Peter Hook Presents His Ego, I mean, Unknown Pleasures - A Joy Division Celebration (for him)

This past Friday, I spent the day reliving my Joy Division collection in the name of attending Peter Hook's 'Unknown Pleasures: A Joy Division Celebration'. I don't need to tell you that the aforementioned LP title got me through a certain time in Sydney -- there was nothing quite like wallowing to the beautiful agony that is Ian Curtis and co.



Despite the controversy surrounding former Joy Division/New Order bassist, Peter Hook, and Primal Scream's Mani's Twitter riff, punters were not discouraged by contributing to the "blood money". Mani has since apologised to Hook however the damage is done with explosive comments such as, "used to adore the man, now he's a self centred sellout reduced to hawking his mates corpse around to get paid. And he can't play." hitting the web in a twitter rage.



All rubbish aside, I got to the wonderful Palais Theatre for the 8:30pm show. The crowd was a mixture of Manchester geriatrics and hipster tools all wearing cover art like no one had ever bought a Joy Division shirt. One guy actually looked like David Bowie circa The Labyrinth, scary shit. Anyway, the show opened with this audiovisual 'disclaimer', if you will. Basically a compilation of clips explaining the success of Joy Division and New Order, lazily told with an assortment of clips from bio films Control and 24 Hour Party People. Steve Coogan didn't need to tell me who Peter Hook was, it didn't seem necessary.



When Hookie and co. took to the stage, I was surprised to watch the controversial bassist take to vocals but not without bass in tow. The poor bassist on stage got to play everything but the cool bits, poor brother. The set opened with an out of order 'No Love Lost' and the sound exploded throughout the auditorium. I tried to close my eyes and cast my mind back to how this would have sounded originally, late 70's early 80's -- how explosive that sound would have been then considering it was blowing me away right now. Nothing sounds like Joy Division, nothing, though many have tried.



Hook with all the bravado he has, managed to carry off the lower vocal range similar but not offensive to Curtis. The music in tribute to itself was huge, like a wall of sound but the vocals could have stood to be a little louder -- sound guy, I'm looking at you. I think the most annoying part was the ego of Hook. I know, it's no surprise and I know his bass stance hasn't changed since New Order formed but he still looks like a wanker.



The best job for my money was done on 'Candidate' and I know this is one of my favourite Joy Division songs so this is a little bi est, but the lights went low and the bass lines unmistakable. It was conducted quite perfectly. Other well executed and non-offensive performances were, 'New Dawn Fades', 'She's Lost Control' and 'Shadowplay'.



The encore came after 'I Remember Nothing', however the band reappeared shortly after, with Hook declaring ".. this song still makes me shit myself". Though 'Transmission' does not appear on 'Unknown Pleasures' it was added to the set for kicks and got some of the crowd out of their seats and into some tasteless Ian Curtis dance aerobics.

In a predictable but equally appreciated finale, the set closed with Joy Division's biggest hit 'Love Will Tear Us Apart'. In response, everyone respectively got out of their seats and danced and some sang along terribly. I appreciated Hook's vocals in this tribute and a friend of mine actually went so far to say that he prefers Hook's vocals over Bernard's, which for my my money could be a valid notion. I enjoyed the show, maybe it's because the songs are still perfect, maybe it's because I didn't shell out $80 for a ticket. I don't know, I think it was just something a Joy Division fan should see.

Things I Like To Eat For Breakfast, My Words.

So, last night as the clock leaned towards a new day, Big Day Out fans nationwide awaited anxiously for the summer festival's 2011 line-up. Me, well I'd had too much Coca Cola before bed and I suppose I was a little bit curious, so I sat back, sipped the the carbonated soda I should not have consumed and watched my facebook explode.
I think my favourite part is watching every one's status update lurch into glee or scream bloody murder at BDO organisers. You can tell which type of people are going to be pleased, and those who simply don't get it. A lovely young lady asked me who Iggy Pop was, I couldn't even respond.

So, I could list you the whole line-up but you can catch it all at www.bigdayout.com but man, I am probably going to go. Iggy Pop & The Stooges, Grinderman, Rammstein, Primal Scream, Tool, I mean holy shit. My little inner punk-metal mistress is losing her shit. Not to say that I'm not looking forward to more Boiler Room associates such as LCD Soundsystem (which they claim is their last shows) and Crystal Castles. I'm also pleased to see Edward Sharpe & the Magnetic Zeroes on the bill but the one thing missing and making me cry is Arcade Fire. Wants.

I don't know. Thoughts?

OWM Catches Up With Thomas of Papa VS Pretty

Cast your mind back to the depths of your alcohol abuse somewhere back in 2008. If you're an old reader, you may be familiar with my obsession with Sydney's Papa VS Pretty, and may have thought I was talking smack, well my devout followers, I preach no bullshit. The three piece have just been signed to EMI's sub label Peace & Riot and are cutting their first album.
I caught up with frontman Thomas Rawle to see what's behind the magic of Papa VS Pretty and why they're not just about edgy looks, but great music.

Since the release of 'Heavy Harm' in August, Papa VS Pretty have become regulars on the Triple J playlist, and I hear you were even featured on Video Hits one morning - how have you found the reaction?

It's been good! It's really reassuring to have folks like Triple J get on board, I'm really thankful that the record has been embraced by them. FBi play it as well which is fantastic, they've played all our EP's so it felt great that they liked this one as well. The clips gotten some airtime on TV as well which is strange, I saw the 'Heavy Harm' clip on Rage one night and almost spilt my tea haha.

'Heavy Harm' was the first release for EMI sub label Peace & Riot, was there a lot of pressure for this single to be a success, like you might be shunned to a distant desert island if it didn't take off?

Not at all, its a really great label. It's all about longevity not so much about hype, so there's no pressure to sound like anything or anyone or too look a certain way. We're certainly not a fashion forward band. It's all about writing the best music we can and playing it the best we can, that's what is important & they support us 100%. Its fantastic!

Tell me about Paul Dempsey's support since touring with him last year?

He has been great, it's really good to have someone who you really respect, like your work. For us it was a HUGE complement as we are all Something For Kate fans as well as fans of his solo record, so touring with him was amazing. Recording the EP was as well, it helped us become a lot more confident about our musical direction, really cement ourselves to what we we're doing cause other people believed in what we where doing. Makes it all worth while!


What can we expect from Papa VS Pretty's first LP?

We've been demoing it for the past month and its sounding really cool. It's like a fully evolved version of the sound hinted at on "Heavy Harm". It sounds really big, then it gets really small. Kinda like film music, I really love film scores. That kind of musical atmosphere, but with a grungy feel mixed in with a bit of Elliott Smith and Buckley. I'm not that great at answering this type of question (whenever i do i get excited and start making all these references haha), so I guess you'll have to wait and see what it sounds like.

Lucky last, desert island top 5 records of all time?

I wish I could take 20, but OK. I picked these ones cause I always come back to them, no matter how many times I listen to them I can go back to them and they sound brand new.

From a Basement on the Hill - Elliott Smith Grace - Jeff Buckley Goodbye Yellow Brick Road - Elton John OK Computer - Radiohead The White Album - The Beatles


Catch Papa VS Pretty on a tour near you as the support Silversun Pickups and The Holidays, check the dates here.

Here is the single causing quite the ruckus on the airwaves, 'Heavy Harm'.



(image by Nirrimi Hakanson)

Coming up this week..

A review for Peter Hook's Unknown Pleasures - A Joy Division Celebration, Silversun Pickups, an interview with Thomas from the up and coming Papa VS Pretty, and another teaser track from Cameras. There will be a few pieces on some Melbourne locals as well, so keep your eye out!

OWM Chats With Bluejuice Circa April...I'm Late.

Two records in with one on the way, Bluejuice have already cracked the Aussie indie scene with their energetic funky-pop fantastica! Bluejuice have been dominating the airwaves and festivals alike since last September saw the release of the Sydney boys sophomore record 'Head of the Hawk'. The explosively catchy second record spawned the Triple J's Hottest 100 hit 'Broken Leg' which came in at an impressive #5. So, I had a chat with with Jamie Cibej (Bass) from Bluejuice back in April, here's what went down.

First things first, congratulations on the overwhelming response to your Big Day Out tour 2010. Inflatable lizards and giant spiders were just one thing to mention from this years smashing summer performances. Will the lizard be back?
Thank you very much. We actually intended to use that lizard again on the Good Vibrations tour, but it got lost for over a month. It turned up eventually, in some store-room at Sydney airport. For that reason, we’ll be limiting our giant props on this tour, and relying more on impractical costumes and offensive loudness.

One stand-out question for me as a Melbourne Big Day Out Patron - those now infamous yellow jumpsuits you guys flaunted onstage, did it ever cross your minds to add a little stuffing? If so, weapon of choice?
We like to think the flaws in the band are our most charming features, and this includes our tiny wangs. I did get to hide mine behind a guitar though.

What was your greatest experience on this year Big Day Out tour?
The guitarist from Mastadon doing an erotic impression of our female fans. The sight of an imposing tattooed man dancing whilst pretending to pleasure his female self will remain with us always.

Tell us about your most awkward tour experience. Have you ever walked in on anyone 'in the middle of it' in a dressing room or committed a band-on-band faux pas?
Oh please. The only thing anyone in a dressing room is ‘in the middle of’ is playing some game on their iPhone or eating a sandwich. Jerry accidentally did a poo in a stranger’s hotel room once though – that was reasonably awkward for him.

Bluejuice busted onto the scene in 2007 and excelled through 2008 and onward, how important do you think Triple J's support was in getting the gospel out to the people?
Triple J were absolutely essential. Despite the songs being irredeemably crap, they played some stuff from our first two EPs in 2003 and 2005, so they’ve supported us for a long time. And obviously since they’re national, regional touring is made easier.

In 2009 you guys were nominated for two ARIA Awards, what are the plans for this year? World domination? I hear you've been labeled a militant political group from the Maldives?
You attempt one coup d’etat and everyone labels you a militant – it’s so hard to get ahead in the Maldives. This year we’ll be going overseas and also recording our third album. We’ve been annoying audiences with our new tunes for a while now so it’s time to record them, though we don’t know where, or with whom we’ll be doing it.

And last but not least before you lads embark onto the tour, can we expect more jumpsuits in the future and is there a chance of a Bluejuice line of jumpsuits for the average Joe?
We thought about getting some of those purple Broken Leg skipping tracksuits made, but figured that not to many people want to walk around looking like grapes. And as far as the yellow jumpsuits go – those things need to be destroyed. They are disgusting.

Check out more info on shows and all things Bluejuice here.

Interpol Does Interpol

Call me fashionably late or unfashionably poor, but yesterday was the day I picked up Interpol's self titled 4th LP. Better late than never, right?

In a musical world where indie bubblegum fads come and go, majority of bands spend their entire careers trying emulate the success of that first record. When the fever sets in it makes those sophomore releases all the more hyped and all the more likely to underwhelm. It's usually a hit and miss situation, take fellow New Yorkers MGMT's 2010 'Congratulations', for example. This offering came three years after their 2007 explosive record 'Oracular Spectacular', and failed to match the critical success of its predecessor. It's something that happens again and again. All examples aside, Interpol have managed to survive and complete their fourth successful studio release.

It's no secret that the four lads unleashed a musical beast upon the world when their debut album 'Turn On The Bright Lights' emerged from the New York scene in 2002. Many whiny pricks go on to say that Interpol could never make a record that good again, and they're right in saying that 'Turn On The Bright Lights' could never be cloned. This record is probably one of the best things to have happened to me, and you will usually find it in any one's top 10 of the last decade. It's very rarely that a record like this comes along, and I think the most important step of appreciating new work, is letting go of the idea that this record will happen again. If it did, it would not be as special.

If you ask me, Interpol's follow-up releases 'Antics' and 'Our Love To Admire' are both in their own rights very valid records. In fact, even though 'Our Love to Admire' didn't quite match the critical response of the other releases, the themes are still there. The sound that is unmistakeably Interpol, despite those rookie comparisons to the U.K's Editors and the annoying Joy Division facsimile.

True to form, 2010's 'Interpol' delivers just what you'd expect. Daniel Kessler's guitar is as brutal as ever, and like a recipe for success is matched flawlessly by the thick, powerful bass lines of the since departed Carlos D. How to make the potion perfect? Add the dark, smokey vocals of Paul Banks and the effortlessly potent percussion of Sam Fogarino. The band suggested this release be a return to the original sounds of 'Turn On The Bright Lights' with a more orchestral twist, and they were right.

The record commences with the ideally paced, 'Success' which serves as a just that, a successful opener. Sonically, this is an immediate familiar sound, creating an atmosphere expected and delightfully welcomed, but not without a flicker of something new.

These guys know a thing or two about building tension and contrast, and as the album succeeds into 'Memory Serves', the guitars are sudden and strong, before dropping back into a slow key steady number. The repetition of Bankses vocals purring "Only at your place", gives the song a romantic misery. I think my favourite moment is when the track falls to the close of keys, and Banks delivers the final lines, "Baby you don't have to say that you'd love to/ only that you want to/ some day…"

As the tracks ascend, we're faced with another favourite of mine 'Summer Well'. Banks tells us of a failed romance and the desire of going back, ("I miss you but it looks like you summered well."). 'Summer Well' is driven by vocals which serves to make this one of the catchier tracks on the record.

When 'Lights' surfaced as a teaser track back in April, I didn't know a lot of people in my music community that liked it, some slating it to be "boring" or even just a "fail". I didn't feel the same way. As soon as I heard the bass line, it felt like my first drink in years -- I had been craving this sound since 2007 and this was more than music to my ears, but something sonic in my veins. "That's why I hold I hold you near" was all reminiscent of why Interpol have been and still are one of my favourite bands.

'Barricades', unfortunately isn't one of my favourite tracks. Though it was the second track released to radio, I don't know.. I just didn't like it right away and it's more annoying than valid in my eyes. It makes me wish for the days of 'Evil' when the vocals were lower. I just find this track annoying, there i said it again.

'Interpol' isn't a top heavy offering, that's for sure, in fact I think I like the second half almost better. 'Always Malaise (The Man I Am)' is probably the most beautiful track on the record. It's one of the more fragile Interpol songs with brittle keys and crooning lyrics that beg for understanding. 'Try it On' is a sound departure from the regular method of choice, though some don't quite understand the repetitive keys, I think it's a nice change but does tend to serve as bit of a filler track.

'Interpol' comes to a cinematic end with 'All of the Ways' and 'The Undoing'. I couldn't suggest a better apocalyptic climax than to contrast the night and day of these two songs. 'All of the Ways' is this church orchestrated epic and the record winds down with the lines "I was on my way/chasing my damage" which haunt 'The Undoing'. The painful shrieks of Banks crying "Please" add to the romance and anguish of all things Interpol.

All and all, this is a very solid album. I mean, that's all I can say. I'm not living in the past, I wasn't hoping for this repackaged '..Bright Lights', and that's important going into listening to 'Interpol'. As an avid Interpol fan, I accept this release into the discography as a very convincing and credible addition.

Big Don't Care -- a rant similar to last year.

Pending speculation Tool would be headlining Australia's washed-up festival Big Day Out, it appears we were completely off the scent. Thanks to Danny Clayton's royal fuck up last night on his Twitter, it appears Californian 90's band Blink 182 with be taking the notch at the top of 2011's bill.

Do you care? I don't know if I do. It's been a good six or more years since the Big Day Out boasted a line-up worth writing home about. I still think in terms of all star bills, Ken West hasn't pulled anything reasonable since 2004 when Metallica, The Strokes, The Darkness and a junior Muse took to the national tour.

Sure, there's been great moments since, think Arcade Fire, TV on the Radio, R.A.T.M and Neil Young, but it all appears lukewarm with a wash of repeats and lackluster artists taking up space. I begin to wonder if they even care anymore?

In terms of line-up value, I think Splendour in the Grass is probably Australia's most prestigious festival-- followed closely by Falls Music & Arts Festival which is usually hand in hand with Southbound due to timing. BDO just doesn't come close anymore, which is sad because this would be my seventh year attending but after last year, I promised myself I wouldn't go again unless the list boasted Arcade Fire and free beer shot to crowds via large hoses, maybe an appearance from Nirvana and free drugs? I just don't think I'll go.. but we will see.

What do you think? Is Big Day Out still part of your Summer festival must do's or do you just. not. give. a. shit?

Chicks Who Love Guns Conquer Melbourne!

When I first heard that some of the former members of The Waha's had started a new band post their split in 2009, I didn't exactly know what to expect. This musical endeavor continued to elevate my interests when the title Chicks Who Love Guns came to light.

As cutting edge as the name is, the five boys of CWLG are possibly trendier, with essence of the The Horrors in appearance. I know what you're thinking, "Great, another 'bro heavy' boy group of obscure indie twats." Not quite. If the music sucked, maybe.. but these Sydney lads are good enough to pull it off in an unpretentiousness manner. With track titles like 'Smashfuck' and 'Vomit on the Dancefloor', the credibility stands as this band is not all haircut but angsty and valid.

I ventured through the cold to Fitzroy's Royal Derby Hotel this past Thursday for my first CWLG show as they supported Melbourne's hard rockers The Reptiles. Though the following for the Sydney lads isn't quite at cult status yet, it was quite the intimate show.

The music just about cuts you as these five glam dudes get right into it, sound exploding through the room. The tracks are razor sharp and Cass Navarro's vocals are thick with a Casablancas drawl which works well over rocking riffs and funky fucking deadly bass lines. Navarro may be pocket sized, but it doesn't stop him from owning his stage presence, as he wanders around the space beer in hand casually delivering lyrics like, "I threw up on the dance floor". The set quickly changes into some punk influenced tracks with back-up vocals sometimes sounding truly At The Drive-In'esque. I think I described it to a friend as the bastard child of The Strokes and The Stooges.

What I like best are the bass lines that sound like the cuts off of Nirvana's 'Incesticide'. Each CWLG song delivers an element of garage "fuck you", which seems to be disappearing in today's alternative scene -- what with bands opting for smoother, polished radio-friendly sounds. Don't get me wrong, there's a place on the airwaves for CWLG but it's just not Nova, or 2DAY FM and I think I like it better that way.

After three nights in Melbourne, I like to think the boys will return to Sydney with a stronger fan base and we'll hopefully see them back in the icy Melbourne tundra soon. Keep and eyeout and get yourself to a show stat. Don't bring lemon or salt, CWLG will cut you

Help yourself to CWLG Myspace for tour dates and listen to some rocking tracks while you're there!

Polarise - A New Track from Sydney's Cameras

Take a peak at Cameras dirty pretty teaser track from their upcoming debut EP available later in the year.

If you like whimsical vocals comprised of elegant lyrics matched with beautiful melodies then Cameras are for you.

These Sydney kids having been garnering a lot of buzz in the last few weeks, with the king of
radio Richard Kingsmill giving the three pieces debut track 'Polarise' an outstanding 4/5 on Triple J's uneatrhed.

Not only that, Cameras were featured on Hype Machine's Top 100 buzzed about songs placing at #15 above
Arcade Fire -now that's saying something!

The first time I saw Cameras at The Hopetoun in 2008 I knew there was something special
about them. I've supported this band heavily since that day and have continued to do so.

Cameras are truly onto something!

Click here for your very own free download of Polarise

Also, check out the Cameras Myspace for a list of upcoming gigs or become a fan on Facebook.

Homecoming.

There are a lot of reasons why I stopped posting here, all of which I don't think I can get into or even need to. Those reasons have since faded into the sound of music and the passion I had forgotten. Writing to me is second only to music, and for a while there I got a little lost along the way.

There's nothing more intimidating than falling out of the loop and trying to recapture what you had and as time passes things get more and more on top of you. You lose the inspiration.

So, after one day sitting in my office feeling rather pathetic and irrelevant, I decided to get back into it. Get involved. I've seen a lot of music this year and have since relocated to Melbourne, so things may be a little different.. I hope y'all are still on board with me.

Please look forward to reviews from some of our favourites, some new guys on the scene, international and local reviews and I'd love to hear all of your tracks.

This blog was created in July 2008 -- no matter how much I lost faith, I never had the heart to close it.