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When you think about how many holidays are based on some kind of active exclusion - Australia Day, Easter, Bank Holidays, the Queen's Birthday, I could go on- the inherently cruel nature of Valentine's Day shouldn't come as a shock. Just like how indigenous Australians didn't exist when Australia was "founded", or how Judas insisted that he had nothing to do with that Jesus guy, on Valentine's day the existence of lonely single people is denied like a 9/11 conspiracy theory. So in some bid to console bitter fans of Valentine's Day, here's a few insights into the confused and alarmingly life threatening state of love according to pop.
"my heart's crippled by the vein I keep on closing" warns Leona Lewis in her smash hit 'Bleeding Love'. Don't be distracted by her pretty fan blown hair and her booming voice, love is not for the faint hearted or those who are prone to anaphylaxis.
"You know that I won't lie,/You know that I would try,/To be your everything..yeah....with you/with you". Chris Brown does lie. Especially to Larry King and America. And can't get a date. Or Rihanna.
"I only wanna be your one life stand". Hot Chip suggests a convenient way to avoid the awkward morning after? After your death kicks in I'm putting my pants on and sneaking out to catch the bus home.
My black eye casts no shadow/Your red eye sees nothing...A kiss with a fist is better than none. Florence and the Machine, Australia says no.
"And hell yeah I'm the motherfuckin' princess...She's like so whatever/You can do so much better/I think we should get together now" It seems like Avril Lavigne's ex husband Sum41 front man Deryck Whibley didn't appreciate Avril's slack jawed phrases and poor attitude either.
So make sure you all enjoy Valentine's day with your special someone before it turns ugly. Or bloody.
Homebake is the only 100% Australian festival running during summer festival season and I've never been. I'm a self proffessed anglophile and labelling anything Australian (especially when called "Austraiyan" makes my soul squirm. Go figure. So this year my friend brought me to my first visit to the domain for the Homebake festival. I came with expectations of having beer spilled on me by hilarious hippy stoners, and vodka spilled on me by the regular drunk and shirtless variety. As for the music I didn't really have expectations. However, after seeing band after band consistently whip my sad little expectations into shape- I got exactly what my pom loving behind deserved - the realisation that Australian music has really, most actually, got it going on.
The most impressive action was happening away from the main stage where bands such as the dramatic goth brides of Bridezilla were howling away with a flair of tragic bravadour with sweeping sax and violin solos on the Hopetoun stage . Other highlights on the Hopetoun stage include the ever so delightfully energetic Yves Klein Blue, who as per usual put on a stellar show which fed off the crazy vibe of the very frenzied crowd. The death ring that was formed during the hour set may have been the first death ring ever created during a song that semi rose to fame because it was featured on a toyota ad. It should also be noted that lead singer Michael Tomlinson crowd surfed into the crowd and never returned to the stage. I sincerely hope he is still alive.
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I want bridezilla to play at my funeral.
The Dome stage also housed a fine selection of up and comers. The Middle East soothed and carried away a pre-boozed crowd earlier in the day with their harmonising vocals and country infused folk tunes. The loveable and very pregnant Sia also made her presence felt at her very first Australian festival, to the delight of many fans that made their loud presence felt in the crowd. Sia accepted random gifts thrown on stage gracefully (which included purple unicorn plush toy, someone's worn socks, and an invitation to a breakfast in a flask), stuffing each gift down the black hole that was the front of her moo moo-esque dress - an indication of the amount of love occuring between Sia and the welcoming crowd. Her mahogany voice serenaded the crowd with moving favourites like "breath on me" and "you will be loved".
Sarah Blasko gloriously smooth voice also blew the crowd away during the over the top, rock band bravado of Jet on the main stage. Topping it all off with Powderfinger classics was the perfect end to a celebration of the best of the best of Australian music. At the end of the day this mere music reviewer was certainly humbled by a day of glorious live music which was (and I say this in the spirit of renouncing some degree of cultural cringe) most importantly, all Australian.
Sia likes things down her top
It's that time of year again. Get out your denim cut off short shorts, the knock off ray bans you got from china town for 5 dollars, embrace your inner jerk and you'll fit right in. Don't get me wrong, it is a joyous season where finally! some of the best international acts make the giant trek down to see us, and you know its a rare event because they constantly have to remind us that we (and they) are in fact in Australia, repeating statements like: "Ozzztrraayylliiiaaaa is great/are you glad to see us/you guys are awesome/knows how to party". So here is a guide to some of the best festivals around this summer, and festival etiquette tips that will get you through the day unscathed.
THE BIG DAY OUT
Its the mother of all Australian music festivals, and yeah it's big. Expect massive massive crowds and various forms of invasion of your space; rides; and ridiculous, and at the same time potentially awesome concept stalls like: the silent disco and the one that sells pure oxygen tanks (?!?).
Acts to watch out for (other than Muse):
The Horrors
A band who is safely on the borders of the goth rock category. Enjoy the black without risking your life. Outsiders welcomed.
Passion Pit
"Awesome! Yeah, this is awesome!" You'll insightfully cry during this delightful blend of sprawling pop and synth. Upbeat, happy times will ensue.
The Temper Trap
What? They're Australian? This soulful gem of alternative rock have been touring the UK for so long we often forget that they're brilliantly crafted pop tunes originated in this very country. A voice that soars to the heavens and takes you with it. Riffs that will get you swaying every swayable limb. A great choice for a nice break from the mayhem of BDO.
Dont's:
- Bring as few valuables as you possible can.
- Don't get stuck in the middle of the mosh at the main stage. Unless you enjoy being so squashed you're unsure where your left arm is amongst the crowd.
- Don't wear uncomfortable footwear
Do:
- Talk to friendly randoms
- Organise you're day so you have time to check out the other bizarre stuff that's bound to be going down.
- Wear clothes.
- Drink lots of water and wear sunscreen!
Tickets? Enter the ballot for both shows and you have a decent chance of getting ticket for about $150 to sold out shows. Go to www.bigdayout.com
ST JEROME'S LANEWAY FESTIVAL
It doesn't get much more indie than a festival in a laneway. Born in Melbourne, this year's lineup is objectively excellent. Expect purist alternative types and a more relaxed and subtly drunk crowd than at BDO.
Acts to watch out for:
Florence and the Machine
Exciting and well rounded melodies that will be delivered with serious panache and exuberance. Florence has powerhouse vocals so expect to get seriously lit up for her first Australian show.
Echo and the Bunnymen
With sadly more demure hair, this 80s post punk sensation is back for more. Still as sharp as ever you'll be able to recognise their songs by their striking resemblence to great acts such as Arcarde Fire and Interpol. They're serious classics. Cultural cred will be sure to rise post this unmissable performance.
Dont's:
- Spend the whole time trying to take arty photos - there will be a few proffesionals around so grab them.
- Be too concerned about dressing well. Really. It's still a festival and someone will spill beer on you.
Do:
- Constantly say "this is so cultural. we're in a laneway!"
- Enjoy the laid back crowd
- Stake out a good view - laneways are unsuprisingly narrow.
Tickets? Are still available at $112 bf. Go to: sydney.lanewayfestival.com.au
SYDNEY FESTIVAL FIRST NIGHT
It's free. And it's probably the most varied amount of culture you'll ever witness in Sydney all year. Expect massive crowds of all ages (it's FREE! go figure) and some unique acts from all around the world.
Acts to watch out for (other than Al freaking Green):
Bobby Singh and Friends
Australia's best taba player (an "Indian percussion instrument" according to google) and Bobby Singh's friends will be performing. When your friends include Jeff Lang and other worldy bands with worldly long names you've got a winner. A great spectacular of percussive, traditional, and modern world music.
The Manganiyar Seduction
Musicians from the Thar Desert of Rajasthan sitting in individual compartments which were modelled after Amsterdam's red light district. If that description was confusing than you'll have to go to see what I'm talking about. An exotic visual spectacle not to be missed! (Unless you want to pay fourty dollars to see them at the Seymour Centre.)
Dont's:
- Go with people who wouldn't appreciate the music
Do:
- Go really early and bring as many people as possible to mind a good spot.
- Be open minded to all sorts of music.
- Bring a fun picnic basket.
- Get amongst it.
Tickets? LIke I said, it's FREEEEEEE
Stay safe kids and enjoy your summer.
September 21st 2009 14:40
Jamie T is a delicious stirring pot of all that we love about Britpop. A delectable mix of rock, pop, punk and a dollop of clever rhymes, Jamie T is as lovable as rappers get. Since the release of his second album 'Kings and Queens', Jamie T's backing band 'The Pacemakers' are doing less garage band dallying ala Jamie's first album 'Panic Prevention', and are now playing more maturely and consistently, and dare I say, more pop. The often troublesome shift from punk to more pop is actually working magic with the natural rhythm in Jamie's raps, and his live shows are certainly the better for it.
Jamie's best songs in the set list were his best pop songs. 'Sheila' saw the entire metro theatre truly raise the roof, and 'Chaka Demus' which Jamie himself announced as a 'pop song' was met by smiles all round, and also incited some seriously excitable dance moves. The more medium paced, soft melodies of the newer songs were executed most impressively by the band. Sweeping choruses were built up with well paced riffs, interesting backing tracks and subtle keyboard warps. This was particularly outstanding on 'The Man's Machine', which also displayed the talents of a scenester keyboardist wearing tight jeans which looked plain ridiculous next to Jamie's T's hoodie, denim jacket combo. 'Spider's Web' also titillated the audience with a shout of the cheeky line 'Osama sounds like Obama to me'. The simple guitar riffs and the snappy drums added an extra sparkle to the melodies of this song. The beats are certainly catchy enough to make you abandon your normal dance moves for some serious rap arm bouncing
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It seems French pop rockers Phoenix are complete anglophiles (ah, my brethren, I understand completely). Claiming that the English language is where pop is at, lead singer of Phoenix Thomas Mars sings his lyrics exclusively in the language we’d trade in any day for the smooth, smexilicousness of French. I bet the dirtiest sentence you could think of in English, translated into French could be said so seductively, that before you knew it you’d be wondering what happened to you’re underpants. Returning to the point, as a fan of Phoenix and their very friendly pop melodies, which might I add are consistently solid from album one to four, I was expecting their gig to be that of a tight, yet jingly and somewhat predictable indie pop band. I thought lots of bopping, and surely a rougher sound to the sleek vocals and tightly produced sound of each album. I was instead surprised to be presented with a superbly talented and underrated outfit of professional musicians (the four band members plus 2 extras) who busted out each fan favourite like it was a special Phoenix Jukebox night.
Starting with Lisztomania off the band's newest release Wolfgang Amadeus Phoenix, and the ecstatic mood of the crowd, I realised that Phoenix in their long stint as a band of more than 9 years have become pop masters. A heavier reliance on soaring keyboard melodies, more complex guitar riffs, thrilling drum beats and an upbeat bass line, equally matched with the uplifting and ridiculously smooth, yet flawlessly high pitch of Mars' vocals defines their new new energy that has developed into thick layering of melody in new tracks such as Lisztomania and Lasso. The synth origins of which can be traced back to the Daft Punk inspired track Funky Square Dance from album United, and we all know that these days a band adds synth to a track and you’ve created indie genius (it’s actually true in this case! perfect example of the right amount of synth). This sound was delightfully showcased in the band’s performance of the largely instrumental track Love like A Sunset PtI and II, showcasing a new length and breadth in the band’s new tracks that become explosively energetic when heard live. The melody and the riffs were intricately dense, particularly when seen played on stage by six musicians who executed their parts together to perfection. Major kootos to the guest drummer who did some serious playing under a spot light from time to time, a highlight from the restrictive movements of the other band members
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I'll admit that Yves Klein Blue were my first indie baby. I 'discovered' them at Come Together in 2008, thrilled and surprised to find a band that had been as good as their myspace looked. Sidenote- if a journalist uses the term indie myspace band one more time, I'm going to start a scathing facebook group. Anyway, returning to Come Together the boundlessly energetic rendition of the tracks on YKB's first EP with Dew Process -Yves Klein Blue Draw Attention to Themselves in the teeny tiny stage across from the Big Top, led to the beginning of a great love for the excellently handsome, dashing group of young gentlemen of Yves Klein Blue. A little band, with a little following I predicted great things for their future, but wanted to keep them to myself. Holding consistent with the mother baby analogy...my, my how they've grown. After much rigorous touring YKB have managed sell out regional tours, and have prophetically, drawn attention to themselves, also due to a certain car ad and some serious flagging on Triple J. The band, first and foremost, should be praised for their successful rise up the stunted ladder that is the Australian alternative music scene. It's really much harder than it seems to be successful in a scene which is still so underground, you could visit China on your way down.
With the release of their debut album - Ragged and Ecstatic - the result was a slightly more pop friendly album, clearly swayed by a few different genre influences, also more polished with the help of Cold War Kids producer Kevin Augunas. The piano riffs were more of a feature on this album, well melded with the guitar melodies, however, compared to the EP, they're were less varied melodies and impressive solos in each song's bridges and more focus on vocals. Despite the slight variances in sound in the album, I hoped that they'd maintain their excitable on-stage presence, admittedly a bit worried that this could not be achieved in the same way as the loose structure of the raw and organic creation that was their EP. Safe to say, they're show is still vibrant and bouncy, and gosh dang it what a relief. Michael Tomlinson is all a frontman should be . Inviting, engaging and expressive, Tomlinson tells a story with each of his lyrics, with a great dash of the dramatics, something which is seriously lacking in the cold lifeless cool of the indie scene. Easy on the eyes too ladies, and/or gentlemen. The set was thankfully a good balance of older rougher tracks and stand outs from the new album. About the Future had Tomlinson in a very moving performance of this heart on sleeve confession, an introspective commentary which truly brought the audience on their knees, it was truly, captivatingly raw
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Firstly, may I point out the complete irony of the band's album title. Let me demonstrate. Note The Horrors below.
Whilst there certainly is a major lack of colour going on in the band's look, their second album title 'Primary Colours' intentionally marks a huge departure from their violent garage punk sound in debut 'Strange House'. Now, it's important to understand how far these lads have come in order to fully appreciate their second album. So here lies a bit of background reading. Their first album is practically a 12 track theatrical soundtrack to an arthouse horror movie. The screaming lines of 'Jack the Ripper' against a roaring guitar and the jumpy organ melody in 'Horror Theme' would set the scene perfectly for a dimly lit slaughter house movie in which the victims die obscure deaths, that make no sense because of poor film making by pretentious boobs, NOT because they're concepts that require a higher plane of understanding in order to "get it". Anyway, reeling back from that rant segway (Sofia Coppola s u x) the new Horrors album is cohesive not scant, melodic not frighteningly chaotic and develops a vast, open fields-esque soundscape that might actually get your jig going - and not in an awkward gangly limb goth dance way
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Arctic Monkeys. Ridiculous band name. One ridiculously popular song about a dance floor. Reportedly got big on myspace set up by fans. The birth of the Arctic Monkeys reeks of a major lack of credibility. In the early days, where many a teen were going capitals crazy on online forums over an absurdly titled band (a title which they would later be punished for stubbornly sticking with by photographers taking literal visual inspiration from the name for photo shoot 'concepts'), the stage was set for the passing of another hyped band to enter the dusty hall of one hit wonder, 'hype' fame. 'I bet you look good on the dancefloor' was seemingly destined to be that token hit of 05, only to be enjoyed in later decades at a high school reunion or a themed club night which preys on a slightly over the hill demographic. Almost four years later, to say Arctic Monkeys - well established, classic indie rockers, have beat the odds is an understatement. Not only did the band cheat all predestined indicators of becoming just another 5 minutes of fame 'it' band, the Sheffield lads sparked an indie band feeding frenzy. Debut album, Whatever People Say I am That's What I'm Not is a landmark in the 21st century music scene, and Favourite Worst Nightmare followed with critical acclaim and a cheating of the cursed second album slump. With the band's poetic, mature, hip happening lyrics, interesting melodies and riffs inspired by the best of a wide berth of contemporary rock and pop genres, Arctic Monkeys are not a band to be dismissed by their initially internet inflated reputation.
Having seen the band play on the Favourite Worst Nightmare tour in 07' at the vapid, soulless venue that is the Hordern Pavilion in Sydney, the magnificent acoustics at the Palais Theatre proved that Melbourne just does it better. The size of the place was no barrier to the epic soundscape of support act Pivot, a three piece prog rock outfit with a lot of equipment on stage and an equivalent amount of head bashing, rocking out. The well synced members are also whizzes at synchronised jumping. Not much vocal action, just three guys thrashing out a dramatic and evocative soundtrack featuring eerie synth/keyboard melodies. Although many were surprised by the choice, (pivot was certainly a departure from Operator Please- please stop making my ears bleed with songs about ping pong) Arctic Monkeys b-sides 'Matador' and 'The Death Ramps' are along a similar strain of experimenting with serious guitar melodies, minimal vocals and heavy drumming
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Modular Records have a stellar reputation for delivering indie goodness over oceans and foreign lands, most recently rising above the cool mediocrity of most indie labels with the overnight success of The Presets. Modular should be praised as a rare example of an Australian export that hasn't invoked in most individuals with artistic integrity a bought of cultural cringe, following an unwanted evocation of kangaroos leaping across Ayres Rock or small Indigenous children casting spells with magical powers. Nevereverland was a celebration of the latter and of the splash modular has made overseas, the label certainly has had its hand in the cookie jar of indie cool, radio friendly dance exports. Drawing the likes of Daft Punk last year to celebrate it's 9th birthday, Modular's 10th birthday bash certainly had some big shoes to fill.
Van She certainly has been doing the rounds on the live music scene and it seems to have paid off. They've developed quite a following with many fans in the audience waving around their sign- a 'V' (a peace sign) and the placing of this 'V' on your mouth and wagging your tongue around (also another universal sign for getting some action in one's nether regions. They really should at least try and be original). They played a decent set, much potential for jigging, a good mix of techno and pop - 'strangers' is a soaring example of dramatic dance music, pop friendly with some interesting layers of electro beats and a smooth vocal. Next Ladyhawke graced the stage with her too cool Kiwi presence (never thought you'd see those two words together eh?). Her band had not only a cheerful drummer whose talents were brought to our attention by other members of the band generally turning in his direction, but was also comprised of the most perfectly manicured scenesters this well seasoned gig-ger had ever seen. Perfect waify, borderline mohawk, borderline mullet hair dos, loose checkered shirts and black skinny skinny jeans (the skinny jeans lanky guys can pull off which make you wish you had their disproportionately pole like legs). The band pumped out the Lady's tracks to perfection, ending on 'My Delirium' which everyone keenly reminding Ladyhawke to play after every song - not surprising considering Triple J has been flogging the track to no end for the past three months. Ladyhawke and band certainly are a tight unit of electro pop, channelling an interesting mix of synth beats, solid drum rhythms and 80s infused Cindy Lauper-esque vocals (refer to 'Back of the Van'). However, the band is somewhat lacking in stage presence. The picture perfect gleam of the band members and the minimal overt rocking out created a bit of distance between band and punter
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Following the release of Hot Fuss, The Killers were endowed with a calling from the indie rock gods. They conquered the mainstream with their unstoppable combination of pop, punk and electro and created heart felt yell-along choruses, with just the right amount of self deprecating, kick it to the man lyrics. Pop lovers from all walks of the music spectrum were brought together by their unashamed love for the band's impossibly catchy anthems on dance floors all over the world. They raucously jumped, thumped, waved - hands in the air like you just don't care - to 'somebody told me that you had a boyfriend...' or my personal favourite 'I got soul but I'm not a soldier' (I mean you can't go wrong when you use a pun!). After the two year wait Sam's Town's success was still riding on post Hot Fuss heat but the album was still very much in it's shadow. Brandon Flowers' humbling description of the album as 'one of the best albums in the past twenty years' made the band's attempt at Bruce Springsteen Americana overly premeditated. The band tried to get serious and so did their facial hair. Whilst The Killers had progressed to a more ambitiously soaring, big sound and whilst it was a very catchy, tightly produced album, it just wasn't Hot Fuss.
After Sawdust which was in most part an album of fillers and bad country tracks, the release of album number three: Day and Age was barely expected. Island records entire marketing team being entirely dedicated to Pete Wentz and his hair certainly dropped the ball on the band that was once hailed one of the greats. Honestly though, I'm not sure how many of us really cared anymore. A band loses its greatness once the band members start to recognise their greatness and then decide to inflate their egos to emulate the greatness that everyone expects. The album is a somewhat tragic anticlimax to The Killers meteoric rise. Produced by Stuart Price who impressed the band with the Thin White Duke remix of Mr Brightside, the album is predictably more dance than it's predecessors and for the most part seriously lacks originality. Opener Losing Touch sets the 80s electro vibe the album intends to capture and that cheesy electric guitar solo in the end of the song could have been the perfect soundtrack to an air punch Hasselhoff moment on Night Rider. Unlike the predictable structure of Sam's Town, tracks such as Losing Touch and This is Your Life are at the very least interesting. Catchy riffs and Flowers' smooth vocals give light and shade to the tracks. And yes, those are trumpets on a Killers track. Surprisingly they're subtle enough to work
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