Top 10 Albums of 2010

1. The Gaslight Anthem – American Slang

The New Jersey boys don’t seem to be able to put a foot wrong. Their newest album, American Slang, is a journey through love and heartbreak from the crowded streets of Manhattan to the boardwalks of the Jersey Shore.  With every release, The Gaslight Anthem progress as song writers, really delving into the psyche of their characters and with each new gravelly lyric describing every Springsteen soaked piece of imagery, you think nothing can get better than this. That is until the next verse.

Key Tracks: Stay Lucky, Spirit Of Jazz, When We Were Young

2. Caitlin Rose – Own Side Now

This Nashville native has produced an absolutely stunning debut album which combines Folk sensibilities with Country heritage. A beautiful album detailing love and loss and the changes you make in order to find yourself. With a heavy focus on acoustic guitar, the album drifts along, pulling you into her detailed and heart wrenching world. Caitlin Rose is by far the best new comer of 2010.

Key Tracks: Own Side, Shanghai Cigarette, Things Change

3. The Hold Steady – Heaven Is Whenever

So your favourite characters Charlemagne, Gideon and Holly may not be referred to by name in the fifth studio album from The Hold Steady, but Heaven Is Whenever is still one ass-kicking, fist-punching, banal-assassinating record about life, love and all the music in-between. The first record without keyboardist Franz Nicolay since their 2004 debut, Heaven Is Whenever is the sound of a bunch of guys growing up. “Heaven Is Whenever / We can get together/ sit down on the floor/ and listen to your records”. Heaven is The Hold Steady.

Key tracks: Hurricane J, We Can Get Together, The Sweet Part Of The City

4. Delta Spirit – History From Below

If the first track from this album was non-existent, History From Below would have been further up the list, possibly even number one. However, looking past the three and a half minute flaw, Delta Spirit’s sophomore album is quite exquisite. More cohesive and mature than their debut ‘Ode To Sunshine’, the album’s 11 tracks move through folk, rock and swampy blues, with each song in itself a contained narrative. Seductive, intoxicating and god-damn addictive, History From Below is a scarily hard album to fault.

Key Tracks: Bushwick Blues, Devil Knows You’re Dead, Ballad Of Vitaly

5. Kanye West – My Beautiful Dark Twisted Fantasy

Not one man should have all this power, well he shouldn’t, but it appears that he does. Kanye’s fifth studio album is a massive return to form after the train wreck that was 808s and Heartbreaks. My Beautiful Dark Twisted Fantasy refuses to stay locked in its box, breaking your West-perceptions with every new track. With cameos galore, hooks to sink your teeth into and verses your mother would smack you for mouthing the album is angry, passionate, sexy and crude; this is the Kanye we have been longing to return.

Key Tracks: Runaway, All Of The Lights, Monster

6. The Tallest Man On Earth – Wild Hunt

Kristian Matsson, aka The Tallest Man On Earth, is a Swedish folk god. There I said it. Though only one musician plays on the entirety of the album, it is one of the most interesting, intoxicating and absolutely overwhelming releases of the year. Wild Hunt feels as though you’re coming in from the cold. Though the album has an underlying feeling of isolation and solidarity, at the same time it feels as though it engulfs you; seeping into every last inch of your soul. Absolutely haunting vocals combine with breathtaking song writing to produce the finest Swedish release since Dancing Queen.

Key Tracks: Kids On The Run, The Wild Hunt, Troubles Will Be Gone

7. The Like – Release Me

What do you mean the 60’s ended? Not according to The Like they didn’t. 60’s girl group sensibilities with a modern twist, The Like’s second album, Release Me is, from start to finish, an incredibly accessible, honest portrayal of the life of a single girl. From emotionally inept boys who can’t commit to putting the shame in walk of shame to just not really digging the guy you’re seeing, Release Me is an album every woman should own. Shake your tail feather to the sounds of tomorrow baby!

Key Tracks: He’s Not A Boy, I Can See It In Your Eyes, Don’t Make A Sound/Why When Love Is Gone

8. Ben Folds & Nick Hornby – Lonely Avenue

The collaboration album between American musician Ben Folds and English author Nick Hornby moves between comical cultural satire and heart wrenching tales of humanity almost effortlessly. The 11 tracks which make up Lonely Avenue are each a contained narrative, proving the story telling talents of Hornby and the balladeer skills of Folds. The best part of this collaboration? The fact that neither artistic voice overpowered by the other. Pretty cool stuff.

Key Tracks: Levi Johnston’s Blues, Picture Window, From Above

9. Violent Soho – Violent Soho

Although technically a repackaging of an album released in 2008, Violent Soho’s self titled album still sounds current, relevant and exciting. Bringing back the soul of the early nineties so much so that your jeans rip themselves when you hit play, Mansfield’s favourite sons, Violent Soho, combine what is great about Australian music – the raw honesty and individuality – with classic grunge roots. It’s a beautiful thing. Must be listened to loud.

Key Tracks: Love Is A Heavy Word, Jesus Stole My Girlfriend, Muscle Junkie

10. Janelle Monea – The Archandroid

At 18 tracks long, The Archandroid is a contender for longest album of the year – but every track is wanted. Janelle Monea’s ability to effortlessly jump from soul to pop to R&B while still retaining a signature sound is mind blowing – her characteristic swagger and incredible vocal ability shine through in this genre melding album. Check it out!

Key Tracks: Tightrope, Cold War, Faster

Best Of The Rest:

• Little Red – Midnight Remember
  • Second album from Melbourne boys – Structured, colourful and engaging, the record is nn amazing representation of the talent we have locally.
• Foals – Total Life Forever
  • More chilled out, melodic and slow burning than their debut, after a few listens to this album you WILLbecome addicted!
• Alberta Cross – Broken Side Of Time
  • Mashing up blues, rock and folk into an incredible collection of songs, this album has absolutely no filler. Amazing record!
• My Chemical Romance – Danger Days: True Lives of The Fabulous Killjoys
  • The chameleons of emo/pop/punk. MCR have turned their back on the black parade and embraced the synth, pop happy kill joys. MCRmy raise your filthy paws!
• Taylor Swift – Speak Now
  • Like reading the diary of your sister, this album sometimes feels voyeuristic and intensely personal, the talented singer songwriter defines genre and lays her soul on the line.

2010 & Beyond: Lost In Suburbia

Who has been the stand out local artist for you in 2010?

Violent Soho for sure. Those guys have gone above and beyond with their reworked album. The production, the song writing, everything is amazing! Their album has been on very high rotation in my iTunes this year, I seriously can not get enough of it!

Who has been the stand out International artist for you in 2010?

For me, there have been two. Caitlin Rose, who is an amazing Nashville singer songwriter, and Grouplove, a New York via London via Greece via California indie-rock band. They are incredible. They have just been signed by Dew Process and their debut EP is sun drenched immaculate pop! It is beautiful! Please, please, please everyone check these guys out!!!

What would you consider the highlight of the Australian musical calendar in 2010?

Lost In Suburbia’s first ARIAs! It was fantastic! The catering, the lack of being able to hear presenters, the separation between Molly Meldrum and everyone else! And did we tell you about the complementary coffee! It was a fantastic night, and I apologise to Dan Mac for telling him that his moustache looked like a caterpillar at the after party. Movember is everyone’s friend!

Looking forward to 2011, who is your tip for local artist set to make a huge impact? Why?

Papa Vs Pretty for sure. A Sydney three piece with more talent than you can poke a stick at. They are one of the most amazing live bands you will ever see. Do yourself a favour and get out and see them. Also check out their EP Heavy Harm. Amazing!

And your tip for International act set to break in 2011? Why?

Grouplove! I don’t expect them to make a big impact on the country until next year, though I do believe they are the best score to summer since the point break soundtrack! Please check out the track Naked Kids as soon as you can!

What do you hope 2011 will have in store for the Australian music scene? Do you see any large changes on the horizon?

I think things are going to shift much more to new purchasing avenues. Mobile is the new black as far as the current generation is concerned. I think that the future of music as well as social media lies in the mobile centric social realm.

What’s your New Year’s resolution?

Stop drinking so much and stop listening to Short Stack. Ha ha. Four years ago it was Stop drinking so much and stop listening to Simple Plan. Those guilty pleasures never abate!

Laneway Festival line-up announced

After the huge disappointment that was the Big Day Out line-up (notice I didn’t even post it because it made me so sad), the announcement of 2011 Laneway Festival couldn’t be a bigger upper.

The MASSIVE lineup which includes 20 international acts is right here, in alphabetical order, for your perusal:

!!! (Chk Chk Chk)
The Antlers
Ariel Pink’s Haunted Graffiti
Beach House
Bear In Heaven
Blonde Redhead
Cloud Control
Cut Copy (closing main stage with a “multimedia party”)
Deerhunter
Foals
Gotye
The Holidays
Holy Fuck
Jenny & Johnny
Les Savy Fav
Local Natives
Menomena
Pvt
Rat Vs Possum (Excluding Perth)
Stornoway
Two Door Cinema Club
Violent Soho
Warpaint
World’s End Press
Yeasayer

The Laneway Festival this year will partner with Young Care, an organisation which works to provide choice in care and accommodation options for over 700,000 young Australians who need it. All gold coin donations made at the festival will go directly towards Young Care.

Tickets go on sale Wednesday October 20, 9am through lanewayfestival.com.au with a limited amount of Melbourne tickets available from Polyester Records.

Tour dates:
Monday January 31 – Aotea Square, Auckland
Friday February 4 – Alexandria St off Paul’s Terrace, Fortitude Valley
Saturday February 5 – Footscray Community Arts Centre, Melbourne
Sunday February 6 – Sydney College of the Arts, Rozelle
Friday February 11 – Fowler’s Live, Adelaide
Saturday 12 February – Perth Cultural Centre, Northbridge

Review: Splendour In The Grass Wrap-Up

Bands, dust, injuries, bands, burritos, bands, margaritas, bands, traffic jams and bands; It’s Splendour In The Grass and for another year, it is sadly over.

In its tenth year on this planet, Splendour grew up, kicked out some unforgettable sets and blew our minds with consistently brilliant sound. This time around it was Splendour on pink elephants as 32,000 punters enjoyed three of the best days of Australian music festivities our fair country has ever seen.

While many campers got stuck in the ten km traffic jam leading into the Woodford site on Thursday, our trip in was smooth sailing. After being directed to a nice little patch of heaven on top of a secluded cliff, we set up camp and proceeded to get giddy on our imported ‘water’.

Friday morning dawned bright and sunny with no hint of the cool weather Splendour promoters convinced us would be nipping at our heels. Icy cold showers aside, life seemed good in Tent City.

Making out way into the festival Horrorshow broke our Splendour 2010 virginity. The two boys from Petersham kicked out a killer set in the Mix Up Tent and after the party (and bullshit, and party, and bullshit) we made our way over to Violent Soho.

Fresh from the US where their single Jesus Stole My Girlfriend has achieved Alternative radio success, Violent Soho introduced us to the beautiful Woodfordia natural Amphitheatre in spectacular fashion. Performing tracks from their newly (re) released album, the boys from Mansfield played to a small, but highly appreciative audience.

Friday flew by in a blur of Foals with an incredible math rock set, Little Red Rock(ing) It at the Amphitheatre and Black Rebel Motorcycle Club getting down, dirty and just a little bit sexy with the crowd.

And that’s when things got ugly. When making my way down from the Amphitheatre post BRMC, thinking I could get a quick phone charge in at the Virgin Mobile van and still make it to the end of Hot Chip, I fell down the hill. And, like the awkward human that I am, couldn’t get back up. Luckily two lovely strangers carried my down the bottom and on to the Medic Tent where I sat for the next four hours. Yes. Four hours.

While I’m not one to complain, I just don’t understand why there were no crutches available on site? I was the 14^th ankle of the day the lovely medical students told me, that means that 13 other, probably equally as intoxicated, fools were out there hobbling around and holding up eager festival goers. Anyway, moral of this tale is Amphitheatre Hill = 1, Keely = 0.

Through the walls of the Mixt Up Medical tent, I could hear LCD Soundsystem take the stage. They belted through Drunk Girls & I Can Change as well as classics like Daft Punk is Playing At My House and All My Friends before closing with Losing My Edge. One sweaty punter who had been hanging off the sound tent fence said they “blew [her] face off”. Parts of said face are currently still missing.

Saturday. The Sabbath. The day of rest. Well, not for 32,000 people in south-western QLD. A cheeky trip to Caboolcha and a pair of killer crutches later, day two’s sonic boom erupted.

Braving the slope of Amphitheatre hill on crutches, I settled myself down for a day of main stage frivolity. We didn’t want to party party, but we did ‘cause Philadelphia Grand Jury were fantastic, Operator Please threw down the gauntlet with tracks from their new album Gloves and Tame Impala hypnotised the crowd with their own brand of psychedelic rock.

But the real winner on the day? Three words: Guzman Y Gomez. Burritos Y Margaritas. Delicious Y Deliciouser. Yes, and while the Burritos and frozen cocktails of tasty doom had all run out by the Sunday, that moment on the Saturday, sitting in the Guzman tent with a mariachi band filling my ears while beans & chicken filled my stomach really could have been a perfect moment. It’s sad, but it’s true.

Still basking in the glory of the burrito no one was prepared for the almost-riot that was about to occur. Heading back to the main stage as Florence belted out her last, theatrical notes and as her legions of ‘oh-my-god-she-was-AMMAAZZINNGGGG’ fans spewed out of the two-gate entry/exit to the floor of the amphitheatre stage, we faced ourselves with a conundrum. How. The. Hell. Were we supposed to get through those tiny gates to see The Strokes?

People pleaded, people complained and I think a girl almost cried. These were The Strokes! It wasn’t like they came here every day! We had to get in there; we had to get into that amphitheatre. I saw people climb the walls. People were going bush just to get a glimpse of Julian Casablancas in his oh so attractive leathers. It was like a cattle crush. The bottleneck crowd crush from hell. One more wrong move and these promoters were facing a riot. Then, finally, twp minutes out from the opening act, the bars of life opened up. The red sea parted. Those bloody gates opened up, and in we rushed, as though our lives depended on it. Me, limping and with crutches, the others, pushing their way past me to chance a glimpse of the hero of our generation.

The Strokes, it has to be said, are a pretty good band. They aren’t my favourite, ill be honest with you, they aren’t. But they are pretty good. Their splendour set, however, was FANTASTIC. Capitals on purpose. For a hardcore lover or a weekend fan, The Strokes, on that winter night in July (or was it August) delivered. Playing all their hits, and a few of their lesser known, but still hip as a replacement tracks, the Strokes entertained one and all… what a ridiculously good end to a killer Saturday.

The third day, the frost, except this isn’t a John Marsden book, and this winter in Queensland seem determined never to get cold. So the third day, the third awesome summer-in-winters day in a row, I guess that title seems more appropriate, dawned in spectacular style. Leaving the knob jockey crutches at the campsite, I chucked on some gumboots and we moved with the crowds into the festival site, swigging the last of our illegal ‘water’.

The mix up tent produced Miike Snow; the quirky and fantastic Indie electro act out of Sweden, playing a flawless set which included rad new song The Rabbit and a guest appearance by a man in a gorilla mask climbing the tent poles during set closer Animal. Brilliant.

We Are Scientists played to a slightly empty amphitheatre, and while the set was good, nothing about them grabbed me, in fact, as a band, We Are Scientists have failed to grab me since their first album. Not their fault, just not my cup of tea. Still, people seemed to dig it. Nice for them.

And so began the last of our Amphitheatre marathons. Over the next four hours The Vines, Passion Pit, Mumford & Sons & Pixies graced us with their sonically awesome presence.

Other than having teenage flashbacks to Get Free, the best part of The Vines set was seeing Craig Nichols looking healthy on stage. He powered through the 7 or 8 songs, even engaging with the audience, seems like break from touring had a very positive effect. Lets hope it lasts.

Possibly the best set of the festival, definitely the best crowd of the festival was Passion Pit. The falsetto vocals engulfed the audience cracking a smile on even the harshest of faces and a bounce in the stiffest of legs. Punching out tracks from their debut album Manners and their EP Chunk Of Change, the lads rallied the audience into a bouncing, singing, sweating whole. While Passion Pit can seem a little distant and disconnected in a club show, they are a band that is perfectly suited to playing to hordes of slightly worn down, in need of a boost festivalgoers.

The mood was set for current musical darlings Mumford & Sons to take the stage and wow us with their nu-folk stylings. Joined at times by Julia Stone and Boy & Bear, the English four-piece went through their well-oiled motions, and they managed a fairly decent show. It was just a pity that their performance was overshadowed by the amazing set which had come before them. Unlike Passion Pit, Mumford & Sons are more suited to intimate, smaller venues where their music can really connect with its audience. In a setting like the Amphitheatre, it seemed as though the feeling behind their music was almost lost.

Bringing Splendour In The Grass 2010 home were godfathers of alternative music, Pixies. While it has been drummed into my brain for as long as I can remember that this band is awesome, I just didn’t feel it. Even signature tracks Galvanize and Where Is My Mind felt flat and, to be perfectly honest, boring. The hill was cold which distracted audience attention, and people just seemed to be staying more out of ‘Oh man, it’s the Pixies, you HAVE to see them’ than out of actual enjoyment. It could have been that the excitement hadn’t returned so soon after their last visit, but overall, it wasn’t a great end to what had been an outstanding festival. Shouldn’t have left it at Passion Pit and we all would have gone home happy.

Splendour In The Grass is the countries premiere festival. It is smartly set up with bands enough to cater for every punters music tastes, expertly run with no real hiccups and long enough to feel as though you have really embraced the festival experience without leaving you too drained and wishing it were over. The festival injected $18 million into the Woodford community, so it’s no wonder they are petitioning to have it stay in the area. Whether next year it moves to its new home in North Byron or sees another year at the well set out Woodfordia, Splendour In The Grass 2011 is sure to be one hell of a ride. Strap in kiddies.

 

 

 

 

Review: Violent Soho @ Splendour

While missing the covered main stage of last year, violent soho couldn’t have been a better start to our festival.

Kicking out tunes from their Australian release self titled ‘violent soho’ album, the grunge-alicious boys from Mansfield delivered some epic proportion rock. A chilled out, slightly over heating crowd danced to muscle junkie ( yes, I hate you’re face too), my generation, love is a heavy word and crowd favorite Jesus stole your girlfriend.

The sound was a little shit from where I was on the floor of the ampitheater but the vibe was so high that you barely noticed. A killer start to the festival.

From 90210 to 4122; Violent Soho head home

Mansfield’s favourite sons, Violent Soho, are leaving the blearing sun of L.A. via Brooklyn where they have been nesting to return home for a sting of dates and for the (re) release of their debut album.

Violent Soho’s self titled album is being released worldwide in 2010 via Thurston Moore’s Ecstatic Peace! Label.

Lead single from the album, ‘Jesus Stole My Girlfriend’ is causing major wav[v]es on radio stations across the globe, and currently sits in the Billboard Top 40 rock songs chart and the Canadian Top 20 airplay chart.

Violent Soho’s already famed live shows have been further honed on back to back US tours with Dinosaur Jr, Built to Spill and The Bronx in recent months, and the lads are eagerly awaiting a chance to get back in front of local audiences.

As well as Splendour In The Grass, you can catch Violent Soho at one of the following dates.

Thursday 22nd July   Northcote Social Club, VIC
www.northcotesocialclub.com or 03 94861677 or Corner Box Office; 57 Swan Street, Richmond

Friday 23rd July         Annandale Hotel, NSW
www.annandalehotel.com.au or 02 95501078 or Annandale Hotel box office; 17 Parramatta Rd, Annandale

Saturday 24th July    The Zoo, QLD
www.thezoo.com.au or Oztix: 1300 762 545 or in person at usual Oztix outlets

In the mean time, whet your appetite with these doosies…