Real Estate (with Feathers), The Zoo, Tuesday 13th March, 2012

New Jersey formed five piece, Real Estate, turned up for me kind of out of the blue for me about a year ago. They were shared to me on Dropbox, and after sitting there for a few months, became my latest new find. Soon Pitchfork were all over them like an electric blanket and they must have gained enough popularity to justify an Australian tour. So, investing wisely in a ticket (invest, real estate, geddit???!) I went to the Zoo on this Tuesday night with some rare-to-find fellow fans and got my property development happening. (this is the last bad joke.)

Supporting the band were a couple of indie-sounding-bands, and we got there early enough to catch some of Feathers. A couple of girls who look like they just discovered Warpaint and want to be their bffs, came onstage and began to commence a set of very obvious indie girl pop tunes. They were inoffensive and pleasant enough, but there was nothing really driving the music that stood out from the Tegan and Sara’s of the rest of the music world. They had similar musical stylings to that of Real Estate- summery, jangly pop vibes, but again, none of it really gelled to me- I was a wee bit bored.

They didn’t play for too long however and soon it was Real Estate time. I immediately recognised lead singer Martin Courtney’s very indie haircut (hello Dan Humphrey, the wavy dark mop may become trendy yet) which matched a lot of the audience's indie haircuts. This was a very pitchforkian occasion, but that’s the beauty of hipster gigs- everyone is one, so the wank factor goes into 'so bad it's good' territory, and you don’t notice it as much. It was clear though that everyone was here for the music, which, as they opened with "Fake Blues" from their first self titled album, was outstanding from the very beginning.

my one not shit photo.

In fact, I don’t remember a time when the Zoo sounded quite so good. The airy twang of the guitars and spacious drums were replicated perfectly, if not better than on record, and the sound enveloped the venue with such crispness. "Fake Blues" was followed by "Easy", the opener of their latest well loved album 'Days', and I found myself extremely delighted when hearing the opening chords. Martin Courtney had the quiet sensual frontman thing down with little fuss or fanfare, just pouring his soul into the words and chords. His voice was lovely and heartfelt, with that slight echoey effect which is covered all over the album tracks.

The songs churned out and each one had me bopping along even more than the one before it. Popular new ones "It's Real" and "Out of Tune" oozed sweet breezy goodness and every pulse was on the mark. 


Prior to the performance, a part of me had wondered how good this show was going to be, and if it may be one of the more boring shows of the year. WHY you ask? Well while Real Estate’s low-fi shoegazey pop is a celebrated thing right now, their music does have a very distinctive style that rarely crosses the boundary- and their second album is no great departure from their first. However, i realised just how much I enjoyed their songs as they played them, and their pristine production meant I was thoroughly, exceptionally entertained all the way through. It also says a lot about a band who can completely engage the audience not only with a catchy chorus accompanying pleasing music, but even while during their instrumental tracks, such as both incredibly melodic tracks "Kinder Blumen" and "Atlantic City" in which I found myself not even realising that there wasn't lyrics. That's what I think makes Real Estate a standout act, and why they have so much love at the moment; every instrument of their songs are tuned in perfectly with each other to collectively portray an outpour of emotion, encapsulated in every note, beat and chord. As a live band, they continue to do this effortlessly, and fed off each other like it was child's play. 


Time went relatively quickly, and before we knew it it was encore time already. At this point, the song that got me completely hooked on the band, the debut opener "Beachcomber", had not been performed, and I was not the only one waiting for it. I completely expected it to start up when they (very quickly) came back onstage, but I was sadly disappointed, and instead, the slow burning "Suburban Dogs" was chosen from the same album. I couldn't help but miss "Beachcomber", but their chosen song still left us in a quietly content, contemplative mood, as we slowly emptied from the Zoo. 
The greatest part of this gig was how much it made me appreciate their music more. I now have to stop myself from listening too much to both albums , as I have finally found a replacement for 'Watch The Throne' which is in now danger of being burnt out. I'm happy Real Estate exist and look to be not one of those 'so hot right now' indie darlings that burst onto the scene and then disappear, but a brilliant established band, that deserves its praise and a long progressive career. Well done indie kids!

9 tenancy agreements out of 10. (Sorry, I mean to say that was the second last bad joke.)

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 `-------------`