HOW TO BE AN UNSUCCESSFUL WRITER + ANNOY PEOPLE

Bye!

2010-10-06T21:32:00.001-07:00

Thanks for reading my blog for so long, but now I've grown into a bigger and better website!

Check it out at: www.alphabetpony.com.au.

See you on the other side!

Listen to Hungry Kids Of Hungary's album Escapades in FULL!

2010-09-29T17:19:00.000-07:00

File under: Hungry Kids Of Hungary, Escapades, Full album stream, Scattered Diamonds, Wristwatch, Coming Around

What a great Aussie band! Straight out of Brissie and straight into a fantastic debut album, what it bound to be the summer album of the year, Escapades.

After working it on their lonesome for a good year now, and garnering huge triple j play with four separate singles, they have been rewarded with a major label deal and a cracker of an LP.

You may have heard Scattered Diamonds, Wristwatch and Coming Around before, but thankfully the rest of the album lives up to their singles, genre jumping between afro-beat indie a-la Vampire Weekend, sweeping alternative soundscapes a-la Arcade Fire and quirky alt-pop a-la, well, themselves!

Enjoy, and go out and support them tomorrow by buying the album for those sunny walks to work in the morning.

FULL STREAM: New Clinic album Bubblegum!

2010-09-26T19:32:00.000-07:00

File under: Clinic, Bubblegum, full album stream, preview

Check out the full album stream below of Clinic's latest album Bubblegum - to be released this Friday 1st October.

Anticipation is pretty high for this release, following the glowing reception to their last offering Do It! back in 2008.

Kanye West's new track So Appalled

2010-09-26T17:23:00.001-07:00

File under: Kanye West, So Appalled, free download, Jay-Z, Pusha T, Swizz Beatz, RZA

Kanye West has released a new track online called So Appalled, which seems in anticipation of church groups' response to the cover art...

It's not amazing to be honest, a collaboration between a slew of big names including Jay-Z, Pusha T, Swizz Beatz and RZA - but unfortunately all these names apparently couldn't manage to assemble any trace of a hook.

Download the new Kanye track So Appalled here.

The backing track is lazy to say the least, and there just isn't any momentum to the track. But hey, the free tracks they release online are always the b-sides so I'm still excited about hearing the new Kanye album... Especially after this performance at the VMA's.

Toast to the douchebags anyone?

ALBUM REVIEW: Robyn, Body Talk Pt.2

2010-09-22T21:42:00.000-07:00

File under: Robyn, Body Talk Pt. 1, Body Talk Pt. 2, Snoop Dogg, Konichiwa Records

I love Robyn. I've loved her ever since her epic track Konichiwa Bitches. That track is off the hook.

And then Body Talk Pt. 1 came out and the highly anticipated album opened with the pumper Don't Fucking Tell Me What To Do. It was like what M.I.A was trying to do with The Message, but with about 600 less tracks added in production.

And that was the killer about Body Talk Pt. 1 - it was so sparse compared to her self-titled outing way back in 2005 (can you believe it was that long ago??!!). It was like M.I.A went more overwhelming in production and got caned for it, while Robyn smartly pared back and gained a zillion more fans.

Although on a side note I must admit I was a bit perplexed by TMN declaring she was a 'Breaking Artist' this year. WTF? She had already released 4 albums, had two top ten US singles waaaay back in '96 and '97, 3 top tens in the UK including one #1 AND started her own label. Yeah, totes breaking. But back on track.....

Fembot was like Cobrastyle pulled violently into the now, Dancehall Queen is a lush fusion of calypso and dance (not enough of it really) and None Of Dem was pure futuristic day-glo wrapped in a beats only track.

Sure there were a few super commercial Euro-trash club tracks (namely Dancing On My Own and Cry When You Get Older) but hey, she's Swedish after all, she's just writing for her key market. Could've done without the last two tracks, but hey we get it - you have a great voice.

Body Talk Pt. 2 opens with something altogether underwhelming. Really Robyn? Fat synths? 'Hey little star don't be afraid'? Is this your entry for the next Eurovision Song Contest? Hmmm...

Include Me Out gives me significantly more hope that she can deliver after all. Right on message, with interesting beats, accent shrills, good vocals, typical Robyn. Although it does tend toward the 90s aesthetic, but that's ok with me.

Hang With Me brings us back to that pesky Euro synth riff that we've heard oh too many times before paired with a relatively boring vocal. Next.... Love Kills. Wow, I feel like I'm back at a school rave (and not in a good way). Scary.

We Dance To The Beat gives me hope again, and although it's also a little 90s, it's in the most amazing way possible. Love the good 90s shit. Robot Robyn back on form with a good solid beat behind her.

Genius ensues in the form of Criminal Intent - clearly the best track on the album. Dragging, lazy vocals are propped up with a siren motif and driving bass and we are reminded of what Robyn can do with a synth and her drippingly cool lyrics.

I almost don't want to listen to the next track U Should Know Better in case it ruins my vibe, especially when it says it features Snoop. I love Snoop, but lately he's been making da money not da tracks. But it's a solid driving track with the appropriately punctuated use of fuck and a rolling old school Snoop vocal. Loving it - play this to your ex as you roll by in your Bentley and a finger up.

Indestructible does what no Robyn track should do - introduce violins. Bah.

In conclusion play it from We Dance To The Beat to U Should Know Better and delete the rest. Or just listen to Pt. 1 again.

Amazing super happy video day!

2010-09-20T16:49:00.000-07:00

Some great videos out this week that I'd like to share with all of you...

First up is OkGo's latest effort - stepping it up a notch with a hilarious video of five dogs that are way better trained than my own disobedient best friend...

I recently spoke to OkGo about being a 'video band' and why they think today's music industry is totally post-major label. Check out that interview here.

Miami Horror have followed up the dreamscape of their last video 'I Look To You', featuring the gorgeous Kimbra, with yet another video for their album track Echoplex that idolises the young and the hot and the uber-hipster-cool. Ready for summer?

Echoplex from Miami Horror on Vimeo.

And last up is this embarrassing video from Katy Perry. Sure, the kiddies will like it BUT AT WHAT COST???

This week's album wrap up

2010-09-08T23:06:00.000-07:00

File under: Grinderman, I Am Kloot, Royksopp, Old Man River, Get Cape Wear Cape Fly, Weezer

Out today are a whole slew of amazing albums, possibly the best week all year for releases in my opinion. And because a) There are so many and b) I'm lazy, I'm going for a mass review. Let's see if this works shall we?

First up on the blocks is Nick Cave, the person Aussies would most like to see oust Julia Gillard, and his band of hairy men. Grinderman delivered us their dirty rocking self-titled album quite a while ago now, and there is no doubt here that Cave and Co are back on the brilliance bandwagon with this one.

Although not my pick for a relaxing outing into musical genius, this is hard work and rightly so. It's Cave for goodness sake, it can't be easy. And if you're still not sure, then I'll probably convert you purely on this one sentence: Their last video featured the band in dodgy Roman gear shooting lazers out of their arses. Fuck yeah.

Get Cape Wear Cape Fly are a relatively new kid on the block, headed up by Sam Duckworth - the Southend-born troubadour who named his solo project after a solution from an old Batman adventure game. As you can imagine, this sentence had me at hello.

Imagine my surprise when his second, self titled effort (his first debuted in 2006), was actually a cracker. No hipster irony here, just some serious folk-electro tunes that feel like they belong as the soundtrack to lazy Summer Sunday arvos. Glass of chardy please, let's forget we need to go back to work tomorrow...

Similarly, Old Man River is rocking the folk troubadour tag as well. I'd like to put forth a new tag: Folkster. Part hipster, part folk. Yep, you heard it here first.

Look at his clip for Norway for example, the track itself is a piece of beautiful modern folk,
but the video reminds you of some tripped out, acid-tab taking, psychedlic version of Coldplay's The Scientist. Nice.

Dear Ohad: Thanks for making a beautiful album and still being realy realy, unironically cool.

Royksopp have emerged as the alternative music saviour of the year, with a beautiful, artistic album that doesn't need lyrics to create a great hook. And to make it even better, they got all blogger-friendly on us and provided us with an embed code for an advance full stream. Hooray for bands that aren't scared of digital!

Their mini-film Adventures In Barbieland makes me want to marry them and have their babies - seriously amazeballs. And to add to it, the whole ambient electro thing is just going crazy at the moment, and they're right up front, doing it best. Them and iamamiwhoami and How To Destroy Angels.

Weezer have emerged with a solid album, and rock solid proof that a marketing idea that sounds good in the boardroom can go horribly wrong in practice. Maybe they got the idea from that recent Vampire Weekend lawsuit. Maybe they're like 'yeah! that album was awesome and it had an average joe on the cover!' Maybe they don't care.

Anyway, besides the cover, the album is typical grunge pop, but we're left wondering why they haven't changed in 15 years, and yet still haven't made as good a record as Pinkerton again. I don't care what you hipsters say, that album was AMAZING. Shoot me.

Only serious Weezer fans need apply to Hurley.

I Am Kloot is the last in my stretch of amazing albums coming out this week, with the pretty offering Sky At Night. Spookily perfect in its delivery, it comes as no surprise when you read the footnotes: The producers of this record are Craig Potter and Guy Garvey from Elbow.

If you haven't heard their back catalogue then get ye to iTunes this minute and look up Gods and Monsters for a bit of education, then experience the jangly gorgeousness of tracks like Northern Skies and The Moon Is A Blind Eye and you'll really be able to appreciate how this iconic but relatively unknown band just keeps getting better and better.

Well that's it from me. Now get your arse to JB HiFi and support our gorgeous industry.

New Ricky Gervais documentary

2010-09-08T17:47:00.000-07:00

File under: Ricky Gervais, Stephen Merchant, An Idiot Abroad, Travel documentary, comedy, UK

I know this is my first ever non-music post, but trust me - it's worth it.

Ricky Gervais and Stephen Merchant are releasing a new documentary / comedy show called 'An Idiot Abroad' which takes their ex-producer (and typical UK geezer) to the seven wonders of the world.

Fortunately, he's an ignorant git who isn't interested in seeing any of them. Hilarity ensues.

Seriously, it's the funniest thing I've ever seen from the Merchant/Gervais team, and even the preview has cracker quotes from this guy like: "The Great Wall of China? All it does is go on and on. I mean, the M6 does the same thing, and it's not a wonder."

Watch the trailers below and get excited...

Listen to Royksopp's new album Senior in FULL!

2010-09-06T16:30:00.000-07:00

File under: Album stream, Royksopp, Senior, Junior, Soundcloud

Check out the brand new Royksopp album Senior, in a hot-off-the-presses full album stream below.

Love.

Senior by Röyksopp

EVENT: Good Charlotte, Cardiology premiere

2010-09-02T22:55:00.000-07:00

File under: Good Charlotte, Joel and Benji Madden, Cardiology, Listening party, Like It's Her Birthday

Last night in an exclusive WORLD PREMIERE, the Good Charlotte brothers Joel and Benji Madden swooped into Sydney for a listening party in conjunction with Sydney Confidential. They were bringing their new album Cardiology to Aussie audiences first, and the fans were more than excited to be hearing the first taste - with a red carpet to boot.

Packed into the gorgeous Cargo Lounge, media, VIPs and prize winners alike went into a frenzy when the boys arrived to flashbulbs and screams - and the craziness didn't stop there. The crowd packed in and around the small stage when MTV's James Kerley introduced the boys to the excited audience who were enjoying the flowing champagne and a chance to see the Madden brothers in person.

With the boys meeting a select few of their biggest fans on one end of the room, the other end of the room was filled with plenty of punters and VIPs including Idol winner Stan Walker and Lindsay Rodriguez enjoying the album pumping full blast on the speakers.

The resounding repetition from the lucky few who were able to meet the boys was a chorus of "They're such nice guys!", and everyone else in the room was left wondering - despite the tattoos and rock star get up, are the Madden boys the nicest boys in rock? I vote yes.

Interview: Sarah McLeod

2010-08-24T19:09:00.000-07:00

File under: Sarah McLeod, The Superjesus, Double R, Dancing In The Dark, electro

Recently I had a chat to Sarah McLeod about her new album Double R, life post-Superjesus, how Apocalypse Now influenced her darker sound, and why she's just not that into guitar anymore.

What made you choose Dancing In The Dark as a cover? (It's an awesome cover by the way)

I have always loved that song and I wanted to do a cover that I could twist and give the lyric new meaning by using an interesting new delivery. This song was perfect because the original is so up tempo and happy that you never actually notice how dark the lyrics are. When you listen to it delivered with a minor melody at a slower tempo, the words take on a new meaning and its really quite menacing. I don’t remember thinking that when I watched Courtney Cox dancing on stage with The Boss in the clip though!

Do you see your newer solo stuff as a huge departure from your Superjesus days?

Well yes and no really. The thing is you guys only ever heard what we actually released but we wrote all kinds of songs and some of them were very experimental. The main difference now is that the guitars are gone. Its just a taste thing, I don’t really dig the sound of guitars at the moment. I bludgeoned myself to death with them for so many years that now I'm just over them. You can get just as much, if not more, power and energy from a huge dirty synth, and the frequencies sit in the mix in a much tighter way. I know there are a lot of people who are gonna be angry for me saying that, but as I said its just a personal taste thing. I still play guitar at home all the time, but right now I’d rather play piano.

Double R is quite a bit more dirty/dark than your previous track He Doesn't Love you. What inspired this darker place?

Double R is about the absurdity of love and that’s a pretty dark angle to take. Every time you open yourself up to it its like putting a gun to your head with only one bullet and trying your luck. I was thinking of the scene in Apocalypse Now when I wrote it. The thing that makes this song dark is not the music, it’s the spoken vocal underneath the main verse melody. I love having a really melodic main line and then menacingly speaking the vocal underneath and putting distortion on it.

You've had huge success on the club charts. Why do you think dance doesn't see so much of a crossover as rock or indie these days?

I totally disagree. I think the dance genre does cross over, Just look at Gaga. Its become much more of an accessible thing as people give it up to technology, eventually curiosity gets the better of us musos.

How has the industry changed since you started out in a rock band?

It's an entirely different ball game all together now. There really is no comparison between the two, bar the fact that I still make music and go on tour. The way the music is distributed and marketed. The way the scene is managed and funded is different, everything really.

Being a front woman in a previous life, is there much difference going solo?

Yes there really is, there was no pressure on me before. I would make decisions but I would always have my band of boys around me to support, back or negotiate these decisions. If shit went down, it went down on all of us and that was a really comforting feeling. Now it’s all up to me and I take all the risks and wear all the blame if it doesn’t work. Having said that, now I get the creative freedom to be whoever I want to be without the moniker of "girl from The Superjesus" hanging over my head.

What tracks are you listening to right now?

Lately Ive been listening to Pendulum, Netsky, Sub Focus, Magnetic Man. There’s a real movement happening in this genre and I find it really exciting.

If you could play in a band with any other three musicians ever who would they be?

Slash on guitar, Mick Skelton on drums, and A-Trak on decks.

Live Review: Katy Perry, Melbourne

2010-08-18T03:51:00.000-07:00

File under: Katy Perry, live review, California Girls, Peacock, Teenage Dream, pop

So you thought you didn't like Katy Perry huh? You thought you had it all figured out - she's super pop, she isn't a 'muso', she's just for 14 year old girls who want blue hair too etc, etc. Well do I have news for you: KP is cool.

Before I go into my own opinion, I want you to read a review on The Vine. Yep, the uber-hipster, way too cool for school website The Vine. The ones who recently panned both Richard Ashcroft's latest effort AND Broken Social Scene. Right, get it? Now read this...

Add to that the amount of requests I have been getting for a copy of Katy's album with the words "Shhh don't tell anyone" following it, and you have a down right and dirty closet case of pop hipster-hysteria. They even ask for posters, and are really excited about the fact the album is going to smell like cotton candy (no, it actually is). I'll keep my promise and not divulge names.

So the scene is set for a 'phenomenon'. Not even Gaga has reached out to editors of hipster blogs and electro obsessors alike... And what an unlikely hero: Katy Perry, complete with cupcake bra and sugary sweet refrains.

But here's the catch: the beauty is in the cross over. Those who remember UR So Gay, one of Katy's first singles, knew she had it in her - but flash forward a few years and who would've thought she would be screaming 'Cock, Cock, Cock!' to 14 year olds in the front row. Sure, it's in the context of her song Peacock in which she sings 'I wanna see your Peacock, Cock, Cock, Cock', but there's no doubting that those little kids know exactly what they're mimicking. Especially when you add to that the fact that KP is thrusting in time with each 'Cock'. Wow.

But then again, the last word in UR So Gay IS 'penis'. There seems to be some kind of pattern here...

It's this kind of brazen live act which screams out 'try-hard' on the surface, but for some reason in person, there is absolutely no irony. It seems entirely in line with her character. This angel with a dirty mouth schtick isn't so much a schtick as entirely genuine. It's who she really is.

Add to that the fact that the second she picked up a guitar, every music journo and blogger in the room immediately focus on those fingers to tear her apart. They were writing the sentences in their head, laughing internally; what a try hard! She can't play guitar! But... she can.

Her vocals are flawless, her manner is sweet and funny, and no matter how hard you try, you are swept into a sad ocean of personal lameness - finding yourself singing along to every word you never knew you knew, and dancing like a tool to Teenage Dream. Putting your hands in the air like you just don't care with strangers you just met at the bar. Bonding over California Girls with your workmates.

Here's my advice people: Give in. It's great in here in the pop closet... plus, it smells like cotton candy.

Splendour In The Grass, 2010 Wrap Up

2010-08-04T19:10:00.000-07:00

File under: Splendour In The Grass, Live review, Foals, Little Red, Miami Horror, Black Rebel Motorcycle Club, Angus and Julia Stone, LCD Soundsystem, Scissor Sisters, Wolfmother, Florence and the Machine, The Strokes, The Mess Hall, Surfer Blood, Fanfarlo

After hauling our gumboots over 1000km, punters were faced with a long walk from their campsites to the stages at the new Woodfordia site, just north of Brissie. But somehow, it all seemed worth it - with stunning weather pretty much all weekend (although this didn't dry up the persistent mud) and the best line up this side of Glasto, Splendour in the Grass promised - and delivered.

With such a name heavy line-up it's not surprising that Friday was packed with a solid offering. Arriving to the strains of Foals, we pushed our way up front (note for short punters at a festival of over 30,000 people, sneak up the side of the stage) and were blown away by the energetic onslaught at a mere 3pm in the afternoon. This bode well for a killer weekend.

Little Red were playing over at the ampitheatre, but delivered a lacklustre set to a small crowd of bored people. Sorry Little Red, I like your music but you need to step it up in this kind of company... Like Miami Horror did. Look, I'm not the hugest fan of Miami Horror, but they brought the crowd to fever pitch with another energetic set, and I found myself pleasantly surprised at how much they have improved their live set.

That being said, we headed over to Black Rebel Motorcycle Club at the ampitheatre and they rocked the hell out of it. Possibly my favourite gig of the whole weekend, I found myself wondering why I'd never realised how much I love harmonica stylings before said date. The harmonica obsession continued with the beautiful Julia Stone - also working a trumpet and guitar. Angus and Julia were absolutely stunning. I'd never considered them a 'festival band', let alone that they would have the ability to follow BRMC's splendidly high energy rock set with just as much gusto. But they did, and had the entire 15k crowd entranced with a flawless hour.

LCD Soundsystem changed up the tempo over at the main tent and showed us why they just keep on keeping on. James has an undeniably great voice and the band performed a killer set off the back of their Hot Chip co-dates.

The packed day would end with Scissor Sisters... and what a show. Jake Shears and Ana Matronic showed us what an international band of pros can do with a mankini and a dress that had the entire front cut away. Of course the vocals were flawless, the energy level high, the hits on rotation etc, but undoubtedly the funniest part of the set was when Ana gave us an education on 'shelving' via a pamphlet she had found in the drug awareness tent. Look it up kids, then grimace.

Day two saw Wolfmother deliver a typically tight set, but left us wondering what they had given us since the last time they performed. It all seemed a bit stale really, despite the fact they rocked the stage with their trademark tunes. Hopefully they don't deliver Cosmic Egg mark II for their next album. And now Florence and The Machine. I know I'm going to cop flak for this, but she was a bit boring to be honest. Perhaps it's because last time I saw her she was in a church with only 50 people around me, but the first half of the set was straight out dull, and the second half saw her deliver hit after hit - but with lacklustre energy levels. Sure, she has a great voice, but this wasn't her best performance.

The Strokes delivered everything we wanted from them. The crowd went mental. They played Last Night. Everyone cheered. They did a lengthy encore. Punters left happy. The End.

The Mess Hall opened our Day 3 outing with a solid set and I just don't get why they're not more popular. Perhaps blues rock just isn't 'in' right now. They closed with Keep Walking and we came to the conclusion they are probably one of the best live rock bands knocking about in Oz at the moment - and one of the best sets of the day.

Surfer Blood played an afternoon set in the Ampitheatre, and this Sydney girl who had come from rain and 10deg just days earlier was in bliss - sun shining, cool surf rock playing, glass of wine. Great set, they would have converted a few hipsters after that.

Fanfarlo finished off our Sunday with an amazing set to only about 300 people. Despite the small turn out for this relatively unknown band, they gave it their all and left us on a sweetly buzzing high.

Splendour, it's been real.

ALBUM REVIEW: Arcade Fire, The Suburbs

2010-08-01T23:00:00.000-07:00

File under: Arcade Fire, The Suburbs, Best of 2010, Radiohead, Ok Computer

Following the ominous statement from a journo at the Beebs that The Suburbs was better than Radiohead's OK Computer, it should be no surprise when Arcade Fire's third offering sits at the top of the year's lists for both a) Best Album and b) Most Controversial Album.

Sure, Arcade Fire aren't the best band in history either, but it's comments like the one from this douchebag that turn me off Team Radiohead:

Radiohead is The Beatles of our generation, nobody dares compare ANYTHING to Radiohead because their experimentation has led to such a change in the usage of music, you cannot deny that. And thus they are like The Beatles, even if you don't like their music - what they have contributed to the industry is phenomenal and only people who are understand music can see and appreciate that. ALL HAIL RADIOHEAD.

Really? The Beatles? Well fuck me. It even went on to say that Arcade Fire don't have any NUANCES in their songs. Gotta hate it when they leave out all the nuances.

So the scene is set for an album in the eye of a shitstorm of controversy, not unlike M.I.A's latest. It's these kinds of articles that polarise opinion surrounding an album release, and every idiot with a blog feels compelled to weigh in on the debate with their 2 cents and change. Well call me an idiot with a soapbox in blog form, because here's mine: the album is a freaking cracker.

Opening with the title track The Suburbs, it's immediately ironic that the previous nut job mentioned The Beatles, because this track induces an immediate longing for 60s psychedelic pop in the form of The Small Faces' Itchycoo Park. What... a tune.

Seamlessly picking up the tempo with Ready To Start and Modern Man, you're already wondering where the filler is. That's because there is none. So far you're thinking, wow three songs in and I haven't hit 'the boring track that I'll skip after about a minute of giving it a try' yet. You're thinking, track four will be shit for sure.

Then they hit you in the face with the absolute rolling epic Rococo. Suddenly you realise this may be the song of the year. Suddenly you realise you're in love. The slow burn just keeps building and building and you're thinking how awesome this song would be to listen to wasted. Shivers, replay 50+ times etc.

Snap back into reality with a disorienting string riff opening Empty Room, and you're onto the perfectly dirty guitars on City With No Children. This track is one of those pub tunes that you somehow know every word to a-la Khe Sanh. Come on now, sing along peeps.

Track 7 and still no filler. Half Light I takes you on a journey through the woods with airy voiced pixies at dawn. Half Light II watches the sun rise over the trees and makes you realise how beautiful it all is. This may sound incredibly naff, but listen to the track and tell me it's not true. Maybe all the awe is getting to me.

Suburban War pares it back to a mid-western acoustic and delivers a gorgeous road trip, 'wile away the hours watching the world pass you by' song. Month of May rocks it out with some electro guitar fuzz and then Wasted Hours brings it back to basics again. It's the back and forth on this album that makes it so complete, the tracks take you on the kind of journey you've been dreaming about since Magical Mystery Tour. Whoops, there's those pesky Beatles references again.

Deep Blue returns to the echoey vocals of The Suburbs' opener and We Used To Wait makes you impatient for more with its driving, repetitive underlying piano chords. What are you impatient for? Well the next two tracks can answer that.

Sprawl I captures the microcosm of suburbia in a melancholy, isolating 2:54, then all your insecurities are alleviated on what is possibly the best track on the whole album, Sprawl II (Mountains Beyond Mountains). Uplifting in its repetitive airy sweetness, Arcade Fire tell you it's all going to be ok. You might have a dead end job and endless boredom, surrounded by a concrete jungle of meaninglessness, but pop this track on and it doesn't seem so bad anymore. Give in to the shopping malls rising in front of us 'like mountains beyond mountains', they tell us.

Closing with The Suburbs (Continued), we're left empty, just like the subtle vocal motif repeated in half voice from the opening track. Full circle moment and all that.

Fuck, what a great album. And I don't care what all you Radiohead crazies think - bring on the abuse via commenting.

My new favourite video

2010-07-25T21:28:00.000-07:00

File under: Boys Boys Boys!, Ticky Ticky Boom, Music video, Washington, hipster

So having watched Washington's new video for her single Sunday Best doing the rounds of the interwebs I've decided she's trying way too hard. And she should stop. Fuck I hate hipsters.

Anyway, there's an alternative to hipsterdom from Perth outfit Boys Boys Boys! Their track Ticky Ticky Boom is probs a little old now, but it's awesome. I wish they would release a new album... They are cool, without trying to be cool, but kinda aiming for the cool kids. Cool?

It's like all the awesomeness from NYPC and Operator Please shoved into a glitter cannon and exploded into the decade of the 2080s. I'll have these guys a thousand times over on my festival roster rather than what I anticipate will be oversaturated Washington-ness this summer.

Check it out.

Awesome Band You’ve Probably Never Heard Of #12…

2010-07-22T00:43:00.000-07:00

File under: Betty and the Werewolves, Teatime Favourites, The Beach Boys, Surf rock, Paper Thin

Betty and the Werewolves
Teatime Favourites
(SHOCK)

Surf riffs are everywhere at the moment – but rather than attribute this recent obsession to little known shoegazing bands I would say it’s more about the ongoing obsession with the amazingness / awesomeness of The Beach Boys. And Betty and the Werewolves are proof.

Cherrypicking the best of California surf riffs and sugar sweet pop vocals, then scruffing it up a bit with a touch of indie rock flavour, Teatime Favourites is a summer festival album if ever there was one.

Check it out.

Sarah McLeod's Madness

2010-07-04T18:17:00.000-07:00

File under: Sarah McLeod, dance, skip hop, Madness, Dancing In The Dark, Double R, The Superjesus

Although here in Oz we don't hear much from The Superjesus' Sarah McLeod, she made history becoming one of only two Australians to hold a US Billboard dance chart position for 19 weeks. Surprised? Well you won't be soon.

Recently I had a few new tracks from McLeod land in my inbox, along with a note stating that she was planning on releasing a trilogy of album releases called Madness. Interestingly, Euro dance queen Robyn has also released the first in a trilogy of albums this year - is this the new 'thing' in cool kid dance? Intrigued, I had a listen.

Opening with a cover of Springsteen's Dancing In The Dark is enough to alienate any music journo, but within the first 30secs I was captivated. This wasn't any old cover, this was a reinvention. Dark, brooding vocals over driving, synthetic strings? Now that's my kind of 80's remake.

Get a free download of Sarah McLeod's cover of Dancing In The Dark here.

But then again, McLeod is the first to admit she's not the usual breed of dance artist.

“I don’t fit into the typical mould of a dance/ pop artist. My voice sounds like Rod Stewart in the morning... I mesh rock theories with dance synths and dirty tribal beats. It can come off as a little confrontational and aggressive at times, but who cares! I love the fact that it confuses people."

Admittedly, this isn't a new thing for McLeod. The Superjesus were a challenging band that managed to hit the pop charts. And at the centre of the best 'Jesus tracks like Down Again were McLeod's simmering vocals. And no one thought they were 'weird' because they were different.

Are the pop charts more manufactured now? Do you have to fit the mould to sell music? McLeod may hold a US chart record, but it WAS on a genre chart.

"We live in a world where you can order a grande non fat frappuccino with an extra shot and a caramel twist, so how come we can’t mix it up musically without being told that you ‘don’t fit the marketing mould’? Categories exist in peoples minds, not reality."

Admittedly her upcoming single Double R isn't a pop song, but it's going to be seriously popular in clubs. Skip hop beats with a futuristic lean, the track should see itself at home in a dirty underground disco keeping punters dancing at 4am.

And anyway, who says nu-wave can't be pop?

Sarah McLeod's new single Double R is due for release 21 July 2010. The Double R EP is the first single from her upcoming trilogy of album releases, Madness.

The Vasco Era: Curse of the concept album

2010-06-30T22:14:00.000-07:00

File under: The Vasco Era, Oh Sam, Lucille, artist feature, concept albums

Ah, the sophomore album. You always want it to be just as amazing as the debut – nay, more – but it rarely is. And with a band like The Vasco Era, whose last album was a concept album nonetheless, you anticipate even more.

Interestingly, the band weren’t so focused on the pressure of delivering a follow up as they were on whether they’d actually have the cashflow from the record company.

“I think we were more worried whether they were going to give us the money to do it,” laughs Michael Fitzgerald, drummer for the band. “The music we make doesn’t really cross over to commercial stations or anything so you always have that worry that they’re going to choose another artist that they want to promote because they’ll make more money.”

Especially when you tell your manager that you’re making a concept album based on a dubious pair you met at the races.

“We had all these songs and ideas, but they were just random patches of songs and we didn’t know how they would fit together… there was no lyrical content to it. So Sid went out one night to a casino in Melbourne, meeting random people just to see if that would inspire him.”

Frontman, Sid O’Neil, went to the races and met a couple - Sam and Lucille (not their real names of course) - and based on a few minutes of conversation he threw together some lyrics about what he envisioned as their relationship. This spawned the inspiration for their newest single Oh Sam, and second album, Lucille.

“The guy was quite conservative and the girl was putting herself out there a bit, and he went away thinking about how that relationship would work.”

As far as the music goes, it certainly works. Oh Sam is a rich narrative, an unusually lyrical track – but before you worry too much, the classic rock roots are still there in typical Vasco style. It’s an interesting choice for a first single, but then again the album doesn’t exactly scream ‘singles’.

“We do whatever we want. The only concern with the last album was the length of our songs, that we didn’t have a whole album of 7 minute songs… There’s no conscious effort to make a single.”

It’s that independent creative process that is both The Vasco Era’s saviour and curse. They appear to fiercely defend their right to do whatever the hell they please, and yet in the same token they are acutely aware they aren’t like other bands.

“I think we’re kind of different… [other bands] will have about 40 songs and choose their best ten or twelve to record for the album. We find sections of songs, and we go ‘fuck yeah, that’s cool, lets do that.’ And then we might record twelve songs and then go ‘nah, eight of these songs are all shit.’ It’s a long process for us because we want to make sure we’ve got it right.”

But where do they go from here? The band are only on their second album after a long 5 year hiatus, and although they’ve making two cohesive, unique rock albums they’re hardly making a dent on the charts. Perhaps there’s something to be said about the ‘concept album curse’…

“There’s other sort of musical areas that we’re looking at as well. We just want to broaden ourselves a bit... I dunno, maybe we’ll go experimental like Animal Collective. Maybe we’ll start beat breaking.”

The Vasco Era's second album Lucille is out now.

Up and Comer for 2010: Omar Musa

2010-06-28T21:17:00.000-07:00

File under: Hip hop, rap, Omar Musa, Up and comer, World Goes To Pieces

From the album cover of World Goes To Pieces to the last song, this debut screams fresh. Omar Musa is a rapper from Queanbeyan via Malaysia, with tracks produced in Seattle, artwork from Vancouver and topics like Aboriginal poverty – yep, this is an eclectic range of references and I like it.

Far from the trash that most average Aussie hip hop ‘stars’ rap about (I remember listening to a certain track that bitched about getting a parking ticket… really?), Musa creates something altogether original, if a little unfocused.

There is some real talent here – and a lot of backing to go with it. With production support from rock veteran Geoff Stanfield and keys from Dave LeBolt (he played for Bowie and McCartney people) as well as a little jazz piano from Pierre Savoye, you’d be right to wonder why they’d be working with a little known rapper from little known Queanbeyan.

Listen to the album, and you’ll find out why.

World Goes To Pieces will be released online on July 6 at obmmusic.com

Album Review: Janelle Monae, The ArchAndroid

2010-06-24T22:19:00.000-07:00

File under: Janelle Monae, The ArchAndroid, Suites II and III, concept album.

It's really no wonder Janelle Monae is touted as the female answer to Andre 3000. Those who are making a superficial analysis may connect them because of the 50s dandy aesthetic or the rockabilly backing with hip hop overtones. But when it comes down to it, she is only similar to him because of her breathtaking musical ambition. You don't even have to listen to the album to see it - it's right there in the obscure but specific science fiction references in the liner notes. From the first track you're encompassed by the crashing, classical Suite II Overture (if you're wondering where Suite I is, it was the last album), and you realise just how serious this all is.

At times the brilliance wavers and at times it seems a little like an over-eager university art project, but it is always genuine - there's absolutely no irony here. In a way Monae is the thinking girl's Gaga. Her artistic integrity is real, and her ability to create unique and ambitious themes supported by great videos is something Gaga is yet to achieve (like, what the hell did Telephone or Alejandro have to do with the actual song lyrics?)

On The ArchAndroid Monae occasionally channels Santigold's stunning debut (on tracks like Dance Or Die) or Kelis' more lyrical moments (like on Locked Inside), but always sounds exactly like herself. The juicy first single Tightrope is a nod to her more commercial side, channelling her last hit Many Moons but taking it to an entirely new place. This track really shows Monae's stunning ability (and arguably Andre 3000's too) to take an entirely vintage referenced backing and put a thoroughly modern and fresh take on the table. It looks defiantly forward, not defeatedly back, like Amy Winehouse or Duffy.

The low-fi moments breaking up the many upbeat tracks (like the haunting and beautiful Sir Greendown and the 70s stoner folk of 57821) showcase Monae's abilities as a singer and co-producer, and justify The ArchAndroid's standing as a 'conceptual album'. However it's when Monae is let loose that you really see her shine. Come Alive (War of the Roses) gets a special mention here - put it on in your bedroom and go crazy to it, you won't be disappointed.

I could go on all day - from the magical digi-track Wondaland to the Beatle-esque tripping of Mushrooms & Roses. The detective themed jazz closer to Suite III, BaBopBye Ya, reminds you of the album narrative, transforming The ArchAndroid into a soundtrack to an epic science fiction movie. Not one song is wasted, not one idea left unexplored. This is an ambitious and exciting concept album, gone right.

2010-06-22T21:02:00.000-07:00

File under: Kele, The Boxer, Album reviews, Bloc Party

Kele’s debut album The Boxer is like Bloc Party on ecstasy and out for a huge night of raving, spewing in the gutter at 6am and taking the next day off work.

Opening with a stripped back schoolyard chant on Walk Tall, the track then moves into an overwhelming and disorienting synth-laden world of dissonant, overarching walls of sound. It’s this cascading, harsh approach to standard dance that pulls Kele’s debut out of the wash looking all sparkly and new.

On The Lam unfortunately undoes all the good work on the opener, working a standard dance sound with reverbed vocals and repetitive chords. Tenderoni, the first single, builds on this idea, fortunately delivering a good solid dance track with some original ideas. Admittedly, spelling out the name of the song in said song could have been cut.

Interestingly, Kele brings a touch of calypso to some of his more laid-back tracks, making for a unique take on what is essentially a Bloc Party sound. This sonic, hi-fi link back to his band, and the melding of this to what are essentially pop overtones, will mean that The Boxer should crossover nicely and become one of the standards for the festival season this year.

Song Summit: Ditch the fans, up the income

2010-06-21T21:25:00.000-07:00

File under: Digital promotions, online marketing, social networking, bands, email databases

Attending Ariel Hyatt’s Cyber PR and Marketing seminar defied logic. She told us to forget adding friends on Facebook, forget upping the plays on MySpace and stick to one number: 1,000.

Digital is a new venture, and those in music who think it’s all about Tweeting about your toilet break and having a zillion cyber friends, you’re about to learn that you’re all wrong. Have you heard of the 1,000 True Fans idea? If you haven’t, then your ideas about marketing online are sitting way back in 2009.

If you thought that the web was somewhere to throw out a net in the hopes of catching one good fish then your focus is all wrong. In fact, marketing on the web is about being niche. Find your 1,000 TRUE fans and forget the rest. These are the people who will buy your album, attend your shows and love your music.

If you can get a measly $100 out of all your true fans in one year (think about it – just one live gig, a t-shirt and a CD should do this), that’s a cool $100,000 a year. Not bad for a fanbase of 1,000. How much do you think those bands with 50,000 ‘friends’ on MySpace are fairing in comparison?

Ariel ran through an interesting pyramid (no, this wasn’t a pyramid scheme, we promise), detailing the climb to the top of the charts. From the 5 MILLION bands on MySpace, only about 1,515 sell a decent amount of albums per year. That’s looking at paltry odds of 0.03%, and includes Madonna and Lady Gaga. So why have a MySpace? Well, here’s where social networking comes in.

Although digital people wax lyrical about having a social networking presence, very little of your online sales actually come from these sectors. While 30% of online sales can be directly tracked back to your newsletter database, only 5% is from MySpace, 2% is from Facebook and 1% is from Twitter. So stop trying to sell on social networking, people – and use it for what it’s really for: connecting on a personal level with fans.

On a side note, if you don’t have a mailing list that you communicate with regularly, you’re missing out on 30% of your potential revenue stream. And if you have a Twitter, Facebook, Bebo, Vimeo, MySpace and YouTube channel, but don’t have a website, then you’re really looking at a black hole where your wallet used to be.

Social media isn’t a solution – it’s part of the campaign. It must be applied alongside a digital marketing campaign that revolves around building a database of actual fans. So find your 1,000 true fans and give them all you’ve got. They’ll repay you in tickets, merch and album sales.

For more on digital marketing and promotions see themusicnetwork.com

Will the real Sia please stand up?

2010-06-14T17:46:00.000-07:00

File under: Sia, We Are Born, Artist interviews, Sia to quit music

Sia is exhausted. When asked how she is feeling, she ominously replies: “Do you want the professional answer or the true answer?”

Of course, the real answer comes out; that not only has Australia’s quirkiest chanteuse been doing promo all day for her fifth album We Are Born, but she is ‘rooted’, and has been trying her hardest to stay in character. “Charismatic, and sparkly, and ‘Sia’,” as she puts it.

This is a fascinating insight in itself. There is certainly the perception out there that she really is the quirky, entertaining, crazy woman that she appears on stage and in person. However, a different story emerges.

“Promo and touring are really hard. It takes a lot of energy to be high and charismatic and engaging every day… Since I’ve got even a little bit famous after Some People Have Real Problems I’ve had to start taking anxiety medication and anti-depressants.

“It’s like warfare. And we’re not even allowed to complain about it because [sarcastically] ‘we’re so lucky’…”.

It follows that Sia’s music, as well as her personality, is full of beautiful contradictions. Her latest album We Are Born is in complete juxtaposition to her previous albums, taking a turn toward uptempo, even ‘happy’, pop. It’s only when you look deeper that you see the cracks. Tracks like Hurting Me Now and The Co-Dependant punctuate their cheery riffs and upbeat percussive work with heartbreaking, and at times aggressive, lyrics.

“I’ve been called dichotomous for the majority of my down-tempo career, because I’m not like that in real life – I’m happy. I’m a peppy person and I like to crack jokes, I’m friendly and extroverted. And when I’m in good form, that’s who I am… It was nice to bring that together with these songs.”

Sia frequently suggests that she is misunderstood, both by the public and by her previous label. She wanted to release this album six years ago, and was told that her fans ‘wouldn’t understand’ the change in genre.

“To maintain this image as well; like my whole shtick is that I’m this really chirpy, bright, fun-loving, quirky person – and the truth is that sometimes I’m not. Sometimes I’m cranky and I’ve got my period and I want everyone to fuck off.”

Here’s where the contradiction of Sia emerges: In the same breath she is both surly and charming; forceful and yet still so obviously fragile. She seems completely lucid, yet peppers her responses with slight hints at madness:

“I like being by myself, I really do. It’s probably when I’m at my most peaceful. It’s also the most dangerous time too, I guess, because if I am left to my own devices for too long then the squirrels can become quite negative. And then the squirrels start the sabotage.”

However eccentric she appears, Sia is certainly not foolish. Having recently jetted over to the USA to hang out with pop star Christina Aguilera, penning tracks for Aguilera’s new album Bionic, she has also inked an unusual deal with Sony after a three-label bidding war. This kind of deal, where Sia is obligated to record only two albums for the label and owns all her rights, was almost unthinkable a decade ago for an emerging or niche artist.

And it is precisely this kind of malleability that will see artists like Sia retain their individuality, and see their fanbase grow organically.

“I think it totally is [a post-major label world]. The only reason I licensed my record to Sony is because we needed a cash injection. We ran out of money… They were in a bidding war with two other major record labels, and they eventually came to the party with a deal which is a very unusual deal that they’ve never done before.”

Although, just as the ink is drying, the interview takes a candid turn. It’s clear that Sia is bored with the nuts and bolts in the business of making music.

“I don’t even know if I’ll make a next record. If this one is successful enough and I don’t have to… I probably wouldn’t tour or promote it – unless I get greedy. I might get greedy and want another house…

“At 34, I don’t know how much longer I can keep up this shtick… I think I really want to be a songwriter.”

We Are Born is out 18th June on Monkey Puzzle/Inertia. For more on Sia check out themusicnetwork.com

Album Review: Crowded House, Intriguer

2010-06-10T23:55:00.000-07:00

File under: Crowded House, Intriguer, Album reviews, Comeback bands

Crowded House
Intriguer
(UNI/UMA)

Opening with a somewhat futuristic electro-pop feel on the first track Saturday Sun, Crowded House all of a sudden feel surprisingly modern. If you were hoping this album would be Together Alone II you will be disappointed. But if you love Crowded House and want to know what they sound like in 2010, then Intriguer is it.

Amsterdam is a perfect example of this – lofty and echoing, the track isolates you yet still sounds so familiar, so Crowded House. A couple of tracks in, Isolation is even better.

Unexpectedly, a purring female voice (Sharon Finn, Neil’s wife) and a midwestern blues riff join Finn on the track, which breaks down at 3:20 into a screaming electric solo and Sgt. Pepper-style screeching vocals. Absolute genius.

Intriguer isn’t a complete departure from their previous sound, it still sits in the realms of adult contemporary pop with tracks like Archers Arrows and Either Side Of The World. Falling Dove probably sits more comfortably alongside Distant Sun on Together Alone rather than Intriguer, although it does provide a welcome lo-fi mid-point on the album.

But again, even on these tracks, there’s a fresh perspective and an invigorated spark in Finn’s voice. There’s something altogether more dramatic on this album that feels like a call to action.

Go to themusicnetwork.com for more info on Crowded House.

Interview: Washington

2010-06-09T21:42:00.000-07:00

File Under: Megan Washington, Washington, Artist interviews, How To Tame Lions, Rich Kids

Megan Washington is the hot new thing in pop, and with two hugely successful EPs (How To Tame Lions, Rich Kids) out now, and a debut album on the way, it seems she's got it made. But don’t underestimate the down to earth, alt-pop chanteuse - she’s a straight shooter. I spoke to Washington about celebrity, social networking and why Keith Urban probably uses Wen…

What do you think of the ‘intelligent pop’ label that some people have been giving you?

Well, Phoenix - I mean they’re a pop band, they’re just literally smart losers, you know. It’s not just nonsensical bullshit; it’s really wonderful lyric writing. But you know, it’s accessible. I’m ok with the intelligent pop label; every musician wishes they didn’t have a label but I guess if I had to have one, I’ll take that!

You use your social networks in a very personal way. Are you ever tempted to hand them over to a record company rep like a lot of other artists?

It would be really inappropriate for me to suddenly hand over those networks to commercial MD’s. That’s not what people signed up for; they signed up for me tweeting about getting my period!

Maybe that’s a diva thing then… What do you think of that kind of celebrity behaviour?

I don’t believe in this notion of celebrity [like] some kind of demi-god, in this magical world, with fairies - it’s fucking bullshit you know. We all live in this world and some of us are artists, and some of us are journalists, and some of us are butchers, bakers, candlestick makers - it doesn’t matter. Everyone’s got a thing that they love to do.

I guess you’re a celebrity now that Keith Urban specifically rang you to ask you to perform on stage with him… What did that conversation sound like?

I thought someone was playing some stupid joke on me, and then he was like: “No, it’s actually Keith Urban.” I said, 'It’s not Keith Urban, like, don’t be a dick.' I said 'all right, well sing something.' So he just sang something and I was like 'holy fucking shit, it’s Keith Urban'. And then I [said]: 'Fuck man, I’m sorry, but you can understand why I’m surprised that you’re calling me.'

That seems like a strange match…

I gotta tell ya, Keith Urban’s not in my top ten records, but at the same time I think he’s really terrific. He didn’t really know any of my songs; I didn’t know any of his songs - so we sang Billy Joel… His teeth are that white, his hair is that perfect in real life, all the time. You know what I think? I think he uses Wen, you know - that that stuff they sell on late night TV.

Speaking of celebrities, you toured with Sia. What was that like?

You know what? She was really quiet. I think that she’s a very extreme person you know? I think that’s where her extreme talent comes from… She was really great - she was like, lets just get fucked up, it’ll be awesome. I’m like, 'I love Sia!'

You supported Sia – and you’re currently on tour with The Beautiful Girls. Do you like supporting other bands?

I love supporting. It’s like when you meet your new boyfriend’s ex-girlfriend, you just really want to make her like you... Sometimes she doesn’t like me, but sometimes she does. That’s all I can really hope for.

What do you think of Sia’s recent claims that she’s quitting because of the pressures of fame?

I guess when you get over it you can just not log on, it’s not like people are knocking at your door.

Do you think that sometimes musicians can come across fake?

I do think that there’s a social responsibility that comes with being a musician, particularly as a female musician, to not be a dick… They do that thing called fake shy… Like, 'I don’t know how I got here it’s like a cosmic miracle that I’m on stage, I’m so shy and bashful.' Fuck off. I love the big ego on stage.

- Washington is touring nationally in June and July with The Beautiful Girls. Check out more from Washington at themusicnetwork.com

Album Review: The Black Keys, Brothers

2010-05-31T02:59:00.000-07:00

File under: The Black Keys, Brother, Album reviews, blues, rock

The Black Keys are back, and after a quick foray into the world of hip-hop with their collaboration band Blackroc, we can breathe easy knowing they have stuck to the tried and tested blues rock formula.

Their sixth studio album, Brothers, opens with the fairly simple track Everlasting Light, which sets the mood for what you expect to be a somewhat more pared back Keys album. However, that’s clearly not the case.

Luckily the good ol’ Keys brand of dirty blues kicks back in at Next Girl and you realize that you don’t want them to be progressive. You want them to give you all the grit and salacious, electric riffs you’ve always been given. Sure, this is a somewhat predictable album for the Keys, but that’s okay – it’s fair to say they’re still marginally ahead of bands like Mess Hall and Dead Weather, even if it is just because of the extensive history of the band. Especially with juicy tracks like Tighten Up.

Ten Cent Pistol brings haunting mid-western style to the table, while The Go Getter is the payoff on the album. Meanwhile I’m Not The One is a déjà vu moment for previous track You’re The One, but not quite as good. There are no surprises here, but there IS a shitload of talent.

Like all Black Keys albums, it delivers in spades.

Album Review: Jonsi, Go

2010-04-07T16:38:00.000-07:00

File under: Jonsi, Sigur Ros, Go, Album reviews, alt-pop, post-pop

Sigur Ros' soaring vocalist and post-rock guitarist Jonsi has released his debut album Go. The offering will keep Sigur Ros fans content until the band's next release, but it also fills a gap that has been long-awaited in alt-pop circles: the unexpected hero.

For those of us who love our pop with a tinge of alternative reality, this delivers under the banner of what could be termed post-pop; a world that encompases sweet vocals and pretty electronica, somewhere in the vein of The Temper Trap's more ambitious work.

Sinking Friendships transverses all the emotions you would expect to encounter in the highs and lows of human interaction, while Grow Till Tall is at once haunting and alienating through the use of unusual chord progressions and minor-harmonized strings and vocals.

Go is a somewhat symphonic exploration of Jonsi's previous work with Sigur Ros; and certainly more serious, despite its classification as a pop album. Classical in nature, the focus of the album is on Jonsi's supreme talent, producing complete and beautiful music.

Won't somebody think of the children!

2010-03-18T17:48:00.000-07:00

File under: Lady Gaga, controversy, The Daily Telegraph, censoring, concert classification, live music

I picked up the paper today to find yet another controversy surrounding Lady Gaga. The Daily Telegraph reported that there were children in the audience watching Gaga being thrown up on and saying the C word. To quote The Simpsons, this whole saga can be summed up in Reverand Lovejoy's wife screaming: "Won't somebody please think of the CHILDREN!!!" (PS: Google 'parents outraged music' - it pretty much mentions every pop singer out there at the moment.)

There has been calls to slap classifications on concerts, advising parents whether it's appropriate for their kids to attend. The basic argument reads: "Dear government, you tell us what to do in every other aspect of our lives, can't you tell us what's appropriate for our own children here too?"

I think the key quote to pull from this article is from the standard 'outraged parent', Linda Fitzsimmons, who states: "I couldn't believe it. (Jessica) likes her songs and I'm OK with her listening to them. There's no swearing in them and she's too young to understand the hidden meaning," she said. "But if I tried to take her to an MA 15+ movie someone would stop me at the counter. Why not with concerts?"

a) Yes, we should have to TELL you what's appropriate; b) YOU however, understand the 'hidden meaning' (which, by the way, ain't so 'hidden') and still think it's a cracker of an idea to send her to it?

As summed up perfectly by a comment on the Telegraph website in response to this article: "So called "outraged" parents are becoming a bit tiresome. Get back in your box, you are not the only people in this world!!!!" -GOliver

Asking a question like "Is Lady Gaga fit for children?" in your headline, dear Telegraph, is like asking if the lyrics "I wanna take a ride on your disco stick" allude to sex. What a waste of column inches.

Why we love Drum

2010-03-18T03:23:00.000-07:00

File under: The Drum Media, 1000th issue, Sydney, live music, street press

Us Sydneysiders love our live music scene. It gives us great music any night of the week - from pop to rock to indie to soul. Some may say that Melbourne is better, but we like to think we have a more vibrant, diverse scene - and it's only getting stronger.

Admittedly, we've seen a bit of a hurdle of late. We banded together to fight for our Hoey - and lost. Our comrades in Melbourne followed with a tooth and nail battle for the historic Tote. It was all in vain, but we'll keep fighting.

One of the shining lights for Sydneysiders attempting to navigate live music has always been Drum - and it's burned brightly since 1990. The Drum Media has delivered us vibrant, varied views, often debated in a pub over a beer, and has since become an iconic symbol of independant opinion.

Established, respected rock writers pound it out amongst bright eyed opinionated young interns desperate to carve their name in one of the most competitive industries going around. I myself can credit Drum with lighting the fire and giving me my first ever bylines.

And just when you think it's 'only a street press', the power of Drum hits you in the face - with a call from [insert band name here] who has Googled your name and found your private mobile number so they can denounce your opinion printed in the hallowed live review pages. Or write an ed's letter complaining about you. Or ring your editor and tell them you're never allowed to one of their gigs again. (You know who you are.)

It's this kind of passion (however misguided) that inspires you to vehemently stick to your guns - and that's the stuff good writers are made of.

Happy 1000th Drum - and here's to many more.

OKGo: A DIY band in a post major label world

2010-03-16T22:38:00.001-07:00

File under: OkGo, Of The Blue Colour Of The Sky, artist interviews, youtube, music videos, video royalties

Ok Go singer and guitarist Damian Kulash begins the interview with uncontained excitement. If you thought their last video was epic (the infamous YouTube hit complete with choreographed dance moves on treadmills that has now received over 50 million views), then this one is going to blow your mind... Apparently, it features a giant machine they’ve been working on for 4 months.

Since then, they have released this ridiculously fascinating video for their single This Too Shall Pass off their latest album Of The Blue Colour Of The Sky. Check it out here.

Now I’d hate to make this interview all about the videos - primarily because Kulash is pretty intent on making the point that it’s not really what they are about – but they can’t deny their success has been linked intrinsically to their success as a video band. For a reasonably underground band, they have garnered 8 million (!) views on YouTube for their new video already - in less than 3 weeks.

On a side note, this band and their videos have already singlehandedly impacted the digital industry – the new EMI policy of restricting video embeds on sites other than YouTube (they earn money from views ONLY when viewed on YouTube) just has to be the result of such a success.

Think about it – the treadmill video had 50 million views, and although they earn only a reported 0.004 per view, we’re talking at least $200k. On the downside, since they stopped allowing embedding the view rate has dropped a staggering 90%. Sorry to get all political when this interview is about Ok Go, but you’ll see why this is all terribly relevant to a self-declared DIY band.

All this talk of money is ironic, considering how genuinely earnest Kulash is in this interview. He speaks for 12 minutes about the answer to my first question – and in a resctrictive 15 minute phone interview, that’s a long time. I have at least 10 other questions to ask, and I start to panic about when I will be able to fit them in. Fortunately, his 12 minute answer is genuinely fascinating...

So I wanted to ask you about an interesting quote in your bio – that you were trying to be a DIY band in a post major label world. Do you really think it’s a post major label world?

“It’s post that distinction I think. A lot of people have a lot of very strong feelings about major labels and indie labels, independent releases and doing it yourself... There was a time when major labels had a big stranglehold on access to culture, and so you had to choose: either you were going to go inside the system or outside the system. Now, none of those things are really true anymore. Bands that do their own thing; well, now it has very little to do with where you get your funding from.”

Amazing as this is, I have a kicker of a question I would like to insert here: I want to ask him whether he thinks it’s because of a move towards genuine music in public taste, and whether it’s because of the Internet allowing access to more types of music. I want to ask if he thinks record companies have less power over artists these days, or whether this latest EMI stunt shows that, in a way, they can exercise more; but he doesn’t take a breath. Kulash continues...

“We have pretty vehemently kept our creative control out of the hands of anyone but for ourselves. We make our own videos, direct our own videos, make our own music. We get to do all the things we want to creatively and we don’t let anyone touch that... It’s kind of a freedom and an annoying responsibility [about being a DIY band], I wish that none of our day was spent dealing with logistics or business, it would be great if we could just make our art all the time.

“But that would require putting a lot in the hands of other people... We want to make sure we’re not behind the wall of marketing to ‘promote’ us.... I’m so glad I don’t have to live behind this two dimensional image of me, that some big corporation has erected for us.”

His passion is terribly evident. This band is more than treadmills, YouTube views and some great hooky singles. They are clearly trying to do something here: they are a rare breed of musician.

In the industry we like to term musicians as artists, but not many could live up to that moniker. These guys can; they have branched out into areas as diverse as filmmaking, writing and art.

They have written a play and an essay in the best-selling collection Things I’ve Learned From Women Who Dumped Me. They’ve been published in the New York Times and Huffington Post. They’ve testified before Congress and played in the Senate chambers. They created a charity project where they join fans, walking the streets with food for the homeless.

And regardless of all these glaringly overachieving extra-curriculars, they still seem so… real. Normal. Genuine. I manage to interrupt ungracefully without being too rude, and get at least one more question in:

Ok Go has been linked to a huge range of interesting projects – are you just trying to make other bands look bad by showing off?

“I think that we’re probably on the forward side of the bell curve. I think the world is changing broadly and quickly. The cubbyholes and little boxes that we put creativity into are changing…

“The animating passion of our lives is making things. It’s a pretty broad thrill… The opportunities that this affords us to follow the lead of that thrill is amazing and it’s something that would have been very hard to do before Internet, before direct distribution.”

It’s at this point that we’re interrupted by the warning that there is only 1 minute of the interview left. Dammit! I still have to ask my ‘clever’ question, the lighthearted one that will end the interview perfectly with the best quotable quote ever. I should take advantage of this interruption announcing the time limit approaching to interrupt myself and ask it, but Kulash doesn’t even take a breath.

“[To the announcer]: Thanks, great. [Continuing]: Yeah so...”

[Interrupting again, desperately, looking at the clock which reads 14:55]: So on that note, I have one more question to ask. If you had all 50 million of your YouTube viewers at your service to do your bidding, what would you get them to do?

“Oh man, would I make on hell of a video. Can you imagine? Everyone would have coloured suits and we could choreograph it and shoot it from outerspace…”

Mission: completed.

Ok Go’s new album Of The Blue Colour Of The Sky is out now.

Who is iamamiwhoami?

2010-03-15T18:38:00.000-07:00

File under: iamamiwhoami, viral campaigns, new artist, marketing, youtube

So if you haven't heard about this latest marketing/viral campaign out there at the moment then you're missing out on some serious puzzle solving action. A mystery blonde woman is posting disturbingly Kubrik-like videos on YouTube which seriously upstage anything Lady Gaga has laid claim to over the last year. Is performance art the new black?

We're talking writhing birthing metaphors, licking trees, a plastic bodysuit, peacock metaphors and black dogs playing in the snow.

Whoever it is, it's fair to say there is probably a major behind the project (a lot of slick production + beautiful video work = $$$), and an experienced and innovative pr/marketing team.

So far there have been guesses of Christina Aguilera (I think not), Lady Gaga (though it reeks of her she probably doesn't have the time as she's currently on tour, and it doesn't make sense when she's already getting millions of hits for the Telephone video), The Knife (probably the best bet in my opinion), Goldfrapp (timing is off, album to be released this week and still no reveal), Little Boots (too commercial), Jonna Lee (probably not, doesn't suit her image) and Lykke Li (maybe).

The videos are accompanied by number puzzles, which we've cracked and believe say the following:

- Educational (accompanied by a picture of a goat)
- I Am (accompanied by a picture of an owl)
- It's Me (accompanied by a picture of a whale)
- Mandragora (accompanied by a picture of a bee)
- Officinarum (accompanied by a picture of a llama)
- Welcome Home (accompanied by a picture of a chimp)
- 'b'

Now, the longer numbers appear to be genetic coding for the corresponding animals and Mandragora Officinarum is the botannical name for the Mandrake plant, which is a hallucinogen, but in folklore has often been linked to conception and pregnancy. Which would explain all those birthing metaphores in the first videos...

Birth = New artist? That's where my money is. If you have anything better, let me know - I'm already fascinated.

Check out the videos here.

The Australian Music Prize 2010 - Picks and Predictions

2010-03-09T22:29:00.000-08:00

File under: AMP, Australian Music Prize, music awards, The Mess Hall, Sarah Blasko, Kid Sam, Lisa Mitchell, Bertie Blackman, Black Cab, Lucie Thorne, Oh Mercy, Urthboy, predictions

Kid Sam, Lisa Mitchell

This year the Australian Music Prize has put a weighty collection of amazing Australian talent on the table, and I think it could be the toughest year yet to call. We're talking about established artists like Sarah Blasko up against bright young debutantes like Lisa Mitchell - and to make it even better, all nine albums are equally as brilliant. Well, eight of them anyway...

Although I have my favourite, it still seems impossible to predict which way it will go on the day - especially after the surprise win from Eddy Current Suppression Ring last year. On the upside, they have put the 30k prize to good use with the particularly good latest album, Rush To Relax.

This year's young buzz band Oh Mercy has already won the Red Bull Award In Recognition of Outstanding Potential. And very well deserved at that, I must say.

AMP's are always a huge indicator of genuine Australian talent, recognising artists not for their commercial potential, but rather for their art... Unlike the ARIAs that seem to be a popularity contest at times.

Here's to another year of great home-grown albums. I look at this year's albums below, and provide the all important judgement on who I think should win...

The Albums

Bertie Blackman, Secrets And Lies
One of the most quietly prolific singer-songwriters in Australia, the gorgeously haunting Blackman delivers another album which seems to speak for those who want an edgy alternative to Sarah Blasko's pop sensibilities.

Black Cab, Call Signs
Something is brewing below the surface of Black Cab's basslines... And we think it's something to do with 70s psychedelia colliding with Bowie in an alternate universe. This album has Melbourne cool written all over it.

Kid Sam, Kid Sam LP
At once challenging and brilliant, Kid Sam has brought ingenuity to the Australian music scene at a time when it sometimes seems all about the trends. In the same camp as Gotye when it comes to innovation in musicality. Best album of the bunch.

Lisa Mitchell, Wonder
Mitchell has somehow penetrated both the triple j and Austereo camps at once with a cute, quirky and earnest release. It singlehandedly opposes the overwhelming commercialism of Australian Idol, by being one of the most genuine releases of the year.

Lucie Thorne, Black Across The Field
A beautiful lo-fi album from Thorne, quietly simmering its way into the consciousness of the Australian music scene. Delicate and dark, Thorne manages to deliver a good rootsy-folk album, but it's not my cup of tea. I found it a bit boring in parts.

Oh Mercy, Privileged Woes
This year's Red Bull Award winner, Oh Mercy, deliver a cracker of a debut in this record. With an innate understanding of great pop music, they are everything good about the often ignored genre. Cracker of a debut though it is, it's not an AMP winner.

Sarah Blasko, As Day Follows Night
Blasko barely needs a mention for this, her career highlight and ARIA Award winning album. As Day Follows Night finally sees Blasko achieve pop crossover success without compromising any of her vision. It's just that I find her vision boring, controversial as this opinion may be.

The Mess Hall, For The Birds
Australia's answer to Black Keys' gritty blues rock, The Mess Hall make a big statement about the state of rock at the moment - it's alive and kicking. They already won an AMP in 2007 for their brilliant album Devil's Elbow, but guess what? This one is even better. I wish they could win it twice...

Urthboy, Spitshine
Urthboy is a douche. I hope he doesn't win, simply on that basis.

The Prediction...

This year the Australian Music Prize surely has to go to Sarah Blasko. Boring as it is, she'll probably take it out as the most established and critically acclaimed local talent of the bunch. It will also be one for the history books - she could be the first to win an ARIA and AMP for the same album...

The dark horse (and my personal pick) for the $30k cheque would have to be the Kid Sam LP - it ticks all the right boxes for an AMP: innovative, alternative and fresh. And the one thing on their side may be that they need the cash more than Blasko.

If Urthboy wins, I'll have lost all faith in the AMPs as a genuine indicator of talent and I'll have to assume it's simply an elaborate performance art project, with the last four years' winners simply a set up for the gotcha moment.

Up and comer for 2010: Claire Hollingsworth

2010-02-28T02:51:00.000-08:00

File under: Up and comer, 2010, new music, breaking bands, claire hollingsworth, folk, pop

As many of you already know, I am of the opinion that folk is the new indie - however disconcerting that idea may be. Yes, we're in for a year of whining, crappy folk music and it's all Mumford and Sons' fault.

But every once in a while some good folk music falls onto my desk, and this time it's in the form of quirky pop chanteuse Claire Hollingsworth.

Many of you that are in-the-know may have heard Claire's track Muscles in which she writes an open letter to the dance music king, telling him she loves him and wants to have his babies. Oh, and that when she hears his music she is driven by the urge to take her shirt off.

Now, for those who genuinely love Muscles, I must intervene - she is taking the piss. And my goodness do I love a quirky pop song that takes the piss. Part Kate Miller-Heidke and her hilarious song Australian Idol, part Sarah Blasko and her sweet folk-pop vocals, Claire seems to have hit the nail on the head.

Her cute latest album Craft Savvy Criminal (of which I was lucky enough to snatch a copy away pre-release) represents all that she is about perfectly: an uneffected Aussie sweatpea who also has a wicked, but somehow innocent, sense of humour.

Look out for some brand new tracks coming soon on her myspace - and I'm sure, on your radio - and stay tuned here for more on the gorgeous Miss Hollingsworth. And if you want to grab a copy of the album drop me a line - I'm sure I could wrangle a few preview slicks from Claire... if I asked very nicely!

myspace.com/clairehollingsworth

Salt N Pepa @Metro Theatre, 17 Feb 2010

2010-02-17T15:33:00.000-08:00

File under: Live reviews, Salt N Pepa, Busta Rhymes, Naughty By Nature, Metro Theatre, Sydney

You know, we were all really worried after S+P 'found god'. They declared they didn't need to make obscene references to sex or be so controversial. They declared that on their tour down under, there would be none of that. We all expected the worst: rap versions of Amazing Grace or something.

But it's ok people! They just replaced the lyrics 'I wanna know how does it hang' with 'I know now that we can hang' or something. That's cool S+P, no references to genitals. I can deal with that! (But then they still did some serious grind work with the hot young dancers for the lyrics "Getcha, getcha lips wet cause it's time to have Pep"? Confusion... Well I guess God prefers pre-marital oral.)

So luckily they performed all their hits, because it turns out that it IS all those obscene references that make Salt N Pepa so good - and you know why? Because all us fans were like ten at the time, and thought it was terribly naughty to sing Let's Talk About Sex in the playground.

The thing is, we love them now because they are still so cool. They've still got it, they still rock, they still send the crowd into karaoke mode with Shoop, Whatta Man and Push It. They were pioneers, and you have to respect that. Or dat.

Add an entire crowd who knows every word to a Push It encore with EPIC impromptu Naughty By Nature and Busta Rhymes cameos? Well, now you have a gig you'll be telling your kids about.

Yo, all I have to say is: "Spinderella cut it up one time..." [cue white girl busting terribly lame moves.]

Mumford & Sons @Oxford Art Factory, 3 Feb 2010

2010-02-03T17:08:00.000-08:00

File under: Live reviews, Mumford & Sons, Sigh No More, Oxford Art Factory, Sydney

The Mumford boys have had a good year. Following the release of Sigh No More, they have procured huge amounts of airplay, a #1 spot in the Hottest 100 and a whole lot of fans. They announced this show, and then had to add another date due to huge demand. But is it all justified?

Well, the boys are cute as buttons, Marcus (lead singer) has a stunning, flawless voice, and the screaming fans would indeed support this conclusion.

But they lacked something... They didn't rock my world for a band who has accumulated so much hype. On the technical side of things? Perfect. On the interaction with the audience side of things? Great.

It was just missing that new-band-hit-of-raw-energy, and they came out looking a little polished for a triple j darling. Plus, all their fans are massive wankers.

ABC leaks Hottest 100 #1?

2010-01-21T20:47:00.001-08:00

Wondering who will come out on top on Australia Day in the annual triple j Hottest 100 broadcast? Look no further than their own affiliate website - the ABC Shop online.

In what just may be the spoiler of the year, some poor intern has posted the following description on the shop site for jMag's February edition - the cover of which was specifically blacked out so as NOT to reveal the very thing the blurb has: the winner.

Granted, it does say that they 'topped' the list, so it could be that they are just in the top 5 or something. But my bets are on the fact that they are the #1 - as now the page has been removed.

Oh well, even if the poor intern is fired they probably weren't getting paid anyway...

(Source: crikey.com.au)

Up and Comer for 2010: Big Smoky

2010-01-17T20:09:00.000-08:00

As readers of this blog would know, I always love a prediction. So when an industry friend of mine sent me a little known up and comer's EP to have a listen to, I was naturally excited to see if this was another great Aussie band in the making...

The band in question is Big Smoky, who have recently released their first crack at the industry in debut EP Belly Moan. If you're the type for classifications then after a quick listen to the first track Go Getters (Shine A Little Light) I would put this somewhere in the realm of "an Aussie version of Ryan Adams meets a touch of Powderfinger" type alt-rock; certainly nothing like the 'psychedelic alt-folk' they promised on their Myspace. And, those of you who know I hate Powderfinger may baulk at this seeming poke in the ribs.

But as the EP progresses I must admit there is a direction emerging. It has Alpha Males written all over it for the first track (the E.P. was mixed by ex-Alpha Male, Aaron Cupples), but thankfully it graduates from there to something altogether more mature, resurrected from its country roots. I can hear an early Augie March by the second song Heaven Can Wait For Peter - which is a world away from Powderfinger. This is more like it.

Sister Suzie softens my critical resolve and the quirky Little William gives me hope... Until we come back full circle with Sleeping Dogs. Such a shame - there's that cheesy country riff all over again.

Is this a band to keep an eye on in the future? Almost definitely. Is this a band that can make it in the competitive world of alt rock? That's something we remain to see.

Conclusion: If you like Angus & Julia and Augie March's softer side, check out Big Smoky's EP and skip the first and last songs.
Best Bit: Surprisingly catchy... for an EP with a touch of country guitar.
Worst Bit: Go Getters is a bad choice for an opener - it sets the wrong impression for what potential they have as a folk band, and risk getting stuck on the Tamworth circuit. On a side note: get rid of 'psychadelic' on your Myspace bio boys - there's no Jimi Hendrix going on here.

Yeah Yeah Yeahs @Hordern Pavillion, 8 Jan 2009

2010-01-09T22:51:00.000-08:00

File under: Live reviews, Yeah Yeah Yeahs, It's Blitz, Hordern Pavilion, Sydney

I was excited by the prospect of following my revelation of Best Album of 2009 (being the YYY's It's Blitz) by a live performance of said album at one of my favourite venues in Sydney. Luckily, my girl crush on Karen O remains intact following the gig, as well as my respect for one of the most innovative and talented bands of the last decade or two.

By the first note I was front row bound, however the stench in the Hordern (which KO described as sewerage but I think was closer to cheese mixed with vomit) heightened my survival instincts and I headed to the seats to view the show from above. In the end, this seemed like a very good idea indeed: no one would be so brazen as to reduce the YYY's live act to a 'show', but I must admit the show looked great from my bird’s eye view - complete with tinsel jackets, light up executioner’s hoods, spitting water and giant eyeballs floating above the audience. It was almost a shame for it though; all we really needed was the music and KO's showboating exuberance.

Now, one might be tempted to only talk about Karen O's performance as if she were the only one on stage - when in fact it is Zinner's contribution that makes the YYY's what they are today - and I must admit I have fallen into this trap. Her electrifying stage presence is a sight to be seen, and at points you wonder if this is a Siouxie Sioux or Joan Jett reincarnated; yes, she is THAT cool. You just can't take your eyes off her, all distracting antics and costumes aside.

In fact, it is her very ability to walk the line of sordid degeneracy, then bring it back to playful innocence that drives her mystique - dragging her limp body across the stage, groaning and screaming like a banshee and committing fellatio on the willing microphone, only to follow it with an innocent girlish giggle.

The music? Well it speaks for itself: stunning, iconic, arthouse rock 'n roll. Gold Lion was better live, as was Zero. Phenomenon? The juicy, driving, electric riff spoke to my inner muso. Maps? The stunning ability of KO to move from rock degenerate to sweet soulful lover was seamless. It was one of those gigs you know you'll remember - one of those gigs that touched you in inappropriate places, and you liked it.

They really were that good.

Best of 2009 -- Lip-synching, let-downs and leotards

2009-12-22T15:59:00.000-08:00

File under: Best of 2009, Top 10 albums of 2009, album reviews, live reviews

I must admit, 2009 was a bit of a disappointing year on the music front. It was the first time I've ever struggled to put together a list of top 10 albums for the year that I would be proud to put my name to. It was also the first year that I couldn't think of any one live show that made me tingle.

It was the year that digital continued to dominate the industry, the year that record companies finally embraced the revolution and started to legitimately market acts extensively online. It was the year that you couldn't get tickets to live shows to save your life, let alone comps to review the show - and yet the live shows this year were comparably lacklustre.

On the pop front we saw the year of Lady Gaga and her leotards filtering down to the masses, the year of Britney and her lip synching controversy (as if it was a big surprise she didn't sing live), the year that Kanye yet again confirmed how much of a wanker he was. And anyway Kanye, Beyonce's filmclip was NOT the best filmclip of all time, let's be honest here...

The UK delivered us something interesting for once, combining indie and pop with the likes of Florence and The Machine and La Roux. But then again, they also delivered us a new Muse album so that kind of cancels that out.

On the home front we saw some very quiet releases from Wolfmother, The Mess Hall and Little Birdy - I suspect because they weren't quite what we had anticipated from these usually groundbreaking and talented local bands. Idol gave it their best shot yet at industry cred, with Jessica Mauboy taking on the charts and clubs alike. Not my cup of tea, but we all know she was robbed at the ARIAs - how can you give Delta's snore-worthy albums 9 statues and Mauboy none? Lame. Don't even start me about Empire of the Sun...

We in Sydney were devastated by the closure of our favourite grotty cheap gig venue The Hopetoun in 2009, and the looming chance we might lose the Annandale too. We've already lost The Metro - now officially The Virgin Mobile Metro Theatre. Excuse me while I throw up...

Bah, let's get to business.

Top 10 albums of 2009:

10. Temper Trap, Conditions - Though they could sometimes improve their occasional cringe-worthy lyrics, and that they will convert you more as a live band, there is no doubt that Temper Trap's stunning debut gave us renewed hope in the Australian music industry. Shame they had to go overseas to do that.

9. Sia, Some People Have Real Problems - Weird yet endearing live, Sia had one of the prettiest releases this year. It's just a beautiful album that reminds us that people with gorgeous, soaring voices make us feel.

8. White Rabbits, It's Frightening - Hot, hot, hot. Attention indie scenesters: Now THIS is proper indie. Somehow laid back, yet provocative.

7. Lisa Mitchell, Wonder - Singlehandedly justifies the appalling commercialism of Australian Idol, by being one of the most genuine releases of the year. Cute, quirky and earnest. Take THAT Idol critics.

6. Bat For Lashes, Two Suns - Ambient dance/indie album that was everything La Roux was trying to be and everything Florence and the Machine was not.

5. Karen O & The Kids, Where The Wild Things Are (Movie Soundtrack) - Magical, marvelous fantasy music that stands alone from the movie as a fascinating album in itself.

4. Gin Wigmore, Holy Smoke - Gin ventured to the US to complete this follow up to her unique EP Extended Play, and the move paid off in spades. Keep an eye on this one.

3. PJ Harvey & John Parish, A Woman A Man Walked By - One of the most adventurous and gutsy albums of 2009, PJ delivers eerie alternative with Parish in tow. A bit Nick Cave-y, in a good way.

2. The Black Lips, 200 Million Thousand - Fuck these guys are cool. They make me a little less disappointed that I didn't live through the drug addled psychedelic rock of the 70s.

1. Yeah Yeah Yeahs, It's Blitz - They never disappoint. With the combination of dirty disco, alternative and indie tinges injecting their art rock vibe, the YYYs released the stand out album of 2009.

Most annoying album of the year:

It would have to be a tie between Empire of the Sun (Walking on a Dream) and Noah and The Whale (Peaceful, The World Lays Me Down). Granted, 5 Years Time is just a really annoying and grating song that makes me angry, but at least they don't have Luke Steel to make it worse by being so far up his own arse he is upright again.

Most overrated of 2009:

The Horrors. Big time. Maybe it was because I was in London for most of the year, but they seem to cream their pants over this self-serving talentless band that appears to be attempting some sort of glam rock indie thing. Just a tip: A whammy bar does not a riff make.

Close second: La Roux, La Roux.

Biggest let down of 2009:

Wolfmother (Cosmic Egg) and Little Birdy (Confetti) really let me down this year. And to think I was so excited... Although Little Birdy redeemed themselves with the only good song on the album, the gorgeous Brother.

Best gig of 2009:

Wolfmother at the Coronet, London. Average as the album was, Wolfmother do rock a live gig. Well, Andrew Stockdale does anyway...

Runners up go to: Santogold at Field Day, London and Gin Wigmore at The Gaelic.

Worst gig of 2009:

Ladyhawke at any venue over the last year. It's such a shame as I love her music, but she's just really crap live. And consistently crap too... It's ok Ladyhawke, some of the best bands were studio only.

Infamous album of 2009:

Dare I say Lady Gaga. Power to her, she does rock a mean leotard.

If 2009 was the year of Lady Gaga and her leotards, 2010 will be the year...

...that Tom Waits stops releasing spoken word albums. Hey, we can only hope.

Merry Christmas and here's to an amazing 2010! New decade, new music, new fashion, new controversy...

Vintage Review - Never Mind The Bollocks, Sex Pistols

2009-12-21T14:43:00.000-08:00

File under: Vintage, albums, Sex Pistols, Never Mind The Bollocks, Punk, UK

The Sex Pistols
Never Mind The Bollocks, Here's The Sex Pistols
(Virgin)

This album is why, no matter how much of a wanker Richard Branson can be, we are indebted to him forever. Now this may sound like an obscure connection, but the fact is that Dickie's label not only released this album but was prosecuted for it. Well, almost...

The story goes that the fat cats tried to pin them with the Indecent Displays (Control) Act for displaying the word 'bollocks' in a window. Makes you realise how things have changed since then right? When an ice-cream company recently used the God Save The Queen imagery to promote double choc chip, and back then it was considered a depraved assault on the very moral fabric of British society? Well, on the upside someone saw sense in it all, and provided me with one of my favourite quotes of all time:

"Much as my colleagues and I wholeheartedly deplore the vulgar exploitation of the worst instincts of human nature for the purchases of commercial profits by both you and your company, we must reluctantly find you not guilty of each of the four charges."

Predictably, and as all the best stories go, this only made them more famous. It would be easy to write off the Sex Pistols as a flash in a pan - particularly considering they were fabricated to be more concerned with their image than their music, and subsequently disbanded only months after the release of their (only) studio album. But the simple fact remains that this is not only an iconic album, but it was - and still is - one of the most influential, progressive musical works of all time.

It could be argued that the brilliance of The Clash, Nirvana and Joy Division were directly influenced by this, The Sex Pistols' one and only album. Still not convinced? Then you probably haven't listened to it.

The album opens with Holidays in the Sun, and within the first five seconds of hearing military marching effects and Johnny Rotton's voice spit the words "A cheap holiday in other people's misery", you know this is a gorgeous political attack on the English and their penchant for the traditional holiday in the sun - whilst ignoring all that is real and brutal going on around them. And this, not even their most famous song, sets the tone for the rest of the album: angry, powerful, unafraid.

I tend to think that it is always going to be a problem: when young, angry punks go on TV and swear and act appallingly - but also provide insightful, even eloquent criticisms of hallowed British institutions. How are you meant to write them off or degrade them when they speak the truth so beautifully and violently? When 'no gooders' initiate such powerful political discourse?

It's no wonder they tried to ban God Save The Queen: "God save the queen / The fascist regime / They made you a moron / Potential H-bomb..."

It makes bands like today's Muse with lazy, non-offensive general lyrics like 'They will not force us' look like a nursery rhyme. Who is THEY? I'm so tired of this reference to the imaginary 'they' these days by bands who think they are making astute political statements.

But beyond the lyrics, it's on songs like Bodies and Pretty Vacant that the driving, thick guitars and machine gun vocal delivery betray the anger of the generation and their desperation to be heard legitimately.

Scathing attack on political system, inciting violence and followed with the refusal of anyone to distribute your single? Try Anarchy in the UK, the song that made them infamous: "I am the Antichrist / I am an anarchist / Don't know what I want / But I know how to get it / I wanna destroy the passerby..."

Scathing attack on powerful record company that tried to keep them under contract, and subsequently dropped them following appalling behavior? Try E.M.I, with brilliant lyrics like "they only did it 'cos of fame E.M.I. / I do not need the pressure E.M.I. / I can't stand those useless fools E.M.I."

Fortunately there is too much brilliance on this album to talk about every song - you'll just have to raid your parents vinyl collection and relive the glory days for yourself.

Conclusion: Proof that you can make only one brilliant splash and still last the distance in the history books.
Best Bit: That their music could be described by one of the most famous Newspaper headlines of all time, which followed a TV interview with the band: "The Filth and The Fury!" Fuck yeah.
Worst Bit: That too many people making music these days think they're being controversial - do some research on THESE guys and you can here the proverbial naughties SNORE.

Review - Lady Gaga, The Fame Monster

2009-12-17T16:10:00.000-08:00

File under: Album reviews, Lady Gaga, The Fame, The Fame Monster

Lady Gaga
The Fame Monster
(UMG)

Alas, I couldn't ignore Lady Gaga any longer. Especially when she has just repackaged the exact same album in a different cover with a few B-sides added just in time to jack up the price for Christmas. Or is that just my cynnical Grinch-like hate of Christmas coming out? In my defense, screaming children and terrible parents indulging them in shopping centres around the country make me hate the 25th - but I digress.

Look, The Fame wasn't the worst album I've ever had to listen to. In fact, if I remember correctly I was converted to a Lady Gaga lover after seeing her live in a grungy intimate performance before her leotards went gangbusters all over MTV. Unfortunately, like Madonna before her, she makes good pop music and does it with flair - but she ruins it a bit with: 1) her appalling obsession with getting attention from papparazzi / the media 2) her desperate grabs for fashion icon status via crimes against kermit the frog 3) her poptastic fans replicating her abominable fashion sense in clubs all over the world. YOU ARE NOT LADY GAGA. LEGGINGS ARE NOT PANTS. LEOTARDS ARE NOT PANTS.... PUT SOME PANTS ON!!!!!!

Yet again, the fans are ruining it for me. I wouldn't HAVE to be a closet pop whore if these people didn't like the same pop music I do. Can't they follow Taylor Swifts fashion sense? Grab a pair of cowboy boots and wear them with an array of sparkly shift dresses and a mop of frizzy blonde white girl afro? Bah.

I suppose I'd better be the bigger person and talk about the music - even though it's clearly not Lady Gaga's priority.

Bad Romance is a strange and annoying pop concoction that some religious person tried to say was an ode to the pagan Sun-god Ra. Yay! Controversy! Telephone is the obligatory duet with similarly famous and important Beyonce, suitably middle of the road and yet just 'edgy' enough for the pop charts to think they're being innovative. Alejandro is a clear grab at the modern version of Madonna's attempt to cross over to the latino market via La Isla Bonita. Monster is the naughty song that talks about sex, but without actually saying 'sex' so they can still play it on the radio.

Looks like she's got all her bases covered - my work here is done.

Conclusion: You can't avoid it, so just enjoy it.
Best Bit: That she will make shitloads of money and be laughing at all the people who hated her at high school for being weird.
Worst Bit: That she will make shitloads of money and be laughing at all the people who hated her at high school for being weird.

Review - Gin Wigmore, Holy Smoke

2009-12-09T01:16:00.000-08:00

File under: Album reviews, Gin Wigmore, Holy Smoke

Gin Wigmore

Holy Smoke
(Motown, Island)

After seeing Gin rock the Gaelic Club last week with The Cardinals (borrowed from Ryan Adams) supporting her, I thought it was time to pop a review of her gorgeous album up. You probably haven't heard of Gin, she's a little secret us in the music biz have been keeping...

After winning the International Songwriting Contest with an angelic song called 'Hallelujah' (previously featured on her Extended Play EP) - written for her father who had passed away and sent into the competition by a family member - Gin claims she was surprised by the success and record company interest following the win. Apparently she wanted to be a primary school teacher, but luckily for us she saw the light and now we are reaping the rewards of her recent signing to US label Motown with her first long player 'Holy Smoke'.

And what a debut. The US influence is written all over this release, and that's a great thing. With her raspy and bluesy vocals, the country/blues/americana overtones work beautifully. 'Oh My God' is a mover and opens the LP with flawless pop-crossover perfection.

'Hey Ho' follows, and you start to get lost in the western landscape - this track would sit perfectly in a Tarantino shoot-em-up with its mid-west horn motif and effortless cool oozing out of its pores. Special mentions also go to the slice of pop fun 'Don't Stop' and the quirky rock number 'Mr Freakshow'. 'One Last Look' is also a fun, boppy country-style track.

Now if it seems like I've mentioned a million different genres, then take note that this is no mistake - but Gin's schizophrenic back and forth between pop, rock, country and blues is as genuine as it is brilliant.

If you like your tunes provocative and progressive with just enough pop to keep it moving, then Gin's 'Holy Smoke' is just the gem you've been looking for.

Conclusion: Buy a couple of albums because you'll be tired of explaining to your friends where they can get a copy
Best bit: That you never thought people wrote cool tracks like 'Hey Ho' anymore
Worst bit: Sorry music industry, Gin won't be a secret for much longer...

Up and Comer for 2010: Felinefox

2009-12-08T01:52:00.000-08:00

File under: Felinefox, up and comer, reviews, 2010 predictions

A record company friend recently sent me a tip for the new decade: apparently ambient dance is back in fashion. But before you scoff, think about it - it's perfect festival fodder, it's pretty inoffensive, and the comeback will make a whole lot of people in the inner west very happy.

Felinefox, the natural Aussie answer to the popularity of quirky indie queens such as Florence and the Machine, takes ambient to a whole new and luxurious level. Grown up enough to surpass the kitch of Florence's sparkly hotpants, and suitably brooding to appeal to even the most affected indie lover, Felinefox may just be the hot new thing for a new decade of decadance.

She's so new and shiny that she's still working on even a whiff of a release, however the few tracks posted on her Myspace are already attracting attention. 'Queen of the Venusians' smells like a single to me, with a driving bassline that the more subtle 'Wild Wind' lacks. 'Trust in Me' has a juicy chorus that the pop crossover audience will love, and is sure to be remixed into a dance demo.

Now all that's left to do is re-write the wanky bio that smacks of a bit of indie pseudo-intelligensia: "Armed with a moleskin full of memories intertwined with chords reminiscent of a thousand beating hearts"? "Whimsical fairytales with the howling wind as the backdrop and Fox at your heels"? Hmmm...

Conclusion: Prediction for a 2010 grower
Best Bit: She has the balls to bring indie to ambient and make it cool
Worst Bit: Needs to tone down the 'indier than thou' hard sell

Check out Felinefox at her official Myspace: http://www.myspace.com/felinefoxmusic

Homebake, Sydney, 2009

2009-12-05T20:42:00.000-08:00

File under: Live reviews, Sia, Eskimo Joe, Howling Bells, Jet, Eddy Current Suppression Ring, Sarah Blasko, Homebake

Homebake 2009
The Domain, Sydney
5 October 2009

To be perfectly honest, I was terribly underwhelmed by the lineup at this year's Homebake (and most other festivals this season in general). Where is Wolfmother? Where is Temper Trap? Where is the awesome headliner of a vintage band we wish we had been old enough to see first time round? And Powderfinger headlining? Snore.

But on the day I found enough to keep me entertained, even if it was aided by a bottle of vodka snuck in past the gate and added to multi-coloured snow cones and several drunken turns on the overpriced but hilarious swing ride. Yay!

Having arrived too late to catch Gin Wigmore and the Cardinals (who were absolutely amazing the night before at a Gaelic gig), my first stop was Eskimo Joe on the main stage. This was mainly by accident as I would never stop over at EJ on purpose, and they disappointed me as expected. Just a tip: don't fill your albums with 200 audio tracks per song to make them sound full, then play a lacksidasical 4-piece version at a festival gig.

Three songs later, I had loaded up another snow cone so it was enough of the Joe and on to the amazing and absurdly strange gig that was Sia. I don't know if it was the baby talk, or the fact she stuffed every present a fan threw on stage down the front of her dress until she looked pregnant with more babies than Octomum, but she was certainly an odd one. However, her angelic voice allowed me to forgive her of all absurdity, and at some point you forgot she was wearing an oversized visor that had been chucked on stage as a garter, and warm dirty socks and a g-string stuffed down her bra. She was simply sublime.

Howling Bells were up next, with an energetic but slightly dull set. The 'Bells are one of those bands that for the first three songs are so so good - that is, until you get bored. Unfortunately the monotone of their indie set can get a bit blah when you've just seen Sia stuff warm socks and a g-string down her bra, yelling 'thankyou so much!' in baby voice.

Next up were the swings, my personal highlight for the night - especially when you have Jet playing 'Are you gonna be my girl' live as your soundtrack.

Speaking of Jet, that was our next stop at the main stage - and they were so much better than expected. When I saw the line-up for Homebake, I saw Jet and thought snore. But actually, I should officially retract all previous assumptions that this band is a snorefest. They were everything that Eskimo Joe were not. High energy, rock and roll and the perfect festival act.

Sarah Blasko was a short stop over on my way to Eddy Current Suppression Ring, and she just has the most stunning voice live. Although I'm not sure she's quite right for a festival atmosphere, her opening act shut most of the rowdy crowd up within seconds. Proof that amazing talent can move even the drunkest bogan to silence...

Eddy Current Suppression Ring were predictably off the planet, delightfully weird and a living explanation why the artists entrance has no sniffer dogs. Double standard!

I ran quickly past the annoyingly large crowd gathered for Powderfinger on the main stage, blocking my ears so as not to allow their rendition of 'Burn Your Name' to make my ears bleed. Success! I escaped unscathed...

All in all, a surprisingly entertaining Homebake - but I couldn't say it was entirely due to the band performances.

Eskimo Joe Frontman, Kav Temperley rocks some amazingly white jeans. His mum is obviously a fan of Napisan.

Sia fuelling pregnancy rumours by stuffing any item thrown on stage down her dress. Also note previously mentioned offending visor.

Howling Bells frontwoman Juanita Stein rocks the soft filter. Or is that just my bad indoor photography? Either way she's hot.

Sarah Blasko takes a quiet moment to consider the best song to capture the bogan crowds attention. She didn't, however, go with my suggestion of a Barnsey staple.

Sadly, the most exciting part of my night. It would've been better if I had a snow cone in my hand though.

ARIAs 2009: Idol snubs and electro loves...

2009-12-02T02:56:00.000-08:00

File under: ARIA Awards 2009, Australian Idol, Empire of the Sun, music reviews

The ARIA Awards was an interesting event to be at this year. Now in the hands of Channel 9 there were a couple of glaringly obvious differences:
1) It actually ran to time, and with terribly boring/manufactured efficiency
2) Apparently the music awards doesn't need any actual musicians to present if said TV station has 'personalities' to promote
3) Channel 9 ran to its usual agenda of sucking all the fun out of everything
4) After every award they slapped up a banner saying 'You can buy this on iTunes now!' - can anyone say marketing dollars? Holla...

Look, I know that there was a lot of crap in the Awards shows in previous years and that they ran hideously overtime, but there was at least some fun, some element of improv and naughtiness. There were exposed crotches, drunken speeches and political statements. Now there is Kate Ritchie hosting and well behaved rock stars. Oh god, I'm going to cry...

Although having said that, no matter how slick the production and how loud the fake cheering of the crowd on prompt, there is ONE thing that can derail the seemingly on track direction of a slick, overly-produced live TV event: one Luke Steele. However much I despise his seeming obsession with, well, himself (he referred to himself as 'The Steel' in his acceptance speeches), he was the only blip on the radar keeping me awake during the show.

From describing Nick Littlemore only as 'the invisible Nick' (Littlemore has quit the band mysteriously, amid unoriginal rumours Steel was too difficult to work with), to his matching hair, outfit and blonde wig epaulets with his wife Snappy Dolphin (yes, you heard it right), to quoting a Beatle ('Here comes the Sun!'), we were kept bemused throughout the entire show. Even though I hated the album, I was considering myself lucky that they won so many awards so I could be entertained.

But perhaps that's unfair. Admittedly this year they had some amazing live acts - Robbie was his strutting, egotistical self and The Temper Trap were just as amazing as when I saw them in London. But this year, the prize goes to a threesome performance by supremely talented indie songstresses Kate Miller-Heidke, Sarah Blasko and Lisa Mitchell. Their medley gave me hope in the Australian music industry's ability to deliver unique, sublime music in the feminine form. Suck on that Triple J - for your exclusively male Hottest 100 of All Time.

That, plus the performance was a deliciously wry nod to 'real music' and a subtle snub to ex-Idol-seven-time-nominated Jessica Mauboy. Though it's not really fair (as Mauboy is relatively stomachable and the best pop offering Idol has had so far), us music journos love the snigger that follows yet another year of Idol only taking home the 'highest selling' (read not important) ARIAs.

Here's to Lisa Mitchell breaking that trend.

Quirky Travel Post: The Real Great Wall, China

2009-11-10T15:44:00.000-08:00

File under: Travel, The Great Wall of China, China, Quirky.

A while ago I braved the Red Country and it was one of the most amazing trips I have ever taken. Of course I wanted to visit the Great Wall, and I was given a tip off that the place where all the tourists go is actually just a rebuilt tourist trap. So Annabel and I hired a private car and made the 4 hour trek from Beijing to a tiny town west of the capital.

Honestly, walking along the Great Wall with not a tourist in sight, surrounded by snow and silence; a truly breathtaking experience. Well, silent until we decided to build snowmen and have a snowball fight on the Wall!

And the best bit? The iconic Wonder of the World was in some local's backyard.

Taken from Quirky Guide: www.quirkyguide.com/author/bianca

Wolfmother @Coronet Theatre, London

2009-10-22T06:52:00.000-07:00

File under: Live reviews, Wolfmother, Coronet Theatre, London

Wolfmother
Coronet Theatre, London
21 October, 2009

The leather-clad rocker crowd flooded the London Coronet Theatre early to catch supporting local kids, alt-rock trio Band Of Skulls – but we all know who they were really hanging out to see. It was the all new Wolfmother line-up, and the new album Cosmic Egg, that had caught the attention of the grungy it-crowd in London, and the anticipation was high.

After packing the rafters of the sold out show, grabbing a few drinks and shouting a few soccer-stadium style chants, the brassy Brits erupted the second Stockdale stepped out on stage in his usual super cool psychedelic threads. Opening with the epic single Dimension, it was clear from the outset that this was a different band.

Previously WM have certainly rocked a live crowd, but not with this level of energy. Stockdale seemed more confident than ever, his vocals perfectly wizened, his screaming high notes stunning, his ‘fro just as cool as ever. But for the first time, people are noticing his bandmates – and they are no shrinking violets.

Bassist and keyboardist Ian Peres captured the audience’s attention with an epic set including performing the wailing solo in Mind’s Eye perched on top of the keyboard. Rhythm guitarist Aidan Nemeth and drummer Dave Atkins exuded the cool expected of a fresh WM line-up.

This is a new band, with some amazing new tunes. Stand up and pay attention.

Cosmic Egg is released in Australia on 23 October 2009.

I've posted a few of my pics below...

Quirky Travel Post: Viking World, Dublin

2009-10-17T15:30:00.000-07:00

File under: Travel, Dublin, Ireland, Quirky

With my Irish boyfriend in tow, I recently made the trek to the Emerald Isles - admittedly only for a weekend in an effort to avoid too much family-in-law time... But on our day off from family commitments I was squired about town to see all the sites Dublin had to offer - and then it was midday...

So with an obvious lack of entertainment, we set out to find Viking World; one of my significant other's fondest childhood memories. I'm afraid I am to blame for the ensuing disappointment. It wasn't as amazing as he remembered, and hence he wouldn't pose for any photos with the Viking dummies - even the one on the Viking toilet relieving himself. NOW what am I meant to give his friends on his bucks night to embarass him with?!

Taken from Quirky Guide: www.quirkyguide.com/author/bianca

Vintage Review - The Beatles, Magical Mystery Tour

2009-10-06T08:28:00.000-07:00

File under: Vintage, Albums, The Beatles, Magical Mystery Tour

The Beatles
Magical Mystery Tour
(Parlophone, Capitol Records)

This week's vintage album is one of the most innovative, and at times controversial, albums that The Beatles released - and in my mind, the best one too. We're all familiar with most of these songs, but seeing them with a reviewers eye has given me a new appreciation for one of the biggest pop bands in history.

To me, Magical Mystery Tour was the album that changed things. Sure, there was Sgt. Pepper before it, with Lucy in the Sky and Sgt. Pepper heralding a change in the band from a clean cut touring pop band your mum could be proud of, to a moustachioed studio band bringing on LSD-influenced sitar stylings. But Magical Mystery Tour was the first time they stopped experimenting, and started bringing some seriously iconic, influential and innovative music to the table.

The assertion that this is a different band begins immediately with Magical Mystery Tour and The Fool on the Hill - it's in the two opening songs that you realise there is something to be said here. But the assertion that this is a musical force to be reckoned with hits you with Lennon's complex, iconic, and for most people confusing, single I Am The Walrus.

Any words I could possibly use to describe the awe I feel when I hear this song are surely inadequate. The lyrics are at once puzzling and yet simple ('See how they run like pigs from a gun, see how they fly...'); they are simple yet forceful. And it continues, tearing apart 'modern' culture: the fleeting fads of western fascination with eastern spirituality, the fact that none of them really get it, the antagonistic mocking of the 'man', and the police that enforce his laws.

There is no question here that Lennon understands it is these very people that won't understand the lyrics he venomously attacks them with.

But enough of that, this album isn't one iconic single. From here on in Lennon takes over with Strawberry Fields Forever and All You Need Is Love, and it is his mellow vocals, stunning lyrics and subtle musical melodrama that from here on in will help elevate the band above simple pop songs like Love Me Do.

This music is modern, it would be innovative even if released today, and its relevance will surely stand the test of time for another 40 years over. The indie-blah generation needs to learn to look back before they look forward.

Conclusion: You can't understand the phenomenon of The Beatles without this album.
Best bit: 'Elementary penguin singing Hare Krishna. Man, you should have seen them kicking Edgar Allan Poe...' Stunning. Why don't we study this in poetry class?
Worst bit: That no one makes music like this anymore.

Quirky Travel Post: Monkey Beach

2009-10-01T15:24:00.000-07:00

File under: Travel, Phuket, Thailand, Quirky

Just before I settled here in London, I spent some time really exploring Thailand for the first time - I had done the shopping / beach trek many times before, and wanted more from this friendly and fun country.

On my travels down south I took a side trip to Monkey Beach, just a day trip from the bright lights of Patong Beach. Got some great photos and lets be honest, who can resist monkeys?

Taken from Quirky Guide: www.quirkyguide.com/author/bianca

Save the Hoey!

2009-09-29T03:50:00.001-07:00

File under: News, Venues, Save the Hoey!

We're heading back to my home town in Sydney for this post - to one of the most iconic, grubby, lovable live venues in the city: The Hopetoun Hotel.

In the pub's long history, it has played host to many an upcoming (and later famous) Australian band; including You am I, Paul Kelly, Hoodoo Gurus, Died Pretty, and Whitlams. It has brought us the latest Aussie talent in the forms of Dappled Cities, Youth Group, Eddy Current Suppression Ring, Bluejuice, Paper Scissors, Ghosts of Television, The John Steel Singers, and countless others. And best of all, it gave us these bands unpretentiously, allowing us into its sticky, dark interior and delivering us one thing: just the music.

But now, because of a supposed 'lack of security', huge council fine, desperate need of upgrading and lack of funding, our beloved Hoey is closed indefinitely.

If you (like me) don't want to see the Hoey replaced by another wankish excuse for a pub like the insufferable Beresford; if you want to see your live venues remain and continue their strong and important history delivering us relevant music; if you want to fight for a scene that isn't filled with posers, fakes and facebook faces: then do all you can to help out the Hoey.

Head to the Facebook group or follow the Twitter feed to know what's happening and make a difference.

Album Review: Conditions, The Temper Trap

2009-09-25T05:48:00.000-07:00

File under: Music reviews, Conditions, The Temper Trap

Conditions
The Temper Trap

(Infectious)

I was hesitant to review this album when someone described it to me as a combination of Fleet Foxes and Band Of Horses, with the lead single Sweet Disposition being the most inspiring song they have ever heard.

Now, having heard this song many times, I'm just going to point out the chorus' lyrics, which may explain why I was hesitant to trust this person's opinion:

A moment, a love, a dream, a laugh? A kiss, a cry? Our rights, our wrongs. A moment, a love, a dream, a laugh, a moment, a love, a dream, a laugh... etc. You get the idea.

Inspiring, no. But they were spot on when it came to the nicely boxed pigeon-hole of the Foxes and Horses - this album takes the best of the soaring quality of White Winter Hymnal and matches it perfectly to the honest simplicity of No One's Gonna Love You.

It's a nice listen. It would be great background music for drinks with friends on a summers day. But, having seen them play live, some of the magic is missing... something is lost in the recording, mixing and manipulating of Dougy Mandagi's stunning vocals.

Buy the album in anticipation of seeing them at a gig - but don't let it stop there. This is a live band.

-Conclusion: Soaring guitar riffs, uplifting vocals, doesn't miss a step - perhaps a little too 'polished' for my liking.
- Best bit: The driving, gutsy Drum Song
- Worst bit: Too much slick production interfering with raw talent.

Quirky Travel Post: Aussie Road Trip

2009-09-24T11:50:00.000-07:00

File under: Travel, Road Trips, Australia

As an Aussie in London I'm always trying to share travel ideas for my home country - and one of the best trips I ever took at home was a couple of years ago when I took a road trip from Sydney to Northern QLD, following the Big Thing Trail!

Taken from Quirky Guide: www.quirkyguide.com/author/bianca

Album Review: Lungs, Florence and the Machine

2009-09-24T08:19:00.000-07:00

File under: Music reviews, Florence and the Machine, Lungs

Lungs
Florence and the Machine
(Island, Universal)

Seeing as I've composed a lot of column inches hating on Florence, I thought it was only fair that I spent some time actually listening to the whole album and giving it a fair review away from the sparkly underwear, cape fetish and erratic, distracting dance moves.

I have high hopes after listening to the opening track Dog Days Are Over: could this be our new Feist? Could all the glitter just be a thin veil hiding an amazing album? If you close your eyes and pretend it's not Florence, you could be forgiven for thinking this is most definitely the next big thing, not in need for a shiny PR label or Lady Gaga no-pants style makeover.

So by the time I get to the latest single Drumming it's like I'm hearing it for the first time... and it's COOL. I'm totally disappointed - not by the chanteuse herself, or the music. I'm devestated that she comes across like such a try hard wanker and distracts you from the simple fact that she makes forward thinking, cool music.

Such a waste of a good album...

- Conclusion: Buy the album and replace the sleeve with something else so you can forget about the sequin underwear and concentrate on the music.
- Best bit: Kiss With A Fist
- Worst bit: That when I hear that song I cringe at how lame she looked performing it live like she thought she was the new Siouxsie Sioux.

The threat of online subscriptions

2009-09-24T02:41:00.000-07:00

File under: News, digital, subscriptions

I find it interesting that there is such a backlash directed towards the idea of news sites and media outlets charging people to access their websites. There have been several news articles printed stating various 'statistics' from surveyed respondants professing to prove that people will not pay for online content and that it is surely doomed to fail.

But here's where I'm confused: why SHOULDN'T we pay for online content? Why do we think that we should be provided with a carbon copy of the newspaper at our fingertips at any time of the night or day, provided by professional journalists and website builders with millions of dollars invested into it, and NOT have to pay for it?

Of course people don't want to pay for online subscriptions. At the moment they are getting the newspaper every day from five different media outlets at their fingertips for free. And they don't even have to buy the newspaper version. Of course sales of newspapers are dropping - there's no reason for people to buy the paper anymore - they can pick and choose any article at their fingertips.

There is a huge gap in the 'research' on this. Firstly, they need to be asking respondents whether they EVER buy a newspaper, and if they don't, then it's a null and void argument that they would pay for their news. For these people, they would never pay for news content anyway, regardless of the form.

Second, the people who would pay for news content, and say they wouldn't pay for an online subscription, are probably more likely to go and buy a newspaper to get their news fix. In which case the media outlet would increase physical sales. There is no downfall to introducing media subscription online, besides a potential loss in advertising dollars. However this loss can be avoided by providing a free homepage, which wouldn't lose traffic numbers anyway.

But after all of this, you might ask WHY media outlets should be trying to make money from online websites in the first place. Let me start by making a comparison to music: Just because an artist makes a digital version, does that mean you shouldn't pay for it? That the artist shouldn't get income from digital sales of something they have created? Of course not, it's no different. It's online content created by an individual for the purpose of making money and providing income to a talented individual.

So why shouldn't us journalists get paid for OUR online content? The majority of young and talented journalists out there are working for free for many websites. Yep, we don't get paid to interview someone, write an article, send it to a media outlet and have it put online (with a few exceptions of some). But generally, if you're not an established journalist, you do it for the love of it.

However, if people start paying for their online content, maybe we might start getting paid. Maybe we can do it for the love of it, and ALSO pay our bills.

Quirky Travel Post: Babies and Snakes

2009-09-23T11:31:00.001-07:00

File under: Travel, KL, Malaysia, Quirky

Hmmm. I was slightly disturbed when I saw this in KL and had to share. And I don't even like kids.

Taken from Quirky Guide: www.quirkyguide.com/author/bianca

Some exciting music coming our way soon...

2009-09-23T11:16:00.000-07:00

File under: New Music, Rock, Blues, The Black Keys, Raveonettes, The Mess Hall

Ok, so I feel like there are a plethora (ha, plethora) of amazing releases on their way to me, to make me feel better about this whole "music industry" thing that doesn't seem to be working for me at the mo. Yay!

So far, we love:
1. Raveonettes gear up for their newest album release In And Out Of Control by streaming it in full on their myspace. Love tracks 1... and 2... and 3... and... um, wtf? Track 4 is more than slightly disturbing. Check it out here.
2. One of my fave live bands The Black Keys are releasing a hip hop album. Yes, I know, you think it could be a bit of a Joaquin stylee prank - but this is serious stuff, and seriously cool. Check out a taste of one of the tracks called Hoochie Coo here.
3. The Mess Hall is one of the coolest rock bands kicking around in Australia at the moment, and they have some new music to follow their stunning debut Devils Elbow. It's not my favourite song at the moment, and sounds like a bit of a radio pleaser, but I have high hopes that the rest of the album won't let me down... Head to The Mess Hall's myspace here.

Get rid of that Florence and the Machine crap on your ipod and get some good alt rock into your ears...

Quirky Travel Post: Sound Fantastic World

2009-09-23T10:55:00.000-07:00

File under: Travel, Shanghai, China, Quirky

Yes, it really is amazing as it sounds. I can't say any more than that - oh and that we thought at the end it was some elaborate ruse to steal our bags whilst we were sitting in the dark, distracted.

Taken from Quirky Guide, http://www.quirkyguide.com/author/bianca

Oh Kanye. I'm beginning to think you can't help it.

2009-09-23T10:47:00.001-07:00

File under: Music news, Kanye West, MTV Awards

Seriously, it is NOT possible that this guy WANTS to be such a wanker. It's not like he needs the press, he's actually one of the most definitive, innovative music makers of our time. So why is he such a tool?

I would like to think it's some kind of amazingly elaborate performance art project, like behind the scenes Kanye is sitting at home on a quiet saturday night, thinking "bahaha suckers!", sipping on a chardy and making an edgy scrapbook with decorated cut outs of his favourite media clippings, to one day be presented to the Tate Modern where it will hold pride of place amongst the most definitive art of our generation.

Or maybe he just really is a wanker. Either way, he's superbly good at it. Respec'.

Quirky Travel Post: Tubing in Laos

2009-09-23T10:39:00.000-07:00

File under: Travel, Laos, Vang Vieng, Quirky

Last year I spent some time working my way through Cambodia and Laos with a friend of mine, having the time of our lives. In a tiny town in Laos, called Vang Vieng, we discovered the single most amazing travel experience ever: getting drunk, floating down a lake in a tube, watching euro trash dance in bikinis to truly terrible dance music.

Oh, and the second most amazing travel experience ever: a restaurant that plays Friends episodes on repeat ALL DAY, ALL NIGHT, ALL YEAR LONG. Oh yes, that happened to us.

Taken from Quirky Guide, http://www.quirkyguide.com/author/bianca

Quirky Travel Post: Cat City, Borneo

2009-09-23T10:22:00.001-07:00

File under: Travel, Borneo, Kuching, Quirky

Having spent a few weeks in Borneo in July, I was particularly taken by the idea that the capital city would be unofficially known as Cat City... and that they would have a cat museum specially dedicated to cats. And would have spent so much time randomly placing cat statues around the town. And that apparently that's all there is in Kuching.

Taken from Quirky Guide, http://www.quirkyguide.com/author/bianca

Field Day and 5 reasons I hate The Horrors

2009-09-23T09:56:00.000-07:00

Temper Trap and Santigold were musical awesomeness at Field Day despite the incessant rain, shit roadies and serious poncho fashion action.
I was so looking forward to seeing The Horrors live, but they were totes craptastic. "But I need proof!" you say - rather emphatically and spitting in my face. "Perhaps in dot form culminating in five convincing talking points," you say (Ha! I blocked that time). Well, since you asked:

5 Reasons The Horrors were crap

1. Strumming WITH the whammy bar the entire time does not an awesome guitarist make.
2. Making feedback noise with instruments isn't music. Flashback 1992, but not in the good Nirvana way.
3. The glam gothic thing is so over. Marilyn Manson did it way better, dated Dita Von Tesse, and removed his ribs so he could... Ew.
4. Their fans are lame teenage scenesters. No one in the history of the world who was cool had fans like these ones.
5. Strumming WITH the... oh. Well they're just crap.

Speaking of crap, the weather was typically London-like and for an Aussie the idea of wearing a poncho to a music festival in summer is a little weird. So, of course, I revelled in the dagginess of it all and took it to a new level in a series of photos I would like to call "Ponchie the drunko in a clear plastic garbage bag". Hey, it's not my fault there was so little entertainment from the bands on offer that I had to entertain myself with a poncho and tinnies of cider.