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| Give it up for Manor, Sia, Michelle Xen and Little May! |
#50. Beautiful Parade
by Colour Bomb
So I hold on to something, just long enough,
To watch it all float away.
“We’ve been dancing to heartbeats in our mind”. I
love the opening lyrics of 'Beautiful Parade'. This vocal tone of the
lead singer – whose *name* I don’t know reminds me of Chris Martin
(Coldplay). This is a good thing in my books. Stretched out sounds,
intimately sung with more than a hint of passion work beautifully in 'Beautiful Parade'.
*All my searches led to the Colour Bomb being described as “two consenting adults”. Hence not sure of singer’s name.* (Lou Endicott)
Man, this is a nice sinister little pop song, but not
in a dark kind of way. You think it’s just another little indie pop
number, but then comes the chorus, they hit the high notes “it’s a
beautiful parade” and something weird happens. It makes you listen, gets
stuck in your head and a couple of hours later you’re singing “watch it
all float away-ay-ay” but you don’t quite know how it got there. This
is an awesome, polished and addictive little song that creeps into your
psyche and keeps you singing for hours afterward. Sinister, see? (Jo Michelmore)
It’s nice, sweet, simple and good to have on while cleaning the house. (Nayt Housman)
“We’ve been dancing, to heartbeats in our minds.” I don’t know much
about the “two consenting adults” that comprise Melbourne’s Colour Bomb,
but I know they make great music. ‘Beautiful Parade’ is three and a
half minutes of faultless pop perfection. Smooth vocals, a memorable
hook that sticks in your mind and that vibe that makes you want to run
around golden fields with no clothes on. No, wait, that’s just what
happens at the end of the video. It might not make we want to get nekkid
in the wild, but it does make me want to dance. (Matt Bond)
#49. Sirens
by Pearl Jam
I pull you close, so much to lose knowing nothing lasts forever,
I didn't care before you were here.
Welcome back, Pearl Jam! It’s been a long time
between songs, but these grunge gurus are back with a new album.
‘Sirens’ is their second single and I can definitely hear the Pink Floyd
feel they were aiming for. I don’t want to be another fan girl oo-ing
and aah-ing over Eddie Vedder because yes, the band is more than just
the vocalist. They’re all extremely talented musicians, but, for me,
that distinctive Eddie Vedder croon is what makes Pearl Jam, and
‘Sirens’. He does the crooning, and I do the swooning. (Katie Langley)
I don’t really know what to say about ‘Sirens’ other than it’s a
really beautiful song with an incredible guitar solo. Pearl Jam manage
to release music as moving and full of emotion as they did in the 90s,
while aging gracefully. You stay classy, Eddie Vedder and friends. “Want
you to know that should I go, I always loved you, held you high above,
true.” Great lyrics, great song. (Matt Bond)
Pearl Jam! I remember you! You were good when there
was scraggy long “rock hair” and before that horrible cover of that song
I don’t even want to think about because I know it will infect me for a
week. Dammit, now I’ve thought about it… Anyway 'Sirens' isn’t bad, it’s
listenable and possibly even singable to. Thankfully it’s not yet at the
point of anything Creed or Nickelback have inflicted us with, so that’s
always good too. (Nayt Housman)
Dear Nayt. Oh where, oh where can my baby be? The lord took her away from me. She's gone to heaven so I've got to be good. So I can see my baby when I leave... this world. 'Last Kiss' is awesome, haters to the left. (Matt Bond)
There’s a lyric in almost every Pearl Jam song I
adore. Now, I’m not saying Eddie Vedder is some kind of poet, or classic
writer or person to be revered amongst songwriters (even though
sometimes I think he should). I’m not saying that he’s more talented
than anyone else or more intellectual than your average rock star. I’m
not going to say Pearl Jam are the greatest of musicians, or leaders in
any evolutionary musical uprising, or anything like that. All I’m going
to say is that when Pearl Jam do heartfelt, they do it really, really
well and as a Pearl Jam fan and like a lot of Pearl Jam songs manage to
do to Pearl Jam fans, there’s a little wave of spine tingling “oh” that
happens when I hear that voice of Eddie’s singing from his heart in such
a way; “it’s a fragile thing, this life we lead…” (Jo Michelmore)
I can’t help but have a soft spot for Pearl Jam and
Mr Eddie Vedder. The early catalogue of music produced by Pearl Jam
helped soundtrack my coming of age with its rebellious styling and
grungy alternate attitude. Although I don’t listen to Pearl Jam much
these days I do keep my ear to the ground to see what the band is up to.
And hence this new single which I really enjoyed in 2013 caught my
attention. This new instalment of Pearl Jam, while staying true to the
band's strengths as a rock outfit, have some extra delicious ingredients
like piano underneath and gutsy harmonies. The song is a mellow rock
ballad that appeals to my older ears without me feeling too much like I
am an out of touch old fogey. (Lou Endicott)
#48. Lose My Cool
by Michelle Xen
My head is swimming,
With all the things you say and do.
You know when someone screws you over or something
and you keep calling them just to hear their voice but you hate them so
you don’t speak and you’re breathing heavily into the phone then you
have this weird voice in your head that sounds like it’s spoken through
one of those voice masking devices telling you to do awful things so you
start yelling and then you get a smashing headache so you drink a bottle
of vodka and take those mystery pills from the back of the cupboard and
it only makes everything so much worse? No? Well I’m not saying Michelle Xen does either, but 'Lose My Cool' is so deliciously delirious
that I can’t help but make up such fantasies in my head. Yes, in my
head. 'Lose My Cool' is addictively dark ‘n’ dirty bass heavy electro pop
that really connects with my primal, unhinged crazy person in the most
sexy, neontastic way. Now read this again out loud without taking a
breath. (Nayt Housman)
Michelle Xen. She’s like a force of synth pop nature, consistently
coming up with tracks that leave me in awe of Australia’s new
electro royalty. ‘Lose My Cool’ had me hooked right from the start, with
those sleek, dark and sexy beats that open the track and the first
lines, “the room is spinning, and hell I don’t know what to do.” I also
thoroughly enjoy the irony in a track called ‘Lose My Cool’ being one of
the coolest tracks of the year. Xen has arguably been the most
fascinating Australian female artist of the year, yet has received
nowhere near the attention she should have. Let’s change that in 2014.
The On For You EP is out now and,
as Nayt will tell you, it’s one of the
best we’ve heard all year.
(Matt Bond)
'Lose My Cool' in a nutshell is cool industrial
alternate girl pop. And it’s done very well. The film clip is a trippy
kaleidoscope of colourful flowers, spandex 80s inspired clothes and neon
lights all sported by the very glam Michelle Xen. This song appeals to
the teen in me that sings with a hairbrush still in my bedroom and
pretends to be a pop star as I bust out my best power moves. I’m surprised
that Michelle hasn’t got more attention with this song or clip – as they
are both done so well. I love the pop theatrics, the outfits and the
makeup that Michelle seems to always add into her clips. And I know some
people might look like a blueberry ready for squeezing wearing them,
but where does a gal get amazing fuchsia lycra leggings like Michelle’s
from? (I’m asking for a friend….) (Lou Endicott)
Michelle Xen, I get the feeling you’re a bit of a
badass, and I love it. ‘Lose My Cool’ is dramatic, edgy and my own
personal theme tune for when I’m in a foul mood. (Katie Langley)
#47. Boardwalks
by Little May
You could never run but you said you'd run with me.
Here it is. Perhaps my favourite song of 2013.
Perhaps (there are SO many gems this year it’s always hard to pick one).
But this one is definitely up there. The gentle finger picking and
sweet lullaby rhythm that this song begins with just makes my heart melt
like an ice-cream in the sun. But maybe what I love more than anything
here is the exquisite vocal blending of the three members of this
Sydney music outfit. The build in this song gets me every time. The
drums underneath just sing out to be heard again and again. These girls
know how to make great music and I can’t wait to see them live for the
first time next week!! (yes, lucky me). I have a feeling that this band
is destined for huge things. (Lou Endicott)
‘Boardwalks’ is beautiful, just beautiful, although
the song is tinged with a little sadness. “Somebody told me you were
leaving town, I swear I never thought you'd be the one who'd let me
down”, they sing. Who left you Little May? You tell me and I’ll sort
them out. Although, I’m not sure that I’ll need to. The tempo of the
track changes towards the end of the song - a sign that all is not lost,
and that any broken hearts will be repaired, particularly with the
closing lyric “give me back what's mine”. (Katie Langley)
‘Boardwalks’ is a gorgeous, gorgeous song with three beautiful voices
weaving harmonies that will leave you a little breathless, a little
weak at the knees and completely head over heels in love with Sydney
trio, Little May. The track lightly builds up, focusing on the
dreamy/wistful voices at the start alongside folky guitars, before
racing towards the percussive heavy finish line. Liz Drummond, Hannah
Field and Annie Hamilton are already being called the ‘next big thing’
by so many music blog peeps we love and we couldn’t agree more. (Matt Bond)
This reminds me a lot of the songs on Emiliana
Torrini’s genius album, Fisherman’s Woman. So gentle and serene with the
most heart-warming sentiments and that lazy Sunday afternoon feel. Just
sit back, relax and drift into your memories. Beautiful. (Nayt Housman)
Just be prepared, in six months’ time, when someone
asks you where you first heard about Little May, you’re going to say “on
this great blog I read” and then you’re going to mention another blog
‘cause you probably forgot it was here. I don’t really care what you
say; with songs like this, I just want Little May to become so popular
that people start asking that question. (Jo Michelmore)
When we had a chat with Little May's Liz Drummond in July, she told us the story behind 'Boardwalks'...
Liz Drummond: 'Boardwalks' was written a while ago. I had originally recorded a demo
on Garageband in my bedroom. I showed it to the girls when we formed as a
band, and we decided to rework it; Han took on the lead vocal, we added
harmonies and Annie added catchy guitar hooks. It was written coming
out of a long term relationship. I was looking to move forward, travel
and pursue music. Every song on the EP has a pretty particular vibe.
Whilst they all fall into the 'folk' category, a couple of the tracks
gravitate towards a bigger sound. We were listening to a lot of Local
Natives and Half Moon Run around the time we were recording.
Percussively, we drew a lot of inspiration from them. There is a real
mixture of stripped back stuff, but also a real focus on layering and
building the songs. And harmonies, of course.
#46. Architecture
by Manor
I don't try to believe in, leaving...
Pass me the flares, ‘cos I’m feeling funky! As soon
as ‘Architecture’ begins I visualise a disco ball reflecting light onto a
packed dance floor. People are smiling, and there’s a lot of thrusting.
In my ideal fantasy it would also include scantily clad men in gold hot
pants. But I digress. There’s a real groovy (yes, cringe, I just said
that) bass line to ‘Architecture’ that’s infectious. Couple that with
sweet, ethereal vocals to create a really unique track. I’m dancing
right now, aren’t you? (Katie Langley)
I think my original review of ‘Architecture’ said something along the
lines of Manor featuring the silky, dreamy vocal work of Caitlin Duff,
with Nathaniel Morse providing the sweet, sweet music. Between the swoon
worthy opening guitar work and Duff’s ‘Sweet Disposition’-ish kick off,
I was sold on Manor’s third single ‘Architecture’ by about the twenty
second mark. This is the sound of a chilled out summer’s day, a long
drive to the coast and some afternoon beverages by the water. This is
the sound of the next great Australian indie-pop act. I can’t throw
enough praise in the direction of Duff’s voice that expertly glides
across three and a half minutes of incredible music escapism. Actually,
that’s exactly what I said. What? (Matt Bond)
Oh, the intellectual jokes I could make about a song
called ‘Architecture’ from a band with a name that is also a type of
house, but we all know I’m not so intellectual and I just write some
words about music and things that I likes on this blog. So, instead I’ll
say simple things about Manor being a great little duo from Melbourne
who write nice little songs full of layered instruments and wistful
sounding vocals. I’ll also write some words about how much I like it,
which is quite large amounts of like. So many likes that if they were
rooms, there’d be many of them, all inside a stately manor.
Architecture. Manor. Get it? Duh. (Jo Michelmore)
Another soft and lilting gem this year is 'Architecture' by Melbourne duo, Manor. I enjoyed the rolling lyrical
structure and almost round like quality that singer Caitlin Duff plays
with in this track. The effect is hypnotic yet uplifting. (Lou Endicott)
I’m pretty sure most of this top 113 could just be
compiled as a chillout album. There are so many fabulously cool,
chillicious tracks including this. Architecture has this awesome funk
riff that starts it off and then like quick spray of WD-40 the vocals
glide in effortlessly and make sure the whole assembly runs smooth as
silk. (Nayt Housman)
#45. West End
by Astrid and The Asteroids
I'm burning incense galore, it's just so hard being poor,
Might even make it to the status on my iPhone 4...
Hahahahaha this is awesome and offensive. I’M NOT A
HIPSTER! I needn’t worry though; I don’t go out in public enough to fit
most of these descriptions. I’m “hermit chic.” Look it up. But seriously
there will always be a satirical song to put all the current trends in
their place and few do it as impressively as 'West End'. Whether you are
offended or filled with joy by Astrid And The Asteroids satire you
simply have to be impressed by their “pop-tire” genius. I’m not
offended. STOP LOOKING AT ME! (Nayt Housman)
Perhaps I should just clarify this from the
beginning. If you’re expecting a smash hit dramatic number form a smash
hit musical when you heard this song, you might be disappointed.
However, whichever city you live in, they all have a West End. If your
hometown is tiny, then maybe your West End is just a street, or maybe
it’s smaller than that, maybe it’s a shop or two. If you live in a
thriving metropolis, then your West End might be numerous suburbs or
localities, spread across various parts of the town. But wherever you
live, it’s there. If you live in Brisbane, your West End happens to be
called West End and it hasn’t changed much in the last twenty years.
This is probably not making sense to anyone who’s not from Brisbane, but
Astrid and the Asteroids seem to make sense of it, incredibly
accurately. Not only did they describe it perfectly, they made a clip
with a guy in a cat shirt and they made it all sound a lot better than a
lot of the music I’ve heard on the streets of my own hometown’s West
End. (Jo Michelmore)
I was born in Brisbane and lived there up until my
late 20's. During my 20's I worked in South Brisbane as an acting coach.
My team of teachers (and students too) would hang out before and after
class in West End. The bohemian feel of the area as well as the multi
cultural landscape meant a relaxed place to chill out without
pretentions. Much like Fortitude Valley (which used to be a welcoming
sanctuary for students, artists and the more left-wing people ), West End
is a changing landscape. Although there are still pockets of awesome in
Brisbane, on the whole it can be a little sad to see the grassroots
community feel of a place shift to a more corporate and bland area. I
posted this clip up earlier in the year and a good friend who lives in
West End (and has for many, many years) said, “this song is about people
who VISIT West End, not people who live or work there.” Touche. I really
enjoyed the comedy of this song laced with its irony about the “new
hipster” culture that seems to be the thing at the moment. It’s the old
adage that what was underground becomes mainstream. And when that
happens unfortunately the true flavour of something can lose its
authenticity and thus its appeal.
However this song’s appeal for me is still going strong in its
originality and musicality and it deserves a place in this countdown as
a standout of 2013. (Lou Endicott)
I have a sudden urge to sing with a really breathy tone, have an
organic soy tea and be so street chic with all my frieeeeeends. While
‘West End’ is taking a friendly jab to the face of Brisbane’s hippest
hang in town, I love that anyone, anywhere in the (admittedly Western)
world can appreciate the satirical hipster vision being applied
throughout the song. Astrid and The Asteroids get their groove on here
and get those feet of yours moving. ‘West End’ is pure indie pop fun
with killer vocals. 4101 for life! (Matt Bond)
#44. Elastic Heart
by Sia ft. The Weeknd and Diplo
And I know that I can survive,
I'll walk through fire to save my life.
When she’s not too busy writing songs for every single performing
artist on the face of the planet, Sia can concoct some brilliant tracks
of her own. Unsurprisingly, Sia always does the tracks she wrote better.
Can you imagine ‘Elastic Heart’ in the hands of anyone else? Don’t!
It’ll make you feel mighty sad. Joined by the silky smooth vocals of The
Weeknd and featuring Diplo on fist pumping production duties, ‘Elastic
Heart’ is a more than welcome return to performing prominence for the
world’s most in-demand songwriter. Her sixth studio LP is in the works as
we speak and if this is the direction she’ll be taking, I approve. I
very approve. (Matt Bond)
This is Sia flexing her superior pop writing
muscles and making the rest of the pop world sit back and take notice.
None of Sia’s pop contemporaries can scoff or claim superiority because
she’s more than likely written for them and even if she hasn’t, I almost
bet their best writing skills could barely scratch the mighty armour of
words built up around this supreme being of pleasure (aural pleasure
that is and see what I did there? Maybe only lovers of 00s electrip-hop
will get it). Elastic heart is power pop at it’s best and although it
shows off the kind of production driven by the money making music
machine, it still gleams with the kind of light that has made Sia such
an endearing, individual and spectacular musician. Its glitch beat and
synth balance the super shiny pop exterior and give Sia’s golden voice
the highest platform of which to soar. Oh and there’s some other singer
in this song too but the autotune was required to bring “whoever it is”
to even a 10th of what Sia delivers.
She might not be at the top
of the charts, may not be in as many tabloids and may not have as many
fans chanting her name in the streets as some more infamous pop stars,
but with this kind of raw talent and a voice more distinct than the roar
of a lion (that was the most powerful cliché I could think of) then she
hardly needs any tricks of the trade. I enjoy watching the list of pop
divas lining up to have Ms Furler write half their album. BAM. *This was
in no way a bias review from a fan whom has been there from the
beginning* (Nayt Housman)
Well, I think that Nayt has captured the sentiment
perfectly. There’s a lot to love about this song, and there’s a reason
that it features on the soundtrack for The Hunger Games: Catching Fire –
it’s awesome (duh), with power and strength to match the movie. This
isn’t a song about feeling sorry for yourself, and crying into your
cornflakes. It’s the perfect anthem for when you’re feeling defiant, and
resilient. The line in the chorus “well I've got a thick skin and an
elastic heart” will become your own personal mantra. (Katie Langley)
I love the kooky voice and music that Sia produces.
And here is another one of her offerings. This time The Weekend + Diplo
are an added feature and add a new flavour to the brew. “I’ve got
thick skin and an elastic heart,” Sia sings. The age old once bitten twice
shy theme of self protection after hurt is still one that the musicians,
poets and story makers play with. I love the attitude behind this song
with its smack in the face electronic beats and layered vocal backing
wails. (Lou Endicott)
Maybe I’m the only person in the world that hasn’t
seen The Hunger Games, but then, I’m like that when it comes to film.
I’ll get around to it when I get a chance, if ever. There’s too much
music to listen to, which is what I tend to do rather than watch the
movies that music sometimes comes from. So the fact that Sia wrote this
for one of The Hunger Games’ soundtracks doesn’t mean a lot to me. What
does mean a lot is whether the person who writes for so many other pop
stars and is the ‘featuring’ part of so many other artists songs can do
pop herself. I guess this song is proof she can, even if she does has to
have others do the ‘featuring’ part for her. (Jo Michelmore)
#43. Given The Chance
by The Kite String Tangle
Girl you know I like you,
Girl you make me crazy...
The first time I heard this song, I fell in love.
Immediately. The second time I heard this song, I listened carefully, I
heard all its parts and sounds and I fell in love, again. The third time
I heard this song, I listened to the lyrics and I heard every one of
them and while they were simple, they were addictive and I fell in love,
again. The fourth time I listened I turned it up, loudly and declared
this would be one of my favourites for the whole year and I fell in
love, again. The fifth time is irrelevant, because there have been
countless times since then, and everything I felt the first, second,
third, fourth and fifth times was just confirmed again and every single
time I listen, I fall in love, again and again. (Jo Michelmore)
Much like the effect that Chet Baker has on my ears,
this song by The Kite String Tangle (aka solo artist Danny Harley) drew
me in with its soft male vocals and plucky gorgeous little electronic
soundscapes. 'Given The Chance' also has a Moby-esque feel with its
wailing backing vocal builds that suggest the emotion of either a
breakdown or a breakthrough. Either way I enjoyed listening to this song
this year. (Lou Endicott)
Now this is electronic music I can get behind! Front
man Danny Harley’s vocals create a sound that’s beautiful and dreamy.
‘Given the Chance’ is the kind of song that puts its arms around you for
a big hug. It’s not one of those awkward man hugs where they pat each
other repeatedly on the back and stick their bums out to prevent full
body contact. It’s a hug that pulls you in close and never lets you go –
you feel safe and happy. It could just be the perfect soundtrack for
summer. I’m kicking myself as I’ve only just discovered this musical
gold, but pleased to hear Danny is based in my hometown of Brisbane. I’m
looking forward to blissing out at a show sometime in the near future. (Katie Langley)
Add this lil poppit to the chillout list too. Feels
like a bit of Jose Gonzalez, a little bit of Massive Attack, a little
bit of Trent Moller and probably a bunch of other equally unique, chilly
artists. (Nayt Housman)
#42. Fall Underneath
by Snakadaktal
Well I don't know if there's treasures in the ocean,
Or if death will whisk me far away...
It’s probably just me but the band name “Snakadaktal”
feels like it should be for some grungy garage rock, yet when I play their
music which is so serene and beautiful it conjures images of a lone
cloud in a summer sky, then I say their name out loud, “SNA-ka-DAK-tal”
and I get ‘stink face’. Rant over. Otherwise, 'Fall Underneath' is another
special track by these talented youngsters which, as mentioned conjures
lovely images of summery skies and along with the quirky 70s influenced
video gives a carefree sensibility that is all consuming. (Nayt Housman)
When I think of Snakadaktal, this is the song that
first comes to mind, these are the notes I first hear. Lucky they’re
good ones, but then, this is a band that seems to smash together only
good notes into good songs, so any would do. Regardless, it’s those hand
claps and the synths that get me every time. Snakadaktal are dreamy,
they’re catchy, they're pop and they're dance and they’re not really
that easy to describe, but ‘Fall Underneath’ is all of those things,
which are all really good things, so it doesn't matter how you describe
it really, does it? (Jo Michelmore)
Here’s another gem from Aussie band, Snakadaktal. This
song is another favourite chill out song of 2013. The dream pop feel
that this song creates is one that leaves me floating - particularly
with the beautiful falsetto voice of Phoebe Cockburn. 'Fall Underneath'
is one I have put on this year when I just wanted to have a brain/ear
massage (metaphorically speaking!) and just let all the unwanted stuff
go. (Lou Endicott)
Like jeeze, like… wow. Snakadaktal know how to make you feel like
you’re living in the best dream ever. Don’t believe me? Just listen to
‘Fall Underneath.’ This is what dreams are made of, if you dream of
blissful electronic indie. And why wouldn’t you? (Matt Bond)
#41. Never Expire
by Gossling
But your heart was the furthest thing away...
The love child of Joanna Newsome and James Blake?
Maybe. Vocally, Gossling always reminds me of a smoother version of Ms
Newsome and although her tales are not epic sixteen-minute marathons,
they still make their home in your heart. I really love Gossling’s cute
childlike voice and how it really marries with the instrumentation on
'Never Expire' and I love her way with words. “You told me words that will
never expire, watch what my body says when you’re caught being a liar,
I’ll fire words as staccato sounds, grinding my teeth, shoulders tightly
wound.” Gossling has been making big impact in music over the last
few years and rightly so. Lets hope her music never expires. (Nayt Housman)
I had the privilege of interviewing Gossling (aka
Helen Croome). I have been a little fascinated with ever since. I love
her grounded down to earth approach to her music, her unique voice and
her beautiful songs. 'Never Expire' the first release from the brilliant
album Harvest of Gold is a fantastic example of the moody magic that
Gossling creates. “You told me words that I once admired” sings
Gossling. Reflecting back on the interview earlier in the year, her
words and songs are still ones that I admire. (Lou Endicott)
While we were getting all excited about her upcoming BIGSOUND Live performance, Gossling was awesome (as per usual) and answered some q's from Lou. Here, she talks about what inspires her songwriting...
Gossling: Many things inspire me, from other artists to films, to
friends and their relationships. My songwriting process is usually to
create a melody idea or chord progression first and then the lyrics are
the last things to arrive. Writing alone is definitely quite a different
experience to collaborating with another artist. They both have their
pros and cons however. I guess when you are writing alone you are in
compete control and only have yourself to consider, however you're then
stuck with only one brain and sometimes two brains on the one job can
create something even more unique and original.
See you tomorrow for ten more astounding, audacious and amazing songs from 2013!
