2011: ALBUMS OF THE YEAR (AND ALSO HAPPY BIRTHDAY ZIGGYPLAYEDGUITARBLOG)

2011 was a year of oh so many things. It's the year I moved out again, found out what having normal housemates is like, met a bunch of new people, got a new job, broke a heart, grew a heart, started to patch up some old wounds, grew even closer to some awesome friends, made some new awesome friends, graduated to full vegetarian, joined a touch rugby league team, got contact lenses, ran 5kms in the bridge to brisbane, spent more money on clothes and concert tickets than I have in my entire life, grew up a little more.

Amongst that, I also, as usual, immersed myself even more in the music world, so much more that I began to appreciate things I hadn't usually, and got extremely into some things I had only casually dabbled in. Some of my obsessions of the year have been sitting around for years, such as Roxy Music, Iggy and the Stooges, Brian Eno, the Saints, the 13th Floor Elevators, Simon and Garfunkel, and the Kooks (well, less years but still sitting around for a while). And some, like the artists in this list, have become new favourites to a lot of people this year.

The other thing that happened this year is that this month my blog turns ONE YEAR OLD! And surprisingly, it's still active, and for that, I am very proud of my typical 'can't finish anything I start' self.

So, as is good tradition, and celebration of my own achievement (feel the self love) my first top ten list of the year will be, the best albums of 2011. And of course, because a list of 10 is hard, some others that made the year what it was: All natural and political disasters aside, kinda great.

TOP 10 ALBUMS OF 2011 BROUGHT TO YOU BY ONE INDIVIDUAL'S OPINION

10. FOSTER THE PEOPLE - TORCHES

Foster the People's 'Torches', just squeezed into the top 10, as a very late addition to my list. I only iTunes'd it (the second album I've ever bought off iTunes ever), a few weeks ago, and it quickly became an instantly accessible, summery pop hit. It's a perfect low key party album; every song is a crafty bubbly masterpiece, and 'Pumped Up Kicks' is one of the best singles of the twentyteens, brooding, sexy, and with the catchiest chorus of the year. It would have been the single of this year if it wasn't already released late last year (dang). Kicking off with electro-dance smash "Helena Beat", each song has a very distinctive Foster the People style about it. But rather than sticking to a theme making the album become boring, it just adds to the even flow of it. Other highlights are "Waste", "Houdini", and "Miss You", but really, it's all very good, and there really isn't a skippable moment. These guys have been flavour of the month for a few months already, and for good reason.

9. AKRON/FAMILY - AKRON FAMILY II: THE COSMIC BIRTH AND JOURNEY OF SHINJU TNT

Akron/Family's latest really grabbed me this year, as it combined all the things I love about them in a nicely contained package. As mentioned in my review of their September gig, they've morphed from indie folk to psychadelic rock with general genre bending moments, to this, which is a lovely balance between the two. Standouts include the "A AAA O A WAY/ So It Goes" medley, the joyful travelling tale of "Another Sky" and the very self-titled-esque subtle melody of "Canopy". It's all exceptional however, the harmonies strong and moving, the mood set from the first note of each song. This album really captures what I love about the out-there sounds of Akron/Family, and it's probably now my second favourite to their self titled debut. It's also just accessible enough to perhaps ensnare a few new fans. COULD ONE OF THEM BE YOU, READER?

8. ELBOW - BUILD A ROCKET BOYS!

In my humble, humble opinion, Elbow has not released a bad album ever, and this one is no exception. Their fifth album continues their progression from brooding, deep, serious Manchester gentlemen to lighter, more optimistic, but still deep and slightly serious fellas you'd invite over for a wine. While still keeping it very Elbow, there is even more to enjoy than on Seldom Seen Kid, but with less 'wow' moments as a whole. Opener "The Birds" is classic, epic, and haunting Elbow territory, and aims to push their territory further than its gone before, with great success. It's not all intense however, and there are beautiful tender moments, such as "Jesus was a Rochedale Girl", "The River" and "The Night Will Always Win". "The Night.." proves that Guy has never ceased wearing his heart on his sleeve, with completely relatable lyrics such as "I miss your stupid face". Songs such as "Lippy Kids" touting the title lyric, and "Neat Little Rows", are powerful and addictive numbers. As I said in my review of their gig this year, you just cannot fault this band.

7. TV ON THE RADIO- NINE TYPES OF LIGHT

TV on the Radio are such beloved indie darlings that their latest release is no doubt always going to be compared to the ones before them. Granted, there is little in the music world itself that can beat their first and second albums, 'Desperate Youth, Blood Thirsty Babes' and 'Return to Cookie Mountain'. However, people do have to get past the idea of things being not the same sometimes, and TV on the Radio are one of those bands that while retaining a very unique style, have never done the same thing. 'Nine Types of Light' continue this tradition. While a few tracks do blend together a bit (I can start with "Repetition" in my head which will quickly become "No Future Shock"), they still share awesome energy, and others are just stellar (see the enormously catchy "Second Song", the heartfelt sing a long "Will Do" and the gorgeous "Killer Crane"). The rest of the album pack a nice punch. Where the band continue with their political and philosophical subject matter on this album, it's a little more romantic than the others to boot, with songs such as "Keep Your Heart", "You", and "Will Do" being sweetly romantic odes and reminiscences of loves and losses. The album is a sign of the band developing, maturing, and reflecting, and sadly well timed, after losing their bassist Gerard Smith to cancer earlier this year. RIP.

6. THE DODOS - NO COLOUR

Dropbox is a magical thing, and it was thanks to it that I found this album, by US guys Meric Long and Logan Kroeber. I was totally blown away by this album when I listened to it, not expecting anything and discovering so much to love. From the thundering, rollicking opening track "Black Night", to the incredible "Good" all the way to the musically complex finale of "Don't Stop", the flow of this album is magnificent and sets it apart from the rest. The intricate guitar work of Meric Long, combined with Logan Kroeber's amazing hard hitting drums, beautiful lyrics and an all encompassing folksy feel, are brought together to create such magic. Long's vocals can be both uplifting but devastatingly melancholic, and frame the music beautifully. There is not a dull moment to be seen, as each song is tied together in style, are uniquely delightful by themselves as well. After that last drum smack, you just want to start the whole journey over again. I am excited to hear more of this band, who already have 3 prior albums and toured Australia twice. I hate being late to everything.

5. RADIOHEAD - THE KING OF LIMBS

As a darn tootin' die hard Radiohead fan, this is no surprise to anyone. It was not going to NOT make my list, as even the worst Radiohead songs are better than most music. That was a lame statement of me to make, wasn't it? I don't care.

So, King of Limbs. Oh my god, Radiohead have gone dubstep, whatever you define that as! Omg it's minimal and beat driven and full of... AMAZING. I don't know why people get shocked when Radiohead don't do the same thing again. They're Radiohead. They're always progressing, always looking for a new direction, always building on the last album to create something completely new again. Ok, I'll be realistic, while the last 'In Rainbows' was to me, a perfect album, this is not; there are its moments of discomfort and headscratching while muttering 'you've kinda lost me there Thommo'. But with each listen I'm still finding new ways to appreciate it, subtle nuances to discover, and so many things to love. And as per my regular yearly/ half yearly phase where all I want to listen to is Radiohead for a week, all I wanted was to hear the opening blips of "Bloom" for a few good weeks. And as the linked clip shows, every song has it's tiny little elements, unrecognisable away from the rest of the music, but when all pieced together, make the song the amazing piece of work it becomes.

So basically, they've done it again.

4. THE HORRORS- SKYING

The Horrors are a band that have completely transformed in a mature and sophisticated way over the years. While 'Strange House' in it's raw, gritty glory had indie circles the world over hailing them and even Vince Noir (The Mighty Boosh) wanting to be in them, 'Primary Colours' had the big time music critics joining the praise. Enter 'Skying', which is one step even further, and cements The Horrors as the band everyone should listen to at least once. Granted, the heavy rawness has been reigned in within each album, as production technique steps in, and this album is the cherry at the top of this process. Even in its slow moments, it is deep and moving, and ever so infectiously melodic. Standouts "Endless Blue" and "Moving Further Away" are instant classics, and the plodding "Still Life", one I didn't think could grow on me, is an anthemic winner in the end. I could go on, but basically every song is a catchy-as-fuck gem. The final track, the dark, slow burning "Oceans Burning" (lots of burning) starts off threatening to end the moment on a note of despair. However, in Horrors true form, it crashes spectacularly into a swirling crescendo, parting us with distorted rhythm and vocals repeating "Turns out you were right all along". Like the moment of revelation after the closure of a relationship, the album's ending is perhaps it's most powerful moment. I just hope this is not the end of my relationship with the Horrors, and they continue their musical journey of maturation.

3. tUnE - yArDs - W H O K I L L

Tune-Yards just SLAYED me this year. Merril Garbus' musical opus had been talked about months before I actually listened, and I had heard good things, but nothing could prepare me for what I was about to experience. I put the album on and went "what is this, and where do you file this in the musical thoughts filing cabinet". It grew on me like a shot. As the opening "My Country" starts and develops, it becomes quickly obvious that you really can't just sit down and do nothing while listening to this album, and the feeling only intensifies with head bopping "Es- So" and howling "Gangsta". Merril does most of the album herself, including manipulating and looping her voice and instruments (lots of drums and ukuleles) to create melody lines like never heard before. There are african beats, reggae, electro, r&b, rock, sax-filled jazz... and other completely undefineable moments. It's such a refreshing album to discover when everything in music feels recycled at the moment. Tune-yards is truly unlike anything I have heard before- the only exception being perhaps a more accessible Max Tundra without the novelty cheese. Complimenting her at times bizarre and always addictive tunes is her unique and versatile voice, at times exuding sweet innocence (see "Doorstep") at times screeching with questions and passionate demands (see Ric's-friendly "Bizness"). I've youtube'd her live performances and it's hard to peel your face from the screen, so her show that I'll be seeing in Melbourne in January is one of my most anticipated.

2. ARCTIC MONKEYS - SUCK IT AND SEE

This year I also found myself upgrading from 'casual appreciation' to 'woah holy moly these guys are awesome' Arctic Monkeys fandom. It was this album that did it, and caused me to completely fall head over heels with Alex Turner's lyrical protagonist. They're still talking about girls, drinking, and nights on the town, but in their maturest and most lyrically superb way. The girls are thunderstorms, the drinks (and girls) are dandelion & burdock vs. post mix lemonade, and the nights on the town end with another 'fucking' chorus of 'sha-la-la-la'. Looking back on the catalogue since realising their value, that sophistication was always there, but a little more overshadowed by the power of their rock and roll style. While the style of this album has episodes of their usual rawness ("Brick by Brick", "Library Pictures"), it's also complemented by some more mellow but still extremely powerful musical moments, ("Love is A Laserquest"..., the rest of the album?). Everything is so well put together, the harmonies, guitar hooks, the basslines, and the exceptional lyrics, that it just doesn't really ever go wrong. I was so drawn into this album as quite a very personal collection of stories, emotions, and observations; it has this way of making you feel like the band is playing to you, and you alone. There are many, but the number one stand out is the gorgeous melancholy of "Piledriver Waltz", which also features as an solo version in the soundtrack of Richard Ayoade's debut film, Submarine.

I still can't stop listening to this album.

1. JAY Z & KANYE WEST - WATCH THE THRONE

Alas, there can only be one winner, and as unlikely as it is, I have to make this album number one. This is for a few reasons:

1. Ladies and gentlemen, Steph spent money on a hip hop album. No other musical group has lead me to do this. Not even De La Soul (copied - don't report me.)

2. It is the 2011 album I probably listened to most this year, and will continue my listenings into 2012.

3. It is so completely ridiculous that one cannot help falling into the ridiculousness and becoming equally ridiculous.

4. It requires it's own phrase book. I can now insert the following into my vocabulary, along with half the world:

"Guess I got ma swagga back"

"I might even make him (son) be Republican, so everybody know he love white people"

"What's Gucci, my n****? What's Louie my killer? What's drugs, my dealer? What's that jacket, Margiela?"

"You ain't accustomed to going through customs"

"'Bout to go dumb, how come?"

"Racksonracksonracks (racks.) maybachsonbachsonbachsonbachsonbachs. Who in that? Oh shit, it's just blacksonblacksonblacks."

"ELLOELLOELLOELLOWHITEAMERICAASSASINATEMYCHARACTER"

"Ima need a day off, I think I'll call Ferris up"

"But my dick worth money, I put moanie in the middle"

"Ah never understood planned parenthood, 'cause I never met nobody plan to be a parent in da hood"

"No electro, no metro, a little electro? Ah, perfecto."

"No, you ain't listenin'- they black, they sisters. Their momma named them after white bitches."

"See shorty right there? Thats my bitch."

"Please lord forgive them for these n***ers not know what they do, OOH!"

all culminating in one, enormous, "THAT SHIT CRAY." (ain't it Jay? What she order? Fish filet.)

Fucking ridiculous.

Last year's Kanye West album ('My Beautiful Dark Twisted Fantasy', if you were living on Mars at the time) was probably a helpful segue into appreciating this album, and hence, becoming completely overcome by it. All completely insane lyrics aside, the music is itself insane-ly good. It builds to a slow boil with the growling opener "No Church in the Wild", explodes with the Beyonce driven "Lift Off" (you cray if you can't enjoy that song), and simmers sensually down to the croonin' Curtis Mayfield sampled "The Joy". I CANNOT help but do a weird kind of skanking dance to "Gotta Have It" and "That's My Bitch", or at least in my head. And frankly, "Niggas in Paris" is pure unrestrained, joyous crayness.

Both Kanye and Jay-Z are big players in the mainstream music industry and hence, they have egos to match. They have free reign to do almost whatever they want, and they pretty much did it with this album. You wonder if they're taking themselves seriously, but the feeling from the album is that they're just doing what they love, together, and as a result, making some pretty great music in the process. There are personal moments, particularly with the ode to good parenting, "New Day" which samples "Feeling Good" in a way you've never really heard before.

With that in mind, I think the reason why both rapping superstars have got so much critical and popular acclaim (and why I love this album) is due to their use of popular samples in ways that are at times unrecognisable and often quite enhancing to their music. I'll leave out "Harder Better Faster Stronger" in this compliment however (what the hell was that). Combined with that skill, their subject matter does contain a little more than bitches and hos and dollars and blow, and there is real stuff amongst the silliness. So lets have a toast to the douchebags who made me appreciate hip hop in a way I never thought I would or could.

Let the "WHAT? YOU DON'T KNOW REAL HIP HOP" comments begin. (Please.)

So, albums that I also enjoyed and can in turn enjoy runner up status:

And You Will Know Us By the Trail of Dead - Tao of the Dead - Trail of Dead are back to classic, raw, conceptual form, while also receiving points for one of the worst album covers of the year. As usual.

Antlers - Burst Apart : I am a casual fan, and while some good moments were had on 'Kettering', this is the stuff I suspected I would find really enjoyable from the Antlers.

Ball Park Music - Happiness and Surrounding Suburbs Purely enjoyable pop with some fantastic creative moments- also "It's Nice to Be Alive" is to Ball Park as "Fill Your Heart" is to Bowie.

Björk - Biophilia A sad non-addition to the top 10, I couldn't help compare this album to her earlier works, it just isn't as good. But it is still good- and "Crystalline", "Mutual Core" and "Virus" are fantastic moments amongst some duller ones.

Bon Iver - Bon Iver, Bon Iver : Another gorgeous album from Mr Melancholy with some also very out of character moments (Beth/Rest- what?)

Gotye - Making Mirrors : Already the album of the year isn't it? Gotye shows he is not a one trick pony and also wins over a lot of non-triple J audience. Yet they refuse to play more Australian music on mainstream radio. Eh.

The Strokes - Angles : Another great album from the Strokes, that unfortunately suffers from the Strokes curse; the first half is always miles better than the second half. To me, in my opinion, to me.

The Walkmen - Lisbon : This album is growing on me at this very moment and could nearly have made it into my top 10 if it wasn't for timing. I should correct my Harvest review; I'm finding much Walkmen stuff that stands out to me now.

Happy birthday blog! Here's a cake.

 ,,,,,           _|||||_           {~*~*~*~}        __{*~*~*~*}__    jgs `-------------`

Harvest: A Civilized Gathering, Brisbane Botanical Gardens, Saturday 19th of November, 2011

WARNING. This is a long'un.

Last Saturday's Harvest festival- sorry, gathering, was a hotly anticipated one for me. This was not just due to the fact it had been advertised as a gathering, (implying a mature group of people interacting jollily and respectfully (to me)) rather than a typical flustered festival at the botanic gardens, (implying energy drinks, bare skin and sweaty metro males rubbing up against you... well, boganfest). But it was also as if the organisers pressed shuffle on my iTunes and created the lineup based on what came up. And what an eclectic selection: Flaming Lips, Mercury Rev, Portishead, TV On the Radio, Hypnotic Brass Ensemble, The Family Stone, Bright Eyes, The National, and the list went on. There was plenty more, and I didn't even get to see half of those I just mentioned. But here was my experience nonetheless.

After pre-festival drinks, I trundled into the festival just in time for US indie scenesters The Walkmen (missing the Holidays and H.B.E. doh.). The Walkmen are one of those bands that have a distinct, enjoyable style, but despite a few listenings, I have only found a couple of songs that really stand out for me. But they are a pretty attractive band...

Come onnn camera... well, believe me, they are. Anyway they opened with one of said standout tunes from latest album 'Lisbon', "Blue As Your Blood", which frames frontman Hamilton Leithauser's uniquely heartwrenching voice with a simple drum and bass riff. There was much off 'Lisbon', and not a lot else, obviously constrained by time, but each song had something to pay attention to, even if it was just their exceptional musicianship.

Trust me, you'd go there. Anyway, they played what everyone expected, second to last, being their big debut hit, "The Rat". The familiar opening guitar jangles were presented with all the energy this song expresses, and it simply rocked. Hamilton's voice erupted with everything he had, screeching "CAN'T YOU HEAR ME" when it was just too hard not to listen. I saw these guys at the first Laneway back in 08 or whenever that was, and I don't remember it being as powerful as this. Already pre-empting that these guys would not be the biggest highlight, it was a fantastic start to my day.

After the Walkmen men walked, I had some time to wander around the festival grounds before grabbing some food (ahh gozleeeeme.) At this point, the distinct LACK of bogans and complete totality of hipsters was totally apparent. And while stupid fashions were rife, it was damn amazing. Little touches of the festival's decore, such as umbrellas in trees, an animal discoball (may have been a pig?) and park benches made it a little kitschy but also just quite lovely. The best part is where I spent most of my day, at the Windmill stage, was just small enough to have prime access not only to the toilets, but the drink tent, AND the gozlemes. The drink tent sold STRAWBERRY PEAR CIDER (which sold out by 5pm of course), and was nicely stocked with wine, and I don't think I waited more than about a minute in any of the lines. Just so well organised and idiot free. Well. Mostly idiot free (you'll see).

Anyway, I had just grabbed said gozleme when Mercury Rev started their guitars. I should mention at this point that the timing of everything was almost too good (hey, let me get started on this gozleme fellas).

This is the first time I'd had the chance to see Mercury Rev live, and I was so excited. On the scene since the late 80's (I believe), they're like a more subdued Flaming Lips, with Jonathon Donahue's hauntingly sweet vocals and poetic lyrics their calling card. In fact, during the set you could see Wayne Coyne checking them out on the side, obviously a fan and most probably a friend of the band.

Jonnfen

They opened with "Snowflake In a Hot World", off 2008's 'Snowflake Midnight', a beautiful intro that I hadn't heard before. Swirling, magical percussion, synth and lyrics, the smoke-machine assisted eerie atmosphere, the warm sun on my face (alright a bit hot), my delicious gozleme (the last time I use that word, promise), and Jonathon's eager face, made this a perfect moment. Only to be topped by "Holes" off 'Deserters Songs' which came next.

Oh god. The beauty. It was magnificent. They recreated every sound with such delicate precision and the entire band looked like they were being indulged by each sound they created. Jonathon sang as if he had been holding back a precious gift and he was finally unleashing it upon us, and the audience lapped it up. Apart from "Butterfly's Wing" from their latest, there was more from 'Deserter's Songs', including "Endlessly" and a heartbreaking replication of "Opus 40". The emotions flooding the song were beautifully conveyed by Jonathon and crew, and I have to admit, if I'd let myself go, a little tear could have peeped out my eye a wee bit.

Alas, timetable updates meant that one of my favourite bands ever, TV On the Radio, were on halfway through Mercury Rev's set. And I was not missing a second of them if I could help it. So, while most of the bones in my body told me not to, I left to catch them. As I did the Rev had begun a cover of Peter Gabriel's "Solsbury Hill". Daaaaaamn. I later heard that they ended on "Goddess On a Highway" and "The Dark Is Rising", at which point someone did burst into tears. I probably would have been there with her. Damn you timetable clash!

I pretty much ran to get to the Riverstage (the longest distance away from the Windmill stage dammit), going faster when I heard what I thought was "Wolf Like Me", but turned out to be "Halfway Home". Noooo! I got there in time for them to start a sped up, even-more-brass-filled version of "The Wrong Way", the opener from their debut. It was a bit erratic and I lost momentum while trying to keep up with it, and so obscure that my brother didn't even realise they had played it.

I felt better about leaving Mercury Rev when I noticed that Wayne Coyne had also dashed away and was at the right of the stage watching, unless he has doubles or stand ins like Santa Claus. Considering my brother also reported having walked behind him on his way to the venue earlier that day, perhaps this is the case. It wouldn't surprise me.

It got a bit more normal with a few from their latest 'Nine Types of Light', the upbeat "Caffeinated Consciousness", which got the crowd moving in recognition. While the band, particularly frontman Tunde, had amazing energy and prowess, the sound was just a little too off for it to be the amazing experience I expected it to be. The combination of individual elements that make TV On the Radio so good was kinda missing as they ran together in a blur of distortion, and I feel that was just to do with logistics and the stage set up rather than their own doing. I can imagine a solo show would be a different (and fantastic) story.

Then came the two killing tracks, grooveful "Golden Age" and crowd sing along "Will Do", and then a surprising "Young Liars" from the same-titled EP. While I would have liked to hear more favourites, it was nice that they had a broad selection and some older fare. "Staring At the Sun", their first big thing, was great, but would have been more amazing without that said distortion, but the set closing "Wolf Like Me" excelled despite it, probably thanks to the energy of the crowd due to it's classic indie status. While it ended the set in a brilliant way, the sound did not give the experience the same punch that I expected. I'm sure I'll be satisfied at a later date in a non-festival atmosphere somewhere else in Brisbane... (Are you listening TVOTR?)

Death In Vegas was the next on my list to see, and I slowly made my way over. Flashy lights onstage when it's still daylight is not my thang...

There wasn't a lot I recognised... I only have the classic 'Scorpio Rising' and I didn't hear any songs from that, but it was all very chilled, very ambient, and distinctively Death In Vegas-y. They were obviously very good, and the atmospheric combination of synth and breathy vocals did you carry you along with it... but it felt like the wrong kind of time and place for this sort of music. While a bit alternative, the electronica in amongst the indie rock changed up the feel a bit, so I gave up and decided for my friend and I that we would catch the last of Clap Your Hands Say Yeah, a band notorious for not doing so well live.

We got there and not long after, they finished "Upon This Tidal Wave of Young Blood", from their self titled, and walked off, 10 minutes before their scheduled end time. Good one Steph. Another friend praised their show today, but I was skeptical, as the few minutes I caught sounded a bit off kilter. But maybe it was amazing! I'll give them the benefit of the doubt.

Some much needed grass time later, instrumental post-rockers Mogwai came onstage, one of the few bands on the bill not from New York. While they kinda do look like they do come from New York....

...they're actually Glaswegians, and I will remember them fondly for their Splendour show in 2006 (OH MY GOD THAT WAS FIVE YEARS AGO???), so was keen to see their thing again. I could have caught bits of Bright Eyes and the National at this point, but I wasn't feeling the vibe of either band at that moment, and I have tried and failed at becoming a proper National fan. So while the rest of the audience rushed off to catch them, I was happy at Mogwai, which was also a chance to get a good spot for the Flaming Lips.

This set was another case of "don't really recognise anything much" as they have done a couple more albums since my Splendour experience, of which they took a lot of their current set list from. Still, they created some amazing moods, which was further enhanced by their anticipation of wildlife ("We've been told we're going to see some bats soon", said one of the guys). And, after some amazing swells of intensity, during a down-tempo, mellow interlude, sure enough the bats came gracefully flying across the sky behind the audience, one by one. The band looked on in fascination as they played solemnly, and the crowd looked up and swayed, supported by the music. It was a very special, awe-inspiring moment. Another highlight was the addition of Luke Sutherland to sing on the deliciously beat driven "Mexican Grand Prix". It was at this point I spotted my first solo drunk idiot, who clapped his hands loudly yelling "YEAH I LOVE MOGWAI" at the crowd's dismay. Luckily he was out of sight by the time the band finished, and I could inch up to one person behind the front in preparation for Wayne and co. of Flaming Lips fame. Even though he was festival old hat by now.

As he did at their show in Splendour last year, as we waited and watched the band set up, Wayne fiddled around the stage looking restless as the roadies put all the little bits and pieces in action. Every now and then he'd greet the stage, which did not give the same reception as Splendour (where there was probably 50 times as many people), and this seemed to disturb him later as he tossed his hands up in the air at random intervals urging us to cheer him more. At the front, we were doing our best to cheer, and it came pretty naturally, so I guess they weren't as receptive further down. But it was a smaller venue, and Wayne's urging the crowd on won some crowd frustration more than anything, particularly as it took away from more music.

Anyway, after much ado, the Flaming Lips set began, in the same way as it probably has for the past 5 or so years, but then again, why fix what's not broken?

If you're not aware, to start a Flaming Lips show, a dome screen displays a dancing glowing naked lady, who then leans down and shows us her lady bits. Except her lady bits are super mega glowing with rays of light, and as you are sucked into her... chasm...

Oh hai, vag

...out comes the band, one by one, and Wayne pops into his bubble, ready for a crowd surf as the band plays on.

Being so close to the front meant I was half excited, half petrified that I'd be squashed by Wayne's bubble body, but luckily, lots of taller people around me meant I really didn't even cop much of a feel. I copped more at last year's Splendour in which I got to push his buttock over within the bubble as it travelled through the crowd. This time I think I got a knee.

Hooray, I had survived the bubble, and the proper music had commenced. Double joy!

Note: I have about 10 photos of the band with the baldy in front, a security guard who insisted on standing smack bam in the middle of everything. I wanted to punch him in the face but instead he's like that guy in the photobooth in Amelie.

They continued on with "Worm Mountain" from latest full length 'Embryonic', and then to my thrill, played "She Don't Use Jelly", and the front crowd sang along with all their might as the Lips recreated their old time signature tune. It was a rather marvellous moment. Unfortunately, the girl on my right had decided that standing was overrated and from this moment until about halfway through the gig (when I had managed to shake her), decided to lean her body, arms, butt, even her thick brick of a head, on my body, continuously. Even though she had a boyfriend in front of her to lean on and plenty of room behind her. She continued to elbow and headbutt me into oblivion, including stomping on my foot a few times, no matter how much I shoved, elbowed, and pushed her off me, trying to inch away from her. At one point she turned to me and said "HOW GOOD ARE THE FLAMING LIPS" and it took me a few seconds of dumbfoundedness to respond with "Yep, pretty good.". Drugs? Lips induced stupor? Just an idiot? Who the hell knows.

Along with bubbles and LED's, there was a crew of dancing people lined up on each side of the stage dressed as Wizard of Oz characters (I entered the competition to be one of them, but apparently writing to them that my dancing style is akin to David Brent wasn't favoured?), an extreme mass of balloons, a wind machine, and Wayne's hand held streamer machine, set free whenever he felt it necessary. Basically, a party onstage, in every sense of the word. This all culminated in a peak moment during the next song, "The Yeah Yeah Yeah Song", which was an absolute orgasmic joy. Idiot girl was totally forgot as I was just taken away into ecstatic stupor, chanting "WITH ALL YOUR POWER" with the rest of the crowd. Wayne coupled the explosiveness with theatrics by popping confetti filled balloons with his guitar as they came near him, resulting in confetti blasts in time with the musical peaks. It was satisfyingly fun to watch.

Things got weirder with the Neon Indian collaborated "Is David Bowie Dying?" (No, guys! Noooo!) and 'Embryonic''s "See The Leaves". Around this time Wayne brought out the giant hands with lasers on them and played with them on the mirror ball, creating an abso-fucking-lutely magnificent effect. It was like, another world...man.

just to reiterate: the lasers are coming from his HANDS

I was surprised to not hear "Fight Test" but very happy to hear an extremely slowed down acoustic version of "Yoshimi Battles the Pink Robots (part 1)", the title track off their critically loved album. The final moments also consisted of the uplifting "Pompeii Am Götterdämmerung", in which a giant gong lit up with every smash of Wayne's streamer-wrapped baton. And then, as expected by all, but still an amazing delight, came "Do You Realize". I did feel tears in my eyes at that point. Already a gorgeous and heartwarming song, it filled the auditorium with hysterical bliss as the crowd sang along with Wayne and the music built around us, and I honestly could not think of a more amazingly felt moment in my life at the time. I said it on facebook and I'll say it again. If you can condense a Flaming Lips concert into some kind of pill or remedy, there would be nothing but joy and everyone would be happy and bake a pie full of rainbows and smiles together.

LIFE IS BEAUTIFUL!

While the rest of the band looks on quite vaguely, it doesn't matter (and perhaps they know it), as all eyes are on Wayne and the theatrics. Wayne is either the most mentally insane person in the world, or he has discovered the truth to happiness, and either way, I'm very grateful for it.

So, I did say that there cannot be a comedown after a Flaming Lips Pil, but if there was one, it would be in the form of Portishead.

life is tragic.

Exhausted and exhilarated, I sat up on the hill with the others to listen, late to get to the headlining show. The sound at the Riverstage was again, a bit distorted, but the sound was still quite good and the beats compelling. Beth Gibbon's voice sounded slightly weak, probably for the same technical reason, but was beautiful and haunting and without a single hitch, not ageing a day. I was delighted to hear "Sour Times", the hammond organ penetrating and mournful, and the jarring "Machine Gun" from their 3rd album a few years back. "Over" and "Roads" were hauntingly magnificent. I found myself singing along to "Glory Box", trying to imitate the delicate emotion in Beth's voice which was all there as it is on the record. There was no faulting their live show despite the sound-carrying limitations of the stage set up, just pure, gorgeous melancholy. For their first Australian tour in almost 15 years, I could understand why they headlined and were so anticipated... tenderly intricate, their live interpretations were pretty much to perfection.

Wow though. After such a high, it was an odd way to end a festival. Instead of bubbling and giggling off to post-festival pancakes, we trudged back a bit neutral, despite the amazing day we'd had. It's the way music affects you I guess, that's the power and beauty of it; it can change a mood in a heartbeat.

Looking back, I really could NOT fault Harvest. Yeah there was a timetable clash I didn't need, and yeah the biggest idiot at the festival ended up next to me, but it really lived up to it's promise as a civilized gathering, and every band I saw was really, really good. There was not a negative thing about it, really. Really. I have extreme hopes for Harvest to return next year and make itself a staple, but I worry that with added advertising and interest, its return may gradually turn it into the monster that once-small festivals are now becoming (Splendour, Laneway without the lane). Perhaps it can't be avoided... or perhaps together we can make this our special musical gathering, lovers of good sounds. Yes we can!

As peppered within this day were moments I will look back on as the best of 2011 and perhaps the twenty-teens, I give Harvest TEN out of ten confetti filled giant balloons.

Steely Dan with Steve Winwood, Sirommet Winery (Mt Cotton), Sunday 23rd of October, 2011

So I've really dropped the ball on reviewing the last gig I went to (see title), which was a trillion years ago now. I thought I was doing better, but I think half the reason why I slacked off this time around is because I wonder if anyone really wants to read a Steely Dan review? Because; does anyone really care about Steely Dan anymore? Until Seth Rogan publicly told Paul Rudd that Steely Dan gargles his balls, in the movie Knocked Up, I feel people had kind of forgotten they even existed. And that was more of a cynical reminder, not triggered by a camp dance scene in an indie movie (see Hall and Oates in 500 Days of Summer).

But people did remember once, before they forgot, and there is a reason for it. The same reason I shelled out well over a hundred to see them at Sirromet, one hungover Sunday in October. They were actually a pretty good band.

Hailed as the "anti-heroes of the seventies" by Rolling Stone magazine, Walter Becker and Donald Fagan were definitely not the hippest of the bunch but they knew how to craft a song, very well, and are well known for being a top notch studio band. Apart from production value, their lyrics also standout as complex, cerebral and at times cheeky, and I have a soft spot for their harmonic style. There is a lot of cheese, but there is some amazing musical moments amongst the cheese that make me crank out the 'Pretzel Logic' or 'Can't Buy A Thrill' every now and then.

Sirromet reminds me of the Riverstage set up in the Botanic Gardens, with a nice big and slightly lopsided tent, and a large seating area with a few food stations (and queues galore), but an easy to access drinks tent (not that I was taking advantage of this). We missed Oh Mercy but arrived about half an hour before Steve Winwoods set (or as dad called him, Stevie). I knew Steve's famous groups (Spencer Davis Group and Traffic ) but hadn't realised how much I really knew until his set began. He opened with "I'm A Man", an excellently groovin' and powerful start to the set, his voice strong and expressive . Amidst some jamming, he also played the classic "Bring Me a Pile of Money"... I mean "Higher Love", and others I knew but didn't know I knew, such as "Can't Find My Way Home."

tiny people!

The only issue I really had was that it was so goddamn long. It was an hour and a half of music, which is nice for such a classic artist, but a huge chunk of that time was spent on extremely elongated solos and jammin' jams. There was the guitar solo (played by a magnificent guitarist, to be fair, who played it with the constant look of ecstasy on his face), then the bongo solo (yes the bongo player was also great, but what can you do with bongos to make it go so long AND keep it interesting?), then the drum solo. Great musicians, but how many times can you hear the same riff over and over again. It was just unnecessary, or as my dear godmother would say "WANKY SHIT!" or something to that effect. I know this is what people want to see at gigs sometimes, but I've never been a long solo fan, which is why I enjoy but don't love Pink Floyd, and skip the middle bit in "Light My Fire" by the Doors. (musical hell for me?)

this is actually the best photo. Courtesy of father (my camera failed at this event)

Anyway Stevie finished on a pretty high note with the song that has been in every film, "Gimme Some Lovin' " which had all the oldies in ecstasy, and finally made his way off the stage. Or he did a few dozen encores, I'm not quite sure. In between sets, we were treated to the house DJ dressed as a bogan version of Evel Knieval, strutting the stage while spinning old classics amongst recent radio fare (just to remind the crowd that Adele exists, thankyou), which the ageing crowd just absolutely lapped up. As we stood for some food we couldn't help watch and chuckle, particularly as this old fellow looking about 70 danced right next to us blind to the world like he had OD'd on his arthritis meds. I had reassure my dear godmother that she and my parents were not as old looking and odd-behaving as he was.

Steely Dan rolled onstage. They appeared to figure that they were supposed to follow Steve's act, and opened with a drawn out instrumental song I didn't recognise as theirs, but was certainly in their style. For good measure, it also went on for a bit as well. As you might see from the first photo, as far as appearances go, nature, or maybe drugs have not been too kind. Walter is a tubby balding bearded fellow with small eyes and a ridiculous lisp (hence not ever really hip), and talked like he was still stuck in California in the 70's. He addressed the crowd in a way that brought my cringe on, talking about how cool getting high is and what great weed they got from somewhere, and that this was going to be the greatest fucking show ever and we were going to party like it's nineteen seventy something, and other things that just didn't need to be said. Get back to your guitar old man. Don looked like he was only there to do one thing, and that was to sing the songs, and play the piano, that was all he wanted thankyou very much, and that was all he did. His voice was not the greatest I have to say, but had it's pleasant moments, and behind the cracking there was still the heart and emotion from the original recordings. And, despite Walter's blabberings, Don did portray the image of being the major player of the band, bringing the melodies and warblings to life onstage as on record. All I could really see Walter doing was having a bit of a fiddle around on his guitar and doing a bit of a boppy dance thing (maybe he was quite high). Even the really great guitar solos, riffs and drum fills were done by the backing band members, so I wasn't sure and really couldn't pick how Walter was contributing at all. But hey, after decades of living an inoffensive musical legacy with your partner, why not just muck around and have a jolly good time with it? Good for Wally.

Don. the camera was just tricking, it's actually quite good

Anyway, they played a lovely heap of hits, including "Bodhisattva", "Peg", "Hey Nineteen", "My Old School", and the big one, "Ricky Don't Lose that Number". The music and the backing vocals were outstanding as par the course for for travelling studio rock classic acts, and my parents and their friends looked like they were enjoying even the songs they weren't fans of (e.g. "Dirty Work", in which the backing ladies carried the whole song minus Don beautifully).

The couple beside us (one of whom had been asleep when we arrived), were so blissfully drunk, that they provided extra added amusement to the event, particularly thanks to their dancing. As the concert appeared to be on it's last legs, we all chanted "DO IT AGAIN!" at various moments before the end: as we hadn't heard this (total fave) yet, and where the heck was it? The couple chanted with us merrily, until the last song played and the house music came on, at which point they realised we were asking for a song, not just generally wanting some more music. Cue chuckles.

And that was the biggest suck of the night- we could NOT believe they would skip such an excellent song, arguably their best, which some might think of as their biggest hit. What! The hell! People!

Sitting in a car for a good half hour while the traffic dissipated, we had no steely in the car to rectify this great desire to hear this song, so HERE IT IS FOR YOU in youtube glory. But you know what, if you don't have it, download it or iTunes it, and put it on the surround stereo system. Grab a glass of wine, comb your fringe over, put on some wayfarers, cross your legs on the couch, and turn it up. It will make you feel so lame yet SO COOL at the same time. ENJOY.