Top 116 Songs of 2016, #70 - 61

#116 - 101

#100 - 91

#90 - 81

#80 - 71

#70. MY LOVE, MY LOVER

by BANFF x Caitlin Park





And if you need me babe, I'll bring you home
  'cause you're the one I want after the storm.

If this isn't the Australian indie collaboration of the year, well I just don't know what is. BANFF and Caitlin Park cooked up a little slice of magic with 'My Love, My Lover', with its genuine warmth earning a whole lot of replay. Caitlin Park's voice fits so sweetly alongside BANFF's Benjamin Forbes and you're left wondering why these two talented artists aren't working together all the time. Top notch stuff from two acts destined for huge things over the next couple of years. (Matt Bond)  

#69. TIDAL WAVE

by Alexander Biggs





And it feels like I'm the one
Living in outer space.

Alexander Biggs has that big beautiful sound that Australian male singers tend to have, those voices that are equally confident and humble, that sing of every day tales in a way that makes every day sound like something much more than any of us see every day  and I guess that's what makes so many Australian male singers so damn likeable. I predict big things for Mr Biggs and that's not even meant to be some kind of pun. Truth. (Jo Michelmore)

When you listen to 'Tidal Wave' you can't help but think Alexander Biggs has such a brilliant career ahead of him. Imagine when you see how far he's gone in ten years and you can look back and go, yeah I remember when I first heard that 'Tidal Wave' song and it's so obvious that the whole world was going to catch on to how talented he is, how captivating his music is. More often than not, you'll find an artist that deals in a more folk-y landscape that "tastemakers" latch onto that don't live up to the hype being created for them. Alexander Biggs doesn't need anyone to create hype for him, but he is certainly deserving of all of the attention being given to his music right now. (Matt Bond)  

#68. LIKE THE OTHER KIDS

by Ayla





I got no soul, just a black hole
Right in the middle of my chest.

Ayla's star shines brighter than ever with each new release and 'Like The Other Kids' kept her forward momentum going strong in 2016. It's a carefree and warm song that sparks something inside you and is sure to put a smile on your face. She might be singing about having no soul and just a black hole in her chest, but when you're making people happy with your music I'm inclined to disagree. Ayla's not like the other kids, and we wouldn't want it any other way. (Matt Bond)


You want me to say the obvious thing here, don't you? I mean, if I don't, then Matt probably will, so I should just do it. Beside talking about Ayla's glorious vocal in this track, the layered voices and the hurry hurry slow down feel of percussion, the uplifting sense of endless days and the way it wraps itself around your mind, the thing one of us is going to say is this. What makes her so special is exactly what she sings; "I'm not like the other kids" and please don't ever be like them, whoever it is that they are Ayla. We like you exactly the way you are. (Jo Michelmore)

#67. KILLER

by Band of Skulls





Get out of the way if you can't stand the flack
Me and my army we're on the maximum attack.

As long as Band of Skulls are playing guitars, bashing drums and singing songs, the fact is, I'm probably going to love them and all they do. 'Killer' is the perfect example of said fact. From the very first moment I heard it I was all over it; the spiraling, swirling guitars providing a glorious darkness and that vocal of Russell Marsden "killer killer killer killer!" giving that darkness some even darker flashes of light, if that could be such a thing. Now, if only I could figure out how to get it out of my head once it's stuck in there. (Jo Michelmore) 

#66. ALL OF YOUR GLORY

by BROODS





It's killing the both of us, the place that we're in
All the things we've come to. 

So the first time I heard this song I pictured some kind of dramatic scene, probably set at night, two people desprately trying to live their lives together apart together, some tears and some silent screaming into the distance, you know, something to make you cry that weird sobbing no I'm not actually crying into a bowl of chips in the romantic glow of my TV. Then I googled and found out this song was all sorts of Grey's Anatomy and suddenly everything made sense. Matt, how many times have you watched the episode this was in? I don't actually blame him, I don't have much of an opinion about Grey's, but this song? Stunning. Absolutely stunning. I imagine the scene it featured in was too and if he hasn't already, I'm pretty sure Matt will be happy to tell me all about it. (Jo Michelmore) 

I'm not going to lie to you... I love this song because of Grey's Anatomy. Yeah, that's right, I'm still watching it thirteen years later, is that a problem for you? No? Good because it's still quality drama and they play these amazing songs. Songs like 'All of Your Glory' that finally allowed me to listen to this duo generating a huge amount of buzz with their music that I had still somehow managed to miss. Broods orchestrate the most subtle of heartbreaks over the course of this song's three minute running time. It's as impressive as it is devastating, which makes it perfect for a scene on a television show where your favourite fictional doctor is staring into the distance and imaging her dead loverrr looking back at her. No, I'm not crying. Shut up. (Matt Bond) 

#65. UP ALL NIGHT

by Le Pie





I don't want to make demands
But you took me to a jungle and put a ring on my hand.

Le Pie is all kinds of fun and she kept her revival pop party going in 2016 with 'Up All Night'. This song is the jam you would have expected you needed in your life, but now it's part of it you're never going to let it go. It's a total earworm and once its worked itself into your brain, it's going to be popping up all the time, leaving you bopping around at work, the gym, getting the groceries, in the car, uncovering the secret tomb of the Mummy, fighting Dracula etc. etc. You're going to find yourself playing it a lot, okay? While the music is as delicious as pumpkin pie (how can you not think of pie when you see the name Le Pie?), the totally relatable story of what's keeping Le Pie up at night makes this so much more than another catchy jam. (Matt Bond) 


First it was Alex Lahey talking about wanting to go out tonight, now it's Le Pie singing about being up all night and I'm thinking; do all these people ever sleep? How are they doing this? Is there some kind of secret about staying up that makes you write incredibly catchy songs that I need to know about? And if they're up all night, what do they do all day? And why am I so hungry all the time? Does anyone know where I can get a tasty treat from in the middle of the night? Le Pie? (Jo Michelmore) 

#64. NIGHTMARE OF 1984

by S.S. Sebastian





I can barely breathe anymore
Like my hand is holding my own head under water.

I don't remember which bit I loved first. I remember pressing play and being hypnotised by the sound and clamouring toward my headphones to hear that oh so subtle vocal floating around in there, desperately needing to hear what that was being said. But I also remember being hypnotised by the vision of that beautiful girl, staring straight through my screen directly at me, silently begging me to free her from the situations she found herself in the midst of. I can tell you from experience that the older you get there are certain things you forget all about, it is true, but the things you don't forget are the ones that reach you, that change you, that make you think a little differently before they arrived. 'Nightmare of 1984' was one of those things for me in 2016 and yes SS, there are things I regret too, but finding this track is not one of them.  (Jo Michelmore)  

#63. UNDERGROWTH

by PASSERINE





I was never yours, you were never mine...

PASSERINE's Phoebe Dubar, Alex Gooding and Ben Murphy have perfected the art of creating dreamy atmospheres in their music you can't help but lose yourself in. On 'Undergrowth', you'll find yourself getting lost in it again and again, because it's all you need to remove yourself from the world and get your chill on for as long as it's playing. Yep, this is your new happy place and all of your thanks can go to PASSERINE for the amazing music they have bestowed upon us. Dubar is sounding more gorgeous than ever and the production earns top marks for the calming effect it's sure to have on every listener. Loving your work, as always, PASSERINE. Can't wait to hear more in 2017! (Matt Bond)


There's a few artists that seem to make our list of all time faves on this little spot of ours on the internets and after many tracks and much adoration, PASSERINE are definitely one of them. Always providing us with tracks to move to and things to adore, the release of 'Undergrowth' only a couple of weeks ago meant someone had to be bumped off the end of this long list of songs, but all those Little Mix songs sound the same anyway. (I lie. Little Mix were not on our shortlist of tracks. Because all their songs sound the same.) PASSERINE on the other hand are always fresh, reminding us of how organic electronic music can sound and how sometimes the greatest proverbial punches in the guts are the softest ones. Never stop please PASSERINE! (Jo Michelmore)

#62. SAME, SAME

by WAAX





And I swear I am a good kid
Trapped in the modern day. 

Somtimes I wonder how bands from Brisbane ever write any music, let alone write anything anyone wants to hear. Surely they must be like bears who hibernate in the winter, writing writing writing, because there's no chance they can write these things while the temerature is a bazillion degrees and the humdity a bazillion percent. Or maybe they do. Maybe that's exactly when they write because it gives them a  knack for being gorgeously aggresive with those guitars and more than happy to smash a quick beat. Really, there's nothing grungier or hotter (literally) than a sweaty band from Brisbane. Or something. (Jo Michelmore) 

Oh, WAAX. You make me feel so young again. You've grown from Brisbane punk-rockers with an undeniable edge and a healthy dose of don't give a fuck attitude to world-class punk-rockers with an undeniable edge and a healthy dose of don't give a fuck attitude. 'Same Same' steps it up in the anthemic stakes for WAAX, somehow becoming their most energetic and compelling track yet. And that's saying a lot because energy has never been in short supply when it comes to the WAAX's music. Right here they're making you want to move, to dance, to jump around... to party with your favourite new rock band. And party is exactly what we're going to do with WAAX, hopefully for a long, long time to come. (Matt Bond)  

#61. RISING WATER

by James Vincent McMorrow





Truth is, I never once was sad
For what I've done. 

Two songs in the one post where I get to talk about the TV I watch. How lucky am I? So lucky. If you're a fan of this little fantasy show called Game of Thrones, you might have seen the trailer for the new season that came out super early in the year that had a cover of 'Wicked Game' in it. It was awesome, right? So awesome. That cover was performed by James Vincent McMorrow, an artist whose name I had seen around the blogs and stuff, but I hadn't really heard any of his music. But that cover was boss level and how good was the last season of Game of Thrones?! Alright, I'll stop. No, I won't. Cersei is amazing. Arya 4ever. Okay, I'm done. So since McMorrow did a cover for a TV show I'm obsessed with, obviously I'm going to love him forever and now I do and he released an album this year that has this song 'Rising Water' on it that was really fun and now I'm going to go watch Game of Thrones. Bye. (Matt Bond)

Top 25 - 20 March, 2016

Band of Skulls, Remi, Alex Lahey + Little Earthquake!

1. Phebe Starr - Feel My Love





2. Band of Skulls - Killer (NEW)





Jo's Pick of the Week: Am I psychic? Only last week I was suddenly and mysteriously struck with a thought “what happened to Band Of Skulls? Where are those guys? I love those guys!” and then bam! Two days later, what should appear in my social media feed? Those smashing guitars and drums exploded outta my phone as I manically hit play on the link to the single ‘Killer’, the first from their fourth album By Default, due later this year. I only thought about them a day ago! Did I make this song happen? How could this be? The band themselves are calling this a new era in their career, but I call this an awakening to my own psychic abilities. This is everything I love about them, dirty guitars taking the lead, the blues rock turning into rock rock and back again in between all those “got your heart got your soul got your back” words I can’t seem to get out of my head. Ok, maybe I’ll admit I’m not psychic, but there’s one thing about the future I can pretty much guarantee. I’m going to love that new album when it’s released and I’m going to spend my days until I hear that hoping that they tour again asap. (Jo Michelmore)


3. Amanda Palmer - Machete





4. Machine Age - Don't Look





5. Alex Lahey - You Don't Think You Like People Like Me (NEW)





Matt's Pick of the Week: I don't know much about Alex Lahey. After hearing her song 'You Don't Think You Like People Like Me' on the radio last week though, I want to know EVERYTHING there is to know about Alex Lahey. "All I want is to have cleanskin wine, And watch Mulholland Drive with you." I'm hooked, right from the start. Lahey offers up killer hooks, rocking vocals and lyrics you'll find running through your mind long after you have finished listening. Like one of those movies that are super quotable but too cool for you. A really wonderful track to stumble upon (if you can call hearing it on the radio 'stumbling' upon it), 'You Don't Think You Like People Like Me' only proves that I really like Alex Lahey. And I can't wait to hear so much more from her. (Matt Bond)


6. Remi ft. Sampa The Great - For Good (NEW)





7. Ladyhawke - A Love Song





8. Ngaiire - Diggin





9. PACES ft. Rye Rye - Work Me Out





10. Olympia - Smoke Signals





11. Little Earthquake - Honest (NEW)





12. Ariela Jacobs - Lost





13. Jarbird - Such is the House (NEW)





14. The Ruiins - Eventually





15. James Chatburn - Cracks and Breaks





16. The Belligerents - Before, I Am (NEW)





17. M.I.A - Ola (Foreign Friend) (NEW)





18. Avec Sans - Heartbreak Hi





19. The Temper Trap - Thick As Thieves





20. SAFIA - Make Them Wheels Roll





21. Quintessential Doll - Beautiful Violence





22. Ella Hooper - Monkey Mind





23. Bag Raiders ft. Benjamin Joseph - Checkmate





24. Chris Watts - Let Go





25. Montaigne - In The Dark

2014 Scene Awards - Album of the Year

And here we have it... our final Scene Award of the Year. Oh and it's our final post for the year as well. So we're going to wish you a most excellent New Year's Eve and an even more excellent 2015.  If you've been hanging around here in 2014, thanks for reading and we'll see you real soon.

ALBUM OF THE YEAR:

#20. Sheezus

by Lily Allen

What we said: "Did Lily Allen fall off the Lily Allen bandwagon this year? Some say yes, some say no, I say who fookin' cares (say that with a west London accent and sorry, bit of Lily inspiration there) ‘cause she’s still releasing good pop and that’s what she’s always done. So what if she was accused of sounding like M.I.A? M.I.A is awesome and so was that song ('Air Balloon'); there are a lot worse people to be compared to. It’s four minutes of pop perfection and was co-written with someone who has written for ol’ Swifty and P!nk, so what were people expecting? Nothing too earth shattering, one would hope."

#19. Angus and Julia Stone

by Angus and Julia Stone

What we said: "It's fitting that the Stones went the self-titled route with studio album number three. Angus and Julia Stone sees the brother-sister duo collaborating as co-writers for the first time, making these songs a true representation of what Angus AND Julia Stone can deliver together as music makers. What they can deliver is pretty much awesome as, for the most part, they're proving that old saying that's like, alone they are pretty great, but together they're totally awesome. Which might have been an old X-Men tagline (better worded of course), but let's go with it. Angus and Julia Stone is our first truly cohesive collection of tracks from the pair and combined with Rubin's (the guy that worked with Sir Mix-A-Lot) production skills, the family Stone have never sounded better. For my beautiful friends that have mislabeled the wonderful music these two make as 'Aussie bore-folk' (you loveable jerks), I hope you'll be reconsidering your stance after giving this one a go."

Full review

#18. Sonic Highways

by Foo Fighters

What we said: "My love for Dave Grohl is no secret, on this here blog and in the real world. It’s as strong as my love for Jack White (oh Jack, oh sigh) and dare I say it, possibly even stronger. That’s probably because of Dave’s lack of ‘wanker’ factor. I mean, seriously, he took his band around America to record in classic studios all over the country (this one ['Something From Nothing'] recorded in Steve Albini’s studio in Chicago) but he did all of this because of his passion for music, without a sense of "look at me I'm so cool", just a sense of wonder and awe. Of course, there’s more to the Foo Fighters than just Dave and it’s the other members who also deserve a round of applause (those playing at home please join in now) for their unbelievable skills on ‘Something From Nothing’, with its guitar worship and various feelings of rock. So much rock. The Foo Fighters? They can do no wrong in my eyes so add this to the list of things I love about them. It’s a long, long list."

#17. Puddinghead

by Ball Park Music

What we said: "The band doesn't shy away from showing off some new sides. I'm not saying they've changed like Gwen Stefani changed by going solo, but take a track like 'Trippin' The Light Fantastic'. It has all the ingredients needed to have reviewers calling Ball Park Music the heir to Powderfinger's vacated throne. And if you don't stop yourself to question whether Cromack is actually 'ole Bernard once or twice, more power to you, but there's a distinct Fanning-esque Aussie howl in the vocals on one of the brightest moments on Puddinghead. 'Cocaine Lion' is one of those exercises in light and shade that grunge lovers will be drawn to. The verses are subdued and suitably moody, while the choruses let loose with the rips and the roars. It's over far too quickly for my liking. Much like the 90s, the lyrics make little to no sense, but I'm sure someone will find a way to explain to me the point that's been missed. "I met a girl in space, the universe was flipping aces on the table, like a cocaine lion." Do your best, but it's drugs. It's definitely about drugs."

Full review

#16. Obsidian

by Jessie Frye

What we said: "Obsidian shows an artist unafraid of taking a risk or two by dipping into different genres and styles. Frye has a remarkable way of not just wearing many hats on the album, but wearing them and owning them. To take this metaphor a step further, let's say that Frye would be able to pull off that hat Pharrell Williams wore to the Grammy Awards. 'Dear' has all the attitude you could want in a bonafide rock star and then some. It's got the big hooks, loud guitars and heavy drums that will get you ready for a rowdy night on the town. Contrast that with the track that immediately follows, the piano ballad 'Sabotage'. The simple tune, combined with some emotive and moody vocal work, tugs at your heartstrings. The one-two punch of 'Dear' and 'Sabotage' is the best example of how talented and versatile Jessie Frye is, both as a vocalist and songwriter. They're polar opposites, yet they sit so comfortably next to each other on the album."

Full review

#15. Any Old Love

by Halfway

What we said: "There's that magical thing that you can't quite define in 'Dropout'; a feeling, an emotion and it's something that not all bands manage to find. It's the slight smile from behind the microphone, the subtle nod between guitarists and the look of admiration between band members...all of that and a damn catchy chorus that make 'Dropout' and it's clip another reminder that while some bands become the darlings of the media, the radio, the blogosphere; there's other bands that are just doing their thing. Doing it not for the fame, not for the fortune, but for the love of music."

#14. In The Silence

by Asgeir

What we said: "You'll be drawn to the lyrics just as much as Ásgeir's voice, like these from the title track 'In The Silence' - "Come, take my hand, let's undo the knots of the past, from the night where phantoms toss and turn, go further, deeper as the day is closing." John Grant, who worked on translating the songs from Icelandic to English reportedly did the best he could to maintain the original meanings of the songs, which were mostly written by Ásgeir's dad. His dad just so happens to be one of Iceland's most popular and respected poets, so yes, it's cool to have your dad write your lyrics when your dad is Ásgeir's."

Full review

#13. Present Tense

by Wild Beasts

What we said: "I'm not sure I could pick a fave track yet however some tracks immediately burn bright (‘Wanderlust’, ‘Mecca’, ‘Sweet Spot’, ‘A Simple Beautiful Truth’, ‘Past Perfect’) while others smoulder, slowly smoking one out of their comfort zone and into a blubbering mess (‘Nature Boy’, ‘Daughters’, ‘A Dogs Life’) but there are no dogs and I hesitate to label any of them fillers. In its entirety Present Tense has more in common with Smother than either of their previous albums, though with a new tone and feel that will certainly (hopefully, they deserve to be embraced in their full glory) appeal to the broader audience these practitioners of perfect left of centre pop are aiming for."

Full review

#12. Lights Out

by Ingrid Michaelson

What we said: "Returning with her sixth studio album, Ingrid Michaelson shows us on Lights Out exactly why she's regarded as one of the best singer-songwriters making music today. I'm going to throw this out early... after many a repeated listen, this is definitely Michaelson's most engaging, ambitious and best album yet. Special guest stars pop in and out and new genres are explored (without departing completely from what we know and love) on an album comprising fourteen individual pop gems. And you totally know you're going to hear half of them on your favourite TV show over the next year or two. As someone who watches a lot of TV (please don't tell anyone how I live), this makes me very happy."

Full review

#11. Ultraviolence

by Lana Del Rey

What we said: "If there's one thing Lana Del Rey proved with her sophomore album, Ultraviolence, it's that she's got staying power. I hate to admit it, given my now crazy-fan level adoration of my floral headpiece adorned princess, that even I thought the success of Born To Die would be a one time thing. But I think she went out of her way to mix it up (at least a little) from what we had already heard and she stepped down a way more alternative track with songs like 'West Coast'. Thematically it might not be stepping outside its comfort zone, but the music and the more restrained vocals keep things interesting. Apparently what hasn't changed is her need to be all over some creepy, old dude in her music video. Perhaps she'll move away from that for album number 3. Perhaps not. As a final note, remember that time I got to go to Glastonbury this year? Well I did. And Del Rey's performance of 'West Coast' was a highlight, even if she was sort of just zombie walking around the stage with a durrie in her hand and no shoes on."

#10. Food

by Kelis

What we said: "Overall this feels really tight, well put together whereas in the past I’ve thought some Kelis albums to be often a little disjointed or inconsistent. Food is the real deal and an album I can see myself growing into more and more despite its immediate appeal. You want a dance? Food can help. You want to chill? Food can help. You want to cry? Read the lyrics while emotionally eating half a cake and a pack of potato chips…" 

Full review

#9. Silent Treatment

by Highasakite

What we said: "There’s a not so underlying darkness on Silent Treatment that I adore. All the instruments, all the voice, all the words celebrating the secrets, the dark, the things in cupboards that we all hide away, rejoicing the nightfall of heartache in simple indie pop and all of it with a sweet little Norwegian accent.  Perhaps it is singer Ingrid’s subtle accent that makes it seem this way, but there is somehow a little mystery to the sound which is what makes this album such an enjoyable journey, each track its own story and each band member understanding the importance of their place in an album that will continue to be played at mine right through 2015."

#8. The Thieves Are Babes

by Dear Plastic

What we said: "While you can throw out a lot of comparative or similar artists, Dear Plastic establish their own identity over the course of The Thieves Are Babes. A song like 'Antimatter' perfectly represents their quirky yet engaging style of storytelling. "And in that dark matter, no one could see it happen. Ah, but ever since then, I seem to have lost my nerve. My antimatter, my counterpart, do you think we'll ever fall in love." Fantastic sci-fi tale presented in the form of dark avant garde pop. Yes. A million times yes. Current single, 'Epic Delay', is one of the best songs of the year. Baccini's vocal performance is heartbreaking in the absolute defeat that's present throughout. The simple guitar line in the verses against the explosion of sound for the chorus when Baccini lets loose provides an outstanding contrast that sells the pain. "Where do we go? I won't fall asleep because there's no way to know." triple J... why y'all not all over this? 'Buck Up And The Reaper' steers Dear Plastic towards a more grungey alt-rock sound and there's a whole lot of spite and rage, both reserved and not-so-much-reserved. If there's a track that establishes who Scarlette Baccini is as a vocalist, this is it. We get to see her high and lows, guttural grows, wails and towards the end, an unrestrained force of nature. Not once do I find myself thinking... she sound so much like (insert random name to compare artist to here). Brilliant." 

Full review

#7. There There

by Megan Washington

What we said: "Establishing her identity from the start, 'Yellow and Blue' separates Washington from the local contemporaries she could be lumped in with. In this field you could be a Higgins, a Blasko, a Julia Stone or even an Emma Louise. Megan Washington is simply a Megan Washington and she's exquisite in her loneliness. Even that 'bounce' in 'My Heart Is A Wheel', all Preatures-y in the infectiousness of the music can't completely hide away the thought that our leading lady is falling apart at the seams. The 'lonely' factor is compressed into the much more relatable track, 'Limitless'. Let's be honest... there really is, "a certain kind of lonely where you sleep in your jeans." It's one of those Debbie Downer facts that becomes much more digestible in the form of a delicious song like this. Those final oooh's that emerge as everything winds up are the icing on the cake. I think I'm hungry? Enough with the digestive talk. Moving along, 'Begin Again' is a stunning album highlight and our first ballad and a true testament to Washington's songwriting talents. And it's not even the best ballad on the album. That's right, kiddies... more than one ballad on an album in 2014! Hallelujah, praise Yeezus."

Full review

#6. Himalayan

by Band of Skulls

What we said: "I love watching the development of a band and while I'm not going to go all hipster on you and say I've known Band Of Skulls since their very beginning, it has been a fascinating journey watching them grow from their first album Baby Darling Doll Face Honey five years ago to Himalayan this year. It's a more mature Band Of Skulls that take us from the pure rock of 'Asleep At The Wheel' to the blues of 'Hoochie Coochie' to the tragically beautiful guitar driven tale of 'You Are All That I Am Not'. Each release of theirs has grown a teeny but more than the last and in Himalayan, Matt, Russell and Emma have released a timeless album, one that will be just as impressive ten years from now as it would it been had it been released ten years ago and it takes some special talent to write and record music like that."

#5. In Tongues

by Ella Hooper

What we said: "It's been a long time coming, but In Tongues is ready to get out there into the world. Safe to say, the wait was well worth it. You can already tell that this is an album that will stand the test of time and have you coming back for more years from now. While it fits in today's music landscape, there's so many elements of it that are timeless. Long time fans will not be disappointed and with any luck, new fans will find their way to Ella Hooper too. She's confidently stepped out on her own, proving her music can be not only as good as what's come before, but better. While this is Ella Hooper's first solo album, I can only hope it's the first of many, because In Tongues is a knockout record from one of the hardest working artists in music today. Go give it a listen!"

Full review

#4. 1989

by Taylor Swift

What we said: "I don't think any artist has ever moved as spectacularly away from their previous genre to a new one like Taylor Swift has with 1989. We throw this out every now and then, but the album is actually pop perfection. From the mammoth hook of 'Style' to the self-deprecating and incredibly catchy 'Blank Space' and... did we just say catchy? Because nothing in this world is as catchy as 'Shake It Off'. You won't be able to shake the damn thing off. Well played, Swift. With 1989, Taylor Swift went from that country crossover girl to officially claiming the title of biggest pop star in the planet. The music on the album is worthy of her being called that." 

#3. Lazaretto

by Jack White

What we said: "I could talk about all the tracks one by one, how 'Entitlement' has such a beautiful arrangement, how 'Just One Drink' tackles a complex topic and turns it into a nursery rhyme swing, I could write a thousand words, I could say a thousand things and explain the thousand ways I consider myself a fan, but ultimately, what we have here is a Jack White album. It's an album that oozes confidence and so it should, Jack White is a man that knows the industry he is involved in, knows how to play it and knows how to write the rules his way, but he's also an artist that backs up all of those things with some incredible talent, someone who understands what he loves, who knows how to pay tribute to the American rock style without sounding old, who smothers his blues music in meaning and indulges his love of country in a way that nurtures and delights it."

Full review

#2. I Never Learn

by Lykke Li

What we said: "I've read that Lykke was attempting to move away from any 'pop star' labels and make her mark as a singer-songwriter with I Never Learn. But that doesn't mean she can't bust out crazy-good hooks like what we get on 'Never Gonna Love Again'. As far as hooks go, it's at like... 80s power ballad levels of amazing. Even the imagery she's creating is just that little bit 80s. 'Every time the rain falls think of me, on a lonely highway, how can we turn around the heartache, oh I, I'm alone tonight babe, and I'm never gonna love again." Heck yes. 80s. 'Sleeping Alone' works in all the right ways as a closing track, just like the opening one did. Showing that she really does never learn, the song and album end with a promise that one of our favourite Swedes will one day be with her former love again. Even though she's just spent half an hour telling you why they shouldn't be together and how hurt she was when it all ended. Where are her friends at? Obviously she doesn't have some Sex and the City circle that gathers on Fridays to get hammered and compare war stories. But if she did... she'd totally be a Charlotte. What?"

Full review 

#1. The Golden Echo

by Kimbra

What we said: "How do you avoid the sophomore slump? You release an album like The Golden Echo. You push forward with an uncompromising vision of your work. You build on what your fans have come to expect of you and then you invite them to take a journey on which you find yourself realising your full potential. And that's what Kimbra lives up to on The Golden Echo; her potential. With Vows, an album that's still one of the best debuts around, we knew it was only a taste of the amazing career that Kimbra Johnson would have. On her second album, Kimbra steps out with all the confidence in the world, exceeding all the expectations placed upon her in the process. Vows was the statement that made us take notice. The Golden Echo is all the reason in the world for us to keep our well-placed faith in Kimbra as strong as it's ever been. When I said it's the best pop album of the year, I really meant it's the best album of the year. What else has to be said?"

Full review

2013 Winner:

Janelle Monae - The Electric Lady

Runner Up: Yeah Yeah Yeahs - Mosquito

2012 Winner:

Amanda Palmer and The Grand Theft Orchestra - Theatre Is Evil

Runner-Up: Jack White - Blunderbuss

2011 Winner:

Seeker Lover Keeper - Seeker Lover Keeper

Runner Up: Kimbra - Vows

2010 Winner:

Arcade Fire - The Suburbs      

2014 Scene Awards - Group of the Year

Why hello there. We've only got four Scene Awards left to hand out this year, which means it's time for Group of the Year tonight, Man and Woman of the Year tomorrow and Album of the Year on New Year's Eve. Party time, excellent! In this collection of our favourite groups, an international act lands a nomination for the first time in the 2014 Scene Awards. Australian music... why you gotta be so good? Anywho... let us meet our foreign friends and say hello once more to three of our fave local bands. Enjoy!

GROUP OF THE YEAR:

#4. Band of Skulls

Oh Band Of Skulls, how do I describe what I think of you? I love your brand of rock, your sharp chords and your bluesy ways. I love your heavy drums, your way of making my head nod with some serious force, I love your combination of rock and roll and I love your sound as a tribute to all the rock that has come before you, yet you stand with your eyes and your guitars only facing forward. I love your understated look, the uniform of shirts and jeans and boots worn by all the greats of rock and worn with such discreet confidence. I love your third album Himalayan from this year as much as I love your whole collection and I love that quick fire beat of ‘Hoochi Coochie’ as much as I love its backward clip and its surprising end. I love that you will always hold a place as one of my favourite live music moments this year, that after a long day your subtle entrance followed by the wall of guitars and drums and sweat on stage filled me with an energy only live music does. I love that three humans alone can create a sound that makes me happy with every listen and makes me want to jump up and down manically. I love that I have been lucky enough to watch you grow as a band and a sound over the last few years and I love that I consider you one of my favourite bands, because I love that I love rock and you, Russell, Emma and Matt, are the epitome of that word. Band Of Skulls, how do I describe what I think of you? I think it’s pretty simple really. Two little words. Rock. Love. (Jo Michelmore)

#3. Dear Plastic

Dear Plastic are one band I found myself loving more and more throughout 2014. They followed up a stellar EP with an even more stunning debut album, The Thieves Are Babes in October. We couldn't get enough of their singles 'Buck Up and Pay The Reaper' and 'Epic Delay', with the latter enjoying a nice and well deserved run at the top of our weekly Top 25. While their clip for 'Buck Up and Pay The Reaper' may have led to divided opinions between our own Jo and Nayt, I think it's safe to say there was universal acclaim from us for the clip that came with 'Epic Delay'. It's perfect in its simplicity. The lovely Lou Endicott (we miss you, Lou!) has had the pleasure of seeing these dark trip hop-ers performing live around Melbourne and perfectly described the band in one of her reviews as;

"Dear Plastic are not for the feint hearted. They are a flagship unto themselves and the genre of electronica. And what they do they do darn well. They follow no leaders and hold nothing back to create full, rich and melancholic ambient soundscapes. With their hints of pshychadelia, their nod to 90s trip hop and their stand out vocals, they have won me over as a fan." - Lou Endicott

They certainly won me over too. Their music is brilliant and I have no problems saying it's not appreciated at the level it should be, but that happens and I'll shut up about it and say that I really hope that the hard work they put in and the excellent quality of their sound pays off with the recognition they so richly deserve. Scarlette Baccini is a vocal powerhouse I want to hear more of. Josh Moult, Danny Cox, Cory Mollison and Nathan Clark make music I want to hear more of. Dear Plastic is a group I want to hear more of. And I hope we get to hear something new soon. Until then, do yourself a favour and go and listen to The Thieves Are Babes. You can file that request under 'things you won't regret'. (Matt Bond) 

Runner-Up: Kingswood

I owe Kingswood an apology. Like all the classic tales of love, my relationship with them has been a rocky one. I remember clearly the first day I laid eyes on them, all those years ago now at a festival, I can’t remember which one it was, but I do remember it being mid-morning, the sun blazing down, the queues for the port-a-loos already too long and the wait for the band I really wanted to see looming ahead. I remember the distinct thought of “schmeh” as they played, probably trying their hardest to impress the couple of hundred or so people who were watching (me included) but some of us were just too exhausted already to care. I have learnt my lesson and now I know how much they rock, they’ve proven it over and over again on stage, they proved it to me at BIGSOUND this year and they proved it once and for all in August with the release of their debut album Microscopic Wars, which featured one of my favourite acronyms, song titles and tracks for this year; ‘ICFTYDLM’ which ended up with me feeling LUMTP. (That’s my new favourite acronym, by the way.) When I found out they’d recorded it in Nashville with Vance Powell (who has worked with Jack White, oh Jack, oh sigh…) there was little chance I was going to dislike it. They also possess a fine collection of beards, which means Katie Langley is a fan and I’m not going to complain about their facial fashion. The facts are, we may have started with a rocky relationship, but Kingswood and I? We’re tight now. Rock. Blues. Kingswood. Me. Lots of love. LUMTP. Love You More Than Pie (duh). LOL. (Jo Michelmore)

WINNER: Little May

We know. We write about Little May a lot. Like A LOT. You know what though? A band with music this good deserves to have us writing about them a lot. They deserve to have every music blog writing about them a lot. They deserve to have everyone listening to them because their music is real, honest music that is begging to be heard and loved and listened to some more. We've loved watching Liz Drummond, Annie Hamilton and Hannah Field's rise this year and we'll love watching it next year and the year after and... you get where I'm going with this, right? In 2014 they scored a ton of airplay on triple J with the tracks 'Hide' and 'Dust'. The massive cheer from the crowd that started when the opening notes of 'Hide' rung out at BIGSOUND Live showed just how much love there was out there for Little May's music. That was the first time I got to see the ladies performing live and I don't think my simple words can do their performance justice, so I will recommend you go and see them for yourself. Those gorgeous Little May harmonies are arguably even better live. 

We knew it was only a matter of time before Little May went global and they followed up BIGSOUND by showcasing their talents at CMJ in New York and they gigged it up in London too. Come on, you know the Brits will be all over the folky goodness that Little May provide. Oh, they also signed to Island Records in the UK and Capitol Records in the US. Reading that news led to a lot of cheering around these parts. Little May delivered in a big way in 2014 with what made us fall in love with them in the first place... their music. The Little May EP is a must-listen. 'Dust', 'Bones' and 'Midnight Hour' became new additions to our life soundtracks and further solidified these Sydney-siders as our favourite new storytellers. 

We know we write about Little May a lot. We hope we get to keep writing about Little May a lot. And with the news that a debut album is to be expected in 2015 y'all had better get used to us writing about Little May a whole lot more. We can't wait to hear more and we can't wait to see them again live soon. If you're heading to any of ole Bernard Fanning's or Angus and Julia Stone's shows in early 2015, you'll have the pleasure of seeing Little May. Just don't expect to see them in those supporting slots for long. The next stop is the world stage and we couldn't be happier for them. (Matt Bond)

2013 Winner:

Chvrches

Runner-Up: Little May

2012 Winner:

Texas Tea

Runner-Up: Garbage

2011 Winner:

Seeker Lover Keeper

Runner-Up: Little Dragon

2010 Winner:

Arcade Fire

 

 

Gig Review - Band Of Skulls

Band Of Skulls

Live @ The HiFi, Brisbane (21/06/2014)
Supported by Apes

Words and pics by Jo Michelmore

It's interesting how bands are just rock bands to some, a casual something to hear on the radio, a cool name to drop in conversation, something to sing along to in the car and yet for other people they become a way of life, their music seeps into every part of some people's existence and an all important part of that thing I like to mention every now and then, that thing that is as unique as each of us are, the life soundtrack. Band Of Skulls made their way into my soundtrack a couple of years ago through this blog itself, via email conversations with a musician on the other side of the world who was a friend and fan of their work. I investigated, trawling the internet for whatever I could find and discovered a rock band I wasn't expecting and a sound I couldn't get enough of.


Fast forward some time and I found myself at Splendour In The Grass and in a year where the gods of festivals and rock smiled on me for three days straight, there I was in the front row witnessing something I didn't know I really loved until I saw it. In the tradition of the festival here at It's My Kind Of Scene I text reviewed it and my simple character limiting words then take me straight back to that set:

"Sometimes at the music festival, you have that lucky moment where you just get happy 'cause you realise how amazing something is exactly as it happens. Band of Skulls were like that. Amazing. Me: happy"


From my prime position, I witnessed a band of three that seemed a little unsure, but it only came across as charming, a band that seemed shy and stared at their instruments and each other a lot, but perhaps that was because of the rain (read: storm surge overhead) pouring through the tent roof overhead, or perhaps it was their lack of experience on stage. Either way, they played a set I adored, smashing out rock song after rock song, some I was familiar with, some new to my ears, but all of them strong. Yep, I declared myself a fan.


Fast forward another couple of years and you have me, standing at the HiFi in Brisbane, another rainy night, but this one not under the cover of a not very secure tent but a venue I've learnt to like, one that has hosted some interestingly very different musical experiences for myself and my friends. Last Saturday night though was all about one thing: guitars, drums and rock.

The punters who were early enough (and the ones I admire the most) found themselves a sweet little set from Melbourne's Apes. Admittedly not a band I am that familiar with, they certainly proved themselves to be a band I endeavour to find out more about, playing through a half hour set that wound it's way from English Manchester pop inspired sounds to American Jack White-ish rock sounds. A particular punter caught the attention of K-Tizz and myself, a guy in a leather jacket who looked like he was made to rock. Apes moved him in ways I love to see, throwing his arms in the air like he was at a Baptist church singing gospel in the deep south, he reminded me just how awesome live music can be. Midway through the set, K-Tizz was inspired enough to press 'like' on the Apes  facebook page, while a group of 'slightly' intoxicated patrons standing nearby proclaimed their affection by yelling things I won't repeat here on the blog and the four members took it all in their stride, playing a set that made me want to hear more. I'm hoping leather jacket guy put his money where his dancing feet were and bought a CD on his way out.


While the HiFi slowly filled, I noticed a group of people at the front of the stage, right in the middle who had been there since the minute we arrived. That is true fan-dom and something I admire and understand, I like the dedication to the rock they clearly loved. I wondered if they had been at Splendour a couple of years ago and what their thoughts were, before my thoughts were interrupted with the sight of three people wandering onstage non-chalantly, not giving much away. Exactly as the ways things worked a couple of years ago, but this time, Band Of Skulls kicked off proceedings with 'Asleep At The Wheel', the first track released from their current album Himalayan, but something was different, something was immediately better, something was immediately more convincing and the two years lived in between the last time I witnessed a band I adored and now, just meant the rock got better and the adoration was about to grow.

Bassist Emma Richardson was every bit the rock chick I like, owning her instrument and demanding attention when required, she has a subtle confidence that is charming and addictive, in guitar heavy songs like 'Wanderluster' her bass talents are subdued but essential and in songs like 'Bruises' and 'The Devil Takes Care Of His Own' her vocal is awesome. Drummer Matt Hayward is a drummer born to be a drummer, his wind blown hair catching my eye from the back of the stage and his solo at the end of the set was one of the highlights of the night. It was Katie who pointed out his red wine drink of choice that made me like him even more, what a classy percussionist.

In typical rock style though, it was front man Russell Marsden who took control of the show, declaring this was the very last night of their world tour and they were going to play like they had nothing to lose, which is exactly what they did. The almost shy performer I witnessed two years ago was a different man, someone who now seemed born for the stage and his comfort as a performer was addictive, track after track sounding exactly as rock music should, like it was written to be played for an audience to love.

There is one person though who inspired the beginning of this little review and in turn the end. While I saw a performance I loved on Saturday night, there was a person at the front from row from the beginning, a person I myself have been at times, a person I understand and a person I probably really like. In the very front row, a gentleman, probably somewhere in his twenties who clearly loved his live music and loved the band he came to see. His hands in the air almost the entire set, singing along every single time I glanced over and desperately reaching to any band member who came near throughout the night. At one point he was given a pick and it seemed like that made his night, his week, his world, jumping up and down and hugging anyone around him. THAT is being a fan of a band and that is the kind of magic a band like Band Of Skulls can create. Sometimes there is nothing better than some simple rock music to make you feel alive and that's exactly what they provided for an almost full HiFi on Saturday night, for me and for the one awesome fan in the very front row. It's music and it's rock. It was two years ago the first time I fell under their rock spell and even more so now, it's awesome.  

Top 25 - 23 March, 2014

The creative types: tUnE-yArDs and Sia!

1. tUnE-yArDs - Water Fountain (NEW)





2. Sia - Chandelier (NEW)





3. Kingswood - Suckerpunch





4. Clare Maguire - Whenever You Want It





5. Brody Dalle - Don't Mess With Me





6. Safia - Paranoia, Ghosts and Other Sounds (NEW)





7. Steve Smyth - Shake It (NEW)





8. Bonjah - Honey





9. Lykke Li - Love Me Like I'm Not Made of Stone





10. Lykke Li - No Rest For The Wicked (NEW)





11. Elliot The Bull - Colourblind





12. Jack Colwell and The Owls - Far From View





13. Inouwee - Explode (NEW)





14. The Good Sports - Walking





15. Son Lux ft. Lorde - Easy (Switch Screens)





16. Band of Skulls - Nightmares (NEW)





17. Michelle Xen - My Cells (NEW)





18. Mia Dyson - When We're Older





19. The Phoncurves - Lover (NEW)





20. Asgeir - Torrent





21. Lily Allen - Our Time





22. Megan Washington - Who Are You





23. Twin Lakes - The Ageing Field (NEW)





24. JP Klipspringer - Bury Me





25. Sharon Van Etten - Taking Chances

New Music Monday #76

The Marshall Mathers LP 2

by Eminem (out November 5, 2013)

Eminem is back with the continuation to his greatest success, The Marshall Mathers LP and you can't help but feel that Eminem really IS back this time around. Finding the needed balance between super serious Recovery era Eminem and comedic, but behind the times Encore era Eminem. In other words, the Eminem we all knew and loved in the late 90s/early 2000s has returned and that means we're all in for a treat with The Marshall Mathers LP 2. 'Bad Guy' is an early knockout, picking up the story of breakthrough hit 'Stan', with a vengeful Matthew Mitchell as the protagonist, taking over for his late brother Stanley (every time I see that name I hear it the way Dido says it in the video). The narrative ends once more with a bridge, before Eminem takes the reigns and admits the symbolism of Matthew and Stan being, "of you not knowing what you had until it's gone." Sure, if he says so. Eminem promises this is the final chapter of the cautionary tale that is the Marshall Mathers story. Again, sure, if he says so. Retirement pledges surround many a rap star and Eminem's made them before, but say this is the last we'll hear from Slim Shady... at least he's going out with a bang. 

'Rhyme or Reason' has a Yoda rap. It's the kind of moment that makes you shake your head and then laugh. For anyone else it would be an unforgivable move. Women's rights activists and... actually just activist groups in general... will work themselves into a frenzy over tracks like 'So Much Better', as the 'ole woman hating Eminem emerges, hating on 'bitches' and confessing, "my life will be so much better if you dropped dead." It all ends with the deux ex machina line, "I'm just playing bitch, you know I love you." Cute. As has always been the case with Eminem's music, he shows he can't really hate on the ladies that much... they always give him hooks that trick listeners into thinking his music is a lot catchier than it is. Liz Rodrigues and Polina Goudieva do wonders for the chorus' of 'Survival' and 'Legacy' respectively, which are pretty standard 'business as usual' Eminem numbers. Bestie, Skylar Grey at least manages to be credited for her admittedly underwhelming appearance on 'Asshole'. Mathers makes up for the increasingly snooze-worthy appearances from the former hot-ticket with a reflection on the reaction to the dick-ish things he's said throughout his career. "I could have stacked my shit list to the ceiling, women dish him but really thinking, if anyone ever talks to one of my little girls like this I would kill him, guess I'm a little bit of a hypocrite." 

MMLP2 hits its stride midway through, with 'Berzerk' and 'Rap God'. Any doubts that Eminem doesn't have that 'it' factor anymore are destroyed, even as you have to remind yourself that he's in the 2000s mindset, dropping one two many f-bombs (and not the one that rhymes with fire truck) for his own good and a censorship challenge to his Columbine references on chapter one's outing. As an artist that hasn't shied away from controversy at, well, any stage of his career really, no one should act too surprised at this point. After the, um, monster success of his last collaboration with Rihanna, 'Love The Way You Lie', it's nice to see the two back together again with 'The Monster', even if it doesn't have the same impact as their prior track. It's actually the first track that feels slightly out of place, but that's probably just the sunny disposition that just naturally follows Rihanna these days. When 'Love The Way You Lie' was released, it was close enough in time to her Chris Brown drama and the song was pretty much the same story. That original magic may be missing, but the song's still ready-for-radio (as is generally the case when two megastars come together) and looks ready to make a chart impact as early as this coming week.

Teaming up with label mate Kendrick Lamar was a smart move, with 'Love Game' (let's have some fun, this beat is sick?) sounding like the most fun either act has had in a long time. And then bam! the fun is gone as that guy from a band that's literally called fun. shows up to suck all of it from the room on 'Headlights'. How this made the album and Sia's effort on 'Beautiful Pain' was relegated to the Deluxe Edition is beyond me. 'Evil Twin' is another one of those reflective moments that borders on whinging, as Mathers laments his lack of battle opportunities. Who can he call out in this day and age? "I just want to hurt you, aim for the skanks, then aim for all these fake Kanye's, Jay's, Wayne's and Drake's. I'm frustrated cause ain't no more N'Sync, now I'm all out of whack, I'm all out of Backstreet Boys to call out attack." He won't even go after Gaga, Bieber or old fave - Xtina. But how will we know who came first, was it Carson Daly or was it Fred Durst?! Thankfully the title's evil twin shows up... to make out of date references aimed at crazy Britney, dearly departed Whitney and OJ Simpson. Playing it safe? 

The Marshall Mathers LP 2 is good. In fact it's really good, but I'm not going to lie to you and tell you it's the BEST THING EVAR OMG EMINEM U DA BEST 4 LYF WERD. It has its ups and downs. If this was 2001 and it just got released maybe I would be fan-girling it up. But it's 2013 and in terms of this year's releases I can tell you it's comfortably better than Jay Z's Magna Carta Holy Grail, a million times more engrossing that anything Drake has done, but probably not quite on the same level as Kanye's Yeezus. It is however the best thing Eminem has released since the original Marshall Mathers album and a must listen for Eminem fans and rap fans in general. But you don't need me to tell you that. The guy's a pop culture phenomenon... you're going to check it out anyway. You too can enjoy the ups and downs, deciding if we're in on the joke that Eminem's playing or if we're not, right until the final lines - "But all bullshit aside I hit a stride, still Shady inside, hair every bit as dyed as it used to be when I first introduced y'all to my skiddish side, and blamed it on him when they tried to criticise, 'cause we are the same, bitch." Sure, if he says so.  

Matt Bond gives The Marshall Mathers LP 2 four Beyonce heads out of five...

You Could Be Happy EP

by Sahara Beck (out now)

It's not often that music makes me embarrassed, but when I heard the first song from Sahara Beck's EP You Could Be Happy, I have to admit, I was a little embarrassed. The reason? I've had the opportunity to see a Sahara Beck gig before, numerous times and there's always been something else going on, a better offer to take up. I've had the chance to press play on Sahara Beck songs in the past and there's always been another song to hear, another clip to watch. When I hit play on this EP for the first time, my embarrassment was immense when I heard those claps, the quick guitar, that fabulous voice and the words, the simple but so effective lyrics "look at all this trouble you cause here, for all these people you hold dear...c'mon man, you're dead and you don't know it yet". Wow. What had I been doing this year? Why hadn't I said yes to one gig, pressed play just that once? I guess I'm just making up for lost time now, with the release of Sahara's EP, You Could Be Happy.

 
The first track ‘C’Mon Man You’re Dead’ is the one that caught my attention immediately, so catchy and so much more than just a little folk song, I found myself tapping along so quickly, the pop sensibility as addictive as the lyrics which are much more than simple pop lyrics. Second track ‘Mary Jane’ deals with issues of addiction in a way well beyond Sahara Beck’s seventeen years, it’s quick pace and repetitive lyric “now I’m all alone come find me” are so affecting, so compelling to hear, I couldn’t help but wonder what could possibly be next, I was totally mesmerised two tracks in, it was difficult to know where she’d take things from there. I still couldn’t quite believe I’d never listened before.
 

What I heard three tracks in grabbed me by the throat, it was the one that got me, the one that made me regret those nights I spent somewhere else instead of at a venue with live music which I love so much. ‘Bang Bang Bang’ is simple; it is acoustic sounds and voice, which is perfect to show off an awesome vocal range. Sahara’s passion in the lyrics “bang bang bang here comes the end” is beyond comparison, this is a song made to adore, to take your breath away. ‘Madman’ mid way through is a nice change, a little heavier than any of the other tracks, this is one I imagine to be extremely powerful live, the beats are so strong it’s nice to hear a little grittiness amongst the gentle of the rest of the EP. Yet again, another regret I hadn’t seen Sahara before.
 

I knew it was bound to happen, After the first four songs I knew there had to be a tear jerker in here somewhere, and there it is, ‘Daisy’. Maybe it was the mesmerising guitar, maybe it was the strings, maybe it was the lyric “death is peaceful, not so sad, I wouldn’t bother getting mad, won’t make a difference either way…I am beautiful but small, never owned a thing at all, I am simple but happy, stay with me Daisy”, but whatever it is, this is the one, songs like this are special and don’t come along on every EP or album, but when they do there’s a ‘wow’ and a breath taken with every listen.
 

After the sigh of ‘Daisy’, the EP’s final track doesn’t disappoint, in fact, it’s the perfect end to a beautiful twenty four minutes. I love an artist who thinks about their work as a whole experience and it’s obvious there’s been a lot of thought as to how Sahara wants her listeners to be left at the end of her six songs, the title track ‘You Could Be Happy’ is a swinging little song full of story and promise, her voice such a delight, her lyrics such an experience and the music so mesmerising, just like ‘You Could Be Happy’ as a whole.
 

So I admit it, I made the mistake of overlooking this unbelievably talented artist until now and it’s a mistake I’m a little embarrassed about. I’m a smart listener though, because now I’ve heard her sound, there’s no turning back, I’m calling myself a fan and ignoring Sahara Beck is a mistake I don’t intend on making again.

 
Jo Michelmore gives the You Could Be Happy EP three and a half Ellie Goulding heads out of five...
 

Holy Infinity
by GOVS

Music is amazing. I know you know that, 'cause you're reading this blog and we all already agree on that, right? But let's talk about the amazing kind of music that has no sense of time, that transports you to a place far away from where you are, music that is immediately comfortable, because, while it doesn't sound like anything else in particular, it sounds like part of your life, it sounds like something you know and you want to know more of. It's completely personal to me, but when I heard GOVS track 'Holy Infinity' for the first time, I was immediately placed in a bar I used to frequent a few years ago, a comfy little corner full of cushions and conversations and cheap champagne. The simple start, the sound of Josiah Birrell's voice and guitar were hypnotic, the riffs lulled me into a sense of comfort like comfortable music does and when the beats were introduced a minute and a half in I was hooked, I was no longer at my laptop, I was in that bar with somewhere with Josiah and the people I loved and the heartache that ensued from them. There’s a sense of desperation somewhere in there and a feeling of something much bigger than a simple song, I guess that’s part of the amazing I talk about when I talk about music. While GOVS is a bedroom project from a clearly very talented boy from the Gold Coast, it's obvious Josiah knows how amazing music is, because his music is far removed from an amateur bedroom sound. It's beautiful and it's moving and mostly, music - it is amazing, isn’t it? 
 

Jo Michelmore gives 'Holy Infinity' four Michael Hutchence heads out of five... 

 

Standing In The Dark

by Matt and Beki

“Sizzled me just like a hot hot pepper” is really all I need to hear from this... Bitch this tune is SICKENING, it has the sound of the Divinyls and Cyndi Lauper if they were whipped up in a blender with fairy floss and glitter then spewed out into a sea of rainbows and neon lights. What I mean by this is I FREAKING LOVE IT. The 80s sound is in the midst of a revival, some are doing it well, some are shit, but Matt and Beki are rocking it.


If you think they sound familiar then you’d be right, but why?? Where have you heard these iconic Australian voices before? Well in the mid 90s there was this effing amazing band called The Mavis’s featuring Matt and Beki and well, now they’re back! Bubblegum pop is the name and owning is the game.


'Standing In The Dark' is a pumping, twitching, booty mover and simply screams “DANCE IN YOUR UNDIES IN THE LOUNGE ROOM” and I’d be lying if I said it didn’t make me squeal like a camp 14 year old with its sexy rejection lyrics that pump me up like a burn blister in the verses - “Come on baby take my hand, we’ll sneak away after the band.” - and grabs my pining teenage heart strings in the desperate chorus - “Left me standing in the car park, but it’s too late, cut your name into my arm, but it’s too late, come on.”


This is the kind of pop that I like to see swimming around in the ARIA charts and violating the positions of “cookie-cutter-pop” artists who shall remain nameless yet infamous. It’s a great club track (not that I’ve “clubbed” for quite some time) and should be requested anywhere there are pulsing neon lights and eye burning lazers bouncing off mirror balls. Get it, put it in you, and let it take over.

Nayt Housman gives 'Standing In The Dark' four Cyndi Lauper heads out of five...

Perfume

by Britney Spears

Album: Britney Jean (out November 29, 2013)

Some things just create a feeling of uneasiness. A new movie with Lindsay Lohan in it. Just the thought of that puts this look on my face that's not quite scared, not quite constipated... just a little uneasy. In the music world, there's probably nothing that gives people that feeling of uneasiness like hearing 'Britney Spears' and 'ballad' in close enough proximity to each other. 'Sometimes', 'From The Bottom of My Broken Heart', 'I'm Not A Girl (Not Yet A Woman)'. Are you cringing? I am. If you look back, 'ole Britters hasn't really released a ballad as a single since 'Everytime', which was pre-meltdown. That wasn't that bad a song, yeah? Anyway, in this day and age of radio friendly EDM tracks, it's easier to get away with a pop ballad when you don't have the voice of an Adele or Beyonce, because you can just throw some electronic whoomp (there it is) in with a piano line and get Sia to write some words about your boyfriend's wife smelling your cheap perfume. So there's no need to feel uneasy... but there sure as schnitzel ain't no reason to be celebrating. It's not as laugh out loud bad as 'From The Bottom of My Broken Heart', it doesn't hold any glimmer of real emotion like 'Everytime'. 'Perfume' just... is. 

Matt Bond gives 'Perfume' two Ke$ha heads out of five...  

Asleep at the Wheel

by Band of Skulls

I may have had a conversation with Matt this week about how I seem to be the rock/blues lover on this blog, which was a title I was happy to hold, but there’s a lot of music I like. I love pop music, I love folksy music (see my Sahara Beck review above?), I adore a good bit of electronic music at the right time, I got myself tickets to Eminem recently, goddamn I just love all music, alright? Then I pressed play on ‘Asleep At The Wheel’, the new single from the UK’s Band Of Skulls and you know what happened? I got that little feeling at the top of my spine, I got that excited little feeling in my stomach, my head started nodding and suddenly I was smiling. The smashing repetitive guitars made me move my feet and the drums made me close my eyes and the words took me back to the front row at Splendour a couple of years ago and the flashing and the lights and the sweat and the hair and the loud loud loud sounds and…ok, I’m the rock lover on this blog. Goddamn, it’s just so f-ing good though! Rock music! Damn right! If this is only the first single I cannot wait to hear more from one of my fave rock bands.  

Jo Michelmore gives 'Asleep at the Wheel' four Kurt Cobain heads out of five...

Clever Boy

by Justin Hunter

What are you doing on Sunday? No this is not a literal question. What you should be doing is downloading 'Clever Boy', popping it on your iPod and finding a nice spot in a park to spin around in circles whilst looking longingly into the blue sky, smiling and thinking to yourself, “Today is a fucking great day.” That’s exactly the feeling I get when Justin Hunter's new single is rolling out of my speakers. Quite obviously taking its queues from 80s pop, Justin Hunter has created a rather cruisey, Bronski Beat-ish, Duran Duran-ish house/dance track fit for the dance floor or a lazy, dancey Sunday with a bunch of friends out in the back yard with a wading pool and a few cocktails in hand.


“Clever boy, fooling them all, is he the winner, the winner of them all?” Like a bittersweet cocktail of bliss and self doubt, the words of 'Clever Boy' will slowly worm their way into your psyche like a tape worm floating gently through your blood stream into your digestive tract. It’s one of those tunes that get better with each listen as it slowly unfolds *insert poetic flower analogy here*. Maybe it’s Justin’s pacifying vocals (some might say a lil bit monotone) that lull me into an almost meditative state while the pulsing beats and echoing hums keep me from falling asleep as I twitch and jilt in my relaxed state that make this track so delicious? I’m not sure but I don’t really care enough to over analyze it. I just want to lie here and enjoy every morsel of its equally upper/downer quality. Justin Hunter, I like you, you clever boy so keep the good tunes coming.

Nayt Housman gives 'Clever Boy' four Boy George heads out of five...

I Think I Love

by Enerate

Synths that creep up on me? I think I love. Beats I start nodding to immediately? I think I love. A mysterious male vocal? I think I love. Sha la la la? I think I love. Whoa oh oh oh oh oh? I think I love. A cute boy Josh, on vocals and guitars? I think I love. Another whoa oh oh oh oh oh? I think I love. Another cute boy, Matt, on bass? I think I love. One more cute boy, Ben, on percussion? I think I love. One cute girl, Therese, to sing and play synths? I think I love. More whoa oh oh oh oh oh? I think I love. Synth pop with a Sydney accent? I think I love. So easy to sing along to? I think I love. A whoa oh oh oh oh stuck in my head? I think I love. Pop, but with a little meaning? I think I love. New favourite song this week? I think I love. A whistle at the end? Oh stop it, it can't possibly be this good, can it? I think I love? Nope, I KNOW I love. 

Jo Michelmore gives 'I Think I Love' four Lady Gaga heads out of five... 

NEW MUSIC VIDEOS OF THE WEEK:

Perth Girls

by Abbe May

Album: Kiss My Apocalypse (out now)

When I saw on Abbe May's Facey-book page that 'Perth Girls' was getting the video treatment, I was excited. The track is my personal favourite from the doom pop-tacular extravagance that is Kiss My Apocalypse; as sleek and sexy as it is mysterious and dangerous. I knew the video wouldn't disappoint, but to get a beautiful and blonde Abbe in a suit wryly paying tribute to Robert Palmer's 'Simply Irresistible'? Fan-freaking-tastic! How could you not love this? The Perth ladies all dolled up in their pink, orange and purple dresses... bored looks staring into the distance. May herself is cooler than cool throughout. Certainly cooler than Robert Palmer ever was, but that's neither here nor there. She's up for the Best Female Artist award at this year's ARIA's. Not only do I hope she takes out the prize, but they should let her reenact this video live on stage. That would make me watch the ARIA Awards. 

Matt Bond gives the video for 'Perth Girls' five Madonna heads out of five...

Fall Underneath

by Snakadaktal

Album: Sleep In The Water (out now)

I'm not going to pretend I have any idea what's going on story wise in the video, but 'Fall Underneath' is shot beautifully by Dimitri Basil, so it's another video win for Snakadaktal. At first I was afraid the clip would be like the unofficial video for The Knife's 'Full of Fire', which made me want to put a fire out with my face with all the unnecessary repetition, but nay, 'Fall Underneath' is certainly as pleasing a video as the song itself. I like that each butt/face slap is in time with the music. It's the little things... Anyway, it's all very Californian 70s (or Cuban now I guess) with mustard button up shirts, brown leather jackets, pastel swimwear. A lot of thought's been put into the visuals in the clip and it's greatly appreciated. Definitely a video win! 

Matt Bond gives the video for 'Fall Underneath' three and a half Ellie Goulding heads out of five...

Everything's Coming Up Roses

by Dear Plastic (single out now)

Last week I had the pleasure of reviewing Melbourne outfit and electro trip-hop band, Dear Plastic’s new single 'Everything’s Coming up Roses'. So I was over the moon to discover a video clip had been made for this song. I have been singing this over and over in the last week. So I now had an excuse to not only listen to it again and again (not that I needed an excuse!) but I also had a mission to explore the visual world created by this new and exciting band.

 
The film clip for Dear Plastic’s single 'Everything’s Coming up Roses' opens with the band's moniker flashing in and out among a twirl of multi-coloured smoke. This imagery serves not only to introduce the clip but to hint at the sweet yet gentle mind bending clip to follow. The screen then shifts to a profile shot of Scarlette Baccini, the very talented lead singer singing the opening lyrics. There is a beautiful effect here created by dust particles catching light as they fall on the face of Scarlette. At least I THINK it’s dust - it could be computer generated comets, but I am going with dust as I was reminded of those quiet moments in life when a slice of sunshine carves a column of light across a room and the dust particles dance within it, creating galaxies of their own. Simple pleasures. And very fitting for the sentiment of this song. We are then treated to various shots of Scarlette as the particles play around her face. This galactic effect works beautifully to accompany the spacey, dreamy track that is this song.
 

Once we hit the chorus, the slow motion multi-coloured smoke brings us back to the freaky, trippy dreamy sounds that this song embodies. The next verse is a montage of eyes, mouth, ears and what appears to be paper being torn and crumpled. After a spell I turned off the analytical side of my brain, stopped trying to figure out what and how the imagery was made for the clip and just let the hypnotic beat, the visual playfulness and Scarlette’s lovely voice take me for an ethereal ride. Every time her voice dips down to the low notes with an earthy vibrato I get that warm and happy feeling that reflects back to the enjoyment I feel listening to gutsy singers from a bygone era. Vocally speaking, theatricality is the dress code with Dear Plastic’s lead singer Scarlette. This clip is definitely not a narrative. Nor does it try to prescribe a theme or specific concept. The clip (and the music itself) is for those who love their electro pop served with a side of mind bending good old fashioned psychadelia. And I would say that this is the best treatment you could take for a song as quirky and cool as this.

 
Lou Endicott gives the video for 'Everything's Coming Up Roses' four Michael Hutchence heads out of five...