Top 113 Songs of 2013, #80 - 71

We heart Abbe May, Sleigh Bells, Son Lux and Cloud Control!

#113 - 101

#100 - 91

#90 - 81

#80. Baby I Am Nobody Now

by Andy Bull





I could be one in a million baby,
But I'm nobody now. 

The original lady voiced, wonder boy from Sydney returned this year with a bigger sound, sharpened up and super electro charged. Andy lends his lungs to the subject of rejection in 'Baby I Am Nobody Now' and questions subjects like revenge and the “whys?” of a breakup all set to a more dance-oriented track. Almost as if it was designed to be remixed it feels like it’s aching to be made into a club ready anthem for scorned lovers to get out and shake it up. I’ve always been a fan of Andy and I love this new direction. (Nayt Housman) 

I reviewed this track's video earlier in the year and loved it immensely. It’s been one of the high rotation tracks for 2013 with its rhythmic twisted synths and percussive use of lyrics. “Baby I am nobody now” – so much fun to sing along to or even just say. To me it’s the equivalent of using the voice like tap dancing shoes. The little scale up of synth throughout the song (and the last phrase of the track) is one I always hang out for. This track actually sent me down the wormhole of YouTubing Andy Bull one night. He is such a versatile and talented artist plugged or unplugged that I can’t help love all that he creates and be interested in his collaborations and projects. (Lou Endicott)

This is cool, really cool. There's a bit of funk and some sweet synth. (Katie Langley)

#79. Rock Me Through The Night

by Esther Holt





But what use is your word if your word is weak?
What good are promises you don't intend to keep? 

“Should I stay or should I go, tell me now how should I know what’s on your mind.” The lovely Lou introduced us to Esther Holt in one of her first reviews earlier in the year and for that she gets a big gold star. As does Esther Holt. Big gold stars all around for everyone involved in ‘Rock Me Through The Night’! The clip’s cinematography makes for music video perfection so that’s another big gold star. Whoever did the styling, you get one too. I was enjoying ‘Rock Me Through The Night’ from the beginning with Holt’s voice drawing me into the deep story she’s telling. Then all the clapping starts and I was in love. Some of the finest country pop we’ve heard come out of Australia in a long time is being produced by Esther Holt. Don’t worry, there’s no yee-hawing anywhere to be found. It’s just great, big gold star worthy music. (Matt Bond)

 Initially, the words ‘Rock Me Through The Night’ suggested one of numerous things to me. First I thought of an 80s rock power ballad, all guitars and screaming notes and drama. Then I thought of a lullaby, all lovey-dovey and sick. How glad I was that Esther Holt didn’t swing either of those ways and instead wrote a moody almost old school country banjo infused song and put a moody almost old school country banjo infused clip with it, which I like. I also like a clap along and she provided one of those too and beside all of that, the clip is just creepy enough to be awesome, without being disturbing, like an 80s rock power ballad would have been. (Jo Michelmore)

A sweet, melancholy, and country/blues inspired number that Sarah Blasko lovers will immediately feel familiarity with. (Nayt Housman) 

#78. T.R.O.U.B.L.E

by Abbe May

Remember to make mine a double,

That's how you spell trouble.

Ooooh gurl, this bitch is FIERCE and she means T.R.O.U.B.L.E! Gosh she looks so much like Xena Warrior Princess in this video that I’m scared (and excited) she might beat me sideways with just the steely glare of those piercing eyes. 'T.R.O.U.B.L.E' is a steaming volcano ready to blow served up in the form of this glittering, dirty electropop masterpiece. Love you Abbe May. (Nayt Housman) 

Oh, Abbe May… you’re so fine, you blow my mind. Her 2013 release, Kiss My Apocalypse, was full of self-stylised ‘doom pop’ jams like ‘T.R.O.U.B.L.E’ that were designed to send your senses into overdrive. ‘T.R.O.U.B.L.E’ is dangerous and alluring, a siren song for the digital age that beckons you to delve deeper and deeper into May’s mind. She gets you right where she wants you and then there’s no escape. Embrace it. Abbe May’s move from rock warrior to electronic chanteuse most definitely paid off in spades. Whatever that means. (Matt Bond)

Abbe May took a break from being awesome somewhere else to be awesome in our presence, answering why she decided to make the move from guitar driven rock to synths and stuff...

Abbe May: We wanted to experiment. I didn't want to make a second 'Design Desire' so we worked on remixing elements of recordings of rock songs I had written and we sort of stumbled upon a drum machine and synth heavy style of pop.

#77. Lost It To Trying

by Son Lux





What can we say now?
Our mouths only lying... 

It’s kinda like Enya got into battle with an old Atari and Arcade game after they were all given acid in the middle of a contemporary dance festival. Somehow it all meshes together quite amazingly to become an aural trip capable of inducing convulsions of pleasure and the possibility of wetting ones self and not even caring. In fact I think I just did. (Nayt Housman)

This is one of those songs that confuses me in the most awesome of ways. On one hand, I just want to turn it up and dance around my living room, or hallway, or kitchen, somewhat like the two in the film clip do, and I’ll pretend I’m really talented as a dancer and imagine the world will just never get to know how awesome I am. On the other hand, I have this fascination with all the sounds, so many sounds that make up the super danceable song this is. It starts simply, but only takes seconds for the layering to start and the amount of production that’s gone into these three minutes forty seven seconds has to be admired. Son Lux is such an interesting character with such a wide array of work and talent, it’s no wonder he makes such grand songs as ‘Lost It To Trying’ and I should probably stop analysing and just get back to dancing. Alright then. I will. (Jo Michelmore)  

#76. You Don't Get Me Twice

by Sleigh Bells





You can't find me, the American dream.

Let me just be biased from the beginning – I LOVE THIS BAND. I loved them from the first moment of hearing them and then I saw them live very early this year and was totally blown away. They were loud, they were fun, they were angry, they were fabulous and they were genuinely humbled the reaction they created that night, which I loved. So when I heard they were releasing new tracks this year, I couldn’t get to my laptop quick enough to turn the sound up and see what awesome sounds awaited. This song? Better than anything I could have imagined. It’s great, but also it actually sometimes is “a terrifying thing, the American dream” and I’ve been quite happy to sing that one loudly in my car many times since I first heard it. Love this band, love this song. Love love love. (Jo Michelmore)

I friggin love Sleigh Bells and I friggin love ‘You Don’t Get Me Twice’. Listening to this song makes me feel like a total badass. It’s impossible not to move to the beat of this song. I’ve heard Sleigh Bells sound described as “cheerleader from hell” and couldn’t agree more. I’m in love. When are they coming to Brisbane? (Katie Langley)

On Bitter Rivals, Sleigh Bells sharpened their ability to create rocking pop hooks amongst the noise assault they’ve become known for. You can hear it in the melodies Alexis Krauss is throwing out there on ‘You Don’t Get Me Twice’. The music still makes you want to party like a sorority girl getting white girl wasted, but now it’s easier to sing along with that babe of a front woman. It’s a win for everyone. (Matt Bond)

Honestly I can’t keep up with all the good music that has come out this year. You Don’t Get Me Twice is a SLAP, a finger shake and a “back up mutha fucka!” then a sexy dance in the face of those who have let you go and want you back. I’m dancing right now, touching my breasts seductively and gyrating to the big, dirrrrtay guitars and booty bumpin beats. *Pelvic thrust* UH! (Nayt Housman)

Yep. Look at Nayt go. (Matt Bond) 

#75. Human Spring

by Buchanan





And all I want to know is,
Are you mine? 

I need to start by saying that the film clip for ‘Human Spring’ is hilarious. We get to play fly on the wall at a talent show complete with lady dancing with pineapples (my favourite), a weight lifting senior citizen, and a bloke cooking snags on the barbie. Oh yeah, the song's is good too. (Katie Langley) 

As if we didn’t already know the best pop music in the world is coming out of Australia, here’s Buchanan with another banging reminder! ‘Human Spring’ is a party starting anthem you’ll never get sick of hearing. Josh Simons knows how to craft music that will make you wave those hands in the air like you just don’t care and if this is how good he is on his debut album, I can’t wait to hear what comes next. Be advised, ‘Human Spring’ is NSFW, because one listen at your desk and you’re ready to run out, chase dreams, live in the moment and all that fun stuff. You’ve been warned. (Matt Bond)

I blog, so every now and then, I get to indulge in this kind of thing, just go with me. When this track was first released, way back in April, I read a really poor review of it. It said something along the lines of anyone who liked this was probably a fifteen year old girl who ‘knew fuck all about music’ (their words, not mine), therefore insulting fifteen year old girls, fans of music everywhere and anyone who had taste other than that reviewers own. ‘Human Spring’ is a cute little indie number, which rollicks along at a quick pace and makes you nod your head like all good songs should. It may not have broken any musical boundaries, but it’s a great song by a cute little Australian musician that has a bright future ahead, especially if he keeps writing little songs like this one. Josh Simons who is Buchanan sung it beautifully with the words at the end of this track; “ain’t got no violent heart, still we will make our mark” ‘cause with songs like this, he will, but I’ve a thought about the words that fellow music reviewer chose to use all those months ago. This song is still good, but that music reviewer probably still knows fuck all about music. (Jo Michelmore)

We asked Josh Simons what his talent show entry would include when he stopped by for a chat...

Josh Simons: Someone asked me this the other day and I seriously didn't know how to answer! Perhaps I'm just incredibly boring, but I really don't think outside of music I'm much good for anything! I can drink a pint extraordinarily fast! 

#74. March Over To Me

by Little Scout





I've been changing like a shapeshifter for your peace,
But not anymore, not anymore. 

'March Over To Me' is actually one of my favourite tracks from 2013. I love the vintage style of film clip that accompanies it – much like The Preatures song 'Is This How You Feel' the 70s vibe is strong in the visuals. The music however is as fresh and sparkly as a new born and gets me singing along “You will march over to me, you will march over to me”. I hope this band gets a little more attention in 2014 with their hot drum sounds, soaring guitars and sweet vocals. (Lou Endicott) 

Uuuuurgghhhh. I mean, uuuuurgghhhh in that good, gut wrenching, “uuuuurgghhhh my god I Iove this so much way”, not in the “uuuuurgghhhh I think I ate too much” way. It starts with a killer bass line, it ends with the strongest layered vocals, it’s all bounce and rock and noise in the middle, there’s some clapping as well and there’s something delightfully cute about them all, especially their drummer, Miro Mackie. Just saying. (Jo Michelmore)

I was into ‘March Over To Me’ as soon as I heard the opening bass line and drum beat. And then I heard those beautiful vocals. Awesome! (Katie Langley)

ROCK CHIC! Rumbling, punchy and sweet as marshmallows. Chic rock realness. (Nayt Housman)

Brisbane-ites do it better! Example – Little Scout. As a result of listening to ‘March Over To Me’, you may experience stages of uncontrollable drooling and/or swooning as Melissa Tickle’s smooth vocal delivery puts you in a trancelike state. The only reported cure is to listen to the track repeatedly. Your drooling phase may end, but you’ll have that love for ‘March Over To Me’ for life. Yes… like herpes. Moving right along, Little Scout are flat out fantastic and the sky is the limit for this talented foursome. And I love that band members Melissa and Kirsty have the last name Tickle. That tickles me. I feel like I have so much to apologise for right now. (Matt Bond)

#73. Snarly

by MKO





Let me close my eyes and see you... in the morning.

Brisbane is breeding some very fine electro at the momo and one of the forerunners of this blossoming new movement is MKO. Like masses of honey drizzling off the tongue and over a sexy collage of “synthscapes” comes the super smooth 'Snarly'. I feel like I’m being massaged from within by thousands of glitter fairies that spill from the soulful mouth of Hannah Macklin, the brainchild of the project. I finally feel like the indy rock trend is waning, ready to make way for a new music revolution of soulful electro ladies. A change I gladly welcome and wholly support. (Nayt Housman)

Hannah Macklin… what a voice. I mean, seriously. Hers is voice you can completely lose yourself in. ‘Snarly’ holds a chilled atmosphere that will put you at ease and have you floating along to the sparse beats and classy electronic production. It all builds up nicely to Macklin breaking it down a little towards the end and each time it hits that halfway point I fall more in love with MKO. And I didn’t think I could fall in love more with MKO than I already had after they called us a, “reputable organisation.” What a hoot. MKO’s 2013 EP, Lily Lotus Orchid Sunflower was a stunner, with ‘Snarly’ its greatest triumph. I’m hoping to hear an LP full of little pieces of magic just like it real soon. (Matt Bond)

‘Snarly’ is pure bliss. It feels like the perfect meeting point for electronica and pop. (Katie Langley) 

There are times when you feel really lucky to live where you do. Sometimes it’s because you know where there’s a café that serves amazing coffee or there’s a secret op shop you know where you always strike op shop gold. Other times, it’s because there’s a musician you fall in love with that hails from the same city as you and you know you’re luckier than some, because you get to see them play on a regular basis while everyone else has to settle for the download. Living in Brisbane, I’ve been lucky enough to see the fabulous Hannah Macklin play with all sorts of amazing Brisbane bands and every now and then I’ve struck live music gold and seen her perform as the delightful MKO. ‘Snarly’ is just a tiny taste of how amazing MKO are, the layered vocals and spellbinding synths, the chilled vibe and the amazing voice of Hannah’s is enough to convince me to press play more than once and has been enough to convince me to see them live, more than once. Awesome, lovely and addictive. I’m so glad to share a hometown with such amazing talent. (Jo Michelmore)

I am a bit of a fan of MKO and Hannah Macklin’s soft and soaring voice. This track grabbed my attention through the Triple J unearthed page as it soared up the charts deservedly so. I love all the little unexpected twists and turns in this track. MKO always handle their sounds with an inventiveness and a refusal to follow any other artist. “We breathe together we dream together”. Looking forward to hearing more amazing new work from MKO in 2014. (Lou Endicott) 

MKO's Hannah Macklin was lovely enough to answer some Q's from Jo earlier in the year and spoke about what it's like receiving comparisons to acts like Little Dragon and Erykah Badu...

Hannah Macklin: There haven't been any comparisons that have confused or upset me so far - I usually find that if someone is making a comparison to a well-known and successful act, it's their way of giving a compliment whilst also trying to pin down what you sound like, to help inform other people. I'm of course excited every time someone makes the comparison to Little Dragon, Erykah, James Blake, The Dirty Projectors… these are all bands and artists that I love dearly and feel happy that these influences are apparent in MKO's music. 

#72. Scar

by Cloud Control





I hate to break apart your life this early on,
But when the morning light arrives, I'll be gone. 

There’s a lot of things about an track like this to love, there’s the subtle start and the voice of Alister Wright that draws you in from the very beginning, there’s the guitar riffs that sound like they were written to be played in front of thousands of people, there’s the keys that drive the song all the way through, but for me, there’s just a something that I can’t get enough of and it’s the lyrics. There’s a line I love, that just makes sense to little me in my little house, in my car, in my headphones; “my hands are tied, I can't decide the way I feel…” and sometimes songs are just like that, no matter what fabulousness they’re built around, there’s just a bit that grabs you by the throat. This one’s got the fabulous AND the throat grabbing bit. I love. (Jo Michelmore)  

I feel like so many of Cloud Control’s songs on Dream Cave were about how much of a jerk Alister Wright (or at least one of the guys) is. He’s always ready to break your heart or ruin your life and bail because he’s probably too busy getting blazed. Oh well, a track like ‘Scar’ is just too good. Keep on breaking those hearts fellas! (Matt Bond)

#71. House of Cards

by Astrid and The Asteroids





I've walked this road before,
For so much less and nothing more,
Lock the door, don't let them in. 

This song reels me in. The simple piano and vocal opening is one that I really resonate with. When the “oh oh oh oh oh” section comes in however it is just oh so beautiful it gives me a lump in my throat. I don’t know what it is about great music and Brisbane – but it’s just overflowing out of there as of late. “All the walls are closing in… All the walls are paper thin” I love these lyrics. It’s almost a comic tragedy – the walls of pressure can easily break. But to be seen having a breakdown… Heavy stuff but love that this band can handle it so expertly. (Lou Endicott) 

I’m going to admit, I never expected to hear a track like this from a band named Astrid And The Asteroids, but wow, what a lesson I learnt about not judging a book by its cover, or a band by its name. ‘House Of Cards’ has quickly become one of my favourite tracks of the year after hearing it for the first time only a few weeks ago now. This is incredible, such a powerful song, it drags you in at the beginning, shoves itself into your heart then stops it beating for a second, just enough to leave you breathless and trying to figure out what happened. I say I love a lot of things, because I actually do. Add this one to that list. (Jo Michelmore) 

It only takes a small change to see a house of cards come tumbling down. Astrid and The Asteroids' sound matured in such a short time, that when I first listened to 'House of Cards' I was blown away. How do they create such sophisticated pop music that's able to make me feel the way it does? I completely agree with Lou that this is heavy material and the fact a band full of youngsters captures the required emotion so easily is truly impressive. Astrid and The Asteroids continue to reach astronomically new heights. And I'm loving every minute of it. (Matt Bond)

See you tomorrow for ten more incredible tracks from 2013!

  

New Music Monday #60

Rookie

by The Trouble With Templeton (August 2, 2013)

 

A little over a year and a half ago Thomas Calder, under the moniker The Trouble With Templeton, released his debut album Bleeders which quickly gained recognition, being played on Triple J and community radio nationally throughout 2012. Now locked and loaded as a full five-piece band, The Trouble With Templeton have their sights set on success with the new album Rookie, due in stores August 2nd.

Rookie sees The Trouble With Templeton take on a more experimental feel; blending elements of pop, folk and progressive rock with an overall more atmospheric approach, giving the album a sound that at times feels reminiscent of Radiohead, Pink Floyd and even Jeff Buckley, though Calder’s emotional vocal, infectious pop hooks and youthful, quirky sense of humor are so distinct that you are pulled right back into the stories of TTWT. Sung with the ease, range and passion of Bjork, the soft, dreaminess of Jose Gonzalez and the haunting emotion of Thom Yorke, Calder’s voice is natural and uninhibited. In quieter moments Calder’s impressive vocal quality trembles delicately like a spider’s web, then soars with intensity and desperation like the spider approaching the moth; trapped, flapping, awaiting it’s demise with the instrumentation of the album either matching or complimenting and lifting Calder’s voice every step of the way.

Everything about Rookie feels natural and uninhibited, fluid from beginning to end, each song feels like it can stand successfully on it’s own without making the album feel disjointed and momentum is only broken to deliberately introduce unhinged moments of well-crafted delirium. Although Rookie does genre hop, no single song sounds like an after thought, rather each is a fully realized functioning element in one ecosystem. Like night to day; summer to autumn, winter to spring, Rookie is vast and different from start to finish. 

The opener, an epic Radiohead-esque sounding ‘Whimpering Child’ really sets the atmosphere for the highs and lows of the album as it progresses. As a medley of sorts it flows in three distinct parts, each with its own rewards, leading into the current single ‘You Are New’. The band moves on with some ‘Heavy Lifting’ and by the middle of the album have made it through their first three singles, initially leaving me wonder if they’ve peaked too early but with the momentum of a charging bull, ‘Climate’ hits hard and fast then smoothly transitions to the brooding ‘I Recorded You’. The final half of the album is as bulging as the first half with the stunning ‘Flowers In bloom’, ‘Soldiers’, and the pop-tastic ‘Glue’ barely preparing listeners for the final heartbreakingly beautiful ‘Lint’.

Lyrically, as on Bleeders, Thomas Calder wields his words like a surgeon. Often earnest, sometimes quirky and always from the heart, this is where Calder’s ability to craft a story emotionally lures his listener into his world; “the operation went well, and I believe in you, but I still can’t, tell which part they removed”. Thomas' innate ability to use his vocal tone and delivery in order to convey the raw emotional content of his music is impressive, Rookie is about embodying different characters/personas in order to tell a collection of stories from various perspectives and scenarios.

If someone were able to go into my brain and make music to suit me personally then it’s going to come out sounding very much like Rookie. Something I have discovered about The Trouble With Templeton is that they have some kind of voodoo magical hold over me. I don’t know why exactly, but lyrically and musically Thomas Calder has the ability to reach inside my heart and flick a switch that puts the whole world on hold while I either ugly-sob uncontrollably into my palms or happy sob while dancing as if I’m naked in a sunny field with no one around for hundreds of kilometres.

A good album will leave me feeling satisfied at the end, a great album will make me press the repeat button but if an album is amazing, it doesn’t leave my play list for an entire week and I ache when I’m not listening to it. I was addicted to Bleeders, now I’m a slave to Rookie. 

Nayt Housman gives 'Rookie' five Thom Yorke heads out of five...

Lamentations

by Ngaiire (out now)

Almost a decade has passed since Australia was first introduced to the voice of Ngaiire Joseph. She demanded our attention with her vocal power and soulful performances on Australian Idol, toured with Blue King Brown and collaborated with Paul Mac. Finally, she put the focus back on herself and  the process of creating what has become her debut album, Lamentations begun. What must feel to her like an album that has been a lifetime in the making is now out there in the world and even though Ngaiire has been on the music radar since 2004, Lamentations marks the true beginning of what is going to be an exciting journey for her and for us.

"Welcome, come sit down, can I order you a drink or would you rather just sit there and watch me think." A greeting, an exchange of pleasantries, a challenge. You've barely managed to breathe in and out before finding yourself hooked on 'Uranus'. Nodding of the head and tapping of the toes commences as you soak up Ngaiire's vocal line, dripping with the right kind of attitude and infused with soul. Your head nodding stops along with the beats as our chanteuse advises that when her head starts a nodding in feigned interest, she's likely to have tuned out of the conversation. Ngaiire is in complete control of proceedings right from the start... and don't you forget it. Current single, 'Around' is stark in comparison to what just came before it, a brilliant move that allows for no distraction from the the story and performance. Is love a constant sacrifice, a fight, a war? You want to believe that the one you love would fight for you, but you never really know, even if you think you do. Ngaiire's songwriting is inquisitive, but the questions she's asking are different from the norm and thus hit harder. Think 'Love Is A Battlefield', stripped of the cheese and with the thematic potential realised. 

One listen of 'Count To Ten' and you'll feel like you've just accompanied Ngaiire on the most heartbreaking walk of shame ever. A simple piano melody is laid down beside disjointed electronic beats as Ngairre's world appears to fall apart. It's captivating. So is 'ABCD'. There's this wonderful juxtaposition of an angelic voice against crushing, dark lyrics that you can completely lose yourself in. "We only die once not twice, so call off the fire brigade, douse me in kerosene, turn away the rescue ships, anchor me from my hips." The battle presented is of an internal variety. Despite the desire to seemingly give in, the narrator would never let the outside world know. "And never will you see this in my stride." 'Rabbit Hole' is essential listening for fans of Erykah Badu's neo-soul. Ngaiire takes pieces of so many different genres and styles to create something that sounds both familiar and new. 'Dirty Hercules' was our first taste of Lamentations and was the perfect choice for debut single. The track, featuring Nai Palm, is undeniably sexy. However, there's a sense of integrity that you'll find lacking in most songs that would generally be allocated a 'sexy' tag. Easily one of the best songs of 2013. 

Elana Stone and Brian Campeau of The Rescue Ships join Ngaiire for the album's final track, 'Ordinary.' While light electronic touches do come into play, 'Ordinary' is the most stripped back number on Lamentations. Three insanely talented vocalists, a piano and a song with lyrics that hold a finality as imminent as the album's own end. "I no longer want to hold your hand, makes me see a future I don't have, rather feel like you aren't even there, so I can feel like somehow this is ordinary." I've said it before and I'll say it again, the best albums end on a showstopping piano ballad. Lamentations can now be used as evidence in support of this hypothesis.

An album a lifetime in the making, Lamentations is an enviable debut. Ngaiire's talents are all laid out to bare; the voice, the songwriting and an ambition and creativity that deserves to be celebrated. This is an album so good I know that I'll still be listening to it in five, ten, twenty years time and hopefully there will be a whole bunch of other Ngaiire albums to go with it. This is the true beginning for Ngaiire. Make sure you join her for an unforgettable journey.   

Matt Bond gives Lamentations five Bjork heads out of five...

Greyjoy EP
by Greyjoy (out now) 

Perth music makers, Karlin Courtney and Matt Crockett go by the name of Greyjoy, which will automatically make you think of poor Theon on Game of Thrones. Unlike Theon, these guys aren't wankers and instead of seizing Winterfell to impress their insane father, they busy themselves creating dreamy synth-pop music in the vein of other Aussie heroes, Gypsy and The Cat. Their debut, self-titled EP is out now and it's a light, breezy listen that will earn them a whole lot of love. 'Strangers' circles around you, all cool and calming with floating vocals you'll fall deeply for. 'Idle Thoughts' is the type of song you know will find an audience on triple J and it's more than deserving of it. The track is almost magical with lines like, "you could dance on a silver screen," alongside descending electronic notes. 

You can tell a lot of thought has been put into crafting each track and 'Idle Thoughts' stands out on the EP as their best piece of work, followed closely by 'Distance.' The latter track frames Courtney and Crockett as talented storytellers, painting a vivid image with brilliant lyrics. "Gather all your dreams it's time to let go," the song begins, taking you on an unforgettable ride. 'Emerald' comes across like a lullaby, sending you on your way as the EP ends. It's more likely you'll find yourself back at the start so you can get the Greyjoy experience all over again. The Greyjoy EP is definitely one for the dreamers. Greyjoy remain somewhat of a mystery right now (even the music holds an aura of mystery), but we can expect to find out a lot more about this duo very soon. I've got a feeling they have a very bright future ahead. 

 

Matt Bond gives the Greyjoy EP three Karen O heads out of five... 

Good Problems

by Clairy Browne and The Bangin' Rackettes

Damn I love music. I love that feeling, that weird thing that happens when you hear a song that works for you. I love the movements of your neck, your shoulders, your hips; the uncontraollable tapping that happens when the beat starts and I love that urge to know all of the lyrics so you can sing along sooner rather than later. Ever since I first heard Clairy Browne and The Bangin Rackettes a couple of years ago, they seem to remind me of my love of music again and again, with 'Good Problems', one song from their latest double A side release, being no exception. It takes all the best elements of sixties soul and proves that a good song is a good song, a catchy sound is a catchy sound, regardless of time. With a  call and response vocal suggestive of the queens of soul; The Supremes, this is a song that starts suddenly, builds to an awesome layered giant wall of sound and ends leaving you wanting more and more and more...and a little more.

Jo Michelmore gives 'Good Problems' four Beatles heads out of five...

Walk of Shame

by Clairy Browne and The Bangin' Rackettes

'Walk Of Shame' is part two of Clairy Browne and The Bangin Rackettes AA side release and it's a beautiful contrast of sound, this one sitting quietly but superbly next to 'Good Problems'. It tells a familiar story we've all lived (haven't we?) of the morning; "sweet walk of shame, I tiptoed from your door, not before I picked my clothes from the floor". Clairy Browne's sweet voice tells a story you want to hear more of, with the smooth vocals of The Bangin Rackettes building with each verse. The understated sax of regular Darcy McNulty and trombone and trumpet of special guests Adrian Perger and James Macaulay help the smooth sound develop into a sweet jazzy number that sneaks up on you and surprises you with it's uncomplicated, simple style. The only thing I wonder is how much of a walk of shame would Clairy Browne actually do? I can't imagine someone that sounds this fabulous would be anything less than impressive regardless of how tipsy she was from the night before.

Jo Michelmore gives 'Walk Of Shame' three Supremes heads out of five...

Mind Your Manners

by Pearl Jam

  Album: Lightning Bolt (October 14, 2013)

Grunge's most enduring band have unleashed 'Mind Your Manners', the lead single for Pearl Jam's tenth studio album, Lightning Bolt. Pearl Jam fans are already waxing nostalgic over the less than three minutes pop-punk track, comparing it to a wide range of songs from their catalogue - especially 'Spin The Black Circle.' You can understand why that particular song is mentioned the most; both tracks are non-stop assaults that make you want to jump around and pretty much go mental, but 'Mind Your Manners' stands on its own as another excellent addition to Pearl Jam's collection of music. One can never be too sure with Eddie Vedder's lyrics, but it sounds like he's taking a good look at the world and asking how can you be expected to believe in a God or be part of religion when the world is as messed up as it is. A story like this plays to his songwriting strengths as it builds to the closing segment - "Go to heaven, that's right, how do you like it, living in hell." Be good, be polite and go to heaven? It all seems too easy, no? Stone Gossard and Mike McCready kill it with their guitar work and it looks like they're game to lay down some heavier work for Lightning Bolt. There will of course be a large number of people exclaiming, "Pearl Jam are really back, man!" Just tell them that Pearl Jam never left... and then call them a douche face with the face of a douche. Pearl Jam fans are going to love 'Mind Your Manners'. It might even bring in a few new fans too. 

Matt Bond gives 'Mind Your Manners' four Kurt Cobain heads out of five...

FREE DOWNLOADS OF THE WEEK:

Champagne

by The Stiffys 

Cocks and liquor. It was obvious I was going to love this song. I was prepared for the novelty factor that a band called The Stiffys with a song called 'Champagne' would offer, but I was pleasantly surprised by the talents of Jason and Adam. And I don't just mean their drinking talents. Or penis talents.

This Melbourne two-piece had me hooked with the opening riff. And with the reference to champagne being like sexy lemonade I couldn't help but nod in agreement. It really is. Why haven't I realised this sooner?

I've found my new drinking song. It makes me want to windmill my hair whilst guzzling champagne from the bottle. I guess it had the desired effect.

Katie Langley gives 'Champagne' four Beatles heads out of five...

Impossible Like You
by Holy Holy

Before you listen, there are nine facts you need to know. Fact one: Holy Holy is a collaboration between Brisbane's awesome Timothy Carroll and Melbournian Oscar Dawson. Fact two: Timothy Carroll is a guy who has one of the most incredible live voices I've heard. If you haven't seen this guy sing, you haven't lived. Seriously. Amazing voice. Fact three: Oscar Dawson is a guy who has previously been a member of the Dukes Of Windsor, who I actually don't know that much about, but after hearing this, I need to know more. Fact four: They wrote and crafted an album together in Stockholm and Berlin and as I have an (unhealthy but lovely) obsession with the city of Berlin I'm probably going to be biased and love it. Fact five: Impossible Like You is their debut single. Fact six: It's a smooth layered song with lovely lyrics that tell a slightly different story of belief each time I hear it and a collection of instruments that gently encompass my entire self from beginning to end. Fact seven: I love it. Fact eight: I've listened to this more than five times in the last half hour and I need to hear more. Fact nine: So do you.

Jo Michelmore gives 'Impossible Like You' four Michael Hutchence heads out of five...

NEW MUSIC VIDEOS OF THE WEEK:

Rock Me Through The Night

by Esther Holt 

EP: Countless Verse (out now)

From the opening piano chords and banjo strums you know that this song by Melbourne’s own Esther Holt has a story worthy of a period piece video clip. There is a definite old western feel to this video which suits the sentiment of the lyrics and the journey of this ballad. The filmic appeal of this video mixed with the subtle vocal stylings of Holt is immediately engaging. Her voice is reminiscent of Sarah Blasko’s - but with a softer and lighter tone. This sweetness of voice creates a beautiful contrast to the dramatic guitar licks in between verses.

Soft and muted lighting teamed with long held stationary shots balances well against the ticking over of this moody lyrical folk tune. The percussive clapping section of the song (my favourite part - I bet you'll find it hard NOT to clap along) brings the threads of a story and the song coming together: a love left on hold. Should you hold on? Should you let go and mourn? And who is there to support these decisions? Oh! The questions love raises!! (author sits back with a bittersweet sigh and sips her wine).

As a lover of all things filmic and dramatic I appreciate a good story well played by supporting actors. Holt's wistful presence on screen holds the tension between her character (who is depicted like a widow) and a hard working emotionless small community (dressed in no nonsense dark clothing). The aloneness this character feels is palpable.

Will this song rock your world? Perhaps not. But like all good story songs it might just grasp your heart a little. Much like Nick Cave’s duet with PJ Harvey, 'Henry Lee' - it grows on you with each listen. When I hear the lyrics of this song, “Should I stay or should I go?” (yes, they’ll get stuck in your head) I definitely think yes! Yes, Ms Holt. You should stay - as long as you keep making what you make and sharing it with us hopeless romantics.

Lou Endicott gives the video for 'Rock Me Through The Night' four Hutchence heads out of five...

Burn

by Ellie Goulding

Album: Halcyon Days (August 26, 2013)

New music already, EG? Well, I'm always happy to hear more from this electro-Princess and 'Burn' is a boppy piece of dance pop that the kids will eat right up. The video creates that faux-hipster vibe with gorgeous cinematography and pretty young things wearing outfits delicately put together in attempt to portray an image of apathy. They're doing random fun things like breaking into some facility and stealing an old beat-up truck  because they're just living in the moment or something. I don't know. There's not actually a story here so I'm making up my own. Anyway, the hipsters have a party and put all these lights in the grass, which does lead to a memorable image of Goulding standing in the lit up field, and then everyone just sort of stares into the sky dramatically in some scenes (pretending to ponder all life's problems... hipster is just the new emo!) and the rave continues in other scenes. I don't get it. 

Matt Bond gives the video for 'Burn' two Ke$ha heads out of five...