Knowledge Comes with Death's Release

It's been almost a week since David Bowie passed, and almost a week before I've been able to properly say anything about it. ABC's Rage is on the TV right now playing a selection of his videos, and even the later ones I didn't really get into are tugging at my heartstrings at the moment. I figure that where best to say something than the long neglected music blog named after him? Maybe this final post will be a fitting end to a website which I actually did quite well at maintaining for a good couple of years.

Yesterday I went out with my Ziggy Stardust album cover t-shirt on, and a lady at a pretty typical womens boutique recognised it and asked if I was devastated. All I could do was nod and say "yes. yes. yes." I've actually had multiple people (some who I haven't heard from in years) contact me and tell me they thought of me straight away and was I okay? It was overwhelmingly sweet to know so many people remember how much Bowie touched my life. I couldn't say much more to them than "I'm shattered, thankyou." I'll try and be a little more eloquent today.

Bowie wasn't always in my life, consciously. Subconsciously, though, he was everywhere. My parents were huge, ridiculous fans, as were most of their friends and family. I remember lying in bed (probably mum and dad's waterbed) while they were hosting a dinner party and hearing a song about some dude named Major Tom who seemed to be in a bit of a pickle. Quite a few times. One of their family friends owned a dog named Ziggy. Labyrinth, and Jareth's codpiece was on the TV often. He was very much around.

It wasn't until I was late in highschool and my family decided to have impromptu vinyl nights in the living room while my young sister complained from her room next door, that I started to discover him properly. Mum and Dad went to see him while on his Reality Tour (I was underaged and of course wouldn't have afforded it anyway) and I was jealous as hell. In my university year, I went along to a Bowie tribute music night at the Tivoli Theatre, with my parents in tow. Musicians such as Tim Steward, Katy and Tyrone Noonan, Annie Lee, Tylea and Guy Webster performed 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars' in full. That was it for me, I was done.

Since that gig, important times in my life have always had a bit of Bowie tied in. There's probably a Bowie moment for every one of the important people in my life. There's a song for every feeling I've experienced, every lover I've had. The time I was tossing up whether to date someone; hearing 'Drive In Saturday''s lyric "She's uncertain if she likes him/But she knows she really loves him", helping me make my decision. Countless discussions of Bowie's music, or who right now fits the description of this generation's Bowie (no one), on an internet forum, many forumers of whom became close friends. Getting 'Pin Ups' (which I'd actually not heard at the time) from one of those close friends for my birthday. Dragging some friends and a sibling (some of whom didn't know much about him) to go to an appalling Bowie club night in a dingy bar. Going to see the film of 'The Rise And Fall of Ziggy Stardust and the Spiders from Mars' at the Gallery of Modern Art with another friend and accidentally clapping after a few of the songs finished. Wearing a Bowie mask and carrying a poster saying "This ain't rock and roll, this is genocide!" as I and a close friend marched down Brisbane city in protest of closure of aboriginal communities. And of course, debating whether "Heroes" was overrated or not with a guy I'd just met at a party, culminating in him showing me his Heroes dance in my living room. He's currently sitting next to me in our living room and four years later we're still debating.

When I turned 25, "All the Young Dudes" was posted on my facebook wall. When I travelled to Europe, "Fantastic Voyage" was playing on my ipod. When I've left an unpleasant work experience, "Look Back In Anger" or his version of "Friday On My Mind" have been blasting out of the car speakers. Whenever if ever I get engaged, "Be My Wife" will be playing in my head. When I reach my 5 year wedding anniversary, "Five Years" will be karaoke'd by the both of us (if this doesn't happen, I've married the wrong guy). "Kooks" will be the theme song for my first child.

My life is David Bowie in some way or another. Hearing his passing was like having a piece of my life die. He'll never know the impact his life had on me, and I'll never be able to see him in the flesh to at least scream my praise to him along with the crowd. But, as one of those repeated memes has said, I'm so glad to have got to know him in my lifetime, even experience some of his new music as its being released. I'm a lucky girl to have my life so enriched by him.

Thanks David Bowie. No, you're wonderful.

 

CAST YOUR MIND BACK: Episode 5, 1997: The best year of our lives, apparently. And accurately.

***WARNING, NECESSARY SWEARS***

HOLY FUCKING SHIT GUYS. It is definitely an accurate description to call 1997 as the best year of music, possibly ever, definitely in Australian history. If we could bottle this slice of musical history and drink it up it would be the sweetest, most excellent drink in the world. It was RIDICULOUSLY HARD to pick 15 of the most memorable for this year, simply for the fact that nearly EVERY GODDAMN SONG was good and IS STILL good. With the absence of maybe Pauline Pantsdown, the top 20 was consistently decent, every song still standing up today, yes even you Chumbawumba, still getting flogged during sporting events. Music has never been this good since and never will; even the novelty songs and one hit wonders had repeat listenability (except maybe "Cows With Guns" by Dana Lyons).

Bands such as Blink 182, Smash Mouth, Cornershop, the Verve, and Dandy Warhols were coming out with their big time debuts, hitting big before their inevitable roll downhill. Not only was the international scene prime, but the Australian scene was just NAILING IT, with debuts from Jebediah, Living End, The Mavis', Grinspoon, Powderfinger (JC is one of the few songs of theirs I have willingly listened to)  and solid follow ups from Silverchair, Custard, Spiderbait, and of course the number one spotters the Whitlams. Kylie was still in indie girl phase, Nick Cave was breaking hearts with 'The Boatman's Call', and Regurgitator were just about to start killing it with 'Unit'. If a few of those Australian artists had stopped there, they would have achieved legendary status. 

I'm sure there was some crap that year as well, but the fact is also that people were listening to the right stuff too, and it all made it in, even Ween. (Nothing from Björk's 'Homogenic' made it in, but we'll let that one slide.) And every band whether you liked them or not had a good song, Beck, Blur, Marilyn Manson, Metallica. I can't emphasize it enough; during the final Hottest 100 of the last 20 years countdown in June this year, the most entries were from 1997 (with 12 of them), and it makes perfect sense. It was a brilliant year. 

So with that said, I will focus more on the obscurities than the obvious, we-all-loved-it songs, otherwise I'd be here all day, and APPARENTLY MY BLOGS ARE TOO LONG. 

Daft Punk - Da Funk (at #98)

I think the only reason this wasn't higher in the mix was because of there being just so many good songs this year. No one could forget the classic Spike Jonze directed film clip in which dog faced boy Charles with his broken boombox and leg gets around New York. Interestingly, the actor who plays Charles has had his finger in a few Jonze-ish pies since then.

Faithless - Don't Leave (at #95)

Everyone knows Faithless as the whole deep trancey stuff, with Dido thrown in there time to time, but this song was one of their underrated gems before that whole image took over. Such a delicately heartfelt song that very much emulates the tragedy of breaking up. Looks like it was used in 'A Life Less Ordinary', as was the excellent Beck song ''Deadweight'' that year. Great film too!

Brainbug - Nightmare (#85)

One of those one hit wonders I'm talking about, and a bit of silly fun. Brainbug was an Italian electronic dance music producer, who disappeared from the scene after the 90's and whose other songs at a glance sound a lot like this one. The filmclip made it a lot of fun though and was a great watch during a saturday morning Rage session. 

Space - Female of the Species (#75)

Space were a little band out of Liverpool that made it big with this single, then released 'Tin Planet' which I bought from Crazy Clarks for $10, then disappeared and never came back again. A real shame, as their quirky pop rock was extremely good stuff, and this song is a sexy slice of musical cheesecake (just imagine a better looking guy is singing it). 

Front End Loader - Pulse (#72)

This is a perfect rock song. It picks and slows down in the right places, makes you feel like moshing, harmonizes perfectly, indulges in slightly morbid subject matter. I think my whole family loved this song. Also it's fitting that Regurgitator's replacement drummer Pete Kostic was in this band, 'cause those drums! I've listened to it 3 times just now and could go a fourth.

Robyn Loau - Sick With Love (#71)

Remember Girlfriend? You had blocked that out, hadn't you? They were responsible for me wanting to wear flower hats when I was 7. The frontlady of the early 1990's australian girl group (only 90's australian girl group??) grew up and released this (terribly written) single in 1997 and it actually did pretty decently. Nothing really came out of that however, except that years later when re-discovering it, I added Robyn to MySpace and actually had some back and forth comments. 


White Town - Your Woman (#59)

Another slice of musical perfection, don't even tell me you disagree! It was played over and over again for years after it came out, and you can still catch it making a go-around. I loved it soooo much. White Town was greatly a one hit wonder, however the one guy who makes all of the music in White Town is still very much doing music. 

Arkarna - Eat me (#50)

Arkarna was another forgotten band I totally adored. I never got their album "Fresh Meat" but I taped their Live At the Wireless set for it at the time and played it constantly. Such good tunes, and such cute dudes. Fun fact: their song "So Little Time" became the theme song for Mary Kate and Ashley Olsen's TV show of the same name. BIG MISTAKE GUYS. 

Filter feat. the Crystal Method - (Can't You) Trip Like I Do (#47)

Before Filter were asking us to take a picture, they collaborated with The Crystal Method to create this brooding speedy track for the purpose of the soundtrack to 'Spawn'. Frontman RIchard Patrick's screeching vocals is a perfect accompaniment to the squeaky electronics and breaking beats. And because of this song, everyone remembers that great movie 'Spawn'.

The Cure - Wrong Number (#45)

Probably the last really popular Cure song they've created, this song was completely flogged on Triple J when it came out. It was totally unavoidable, and way too difficult to get out of your head. It was also pretty excellent, thankfully, reminding the public of why the Cure are so good, even if it is silly to like the Cure.

Pendulum - Coma (#37)

NOT to be confused by another Australian irritating dub-step band, Pendulum were close to giving me nightmares with this song. Opening with a really well picked creepy line from the not-so-creepy Eddie Murphy film 'Coming To America', add that to the cat-miaowy noises and footsteps, equals a song that takes you to all sorts of disturbing mental places. Fantastic. 

Regurgitator - Everyday Formula (#19)

The 'Gurge really sold their electro-punk-pop for me with this song, coupled with their Tron homage film clip. It also really sold Quan Yeoman's face to me as well. This was the year 'Unit' was released, which would go on to become their biggest hit and one of Australia's best albums of like, forever. 'Unit' kept them in the ARIA charts for something like 3 years, as they gradually released super fantastic single after single. I lusted over this album all throughout my childhood (It was R rated), surviving on a recorded tape of singles that I got off a friend. Finally my mum bought me a copy when I was a uni student, which was almost a humour joke after all that.

Cordrazine -  Crazy (#17)

I can still listen to this song for it's brooding, haunting melancholy. It seems to perfectly encapsulate that feeling of being out of control and isolated, with lead singer Hamish Cowan's voice a perfect accompaniment for the mood. This was the big single for Cordrazine, an Australian band that faded away not long after this hit. I remember seeing them on the bill to play at the Zoo in 2010 however so it appears they did reform (as is the thing to do in the twentyteens).  

Quindon Tarver and Lee Perry - Everybody's Free (to Wear Sunscreen) (#16)

Baz Lurhman had a bunch to do with this song which coincided with the excellent Romeo and Juliet soundtrack. Little man Quindon Tarver had won hearts with his gospel voice and ensured the track was not all about some old guy dishing out intriguing advice. The advice was pretty timeless, although very open to parody, achieved somewhat well by John Safran. 

Radiohead - Paranoid Android (#9)

I've done enough tooting of my own horn about Radiohead to fill a blog on its own.. but I have to tell you this song was the beginning of a long, long, long love affair with them. They've never let me down, and this song was worth an album of goodness, it has so much depth and creativity and emotion and layers and multiple playing power. The song, with the clip, takes you into a dark, aggressive place, and at 11 I had no idea how much that place would mean to me in my teenage years. And that's all I'll say.

So yep, done, dusted, 1997: best. I dare you to top it. Won't happen. 
P.S. Special thanks to Mike the Lover for letting me do this on his Mac. Hey did you know that Macs are really good?

CAST YOUR MIND BACK: Triple J Hottest 100s, Episode 1, 1992.

A few weeks ago while I was flicking through the radio on my way to work (or rather, switching between Triple J and 4zzz, and River FM because sometimes they have some MAD CLASSICS), I heard an announcement that Triple J are doing a Hottest 100 countdown of the past 20 years, to mark the yearly poll's 20th birthday. 
Whether or not you feel inclined to vote for this, and will or won't be disappointed that the poll won't contain the ones you vote for; the event is going to take your mind back regardless. As they tend to do a Hottest 100 of All Time every couple of years or so, is there a point to this poll? Who knows. But I couldn't help but reminisce, as we all so love to do, being in our nature. 
When I first started to take notice of music other than Disney soundtracks and the Beatles, it would have been about 1993-1994 when I was about 7 or 8. My family had moved to the sticks (Caboolture), and we didn't have as many friends or things to do. We were living in a rental property while our house got built and my mum had initiated a new tradition of putting the radio on in the afternoons after school, unleashing all sorts of musical havoc on my ears. Mum and Dad also bought the Hottest 100 volume 2 CD that year which I basically took possession of and never gave back. It was all thanks to Triple J that I was the only 8 year old in my school who listened to Björk, knew who Nick Cave was, would grow to obsess over Regurgitator and Ben Folds Five and complained that all my best friend wanted to listen to was "My Heart Will Go On" on repeat. My parents have a lot to answer for, but my versatility in taste and eagerness to explore more new music, was thanks to one thing, Triple J. 
These days I've become jaded and insist that the music is not as good as it was back then, and the talk back so much more irritating (is it a sign of age or is it the truth?), but I can't shake the fond relationship I once had with Triple J. It got me through high school nights of cramming, and introduced me to the musical friends that would be there for me when human friends seemed scarce. So to pay tribute to this long running government funded radio station, I've decided to do a succession of posts detailing the highlights of the first ten years of Triple J Hottest 100's existence. After that, I'm retiring this tired neglected blog, in favour of a generic newfangled tumblr. 

So Triple J's first yearly poll (since doing 'All Time' polls from 1989 onwards) was in early 1993, listing off the best from 1992. I was 7, and not quite into the music that defined me just yet- but there were some gems that ended up in the countdown, that I distinctly remember dancing, humming, singing, or being transfixed by. My Dad did a pretty good job of shielding me from the number one song, Denis Leary's "Asshole", and I'm not including the songs I got into LATER in life.... So here's 15 that I remember getting into best.

The Shamen - "Ebeneezer Goode" (coming in at #99)

This song is pure 90's one-hit-wonder bliss in it's most infectious form. I was fascinated by it's weird "noorrrty noorrrty, verrrrrrrrrry norrrrrrrrrrrrtty" intro, random laughter, and sped up cockney lyrics, in that way that you don't really LIKE something but just can't help listening to it. It belongs firmly in the 90's but enjoys being rehashed by Triple J on the odd occasion. 


Inner Circle - "Sweat (A La La La La Long)" (#94)

I remember attempting to choreograph this song with my grade 2 school friends in the playground. We all loved it's silly a-lalala-long lyrics and made impressions of the lead singer's reggae voice, and all the while not realizing that were were singing about a guy wanting to basically rape a lady. It is also a terrible song.

Green Jelly - "Three Little Pigs" (#85)

I also have Rage to thank for my exposure of music of course, without which I would not have seen this fantastically novel video. This song was perfect for an innocent seven year old who had just had The True Story of the Three Little Pigs read to her by her teacher. Bastardized fairy tales were a bit of a thing for a while.
 

Culture Beat - Mr Vain (#68) 

I think I actually had to warm up to this song in jazz dance class, or at least watch another group do it. Ok, lets be real, the early nineties had some doozies, and this was one of them. But that was 90's dance for you and we've all progressed since then. In the meantime, I am doing some mad Night at the Roxbury-esque head pops right now. 

Utah Saints - "Something Good" (#66)

This song is bloody amazing, so much so that they remixed and re-released it in 2008. Not really necessary, but at least it reminded people that the song existed and was ah, something very good (lulz) for its time. I have a memory of doing a dance in the garden to this song. 

Faith No More - "Easy" (#62)

My first exposure to transvestism was thanks to this video clip. Of course I just thought it was silly and funny, and there was nothing that a young girl should worry about, so I'm glad for my naivety. This song is played to death now, but it was always quite a solid one.

Ween - "Push Th' Lil Daisies" (#40)

My mum hated this song, and I couldn't really figure out why. It was catchy and the singer had a cute little boy voice and the film clip was weird... I had no idea what he was singing about so I assumed it was something rude and that's why mum didn't like it. Which it's not... right??? R.I.P. Ween, I miss you.

Salt-N-Pepa - "Shoop" (#35)

This song was on all the bloody time. I probably asked "What does shoop mean" enough to drive my parents nuts. I thought the middle girl's hair was pretty cool. That's all my thoughts on this song. 


Ace of Base - "All That She Wants" (#29)

I remember singing this song with Dad a little later on when mum was pregnant with my little sister. That all my mum wanted was another bab-eh was debatable... just kidding, love you Maz! Anyway I completely adored this song, along with "The Sign". I wanted to dress like those swedish girls and light candles and brood.

4 Non Blondes - "What's Up" (#24)

I utterly HATED this song when it came out, and it remains as one of my least favourite songs of all time. SO annoying. What was she trying to achieve with that fucking hat and goggles, seriously? Do you have to be so badly 90's, lady? Can you please have a better voice? Also please get out of my head whenever I think of you?! Sheeeeesh. 


The Cruel Sea- "Black Stick" (#21)

My parents got this album around this time, and played it to smithereens. Once, many years later, an American exchange student was staying with a family friend and we took her out to some of the more interesting parts of Brisbane, and my mum put this on in the car. Probably the most Australian music you could play to a US dweller, I was kind of embarrassed at the time but was also reminded of what a great album this is. 

Pet Shop Boys - "Go West" (#18)

Another shit 90's song that I loved to pieces. I had a brief Pet Shop Boys love affair as a super youngster, but so did the rest of the world at the time. I'll assume, anyway. This is an awful song. Enjoy. 


REM - "Everybody Hurts" (#11)

My uncle was a huge REM fanatic and also helped me along my musical journey. The film clip was on all the time and I remember laughing at the captions in it. It also became one of the first songs I learnt on guitar. The album was another one my parents flogged a bit too, and I remember being frightened of "New Orleans Instrumental No. 1". I thought it sounded like aliens. 

Blind Melon - "No Rain" (#4)

One of those songs that was impossible to miss, and all my easy listening loving friends would still harp on it about a decade later. I don't know how popular it would have been without that film clip (Blogger won't let me post you the clip here for some reason). I really identified with that kid, man. 

Radiohead - "Creep" (#2) 

Duh. If you didn't hear this song at the time then you were without hearing. It seemed dark and not very nice and there was a swear in it (depending on where you were hearing it) and I didn't really think much of it, but I remember wondering why the man was so down about himself. I did think he was a bit creepy myself. NOW LOOK AT ME. 

For the complete list, click here. See you in a few days with the best of 1993... In the meantime, comment with your best memories of 92, if you wish! 

Oh my Blog! 2012 is Over!

Well, this is awkward.

It's been a ridiculously busy year of lots of things happening, since August 2012 at least when I last spoke to the internets world. I thought I'd have a few spare moments to blog while on the christmas holiday break, but   it was over in a flash and I've only just had the chance to sit down now, after I've been back at work for 3 days already. And so much has happened! Which means I've had some re-assessing to do as to the future of this blog, for if I'm going to let it go for 4 months then I need to find some way to do better. It may just turn into a blog for lots of general stuff... I may blog about gigs, albums, movies, books, things that are on my mind grapes, TV shows, dinner and drinking destinations, sports (ahahahah oh god no, that's not going to happen), politics (watch out Campby), health, psychology. Or it may stay the way it is! Who knows! It's like a kinder surprise!

Nonetheless, I do want to do a round up of all the gigs I went to after my Campbell rant, and also pay very special attention to Radiohead's two (2) shows I went to on their australia tour, because they could literally be the best live show in the universe and best band in the history of the universe. I am kidding, but only half. 

For now though, I thought I'd let you know what my favourite albums and songs were of 2012. 2012 was a pretty shit year for music if you ask me, with not many real standouts that wowed everyone, and lots of established bands having to attempt to top their last awesome release. Not a lot grabbed me and as a result, this is a rather mediocre list. I don't even know if I'm going to vote for the Triple J Hottest 100 yet!! Considering I've managed to vote every year since I was like, 12, this is significant stuff in the life of Steph. 

Ok so here goes. In no particular order 'cause I can't pick a number 1:

Tame Impala's "Lonerism" was a hit for pretty much everyone- Triple J, 4ZZZ, Nova, Pitchfork, my family, every man and his bloomin' dog. For great reason: it's a flowing tapestry of awesome, and very quickly addictive. Their sophomore release does not change up much from their debut, their 70's psychadelic summery sound is all over the thing, but it really seems to work for them. Tame Impala just know how to create continuous catch, even while everything sounds a bit the same. A perfectly timed summer album, solidifying Tame Impala as one of Australia's internationally respected wonder-bands (and one I like a lot to boot). Also if I were to get high, I would get high to "Feels Like We Only Go Backwards", immediately.

Grizzly Bear's "Shields" had a lot to live up to, as 2009's "Veckatimest" was made love to over and over again by critics and music fans alike. Luckily, it's pretty amazing. It took a bit to grow on me, as it's lush instrumentation ebbing and flowing requires attention to process, but once I had the focus, it stood out as an exquisite album. I got to see them at Harvest Festival this year (my 3rd time seeing them omg glooooat) and the songs were beautifully translated live onstage, making me appreciate this album a little more. I'm glad this album could show they weren't just a hipster flavour of the month and actually have so much more to offer the music world.

Oh look, speaking of hipster flavour of the.... lifetime of Pitchfork, here comes Animal Collective, with "Centipede Hz". Universally recognised as perhaps the worst album cover of the year, the album inside it is a rollercoaster of colour and texture, highs, lows and awkward messes, like most AC albums are... It doesn't have quite the pop value (and new-fan-creating abilities) of 2009's "Merriweather Post Pavillion", and does have a few slightly-almost-skippable moments bordering on annoying. However, there is some fantastic stuff on the album, and a couple of new favourite songs that sound a bit more like band member Panda Bear's solo stuff (and one of which: "New Town Burnout", was written for his last solo album, so go figure), as well as their leading single "Today's Supernatural". 

Actually not called "Huh?", but "Sweet Heart, Sweet Light"... This album by Spiritualized is only the second I own as a relatively newer fan, and so I only have "Ladies and Gentlemen We Are Floating In Space" to compare it to (which is close to a perfect album). This album does have a very similar feel to that one however, and I found it very easy to love for that reason. Opening single "Hey Jane" is a killer, and hooked me in completely, one of my favourite songs of the year. Similar to "Ladies and Gentleman" the album hovers between grinding, lazy rock anthems, and sweet, loving melancholic ballads, culminating in bittersweet "So Long You Pretty Thing". Frontman Jason Pierce/Spaceman's voice seems lazier and with less effort on each song, but it's kind of the singing that works for the album, and as a result, I have come back to it a lot this year.

Grimes' "Visions" is also another very well played album for me. It was very difficult to ignore the melodically pleasurable singles "Oblivion" and "Genesis" from this album, which is the third in Grimes' catalogue, but the first to make such an impact on the music world. Particularly teenage girls who have suddenly developed blunt fringes, pony-tailed hair and bindies on their foreheads, coincidentally similar to Grimes' 24 year old mastermind Claire Boucher. The album is full of dark, dirty electropop with Claire's pixie-mated-with-a-chipmunk voice spilling over the top of it, and caused me to launch into impromptu dance in the kitchen many times. 

I really like Spoon, a lot... but here's a secret, I never got the whole Wolf Parade obsession quite as much as everyone else. Luckily, both bands collaborated, and created Divine Fits, made an album called "A Thing Called Divine Fits", and I like it a lot. It combines the passionate, catchy pop of Spoon with the darker, complex indie rock dimensions of Wolf Parade, to create a very nice selection of songs, highlights being the radio friendly "What Gets You Alone" and "My Love is Real". The only downside is a completely unnecessary cover of one of my favourite songs ever written, Rowland S. Howard's "Shivers". Nothing is added to it and I don't understand why they needed a cover song in there at all, they were doing quite fine without it! But nonetheless, you should hear this album anyway. 

I've only been a casual fan of Santigold (or The Artist Formerly Known As Santogold), and recently downloaded this album, "Master of My Make Believe" after being very impressed by her performance at Harvest Festival this year. Santigold has that kind of gruff, in your face yell-voice that Nicki Minaj is even worse at, and for that reason I kind of need breaks in between Santigold listens, and have to be in THAT kind of mood. This album seemed to get me at the right times as I found it quite refreshingly appealing in it's upbeat, heaving progression from beginning (Karen O howls in "Go!") to end (tribal mayhem with "Big Mouth"). I think what I was looking for this year was music with a great hook, and a lot of songs fit that description here. 

Well that's all! Just 7 albums! Notable mentions (i.e. Albums I've heard a few times and enjoyed but not enough to rate yet), include: 

Frank Ocean - Channel Orange, 

Alt J- An Awesome Wave 

M. Ward - A Wasteland Companion, and 

David Byrne & St Vincent - Love This Giant. 

On that last one, I just love the album cover, and must show you for this reason.. It's just so WEIRD and bizarre like they are. Look at it! The chins! The cheekbones! The expressions! David! Sigh. 

And finally, my top 10 songs of this year. With youtube video!

1. Frank Ocean - Super Rich Kidz

It sounds like Benny and the Jets and it won't get out of my head. 

2. Spiritualized- Hey Jane

So good while driving. Try it! (p.s. this film clip is messed uuuuuuuuup.)

3. Grimes - Genesis and/or Oblivion

They're both interchangeable in their similar awesomeness, I can't pick which I like best.

4. Alt J- Breezeblocks

I'm confident this is an opinion shared by many others and it will be in the top 10 of the hottest 100. If not there is no justice and I give up on everything. 

5. Grizzly Bear- Sun In Your Eyes

Epic, beautiful, explosive, and the perfect closer of their album.

6. Beach House - Lazuli

Very "Beach House" and very pretty and addictive. 

7. Tame Impala - Apocalypse Dreams

Also good while driving! I dare you.

8. Dirty Projectors - Gun Has No Trigger 

A band I should listen to more of. A subtle, foreboding song that has snuck in and haunted my subconcious

9. Santigold - Disparate Youth 

Just listening to it now makes me want to dance with a deadpan expression on my face

10. Animal Collective - New Town Burnout

I love the passion in Panda Bear's voice, even though he's not really singing about anything. 

Special mention to Ben Folds Five- Michael Praytor, Five Years Later, for not being shit.

Well that's all for now bitches! I am so glad to have done this finally and I hope to do more soon. I can count on you guys to prod me if I slack off again. THANKYOU FOR READING! SLACKER OUT!

Prince, Friday 18th May, Brisbane Entertainment Centre

above: probable reason why i didn't really get into prince when i was a teenager.

Prince is someone I only ever dabbled briefly in until last year, partly thanks to Dropbox (always thanks to Dropbox) and a very cheap Purple Rain cd at JB. It hasn't taken long for me to become a fan, the fan I never knew I could be. It would have been sooner had my parents ever played Prince when I was growing up, and mum could have also ended up with a ticket as well. But they DIDN'T, so I'm now one up on my parents... suckers!


Prince's tour was announced about a month before the show, leading to frantic ticket buying and yet another artist making me poor for a week, and I ended up with gold seated tickets (thx gig buddy!). The good part about a big ego musician annoyingly announcing a tour at the very last minute is that there is very little waiting to occur prior to the gig, and also meant I had 4 weeks to get familiar with as much Prince as possible. I think I did pretty well though, and in fact 'Purple Rain' has become not only a favourite so-bad-it's-good film but favorite all time album. Anyway, to the show! It was always going to be shit at the Entertainment Centre (BEC for short) but this nights show was really no exception. The parking was of course horrendous (and I still don't understand why they charge for crappy parking which isn't used at any other time) and we just made it in time for the show to start.


To start with, we were greeted with a man playing an amazingly intricate composition on classical guitar in the centre of the stage. At this point the huge video screens that were set up above the love symbol stage displayed him in pristine clarity. Then, as the guitarist switched his tune to an acoustic "Purple Rain", we noticed a hooded figure stand up at the end of the love symbol arrow and walk toward the guitarist, kneeling before him as he played, his hood leaving a long train behind him. Before our eyes, they both miraculously and gracefully disappeared underneath the stage. Where they go!? 

Not long after, the band appeared and began to play an energetic song I'd not heard (Thunderstorms??), and the music finally hit the audience with excitement racing. Prince was nowhere to be seen, until suddenly, we heard him singing and there he was, just out of nowhere, no fancy entry or anything. After such an elaborate introduction, this was not very Princey! They put on an excellent opener and then moved on from number to explosive number, not before Prince announced to the crowd.... "Hi Brisbane. I am here. Where are you." Yes, sir, you have achieved god-like status and it is well earned and accepted. Aaaaaand you know it. 


The songs were thick fast and absolutely brilliant, Prince sounding as good as he ever did, with back up singers supporting him with warmth, energy, and all sorts of interesting haircuts. I wasn't recognising much to start with, but as soon as soon as the words "Dearly Beloved.." were spoken, the audience went, well, crazy, along with me, masking his half said intro. Halfway through this superb live translation of "Lets Go Crazy", the band went brilliantly into "Delirious" and then effortlessly came back to finish off the initial song. "1999" soon followed, sadly concluding all of his songs off the title album. At this point one of my gig buddies said "THIS RIGHT HERE IS MY DREAM!", and it really was that kind of moment- hearing such a phenomenal signature song played and sang in the flesh by Prince himself in all it's ecstatic glory; it couldn't get much better than that. 

above: a medley of shitty instagram photos because prince wouldn't let me bring my camera. I 4give U tho P

After a couple more with the band, Prince went over to his piano, which had been set up with prerecorded backing tracks. He sat down and commenced a medley of bits and pieces of some of his best and most popular songs. "When Doves Cry", "Sign O the Times", "Hot Thing" and "Housequake" were included in this quick mix, as well as about five seconds of "Darling Nikki" until he stopped to say "I can't play thayat!". While it was nice to have just Prince playing around with us (hehehe), I couldn't help but feel cheated that we didn't get a big band rendition of some of my favourite songs. I also don't particularly like when artists get lazy and allow the audience to sing the chorus for them. Which he did. A fair bit. Some audience participation harmonies are fun, but I don't really pay stacks of money to hear a bunch of my neighbours yelling out a favorite line, to be honest.  


Luckily, Prince reintroduced the band for more full length songs, including the exceptional "Take Me With U", "Raspberry Beret", "Cream" (hey that's right! that song exists!), and even a Michael Jackson cover ("Don't Stop Til You Get Enough"). 

I couldn't wait any longer to use this bathroom and unfortunately left just as he took to the piano again and used its real keys to play some solo versions of songs. I missed "The Beautiful Ones", which I could hear from the bathroom stall and sounded lovely, but stopped short.  As promised, Prince finished on an extra long version of "Purple Rain" which lasted 16 minutes (not the predicted 19, how sad). He introduced it by getting the audience to start singing the 'oohs', which was difficult and high and I felt like a dickhead even trying. This didn't matter, as everyone else tried, and after a fair few minutes of broken audience voices, he lead us into the actual song. It was everything I wanted it to be, epic, tear jerking, harmonies crossing and Prince howling, huge bass drums, and a wonderfully drawn out finale. I just wish he did that one awesome riff towards the end of the song but you really just can't please me completely.

A couple of short encores followed, one involving a cover of "Everyday People" by Sly and the Family Stone, and the final encore being "Kiss". During his final moment, Prince let it all out, getting his super groove on. "Kiss" was the sexiest song of the mix he would allow, and he let himself be taken over with the song's sexiness. He was even lit up in a single spotlight ala his "rival" Michael Jackson, but instead of moonwalking, he finished on this ridiculously awesome (and, I'm going to say, better) butt thrusting dance, which momentarily made you forget he's probably well over 50. 
I have a feeling our encores were cut short, as that was that. True to BEC style, after the lights faded up we were snapped back to reality, reminding we weren't in 1984 glam city, we were in a poorly maintained, 90's built stadium building. 
I have to mention some criticisms here (other than those I've already mentioned). Firstly, the electronics were shocking. The lightshow was fun, but the spotlight was rarely on Prince and the video display (which had so much promise when the intro guitarist was playing), would either not be displaying Prince at all or have him half in shot. Sometimes it wasn't showing ANYTHING, just total darkness. I'm not sure if this was Prince's decision to avoid being photographed (I had to ditch my camera for this reason, and hence had to go back on Sunday to retrieve it, forgetting I'd done so) or BEC requiring some better cameramen (if that was the case, I could recommend about 10 right now). What a waste of technology. Secondly, as per normal BEC events, the sound could have been way, way better, and naturally was not. I need to just have a disclaimer before every BEC show to prevent the usual whinge..  oh GOD I really hope something changes for Radiohead in November. 



Despite its flaws, Prince was a lot of money well spent, and I regret snapping up a ticket for the next weekend, as well as being too tired /lazy/ movingoutthenextday to catch his magnificent after party shows at the HiFi and also at... um... Eaton's Hill. Someone better have shown Prince where the better parties are at while he was here.


A lot of whingeing, but a solid, memorable show, helping to escalate my newfound fandom. 8 phallic guitars out of 10. 

A short and sweet Elbow Review: Saturday, 24th March 2012, The Tivoli.

I want to just briefly post about my last Elbow gig in March, as I've already reviewed them, and this performance was essentially song-for-song identical as the Enmore gig I first reviewed. Regardless, there are things to be said about this performance, and while I'm in danger of sounding like an obsessed and crazed band groupie, I have to tell you how good they were. 
I only caught the tail end of Bombay Bicycle Club, as gig buddy and I decided that the jazz band at Black Bear Lodge were good enough to sit through most of during pre-drinks. A little bit of research tells me they were the Low Down Jazz Quintet. They were really quite entertaining and their smooth sounds, coupled with the rustic feel of Black Bear, with corner tables and real candles, overlooking a bustling city, made me feel like I was in some 1950's lounge bar in New York. I also now want to be the singer of a jazz band. 

Anyway, Elbow. Oh Elbow. I was really excited to see them for the third time, and despite not trailing off the same setlist as last year's, they did not disappoint in the slightest. Frontman Guy Garvey was all charm as usual, perhaps telling the same stories as usual but with fresh spark and excitement to be there, and keeping us all amused. He also gave annoying hecklers (we heard you yell 'MANCHESTERRRR!' the first time) what for, not being afraid to tell them to shut the hell up. 
The weird thing about me and Elbow is I actually dearly love their earlier albums (especially 'Asleep In the Back', one of my favourite albums of all time), over their newer ones, while I do love them also. Over the past few years, none of these songs are touched on in favour of Mercury prize winning 'Seldom Seen Kid', and latest 'Build a Rocket Boys'. Remember, I love these albums as well, both are stunning pieces of work, they just lack the darker, more mysteriously complex and brooding side of Elbow that their first ones contain. Basically, Elbow are much happier lads these days and it shows. But what really helped me have the  ultimate best time at this concert, was that I am a much happier lady these days, and I can actually relate to the jovial, schmaltzier stuff that they are all about in their live show. It's of course not all love stories and 'today is grand!' moments, and those sweetly melancholic songs they go back to e.g. "The Night Will Always Win", and "Puncture Repair", are enough to bring a little moisture to the eyes. So ending on the uplifting "One Day Like This", is a necessary move, because it ensures their audience leaves with an ultimate high and smile on their face, and that they reflect on the night as a performance to remember.
I haven't even mentioned how GOOD the band is, how precise and delicate and moving their musical performance is, and how fucking emotive and delighting Guy's voice is. It's this, combined with their obvious love of performing, which completely gets me, and even if I'd probably die of joy if they played "Newborn" or "Asleep in the Back" from their debut, I'm still enamoured by their performance every damn time. They're not hip hop or indie rock or ambient-electronic aficionados go-to band by any means, but dammit they're probably the best live band I've ever seen and should be rewarded as such.
Anyway, here are some piccies!

'Mirrorball'. Schmaltz.

oh heavens.

'Weather to Fly'. Still much better than on record.

probably some audience participation bizo or whatev

If you love Australia so much why don't you marry it.

9... and a half... armpits out of 10. 

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.)