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Sunday, 11 November 2012

Top 20 - 11 November, 2012


CSS!


1. Sarah Blasko - Cast The Net (#1 for 2 weeks!)


 


2. CSS - I've Seen You Drunk Gurl (NEW)


 


3. Flight Facilities ft. Christine Hoberg - Clair De Lune (NEW)


Flight Facilities - Clair De Lune (feat. Christine Hoberg) by flightfacilities  


4. Crystal Castles - Transgender (NEW)


 


5. Placebo - B3





6. San Cisco - Nepal (NEW)





7. Texas Tea - I Love You Like I Love This Black Eye



8. Foals - Inhaler (NEW)





9. Ghost Beach - Tear Us Apart





10. Sarah Blasko - I Awake





11. BenZel and Jessie Ware - If You Love Me (NEW)


 


12. Lana Del Rey - Ride





13. Calvin Harris and Dillon Francis ft. Dizzee Rascal - Here 2 China





14. The Presets - Promises





15. The Weeknd - Twenty Eight (NEW)


 


16. Flume ft. T-Shirt - On Top (NEW)


 


17. Flume - Change (NEW)


 


18. Swedish House Mafia ft. John Martin - Don't You Worry Child





19. Bertie Blackman - Boy





20. The Zolas - Knot In My Heart


Saturday, 10 November 2012

Texas Tea Sing The Merry Blues (Exclusive Stream)





Do we have a weekend treat for you! We'll be streaming Texas Tea's 'The Merry Blues' for your listening pleasure AND we've even got the Tea's leading lady, Kate Jacobson in to tell us a little bit about the track. 'The Merry Blues' is the opening number for the Brisbane based band on their new album, Sad Summer Hits, which is out now! Once you've had a listen to 'The Merry Blues' (and you should have already heard some of their other fantastic tracks here over the last couple of months) you should take the glamorous journey over to Texas Tea's site... and get their album. Your weekend will be unforgettable.


Kate Jacobson talks songwriting, Cole Porter and 'The Merry Blues' below.


The Merry Blues
by Texas Tea
Album: Sad Summer Hits (2012) 




Kate: The Merry Blues was really just a fun exercise in songwriting for me. I had been listening to a lot of Cole Porter at the time and I wanted to write something tongue-in-cheek, just like 'De-Lovely' or 'Let's Fall in Love'. I'm not sure if I succeeded really since the song could definitely come across more serious than it's intended to be. It's really just supposed to be a silly song, with the idea that the subject actually prefers being sad to happy. I think Cole Porter is one of the most clever lyricists of our time. 'I Get a Kick Out of You' is really an unrequited love song, but you'd never know it unless you were paying particular attention. 'I'm Always True to You, Darling (in my fashion)' is flirtatious and fun, and toys with the idea of monogamy. It's a great example of contradictions in emotions/actions of the subject. I really like this idea and wanted to try it for myself, and ended up with The Merry Blues.



Thursday, 8 November 2012

It's All Coming Back To Me Now - A Love Letter To The 80s Rock Ballad



Poison: Because every cowboy sings a sad, sad song. Or something.


A Love Letter To The 80s Rock Ballad
by Jo Michelmore


Every week it’s just another little insight into the life of me, isn’t it? We’re such interesting characters, us blog writing types. I mean, so far this year you’ve learnt how I saw the world as a small girl, songs I like to hear when I’m angry, how much I dislike the Olympics, how much I like the harmonica, what I like to do and discuss and sing over lunch, how much I love live music (lots!), what cars my ex-boyfriend's drive and how much I love the clap. See? You’ve learnt all sorts of interesting things. For those of you who are a little creepy and building some kind of profile on me, here’s another thing to add to the list. The 80’s rock power ballad. Yeah. Rock! Ballad! I kind of love them, sometimes. I was reminded of my love of the rock power ballad twice this week; once over a conversation about Bret Michaels (don’t ask how or why, just accept) and once over a conversation I had about the 80’s. The person I was talking to said the greatest thing to come out of the 80’s was the rock power ballad. Although I’m sure there were a bunch of other things as well, I thought they had a good point. Some I love ‘cause I love them and some I love ‘cause the worst-cheesy-sometimes-creepy songs are often the best.


Faithfully 
by Journey, 1983




Ooh, I’m starting on a favourite. This is a gooooood one. The keyboards. The guitar. The heartbreak. The “joy of rediscovering you”; oh, is that lyric creepy much? That just makes it so good. The standing by me, faithfully. The strained vocal. The guitar at around the traditional three minute mark and the “whoa oh oh oh I’m still yours” toward the end. The love, love, love this song, unashamedly. The fact that I know someone who absolutely kills this one at karaoke, in a really, really, spine tingling good way. All of these things equal love.


We Belong
by Pat Benetar, 1984




The song is amazing, the clip is amazing. The lyrics don’t make even make sense; “We belong to the light, we belong to the thunder, we belong to the sound of the words we've both fallen under” what Pat? Then the clip, which contains everything I love about 80’s clips. Ill-fitting clothing, a weird soft focus, strange bits of fabric flailing about, an unexplained waterfall, green neon gloves; it’s so good. Even though this one doesn’t have that magical guitar solo at about three minutes it has something possibly even better. The choir. If you can’t have guitar, the next best emotion inducing sound is the choir and just when I thought the clip couldn’t possibly be better, we get to see the disinterested and slightly confused faces on the small, slightly terrified children singing in said choir. This is hilarious and this is brilliant. If this doesn’t make you happy you have no soul, or something. Maybe.


Monday, 5 November 2012

New Music Monday #30





Take The Crown (Album)
by Robbie Williams


 


I don’t know if Robbie Williams is one of those ‘love them or hate them’ pop stars. I do know that if you’ve watched more than five minutes of television or listened to more than five minutes of commercial radio in the last ten years you’re bound to know more than one Robbie Williams song. Maybe ‘Let Me Entertain You’ but probably, definitely ‘Angels’. I don’t know if ‘Angels’ sounded like the massive hit it was to become when I first heard it, but I do know I don’t hear an ‘Angels’ on Robbie’s latest album ‘Take The Crown’. That’s not to say this is a bad album. What I do hear is an album full of fan-friendly songs and an album of songs the TV and the radio and the pop charts will undoubtedly love.


I didn’t know what to expect from an album whose first single ‘Candy’ sounds like it was written for a teenage boy band, but that’s where Robbie is from, so he knows how to work it and work it well. Even as a 38 year old man he somehow successfully works songs like ‘Be A Boy’ and ‘Shit On The Radio’ effortlessly. ‘Hey Wow Yeah Yeah’ is an odd alt-rock-pop number thrown into the mix as a filler but he follows it with ‘Not Like The Others’ which is classic Robbie Williams, declaring “you and me are not like the others” enough times to get stuck in your head. This is an album that seems comfortable; it’s just him doing what he does well, playful and arrogant, while maintaining a sense of humble appreciation. Long-time fans are rewarded with songs like ‘Into The Silence’; an anthemic, stadium worthy pop song begging to be played live and the acoustic guitar driven duet with Lissie, ‘Losers’ ends the album on an unpretentious tone, it’s the type of song that will keep his fans coming back for more.


I don’t know if this is an album that will take Robbie Williams’ career in a new direction or to a new level of success. I don’t know if this is an album that will be thought of as one of his best in years to come. I don’t know how much I actually like this album, some songs are great middle of the road pop but as a collection I’m not completely convinced. I do know this. Love him or hate him, Robbie Williams knows his audience and knows his craft and this is an album that will keep that audience happy for a little while yet.



Jo Michelmore gives Take The Crown three Britney's out of five...


OH SNAP! TWICE THE REVIEW!!!
   

Take The Crown (Album)
by Robbie Williams


How can someone be so successful in the UK, Australia and virtually the entire world without every truly breaking the US market? That's the question that's plagued Robbie Williams for the majority of his solo career. The answer is found in his last couple of records, especially ninth studio release, Take The Crown. A step out of touch (and time) with the current pop trends dominating the charts, Take The Crown is a mess of ideas that bounces Robbie from his Swing When You're Winning persona to the much dreaded (shake your) Rudebox (why are you so nasty?) one; a little bit 80s, a little bit 90s, a little bit now and a little bit 'I'm trying too hard to remain relevant.' It's a sad state of affairs for a performer that (minus one market) dominated the pop landscape with fun, engaging LP's like Escapology and Sing When You're Winning. You could blame Gary Barlow, for his stench is ripe throughout this album, but that's too easy. I'll leave that to Take That revenge conspiracy theorists.


'Be A Boy' kicks off the 'festivities' in a suitably underwhelming fashion. If Gaga's 'Edge of Glory' and Kings of Leon's 'Use Somebody' had a baby and got remixed by Calvin Harris, it would sound a little something like 'Be A Boy.' Saxophone + "woah-Oh-oh-oh?" How inspired. This is actually one of the album highlights, so enjoy it for what it is. 'Candy' is one of those pop tracks that leaves you feeling a little embarrassed for whoever is performing it. Like a lot of Madonna's more recent efforts, you know? Penned by Barlow, it's a lyrical gem. "Ring a ring of roses, whoever gets the closest, she comes and she goes, as the war of the roses." What? Ke$ha's words now feel like Shakespeare to thou ears. Expect 'Candy' to reign at the top of the UK charts. It's just the right type of mundane to succeed in the UK and be completely overlooked in the US. For it is not sexy. At all. There's something about cutting himself on 'Different' but I've lost all interest. I can't even bring myself to mutter, "cheer up, emo kid." 


Forgettable number after forgettable number rolls out until the closing track, 'Losers' which randomly features Lissie. It's a wonderful song. Truly. The two duet quite nicely together alongside a simple guitar/string accompaniment. Ridiculously out of place alongside the ridiculously overproduced tracks that make up Take The Crown, you almost want to give Williams a good slap in the face for even bothering to give you a reminder that he's capable of better. At the end of the day, I think that's a pretty good place to leave this, uh, critique (?). Take The Crown makes you think about how great Robbie Williams once was and still could be, while driving home the fact that he just isn't cut out for the full scale global success he claimed to seek with this record. As a sorta-kinda-maybe Robbie fan, I feel let down. And yeah, I blame Gary Barlow.




Matt Bond gives Take The Crown one Dannii Minogue out of five...



Secret Days
by School of Seven Bells
Album: Put Your Sad Down EP



What a gorgeous little piece of electronic pop perfection from School Of Seven Bells, who are about to release an EP which has probably my favourite title of the year; ‘Put Your Sad Down’. This first song is delicious; with a driving beat, a cute melody and looping vocals, offering visions of a sometime or a somewhere I want to visit; the repeating lines “all of those secret days” are almost addictive, one listen is definitely not enough. Again! Again! 



Jo Michelmore gives 'Secret Days' four Shirley Manson's out of five...



Affection
by Crystal Castles
Album: III (2012)




While Crystal Castles new album has probably my least favourite title of the year ‘III’ (snore, boring!) the songs I’ve heard from it are anything but boring. This dreamy track is perfect, a dark beat with Alice’s vocal floating beautifully above, it’s sure to have you press ‘play’ more than once and have you swaying in a way only Crystal Castles can make you sway. It’s eerie and it’s comfortable, it’s appropriately called ‘Affection’ and it’s Crystal Castles, there’s nothing not to like.        



Jo Michelmore gives 'Affection' four Shirley Manson's out of five...


NEW MUSIC VIDEO OF THE WEEK




Love Is All I Got
by Feed Me and Crystal Fighters




No one puts in that much effort for a costume party. Especially not hipsters. They wouldn't wear masks! If a hispter's wearing a mask and someone takes a photo of them, does it have Instagram worth? No, wait... If a tree falls down in the woods and no one is around to hear it, does it make a sound? No, wait... good video but. 



Matt Bond gives the 'Love Is All I Got' video three Karen O's out of five...   

Sunday, 4 November 2012

Top 20 - 4 November, 2012



Placebo!


1. Sarah Blasko - Cast The Net (NEW)


 


2. Texas Tea - I Love You Like I Love This Black Eye




3. Ghost Beach - Tear Us Apart (NEW)





4. Calvin Harris and Dillon Francis ft. Dizzee Rascal - Here 2 China (NEW)


 


5. The Presets - Promises




Thursday, 1 November 2012

It's All Coming Back To Me Now - Why Can't We Be Friends?



My friends? I'd prefer if you didn't get with them...


Why Can't We Be Friends?
by Jo Michelmore


Last week, something great happened, a surprise that involved me being thrown on a plane unexpectedly and taken to a city far away from where I live, just for lunch. It was a belated birthday gift from three people I’m unbelievably lucky to call friends (hey Greg, hey Ellie, hey editor!) Now, the thing is, when I think of songs about these friends, I don’t think of songs that have anything to do with friendship. I think of songs that they sing a lot, or love a lot, or songs we share a love of or a hate of or a good mocking of. Songs that we sing to each other randomly, or scream at each other at a gig, or recite lines from when the time seems appropriate or even better, inappropriate times. They’re songs that have evolved as songs that remind me of them, not songs about them. They’re not songs about friendship, as such, even though they remind me of friends. You know what though? It seems there’s been a whole bunch of songs written about friendship. Some (read: not many) of them good, some (read: quite a few) of them not so good. Some a little vomit worthy. I can’t be responsible for the quality, this is vintage Thursday godamn it. Just enjoy. 


With A Little Help From My Friends
by Joe Cocker (1968)




It was written by Lennon/McCartney, but Cocker seems to be the one to have made it famous. There’s probably a bar somewhere in the world, with a drunk someone with their arms around another drunk someone, singing this song to each other, right this very minute. They probably hate each other and will be bitching about each other tomorrow, but right now, they’re the best of friends. The thing is, if Joe Cocker was getting by with a little help from his friends, they should have given him less alcohol and a little fashion advice. Maybe a lesson or two in air guitar wouldn’t have gone astray either. 


Lean On Me
by Bill Withers (1972)




Anyone who has had more than a month or two of piano tuition can play this song. Anyone who has ever happened to stumble across some kind of charity advertisement campaign or seen a bad cover band in a pub knows this song. Chances are if you’ve heard it more than once, you know the words too. Me? I endured many years of this song at every eisteddfod, assembly and gathering of any description during my five years of catholic high school. Due to this fact, I do not have fond memories of this song and will endeavour not to be leaning on anyone that likes it.  


That's What Friends Are For
by Dionne Warwick, Elton John, Stevie Wonder, Burt Bacharach and Gladys Knight (1986)




Uuurgh, you know that bit where I said some songs were truly vomit worthy? Well, hello Dionne and your many ‘friends’. “Keep smiling, keep shining, knowing you can always count on me, for sure, that's what friends are for, for good times, for bad times, I’ll be on your side forevermore”. You know what friends are for? For telling you not to make obvious rhymes in pop songs, for getting completely intoxicated and not telling anyone embarrassing stories afterward, for telling you off when you’re being a jerk, for chatting all night with, for insulting with your best and most comedic lines, for cake and chips and ice cream and not caring how much gym you’ll need the next day, for laughing so hard with that you can’t actually stand up straight and your face turns red and everything hurts, for sharing your love of laughing at others and for driving you home while you’ve passed out in the passenger seat at 5am. That’s what friends are for. Enough of this vom worthy stuff. 


Wannabe
by Spice Girls (1996)




I don’t know about you, but I like my friends. This means I wouldn’t want to ‘get with’ their boyfriends, in any way, unless we had some kind of previous arrangement, or something. Whatever. This means I probably wouldn’t want any of my friends getting with any of my future loves/boys/randoms, unless we had some kind of previous arrangement, or something. Whatever. I really, really like this song, but if you wanna be my lover, how about you stay away from my friends. Zing-a-zing-ah indeed. 


Umbrella
by Rihanna (2007)




It’s like how you only really save your best insults for your closest friends, there’s also a great joy in annoying your friends. There’s something great about a song that you can sing to your friends, like a dedication, you know, but also know that it will annoy the hell out of them very, very quickly; “Said I’ll always be your friend, took an oath, I’ma stick out to the end…..you can stand under my umbrella, ella ella eh eh eh, ella ella ella eh eh eh, ella ella ella, eh eh eh ella ella ella eh eh eh” repeat, repeatedly. Yeah, there’s nothing like annoying your closest friends, is there? After all, if you didn’t love them, you wouldn’t do it would you? That’s a sign of true friendship.