From the West Australian Newspaper, June 28th 2007
Carus and the True Believers
Review: Julian Tompkin
After near on a decade rocking live audiences around the globe, Carus Thompson is finally rocking the speakers with Three Boxes, his third full-length studio album and second with his band the True Believers. Shedding his alter-ego as a roots and reggae roller, this WA-born songwriter has made a welcome return to the age-old tradition of Aussie folk rock, inspired by the poignant lyrics and rhythms of Paul Kelly and Tim Rogers in solo mode.
With anthems like Crash and Last Days of Winger, Carus finally consolidates the place of his band in a sensational barrage that reaches back to a golden era of Australian pub rock. But it’s on the politically driven Downtown and Missing the Point that Carus proves his importance as an inspired young man with a wise word or two to say about the state of the nation.
Australia has been waiting for Three Boxes
Beat Magazine
The long awaited "real" album from the independent acoustic band contains some of Carus' best work yet, recorded in a style that accurately replicates the passion of the band's live performances.
This album is testimony to the recent enhancement of Carus' songwriting skills, refined through the effect of rigorous touring and frequent writing. Instead of merely focusing on deep introspection and opinionated thoughts, writing in respect to others' point of view and situations have resulted in him producing some true quality indie-folk songs, rich in meaning and long-lasting worth.
In empathy to Van Nguyen, Saturday in Singapore tries a unique play on perspective: "if I got into trouble, I know people who could help me... It was just "you and your brother";whilst Last Days of Winter subtly explores the story of a teenage girl's premature death. Effectively portraying powerful, socially-aware messages, these songs are maturely written from a viewpoint subtle enough to invite personal interpretation at the same time as telling a decent story.
On top of all this, Carus has become expert at belting out songs full of heart-wrenching passion. This time portrays a somehow beautiful mood of defeat as the strings and keys ring high in the background. His classic heartbreak masterpiece, Thrown, has finally been recorded to give the poignancy of the song justice. A soft and slow drumbeat crescendo aids in creating the massive build-up usually formed by Carus solo in gigs.
The album's instrumentation is diverse but not overdone, and the tight mix certainly sustains appeal better than any of Carus' recordings have managed in the past. Three Boxes should serve to satisfy and impress even his most critical of fans.
- MICHELLE HERBISON
Beat Magazine: http://www.beat.com.au/review.php?id=698
Carus and the True Believers
Greg Arnold
Northcote Social Club
With the frequent jokes he told at his own expense, (including a memorable anecdote about a scary redneck who accosted him to give hair care advice) Greg Arnold seemed to regard himself as more of a sideshow than a star in his own right during his solo acoustic set. But for those who had forgotten Greg’s contribution to the folk-rock canon with Things Of Stone And Wood, his big and bold rendition of biggest hit Happy Birthday Helen, featuring The True Believers’ ‘Bedgy’ on violin, was a great reminder. Also great were the surprisingly soulful selections he delved into on the keys, with Bedgy on mandolin, such as Have It Your Way.
As a launch show for Carus’ second full-length album Three Boxes, this performance was, I’m sure many fans would agree, the first chance to hear the songs done right. While not knocking Carus’ recordings, you sure don’t get half the charm or an ounce of the charisma that filled the Northcote tonight on a CD.
And, just as Carus assured me, many of Three Boxes’ songs were injected with a lot more heart, or otherwise more clout, in the live setting. The depth of feeling on This Time was considerably enhanced by the violin and double bass locking together in sorrowful resolve, while Crash, as predicted, became a Hoodoo Gurus-style rock-out.
The scope of Carus’ sound is greatly increased in the live setting too, The True Believers going down a reggae path one minute and into country territory the next.
It was a moderate crowd tonight – not necessarily a discouraging sign, as this was the second of two NSC shows. Besides, what the crowd lacked in volume they certainly made up for in dedication, with practically every voice in the venue chipping in for Carus’ manifesto Just Wanna Play My Music.
And play it he did… for the most memorable portion of the show, on a milk crate in the middle of the audience. Looking like an improbably successful busker, Carus belted out Three Boxes’ title track and When I Think Of You without the aid of the PA, his voice carrying impressively over a hushed crowd that only interjected with an odd bit of vocal harmony and one girl’s cry of: ‘Take your top off!!’
The only downside of the feel-good vibes that pour from the stage in a Carus show is that they sometimes diminish the moral weight of his lyrics. For Born With A Broken Heart, a well-intentioned song about Aboriginal displacement, the message seemed to be washed away by it’s lightweight, la-di-da melody.
But Carus certainly proved he could go for the heart when he wanted to with the set-closer Thrown, in which The True Believers accumulated such a pounding intensity that there was nothing left for Carus to do but scream and howl, making his guitar do the same, and march offstage at the height of the frenzy.
Not returning for an encore was the right decision. After 90 minutes of pure heart and soul, there would have been nothing left to prove; only impact to be sacrificed.
JESSE SHROCK
Carus & The True Believers
Three Boxes (Glitterhouse Review Catalogue 06/2007) www.glitterhouse.com
English:
News from the Australian Roots songwriter, the young man who has a lot of Jack Johnson, Dylan and Paul Kelly and possibly Tom Petty in himself combined. Carus Thompson a passing craze that I no longer feared after our first meeting. In Höxter, with a terrible toothache on stage and, nevertheless, a Sunnyboy just the same with his Solo program he maintained and enthused his audience masterly. Through his perhaps toughness, strongwill, or simply rare-idealism, Carus pulled of the show which definitely has to do with his amazing talent and complete devotion.
Carus has completed his fourth album, inbetween the tour, which to say is at least three years after the last. Some of the songs are long since in the live repertoire (Born with a broken heart, This time) of which the local fans know very well. Others, like Three boxes - I hear are new tracks, and these are clearly documents of a mature songwriter. He has left the reggae groove and also the howling dingo. The album with both friends John Bedggood and Jason McGann was recorded in Melbourne, and is one of the best productions ever. With great studio musicians in addition, makes for a fantastic full Roots-Rock album.
Charlie Owens, by the way, is of course portrayed here as a special guest, with his lapsteel guitar. It goes to show you actually, one can only like the guy, especially now that he has reached the right artistic weight class.
Carus has been in Europe since the early summer of 2007, on the road throughout Germany and europe. It is worth it! An evening in which the music tastes just as good as the beer – I guarantee ! (ICC)
Deutsch/German
Neues vom australischen Roots-Songwriter der so vieles von Jack Johnson, Dylan und Paul Kelly und womöglich Tom Petty in sich vereint – in Jung natürlich. Das Carus Thompson eine Eintagsfliege sein könnte fürchtete ich nach der ersten Begegnung schon nicht mehr. In Höxter mit schwersten Zahnschmerzen auf der Bühne und doch der Sunnyboy der ganz allein und Solo ein Publikum, das ihn nicht kennt, unterhalten und begeistern kann. Hat Zähigkeit, Willen, selten gewordenen Idealismus und ganz sicher auch jede Menge Talent genug um mindesten einfach weiter zu machen, weil er nicht anders kann und nicht anders will. Zwischen der ganzen Tourerei hat er jetzt sein viertes Album gebaut, immerhin drei Jahre nach dem letzten. Einige der Songs sind schon länger im Live-Repertoire (Born With A Broken Heart, This Time) und dürften auch hiesigen Freunden wohlbekannt vorkommen. Andere, wie Three Boxes – höre ich hier Neu, es sind Belege für einen nunmehr ausgereiften Songwriter. Er lässt jetzt Reggaespielereien und auch der Dingo heult nicht mehr. Das Album mit den beiden Freunden John Bedggood und Jason McGann ist in Melbourne aufgenommen, besser produziert denn je. Gute Studiomusiker dazu, die ein sattes Roots-Rock Album herstellen.
Charlie Owens übrigens ist sich nicht zu schade, hier einmal als Gast die Lapsteel Guitar zu betätigen. Es bleibt dabei, es gibt eigentlich nur Gründe den Kerl zu mögen, jetzt hat er auch noch die richtige künstlerische Gewichtsklasse erreicht.
Schon im Frühsommer 2007 ist er wieder in Europa und Deutschland unterwegs – hingehen! Ein Abend, an dem die Musik mindestens genauso gut wie das Bier schmeckt – das Garantier` ich mal. (ICC)
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