushed, imperfect, a little cheesy but most appealingly, overtly earnest and honest. Ultimately, it's a heady, uplifting piece of work that will probably be played until it's broken. - Rave Magazine, Brisbane

The Whats channel the spirit of the stooges, the rockin attitude of the MC5 & the killer hooks of the who. They are are two piece, like the white stripes but with a drummer more like Keith Moon than Meg White and a singer who can't stand still. They played a short but very sharp set of choice covers and very inspired originals that had the audience engaged right from the first note. This is rock n roll the way it should be - great tunes, killer riffs and a show that could set the world alight.." - independent

..the first time I’d ever seen The Whats play – I found myself practically singing along to all the songs before they were even finished. Infectious energy. - independent

..they don’t come over like your typical new two piece band – less studied, more raucous, yet tighter at the same time… a great surpirse! - independent

..someone said “the What Stripes” – no way! They used less to create more…Sparse arrangements and space in the songs made them rock supreme on the night. - independent

“I’m not trying to be minimal but now I’m feel like I’m looking down the barrel of a gun…” implores Tim Steward in 'Oh', the opener on The Whats' debut, All Mouth No Trousers.

Wether or not he is referring to the circumstances in which The Whats came to fruition is uncertain, but one thing for sure is that we are better off, musically, for the fact that they did.

Long story short. Screamfeeder were on tour in the UK in 2004 and were asked did they want another gig, agreeing to do the show without even thinking that bass/keys player, Kellie Lloyd was flying home to Australia that very morning. However it was agreed to do a Screamfeeder show as a 2 piece. Tim Steward and Dean Shwereb caught the tube from Brixton to Ladbroke Grove with all their gear and had the one of the best gigs of the whole tour. The rest as they say, is history.

Although being out for a little while now, I’ve had the pleasure of seeing The Whats several times live before this release. I was immediately taken by the energy, no bullshit, and fun approach to the whole thing. They fire off whirlwind sets that leave you spinning and the hard copy is no different.

This is simple, yet effective, unashamed pop, in a two-piece format. This isn’t The White Stripes or Black Keys, nor is it anywhere in the enormity or brutality league of The Hasselhoff Experiment or DFA 1979. There’s no over the top effects trying to make up or fill in anywhere here. There isn’t any need for it. It is what it is. Stripped back pop. Two and three chords tied with some clever drum lines.

If I may, it’s all trousers, no mouth!

While Stewards vox still sound like Tim from Screamfeeder, there is a certain vocal character that he exudes throughout, together with an urban lyrical substance. The Streets spring to mind from a contemporary perspective but I am sure it’s more akin to The Clash from the late 1970s. That’s before London Calling!

Brisbane live music punters will adore 'Slumming' with its reference to the now defunct 610 ‘space’ and the turn for the worst that the valley has taken with all the scenesters. The Whats have got that in one!

Trouble opens with a delightfully fuzz and has some of the great lyrics of the year for mine, amongst them:

There’s trouble you star in it
Dropping your bomb
Take out the world with
Guitar and a drum…

Get on the kit, Join the bigger Struggle against silence …

Excellent words of advice I say. Get out there kids and start a two or a three piece!

Where Was I has a wonderful crunchy riff that The Black Keys would be proud of and a bluesy garage feel to match while All Mouth brings Dean’s snare, crash and tambourine more forward in the mix resulting in an excellent garage-ness from days gone by.

Minimal is good!

Things settle down for the laid back Always before we are back to full noise in a Posies kind of way for closer Ziney Anecdotal.

The Whats are showing some roots here and three-chord minimalism can certainly still deliver.

For mine this reflects the true spirit of rock and roll. Making music and having fun! I love it.

Now I’m packing my axe and amp and am heading to a drummer friends house for some fun.

This CD is inspiring. I love it.
- www.nakeddwarf.com.au