OWM ‘Best of 2010’

So, I’ve mad a list of my personal high rotations for this year.

This isn’t to say that these are the most critically acclaimed works but more what I have enjoyed the most, I can’t be bothered to re-list a Pitchfork countdown to appear noble amongst hipster folk, Take it or leave it, this is what I’ve been listening to this year.

TOP 5 ALBUMS OF 2010

• High Violet - The National
• My Beautiful Dark Twisted Fantasy - Kanye West
• The Suburbs - Arcade Fire
• The Fool - Warpaint
• Halcyon Digest - Deerhunter

Close but no cigar: Belle and Sebastian - Write About Love, Tame Impala - InnerSpeaker, FOALS - Total Life Forever, Broken Social Scene - Forgiveness Rock Record and many more I’ve acquired too late to really fall in love with just yet.

TOP 5 SONGS OF 2010

• Conversation 16 - The National
• Ready To Start - Arcade Fire
• You Got the Dirtee Love - Florence and the Machine feat. Dizzee Rascal
• Hell of a Life - Kanye West
• Eyes Wide Open - Gotye

Close but no cigar: Heavy Harm - Papa VS Pretty, Suburban War - Arcade Fire, Whip My Hair - Willow Smith (or the Neil Young and Boss cover), I’m Not In Love - Crystal Castles feat. Robert Smith, Fuck You - Cee Low Green

Dude, Stonefield.

If there is anything you should do this year, it's catching tween girl band Stonefield.
I caught them last night, I died. So talented. THERE WAS BASS SLAPPING AND TAPPING!
Yeah, it's like Jefferson Airplane but going through puberty!
Find a way.

Single of the Week

You might imagine the variety of demos my inbox delivers and though some songs just take a few listens before the music really takes hold, I know a hit when I stumble across one. Today the debut single 'Exit The System' from Brisbane's threesome The Moniters landed safely in my hands and I am one happy little blogger.

The Moniters are comprised of frontman Jimi Lucas, drummer Matt Schrader and bassist Barney Gickel, the three band members met at a Killers concert a few years ago and have been recording demos with Jack and cigarettes ever since. This year the lads have been working closely with Melbourne based producer Forrester Savell (Dead Letter Circus, Birds of Tokyo) stringing together their debut EP 'Sex City Lovers' due out in 2011.

My first thoughts of 'Exit The System' was that the track is dirty, sexy and electric. The more I listen to the verses, the more I hear elements of Paul Banks in Lucas's vocals, it's quick and immediately catchy. Quite personally, I'm not the biggest 'electro' fan but this sound is a step in the right direction for electro rock. More rock than "magic fountain", The Moniters deliver a little bit more edge into this saturated market.

Give the track a spin and also check The Moniters east coast tour dates riiight here.

Bob Dylan once said, "The times they are a changin'..", and even though Bruce Springsteen and Neil Young are music giants from our Dad's day, they don't seem to have any issue with keeping up to date with what's, erm, fresh? The two genius's (well, one was Jimmy Fallon dressed as Young) recently schooled the elementary aged Willow Smith by rearranging the mega hit 'Whip My Hair'. A hit is a hit, no matter what you do with it.
Get schooled, old school.

Farewell Powderfinger

Alright, so I'm not going to lie.. Somewhere in my room back at home, amongst all my discarded PJ pants three sizes too small and polly pockets lies a Powderfinger record or two. I'm by no means their greatest fan. I saw them twice, once at BDO and at that Silverchair double show they did years ago, both times I was greatly underwhelmed. I should have been stoned.
I'm sitting back as the Australian media swarms at the ankles of "Aussie rock gods" now Powderfinger have finally split (two records later than they should have). The Brisbane band played their last set ever (John Farhnam, anyone?) yesterday and everyone is acting like it's Crowded House on the Opera House steps again. I am not going to say they didn't write some good songs over the years but I have to say their generic charm was long lost on me post 'Vulture Street' and my year ten certificate.
I think it's a perfect example of "It's better to burn out, than fade away." I am sure we will be treated to a slew of solo work and more hits than your trades Ute can handle.
I think the point I am trying to make is that Powderfinger will not be missed by me and though I respect their past work, I really think that Australian music scene is sick if our biggest export is just another state band doing regional tours for fifteen years.

If You Believe.

There are just some bands I believe in and I like to put all my energy into them until everyone I know has given them a spin. I've done it with Papa VS Pretty and Parades who are now busy crafting and delivering records and I'm still doing it with Cameras. These three local Sydney acts captivated me years ago and I am yet to lose interest as they continue to not only wow me but make a difference in the Aussie music scene.

Cameras just recently played here in Melbourne and despite the large amount of rookie errors that come along with having your guitar smashed up by Qantas, the trio + bass stand-in put on a perfect southern show. The soulful Sydney kids were here to promote their perfectly crafted debut E.P which is available NOW through all decent digital retailers.

However I've left you a sample of my favourite track off of this perfect six song package and it's a track titled 'Break/Hands'. It's honestly one of the most beautifully sung tracks I've come across the last few months. It's soulful in a sense of morose bliss but incredibly infectious. Check it out here. Girl can sing.

Also, it's not just my eye that's been caught by devilishly talented Cameras, there are a lot of international whispers and a few rumblings in the festival underground. Stay posted!

Vote Your Blogger A Trip Overseas

I won't spam this, but if you're a follower I'd love for you to support us in getting a rad opportunity to travel overseas to get our blog on. I'm not a hugely competitive person but this would mean the world to me to even try!

Click here to vote for me to travel with Channel V!

Your support would be amazing!

My Debut @ Beat TV

So, I mentioned briefly I was doing some presenting work with Beat TV here in Melbourne and you can actually catch my first interview with Australian artist Ryan Meeking.

All you need to do is visit www.beat.com.au and select Beat TV and that's where you will find my first on-camera foray. It's not amazing, and I have a long way to go but this is the transition from behind screen to onscreen.

My Favourite Album This Month - Belle & Sebastian - 'Write About Love'

Over my years of avid music listening, Belle & Sebastian have been referred, recommended and preached over and over. It might not shock you to know I am terribly stubborn. If one band is pushed so far, I will probably just avoid it, though this time I did have my reasons.

Let me take you back to a Petersham bedroom rented by five boys in 2008. I was sleeping with another music blogger/pseudo pianist and this was long before I'd even started this blog. I used to wake up in his single bed which resembled a hospital bed, to the happiest music every single morning. I am not a morning person, I am a miserable person until at least 7pm at night so when I wake up you're lucky to even get The Cure out of me most mornings because even that can sound too happy to me.

"What is this?"
"Old Belle & Sebastian."
"It's too happy"
"Figured you'd say that" - Picks up keys, walks out of the room.

So, I guess ever since then, even after High Fidelity and 500 Days of Summer references, I couldn't get interested. I know of all their classics and I know a lot of musical elitists and muses I follow really love them but it wasn't until I saw 'Write About Love' in my Uncles music folder, that I decided to give them a spin almost three years later. Safe to say my love affair with said blogger too faded in these years, maybe weeks after, bless youth.

The cover art reminds me of that of the 'Louder Than Bombs' Smiths record, you know the one featuring British playwright Shelagh Delaney at the ripe age of 19, cigarette in hand. Anyway, the first track is 'I Didn't See It Coming' and it sounds happy, upbeat, I mean it isn't Matt Berninger from The National singing baritone lullabies of misery but there are (no pun intended) moments of lyrical sinister. It was exactly what I expected at the same time as it wasn't at all. I was impressed. From the first lines of, "Make me dance/ I want to surrender", I had done just that alone in my kitchen. I was cooking and suddenly there was, I guess, a bit of a rhythm in my pancake making from that point on.

'Write About Love' then slips into one of my favourite songs on the album, 'Come On Sister', which follows the album recipe of starting with something big, then taking it up a notch and again to the formula Mr Nick Hornby describes of making a mixtape, you have to cool it down it a bit, 'Not blow your wad right away' and the tempo drops to a romantic ballad 'Calculating Bimbo' which is actually bitterly sweet.

'I Want The World To Stop' is an incredibly catchy in that pop-repetitive way and I guess there's that element of The Smiths in saying something depressing in a cheerful manner, that I can appreciate. 'Little Lou, Ugly Jack, Prophet John' is said to be the best work on the album and it's a low tempo collaboration with Norah Jones. Maybe it's because I hate Norah Jones but if it's not background noise, this song doesn't do much for me. The tempo of the album is then awoken by the infectiously album titled track 'Write About Love' featuring the gorgeous Carrie Mulligan. This is the cutest piece of music I have heard in some time. I really enjoy the adorable, "I hate my job/I'm working way too much/Everyday I'm stuck in an office" offset by Murdoch suggesting there's a prettier way of living, "Just get on your skinny knees and pray". This song has been on high rotation since its discovery.

'Write About Love' proves to be buoyant as it continues into, 'I'm Not Living In The Real World', even though it's a three minute song, it's so sweet it ends before you realise it's begun.

Now the part where the tale end of the record twists into low tempo and I'm not saying it's a top-heavy work, but I find the last few songs to be a little less catchy, a little less enlightening until the closing track of 'Sunday's Pretty Icons' which is a lovely little piece that certainly does leave the listener satisfied and wanting more.

It's hard to write about a respected band or artist when you really don't know their work. This is the eighth studio release by Belle & Sebastian and unlike all the other reviews that incorporate all bands errors of the past, I really have nothing to say. I know I now need to work backwards into their catalogue and maybe that can be a benefit when you think about it, kinda like buying a box set and not having to wait for a new episode every week. Bad analogy. Anyway, if you're like me and you've never really bothered with Belle & Sebastian, I'd say give it a spin. This is one of my favourite records this year and as summer in Australia beckons, I know 'Write About Love' will be on high rotation here at OWM.

Evening Outrage.

NME’s ‘Best Debut Albums Ever’ poll by "the people" voted Arctic Monkeys ‘Whatever People Say I Am, That’s What I’m Not’ over Joy Division’s ‘Unknown Pleasures’. Fuck. Right. Off.
Arctic Monkeys debut also took out Interpol’s ‘Turn On The Bright Lights’, Nirvana’s ‘Bleach’, The Libertines ‘Up The Bracket’ and Jeff Buckley’s ‘Grace’. What the fuck even? Who let these morons choose?

I'm embarrassed to be alive.

Dropping the ball, picking up the pace, losing face.

Updates and all things new coming soon!
It's been a busy these last couple of weeks. I've been filming and celebrating a birthday so now that I am dignified and old, I am sure I can clog your screens with my rubbish.

I look forward to it.

Blue Monday

Are you tired of being Monday's bitch? I know I am.. Anyway, I've put together a playlist to get you through the complete dick-taking that is the beginning of the week. Feel free to contribute.

• Money (That's What I Want) - The Flying Lizards
• Wake Up - Arcade Fire (Not funny, literal. Wake up, you bitch)
• I Didn't See It Coming - Belle & Sebastian
• I Wanna Be Your Dog - Iggy Pop & The Stooges
• Stockholm Syndrome - MUSE
• Satisfaction - Bjork and PJ Harvey
• Nantes - Beirut
• Cause = Time - Broken Social Scene
• Handle Me With Care - The Traveling Wilburys
• Six Different Ways - The Cure

The Price of Silence - 'A Hipster Note'

There are a lot of things you will read about on OWM before I bag out Thom Yorke. To me, Yorke is the orchestrator of my heart and the 'Pablo Honey' record aside, there is very little he could to to deter my love.
The Radiohead frontman has proved himself not only a worthy musician, but as an artist, entrepreneur, and all around fucking genius. This all comes with the territory of fronting one of the most innovative and influential bands in the world. From this you can tell I am probably one of the most annoying and pretentious Radiohead fans around and would just about sell myself to get my hands on anything Radiohead related, well until today.

This morning it was announced that Yorke alongside Mark Ronson and a couple of other people I don't care about, have teamed up with British Prime Minister David Cameron to record two minutes of silence. Yep, to record two minutes of silence and wait for it ... sell it as a single.. yep, still processing the perpetual wank of this notion? Me too.

The Single is appropriately titled 'Two Minute Silence' and will be released on November 7th to commemorate fallen soldiers on Remembrance Day. Yeah, it's for a good cause, blah blah blah, and maybe I'm a bad person for thinking this is ridiculous and wanky but I give to street artists occasionally so I'm not convinced of that. It's just that this is complete bullshit? I can see it now, my fellow Yorke fans sitting alone in their bedroom being 'sooooo post-modern' listening to their two minutes of silence. How about making us our new Radiohead record, Thom? How about that? I love you but really, you can only be so 'innovative' before landing yourself in a dickload of "YOU CAN'T BE SERIOUS?".

And Aaron Diaz wanted to know if it was a cover or a remix of John Cage's 4'33"..

When God Programmed Rage

This past Saturday my literary idol Bret Easton Ellis programmed Rage -- it's moments like these that make me wish it were 1985 when he was announcing songs on MTV, you know when they played music.

The 'American Psycho' author recently visited our shores in August as a part of the Melbourne Writers Festival and promotion for the his most recent novel 'Imperial Bedrooms'. I won't turn a music blog into a book review however Ellis is known wildly as one of the more musically versed of the American literati. I was lucky to have met the genius when he visited Melbourne but will still do anything to get an insight into his twisted mind.

As predicted, Ellis made a playlist rich with popular culture but with enough taste to get by. We were treated to clips ranging from the appropriate Lady GaGa's 'Paparazzi' to huge dedications to the authors obvious influences like The National and Mr Elvis Costello.

So if you're a big reader of the books treat yourself to the essential Bret Easton Ellis Rage playlist here.

When you don't proof read your work

You try and tell people that The Pixies toured Greenday's 'Dookie'..

Human computer.

Top 15 Album Tours I'd Step Over My Own Mother For

So, I am always trolling the Internet for lists, I am a list kinda person, maybe I’ve read High Fidelity too many times or maybe I have too much time on my hands.. anyway, this morning I stumbled across Fasterlouder.com.au and their list for ‘Most Wanted Album Tour’. With a lot of major bands touring their prized records it’s becoming quite the trend. The first example I can think of is when Sonic Youth toured ‘Daydream Nation’ in its entirety back in 2007. No, I didn’t go. Yes, it still hurts me. But with The Pixies bringing ‘Dolittle’ to our shores earlier this year and Primal Scream about to bring us the spectacular ‘Screamadelica', the people are making demands!

Fasterlouder’s list is a mix of standard classics like The Boss’s ‘Born To Run’ and Radiohead’s ‘Kid A’ which came in at top spot. It got me thinking about my top 15 albums I’d like to see tour. Some are strange choices because I mean, some records would just tour better than the way they play alone in my bedroom so they may not be my favourite offering of said band but you know the rest.. here goes..

TV on the Radio – Dear Science

Radiohead – Hail to the Thief (Could you imagine '2+2=5' annnd 'There There')

Bob Dylan - Blonde On Blonde

Interpol – Turn On The Bright Lights (hidden track included)

Broken Social Scene – You Forgot it in People

The National – Boxer

Smashing Pumpkins – Siamese Dream

Nick Cave and The Bad Seeds - Murder Ballads

Arcade Fire - Funeral

LCD Soundsystem - Sound of Silver

Sonic Youth – Washing Machine (mainly for Diamond Sea playage only reason I chose this over Goo)

The Smiths – The Queen Is Dead

At The Drive-in – Relationship of Command

David Bowie – Low

Talking Heads – Little Creatures

What would your dream list consist of?

The National Add Extra Dates

I really don't remember when or how I first discovered The National, which is pretty unusual for me. However all I know is that sometime in 2008 the five piece made an irretrievable entrance into my regular playlist and to this day still impedes my Top 25 Most Played on iTunes.

The National are easily one of my favourite bands, they cater to everything my miserable soul could lust for musically. The songs are catchy in ways but to me it's this form of poetry that really speaks to every part of me. I'm trying my hardest not to sound like a pretentious dickbag but my affair with The National is all things sacred and romantic to me.

I was unlucky to have missed the 'Boxer' tour in 2008 when the Brooklyn based boys appeared at the annual January Sydney Festival. Picture me falling to my knees in a heaps of tears. Wasn't pretty. So I guess you can gauge my reaction to the Falls Music & Arts Festival line-up this year. EEP! I was the happiest miserable girl to have ever lived. Interpol AND The National. Yes, yes., yes please. For weeks I stalked both bands websites, tour pages and googled 'sideshows' and finally I secured tickets to both acts sideshows last week. I couldn't be happier.

It was always speculated that after the success of 'High Violet', The National would play more than one show on our shores, and after the first string of shows sold out more have now been announced. I think I will go to both.

'High Violet' is so perfect. A dramatic friend of mine even said he could only listen to it once as it was so heartbreakingly beautiful. He's a drama queen, I be playin' that shit all day everyday. If you haven't heard The National before, take a hard look at yourself in the mirror and then do something about it.

Friday 7th January - The Enmore, Sydney

Saturday 8th January - The Enmore, Sydney SOLD OUT

Sunday 9th January - Palais Theatre, Melbourne SOLDOUT

Monday 10th January - Palais Theatre, Melbourne

I'm not going to review the new Kings of Leon stuff..

I'm just not.
I have to do some.. washing?

New Gotye

It seems Australia's favourite adopted Belgium has done it again! The blissful musical project known as Gotye by The Basics Wally De Backer, has just hit us with some new material and it's 3:07 of sheer essential summer bliss. The debut track is titled 'Eyes Wide Open' from Gotye's forthcoming album (no working title) due for release in 2011. This song is a little more upbeat than 2007's hauntingly beautiful 'Heart's A Mess', however 'Eyes Wide Open' maintains the eerie nature of Wally's musical experimentation whilst flirting with the sounds of pop. 'Eyes Wide Open' is really lovely and I can hear Summer. I'm looking forward to the rest of the new material to surface very soon!

Download 'Eye's Wide Open' for free here.

Copy Cats.

Is it just me being suspicious or does it somehow seem like the Laneway organisers are in bed with the Splendour guys? Twice now both festivals have borrowed from one anothers previous line-ups. This year Laneway boasted Florence and the Machine and Mumford & Sons, only for the two acts to reappear on the Splendour bill just a few months later.
Today St Jermome's Laneway Festival released their bill for the 2011 tour only to mention FOALS and Two Door Cinema Club who had just played Spendour. This isn't uncommon for local acts, but I just found it a little funny for these successful international bands to revisit our wonderful shores again so soon. Tit for tat? Same booking guy? I dunno. Either way, I'm still pretty pleased because I get to see FOALS as I missed them on their last visit. Celebration.

Check out the full line-up at www.lanewayfestival.com.au/.

Apparently Big Day Out tickets are going for a steep $170 (all bits and bobs included) this year.
Wow, get a fucking grip. I guess the benefit is they know idiots/veterans will pay it because they have no time to hesitate at check-out, but shiat. That is on expensive fucking ticket for a one day festival. I hate to sound like I'm old but my first BDO ticket in 2005 was $100. That's some serious fucking inflation.

Silversun Pickups Grace Australia

Since the release of California's Silversun Pickups sophomore LP 'Swoon', I've been dying to see them tour here in Australia. With every major festival line-up announced without the four-pieces presence, I began to feel like I was holding my breath beneath a sheet of ice. So, when Silversun Pickups appeared on the bill for Coaster Festival, I damn near spat my morning Coca Cola all over my Mac screen. Not to slag off Coaster, I mean it has done reasonably well in its own right, I just didn't expect this line-up to be the one to boast one of my favourite bands.

Angst aside, only momentarily, I was filled with joy. You may remember when I went through my huge Silversuns phase last year. I think that 'Carnavas' and 'Swoon' have been two of the more pivotal new records to me in the last two years. Although, frequently compared to Smashing Pumpkins, I sincerely shrug off the similarities and enjoy the music wholly and entirely as a standalone act.

There was more coke spraying when it came to light that Silversuns would NOT be playing their own sideshows, but only supporting Australian snorelax act Birds of Tokyo. I think the outrage was taken to the streets and the revolt got us here in Melbourne a very lucky chance to be the only city to see the band play their own show. The tickets went for a mere $30 or so, and sold out within minutes at The Corner Hotel.

On the night, Sydney lads Papa VS Pretty lads took to the stage first and performed to a near full house. PVP showcased some of their newer material, the crowd swaying and hypnotised. I was interested if people were there just to be early, but I saw many people mouthing the lyrics to 'Heavy Harm' and my frozen heart felt warm inside.

The Corner Hotel is a pain in my fucking ass when it comes to their bastard poles, so there was much moving around to get a look at Mr Brian Aubert and co. as the band graced the stage. Immediately falling into 'Swoons' 'Growing Old Is Getting Old', Aubert swayed playfully side to side and twisted his way through the song, swallowing the entire room with his distinctive vocals.

The set then moved into 'Carnavas' single, 'Well Thought Out Twinkles'. It was in this song I really noticed the talent of drummer Christopher Guanlao. His technique almost seems like it comes from some kind of emo-punk background. Call me an anti-percussionist but I very rarely notice a drummer but Guanlao is one talented fucking guy.

The four-piece played a healthy mix of both records, highlights include personal favourites 'The Royal We', 'Future Foe Scenarios' and 'Catch & Release'. It was clear the crowd favourites were 'There's No Secrets This Year', and an epic performance of 'Panic Switch'. There's just something so enchanting when Aubert lullabies ' I'm waiting and fading, floating away', followed by the crowd losing it as the song swings back in to chorus.

It was quite an interactive show, with bassist Nikki Monninger sweetly telling us a joke I still don't understand, all the while looking a million bucks. Also, there was a lot of apologies for an uncouth performance in 2007 at the Ding Dong Lounge, followed by a few references to Supper Club? I can only imagine what Melbourne did to Silversuns last time around, however they seem to look back on it affectionately hence choosing us as their only show. Eat shit, Sydney.

The set progressed from 'Panic Switch' straight into 'Carnavas' mega hit 'Lazy Eye'. This was a fine fucking performance and it was everything you would hope it to be. This song could honestly make a constipated Nazi smile.

After much applause Silversuns disappeared into the shadows of backstage and many wondered what else they could possibly close with, some even began to stray towards the door. I have always said the last three songs off of both records are my easy favourites, so when the band reappeared to play 'Substitution, 'Three Seed' and 'Common Reactor', it's fair to say I laid an egg right then and there.

It really was a perfect set full of the expected reverb and distorted guitars and all the songs I hoped they would play. I even caught them again at their supporting show the following Friday. Both shows were pretty fucking perfect and I can honestly say it was worth the wait.

Band To Watch - The Frowning Clouds

On a frosty eve this past winter, I was summoned by one of my trusted informants to check out a band that would surely blow my socks off. I'm often sceptical of bands that people say I will like, I often wonder if people know what music I actually do like. Every one's mate is in a band or their friend is doing sound for the 'next big thing'. Either way, I don't care. There are so many bands in Melbourne, it can often be difficult to wade through the array of mediocre acts to find something special. This was one of the few times someone wasn't talking out of their arse -- and then there was light, or at least a bunch of dudes playing instruments called The Frowning Clouds. It's been quite some time since a band got my attention quite like this.

These five Geelong lads wouldn’t surprise you if they were actually a Beatles cover band based on appearance -- haircuts and all. To quote Pavement, ‘But I don't care, I care, I really don't care, did you see the drummer's hair?’. I just dug the way they looked, maracas in hand and that's before they split the groove. The band do however stipulate that they do not do Beatles covers on their Myspace.
The first thing that came to mind when I first heard The Frowning Clouds was simply, London 1965. It's like you're taken back in time to a low-fi swinging sixties scene. Inhibitions at the door, twisting on the floor -- the music is immediately infectious. It's like you've heard it before but it's friendly not pretentious. Its attitude a sexy kitten with plenty of soul but not nearly intimidating.
So far I've recommended them to all my friends back home in the city of Sydney and friends are even traveling from the Central Coast to catch a taste of the ease and psychedelic beats of The Frowning Clouds.

I recommend you get to their nearest gig, maybe right now.
Click here for the lads Myspace for tour dates and tunes.

This week it's an IOU..

Still to come, Silversun Pickups reviews and Parklife.
It's been a long week of gigs and festivals, so please forgive a drunken blogger on her late entries.
Coming soon to a blog near you..

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.

We're making a comeback.

Please be calm whilst we re-invent this shit and bring you something different!

Since living in Melbourne, music has taken a backseat however that's all about to change.

Please hold, we appreciate your call.