And it's at this point in our second A to Z we see a trend emerging, because as also happened in the A to Z of Pop, when we come to the tenth letter of the alphabet, it's all about me. Just so you know, when it comes to the J in any A to Z that I write, the J will always be for Jo. Obviously.
Just so you know, if I ever find this Janet Jackson song at a karaoke joint, I will be singing it. I will not look at the TV screen, because I know all the words. And if my fellow karaoke friends are lucky, I may crack out a dance move. Or two.
Just so you know, I have quoted the lyrics "I've been caught stealing, once, when I was five..."
to a department store security guard. I don't think he'd heard of Jane's Addiction. He checked my bags on the way out.
Just so you know, I think Joy Division have one of the best band names ever, even though they were better in the 70s than 1980. But I'll take any excuse to post some Joy Division. And say the name Joy Division numerous times. Joy Division.
Just so you know, Journey wrote some of my favourite lyrics in any song, ever. And just so you know, south of Detroit is a river, and then Canada, therefore, there is no such place as South Detroit. And also, if you are at karaoke with one of my best friends and I and you're thinking about stealing this duet from us, you will regret it...all the way to South Detroit. Just so you know.
So this afternoon I was innocently driving home when all of a sudden I was attacked by this song called 'Marvin Gaye'. I didn't deserve it. "Let's Marvin Gaye and get it on, you've got the healing that I want, just like they say it in the song, until the dawn, let's Marvin Gaye and get it on." After those opening lines I was considering crashing my car or taking the emergency exit and rolling out the door and into traffic to get away from it. Can this song just not? Can Charlie Puth not? Can Meghan Trainor not? Can the sped up beat and music that appears to have been appropriated from Paloma Faith's 'Only Love Can Hurt Like This' not?
And seriously, can everyone please leave Marvin Gaye alone? In death, the Motown icon can not catch a break. When people aren't stealing his music and making kinda rape-y songs they're just going all out to tarnish his name with absolute shit, like this track from 'All About That Bass' girl and whoever Charlie Puth is. Enough is enough. LEAVE MARVIN ALONE! Someone go make that video. A strong contender for worst song of the year.
Matt Bond gives 'Marvin Gaye' zero heads out of five...
Come on, let's take a trip to Belgium. Out of places I'd rather be right now, it's right up there on the destination list. It's the home of delicious beer, waffles covered in melted chocolate, Jean-Claude Van Damme and the mighty fine music of dreamy indie-pop outfit, St. Grandson. Hailing from Ghent, the four-piece have crafted a totally serene track with 'Midnight Swim' that will leave you feeling cool, calm and collected. And wanting to know a whole lot more about St. Grandson.
'Midnight Swim' feels like the end of a perfect night with the closest of friends. Have you ever sat around watching the sunrise after having too much fun with a bunch of people that mean more to you than you can say? Sure you have. That content feeling, where everything seems clearer than usual, is the feeling I'm taking away from 'Midnight Swim'. And that can only be a good thing. I'm going to have to listen to this one quite a bit and I'm thinking you're going to want to listen to this one quite a bit too.
As a final note, I took a train from Bruges to Ghent while traveling around by myself in Belgium a couple of years ago. I was only there for a couple of hours, but had a delicious sandwich. So Ghent's pretty great in my book. So's St. Grandson.
Matt Bond gives St. Grandson three and a half Ellie Goulding heads out of five...
Well I love you so much, It's not enough, my dear...
We love us some haunting alt-country-ish balladry around these parts, so the screams of, "YES!" as soon as 'Tears In The Rain' by Jep and Dep were likely to be heard for miles and miles. YES, we're suckers for a heartbreaking tales of woe and sadness and did we mention the woe? So much woe. 'Tears In The Rain' delivers big time on all that and more, as you lose track of time for just over four minutes to take in the atmosphere of the track.
Jessica Cassar (Jep?) and Darren Cross' (Dep?) voices sit so very well together and with only an acoustic guitar to accompany them, we really get to focus on just how brilliant those voices actually are. Cassar provides the soaring light to the no-nonsense dark that comes with Cross' deep tones. One listen and you can understand why there's comparisons to 'Tears In The Rain' and the Nick Cave/Kylie classic, 'Where The Wild Roses Grow'. Two artists with voices so totally different from each other that work undeniably well together. That's Jep and Dep. I think I'm going to have to invest some time in their 2014 album, Word Got Out.
Matt Bond gives 'Tears In The Rain' four Michael Hutchence heads out of five...
You can catch Jep and Dep launch 'Tears In The Rain' in Sydney at the Newtown Social Club, Saturday 28 March! It'll be your last chance to see the two-some before they head off on a European tour. Get your tickets right here, right now.
There was an exceptionally great thing that happened to the 80s and that was the 90s. Oh what a great year 1990 was. The end of the end of all the things about the 80s that really had to end...we said goodbye to high cut leotards and tights (although Taylor is probably keen to bring them back), we said farewell to the fad diets of the decade (although today those diets get called 'paleo') and we said farewell to big hair bands (the world could never have kept up with demand for hairspray if that kept going).
The 90s may have been responsible for Colour Me Badd and Shawn Mullins, but that decade was also responsible for something that changed the way we all heard music for a couple of years there, ie: most of the 90s...hello Nirvana. But that begs the question; where would the 80s have taken us if the 90s never happened?
We'd still be wallowing in a mess of mullet curls, guitars without ampsand red leather, Icehouse style...
Or we'd all be manically waving our arms about and defying gravity with platinum blonde spikes, Billy Idol style...
Alternatively, we could still be pleasantly enjoying the strangely attractive swagger and sex-studded leather of Michael Hutchence and INXS (and this wouldn't be a bad thing)...
But it's probably best the 90s happened, because after the 80s ended, we looked back and learnt that wetsuits should never be seen on album covers...
...and really, no one regrets saying goodbye to Indecent Obsession, do they?
I'm not really sure what it is, whether it's the guitars or the words or those all encompassing, emotionally charged keys that make this song so damn sweet. I'm not really sure if it's the voice of Adrian Slattery, that so simply suggests a little something nice or if it's the gentle beat that lulls me into a sense of safety that makes me so happy. It could be just another folk song, indie song, pop song, whichever genre you prefer to use song, with it's simple guitars and sitting around a campfire style swing, but there's something about it that just seems so damn genuine I can't take my ears away from it and I can't take my heart away from it's sweet little message. Those harmonies as they swirl around each other, constantly giving and never ever taking are just divine, a warm blanket and a cool breeze all at once. With every listen there's a part of me that's lost in a place and time so far removed from here that I keep re-visiting over and over and that's a place that Big Smoke seem really comfortable with, so I'm more than happy to follow them there.
Jo Michelmore gives 'Try A Little Love' five Johnny Cash heads out of five...
We're up to week eight in this alphabet already and I feel I should let you, dear readers, know that I can't take entire credit for the A to Z of the 80s. Every week, I chat to certain friends and family who are well versed in all things 80s and ask them; who needs to appear in this A to Z, who can I not possibly miss and what do you think (insert letter here) should stand for? This week, I've had a couple of suggestions, so I dedicate H to those who help me every week and of course, you dear reader, which could be one and the same.
The first suggestion for H was hairy. The 80s had a thing for hair and not just on top of ones head like I discussed in A, but in various other places too. The king of 80s hair though, is a tough call between this guy...
Prince, who didn't have a lot of chest hair, but really liked to accentuate it with frills and low cut shirts and I have to appreciate someone who makes fashion work like that...
...or this guy, Paul Stanley, the front man of KISS, who had enough chest hair for three or four big hair bands. Whatta babe. If you're into that. Me not so.
Someone who wasn't so well known for his hirsute appearance, but did sport an impressive bouffant (i have possibly just used two of my all time favourite words in one sentence), was Huey Lewis. He had band called The News. And a whole career before Gwyneth Paltrow.
That song was from Back To The Future, which was one of the biggest films of the 80s and also featured a line I have been known to repeat at inopportune times, which can be particularly annoying repeated in the car on long road trips.
Like this song, which also has a line I like to repeat and is slightly annoying, because it means I can't say the word "hello" to anyone without hearing those other six words that follow. The friend who suggested this song can attest to that.
As annoying as that is, I can't hate it too much. After all, it's responsible for one of the greatest street posters, of all time.
The quick beats and urgent need to move immediately made me question who this was when I first heard the words about school bells and best of friends. When I saw the name, I was all like "wow, these guys!" because Skipping Girl Vinegar are one of those bands that have been around forever. Well, I guess ten years isn’t forever unless you’re ten years old, but alas, I’m not, so let’s just say they’ve been playing their sweet pop sounds for a little while. They’re going to release their third album, The Great Wave, on April 3 at the Byron Bay Bluesfest, which boasts a pretty impressive line-up this year, SGV included. This, their latest track, is super cute, all energy and vibe from the very beginning with those super fast keyboard sounds making me wanna dance and spin in circles under a big blue sky like I’m ten years old again. Which is funny, considering the song is all reminiscing on great times that have passed and dancing again and living it all over. It's all very fun, so while there's a few days of warmth left in this year, I've got time for some reminiscing, dancing and spinning in the sun yet.
Jo Michelmore gives ‘Dance Again’ four Kimbra heads out of five…
My love of Eurovision is well documented and many messages from many friends today brought me the news that Guy Sebastian is going to represent Australia in Eurovision 2015. Yes, well, speaking of things that have me proclaiming "Gag me with a spoon!" the 80s weren't all good either. The years between 1980 and 1989 weren't all sequins and chardonnay and power
ballads and Colors by Benetton and prawn cocktails and mix tapes and Ray
Ban Wayfarers and Bill And Ted's Excellent Adventure, you know. Some of
it was awful. So people came up with sayings like "gag me with a
spoon" in the 80s, because, I suppose, what else would you say when..
...the 80s was the decade that spawned Axl Rose of Guns N Roses. Those pants. The padlocks. The belt that isn't a mesh window, thank goodness.
Gag me with a spoon. Enough said.
They were also the years that gaveus George Michael. "I will be your father figure, put your tiny hand in mine..." And the hair. On his head and his face.
Gag me with a spoon. Enough said.
The 80s were also responsible for this guy, Glen Mederios. Like a younger, cheesier, less attractive version of Ricky Martin. And those pants. And that unbuttoned shirt.
Gag me with a spoon. Enough said.
And in case you're still not convinced, the 80s were also responsible for Gene Simmons, who still has the self importance of a whiter, longer tongued version of Kanye.
Gag me with a spoon. Enough said.
Which brings me back to my original point. Guy Sebastian. Eurovision. And when it was announced he was going to be participating, he was wearing this denim-on-denim-on-denim ensemble.
Which is straight outta the late 80s, which is the decade that spawned the saying that came out of my mouth when the Eurovision-Guy news landed on my phone over and over again this morning.
One of our favourite new voices of 2015 belongs to the insanely talented Wren aka Sydney's Jess Graham. Her debut EP, Raw, comes served with haunting strings, beautiful compositions and an undeniably striking voice that you won't be able to resist. We were highly excited to have Wren virtually stop by for a chat and get to know more about the artist, her musical background, being stranded on a desert island and a whole lot more. Enjoy!
WREN
Interview by Matt Bond
Hello Wren! Thanks for joining us at It’s My Kind of Scene. Tell us about your day so far?
Wren: Hey! Day so far is great. I am in the South Coast, Milton, visiting my parents. We went on a coffee run, then went kayaking, checked out a property here that I vow I will buy as soon as I am wealthy and now I am sitting in the garden enjoying the greenery with a cup of coffee (again).
Here’s an ice-breaker of sorts… who is Wren? If you’d be so kind, introduce yourself as if nobody in this (imaginary) room knows who you are, why you make music and what you’d describe your sound as being.
Wren: My real name is Jess Graham. I started out as a classical performer with the violin and then progressed from there into electric violin as well as a myriad of other instruments. This in turn led to composition. My works under Wren combine my love of both classical/orchestral and contemporary music, resulting in a cinematically unusual blend of genres.
I really love the composition of the tracks on your Raw EP and it totally makes sense you come from a trained background in classical music. Tell us about your music education?
Wren: I started out learning the classical violin at age 6 as well as music theory/musicianship. My most influential teacher, Professor Peter Zhang, taught me under his syllabus. I grew up playing in several orchestras and quartets as well as competing as a solo violinist. The plan was for me to travel as a classical performer to China, where I would perform as a soloist with the Orchestras. However, this did not seem to appeal to me, at all, much to my teacher's dismay. I continued to play the violin, however, I was being pulled from classical into contemporary where I began playing with bands as an electric violinist. Due to an accident in my HSC year (2008), however, I was rendered unable to play the violin for many months, completely throwing off my major in performance. I had to change my major to composition. Funnily enough, despite my reservations, I took to writing like a fish to water. I loved it. I began to sing and muck around with other instruments during rehab to lessen my withdrawal symptoms and found that I learnt quickly. I took these skills with me to the Australian Institute of Music where I studied composition for a year before transferring to Macquarie. I completed my Bachelor of Arts at Macquarie, majoring in contemporary music and have now just begun Bachelor of Music Honours at UWS.
And that Raw EP… it’s a beautiful collection of tracks. Let’s focus on the second single from the EP, ‘Alive’ for a second. What’s the story behind the song?
Wren: The story is that I guess I was trying to figure out what the point of everything is. For example, if everything in our lives that is material was suddenly stripped away, what would we be left with? What really defines us in the end and what constitutes a life? I came to the conclusion that it had to be the connections we make with people along the way; those profound instances when you truly feel some deeper knowledge and understanding of the world and that blissful epiphany when you wake up in a moment and realise how joyful life is supposed to be.
You’ve recently released a clip to accompany the track ‘Soldiers’ that was directed by Clare Conway. There’s a whole lot of memorable imagery in the video and it focuses on your skills as a violinist. How did you come up with the concept for the clip?
Wren: To be completely honest, not one single frame was my handiwork. I truly admired Clare's sensitivity and creativity and I asked her if she would be willing to work with me on a concept for a clip that I could use for one of my tracks. She was really keen and she selected "Soldiers". In the next 24 hours, she had already come back to me with a fully completed treatment and was requesting I immediately come to Melbourne to commence filming. Her brilliant mind and her highly commendable organisation had me hysterically laughing with both awe and amusement. From there, I left it all up to her. She had completely understood my vision and I felt very confident in her ability to deliver my message visually.
The Raw tour kicked off in Brisbane on February 12! Did you have a good time at Brisbane’s Ric’s Bar? And how would you describe the Wren live music experience?
Wren: I did have a great time! The experience is epic. The music is highly cinematic and as such, it really takes you on a journey, both audibly and mentally. The music is designed to stimulate your imagination.
Australia’s music industry is thriving at the moment, with so many amazing talents popping up each and every day. Who are some of your fave local music acts?
Wren: Some of my local favourites? I absolutely LOVE Sia, especially her raw, rough voice. It just oozes emotion. I also love Peking Duk - can't stop playing their track, "Take Me Over" - I wish I could have written some strings for this one.
Surprise! You’ve been stranded on an island in a remote location and no one’s going to find you for a couple of weeks. Don’t worry, you’ve got shelter and plenty of food and the weather is nice and there’s no mosquitoes. Problem? You’ve only got enough battery on your iPod to listen to five songs. Facing the prospect of a couple of weeks without music, what fives songs are you choosing to keep sorta fresh in your mind?
Wren: Well...
1. Coldplay's "Paradise" so that I remain positive, glass half full regarding my surroundings.
2. Hans Zimmer's "Pirate's of the Carribean Theme" so that I feel epic and able to take on the island.
3. Coldplay's "Midnight" when I would be struggling to sleep one night, so I could instead appreciate the stars.
4. Debussy's "Clair de lune", because it is stunningly beautiful and relaxing
5. John Powell's "Forbidden Friendship" from How To Train Your Dragon", because I am sure I would get bored being stranded and the idea of a pet dragon would stimulate my imagination.
Bonus points for the Pirates theme. Well played. What’s on Wren’s radar for the rest of the year? New music releases, more tours, representing Australia at Eurovision?
Wren: Ha ha! I would love to represent Eurovision, however, I have not been presented with such an opportunity! So, I will be instead completing my Honours degree, filming my new music clip for "Alive" and recording my new EP, so stay tuned!
When they air Wren’s MTV Behind The Music special 45 years from now, what will they say about you?
They wont say much, they will instead air a video compilation of all my most embarrassing, quirky moments during my career. I am almost 100% sure my friends already have begun one of these epically embarrassing projects...
A huge thanks goes to Wren for answering our Q's! Now, dear readers... go and give the Raw EP a listen and fall in love. And if you're lucky enough to be in Sydney on March 6, Wren will be taking the stage at the always amazing Oxford Art Factory for the last show of her 'Raw Tour'. We know where we'd rather be on Saturday night. P.s. a new Wren EP is coming? Woo! Best news.
by Alabama Shakes Album: Sound And Colour (due 20 April 2015)
I saw Alabama Shakes a couple of years ago at a festival. I was in the unfortunate position of being behind some poorly dressed, intoxicated and sun burnt girls who had clearly positioned themselves at the barrier at the very front of the stage because they wanted to see the band that was playing after Alabama Shakes, which is fine, each to their own and very studious of them to get there early for their supposed favourite band (until the next one) comes along. Except they spent the entire set of AS’s doing a number of things; taking selfies, attempting to check in on one of their numerous social media tools, chatting with each other about what they were wearing and finally, sitting down, against the barrier, with a couple of thousand people behind them, clamouring for the stage. The thing is, whenever I hear the name Alabama Shakes, I have a thought of these girls. Because I know while they were all too cool for school that day, what they failed to realise was the absolute talent of the band right in front of them. When I hear tracks like ‘Don’t Wanna Fight’, I laugh a little, because those girls missed a performance that goes down as one of my festival faves and one day they'll regret what they missed that hot summer day. Maybe. Maybe not. Either way, I win because I didn't wanna fight them, I just subtly spilt my beverage on them as I danced. And everything was right in the world for a minute or two. Just like everything is right whenever I hit play on 'Don't Wanna Fight'.
Jo Michelmore gives 'Don't Wanna Fight' four Jack White heads out of five...
