2013 Scene Awards - Australian Artist of the Year

The Orbweavers, JONES Jnr, Thelma Plum + Abbe May.

Australian music, you're so fine. You're so fine... you know the rest. 2013 has been an insanely good year for our homegrown talent, with established acts pushing themselves in exciting new directions and way too many emerging acts staking a claim to greatness. Today, the five of us have each selected an act that makes us proud, little Australian vegemites. Or 'strayan's. Whatevs.

AUSTRALIAN ARTIST OF THE YEAR:

#5. The Stiffys

You know what I love about music? It doesn’t always have to be brooding and intellectual. It can just be fun. Although that’s not to say that The Stiffys don’t cover serious topics in songs such as ‘Champagne’, ‘Ranger Stacey’ and ‘I’m really good at sex because I’m always doing it’. They’ve also got a song about yours truly which is quite thought provoking.


Music today has become about men in suits wearing sunglasses indoors, and women without pants. Although I’m sure The Stiffys would look dashing in suits, and even better without pants, they really do great in their sailor outfits. I do love sea men.


The Stiffys are all about Red Rooster, typing in caps, boogie boarding, and site their influences as ladies, Shaquille O'Neal and kickflips. What’s not to love about that? (Katie Langley)

#4. The Orbweavers

The Orbweavers. Where do I start? This little duo from Melbourne was one of my surprise finds of the year. See I attended Bigsound and had a lot of gaps in the timetable to fill. In order to pick the gap fillers I simply went to see bands/performers that had a name, picture or both I liked (I'm practically a genius), so The Orbweavers were one of those lucky bands.


They were the final act I was seeing for the night so by the time it came to their set I was tired, my feet were sore, I was hungry and a little sick of people. I contemplated not even seeing them but I sucked it up and off I went. Upon arriving at the venue I was greeted with the ghostly vision of a woman dressed top to toe in black with stark red lips and thick black plaited hair, a meek shy man dressed in a simple buttoned shirt and slacks with the same haircut I had as a 12 year old and a large bearded man in sneakers, jeans and a casual looking shirt. An unusual combination of people, I thought, "This should be interesting!" So I found a chair, $10 on the floor, and opened my music mind.


Each song was introduced with a description of its setting, history and how it might relate to Brisbane's own past. I found this both interesting and slightly unusual as I never expected a history lesson, but with the strum of a guitar and the toot of a trumpet the music began. How can I describe it? Folk would be the genre; sentimental would describe the emotional connection, and some tunes offering the most divine macabre tone. I was intrigued and super curious about their other work.


The seed was planted and for the next couple of weeks I kept going back and forth to their Soundcloud page and it snowballed from there. Loom has become one of my favourite albums ever. The stories take me home, like they’ve been extracted directly from my memories and emotions and that is something I dive into whole-heartedly. The Obweavers are a standout folk act whom although have some familiarity to their sound, stand high above their piers and don’t react to pressures of modern life in crafting their profound, idiosyncratic music. (Nayt Housman)

#3. Abbe May

The reinvention of Abbe May in 2013 was nothing short of spectacular. She transitioned seamlessly from the rock goddess on Design Desire to an electro chanteuse lamenting the death of love on Kiss My Apocalypse, instantly proving herself an artist unafraid of a challenge. Her brand of doom pop was dark and sexy, brash and fearless. From ‘Karmageddon’ to ‘T.R.O.U.B.L.E, ‘Perth Girls’ and beyond, May provided music Aussie and international fans fell hard for. She definitely earned her nomination for Best Female Artist at the ARIA Awards, but was missing from about a thousand other categories she deserved to be in. *cough* Album of the Year *cough*.


Kiss My Apocalypse was unashamedly sexy, holding nothing back in the ‘steaming up the room’ department. For me, it was the only release this year that made me feel a little dirty while listening to it. Maybe dirty isn’t the right word. Naughty? Are you picking up what I’m putting down here? I could be grossing you out, so I’ll just say that Abbe May provided us with balls to the wall, unadulterated sexy fun times, while showing just how exciting electronic music from an Australian artist could be. My hat goes off to her. And my pants. What? (Matt Bond)

Runner-Up: JONES jnr.

Here’s what I know about Jones Jnr. They are two people: Morgan Jones and EV Jones. They aren’t related. They’re from just outside Sydney. They make music that’s a little bit soul, a little bit hip hop, a little bit gospel, a little bit old school, a little bit r’n’b. I stumbled across them at BIGSOUND this year, when I made a last minute decision to wander to The Rev instead of somewhere else a block away and I witnessed a performance that has haunted me ever since, in the best way possible. Their albums, The Soultape, released in 2012 and The Soultape 2, released in August this year, are available to download on their Bandcamp page – for free. Read that again – yep. For FREE.

Here’s what I think about Jones Jnr. That night of BIGSOUND, I expected to see some impressive music. What I didn’t expect was to be mesmerised by sounds that floated all around a room and landed on my shoulders, forcing me to stand, to witness, to move, be moved and to know who this duo was. Those powerhouse vocals of E Jones were spine tingling, the beats of M Jones impossible not to be enthralled by. I see a lot of live music and I love a lot of live music, but not every performance I see is as engaging and as captivating as Jones Jnr were that night. They were beyond anything I expected to hear, taking sounds from so many eras of music and making their own take on soul, on hip hop, on music itself. I was so impressed I found their albums online that week, downloaded and those magical sounds I heard that night which I have re-lived over and over again since.

Here’s what I feel about Jones Jnr. and this is the important part. There are a lot of people in the world that make a lot of music. Some of them you know, some of them I know, some will be popular here, some in places other than Australia…others we’ll never know. I don’t know if Jones Jnr will ever be a household name, I don’t know if they’ll even make another album, but I know when I heard Jones Jnr that night in September, they made me feel so lucky to have such a love of all music, to feel so damn good when I heard their sweet soul sounds. Music is connected to every part of my life, but only special artists make me remember just how much I love it. Jones Jnr managed to make me remember that this year and in turn, have made me love them.

WINNER: Thelma Plum

I mentioned in the countdown that I saw Thelma Plum at Woodford Folk Festival over the 2012/2013 season. I made sure to see her perform as I had heard her beautiful song 'Father Said' on the radio and was instantly drawn in by her gentle pop (that was earthed in a modern Australian feel). She was the perfect artist to start my year. The Australian voice, the say-it-like-it-is words and the gorgeous yet simple structure were a refresh of folk music for me. As an indigenous performer Plum could very well be the voice of a new generation of proud Aboriginal women who sing their song to an ever growing audience. No doubt she is an inspiration to many young women – be it indigenous or non indigenous to pick up an instrument and share their own story through music. Plum was awarded (at the end of 2012) a Triple J award for Best New Talent which saw her recording new music this year. Lucky us. With stand out tracks like 'Dollar', 'Breathe In Breathe Out' and my personal favourite, 'Around Here' Thelma keeps us on our toes waiting out for a full length album. I can't wait. (Lou Endicott)

2012 Winner:

Texas Tea

Runner-Up: Sarah Blasko

2011 Winner:

Seeker Lover Keeper

Runner-Up: Gotye

2010 Winner:

Sia

2013 Scene Awards - Video of the Year

Well, well, wellity, well then. The Scene Awards are back for a fourth go! Party time! Excellent! Or something? Until the end of the month (and year) the five boozehounds "critics" that make up It's My Kind of Scene will be rolling out their (our?) favourite videos, Australian artists, EPs, best new artists, groups, men, women and, of course, albums of 2013! Will Miley come in like a wrecking ball and destroy the awards? Probably not, but maybe. Will we be bound 2 Kanye like we were a couple of years ago? Probably not, but... no, definitely not. Will we be showing off the best of the best from a year that was chock full of goodness? Yes. Absolutely. And we hope you enjoy and play along by letting us know your favourites too. First up, we've got the award for Video of the Year. Enjoy!

VIDEO OF THE YEAR:

#5. This Is Why I Love You

by Bec and Ben

Directed by Lee Launay

Have you heard of Bec and Ben? No? You should. Described as PMS rock they are a to and fro rock duo with Ben rocking the guitar, Bec not just rocking but completely owning and dominating her drum kit and both sharing vocal duties. This powerful vibe that Bec embodies is apparent in their awesome single ‘This Is Why I Love You’. Again, I discovered them at Bigsound this year and fell instantly in love with their brash, brazen and sexually dripping brand of melody driven power rock, which this video demonstrates to perfection. It turns their bedroom antics into a fast paced hypersexual rock version of the move Speed… or something. My fave parts are where Bec is straddling Ben on the bed and bashing either side of his head on the pillows like her drum kit and then where they both get dragged out of the bed as if they’re being sucked into a vortex or through a waterslide. So much perfection, so much aggression, so much catchiness and so much sexy visual stimulation!

Bec + Ben = #Drumoguitaristalisationingsexyrockeringhairflickeringgyratingslikeahookerness. 

(Nayt Housman)

#4. Future Warrior

by Palms

Directed by Jon Mancinetti

Palms is the post metal love-in featuring members of Isis, and fronted by Chino Moreno of Deftones fame. For me, just reading about that line up got me excited. I’ve fallen madly and deeply in love with any music that Chino touches. I grew up on Deftones and have taken the leap with Chino with all of his side projects – Team Sleep, Crosses, and now Palms.


‘Future Warrior’ is atmospheric, and moody, with a video that captures these sentiments perfectly. Directed by Jon Mancinetti, it begins with scenic landscapes and rolling clouds. The good news is that we’re not then subjected to Kanye or Kim Kardashian on motorcycles. Instead we see the silhouette of a woman and man, intertwined with more gorgeous (is that word wanky? Whatever. Deal with it) backdrops. We follow the journey of the woman, who seems to have a love of water – first we see her gliding through a pool, and then taking a dip in the ocean. All the while the silhouetted man is watching from the shadows. Is he stalking her? Or just trying to pick up some swimming tips? Look, I don’t want to give away the ending, but it does get a little creepy…


Why have I nominated this video for “Video of the Year”? Well, look here, I’m not even going to attempt to explain technical terms, because it would only end with me using “stuff” and “things” a lot. I’m going to keep it simple: it looks cool, and it embodies the spirit and sound of the song. And all the stuff and things are great too. (Katie Langley)

#3. Despair

by Yeah Yeah Yeahs

Directed by Patrick Daughters

There are things about this clip that I find indescribable. There are images all the way through that make me sigh, that make me wonder and it’s the images at the very end that make me smile. When I first saw this clip and reviewed it way back in July, I wrote of how I could write a thousand words about the song, the imaginings, the lyrics and my love for the Yeah Yeah Yeahs. It’s funny looking at those words now, because what was I thinking? A thousand words? There are none. How could I possibly use simple words to describe the wave of emotion that starts at the very base of my spine, runs itself all the way up my back and over my shoulders to raise the teeny tiny hairs on my neck in a wave of goose bumps? I couldn’t write a thousand words about any of those things, because, like I said in the end of my last review, there is only one thing I feel about this clip. It’s the same thing I feel when I hear the lyrics, which mean a thousand different things to a thousand different people and are probably my favourite of 2013; “My sun is your sun, your sun is our sun”. Love. (Jo Michelmore)

Runner-Up: You Are New

by The Trouble With Templeton

Created by Tinker Films

This clip had me guessing from the outset. Tom Calder plays a very dashing, very stylised character that had me asking questions such as: “Why is he so sad/melancholy/devoid of something almost human?” “Why is the set so childlike and messy and simplified?” “Why is he sitting at a table with fake food?” “Why are there giant stuffed scarecrow-looking people next to him in these scenes?” And "How can someone have so many stylised facial expressions that engage me with their comedy and subtle nuance?” But once I got to the end I was delighted beyond all questioning. 'You Are New' does not contain a punchline as such as an ending, but instead delivers a beautifully realised filmic concept: hook in the audience with questions and keep ‘em guessing to the end. Then they will be enticed to watch again to really take in the clues that were there all along. And probably show all their friends and share it around social networks. Have you noticed I haven’t said what the film clip is about here? It’s because if you haven’t seen it, then watch it and ask the questions yourself. Maybe you will come to surmises yourself. No doubt you will be entertained by this gem of a clip.


I will however say this: Tom Calder – one of my favourite Australian singer/songwriters would no doubt be just as comfortable on a film set as he is on stage with a guitar. His screen presence in this clip is simple mesmerising. In the countdown last week I talked about how much I loved this song and made mention to the acoustic version of the clip. It was a hard clip to beat with its raw heart and pure emotion, so I was interested to see where The Trouble With Templeton would take this with an official video. Every music clip TTWT create is a little novel unto itself and manages to capture a new essence of the song as well as stand alone piece of art in its own right. I hope that the trail that this band is leaving via these gorgeous clips (and music) will lead the band to being one of the standouts of their generation. (Lou Endicott)

WINNER: The Bed Song

by Amanda Palmer and The Grand Theft Orchestra

Directed by Michael McQuilken

It was pretty bold of Amanda Palmer to create a video for ‘The Bed Song’. You might remember the track. We loved it so much last year, the heartbreaking ballad that takes you from exhibit A to E came in at #3 on our Top 112 Songs of 2012 countdown. For those unfamiliar, ‘The Bed Song’ details the consequences to a relationship resulting from a breakdown in communication. One might call it a masterpiece in storytelling. One would be correct and probably incredibly good looking. To attempt a video was bold, to attempt a literal video was even bolder. But what’s that old saying… ‘in Amanda Palmer we trust’. So I stole that from something else and adapted it. Whatever, it works. What we got in a video for ‘The Bed Song’ was as beautifully constructed as the song itself. Directed by The Grand Theft Orchestra’s Michael McQuilken (drums, backing vocals) for Q Motion Pictures, ‘The Bed Song’ was filmed while Palmer and the band where completing a residency at New York’s Bard College.


We open with a sweep across the piano, leading up to Amanda playing the piano in a white wedding dress. For those familiar with the song, seeing her in the wedding dress is like a little opening kick to the face. She sure does look purty in white though. We then meet the starring couple, let’s call them Mr and Mrs X. They move as the songs does from the carefree days of sharing a sleeping bag in exhibit A to the emerging emotional distance between them in exhibit B and the swanky condo (of lies!) in exhibit C. Throughout each stage presented to us, the distance between Mr and Mrs X grows to ridiculously wide lengths – that bed in D is bigger than my flat – representing the great emotional divide. I understand things! Like a good film, I wouldn’t want to spoil the ending for those that haven’t seen the clip. So watch on and enjoy the final moments from Exhibit E to the tearjerker of a closing shot, which gives an insight into how the sets were constructed in Bard’s Richard B. Fisher Center for the Performing Arts.


As a piece of emotional storytelling, the clip for ‘The Bed Song’ hits all the notes required to represent such an incredible song. From the actors to McQuilken, the set designers, everyone who worked on it and Amanda Palmer herself; everyone played their part to perfection in creating this one. Watch. Share. Love. (Matt Bond)

2012 Winner:

'Bad Girls' by M.I.A

Runner-Up: 'Hey Jane' by Spiritualized

2011 Winner:

'Lonely Boy' by The Black Keys

Runner-Up: 'Somebody That I Used To Know' by Gotye ft. Kimbra

2010 Winner:

'Islands' by The xx 

 

It's My Kind of Interview - Kira Puru + The Bruise

KIRA PURU

Interview by Katie Langley

Kira Puru, you’ve had a big year and have been on the road a lot! Can you tell us some of your tour highlights?

Kira: We have laid off the touring a bit this year. It’s easy to burn out when you’re managing, booking and doing all of your own publicity. I wanted to chase my other dream of being able to pay rent on time. My highlight though was touring with our new favourite band, Post Paint and releasing the split single, ‘Crest of the Wave’ with them. They’re fucking sensational. I also wrote a song with Paul Kelly in his lounge room the other day. That was pretty surreal.


How did the collaboration with Post Paint come about?

Kira: Bligh is a good friend of mine. I had a crush on the band and we got them on a few bills, back when I was living in Newcastle. We came up with the idea, drunk, one night after a show. I have the tendency to vague out on commitments like that but Bligh wrote the track and drove the project for the most part, so all I had to do was show up. He writes some fucking bangers. Yeah. You should really check them out.

 

You’ve also collaborated with The Preatures, Illy, and Clairy Browne and the Bangin' Rackettes, to name a few. Who else would you love to work with?

Kira: Anyone and everyone. I’m trying to open up my collaborative project now to include filmmakers, visual artists and people who work in other mediums. This is the second year I’ve actively been chasing collaborations and I’m not really ready to stop yet.

At a festival a few years ago I saw Rammstein ride a cock cannon that sprayed foam. Do you have a favourite festival memory?

Kira: I’d like to ride a cock cannon.

 

What was the last gig you went to, not performing but as a fan?

Kira: I went and saw some sort of pagan, psychadelic shoegaze band called Stream Four at the Old Bar in Fitzroy last night. It was a quiet Tuesday and there were lots of cross-legged hipsters lounging around in there. I spent most of it getting drunk and smoking out the back though. What I heard of them was cool.

Bad Religion recently released an album of Christmas songs. Would you ever consider releasing a Christmas single?

Kira: Absolutely.

All I want for Christmas is a bearded man and some liquor. What have you asked Santa for?

Kira: Well I don’t know about Santa, but I’ll take some Xanax and a nice, expensive Burgundy if anyone’s offering.

What are the plans for 2014? Can we expect to hear any new music?

Kira: Yeah. I’ve been working my tail off this year, trying to get my shit together to release something early 2014. We have a Bruise EP that we finished a year ago that’s sitting in a hard drive somewhere, dating. I guess I’ll chase that up. I am starting a new project in Melbourne with a producer friend and I’ve lined up a few interesting collaborations. So….I don’t know exactly what or when, but there’ll be music, yes.

Yes, yes, yes. All we want for Christmas is new Kira Puru, but we're happy to wait until 2014. Until like, January 2nd. Maybe. Massive thanks to Kira for stopping by for a chat.

Gig Review - Little May

LITTLE MAY

Live @ The Workers Club, Melbourne (15/12/13)

Supported by Al Parkinson

Review by Lou Endicott

After living in Melbourne for almost nine years it’s hard to believe that I had never been to
The Workers Club in Gertrude Street in Fitzroy.


On a sunny Sunday afternoon I was lucky enough to get the chance to pop my cherry (so to speak) and see some wonderful live music there. The band room at the back of the old hotel has an almost barn like feel to it with its unsealed walls and polished concrete floor. The little tea light candles perched high up on the beams around the walls attempted to create a hint of ambience with little pools of light splashing about a mostly darkened room.


I arrived in time for the support act, Al Parkinson. The crowd was so small I could count them on my hands. Perhaps due to the low number there was a hush in the room akin to walking into a library. My party of four that I arrived with quietly ordered a drink as Al took to the stage. We - like everyone else - clung to the side walls or the bar awaiting her performance.

Al Parkinson, wearing a very large straw hat, was unassuming on the stage with a simple faded spotlight on her. She opened her set by singing an acapella song. This was a brave and daring choice to start a set this way, but it paid off. People started to walk in the door. In a darkened room, with just voice and a few clicks of finger and thumb and her eyes closed throughout, Al drew us in with her intensity and silky voice.


The next song, 'At Night' firmly planted this artist into the field of country jazz. Soft strumming of guitar, heart on sleeve lyrics with a hint of heat like, “I like kissing you at home, without a stitch on” and a voice to make the cows stop and listen. I was won over by Al Parkinson. Her stage banter throughout also added to her hold over us. Before the song, she acknowledged the large hat on her head and asked us not to be offended by it. Turns out she works in a hat shop and had the hat on since 7:30am and didn’t want us to see her, “hat hair.” She even quickly gave us a preview. Not just a beautiful singer/songwriter, but a fantastic sense of humour to boot. And for the record, she could have been wearing a barrel and we all would have still been hooked on her sound and performance.


“The next song is a love song. It’s simple in its writing, but that’s what love should be,” Parkinson told us before launching into her next gem – this one told of loving a person rich in heart but poor in pocket. At this point a side note: I have long been a fan of American folk/country/blues/jazz singer, Jolie Holland. She is a little bit of an obscure artist, but her work always grabs me in the sweet spot of the heart with its sentimentality and soulfulness and a voice that feels as good as a hot cup of cocoa in cold hands. I have never heard an artist quite like Jolie Holland before. Until now. Al Parkinson’s voice and style of songwriting is one that I didn’t realise I had been aching to hear until I heard it. I would go as far to say that I almost prefer Parkinson’s voice to Holland’s. With its treacle like consistency, her lower and upper register have the same sweet tone throughout.


Around this point I started to think that the venue perhaps wasn’t suited to this performance. We needed a rug to sit on, stars to look up to and perhaps a gentle summer breeze. I was tempted to sit on the floor – but it was concrete and the room still felt quite large with its small crowd. So it didn’t feel quite appropriate. It was while I was thinking of this that Al pulled out a ukulele. As she did this I mentally added to my list of perfect setting for this artist a lake or an ocean.

We were next treated to a song called 'The One that Got Away' – a summery, sweet, lullaby-like song that harked back to days of old. It may be the ukulele and her voice, but at this point I started thinking that Al Parkinson perhaps was born in the wrong era. She would have had a huge career in the 40s with jazz and blues hitting the mainstream. But that’s ok with me as I get to hear this music live. And I hope it makes a comeback. Put this lady's music in a film and I can guarantee others will think the same. It’s romance music. It’s heart music. And it’s unlike anything else that is being created right now.


Perhaps the highlight of this set was about seven songs in when Al recognised that we were far away from her (geographically speaking) and the intimacy of this stripped back music is one to share person to person. And so she came down from the stage completely unplugged and stood right in the middle of the room and sung to us – not just as watchers but participants. She searched the room and made eye contact with everyone as she sung. No microphone or PA was needed. The room was so quiet we could almost hear her taking breaths between phrases. I think it was around here I got a little weepy. I admit it. I’m a big old softie. And in my defence of weepiness I have been a teacher of drama for years and have always encouraged artists to simply connect with an audience and the space. To see an artist of this quality break the wall of performance and deliver to us songs from her heart with such honest connection just made my eyes well up.


Al remained on the floor 'til her last song and personally thanked Little May – who were watching throughout the whole set and the other support artist (who I had missed). She also asked us to come and chat to her after as she, “loved making new friends.” Her warmth and openness meant it was easy to approach Al post gig and ask to give her a big hug. Which she most humbly and warmly gave! Her stage presence and her person-to-person presence are one and the same: real, connected and so refreshingly honest and friendly.


There will hopefully be a record out in the early new year from Al – and when it comes out you know I am going to be first in line to purchase it. This is music for the romantics. Music for the soul. And music that hides behind nothing – and nor should it. If you get a chance, do yourself a favour and see Al Parkinson live. In the meantime check out her sound via Soundcloud – or do what I did and spend an afternoon going through her videos on YouTube.

By the time Little May took to the stage the crowd had grown in size considerably. The three ladies of Little May – Hannah Field, Liz Drummond and Annie Hamilton, were joined by a drummer and a bass guitarist which promised a full sound.

Little May opened with one of my favourite songs of the year, 'Boardwalks'. I was happy to hear that the sound produced live is just as powerful as the recording – if not even a little more enjoyable with its live dynamics and organic texture of rolling drums. This song has been a bit of a theme song for me in 2013. Not so much in the content (about a lover leaving town) but just in the sound and mood created by the three female voices. And of course there is that gorgeous build toward the end of the song that hints at a hopeful future. The lead vocals by Hannah and the harmonies sung by Liz and Annie in this song played live were so sublime I got shivers.


As Little May are a relatively new outfit (having released just two singles) I was excited to hear what other songs they had on offer. The second song of the set was a song called 'Home' that featured gentle guitar picking and a fast heartbeat rhythm accompaniment. A banjo played beautifully by Annie added to the mix a full soundscape and another layer of visuals. The build that featured in 'Boardwalks' again was shown here. These girls love to play with dynamics – hooking us in with gentle almost ghostly folk tales and then flying us up to the sky with a build as big as a tsunami.


The third song 'Bones' (which we were told was a brand new song) continued with this signature build and had me thinking of Swedish folk outfit, First Aid Kit with its sound hinting at heightened emotions, dramatic rugged scenery and killer vocal layers. The lyrics, “Do you feel it in your bones like I do,” made me want to cry out, "Yes Little May! We do feel it in our bones!!." What started as a simple three chord turn around took us on a rollicking adventure.


I wasn’t sure of the next song's title but it had a bit more of a rock to it. The drummer (who's name I believe is Cat) got to showcase her quality skills with fast and complex beats that got my adrenalin pumping. This song held a bittersweet heartache of vocals and gorgeous rhythm.


After this song Hannah joked that she would dance around usually on stage but she couldn’t due to her, “skanky shoes,” which were a pair of high heeled boots. The band all had a laugh together and it was easy to see the friendship and bond that these women all share. I think this closeness can only add to the element of the tightness of sound and the blending of energies/voices/instruments these girls create. We were then treated to the first song Little May had ever written together – a track call 'Midnight Owl'. I can only imagine how amazing it must have been to be in that room as these three woman created their first initial track and realised that they had something altogether amazing. Like three witches around a cauldron, the lush harmonies, tambourine and guitar finger picking no doubt demanded that their music would need to contain epic ebbs and magic flows. I had images of a large open night sky and a roaring bonfire to accompany this track.


Although we had already heard a, “new song,” the next song we were told was a, “really new song.” The drum beat set the scene for danger and drama. Like a maiden riding a horse on a full moon night with cape flashing out behind her as she goes to rescue her beloved from some foul fate, this music was ruled by rhythm and timing. The lyrics, “I’ll make a run for it tonight because my head is a mess but my feet are on the ground,” probably added to the altogether romantic image I had in my mind. I really loved this song and would love to hear it again.

The next track, 'Fire' spoke of unrequited love. It was just before the song that Hannah (after telling us the name of the track) said, “It might be boring telling you the names of all of these tracks.” Boring? No. It was not. I love knowing a little about the song – its name, its theme, its origins. It’s a little pleasure and privilege for us audiences to know about what artists create and why. And it usually starts with the title. I enjoyed the lyrics here. “I’ll walk in this door and leave with nothing.” The bass in the song really had that desperation needed to suggest a heart searching and a heart frantically longing.


Electric lead guitar led us into the next track. The three part vocals here almost had a warble - like women grieving in some medieval square. Haunting, heart wrenching and definitely not of this era. This song also featured dramatic pauses which added a layer of suspense and tension. The dreamy guitar interlude almost had the feel of soft keyboards over the top of a chant. Again, another witchy brew concocted just right.


The next song was a cover called 'Australia Street', originally by Sydney indy pop/hiphop band Sticky Fingers. I was not familiar with the band or the song. But post gig after doing a little research I realised the music Sticky Fingers make is so different to Little May that it was a surprise to see that they wanted to cover it. But cover it they did. With no drums or bass the girls turned the hip hop rap section into a percussive yet melodic song with soft and dexterous vocals. And somehow adding a sweet ghostlike layer of ambience that Little May do so well.

The penultimate song of the set was the addictive single 'Hide'. Liz handled the lead vocals so expertly here that if I closed my eyes I could have been listening to the recording (which I admit I have listened to over and over and over….) This song was effortlessly cool and an absolute stand out of the set for me. The enjoyment that Little May have playing it is obvious. This is a white hot song and it must feel wonderful to be in the middle of this song singing, “Can you see me count to three? No I wont play your hide and seek.” It was hard not to move along to the rhythm and be swept up in the dark groove.


The final song of the set was a song called 'Mexico'. This song used drop D tuning - which always adds to a fuller more country sound. I was delighted to see that Liz used some guitar drifting in this song as her hands plucked at the strings then smacked the body of the guitar to create a bass like drum. She also used harmonics – hitting the strings of the guitar to create alternate high pitched sound (I sound a bit technical here don’t I?). If I had any doubt before (I did not, but IF I did) Liz would have smashed it out of the ballpark – she showed she is an exceptional guitar player. And to do all this while singing lead? Well, just a bit legendary methinks. A disco ball spun and reflected off the walls the moment the build came in. It was the only lighting change of the set – and although a very simple one, worked a treat.


I was lucky enough to meet the girls after the set and found out that it was Annie’s birthday. If I had found out during the set I am sure the audience would have burst into THAT song. But Annie chose to keep it to herself and stick to other, more beautifully crafted songs. So happy birthday Annie – I hope you had a wonderful night!


All of the women of Little May were so down to earth and friendly in person. If there is a gig near you, go see them, as soon you will have to wait in line just to get into a venue to see them on stage.
Little May have an EP coming out in March. They will also be touring in 2014 with Norwegian singer/songwriter/guitarist Mikhael Paskelev. And of course as winners of Triple J's Unearthed Laneway festival they will be featured playing amongst international artists such as Lorde.


Little May.
Big Love.

2013 - What You Couldn't Have Told Me

I googled '2013 music' and this appeared. I can't control these things.

If You'd Said...

by Jo Michelmore

If you’d said to me in January that I’d be sitting at my laptop less than a week before Christmas in December, listening to one of my new favourite bands of the year and writing my bazillionth (I never exaggerate) blog post for the year, I might have thought you were crazy. I probably would have believed you, but I still would have thought you were crazy. Don’t take it personally; I think a lot of people are crazy. I have proof: that Norwegian song 'The Fox (What Does The Fox Say)' was popular for a minute there. Anyway, I like most crazy people (hello Kanye) and if you’re crazy enough to be reading what I’ve written, chances are I like you too. I like you even more because you’re reading a blog all (generally) about music and music is amazing, but you already know I think that. How amazing is it? Well, this year, 2013, music made all of this…

If you’d said to me in January that I’d get tickets to a sold out Emma Louise gig about an hour or so before it started, that I’d sit next to a very large man (no, not Matt, he was on the other side) and discuss keyboardists with him, I'd have said you were crazy. If you’d said I’d see Sarah Blasko from a box seat, in the grandiose Concert Hall and if you'd said I’d probably shed a tear at the sounds of a symphony orchestra playing ‘Cast The Net’ and then, if memory serves me correctly, I'd do a couple hours of karaoke afterwards, I’d have believed you. What else would one do after such an emotional event?

If you’d said I’d dance and bounce for hours with a bunch of fabulous friends to The Presets, followed by some bizarre conversations with fellow drunken Presets fans...and then watched my friend lying about a gutter (fabulously attractively, of course) I’d have believed you. That kind of thing happens all the time. If you’d said I’d review that gig for this here blog and a quote from my review would be used months later to promote another Presets gig, I’d have thought you were crazy. I may also have squealed, a little. Or a lot. It was a lot.

If you’d said I would see one of my musical idols from the very front row, after a day of sun and dust and bad toilets and fattening food and warm diet coke and smelly, poorly dressed people as well as eight hours of bands I had little interest in, I’d have thought you were crazy. If you told me I'd hang out with K-Tizz and find the whole event hilarious and put up with it all for Shirley Manson and Garbage, I’d have believed you. I love Garbage. Duh. If you’d said I’d see The xx and probably lose some valuable hearing from the incredible bass sounds as I stood in front of the amps, I might not have heard you…and I might have thought you were crazy. If you’d told me I’d get to share the experience and see the reactions of my beautiful friends who adore The xx, I would have believed you, because sharing music with friends is one of the best things ever.

If you said I’d climb those stairs of the Black Bear a hundred times, get frisked at the door of X&Y, put up with the heat all year round at The Zoo, peered over peoples shoulders at The Hideaway, tripped up and down the stairs at the Hi Fi, stood almost alone in The Press Club, got squished at Electric Playground, danced at Oh Hello, finally got to the Northcote Social Club, travelled across the world and gone to a club in the daylight and left at sunset; all of these things to see so many amazing bands….if you said all of those things, I’d have believed you. I love live music. I'd go anywhere for it. If you told me the names of who I'd see, I'd think you were crazy for not being there with me.

If you’d told me how much music I’d discover this year, I’d have thought you were crazy. If you told me how much I’d come to love so many new bands, I’d have believed you. A love of music is unending. Just when you don’t think you can love anymore another song comes along to make you smile or send shivers down your spine and somehow there’s so much room for new love. If you'd told me how much I'd come to rely on new lyrics and new sounds to get me through the days, I'd have believed you. Music has always been what gets me through the day. Everyday it reminds me to do exactly what MTNS told me to do; "Put your feet back on the ground and just start walking..."

If you’d told me all that, I would have loved it all. But what you couldn’t possibly have told me was this. You couldn’t have told me how absolutely full of fun and adventure and love my life could become, when I lived a lifelong dream by going to Eurovision. You couldn’t have told me how much my face would hurt from smiling as I sat in an arena in Sweden and watched so much music, so much glitter, so many fireworks and had so much fun. You couldn’t have told me what it would be like to visit a bunch of countries I never dreamed I’d see, meet a bunch of people I never dreamed I’d meet, drink a bunch of beers I never dreamed I’d drink and you couldn’t have told me how much I’d love sharing all of that with one of my best friends in the entire world. Music is amazing, because music made that happen.

What you couldn’t have told me is what it would be like to stand in a building almost a hundred years old, in the very front row, drinking beer and lemonade and waiting for hours to experience a performance from a musician I idolise; Amanda Palmer, who made me laugh, who made me cry, who made me sing and who held my hand and danced, sung and smiled at me for a minute or so there. You couldn’t have told me how it would feel to have a moment like that, one that makes me smile and one I will always remember and you could never have told me how it felt to be able to know I shared that with one of my best friends in the entire world. Music is amazing, because music made that happen.

What you couldn’t have told me is how many times I’d laugh, how many times I’d sigh, how many times I’d smile, how many times I'd cry at all the things being a blog writer brings. What you couldn’t have told me is how I’d feel at reading the words of bands and musicians who write to say thanks for listening and sharing, how it feels to know some of your favourite performers have read your words, answered your questions and then shared them with their worlds. That is the best.

But most of all, what you couldn’t have told me is just how much I have come to love writing on this here blog about something I can’t live without, with a bunch of people I don't want to live without, who I admire and adore. That is something like music itself, which is indescribable and amazing and you know what else? It's our blog and it's our party, we can do what we want. Yeah, I just did that.


2013, you've been fab. With your ups, with your downs, with everything in between; it's been #fuckingamazing.

Gig Review - The Rush Family Xmas Party

The Rush Family Xmas Party

Featuring Jake Rush aka Louis Spoils, Darling James and Carl Rush

Live @ Bar 303, Melbourne (12/12/2013)

Words and pics by Lou Endicott

On an almost warm Melbourne Thursday summer night I headed off to Bar 303 in Northcote to see three music acts all containing a member that had “Rush” family member in them. Before reading on, know that this review will contain the word “Rush” many times over – and referring to different people!

I have known some of the Rush family members in varying degrees for over a decade through a mutual love of the arts and a community of misfit-artists-of-all-sorts who started in Brisbane and then migrated down to Melbourne. The Rush’s have many a musical talent in their family and I had often seen one or two of them on a drum kit or tearing out a guitar lick at mutual friend’s party jams. I was surprised to realise that I had never seen any of them play in an official gig capacity. So I decided I needed to see this gig.

And I admit, what really lured me to this event was that Louis Spoils – aka Jake Rush – would be performing. Louis Spoils released an EP earlier this year with a host of amazing musicians adding their ingredients into the mix. Probably the most famous being a certain Wally de Backer who the everyday music lovers would know as “that guy who sung ‘Somebody That I Used To Know’”: Gotye. Yes, the WORLD’S number one single last year. And the fact that he contributed to this EP is an indicator of just how Jake Rush as a musician, songwriter and a person attracts the good stuff.


Bar 303 is a warm and inviting little bar with tables and chairs out the front and a big glass window perfect for people watching. The band room at the back is a little dark yet cosy den down some steps past the actual bar. It’s unpretentious without much decoration. People often sit on the carpet in favour of the scattered chairs and tables.

To my delight Louis Spoils opened the set as a solo act: just the man and an electric guitar. Before starting the set Jake let us know he had been “coughing up green shit” and hence he wasn’t in his prime. I should mention at the point that Jake Rush says it how it is and always manages to get those around him laughing. First off the bat was one of my favourite songs off the EP – 'The Fixx'. It was a treat to hear a song I have listened to over and over stripped back to its original form of voice and guitar. This song, Rush told the crowd, was about working in a Western Carpark some years ago. Rush’s voice with its husky edge (perhaps huskier than usual) really hit the raw rock edge with its warmth and gruff tone. The simplified version of the song gave me a chance to appreciate the rhythmic flow of this pop piece and the delightful unexpected sections that all of Louis Spoils’ songs seem to have.

Again Rush got us laughing with his next comment: “I’m only going to do a wee set tonight because I’m a bit shite in the mouth”. The next song was a reflective song about living in a share house in the suburb of Brunswick (Melbourne’s unofficial capital of artists and students). I loved the lyrics “Living off government cheques down in Ashmore Street”. This mellow song had me thinking of my own share house experiences and the bonds formed with the people I’ve shared with. What I loved about this song was even though unwell, Rush still hit the high falsetto notes with enough power and prestige to serve the sentiment of the track.

There was a lot of casual banter after this song between Jake and his musician father Carl Rush (who stood at the back of the room) with more than a few references to Carl being a Dad of questionable values. The Rush men clearly have grown up together bonding over trying to make each other laugh. The laughter was infectious as the banter continued intermittently throughout the set.

Next up Rush explained that the next song was "The only sappy one I’m gonna do ok?” What followed was a beautiful bluesy song that had a touch of the sads soaked in a bucket of beautiful groove. Again, Jake's voice with its warmth and almost lullaby-like tone captivated the room. I think it was during this song that I realised that Rush’s voice reminds me of Sting in its sound. The rhythmic nature of all of this song could easily have been a cover of a song written by The Police.

After this song Jake told us how he used to work in a DHS house caring for people with disabilities. The next song in his set paid homage to this time that obviously opened his eyes to the world. It contained these no holds barred lyrics: “We live together in a million dollar house watching strangers come and go and we can’t get out. Our parents put us here out of love and out of fear. Some day…. I’ll disappear”. I really loved this song with its upbeat groove and lyrical punch.

The last song of the set definitely had the Sting feel to it that I had previously heard. The bassy grabs that Rush created with his guitar combined with the falsetto scoops really made this this song a stand out in its structure and delivery. This song (called 'You Betcha Little Hands') included an awesome unexpected interlude toward the end which according to my notes were “interlude chord heaven”.

I would love to see Louis Spoils as a full band as his songs are so well crafted. It’s obvious to see why so many people jumped on board the EP to play with Rush.

If you haven’t already heard the EP do yourself a favour and purchase one quick smart. It’s a stand out of 2013 and really deserves more attention. (We reviewed it and loved it back in August and you should check it out on bandcamp!)

After a quick drink break we were met with the next Rush family member. This time Zac Rush. Zac is the lead guitarist in the new indie three piece Darling James (with James O’Brien on vocals/guitar and Tom Baker on percussion/harmonies). This relatively new outfit performed last month with Hey Geronimo on their Melbourne leg of the tour. I was told later that the line-up usually included Dan Parsons on drums. But for this gig we got a trio.

The first song was called ‘Holy War’ which was a folk pop 60s inspired sound. Both O’Brien and Baker sung a two-part harmony through much of the song. The harmonies created were featured throughout the set and really added a beautiful melodic element to their sound. The structure of ‘Holy War’ was simple and quite catchy. Half way through I felt like I could almost sing along. This was a good opener to start with as it warmed the crowd into their easy listening sound. The guitar lead played by Zac Rush (Jake’s younger brother) really showcased his skills as a talented musician. In fact, there was a distinct George Harrison flavour to Rush’s technique and sound and this added layer turned the simple song into a more complex and grounded piece with an almost classic edge.

Lead singer James told the crowd after the opener that it had been three days since his last cigarette and “I’m losing my mind”. This created a cheer of support from the crowd. Smoking’s bad m’kay? The next song called 'Antidote' had a cowboy twang to it. I enjoyed the lyrics “Hold your head up high ‘cos you’re everything that I need. You’re everything I need to escape. You’re the antidote to an ugly world”. Great lyrics. It about this time in the set that I started to imagine the sound that Darling James would create with a full band. I could even imagine a trumpet sound in here somewhere (suggestion boys?)

The third song in had a false start. A few bars in O’Brien suddenly stopped. “Anyone have a cigarette?” Which created a big whoop of laughter and more encouragement from the audience. Nothing like a dramatic redo of a song. This song called 'Pornography' was one of the highlights with its dreamy high noted guitar, bright rhythm and hopeful turnarounds. Even after the false start this song really grabbed me with its almost Neil Finn song writing feel to it.

The next song 'Reinvent The Past' was another highlight with some gentle “ooh and ahh” harmony action taking place amongst lyrics like these “I never thought I’d make it home so many times”. Around here I was reminded of one of my favourite 60s bands - Crosby Stills and Nash - with the intricate folky rock harmonies of Darling James blending so beautifully together. This reference point (once thought of) was hard to shake. But with a reference point such as this – why shake it? I’m a sucker for vocal play in the folk mix and it was done well here.

Perhaps my other highlight of the set and what really sold me on this band was the cover of 'I’m So Tired' off the Beatles White Album. It’s no secret that the Beatles are my favourite band of all time. I have to admit I can get a little precious with covers of their back catalogue. But Darling James handled it with ease and style. My earlier comparison of Zac Rush have a feel of George Harrison was brought back to the spotlight here for the obvious reason but also because he simply shredded out a killer lead in the instrumental. So much so that I was left a little disappointed as it could have gone on and on and he would have still had my ears. Also the classic lyrics “I’m so tired, I’m feeling so upset. Although I’m so tired, I’ll have another cigarette”. Very apt song to cover considering it was three days since James’ last smoke.

The last song of the set was called 'Ashmore Street' and aside from the connection of Rush’s this song link O’Brien to the family as he had also lived in the same house as Jake Rush. This song made me think of road tripping out of the city with the windows down and the wind in my hair. It also contained a killer outro that belied the fact that the sound was created by only three musicians.

Darling James are currently in the studio recording their first release (due early 2014). You can follow the journey on their facebook page.

Last of the evening was Mr Rush himself – that is, the father of Jake and Zac: Carl Rush. For those unfamiliar with Carl Rush, well, that’s a shame. If you love intricate blues riffs, songs that tear your heart out and a voice comparable to dark chocolate syrup then you would love to hear this artist. And live if possible. With the same brand of Aussie humour and showmanship that his sons have, Rush took the stage with the ease of one well accustomed to performing live. I think throughout most of the set the audience barely breathed – not wanting to miss a single note or vocal lick that Rush presented us so beautifully.

The set opened firmly in blues territory and led us down the path of jazz, ragtime and original ballads with a dash of classic rock. All in all, Rush performed a total of thirteen songs - so I will focus on some personal highlights of the set. But I must say in advance highlights were a little difficult to choose of an artist of this calibre.

The second song of the night; 'Three Small Word' had me thinking of my favourite artist of all time - Tom Waits. Like Waits, Rush has a way of delivering his heart on a platter for his listeners (with a mandatory side of whisky). It was towards the end of the song when he moved his guitar a little that I noticed that Rush was in fact wearing a shirt with an image of Mr Waits on it. Aha. Comparisons justified. I was absolutely in music heaven later in the set when Rush pulled out a Waits classic ‘Christmas Card from a Hooker in Minneapolis’. Never having seen Tom Waits live, I relish the chance to hear his songs played live. Though I guess you could say just like Beatles covers I am precious of how they are interpreted. Hollywood starlet Scarlet Johannson some years back tried her hand at covering Waits. Hmmmm… yes Ms Johannson I understand you’re a fan too but kindly step away from the microphone. I had no worries here. Perhaps due to being a seasoned performer and his extremely high level of skill, Rush nailed it with sensitivity and finesse.

Another cover that had the crowd literally sighing was a cover of Led Zepellin’s ‘Going to California’ - which incidentally is my favourite Led Zep song. The intricacies of finger picking and gentle rise and fall of the melody of this song have my heart through and through. A friend and fellow music lover next to me leaned over and said “How have I never heard of Carl Rush until now? This is world class stuff”.

Jazz/blues vocalist Pearly Black made an appearance during the set which was a lovely segue into the land of jazz. The ease and natural rapport that Rush and Black seemed to have suggested two old friends with a mutual respect for each other out in the playground once again and this shone through in the delivery of the few songs that they played together. I love hearing capable singers handle jazz scatting and Black’s voice with its smooth yet powerful tone was at its most appealing when she did just that. Another highlight of this jazz interlude was an old blues song 'Baby you’re my centrepiece'. The sweet sassy goodness was increased by the killer lyrics “I’m a big mama shaking her bones. Every time I shake a skinny girl loses her home”. Gold.

Perhaps the other highlight of this set was when Rush said “I’d like to invite the rest of the Rush orchestra onto the stage”. And onto the stage they went: Jake taking drums (which was just a snare drum played with brushes suspended between two chairs) and Zac on lead. We were treated to a Johnny Cash cover: 'Folsom Prison Blues' and Bob Dylan’s very wordy 'Subterranean Homesick Blues'. The audience had to get up and dance around about here. You can check out a little of Carl’s music on his website.

There is a lot to be said of genetics and talent running in a family. But it’s another thing to actively take that talent and nurture it into skill and The Rush family have got a lot of it. Lucky for me that they are sharing it with the world.