Nigel over at Under The Counter wrote a wonderful post the other day about ‘things that are ordinarily ecstatic‘, like the minty freshness of just-brushed teeth and a long-forgotten song popping up unexpectedly while listening to an old mix CD.
I loved this post, because there is so much beauty in the everyday, and I think we forget this sometimes. One of the things that I listed in my reponse to his post was about saying good morning to random strangers as I pass them on the footpath during my (semi-regular) morning run. There is also an old man that I see every so often, depending on what time I drag myself out of bed, who will wink and lift his hat to me as I run by.
I started thinking about this further, and I find it really strange how reluctant people are, in general, to even make eye contact with strangers on the street. I really don’t like doing it myself to be honest, I don’t know if it’s shyness or a lack of confidence or if I don’t trust people or if we’ve all just become really insular, but I find it quite difficult to look a stranger in the eye as I pass them by and I have to almost force myself to do it sometimes. I feel bad when I don’t do it though – after all, what’s the worse thing that can happen? They don’t look back at you?
It wasn’t until I went overseas I think that I started doing this more often. I was just so thrilled to be in a foreign place that I couldn’t help but look at everything I passed, including the people, and I relished the conversations that I had with the locals, most of which started with a simple hello and usually developed further when they heard my broad Orrrstralian accent (though it’s nowhere near as twangy as Missy Higgins or as over-the-top as Steve Irwin’s, thankyou very much!) Being overseas and having all these new experiences meant that my mind couldn’t help but become more open and receptive and somehow that lead to me becoming a little less reserved when it came to talking to new people. Being over there by myself didn’t hurt either – I was almost forced by circumstance to meet people.
This all seems quite obvious when I write it down, but as somebody who often finds it quite difficult to interact with new people, the experiences I had meeting people overseas – people who went out of their way to make me feel comfortable and welcome – have made it a little bit easier for me to get up the courage to look strangers in the eye when I pass them on the street here at home.
Now I make sure that I look at people when I pass them because more often than not you’ll get a smile or a hello or at the very least, that strange little grimace that people do when they’re not sure why you’re looking at them, but they’re at least willing to acknowledge your existence. And it really is nice to share that moment with a stranger, a moment where you’re both treading in the same space and sharing the same air, even for the briefest of times.
Image: Isn’t this a gorgeous photo? This girl looks a lot wiser than her years. It was taken by Sam Hood in July 1935 and is from the State Library of New South Wales’ collection on flickr.
Sydney’s Dead Letter Chorus released their wonderful debut album The August Magnificent here in Oz in 2008, but they’ve recently scored themselves a record deal that will see it released in Canada on March 16.
Thanks to the wonders of twitter, I was also alerted to a new video that the band have put together for ‘Down In Your Valley’.
Check out our stop motion clip for “Down In Your Valley” – filmed in our backyard. Cost us $20.
I love this video, it’s cute and quirky and a really simple but effective idea. I especially love the sparklers at the end.
You can hear more from Dead Letter Chorus at their myspace, read my review of their 2009 gig with Hey Rosetta! here, and check out the video for my favourite DLC track ‘Magnolia Farm’, here.
Suggestion: Order your favourite takeaway and eat it lying on the carpet in your living room. Unless it’s soup. That could get messy. It’d be your own fault though, I mean who orders takeaway soup?
Suggestion: Watch the latest season of Weeds or The Office online because they’re not out in Australia yet.
Suggestion: Kick off the weekend with 8 in a row from my 2010 playlist (songs downloaded in 2010, not necessarily released in 2010). It was going to be 10 but the net has been a little uncooperative today and I was getting pretty tired of the slow upload times.
The Corner has some seriously top acts coming up in the next couple of months. I got pretty excited about Edward Sharpe & The Magnetic Zeros (Saturday 27 March, tickets on sale Feb 5) but it wasn’t until I scrolled down a little further that I really got going!
The Mountain Goats are all booked to do a show Wednesday 14th April and there’s no way I’m going to miss them like I did last time. Tickets are on sale Friday 12 February and I’m predicting they’ll go fast, so no faffing about!
Given their HUGE back catalogue there’s no telling what songs will be played on the night, but I’m holding out for this one.
February 2, 2010 I Will See Some Footie Or Know the Reason Why Yes indeed: we are coming back to Australia! We are psyched. Psyched because we love Australia; psyched because we love playing music there; and psyched because we get there during week three of the AFL Premiership season. We will see you at the shows! And then we’ll see you at the stadium! And then we’ll see you at some more shows. Can’t wait!
This is cute, but funny also because it’s ‘footy’ here, not ‘footie’. Pedantic I know, but it gave me a giggle!
These posts are usually few and far between (mostly due to laziness rather than a lack of great posts) but I’ve come across several good links these last couple of days that are definitely worth sharing.
I’ll leave you with two tracks by the wonderful Icelandic indie-folk outfit Seabear. ‘Lion Face Boy’ is the promo song I received in my inbox, and the gorgeous ‘Hospital Bed’ is just one of the many other tracks that are doing the rounds on the blogs at the moment. These guys are certainly picking up quite the following – and rightly so.
Every now and then I get all melancholy like and I sit at my dining room table, single floor lamp switched on behind me, a golden glow in the corner of an otherwise darkened room. Curtains still open, blinds half drawn, I type and dream and allow myself to sink into dark golden corner music.
I’m holdin’ you close in the back of my mind
And raise my glass ’cause either way I’m dead
Neither of you really help me to sleep anymore
One breaks my body and the other breaks my soul
My recent (re)obsession with this next song* began a couple of nights ago. Unable to sleep, I popped my headphones in and listened to this three or four times while lying in bed, dreamily tracing the shadows on the ceiling. I’ve heard this countless times now and it’s usually the gorgeous strings that I focus on, but this time it was the high-pitched flute flourishes that captivated my attention. They come in around the two minute mark and are simply beautiful.
I know what it’s like to be floating along
Without a warm body to heap your cares on,
O on and into the night.
For I have been bad now for twenty years long,
For centuries you have been pure and strong,
If you thought me a good place to stay you were wrong,
O song, did I lead you on?
While faffing about on the net checking out The Decemberists, I came across a live cover that Petra Haden did with them back in 2005. There are few people who can hit those Kate Bush high notes. I love the violin at the end too.
A talented violinist and vocalist, Petra Haden has performed and collaborated with a slew of other bands including The Twilight Singers, Beck, Luscious Jackson, Jimmy Eat World, Queens Of The Stone Age, Green Day and Weezer.
You can find a few of her covers floating around the net as well – in fact, you can grab a couple more right here.
I wasn’t planning on posting anything about the Triple J Hottest 100, but when I checked it out yesterday and saw that ‘Little Lion Man’ by Mumford & Sons came in at #1, it made me think about the quick cover version that Powderfinger did at Big Day Out the other day.
Before I go any further though, let me say that I love Mumford & Sons’ Sigh No More and named it one of my Top 5 Releases of 2009. This is not an attack on the band or the album. In fact, it’s not really an attack at all, and I’m not sure how to answer my own questions here, but I’m wondering all the same.
Prior to launching into their rendition of ‘Little Lion Man’, lead singer Bernard Fanning said something about how he’d just found out what the #1 track was. As he played the first few notes the whole crowd – already massive as most people were there waiting for Muse – roared. There would’ve been few people in the audience who weren’t shouting along, and naturally the crowd got even louder when they reached those pivotal lines
but it was not your fault but mine
and it was your heart on the line
I really fucked it up this time
didn’t I, my dear?
As I looked around me (warning: generalisations up ahead) I noted that most of the crowd were trendy metro kids (I believe the American term is ‘hipsters’) and I wondered two things.
a) Would any of these people have bothered listening to Mumford & Sons, if it wasn’t for Triple J’s relentless playing of ‘Little Lion Man’**, conveniently the only song to feature the word ‘fuck’ in the chorus?
I mean, people SCREAMED out the word ‘fucked’ and clapped and cheered and went all kinds of crazy. It was the same at Lily Allen – every time she swore people went nuts. What is it about people swearing in public that’s gets everybody so worked up? Watching the telly and listening to people speak, swearing is already abundant and so I don’t understand why people still get so excited about it.
I feel that I should say something here before I continue. I’m not anti-swearing. I swear with the best of ‘em. Not so much here on these pages because I think you can be a decent writer and express your opinions without swearing all the time, but with certain friends and family, yes I do swear. Swearing can be incredibly funny and clever when used in the right way.
Having said that though, I’m not a fan of people swearing just for the hell of it. Or when people swear so often that it’s obvious just how limited their vocabulary is. Or when you’re at the supermarket buying your chocolate and avocados and in aisle 8 you can hear some parent screaming at their four year old to shut the fuck up and get off the fucking trolley.
There is a time and a place. And you shouldn’t swear at your kids.
b) Would Triple J have bothered to include Mumford & Sons on their rotation if they had not written a song with the word ‘fuck’ in the chorus?
Triple J pride themselves on being all daring and alternative. A lot of the songs they play involve swearing. Is that all it takes to be featured in their programming?
Which brings me to a third question:
Would Mumford & Sons’ ‘Little Lion Man’ be #1 on the Triple J Hottest 100 if it didn’t say ‘fuck’ in the chorus?
** I found out from reading the comments on the Triple J Hottest 100 post that ‘Little Lion Man’ was also picked up by popular mainstream radio station Nova, which probably explains why so many people were able to sing along the other day.
I went to my first Big Day Out at Flemington Racecourse on Australia Day. I had high hopes, and although it was an interesting experience I’m not sure that I’ll bother with it again. Let me explain.
After getting the merch hunting out of the way, we headed to the Green Stage and were in time to check out The Temper Trap who came on not long after we found a patch of shade on the side of the hill. I like ‘Sweet Disposition’ and I was interested to see how they perform live. I don’t know if it was because we were so far back, but they sounded pretty ordinary to be honest. The mix seemed off and the vocals were pretty flat, but their large fanbase didn’t seem to care. I, however, remained unmoved.
By 3.30 the largely ‘trendy’ crowd had moved off to make way for the much smaller crew that gathered for upcoming act The Decemberists. I was surprised at how much I was looking forward to checking them out actually – up until a few weeks ago I’d really only ever had a passing interest in these guys but I’d heard that they were a great live act and not to be missed.
The rumours proved to be true. They opened with ‘July July’ and that was all it took – I was hooked. I can’t provide an accurate set list because I’m not familiar enough with their catalogue, but I do know they did ‘The Rake’s Song’, ‘The Engine Driver’, ‘The Crane Wife 1 & 2′ and ‘The Crane Wife 3′ which was my favourite song of the show. Another highlight was ‘16 Military Wives’ which involved loads of crowd participation on the ‘la di la di las’. They didn’t do ‘The Wanting Comes In Waves/Repaid’ which I’d really wanted to see, but I coped!
Colin Meloy, who wore a t-shirt emblazoned with the Aboriginal flag, was full of banter and was really laid back and entertaining between songs. Drummer John Moen was also great to watch, twirling and catching his sticks and joining in the banter with the crowd.
I spent a lot of time checking out Nate Query on the upright bass – he was pretty cool.
Chris Funk delivered on pedal steel (I love pedal steel).
Jenny Conlee was fantastic, playing keyboards, accordian, melodica and drums at various stages throughout.
So yes, The Decemberists were excellent, playing all their catchiest songs and really working the crowd, which started off quite small but gradually got bigger as more and more people were attracted by their great sound. Although I told my friends as we left that I could already go home quite happy, little did I know that I’d just seen my favourite act of the day.
We dagged around for a bit while we waited for Lily Allen who we all had a passing interest in and thought she might be worth checking out. The crowd was already massive when we arrived and we had no great desire to push our way through it so we hung out down the back – hence the sea of people you see in the shot above!
I don’t have a lot to say about Lily Allen. She wore an Australian flag top and told us that she had gastro. Nice. I don’t really get the appeal I have to say. I mean she’s cute and rebellious and whatnot and her songs are kinda catchy but it’s all a bit too fake for me. Take the cigarettes, for example. She kept running off stage to light them, and then proceeded not to smoke them. Posturing, much? Anyway. She was better than Dizzee Rascal, who I was unfortunate enough to catch the end of, I can tell you that much.
Before I leave Lily behind forever, I’d just like to address the two stupid girls who were dancing on the bins right next to me and almost fell on me – you’re both idiots. Because if you can’t say it semi-anonymously on the internet, when can you say it?
I had to sit down at this point. If nothing else, Big Day Out really forced me to face a sad but true fact – I’m getting old. Everything hurt. My legs were sore, my knees were stiff and my back was screaming at me. The good thing about the setup at Flemington is that there’s loads of grass to park on (albeit dry and brown) and lots of shady spots to sit. My bag felt considerably lighter after ate most of the food I’d brought. Sadly this didn’t seem to help my back, it was still screaming abuse at me and continued to for the rest of the night.
We wandered back over to the main stage and started the long wait for headliners Muse. Powderfinger, who I liked back in the days of Oddessey Number Five and Vulture Street, came on at this point and god they were boring. They played four or five songs off the new album which I still maintain is just not something you should do at a festival when your time is limited. You play one or two new songs maybe, but you stick mainly to the crowd favourites because that’s what people are there for. The attempted banter from Bernard Fanning was uninspired and ‘These Days’ which is arguably one of their best songs was given the soft and sensitive treatment when it should’ve been a loud singalong. The only highlight was a quick cover of Mumford & Sons ‘Little Lion Man’. This was only the second time I’d seen them live and it’ll be the last I’m afraid.
Which brings us to Muse. I don’t have a lot to say about them either really. One of our party had abandoned us hours earlier to stake out a spot in the pit and she had an awesome time, coming out a bit battered and bruised and all kinds of euphoric, but I was pretty over things by the time they were on. I spent half the time trying to see past the giants surrounding me and being shoved by idiots who couldn’t just find a spot and bloody well stay in it. God I sound old, don’t I? It’s really quite sad. Everyone else seemed to be having, like, a totally radical time though.
Some people even climbed trees to get a better view. And then others threw things at them.
Muse did all the songs you’d expect, opening with ‘Uprising’ and moving through ‘Supermassive Black Hole’, ‘Time Is Running Out’, ‘Starlight’, ‘Knights Of Cydonia’ and a whole heap more that I should remember but don’t. I seriously couldn’t see anything apart from a glimpse of the screens every now and then (my camera was way above my head to take that stage shot above) so I can’t tell you anything about any onstage antics or whatnot, but I think they just did their usual show and all was well.
Getting out of there was a whole other adventure. For some reason there was only one exit through a gate about two metres wide. Funnelling tens of thousands of people through a two metre gap? Yeah, not pretty. After about an hour of crowd crush, which was bloody awful, the security guys finally figured out that hey! It was a double gate! And that they could open the other side! Idiots.
So yes. I think the main thing I learned from my experience was that I should’ve gone to see The Decemberists when they did their sideshow in Melbourne, bypassed Big Day Out completely and saved myself 140 bucks.
Lastly, I really don’t understand the cruelty and stupidity of some people. What possible cause was served by gatecrashing Flemington Racecourse and releasing 20-odd racehorses, two of whom were seriously injured and will never race again?
There’s much to be said about the audacity of people who try and perform Aussie hip hop or “Skip Hop”; it usually sounds disjointed, harsh and extremely wannabe. Case in point: The Hilltop Hoods, Australia’s horrible attempt at commercial hip hop. I’m Australian and even I have to put on accent to match the harshness of their’s.
While it was arguably the organisers’ least adventurous festival, and those seeking unexpected gems had to dig a little harder, there were still pockets of surprise. Local Afro-beat collective the Public Opinion Afro Orchestra kicked off the day with a high energy set of Nigerian-inspired dance music. Atlanta-based metal band Mastodon got the crowd head-banging and kicking up a dust storm early and alt-country band the Decemberists impressed many with their wistful tunes.
I also came across The Vine’s review of last year’s BDO, an excellent piece which discusses, among other things, the over-the-top patriotism that seems to be the main focus for many Big Day Out attendees:
What runs through peoples heads I wonder? As they collect their change for the train, Big Day Out ticket, Australian flag cape, fake Australian flag tattoos, southern cross boob tubes and shorts?
“I am Australian. I will wear my flag. I will let people know I am Australian. You could be too but…I’m just letting you know. Today. Who I be.”
Somewhere in between the Cronulla riots and the ensuing controversy surrounding the banning of the Australian flag at the 2007 Big Day Out, wearing our nation’s colours at music festivals became something different. Ugly. Jingoist. Stupid. And not because it used to mean much of anything in particular, but because before the riots…no one really did it. Meaning that those who take up the attire now, do so knowing – presumably – of its by-product relationship to the block-headed patriotism, racist overtones and connotations of violence that currently accompany it. At some point the flag needs to revert back to its original intention surely, but until then those that shout about it in public (“Australian and proud of it mate”) and wear the flag like a badge of honour (always in packs, always accessorised with matching tatts, flags, hats, sunnies, thongs, shorts, etc) stand as some blurry grey statement of one nation in solidarity. Against, presumably, those who aren’t.
The Vine’s article from last year is in two parts – Go here for Part 1 and here for Part 2
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If you want to send me music, please contact me with information about the artist as well as an mp3 or two for me to listen to. Heaps of artists send me stuff so it's likely that I'll only post about the gear I really like, but I do my best to check out every submission.
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