I said do it again, do it again (turn around GO BACK)

GOMA, or the gallery of modern art to you non-brisbane folks, is an absolute godsend and has improved Brisbane million fold. At the moment they are exhibiting "Let There Be Rock", a cinema program, where they are showing an amazing range of musical act movies, from The Wall to A Hard Days Night to Spinal Tap to D!G... Ahhh it's a fantastic program. You can, no should, check it out here: http://qag.qld.gov.au/cinematheque/current/let_there_be_rock.

Anyway there are so many I am hoping to see, and today I started with probably the number one movie on my must see list, D A Pennebaker's Ziggy Stardust and the Spiders from Mars. I'd seen it before many years ago on DVD, and it was before my insane David Bowie obsession truly formed, so I had not retained quite so much of it. As it stood, it was a striking documentary, simply capturing the last show of the Ziggy Stardust and the Spiders from Mars tour, and the 'last show we'll ever do' (everyone of course freaking out until realising that the character of Ziggy Stardust and his Spiders were disappearing, eventually making room for Bowie's next character). I sat there mesmerized and enchanted by the entire film, heart in throat as if I was actually an audience member with 70's hair and undying adulation for the glittered slenderman in front of me. I found it difficult not to clap at the end of each song and was relieved when audience members eventually relented and did so themselves.

Let's get real here though people, in many aspects it's not the best filmed documentary. Onstage the camera captures much of Bowie and the band's action, including wonderful detail... for example, the close up while he plays the last verses of "My Death", captures a tear forming and streaming slowly, adding extra depth and passion to the words of the song. However, any camera work directed at the audience is pretty shockingly done, so that there are great big spaces of darkness, amid bad resolution shots of ladies with massive glasses and screaming mouths. It's also weirdly put together, so that a few of Bowie's entrances are totally missed or delayed, with the camera choosing to focus on blurry audience members instead.

What makes it, is him, and the band. Mick Woodmansey, while mostly hidden from the camera, is dynamite on the drum kit, nailing every fill and driving the whole process. Trevor Bolder also doesn't share as much film time, but his presence on the bass is everywhere. Mick Ronson, god of guitar, is nothing short of fucking motherfucking amazing. He effortlessly fingers the electric like he could do it in his sleep and totally steals the show. Meanwhile, Bowie takes his place front and centre, gaunt and bony, with his electrified hair, awful teeth and multiple coloured eyes, no doubt in full throe of his cocaine addiction, and obviously so. Through what feels like 20 costume changes and androgynous makeup, his emotion filled vocals, theatrical stage moves, and his general Bowie charm, this plain and simply ugly man, turns into a sexual madman. Yes, had I been a teenager (or anyone really) in 1973, I would have been absolutely mad for it. David Bowie, and his Ziggy Stardust persona, is a perfect example of what a presentation of oneself can do for one's charisma and desirability. As well as a little mystery.

I honestly do NOT believe in this day and age that anything as amazing and anyone as talented and creative and dynamic as Bowie will ever take over music and life as much as he has. Granted, his 80's-90's catalogue is pretty lacking, but dammit, the 80's-90's was kind of a shitty era for consistently good music (thanks to marketing and the paint by numbers industry). But the humorous thing about that scene in 'Extras' with Andy Millman coming up to his idol to wonder if he'd sold out, was that, at least in the decade where he held the world in the palm of his hand, David Bowie could never say that he had sold out. He broke so many rules in the music world, through his personae, his imprint on the media, and most of all, his music. Half of 'Heroes' is rarely listenable to me. 'Low', is my parents worst nightmare. But Bowie wasn't interested in pleasing a body of people, he was interested in experimenting, trying different sounds, and as a result, "Low" was WAY ahead of its time. He has inspired more artists than people realise, even if they turn into horrible pop monsters like Lady Gaga.

After this film warmed my heart, I couldn't help but lament on the fact that I do not live in the 70's, and Pennebaker's film was the closest I was ever going to get to that amazing moment. David Bowie may (oh, PLEASE) tour here again, and it will be epic... I would be the happiest girl in the room would it happen. But of course, he is a much saner, and older person now (and I have to say, he's aged better than he should have). The magic of glam, groundbreaking live music is over, and in its place is a memento of what was. The what was, I never experienced nor ever will.

In the 60's and 70's, what was played on the radio, was actually pretty good. Have you ever wished you were born in another era or place, and you got stuck here when you were supposed to be somewhere else? Sometimes I feel mad that I'm in a world where Justin Bieber is a household name, and a The Books gig isn't even half sold out in a small room.

But I'll stop feeling mad, and instead grateful that I got to see a classic live performance on a big screen, and thank GOMA for making it happen, and see some more terrific shows at the same venue. AND SO WILL YOU.

Gareth Liddiard and Dan Kelly, the Zoo, 26th April, 2011

I like the Drones. I like the couple of well crafted powerful songs that I've come to know, although i have not purchased an album. However, I don't like them enough to say they're these genius mentalists, and hence I have not an album. I saw them at the Hifi when it first opened, and it was enjoyable, but i have to say, it began to bore me by the time the last spitting poetic ballad was on. It's extremely hip (and hippie) to hail them as one of the best australian bands and Gareth Liddiard, front man, as a lyrical saviour. i have to say i have not studied him enough to say either, but i do feel a little put off. Still, at my mother's suggestion, I came along to the Gareth/Dan Kelly gig (one of my mum's favourites) to check his solo thing out.

It was the third (or fourth??) time I'd seen Dan Kelly, so I knew what to expect from the rockabilly fringed tongue in cheek nephew of Paul. He came on stage advertising a sore throat, and despite this pulled off a well executed, entertaining acoustic set comprising of his most

recent and previous Triple J played songs ('Hits' is not the word I would use??) Dan chatted to the small crowd gathered in front of him, myself included front and centre, simply because there was more than enough room for me there. He carried through tale after tale, and probably tattleda little too much, but not too much that he didn't get a decent bunch of songs in. He played 'Dan Kelly's Dream' tracks such as "I'm Coming on", "Bindi Irwin Apocolypse Jam" and the title track in his varied, talky style, making good use of himself with just a guitar and voice, and remarking on bits "where the band sounds really cool".

Dan got the smallish crowd singing along and cheering and appeared genuinely grateful to have us here, despite knowing this sold out show was thanks to the headline act. I like Dan, much to a few close people's dismay, but I do feel his jokey manner overshadows and cheapens his talent. Some of his songs are really outstanding and he has the alt country vibe with an added creative twist, but the novelty cheek (see "Bindi" and "Drunk on Election Night") can become a little weary, so that he's in danger of becoming a joke fad musician. It's all well and fun, but I'd like to see a serious side, until before he realises it, he becomes a joke himself in his middle-aged years, ala the likes of Ben Folds.

Having said that I thoroughly enjoyed his performance... the fact he doesn't take himself too seriously makes for a great connection with his audience and a good show. At the end of it, my parents were a few wines in, and knowing that Dan is a Brisbane brought up fellow, and that my cousin went to the same school as him, tried to egg me on to talk to him and "see if he remembers *JOHN SMITH*, eh!??? DO IT!! GO ON!! GO ON!!!" 'Oh excuse me Mr k=Kelly! Do

you remember this guy who was at your school and you may have seen some times in your youth?' No fucking way was that going to happen. This is why you go to gigs with sensibles and not crazy ageing hipsters.

After they settled down, Gareth Liddiard decided to show up, in all his scruff. Gareth prattled on for as long as Dan did... then a little longer.. then longer still.. until it was evident that he probably wasn't going to ever shut up. I couldn't really understand what he was going on about

most of the time, so to be completely honest, I didn't listen too attentively. Eventually within the rambling, Gareth played a song. A slow, boring, ranty, unengaging mess. He played a few more just like that, continuing to talk way too long in between songs. As he continued, it was obvious how wasted he was, and totally uninterested in entertaining anyone but himself. His words were brash and rude, and even admitted that "This'd be embarrassing if I cared". Glad to see you appreciate the fandom of the ones that do, Gareth.

Half way through (of what I saw), he broke a string, prompting Dan to come up and assist him by fixing it up. Much later, the same process resumed. It was painful, tedious, and quite a waste of time. We chatted amongst ourselves (mostly damning this whole affair), at the side of the room near the window, and kept getting awkward glances from a few people watching him faithfully next to us. Eventually, our chatting incensed one guy so much, he turned to us, said "SHHHHH!" and gave us the finger. Well man, if you're going to take this crap, you are welcome to it, I thought; the others agreed, and we left the die hard nutty fans to the fucked up wanker on the stage.

I felt dirty for leaving early without a prior reason apart from that we were too bored, but i don't think i could have taken much more of it. At least Dan saved the night with his professionalism, and better manipulated talent. i understand that being a rockstar often means being hyped up

on drugs, alcohol, etc. but even the most wasted musicians known for their excess still managed to put on a decent performance. This guy totally ruined any desire for me to discover any more of his music, and make a better assessment of his lyrical ability. Sorry Gareth, I really am.

Gareth gets 1 broken string for at least making it to the stage, and Dan gets 6 intact strings plus Gareth's broken one.

SURF ROCK WEEK: Wavves @ The Zoo, Tuesday 8th of March & Best Coast @ Woodlands, Thursday 10th of March

I had to wait until going on a surf rock appropriate holiday AND five day weekend to type this review, as this is my method. Well that's my excuse and I'm sticking to it.

Wavves and Best Coast are both fun sprightly bands, highly riding the massive wave of indie surf/stoner lo-fi rock that have been dominating airwaves over the past year or two, as well as my headphones (also see Beach House, the Drums, Surfer Blood, Neon Indian, et.al.). They all managed to tour around the same time as well, which is quite handy if that was what floated your boat at the moment.

The week started off with Wavves, whose very catching 3rd album 'King of the Beach' would have been an appropriate addition to my summer albums list (had it been worth celebrating). Having only heard this (oh me, what a lame late fan), I decided to check them out. Bleeding Knees Club supported, and the description given to me "They're like Wavves!" was pretty accurate. BKC consisted of 2 prepubescent looking lads, casually dressed in baseball caps and metro shirts, chatting to the audience like they were just mates sitting in on a jam session in

their garage. Their cassssual attitude worked a treat to relax the audience despite it's air of "hey we really don't know wtf we're doing..". Having said that, their bread and butter short fast Ramones-y indie punk tunes were played without a hitch... quite doable if you're using the same time signature/beat/chords/style for each one. They were entertaining enough, and I very much expect them to climb up the popularity ladder thanks to their slapdash style, and hopefully gain more experience and creativity along the way.

As Wavves took the stage in slightly similar attire (Chicago bulls shirt, welcome back to the fashion fold), it became obvious to me that so many in the young audience were wearing an odd assortment of hats. I guess this meant both BKC and Wavves were a hat, or cap band, with a cap audience.

That may have been the worst description of a band I've ever written...HEY LOOK HERE'S A PHOTO

The band appeared with energy levels already at 11, and maintaining throughout the night. They played a great deal of unfamiliar (to me) songs which were very much in the same vein as those I'd heard, and just as catching. As I watched the 3 piece, simply consisting of frontman Nathan Williams, drummer Jacob Cooper and bassist Stephen Pope, I realised how simply structured and themed their songs were... while still being a million times more complex and developed than their supports of course.

In that effect, they were very tight, nailing each song and building up in energy in all the right places. The crowd went insane for the title track hit, as well as "Idiot" and "Post Acid" as well as my own favourite, "Green Eyes". Through their music and little fuss or conversation, they knew just how to work the crowd that they were designed for. Thus I was glad I was a little way back from the mosh, although that didn't stop a few overexcited teens flinging their bodies in all directions, including at myself and my group.

Once they had ripped through each short and sweet indie pop song, they had reached the last moment before their encore, but decided to play through the last few songs, in the same 'fuck the method (sorta)' vibe that had carried the night through. It was all good fun, and suited the crowd fine. The set felt as short and sweet as their songs from 'King of the Beach', which is really what I was in for, and quite satisfying.

SOME SLEEP AND WORK LATER...

A few tiring days later, and yet I was still energetic to see Best Coast on the Thursday. I'd heard negative feebdack from Best Coasts's prior shoes beforehand, particularly supporting the epic classics Os Mutantes (sadly cancelling their Brisbane gig- but thankyou more proactive friend for bringing me back a memento!). This is understandable to me, like experiencing a slice of homebrand cheddar before anticipating a triple cheese brie and haloumi platter. Not that Best Coast is not palatable (all cheese is good cheese imo!), but it's quite clear that BC are not here to change the world of music.. they're about fun, breezy pop, and they don't try to be anything else.

I didn't catch much of Feathers, the support act, but managed to get a great side stage position

amidst the packed Woodlands venue. I don't know if I have said this before but it is always handy having gig buddies that are much shorter than you, if you can (I'm surprised I have any).

Anyway, after a long ado (Woodlands, please make your shows start earlier kthx), on came the bodacious Bethany Cosentino, flanked by Bobb Bruno on bass and drummer Ali Koehler. The band were warmly welcomed by a receptive audience, and launched into their set of basically every track from "Crazy For You", plus a few extra new ones thrown in. The small venue was pretty perfect for this kind of show, as their simple twanging sound filled the space well. Bethany's voice was only slightly distorted since my last show there, and was strong. She chatted a little bit in between songs, the others silent and stoic as she held fort, mentioning that we were a much more fun audience than their last show. Fun ensures fun, and Bethany seemed to be having a good time up there, feeding off the audience's excitement and energy. Which must have meant Bobb and Ali had to even up the score by saying nothing and smiling little, but doing their musical jobs well.

As their set progressed, I could see how a non-fan would have a pretty average time here; there really is little variety in their style, and a lot of songs could be seen as indiscernible from each other. Were the songs any longer, it would have begun to bore me, but luckily not so, and the track order meant that all their best work wasn't clumped together. The crowd went mental for 'Boyfriend', 'When I'm With You', and 'When the Sun Don't Shine', and were all falling in lust with Bethany by the end of the set (unless that was just me?). It was late and tired by the last song, but the sugary energy pop of the set was buzz inducing, and I stumbled from Woodlands a pretty happy camper.

Waaves get 7 surfboards out of 10. Best Coast get 7.5 green sparkly hemp glasses out of 10. I get 100 tardies.

HEY, WHA HAPPEN??

Where'd this humble blogger go, after promising she'd never procrastinate on this blog again? WHERE DID SHE GO!?

I apologise, you reader, or maybe even two readers, for my absence and broken promise of keeping things up to date. There is no excuse, apart from the fact that I honestly could not actually um, post any blogs, for a good 3 weeks.

This is because I have moved house, from out of the family home, a second time, to a nicely positioned home in the Valley. Or Spring Hill, whichever floats your boat. It's on the cusp. Either way, it's inner city, and ten minutes away from the station for the hour long trip to work, but it's comfy, spacious, co-habited by nice people, and it's MY SPACE. Privacy! Control! Whee.

One of the plus's of my new situation, apart from all that, is the location, and the fact that about a 4 minute walk away is the Tivoli, and another 10 minute walk is most other venues that bands I am interested in are usually playing. Prime blog fodder, now that internet is activated!!

There is also the trillion bars and clubs that exist in brisbane which is a hop skip and jump away, and restaurants everywhere. I'm kind of excited to have that at my doorstep.

However, this year I've discovered that the things I loved about the valley once upon a time, have changed very much, which I knew somewhat already, but not to what extent...

Many years ago, I was younger, a little freer, and sillier, and would go out most weekends to a younger, freer, and more fun Brisbane and FV. There would be the weekly treat of Common People (an off-shoot of the Depot), a club night playing only alternative all-time music, and of course whatever was flavour of the month at the time as well. It was the only place you would find a Talking Heads song playing on a dance floor, followed by The Kinks, the Smiths, New Order, Bowie, Yeah Yeah Yeahs, Blur, LCD Soundsystem, and a million other of my favourite artists. And yes they even played the William Shatner cover of their namesake song.

It was always in a pretty dodgy location but I had so much fun there, dragging along whoever I could find who was even a little bit willing to go with me. (It was hard to find friends as excited about it as I was). It became a little bit of a culture and a family, as you'd see the same people there every week, always atrociously dressed, but just there because they liked to dance to the same music you did.

If it wasn't Saturday night, then you had a limited choice, but the next on the list was Ric's Cafe. Ric's was a tiny downstairs and upstairs room, which not only put on free upandcoming bands most nights, but had a pretty good selection of songs playing on their dancefloors. Upstairs could be pretty fun- their playlist not quite as top notch as CP but not far below it. The nice thing about Rics was it's simplicity, again it was just a kind of dodgy room, but a few stools and couches and a bar and that's all you wanted. There was no pretense or expectation, and not as much 'I can look even more ridiculous than you' fashion faux pas as CP had.

It was disgustingly difficult to find anywhere else that wasn't full of doof doof or repetitive r&b or predictable popular pub songs, and really those were the only two options I knew of. Soon, Common People closed its' operation, only to spring up in different locations every now and again, but without getting enough of a crowd aware of them to stick around.

Then, Ric's got sold, and sold out. Upstairs turned from a fun alternative music night to a doof doof club, and in doing so, pushed the people who would have danced upstairs, to downstairs, where there just isn't enough room to enjoy oneself. They've turned the lot behind it into a 'backyard' area, for smokers and people wanting fresh air to enjoy- and no dancefloor there either (though, nothing stopping one from making their own!)

Other than downstairs Rics, there is Alhambra Lounge on a Thursday nights for some alternative dance tunes, but being a full time employee means I'm most likely in bed by the time things get good.

Since moving, I've ventured out on various escapades, and tried to adjust to this change of options. Now I'm older and less exciting, I really just want a nice place to have a meaningful conversation, so outside of Ric's has een useful. However, my last visit disappointed me while hearing the same sequence of songs played as the previous visit. Still, better than any other venue I've visited in dance mode. None of my dancing friends share my dance music taste, so I've had a few oddly painful moments of walking down from the upstairs ear-splitting frenzy, to hear familiar enticing hints of songs wafting up to greet my ears. The first time this happened, it was none other than “All My Friends” by LCD Soundsystem, one of my favourite songs of the last few years. My stomach twisted and my heart raced, feeling torn and cheated. What was I doing upstairs, when my favourite music, the things that really make my feet move, were just a few steps away? But I'd be selfish to make others endure it, right? I'm to take it upon myself to endure theirs, right? Because the music that moves me, is not typical, and no one else finds it danceable, apparently. Clubs cater to a majority, not the weird minority of people whose ears curse them when entering these majority ruled venues. I know this, and I've accepted it, but I never feel true to myself doing shoulder dips to fitty cent or usher or whatever is blasting out at me. I do however, love spending time dancing with my girlfriends, and that makes it all worth it.

I wanted to talk more about the dying off of Brisbane music venues in the same manner, but I feel i have waffled enough and any more waffles would be a breakfast with the Humphries/Van der Woodsens. Another time. I have also a little backlog of gig reviews to get posted! I'm sure the decreased revelance of them won't disappoint you half as much as it disappoints me. But I may prevent you from making bad future gig decisions, so who knows. Stay tuned!

Roxy Music, The Riverstage, 1st of March 2011

Seeing a gig with your parents is always a very different experience to seeing one with a friend. For one, the type of gig is usually very different. Obviously it is a band my parents enjoy, so there have been things like Spandau Ballet and Tears for Fears last April, Cat Stevens last June, lots and lots of Ed Kuepper gigs, and tribute nights such as the awful, AWFUL David Bowie one in December. Apart from that disaster, they have all been good performances however.

Secondly, it's a very different vibe. Although my parents are quite up with the times and for the most part enjoyable to spend time with, it has never ever been considered cool to hang with your parents, and on occasion, it can also be frustrating.

Being a little more worn than my youthful self, they prefer to hang back rather than get prime spots, they tend to whine about the heat and crowd during the most pleasant of experiences, and I always end up inexplicably drunk by the end of the night, which is really my fault for attempting to keep up with them... but have you ever experienced sobriety while trying to deal with a bunch of sloshed 50+ year olds who know absolutely everything about you? It's only entertaining for a little while until it becomes embarrassing.

Tonight was a little different as mum had managed to bag us most excellent seats quite close to the front, while sill a comfortable distance back from GA (and still very iPhone camera unfriendly.)

The Riverstage at the QUT/Botanic Gardens was pretty well organised tonight, with few issues getting in and finding our seats, well set up merch tent (I couldn't resist the Love is the Drug tote bag) and reasonably well managed drinks tent. I like the Riverstage during single events most. It's quite relaxed, casual, and you're guaranteed to have a good night whether you're right up front or lounging picnic-style on the grass, thanks to the stage being at the bottom of a large hill.

It was a much earlier show than I'm used to, which is usually a good thing, but it also meant I had to miss my Tuesday flamenco class, which I was feeling kinda guilty about. That, plus a stressful day at work, had not put me in the best mood for the show, and I found myself trying to gee myself up with excitement once the band hit the stage.

The stage was epically set up, as if the band had decided no spot of it could be empty, and set about filling it as much as possible. AND SYMMETRICALLY as well! Back up singers were set up on far left and right, and dancers stood on podiums at the back of the stage, with the visuals accompanying the music being projected on them ad the screen. They (mostly) kept in sync with each other despite being miles away from each other.

And there at the forefront was Bryan Ferry, looking very suave and fit for his age, who launched into a HUGE set. I must admit, only being a casual Roxy Music listener, there was a lot I didn't know (but apparently I was not the only one, friends of parents), and based on the unfamiliar ones I heard, I am so very keen to listen to more. Bryan belted out killer tune after another, voice still superb, all groovy, funky, sexy pieces of song. The band threw in a few subtler, slow, more experimental tunes, which I had to admit, in my exhausted state, I was glad to hear the end of. After the end of a particularly long one, "My Only Love", the band cranked up the energy levels with "Virginia Plain", and powered through to "Love Is The Drug", a fun highlight.

The band did a few of their cover songs, of course being "Jealous Guy" (John Lennon) in all its cheesy glory (bringing a sigh from mum), and "Like A Hurricane" (Neil Young). I hadn't realised they had covered this song, and was pleasantly surprised to hear it, but received a scalding from my parents later when mentioning I enjoyed it better than the original.

"More Than This" was another highlight, introduced slowly and delicately by Bryan solo, then with the band slowly joining in, a beautiful touch. "Avalon" and "Stick Together" are two songs I'm not too fussed on, but they were done well, and the old ladies in the crowd went mad for the latter, breaking out of their stoic gaze to loosen up and dance a little. After an extensive show, the band ended on "For Your Pleasure" and all was over, without an encore. After an hour and a half of solid music, there was really no need.

As we got up off our seats the vibe was definitely "Wow... but..." as I, along with my parents and their friends, were all hoping to hear "Dance Away", which is probably my favourite Roxy/Bryan song. This vibe was penetrated by one of them piping up asking "Why didn't he play "Simply Irresistible"!! That's my favourite!".

I then wondered if it was time I stopped hanging out with oldies who tend to get their pop idols mixed up.

The Books, The Zoo, 19th Feb 2011

Now put on some undergarments, and go deeper... and deeper... and deeper...

NYC based duo The Books have been described as experimental, avant-garde sound collagists, which is somewhat of an apt description, however it doesn't quite describe fully what it is the Books do. Cutting up samples from random films, self halp and language tapes, soundbytes, and even old Talkboys found in thrift stores ("This is Peter McCallister here, the Faartherr.") are arranged and intertwined to tell stories and create moods enhanced by synth, guitar, violin and subtle vocals. They are really a band unlike no other and really best experienced rather than described, which is why their first Brisbane tour ever (geez) on February the 19th was quite highly anticipated.

High places supported, an LA based duo, and had a similar synth, sample and vocal theme, albeit on a very different scale. Their music was somewhat simple but quite effective and interesting, and I found myself moving along to it as as if I had already heard the songs before, which I could tell have some addictive properties to them. I'd like to check them out again soon if I get around to it. I'll more likely find myself in Rockinghorse thinking "what was that band I wanted to check out" and end up buying another $10 cheapie instead, but give me time...

High Places along with the Books later, lamented about the heat, marvelling at the condensation in the air that they don't normally get in the US. I have to say I do feel for bands that come out here from cooler lands, and are expected to play in at times non-airconditioned, badly ventilated venues (an exercise which is pretty heat inducing already), in the most disgusting of climates.

As the Books came on, flanked by a large video display, it was a very different vibe and scene from previous Zoo gigs, particularly the one earlier that week (the sold out Caribou/Four Tet). Correctly expecting a small crowd, the floor was set up with tables and chairs on the side, and many were sitting back to enjoy the show from a distance. Which suited me wonderfully, as I plonked myself in front and centre for an excellent view.

The DVD display behind the band had small acronyms along the bottom which sneakily told us how many songs to expect, while singer/guitarist Nick Zammuto flicked through them with a remote to cue each video. The band introduced Gene, their new guitarist/violinist/synthist, whom meant they could play a few of the more difficult tracks from their earlier albums.

However, they began with "Group Autogenics I" from their newest, 'The Way Out', a song involving samples from self help cassettes and DVD's, with accompanying images of the supposed speakers. It is a very humorous tune as well as video, at which myself and the audience excitedly giggled at the nonsensical empowering statements and accompanying images, such as "You may just possibly be able to detect from my voice that I am Irish. And it's now I leap forward in time". It was a whimsical, wonderful beginning, unlike any opening of a band I'd ever experienced before. The band played soothing music with slightly dark undertones, along with the dialogue, on their various interesting instruments, including a skeletal cello thing played by Paul De Jong.

The entire show followed this very different format, as the musicians covered all their best work, with particular emphasis on those on Way Out, highlights being the morbidly hilarious and childish "A Cold Freezing Night", schizophrenic catch-phrased "I Didn't Know That", and sweetly acoustic "Free Translator", consisting of lyrics generated from translating english phrases back and forward from different languages on internet translating sites. Along with this less sample-based song, they performed a few others of this style, including the wonderful Smells Like Content. A favourite of mine, it was sung with beautiful vocals from Nick, accompanied by the lyrics appearing onscreen, perfectly timed with their verbalisation.

Ahh, Geeeene!

They encored with Take Time, and then finally, their cover of Nick Drake's "Cello Song" (minus Jose Gonzales), a lovely and surprise finish.

All in all it was simply amazingggggggg. It was hard to quite fathom how this insane band managed to pull of their crazy method live, so well and with so little effort... APART from a brief few moments when the computer froze (this time a Toshiba!), but not as much to the detriment of Caribou. As I said earlier, this QLD weather is very unkind to bands at the moment.

I feel so lucky to have had the rare opportunity to witness their magic onstage, and I'd be really sad if it was the last. I was also sad to see a much emptier Zoo this time around, and expected more people to be as keen for the Books as I was. But nonetheless... The Books, whoever you think you presently you are.... thankyou.

9 out of 10 um, books.

p.s. I dare you to youtube the Books to check them out for yourself, if you haven't already, and also dare you to tear your eyes away from this one: http://www.youtube.com/watch?v=TqlVCKfX3hk

Caribou + Four Tet, The Zoo, 15th Feb 2011

So from now on I promise to update this blog more regularly than what is disgustingly going on now. If I were a reviewer for a proper site with pay or some sort of renumeration, I'd be fired immediately. This just won't do and I demand improvements from myself.

Now that's all over, over to you at the gig, Stephanie from the 15 day old past.

The pairing of electronic gurus Four Tet and Caribou couldn't have been better timed (*cough*) two weeks ago, as they both released critically acclaimed and pleasantly popular albums early last year, giving me (because this is all about me) plenty of time to get accustomed. I became particularly immersed in Caribou's 'Swim', obsessed not only with "Odessa" as you know already, but the entire record. Four Tet's 'There is Love In You' is also haunting, delicate and terrific.

With that, the Zoo on Tuesday was particularly packed, as they played a sold out show to a sea of electro fans, or as much of a sea you can fit into a tiny room.

The Zoo is another favourite venue, not because of its quality, although it's pretty good for what it is, but because of the relaxed, easy going vibe, the simple set up and location, and not to mention their typically cheaper door price. However the size and it's lack of air conditioning made the full capacity venue a little uncomfortable particularly towards the end, although the more passive, pleasant crowd assisted in still making the show an enjoyable experience.

Openers Frolix did not have much of a crowd to entertain initially, but their very short (20 minutes?) set showcased ambient, dark synth and beats, with aphex-twin-esque vocals, which were a nice intro into the type of gig this would become. They would probably have sounded more polished on CD but made a nice background soundtrack to settling in for the evening.

Four Tet came on quite subtly in a bright yellow shirt, in case you weren't sure if he was the dj or not. He played an hour long set, involving a selection of 'There is Love In You', some 'Everything Ecstatic' and probably lots of other recordings that I need to probably purchase tomorrow. It was quite brilliant how he effortlessly switched from one track to the next to create a flowing, pulsing vibe. I never really got into 'rave' music or whatever you might call it, but this was the closest I have come... the slick, powerful beats and otherworldly samples moved the audience, including myself into a zombie like trance. "Angel Echoes" was a particular highlight, a dark, flowing, eerie pattern which I really loved on the record and especially enjoyed dancing to. "Joy" got the crowd really moving and was extended for some time as one of the last tracks he played. It was exciting to hear what he would bring in next, but at the same time I never wanted what I was hearing already to stop. Like going to a shitty club to dance, but with interesting, amazing music, that you couldn't HELP but dance to. I didn't know what I expected, but I was really pleasantly surprised to be so mesmerized by the music.

After Four Tet finally took his hands off the deck and bowed himself out, it was sad to see him disappear off stage, but also exciting to know what would be next. After a short wait, on came Caribou in full band mode, drumkits, guitars, macs and synths. Without much fanfare, "Kaili" started up from 'Swim', synth and voice blasting us in the eardrums. It was clear from the very beginning that a lot of Caribou's vocals are probably sung very quietly and precisely, which meant that live it was less polished, a little wobbly, and not very clear, given the change in volume and space. He sounded okay, but it gave the music a bit less sheen, and brought down the quality of the songs a little too significantly. The music still sounded great, and it was an exciting opener.

All that kind of fell apart when the Mac also, fell apart. Too much heat (only one song in!) meant the program they were running crashed, and after a few attempts, an impromptu acoustic version of "Hello Hammerheads" (from 'The Milk of Human Kindness'), and a bunch of well placed electric fans later, the band decided to completely change computers, and it was a few minutes before things were back in business.

Luckily it was all smooth sailing from then on. As they played a great deal of 'Swim' tracks as well as a few off 'Andorra', the vocal sound issues were overshadowed by the excellent musicianship, particularly the insanely good drummer. Holy shit, if I could do anything as good as that guy could drum, I'd be a happy, possibly rich lady. That dude belt the absolute shit out of those drums, which really made the show, as so much of Caribou's work is so driven by and dependent on the drums.

This was also like going to a club to dance, but in a completely different style, context, vibe, feeling. There were moments of joy and bliss as in "Memory Day", deep and dark moments a la "Odessa" and just plain moving your feets and slightly rocking moments such as "Bowls" and "Sun", their encore song.

As a whole, the night was an interesting mix. It was quite incredible to see how different two artists that share many similarities, sound so different side by side, due to differences in style, context, and just the live experience itself (dj set vs live band). I was really glad to have experienced it and apart from technical problems, it probably wouldn't have been at all the same experience with each band on their own, and definitely not as interesting.

Hmm, a shorter review, but my new thing is trying not to waffle on, which I hope I remember tomorrow in a job interview I will be suffering. Procrastination is my best learnt skill...

Caribou and Four Tet get seven and a half Korgs!