...And You Will Know Us By The Trail of Dead, Hi Fi Bar, Friday 9th September 2011

I'm not quite sure what it is about Austin TX band ...And You Will Know Us By The Trail of Dead that first caught my attention or that kept my attention, even after they went through a proper awful period. And when I look at it, they are the heaviest and most prog-rock band I have got into from this modern era, and likely to remain the only. Blaring ghastly distortion, screeching shouts of repetitive "fuck you"s and the like, thundering drums, lyrics of existential desolation, apocalyptic premonitions and all sorts of negative shit, the many intense earsplitting guitar solos, and superficially speaking, the ludicrous medieval fantasy-esque titles and album art, all mean really I should not love this band as much as I do. But I do very much do.

If you ask me, what sets Trail of Dead apart is the fact they are actually very creative and fabulous tunemakers. Where metal-heads get their kicks from metal bands I've never heard of, I get my similar kicks from Trail of Dead. When it's time to rock the heck out and fuck the world, it's time to listen to Trail of Dead. Except 'So Divided', please do not put this album on thank you. While Trail of Dead built up a pretty steady fan base from their self titled to their 4th and arguably most commercial (and what won me over) 'Worlds Apart', they almost lost it with their disjointed, cringeworthy failure of their fifth, which was insult to themselves and said fanbase. Luckily they dusted themselves off and tried again with 'The Century of Self', a great improvement, and now with 'Tao of The Dead', which has them back on very solid footing, and even frontman Conrad Keely has decided it is his favourite. Not mine, but it is a very good album.

Anyway, Saturday night was the second time I'd seen them, after a pretty great set in 2009, this time at a bigger venue than the Zoo... and, because not a lot of people care about this band, it was not even close to sold out. It felt a bit weird standing in a very small mosh amongst a lot of nerdy hardcore males, when it is probably the most mosh-y band I will see this year or ever. Oh well!

The set began with the opening overture from 'World's Apart' ("ISIS! HORUS! RA! SETH! ISIS! HORUS! RA! SETH!" and a pretty haphazard entrance from the band, which Conrad acknowledged with the opening words "That was supposed to be much cooler". They would have redeemed themselves with the next track off that album, but instead they launched straight into 'part 2' of their new one, containing of over 15 minutes of continuous, soaring melody and layered guitar. They continued the new album theme with a selection from 'part 1', including the haunting and pleasantly melodic combination of "Spiral Jetty" and "Weight of the Sun", and ending on radio-friendly "Ebb Away" and its ridiculous outro, "The Fairlight Pendant".

This nifty little selection from 'Tao of the Dead' was a great way to showcase their new stuff, in a way that supported the album's concept, as on record each song flows seamlessly to the next. I had wondered how they could do that successfully and congrats to them for doing so, helped by playing fantastically tight, with absolute energy and effortlessness. It even sounded like Conrad's voice has improved on 2009's concert, as while live he's often partial to a few awkward missing-the-mark moments, there were few if any of those tonight. (Was it my imagination or was he looking fitter too...?)

just a tad?

In the same way, the new album medley opened up the rest of the set for what would get the crowd raging, classic Trail of Dead highlights. First, "Will You Smile Again For Me", which just, sorry, fucking ruled, and then "Caterwaul", which also, sorry, fucking ruled. "How Near, How Far" and "Another Morning Stoner" also made it in, causing the tiny mosh to swell and feel like a big mosh. There was a moment where during my own excited jumping spell, I pushed a few overexcited younguns off me only to turn around and find there was what looked like a meter between me and the rest of the crowd. Surprisingly, they played "Clair de Lune", a slow burner and personal favourite, which disappointingly didn't really fit in with the rest of the set and felt a little awkward and lacklustre. Luckily, it was all forgotten by "Richter Scale Madness", the electric standout from their first album, reminding us all what Trail of Dead came here to do, make lots of noise that make people go crazy.

They left it here and went off stage, to never return for an encore. However I was pretty satisfied. While I would have loved to hear more, the whole experience displayed a band that appear to have come out of their various hiccups over the years, to find themselves in a place where they have always wanted to be, and are happy to remain. While I never saw them in their early years, the grit and raw energy of their early albums appears to be back in full swing, and it was all there in this show (there was not a whisper from 'So Divided' or 'Century of Self'). The band looked happy, proud, and like they were enjoying themselves and liked where things were going. If Trail of Dead never release another album or do another tour, it would be okay, as they would have made their final mark on the world (and in Australia), a fantastic one, true to themselves and their legacy. And thanks to this gig, they have now surpassed David Bowie and taken the no. 2 spot on my Last.fm chart, goddammit. Good work boyz.

8 1/2 black moptop haircuts out of 10.

ELBOW, The Enmore Theatre, Sydney, 29th of July 2011

THIS REVIEW BROUGHT TO YOU BY EMBEDDED YOUTUBE LINKS!!!! CLICKY!!!!!!!!

The second show on my Sydney agenda last week was Elbow, the likely lads from Manchester. Elbow had been enjoyed slightly passively by contemporary rock audiences, but became much beloved after their Mercury Prize winning album 'The Seldom Seen Kid' was released in 2008. They toured Australia in 2009 on the back of that gem, and their Brisbane Tivoli show is permanently etched in my mind as one of my top 10 live concert experiences (full list TBA). So naturally, I was determined to see them at the Enmore, coincidentally just around the corner from some dear friends of mine who were equally as keen. Perfect!

The Enmore pretty quickly reminded me of the Tivoli in its set up and vibe, however the back half of the GA area had an awkward slanted floor, which could be avoided depending on how avid a fan you were. There was also a mini bar at the right of the stage for a few refreshments which I thought was nifty if you didn't want to go too far to get more drinks! (No wine though, sadface.) We settled in a good, flat position, only just missing out on the support act Matt Corby. Sorry Matt Corby.

Hey Guy Garvey!

Frontman Guy Garvey and band arrived (Drummer Richard Jupp, brothers Mark and Craig Potter on guitar and keyboard respectively, and Pete Turner on bass), and opened with the powerful droning beats of "The Birds", the opener of this years album 'Build a Rocket Boys!'. The song is pounding, evolving, and enlightening with a hint of mystery, and as it built up onstage supported by the grating yet delightful howl of Guy's vocals, I remembered why Elbow's live performance is so high up the list for me. The song is good on the album, it's quite great really; but absolutely nothing beat this live version of it. They took a great song and turned it into an amazing layered journey of heartfelt emotion.

It was all up from there, as they continued with "The Bones of You", a standout from 'Seldom Seen Kid'. It prompted one of those heart-in-throat dance-like-a-knob-head moments from yours truly, which continued for all perfect 5+minutes of the song. As they did at the Tivoli, the mirror ball was on for of course, "Mirrorball", performed effortlessly and prettily, thanks in part to Craig's beautiful keyboard playing.

Pete and Richard, Guy's friend in need*

The 'Seldom Seen Kid' tracks continued with crowd pleaser "Grounds for Divorce" and mournful "The Loneliness of a Tower Crane Driver", complete with violinists, with its peak moment at the completion of the second verse exploding with emotion and loss. It almost.. ALMOST... reached the musically orgasmic moment in this Abbey Rd studios performance (and in that they had the BBC Concert Orchestra and London Choir for help). That is how good a live band they are peeps.

Those album tracks were broken only by more 'Build A Rocket Boys' songs and a brief selection from 2005's 'Leaders of the Free World', the only Elbow album I don't have. One of these was "Puncture Repair*" which was introduced at length by Guy who decided to tell us the story behind it. While Richard was away from his drums momentarily, Guy explained how he (Guy) was going through an awful breakup and really needed to talk to someone at a ridiculous time in the morning, when he called Richard, who came and listened and made him feel good and fed and watered him and sent him on his way. He then instructed us to cheer on Richard as a surprise when he came onstage again, whom had actually heard the whole thing. Naww, chums. Luckily it was a very simple and sweet song to boot, otherwise it would all have been a bit weird.er.

Guy's onstage banter continued throughout the show; his charm and charisma is akin to that of a more suave and less idiotic David Brent, in his manner and jokings. He quite clearly exudes an air of self confidence finely bordering on arrogance, which is broken from time to time as he jokes at his own expense, displaying that he really doesn't take himself (or the band) too seriously as other bands of their caliber can dangerously do. While replicating "Weather to Fly", a completely missable song on the album, but an absolute wonder to hear live (thanks also to a live-only acoustic intro as done at the 2009 show), Guy's voice broke a little trying to hit the high notes. Instead of trying to pretend it didn't happen, he laughed and remarked "I really should write songs I can actually sing", and luckily got there in the end. I should mention that before this song, Guy announced that it was their 20th year as a band, and the whole group toasted with a drink to mark the achievement. Twenty years! I had no idea. It's not as easy as you'd expect to find many bands going that long and not only still recording, but still recording amazing, critically lauded material as they are now.

Guy also loves to manipulate the audience at his will and kept asking us to show him our fingers (aka spirit fingers), and also chat and sing with him. At one point he challenged members of the audience to come up with a classic, well loved song that everyone would know. He went from audience member to member, telling hollerers to shut up, until he agreed on "Hallelujah". But that was it, no quip about it or cover of the song or anything. Cheeky bastard.

They finished pre-encore with "Open Arms" an appropriately anthemic ending to their set. As I half suspected, the encore first included "Starlings", in which the band all brought out brass instruments designed only for this song, to play mostly one note. But of course, completely necessary. They also had Australian flags coming off the trumpets which you can't see in this picture.

They finished with "One Day Like This" a power ballad of sorts, used by the BBC for the Olympic games according to a few concertgoers (Confirmed by Wikipedia! Wikipedia also notes that Elbow, which I once used to call the intelligent person's Coldplay, OPENED for Coldplay on their 2009 US tour. k.wtfever.). It was a perfect finish. Tears in eyes, hands clasped tightly together, smiles all round.

The only only thing that is a pretty big thing IMH (in my head) but probably not an uncommon or significant thing in general, is that, they did not play anything pre- 'Leaders of the Free World'. That is, there was nothing from their 2001 debut 'Asleep in the Back', which is my personal favourite and an absolute masterpiece if you ask me in my opinion, or the also excellent 'Cast of Thousands' from 2003. I can forgive them, as they did play a few from these on their 2009 tour, including "Any Day Now" and "New Born" (the album version...ahhhh) which both brought me to sniffles due to being of course hauntingly beautiful, so I still have that very good memory. It would have been really amazing to hear them again though. But I can't ask for the world, so I shall forgive them.

And I think Elbow forgive me for being a little disappointed about that. They may not forgive me for once calling them the intelligent person's Coldplay though... fuck they are so much better in every way than Coldplay. No offense to anyone who likes Coldplay.

p.s. I think Guy Garvey is one of the few people in the world who actually looks better with a bit of chubba on him. Here in this Newborn clip he just looks odd.

NINE OUT OF TEN UK FLAGS! EVERYONE LISTEN TO ELBOW RIGHT NOW. I HAVE EVEN MADE IT EASY FOR YOU.

PULP. Hordern Pavilion, Sydney, 27th July 2011

A few years ago if you were to ask me which bands I really wanted to see before I died, Pulp would probably have not made the list. Not that I didn't enjoy their music at that point but I really wouldn't have expected them to regroup for a tour, so the thought would not have occurred to me. Enter the SPLENDOUR lineup for this year, and that was all I could think about for a good solid week. PULP? REALLY? HECK YES I WILL. I'M THERE. THEY'RE MY FAVOURITE!

Uuuunfortunately $550 off the bat is hard to come by, and I had to compromise on a ticket where they were the biggest drawcard. Luckily, a sideshow at the Hordern Pavilion was a good excuse to catch up with some Sydney friends, as well as get a better show than Splendour could have allowed. Everyone wins! Except that I didn't get to see Kanye's ballerinas. Ah well.

I had hyped up this show for months in my head, and couldn't wait to hear some of my favourite songs sung by the legendary Jarvis Cocker in the flesh. There was no way it could be a let down. The Hordern was brimming with loads of patrons my age and younger (which surprised some, as Pulp's heyday was when I was about 12), and was a pretty decent venue for something called a pavilion- much more laid back, easy to access and much better set out than the Brisbane Ent Centre or QPAC.

Local act Belles Will Ring came on as support, and were an appropriate and entertaining choice, bringing some gritty sixties pop sounds to the stage. They had a slightly Shin's style, but with extremely catchy guitar driven licks, rather than a lyrical focus. With hand-claps and a Zooey Deschanel stand-in with not much more than a tambourine, their songs were upbeat and had a slight surfey vibe combined with some wonderful harmonies. The five piece appeared no stranger to live performance, and played very tightly as a group, both guitarists feeding off each other with each change of pace. Either I recognised a few of the songs or they were the type of tunes I could easily get stuck in my brain.

Despite my keeness for Pulp, I was happy to hear more and I am keen to check out their catalogue. But OMG THEY FINISHED IS IT PULP TIME YET?!

As I waited with the crowd (only one person from the front, HUZZAH), in immense anticipation, a screen hiding the unlit P U L P neon signs began to sport some green lasers projected on to them, forming words asking us questions such as "WELL, ARE YOU READY?" "DO YOU WANT TO GO OUT WITH ME? OKAY, MEET ME AT THE BAR" "DO YOU REMEMBER THE FIRST TIME?" and "WOULD YOU LIKE TO SEE A DOLPHIN?".... dolphin cartoon ensuing. The questions were mostly met with excitable cheering and were a nice little intro to the set... but by the last one I was a bit over the novelty and just wanted to see the band come on.

Soon, as promised, the opening chords of "Do You Remember The First Time" began, and the neon sign lit up behind the screen. As the music built up, the screen awkwardly fell down (I assume it was to come down at the beginning of the first chorus in one easy swoop! But life.) revealing Jarvis, Russell, Mark, Nick, Steve and Candida in all their glory. Large band.

As expected, I could not fault the performance of one of their best songs... They immediately sounded amazing, guitars echoing and drums pumping better than on record, and Jarvis crooning like he was still anticipating the year 2000. After a fantastic opener, Jarvis had a little chat with us about the weather, and on they went again. Not only did the frontman add a healthy bit of banter in between each song, but it was exceptionally difficult to tear your eyes off him during each song.

watch that maaannnnn

He was so involved with every word, every syllable, and every beat with full energy, bending and shaping hisbody in time with the music like it was his life force. At the end of a few of the songs, he seemed to dramatically collpse in a heap; as if putting so much energy into each movement was completely exhausting. Despite this tiring, his humour and charm did not fade a second. He is one of those fantastic frontmen, who despite his 50+ age (to the shock of some concertgoers), has you in the palm of his hand, totally wanting to succumb to his in your face sex appeal. All he had to do was take off his jacket and tie to get the ladies screaming, which he found quite amusing.

Ladies, please.

With help from the exceptional guitarists, synth, and strings at some lucky moments, he painted a complete picture during each song, drawing you into the stories, moods and emotions... During "F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E." he took you right there to the core of that awful but awesome feeling (called love), climbing up on the stage during the appropriate verse (see pic below), and jumping up and down like the world has rightly gone mad during the explosive chorus. I was soooo happy to hear "This Is Hardcore", one of my favourites, and Jarvis and the band took you through those dark dirty fantasies as portrayed in the lyrics so that by the end of the song you feel like you've gone through it, leaving you a bit rough, overwhelmed, and a little guilty. "Sorted for E's and Whizz" was introduced with Jarvis deciding that their smoke machine was actually pumping out amphetamine gas and we were all about to feel a little strange. During "I Spy", he stepped down to the front audience to shine a green spytorch into the crowd, as he sang to them into the microphone (naw not me.) Afterwards he shared his amusement that one of the ladies he had pointed the torch to could only ask (in a put on ridiculous voice) 'Are you gonna play Babies!? Are you gonna play Babies?! ' which was his introduction to "Babies". Ahhhhhh a definite highlight, and probably my favourite song.

"So what do I do? I've got a sightly sick feeling in my stomach... like I'm standing on top of a very tall building..."

"Common People" was an ultimate crowd pleaser and everyone sang their hearts out (eh, anything could have been going on onstage and they would have been satisfied). But what exactly do you do for an encore? "Like A Friend" and "Live Bed Show" saw us out, with a personal highlight "Misshapes". My fist got a bit pumpy there, sorry audience. I would have liked to hear "Party Hard" as I heard they did in Melbourne, as well as some "Razzmatazz", but really, even the songs I'm not as keen on were absolutely excellent tonight, and those I more passively enjoyed (e.g. "Bad Cover Version" and "Sunrise"), were so much more appreciated after their on stage performance.

Everything about the show was executed with extreme vibrancy. It was more than just a concert, without needing anything more than a fabulous frontman, brilliant musicians, and okay.. a little bit of lighting for effect.

Maybe they are only back for the cashies, but they look like they are having the time of their lives and would happily be doing this for free. Jarvis may have always been a skinny odd chap, and getting on in age, but just like Bowie, he still absolutely shines with sex appeal, rockstar presence, and that special x factor you can't quite put your finger on.

It has been a pretty good year so far for international live music, and this one takes the absolute cake. I really don't know how I can fault this performance, but I'll give myself room to move.

9 and a half flung knickers out of 10.

That happened too. No, they weren't mine.

Ball Park Music (with City Riots), Alhambra Lounge, 23rd July, 2011

*DISCLAIMER: Photo-less blog right here. You people do not deserve shitty blurry iphone pictures when I forget my camera at gigs. And for an amateur gig blogger, I should know better than to forget my camera at gigs*

*FOREWORD* Maybe I'm old and getting cranky, but for fucks sake, jumping around in a large circle with your missus so that your bodyparts continue to hit me and everyone else around you, is going to make me hate you so much that the hate will penetrate your skull and cause you neural damage. Just FYI, have a nice day.

Ball Park Music are a Brisbane band making it pretty big in the local and national scene, particularly amongst Triple J's audience (not that I listen to any other station besides it and 4zzz). It's hard to avoid their biggest songs at the moment "Rich People Are Stupid" and "Sad Rude Future Dude", both on high rotation, and both with a catch bordering on TOO infectious.

I checked them out at the Alhambra Lounge a week ago, a place I've never ventured to for live music, but really only dancing (being one of the few non-'r&b' or trance clubs). I was interested to see how the night would play out in this venue. The stage was set up parallel to the usual DJ stage, and I must admit I found it difficult to see anything, and the passage from the door to the toilets became a problem as it was in a prime viewing area. Nonetheless I managed to enjoy the gig, despite the crowd wanker that exists at every concert (see foreword). I got in just in time for most of the Adelaide band City Riots' set (having sadly missed Millions), which was fairly catchy and enjoyably rocky. I will have to listen again to see if any of it really sticks, but myself and the rest of the crowd were pleasantly amused to be treated to a cover of Springsteen's "Dancing in the Dark", as their last song. Apparently someone from Drawn From Bees joined them to play it, so hooray for Brisbane indie crossovers.

Ball Park arrived with a full crowd eager to hear their set. Frontman Sam was quite the enigmatic leader, introducing each song with biting wit. The rest of the band members shared his enthusiasm which made for an xplosive, tight set, energetic and engaging. It's refreshing to see, amongst the 'please take us seriously' indie bands out there, a band that really just wants to let loose and have a bit of fun; are not here to change our perspectives or make us think too hard, but here to entertain, make us dance, and also throw a few sympathetic situations out there we can all relate to easily. In this way, in their lyrics and melodies, they have a slight Custard feel about them. Perhaps Sam Cromack is the new Dave McCormack? Whoah now Steph, lets calm it down a little.

But really, what a local band needs to get places is something to get people to take notice, and Ball Park Music definitely have that with their frontman. The guy even smoked his own moustache in their last video. Sam's vocals are strong and effortless, and not affected a bit while tossing himself into the crowd for a surf on multiple occasions. Gig buddy and I were stunned with his ability to carry a tune and lyric without a hitch despite being snatched and passed between drunken gig venturers.

I have to admit I much more enjoyed the other songs away from their two big hits at the moment; mostly due to overexposure. They had some great quieter moments too, showing that they do have range and it doesn't all have to be in your face grunge pop. And just to mix it up, the band impressed me with their fun cover of "Peaches" by the Presidents of the USA, getting the crowd singing along with laughter. As they closed with "Sad Rude Future Dude", it was extremely hard not to bop and sing along to it, which goes to show, even if you've had enough of something, it can still be enjoyable.

It's probably still early days for Ball Park Music's unleashing onto the world, and it's clear that they have a long career ahead of them, especially if their live show is anything to go by. Their music is nothing new, spectacular or creatively out there, but it's good stuff, and a whole lot of fun, and we need more fun in our lives if you ask me.

7 and a half hair cigarettes out of 10.

Mr Maps, Hazards of Swimming Naked, and Screens, The Zoo, 9th July 2011

Hazards of Swimming Naked

I've spent the last few weeks in a complete Roxy Music/ Brian Eno haze, for two reasons: One, I bought the first two Roxy Music albums (yes, a little late considering I have a review of their concert on this very site), and Two: Just after discovering both of these to be MOTHERFUCKING MASTERPIECES, I finally watched Velvet Goldmine, a film that to me is a sort of parody tribute to Bowie, glam rock, and all that whole time of sexual liberation and glitter. About half the songs in it are Roxy Music or Eno or something else Eno produced (but NO BOWIE- as he refused to put his music to the film, which I think was secretly a blessing). Hence it was a perfectly timed viewing, and a great backdrop to becoming completely obsessed with these songs. I so love feeling completely immersed in something that has been around so ong that there is even more to explore, and I'm very happy to graduate from 'casual fan' to having my life much enriched by Roxy Music music.

Before all this however, I went to the Zoo on a Saturday night to check out a few local bands on a friends' recommendation, Mr Maps, and Hazards of Swimming Naked. I was not familiar with either band nor the whole post-rock genre, so I was keen to hear something a bit out of my usual comfort zone (that wasn't an R&B club) but also a little nervous as to whether I would enjoy it.

Turns out I needn't have worried. Screens opened the Zoo, flanked by synth, guitar, drums, and a few vocalists. The female vocalist of the group had an amazingly haunting voice and style, which complemented the eerie, haunted, almost numetal songs. Her moans hovered over the top of rolling drums and screeching guitars as if a ghost coasting through a warzone. No really. The whole effect was pretty interesting, and while a lot of the songs sounded similar to me without a standout song, I really enjoyed them, particularly during soft build ups to very satisfying hard-ish rock crescendos.

Next was Mr Maps, which involved a cellist, guitar, piano and drums. I compared them a little to Mogwai, the closest I've come to anything so drawn out, instrumental and epic. But really that comparison is unfair, as they were so much more than a band that sounds a bit like another band. Their individual bits and pieces combined to create a mood in each song that surprisingly drew me in, and while it was a style of music I don't normally seek out, I wasn't bored with it and very much entertained. As a whole, the set was very tight, and lovely from start to finish. My only criticism would be a technical one, which is that you could barely hear the cello, which remained just a faint accompaniment in the background.

The music was so interesting without vocals, i wondered what it would be like with some lyric attached. Although I figured it would probably ruin the effect, and take the focus away from the intricate arrangement.

Hazards of Swimming Naked was the last to play, and it appeared that everyone in the audience knew someone in the band. They were also quite excellent; while more drawn out and harder than Mr Maps, they shared that same vibe. I guess that's post rock! I felt similar about Hazards of Swimming Naked as I did with Mr Maps, which also worked together to create amazing sounds and a penetrating dark vibe. I have to admit however that I wasn't quite as drawn in and entertained... I think this was partly as the music was a bit more hard-rock and teetered dangerously on my threshold for that kind of music. Nevertheless I could still appreciate it for what it was and I can definitely see, if that's what floats ones' boat, why it floats. I was pleasantly happy with my enjoyment of all 3 bands, and while I haven't fallen completely in love with post rock, I have become more interested in it as a genre and would see them again (particularly Mr Maps).

I have listened to a bit more Mr Maps since the gig, and I get the feeling that to really appreciate them, you need the live experience. While it's quite intricate music, it easily falls into the background if there is nothing to visually attend to you. This is the way I can sometimes feel about musical acts such as M83 or Panda Bear. I shall keep listening however, because it is very pleasant, and a lot of music I initially dismissed as simply ambient, did begin to stand out to me and engross me later on.

Screens, Mr Maps and Hazards get 7 out of 10 distortion pedals.

Next: all the other reviews I have procrastinated on posting. Stay tuned!

Why You Should Go to Rockinghorse Records This Week!!!!!!!!

Today I was pretty devastated to learn that the record store of all record stores in Brisbane, is on the brink of being closed. Rockinghorse Records has been around for at least 40 years, and is where I always used to find myself whenever I went into the CBD, and still find myself there often these days. If you were ever looking for something a bit obscure, chances are Rockinghorse had it, or could order it for you, and they have always had the best range in genres that you could hope to find in Brisbane. Not only that, if you were after a concert ticket there was a good chance they had it to sell you, not to mention their band shirts, books and dvd’s (many that you wouldn’t find anywhere else). It’s been host to many instore performances, a few I’ve luckily been part of, such as the Sleepy Jackson performance and the Killers instore signing, way back when "Somebody Told Me" was the day’s biggest hit. Rockinghorse is such a good record store, that Brandon Flowers and his fellow band members were still in there browsing hours after their signing, which meant I got to go in and get a proper good photo with them and this guy I was with at the time.

I’ve sold a bunch of my wares there when funds were getting low, and found local artists such as my uncle’s outfit Company Sin there nestled amongst the mainstream. Before a meeting with a girlfriend, on a gift expedition, after uni, a conference, or a lazy lunch, you can often find me there, usually with a mocha frappacino in my hand. … flickin’ through indiiie.

So learning that record sales demise due to online sales has lead to its’ possible closure, is really really upsetting to me. I’d be really motherfucking pissed off if Rockinghorse went the way of Skinny's: Classic iconic record store (my parents have old records with the Skinny’s label still on them) full of wonder and history and unique attributes, gone forever, due to lack of interest (?). How did we get here, when there are three JB HiFi's in the same one inner city mall, and they have to close Rockinghorse?

Well it's pretty clear how, and we all know why. Why would you go into a record shop when you can get all the music you want at home without having to move your buttocks one smidge? Online music sales are now the way music is being distributed, but with the invention of things such as Dropbox, and the remaining traces of the huge free music downloading revolution such as peer to peer networks (e.g. Napster, Kazaa, Bearshare, Limewire... and still kicking on, Soulseek), free music is still a big thing. I have to admit, I am a part of that free music bandwagon, and I think Dropbox is an awesome invention. You can share an album with your friends (of your choice) within minutes, making it a great way to transfer music without having to use a blank cd or USB or anything physical.

However, nothing at all beats the feeling of taking a CD, or record (although I don't own a player to do so), off a shelf, browse it, take it to a counter, bring it home with you, put it on the stereo, listen intently as you stare at the album art, flick through the booklet, read through the lyrics, and put it in your collection, alphabetically, chronologically, autobiographically, however you choose. Nothing in the world can beat that. If I've found something I really like through Dropbox, or any other means, I tend to buy it at some point. I also buy CD's more than I buy clothes, jewelry, some weeks even more than food. It's one of the things I love to do most in the world.

I realized the other day that my children will never come across, nor need to know, what a video is. So I understand, with great bewilderment, that times are changing, and always will be. New mediums will come and be old within years, waiting for the next one to come along to overtake it. And Ipods etc. are great for storing music and taking it with you for long trips, gym sessions and soundtracks to all sorts of situations.

But I think we can all agree that if you're a music lover, you're also a lover of the medium. You love that tactile sensation of putting that needle on the record player, that unique sound of the loop beginning on the vinyl, having that record sleeve in your hand. You love browsing through a shop to find something that will enlighten your senses, and not knowing what to expect by the cover until you load it up in your cd player. You take pride in having a cd/vinyl library of your own at home, to browse through while deciding what to put on that evening, and to display proudly to others what you've spent thousands of dollars and hundreds of hours on to collect.

If our independent record stores disappear, our enjoyment of this medium is also threatened to disappear, in the not so distant future. As the empire of JB Hifi evolves (unless it goes down Borders-style), and threatens to overtake the country, it is up to us to keep the unique and personal stores, that cater more to our local musicians and lifestyle, alive. I'm making a personal choice from now on not to shop at JB HiFi, and I intend to go goddamn CD shopping apeshit crazy at Rockinghorse this week. They're having a 50% off sale, which is more of an excuse to do this, but it's sad that they're losing out on money they perhaps could have kept, had they just simply got the word out that they may be closing. From what facebook suggests, there is a huge community of people who care, and don't want Rockinghorse to go, and that's a great sign of hope. If you're in Brisbane, be one of them too! If you're not in Brisbane, go to your own local independent record store, and do what you can to prevent them from going down the same track. You'll definitely miss them when they're gone.

The inevitable blog post: What's your favourite Australian album?

If you're a listener, you'll notice that radio station Triple j have decided to mix things up this year and do a Hottest 100 Australian albums of all time countdown. I love making lists, I love albums, and fair chunk of the music I love is by Australian artists, so upon hearing this my brain immediately went into excited list making mode. I find it way too hard to keep to myself so I thought I'd share with you those albums that have stuck with me, and would be so chuffed if you could do the same. Also my page looks nicer with a bit of comment action. There are soooo many good ones so this is going to be hard. Oh the difficulty of making a top 10! Oh woe!! Oh my first world problems! F my L!

 1. Avalanches- Since I Left You (2001)

This one is an absolute no brainer, and I'm willing to bet my overseas savings that it will get the number one spot in triple j's countdown (provided the bogans stay away). This one is in every top whatever list, it's not just my no 1 Aussie album but my all time favorite. Every listen is a new experience. Every moment has layer upon layer of complexity and is unique in every way from anything any Australian or international artist has done. I've no information on this but I wouldn't be the first to suggest that this album inspired most of the indie- electronic- dance outfits that are making waves today. It's the definition of a classic, and you don't have to have a preference to any sort of genre it touches on to love it. I'll shut up now because I've ranted enough about it on another entry, but if these rants haven't convinced you to listen to it (if you haven't already), then you're just being stubborn, ya stubborn fool.

 2. Regurgitator- Unit (1997)

With the success of Tu Plang still fresh in their minds, when Unit came out, the various musical industry institutions had a field day. I was loving it, and in my 12 year old head, had decided that the best thing to ever exist and that ever would exist was Regurgitator, and that Quan Yeomans was of course going to marry me when I also became a rock star. While I was not old enough to actually purchase this album, having an R rated sticker firmly over the simple yet award winning cover, I did get a friend to tape my favourites off it (I don’t know WHY I didn’t just ask for the whole thing, kids those days), and I pretty much wrecked the tape with listens. The electrofizz slap in the face of songs such as "Black Bugs", "I Like Your Old Stuff Better Than Your New Stuff", the Prince-y "!*", and their biggest hit, "Polyester Girl" harking back to synthical 80’s times, fit oddly perfectly amongst pure raw punkrock bliss of "World Of Sleaze", "Modern Life", and combines both in "Everyday Formula". 
There’s plenty of cheek with "I Will Like Your Asshole" and "I Piss Alone" (reminding us that they are, still, the 'Gurge), and then it all just comes together in a magnificent, opulent symphony called "Just Another Beautiful Story". Who knew a band who wrote about s-ing d’s and fortune cookies could touch on existentialism and philosophy in such a beautiful way while still retaining their characteristic style? The joke was on them though;while I loved '…Art', from 'Eduardo and Rodriguez Wage War on T-Wrecks' onwards, they lost their direction and freshness somewhat, and I sing along to the title track of this album with full awareness of it's irony.


 
 
3. Augie March - Sunset Studies (2000)


Augie March is a great example of an exceptional band gone wrong. It's not that they're particularly terrible now, but the level of excellence their later catalogue exudes is a pittance compared to the mind-blowing brilliance of their debut album. It's experimental, avant garde, delicate, shoegazey, folksy, pop, and all interesting and unique at every step of the album's journey. Glenn Richard's vocals are (as they remain), magnificent and eclectic, keeping it delicate where appropriate and then belting out powerful strong where necessary. His complex vocals fit perfectly his even more complex and intricate lyrics, and one of Augie March's continuing strengths is their poetry, despite their decline from (practically) perfection. There are stories of melancholy, hope, reflection, and regret, all with a very poetically Australian undercurrent, and like the vocals, the music reflects the intricacy of the verses.
 
It's an album with so much staying power; each listen reveals a new thought, element, layer of emotion. After a plethora of storytelling and emotional releases, my favourite moment is its final explosion of crescendos and
 descents in "Owen's Lament".
Glenn even admits himself that the band's first two albums (second being 'Strange Bird') are much better than their last two, so I don't feel bad for suggesting that something went wrong in their progression as an evolving central Australian act. Things got more commercial, simple, and much, much less interesting or sensually pleasing, with 'Moo You Bloody Choir' and 'Watch Me Disappear'. I was glad that they gained the commercial and critical recognition they deserved by taking out the number 1 spot of 2006's Triple J Hottest 100 with "One Crowded Hour", but oh boy they can write better songs than that. Or can they? Maybe the excellence of the first album just cannot be followed up as there is nowhere to go BUT down.


 4. Jebediah- Of Someday Shambles (1999)
I was in grade 9, and my friend and I would repeatedly listen to this album (along with Bodyjar's 'How it Works') recorded dodgily on cassette in appalling quality. But every time we put it on it and heard the opening chords of "Did you Really" it was the same level of excitement we'd always get. Each song is pop perfection, and as we tried in vain to decipher the lyrics, we discovered them to be clever, raw, and real, although we had a bit of growing up to do before we could relate to some of the themes. This album is a genuine, sweet sign of the band maturing, and if you ask me, the band at their peak, striking gold with "Animal" and "Feet Touch the Ground". There are still songs that maintain those alt-punk stylings, such as "Slot Car Racing" and "Trapdoor", but also beautiful songs of love and emotion, e.g. "Love at Last", and "Skin". My favourite part is the closer (this is becoming a trend), "Run of the Company" which gets a little complex and out of the box, even combining brass and strings to create the ultimate climax. This song alone suggested to me that Jebediah were more than a simple alternative rock band,
and predicted frontman Kevin Mitchell's later move into lyrical folk pop. Years later I'm still excited to hear this
 album and it is still solid and emotive. It's great that after his folk foray with Bob Evans, Kevin has brought the gang together to play that rocking gritty style they still excel at.

5. You Am I - Hourly Daily (1996)
Where Unit was Rergurgitator's tribute to 80's electropunk, Hourly Daily was You Am I’s tribute to 60’s pop and Beatles-eque sound. This album came out around the same time as Regurgitator's Tu Plang, and both albums dominated the Aria awards at the time, and I remember cheering You Am I on the whole time (not yet understanding the greatness of The Gurge). I became enamoured by the singles on this album, but only bought the actual album over a decade later, because I was a weird child, with no money. It is a classic along with Hi Fi Way, another standout You Am I album, but this one resonates with me the most as it signifies the time I absolutely fell in love with You Am I. Even then, I could tell the lyrics were something very special and intricate, and they still stand up today... I love the poignancy of songs such as the title track, Heavy Comfort, and Tuesday (but what was he doing in the bathtub!!), and cutesiness of Soldiers, Mr Milk, and Good Morning, three of their best released singles of their catalogue. Not to mention the way-too-fucking-cutesiness of the hidden track Forget It Sister. In my opinion, this album is one of Australia's best live and recorded artists at their sweetest. Strangely however, I didn't want to marry Tim Rogers then, despite his offer of custard trays and dinner at the pier. I think it may have been the chin scruff. 
 

6. Spiderbait - Grand Slam (1999)
Spiderbait was another great Australian band that followed in similar footsteps to Regurgitator... from very pop/punk beginnings, they struck mainstream appeal with electropop songs such as "Calypso" and "Glockenpop". The bands' similarities didn't end with the music- Janet Weiss of Spiderbait ended up shacking up with Quan (biatch!) resulting in the sugary pop punk collaboration album Happyland (good, but not a contender unfortunately). Grand Slam seemed to be influenced quite a bit by this direction, as it was a wonderfully effective combination of raw punk rock directed mostly by singer/drummer Kram (see "Cracker", the brilliant "Shazam!" and "King of the Northern"), and happy go lucky electropop and fuzz rock directed mostly by Janet ("Glockenpop", the Jackson 5 homage "Stevie", and "Dinnertime"). Amidst the volume of these styles, there are moments that venture off the usual path, such as the acoustic melody of "By the Time I Get To Howlong" and rather late 80's (almost Go-Betweens-esque??) style of "Jellybean Drifter". The album in its entirety is quite an eclectic collection, which flows surprisingly well. As a young teenager I enjoyed every moment of the album, every change of pace, even the instrumental "Tallygaroopna", and when rediscovering it recently I found it had not lost any of its spark and pleasantries. Unfortunately, while still a great band, in following suit to the 'Gurge, the 'Bait's later catalogue lost the creativity of their earlier work, and unfortunately their good stuff has become completely overshadowed by their "Black Betty" cover. 

7. Gerling- When Young Terrorists Chase the Sun (2001)
Another album I've already mentioned in this blog! Soooo original. Anywho, I'm sure that Gerling's first album, Children of Telepathic Experiences, will make many people's best of list, but this one is my personal favourite, and the first Gerling thing I decided to purchase. This album has some of Gerling's most commercial moments; "Dust Me Selecta", which is so commercial I wasn't even sure it was Gerling; Kylie Minogue lending her vocals to "G House Project"; "High Jackers Manual" being sold to channel 10 for one of their stupid blue dot commercials. So far I'm not selling it.. but the difference between something else going commercial and Gerling going commercial, is that Gerling is still releasing really good music. They are all top tunes that managed to give Gerling a leg up and helped them trade in their backpacks for briefcases (although I kinda missed the backpacks). And there really is no dull moment on this album; it's all so much light hearted, brilliant fun, which totally transferred on stage, during that period when I saw them about 3 times in 12 months. And as previously mentioned, their most obscure moment is kind of their best, during "Windmills" and "Birdbaths", which I heard was originally written for Björk to sing. Unfortunately they were just not commercial enough for that one.
   
8. Cut Copy- Bright Like Neon Love (2004)
Cut Copy are now MEGA popular as one of Australia's most loved dance music slash Joy Division tribute bands. I've had an odd time of tracking their journey, as they appeared to morph into a 'lets do the same song but call it a different name' type of deal with 2008's 'In Ghost Colours', then got back on the creative bandwagon with their latest 'Zonoscope', while still very much imitating the 70's and 80's new wave and disco stylings they are known for. Their 2004 debut however, pulls no punches, and at the time of first listen, it was quite a refreshing jaunt into electronic dance. As a whole it's an upbeat, danceable mix of catchy tracks which flow on from beginning to end without the energy fading an inch. Unlike their later albums, most of the songs don't follow a verse-chorus-verse lyrical pattern, leaving the emphasis very much on the music. There are moments of pure infectious electropop such as the "Saturdays", "Future" and "Time Stands Still", at other times a fusion of guitar driven rock with driving dance beats, e.g. "The Twilight" and "Bright Neon Payphone". It's my favourite of theirs, and a favourite dance album, especially suitable while getting ready for a night out (typically to a place that will not be playing anything like Cut Copy on the dancefloor) :(.   *cue noise that signifies the end of a cassette tape*


9. Sarah Blasko- What the Sea Wants, the Sea Will Have (2006)
When Sarah Blasko put out her critically acclaimed debut 'The Overture and the Underscore' in 2004, I took notice but hadn't decided how I felt about her at the time. She had a lovely strong voice accompanying effective pop songs with lyrical quality, but I wasn't in love with them. Then she released 'What the Sea Wants...' and I fell hard in love with it. There was something much darker and haunting about the tunes, her airy vocals, and the subject matter, which really grabbed me, and it all came together for me. The album is an immaculately produced sonic journey utilizing synth, at times eerie piano (especially in mega hit "{Explain}"), haunting harmonies, and attractive guitar licks, and going that one step further than her debut album, to deliver something much more personal, conceptual and creative. From the opening track "For You", which fittingly accompanied me across the sea on my own journey to find love, through the environmental undertones of "The Garden's End" and "{Explain}", to Sarah's own gospel, "Showstopper", nothing is amiss or out of place, and brings out the best in Sarah's uniquely gorgeous voice. Sarah is second perhaps only to indie pop queen Sia, in the fight to be Australia's Björk. That is, the fight that is going on in my head anyway. It's pretty entertaining.

10. Nick Cave & The Bad Seeds - The Boatman's Call (1997)

Ahh finally! Someone my parents listened to is in my list. I was feeling a bit young about my choices but Nick Cave and his Bad Seeds scrape through, a classic Australian icon. I grew up around his music somewhat, but it was one of his least heavy albums that really got to me. Someone I knew once described "The Boatman's Call" as Nick's "Sea Change", which I thought was a bit rude considering it was released way before Beck's album was. Nevertheless, it could definitely be seen as a significant departure from Nick's earlier work, as most of the album is a work of slow-paced, lush, beautiful piano and string works, detailing stories of love, lament, hope and loss, in Nick's typically exquisite poetry. It's the type of album that goes achingly well after a break up, a night of drinking, a lonely Sunday afternoon, or a boring train ride to work. What better to sing/cry along to than "People Ain't No Good" during moments of trying frustration (e.g. at work), "Where Do We Go Now But Nowhere" during times of relationship turmoil, and "Far From Me" during moments of unbearable, unwanted separation between yourself and a loved one. There are some beautiful love songs too, of course being the opener "Into My Arms", and the hopefully confused "(Are You) The One That I've Been Waiting For". It's worth being in the right mood for it, but when you are, it's amazing.

............

Because I've surely not waffled on enough- here's a top 10-20, because I would really like to tip my hat off to those australian albums that I love dearly but didn't make it into my top 10 list.

In no particular order:

Alex Lloyd - Black the Sun. Oh BOY was I obsessed with this one. Oh BOY did he go downhill after this one.

The Vines- Highly Evolved. Beatlesy rock bliss.

Sleepy Jackson - Lovers. Luke Steele is basically a genius.

The Loved Ones - Magic Box. YAY SOMETHING ELSE OLDISH. Classic 60s.

Sia - Some People Have Real Problems. COMPETING FOR AUSTRALIA'S ANSWER TO BJÖRK??

Custard - We Have the Technology. Dave McCormack is also a genius.

The Whitlams- Eternal Nightcap. Has kind of dated a little too much to be in my top 10, sorry Tim (I'm sure he's upset).

Friendly - Akimbo. Yeah that's right, that DJ that disappeared forever. It was damn ridiculous stuff and I f**king loved it.

Machine Gun Fellatio- Bring It On. Just too rude for a respectable girl to have in her top 10.

Gotye - Like Drawing Blood. Perfect except for the cheese at the end.

Looking over at this list, it is very 90's- 00's. Which is awfully sad. This is because while I have great love for The Go-Betweens, Paul Kelly, The Easybeats, The Church, The Saints, Hoodoo Gurus and other 60's-80's Australian bands, I don't actually own any of their albums! Loads of singles/ best of's, and none of their seminal works. I am a terrible music fan for this, and thus am now inspired to collect these pronto. Watch out West End Club record fair, I'm coming at you next time, early, with a wad of cash.