A Has Been: Tell me about your recent North American trip. Has it broadened your musical perspective?

Jaymes: The North American tour was amazing. It was especially cool to play with so many other bands that we love and see how other bands approach touring. The Aussie BBQ showcases were really fun, and we were in great company with a lot of truly awesome bands.

AHB: What was SXSW like?

Jaymes: SXSW was a 24 hour street party. There were more live music venues on one street corner than in the whole of Perth so we kind of felt like kids in a candy store really. The audiences were awesome, people were so friendly and came up and chatted after shows a lot, so it was great to meet Austin locals and talk about their music scene. We were really surprised and excited at how many people came to our shows and sang along.

AHB: What can we expect from the upcoming EP?

Jaymes: The songs on this EP are quite different from our last. We had a real focus on honesty when we wrote/recorded it. When we write, we often over-analyse every idea, so this time we tried to go with what felt good in the moment and didn’t worry too much about what other people would think. That kind of self-consciousness has undermined us a bit in the past and we wanted to leave it behind. We talked a lot about memories and stories from growing up and tried to capture those feelings/thoughts we had at certain times. As a result we think it sounds a lot more natural and a lot more interesting than our last EP.

AHB: What was it like working with Lars Stalfors?

Jaymes: Lars is mixing the EP at the moment and so far it’s been awesome. When we met up with him in LA last month we all got on really well, so we’ve been so excited to hear each track as it comes back. When we met up with him he told us one of the things that made him take an interest in us in the first place was the fact that he could hear that we were using real analog synths – not vst or software synths. We liked that – the man knows his synths and shares our obsession for vintage instruments. It’s nice to work with someone you can geek out with over gear, who appreciates some of the little details that others might not hear.

AHB: Do you think Australian dance/electronic music has changed much in recent years?

Jaymes: Dance music everywhere has changed a lot over the last few years. The initial wave of electro that came off the back of electroclash has given way to much more disco, funky house and cosmic beats stuff. It’s really interesting to watch how all the different genres creep into each other and how old disco and italo is informing so many new producers and bands. There’s this new wave of indie hip hop coming through alongside all this soulful disco and house – it’s like a really fertile period at the moment for interesting dance music. A lot of what we play isn’t straight up dance – it’s more indie pop than electronic dance, but we take a lot of influence from old italo and disco in our productions.

AHB: What artists are you listening to lately?

Jaymes: Lots of really different stuff – Ssion, Hercules and Love Affair, Alpine, The Swiss, Canyons, Sally Shapiro, Princess Chelsea, Miracles Club, Tiger & Woods, Purity Ring – It’s a rich tapestry!

AHB: You’ve mentioned that Perth can be somewhat isolating. With that in mind, do you think growing up in Perth has shaped your style of music?

Jaymes: Perth is very ‘rock’, and we are not, so Perth has shaped our sound in that we wanted to make music that was different to what other people in Perth are making. In truth though, even though we play up the ‘small country town’ side to Perth, it’s pretty much the same as anywhere else in terms of music.

Voltaire Twins – Young Adult

It’s not usual for me to blog about the same artist twice. It’s not because suddenly I stop loving the music of an artist I’ve already covered. It’s purely because I chew threw a LOT of music and have a very finite amount of time to blog (may your eyes be truly thankful). I also partly try not to blog too much because otherwise this could become a cut and paste blog (with quick one liners about songs I love which you can read about on 20 other blogs). And as a published author once advised “for every story you write you should be reading five books.” Translated to the blogging world? An informed process is more interesting than shallow frenetic posts. Which none of mine are, right? RIGHT?!

This edict (or should I say “excuse”) doesn’t really make much sense because artists’ music can differ between albums and songs and there might be plenty to say each time, but in any case feel free to paint me with the same brush I just subtly painted a bunch of other bloggers. Because I’m about to write about Geographer again. They’re incredible and I’m worried you guys aren’t paying attention to them. Because the lead singer has a very pretty voice and the cello, synths… whatever instruments/computer shit they use, it all works really well together.

They recently released their album, Myth. Alas Australians will probably never find this instores so, as with most things, please try online. There is something a bit Roxy Music about Myth. It’s sexy and low key but there’s a nice persistence in the beat, and a depth in every song that shows these guys don’t just depend on their natural talent for delivery; there’s a lot of hard work underpinning the satisfying sound. The cello that kicks off Shell Beach immediately sets the tone before it rocks out, Lover’s Game delivers a memorable melody worthy of the top billing it will probably sadly never achieve… There’s a lot on offer.

Geographer – Lover’s Game

And just so you know it’s not a one-off, here’s an acoustic video of my favourite song off their EP, Animal Shapes.

I’ve said before that this blog is partly about literature. This is because I love to read, so much so that I even completed English Honours some time ago (not bragging). Funnily enough though, I NEVER seem to write about books, do I? Nup. I think The Watchmen is the only one I’ve written about and even then I drew some all too pedestrian link to Dexter. Lazy.
There are two problems which explain this infrequency: 1) I am an embarrassingly slow reader. Painstakingly slow. 2) I’m a majorly picky reader. If I decide three quarters of the way through a novel that it’s too directionless or boring, I’ll shut the cover forever. This is just how I have to read. If I’m a slow reader, how can I ever find time to read shitty books that I only feel so-so about? I want to get some entertainment and maybe even some insight from these things.

So imagine my excitement at discovering one of the best authors I’ve ever come across. Haruki Murakami’s beautiful works are accessible and simply written, but poetic. He has a solid reputation like say, Salmon Rushdie, but unlike Rushdie you don’t feel like he’s trying to prove his intellect through prolonged, unstructured prose which academics mistake for talent.
Murakami knows how to maintain structure and build on style. In Kafka on the Shore, for instance, the novel straightforwardly takes us through the perspectives of a teen boy who has hit puberty in a profound way, and an elderly illiterate man. Murakami draws us through surreal moments but by and large it is all tied structurally to a story of a boy running away from his destiny. Much of the book is set in a peaceful library, which is comfortingly used as an allegory for memories:

“Lost opportunities, lost possibilities, feelings we can never get back. That’s part of what it means to be alive. But inside our heads – at least that’s where I imagine it – there’s a little room where we store those memories. A room like the stacks in this library. And to understand the workings of our own heart we have to keep on making new reference cards. We have to dust things off every once in awhile, let in fresh air, change the water in the flower vases. In other words, you’ll live forever in your own private library.”

Kafka on the Shore is, of course, not the only accomplished novel Murakami has released. My first exposure was The Wind-Up Bird Chronicle, a foreboding yet whimsical story about a man who searches for his missing wife down a well. Apparently there has been a stage production of Wind-Up Bird, which I would kill to see.

Murakami’s latest magic realism tale, 1Q84, explores the inevitably intertwined lives of Aomame and Tengo. Aomame lives a simple life, taking little pleasure in food, career, clothing and socialising. But apart from teaching self defence and stretching techniques, she also from time to time kills men who have, in some extreme form, abused their wives.
Tengo’s seemingly simple life as an author becomes exciting as he agrees to rewrite and subsequently improve upon talented 16 year old Fuka-Eri’s novel.
The book vaguely refers back to Orwell’s 1984, with a cult, Sakigake, considered something of a big brother that shadows our leading characters. The numbers and letters 1-Q-8-4 are essentially 1984 in Japanese (because a nine sounds like “kew”), however the Q is Aomame’s way of distinguishing between the real world (1984) and one which she believes she has mistakenly climbed down into (1Q84).

Three books totaling over 900 pages seems like a bit of a slog and it’s probably important that you see this collection for what it is. It’s not high adventure science fiction, nor is it a romance. You will only take from it what is important to you (given how dynamic and complex the intricacies of the story are), however I saw the novel more as a visceral take on identity. Both Aomame and Tengo are self-aware and self-assured, and these are possibly their strongest traits. They know exactly who they are, and they hold fast to their individualised identities (especially when they’re most vulnerable) as the world threatens them. This is evident in the sex scenes, which are either sinister and borderline violent or literally forgettable.
The cult which eventually threatens Aomame’s and Tengo’s lives leans heavily against Aomame’s background and upbringing. Her decision to leave a sect when she was little cost her her family connection, but it has also taught her to value her own identity, whether formed in part by her mother or by her own decisions. Apart from Tengo and Aomame, Fuka-Eri too seems confident in her own identity, despite the fact that she has obvious ‘flaws’ like speaking in a flat uninflected tone.
The best illustration for this promotion of self identity is when Fuka-Eri stares at the ugly Ushikawa. For much of the book Ushikawa almost boastingly accepts his poor looks and superficially founds much of his identity in his image; he even justifies his poor choices by his looks. Until Fuka-Eri stares at him where she shouldn’t be able to see him; when she does so there is a suggestion that she is pitying him. After this eye-lock Ushikawa is struck by feelings of doubt and he questions himself.
This scene alone alludes to an idea that Aomame, Tengo and Fuka-Eri are so sure of themselves that it gives them an inner strength hollow men like Ushikawa cannot attain.

I find this character development particularly rewarding given how celebrated of late character traits like success and career drive seem to be. Maybe it’s our recent obsession with the financial outlook and possible financial down-turns, which dominate some of our primary decision-making. I just finished reading The Hunger Games, and while I liked the book, even that falls into the trap of centering on a heroine who is successful in far too many ways; who not only wins the game but does so without callously killing anybody. Something which is not only unbelievable but formulaic and unsatisfying to read. Through their talents Aomame and Tengo become wealthy, but this wealth is minimised and ignored. To them, it is not an achievement.
Murakami’s characters have always been humble and isolated.They are grounded by almost monotonous moments of eating, wearing dull clothes and spending long periods of time alone. And these moments might be boring if it wasn’t for Murakami’s poetic style and accurate insight.
As I said before, 1Q84 is not an action packed science fiction novel, nor is it a romance. 1Q84 is a rewarding read for the strong characterisation; with the leading roles self reflecting while the world around them changes.

You can read an excerpt of 1Q84 here.

And in the forefront of my personal life things have shuffled around. New job, new perspectives, new challenges, new fears. To go into it all would be a self indulgent bore but I’ll just say that I’m doing okay. Now onto the fun stuff!

Andrew Bird – Lazy Projector

Andrew Bird has returned with few surprises and a bit of side-stepping. It’s a shame because with all of the instruments he plays he could really explore his sound further. The song writing just isn’t as strong on the new album and comes off as a bit wishy-washy… Maybe he’s simply become too comfortable? That being said there are a few nice exceptions. Lazy Projector being one of them.

Sailor & I – Tough Love (Monde Idéal Remix)

What a beautiful song from Stockholm newbies, Sailor & I. This remix makes the song less dramatic and has been styled more like Oliver Tank. The slowing down and digital echoes really take it to a different level while remaining true to the original.

Zambri – Places

Thanks, Zambri. Another fucking reason for me to hate not living in New York! I would really feed off the buzzing music life there. But as it is it’s taken me a while to hear Zambri. Zambri are a couple of talented but somewhat creepy sisters. Well maybe it’s just their music that’s creepy… I’m thinking specifically of the ICBYS song and video. Places is a bit more like Niki & the Dove and nicely poppy. But I’ll admit, I’m loving it all so far!

Asbjørn – Criminal

I haven’t felt this good about a song since Doves did good music! I discovered this Danish guy on The Burning Ear’s blog. TBE also compared Asbjørn to When Saints Go Machine who I also discovered thereafter. Thanks Burning Ear!

Lo-Fi-Fnk – Kissing Taste

More good stuff from these guys. Where is the album? It came out ages ago but I can’t get my hands on it. Ah well. I’ll listen to it through single releases like Kissing Taste. Love Kissing Taste. I think the best thing about Lo-Fi-Fnk is that they have the kind of voices I imagine most men in the sixties had (kinda like The Monkeys).

Wowser Bowser – The Garden

One from my inbox. It’s quite upbeat and pleasant and I feel like that’s been oddly missing from my life lately so thanks, Wowser Bowser. What a chirpy song. It makes me want to frisk about naked on a stranger’s lawn.

Nneka – Shining Star

You’ve heard Joe Goddard’s fantastic Hot-Chip-like remix of this song. Now let’s all pause for an internet-second to acknowledge Nneka who has a really delicious and soulful voice!

I’ve been enjoying Skins this season but MAN is it DEPRESSING! The ending of the last episode was so depressing it bordered on silly. How much shit do these kids need to go through? It was at such a good point last season. The characters were likable, they developed a fair bit, forged relationships. And now it’s back to the maniacal life and death stuff we’ve copped from every other generation. Ah well, I’m a sucker for it anyway, and too old to make judgements about what the children of today experience so I’ll just keep my gob shut.
The music is as always, pretty great. The last episode included a debut single from I Am Harlequin. It’s sad, like season 6 of Skins, but pretty.

What I seem to neglect is good ole fucking rock. Where has it been in my life lately? Every so often (usually when I’m by myself) I’ll put on Rage Against the Machine, Guided by Voices or Stone Temple Pilots and feel that cathartic release I need. Maybe there’s not a lot of rock on my blog because I think it’s hard to get it right. There seems to be a thin line between an aggressive, rhythmic and sublime expulsion of energy and self-indulgent waywardness. Pelvic seem to stay on the former side of that line, and have reinvigorated my love for rock.

Pelvic describe themselves as “the result of some epic piano, some dancy toons, some spastic punk, some grinding bass and some electro-rock all together in a pot of middle region motions”.
They are possibly only the second Canberra artist for me to blog about (after Josef Salvat, who I hear has left for London) but they’re well worth the mention, sounding a little like Queens of the Stone Age and even, at times, Elliott Smith. But my review is somewhat premature as I’m yet to see em live. I hear that’s where you get the full throttle thrust.
Those in Canberra this weekend should see what they’re like at Transit Saturday night (10 March).
Details via their facebook page.

You can download Pelvic’s great debut EP below:

Pelvic – The Undo

Smith & Frank are a relatively unknown duo from Brisbane (Toby Phillip Meadows and Taija Marie Davis). Their music is a soft, dreamy, unique and whimsical style. The song Charlie is actually pretty sweet. It’s got a fairly simple guitar line and lovely vocals but it also has some nice peaks throughout, what with the keys and probable computer play going on.
It’s very fitting that they cite Glasser as one of their influences. Bring on some more good stuff please, Smith & Frank!

Smith & Frank – Charlie

Smith & Frank on Facebook

It’s still the stupid season (or “silly season” if you’re a purist). This means lots of parties and EVENTS, and exhaustion because you are getting old. And you can’t party too much anyway because your nosy neighbour wants your tree trimmed but you still feel like you are too busy having FUN! And in the end your idea of fun is settling for marathons of Revenge and Parenthood because there’s not much hard hitting drama lately.
And while you haphazardly try to clutch at the crumbling remains of your youth, all of the female musos are modelling. Lana Del Rey, Lykke Li… Is that the next step for artists now? Modelling? Isn’t it usually the other way around?

Oh right, this is a music post! There’s plenty of good new music out there lately and I’ve also delved into the archives (i.e. my falling-apart cd booklets) for a couple of old nuggets that the internet has tried to make you forget about.

Rihanna – You Da One

Howler – Back of Your Neck

San Cisco – Rocket Ship

Machine Gun Fellatio – Pussy Town

The Rapture – No Sex for Ben

Noddy – Black Heart

Foxes – Youth (Monsieur Adi Remix)

Let me know your thoughts and feel free to list or link your tops of 2011. Happy 2012! I feel it’s going to be a wonderful year, especially for music!

10 Little Dragon – Ritual Union

This is sadly not their best work. But I can’t leave such a talented and subtly engaging band off the list. I’m not sure what it is about the rhythm of their music and the at times almost dreary flat pitch ebbing from beginning to end; it is dark but deeply soothing and almost hypnotic and meditative.

Little Dragon – Little Man (Woodhead Remix)

9 Oh Land – Oh Land

With all the serious players out there sometimes you need something a bit dumb and silly. Oh Land’s girlish up-beat pop, though not entirely new, is refreshing. I’m not sure if I’ll love this album forever but I’m thankful it was a bit of fun for last year.

8 Gil Scott-Heron and Jamie xx – We’re New Here

I take no issue with The xx’s Jamie Smith exploiting the hype of Gil Scott-Heron’s husky and embattled I’m New Here from 2010 and adding his own beatsy signature.

After seeking permission, in hand-written letters, Jamie xx gainfully added texture and further musical substance to the beautiful bold ramblings of the wise jazz poet. Sadly, it has become a final collaboration, with Scott-Heron’s passing last May.

Gil Scott-Heron and Jamie xx – I’m New Here

7 Jezabels – Prisoner

I can understand why some have found this album somewhat disappointing. Early on in their career Jezabels gave us lighter songs like Disco Biscuit Love. It seems that after the song Hurt Me gained some attention, though, they’re eager to dunk their songs into the melancholic. And while the result of this is an album which, at times, begs for a breather in tone, each songs stands firmly on its own feet. Pull any song from the album and you’ll love it.

The promising thing with Jezabels is that they are eager to challenge themselves. Rather than releasing a debut half full with already released hits, they introduced a bold new single Endless Summer ahead of 12 new discoveries.

Jezabels – Long Highway

6 Florence + the Machine – Ceremonials

Florence Welch didn’t do anything too new this time around, but it would almost be a shame if she had. Even from a relatively early listen of the album it’s obvious that, as with the last, the songs will shake off the confines of the album and become singles of their very own, remixed, reworked, and loved by many.

With Ceremonials Welch precociously observes a fundamental part of religion and extends it out to the rituals of daily life; something which Lady Gaga last year failed to do.

5 Bon Iver – Bon Iver

I never really caught onto For Emma, Forever Ago because the music, while easy on the ear, was a bit too samey. There was certainly nothing “wrong” with the album, it just didn’t stand out for me.
Receiving some attention from Kanye West and trying out his own hand in electronic music has perhaps lent Iver some perspective. I find this self-titled LP more accomplished and developed. Each song offers something new; a bit more guitar here, a bit of bass saxophone there, and the vocal arrangements are divine and affecting. It’s no wonder the vocals are more striking – Iver says he brought in a lot of people to change his voice. I’m not quite sure what he means by that but the end result is rewarding.

Bon Iver – Wash (seath Remix)

4 Jay-Z and Kanye West – Watch the Throne

I almost don’t want to like this album because both Jay-Z and Kanye West have conceitedly taken this opportunity to pat themselves on the backs for fame well done.

And yet, like West’s My Dark Twisted Fantasy, it’s hard to ignore the music itself. The songs are emotive and moving, sampling songs like Feeling Good and Cassius’s I Love You So but adding their own swagger. And the album is a great introduction to Frank Ocean; a natural vocal talent deserving the praise of these self-congratulatory rap gods.

3 Theophilus London – Timez are Weird These Days

Nope, last name-London, first name-Theophilus, is not from London but from Brooklyn. And you get that impression from his music. The album explores a range of styles, never straying too far from the catchy rap-cum-R&B at the core.

Every single song on the album is a slice of near-perfection, delivered with a succulent take-no-prisoners beat. It’s usual for a lot of American rappers to disappear up the arse of their own ego, almost mocking their listeners as if they were begging their heroes to shit out the next bar of gold (see number 4 on this list).

Not so with the seemingly keep-it-real London, whose experiences are shared not overlorded. On a couple of songs he lends the mic to a couple of lesser-knowns named Holly Miranda and Sara Quin. London hasn’t cheated by riding the coat-tails of his more formidable contemporaries. He knows his music is good and he has waited patiently for it to reach the ears of his potential fans.

Theophilus London – Stop It

2 tUnE-yArDs – whokill

I first saw New England’s Merrill Garbus (a.k.a. tUnE-yArDs) in New York City at a free gig in Central Park supporting yesterday’s news, Basia Bulat. I was there for Bulat but I left feeling way more excited about this energetic tribal-like drum basher. She is a force to be reckoned with and in a fight between her and M.I.A I’m not really sure who would win.

Merrill’s talent is founded perhaps by her self-confidence. On stage she was so vibrant and happy that I thought she was going to burst out of her own skin!

It’s ironic that tUnE-yArDs supported Bulat because the contrast highlighted what has become something of a sad pandemic; wussy female performers – whose gentle, careful and mundane lullabies bore – scoring top billing time and again. More female performers, indeed more performers in general, should have a bit more fun and get a bit messier with their style.

tUnE-yArDs – My Country

1 SBTRKT – SBTRKT

SBTRKT (pronounced ‘subtract’) is like the Banksy of the music world: no one knows who he (she?) is but his reputation precedes him amongst his peers. Which is perhaps why for the debut album, SBTRKT cleverly employed the guest vocals of Little Dragon’s Yukimi Nayano and the irresistible Sampha (his voice is like golden syrup!).

The influences are evident in the music SBTRKT has remixed (Modeselektor, Radiohead, Underworld, Basement Jaxx). For the most part though, this dub is smooth and subtle, unique and incomparable. It captures the buzz of the city at night, and the soul of an alienated wanderer. The album, brimful with strong singles brought together with the magical instrumental, is the rare kind that will stand the test of time.

SBTRKT markets himself in such a way as to avoid scrutiny and publicity. He wants the music to speak for itself despite journalists (like me) attempting to characterise his work. In a recent interview SBTRKT said, “I’ve always had the belief that people should respond to the music foremost, based on whether it’s good or not, not based on the story of the person who made it.”

For those yet to have heard the album, I recommend you heed SBTRKT’s words.

SBTRKT – Hold On (Live Lounge)

TRIPLE J HOTTEST 100 VOTES:

Bombay Bicycle Club – Shuffle

Avicii – Levels

Apart from playing the Laneway Festival, Active Child is also doing sideshows in Sydney and Melbourne. Which is great for those of us who can’t make the festival (wah!)!

Tickets to the Sydney show may be purchased here

Tickets to the Melbourne show may be purchased here

Active Child – Johnny Belinda (Unreleased Version)

Wolf Gang – Back to Back (Active Child Remix)

The attention motivated Husky to move forward, recording the album Forever So. While they seemed eager to develop an album relatively quickly, they also put in the hard yards to ensure their debut was of a high calibre. Forever So was recorded patiently over a number of months, not in a recording studio but in Gawenda’s backyard bungalow. Of course such a venue requires setting up with sound-proofing, among other things. The decision not to record in a rented studio space was designed to spare them from “the feeling that time’s running out and that we had to finish by a certain time. We knew that recording an album would take space and time, and we wanted a cosy feel that would carry across to the sound of Forever So.”

But it wasn’t an easy process. “We based most of what we did on blind intuition and watching instructional videos on YouTube,” Gawenda says, slightly unhinged. “Honestly we didn’t know what we were doing. We spent quite a few months feeling our way through it and teaching ourselves how to record, where to put microphones… But once we found our footing, and realised that we were achieving what we had set out to achieve, we gained a little more confidence and it became an amazing experience! It was really satisfying knowing that we had arranged it all ourselves.”

In promoting the album’s release, Husky is currently touring Australia, pretty much everywhere. They even performed in Belongil (Byron Bay), including an impromptu gig. They are playing just about everywhere, it seems… except Canberra! “A couple of people have asked us about that,” Gawenda starts, sheepishly. “We were playing so many towns that I didn’t really think about it until somebody mentioned it. And I thought to myself ‘why not Canberra!?’ So I will be making sure that on our next tour (sometime early next year) we come to Canberra.”

The current tour involves performing at the meritorious Laneway Festival. “They always have amazing line-ups,” Gawenda marvels. “Rather than booking a few huge headliners and then not such good quality bands for the rest of the line-up, the primary goal of Laneway seems to be to have a consistently good line-up throughout. I think Laneway also has a way of booking great bands that maybe no one’s heard of or heard a lot from. But [ticket holders] know that when they attend, most of the acts are going to be enjoyable.”

You can catch Husky live at the Laneway Festival at the Sydney College of the Arts on Sunday February 5. Tickets through the festival’s website.

Husky – How Do You Feel