The Vine: Top Things of 2010 – TheVine Critics Poll

A list of my ten favourite music-related things of 2010, for The Vine.

Andrew McMillen: The 7 Best Songs and 3 Best Gigs of 2010

Songs:

Big Boi - ‘Shutterbugg’ (feat. Cutty)
Precis: Impossibly addictive; the single standout track from an album full of ‘em.

From the album Sir Luscious Left Foot: The Son Of Chico Dusty, reviewed in July for The Vine: “Built around a compact backbeat and unique usage of the talkbox, Boi’s chorus hook in ‘Shutterbugg’ – “Now party people in the club, it’s time to cut a rug / And throw your deuce up in the sky just for the shutterbuggs” – is irresistible. It’s one of the best singles of the 2010, regardless of genre.” (Link)

Crystal Castles – ‘Baptism’
Precis: A gripping vision of an electronic apocalypse.

From the album Crystal Castles II, reviewed in May for The Vine: “‘Baptism’ is the best thing they’ve ever written, surpassing Crystal Castles I standout ‘Air Wars’ by a considerable margin. On ‘Baptism’, they do everything right. Sheets of urgent synthesisers give way to a dainty, circular keyboard melody pasted over a pulsating beat, before Alice Glass’s pained vocals are met by the synthesised opening phrase cut into staccato triplets. ‘Baptism’ concocts an air of foreboding unlike anything they’ve summoned before.” (Link)

Foals - ‘Spanish Sahara’
Precis: Slow-burning pop songwriting perfection.

From the album Total Life Forever, reviewed in May for The Vine: “‘Spanish Sahara’ sits in the album’s centre; in turn, it forms the beating heart of Foals’ revised artistic direction. In stark contrast to their previously-accessible singles, the epic song’s payoff occurs over halfway into its seven-minutes. Singer Yannis Philippakis urges listeners – and himself, perhaps – to “Forget the horror here / Leave it all down, here / It’s future rust, and then it’s future dust”, as the song slowly builds upon a sparse introduction to climax amid an ethereal lead guitar melody, thundering tom rolls and, ultimately, a somber, circular synth pattern. As an artistic statement, ‘Spanish Sahara’ is peerless among indie pop circa 2010. (Link)

Surf City - ‘Icy Lakes’
Precis: The definitive noise pop track of 2010.

(Listen)

From the album Kudos, reviewed in November for Mess+Noise: “It’s a saccharine rave so wide-eyed and beautiful that you wish it to never end. While the rhythm section stays pinned to a groove, the guitarists shear off great chunks of the surrounding landscape with abrasive, Jesus & Mary Chain-like chords. Needling lead phrases punctuate each section, while the singer says “When your icy lakes swallow me” in the chorus over and over (or so I imagine; it’s pretty hard to tell through all the reverb). The result is a song more deserving of that idiotically-overused descriptor “widescreen” than any song that came before it. The best part is that the band is acutely aware of the rare musical alchemy they’ve tapped into, and opt to extend the jam to nearly eight gorgeous minutes.” (Link)

My Disco - ‘A Turreted Berg’
Precis: Musically ominous; lyrically, even darker.

(Listen on TheVine)

From the album Little Joy, reviewed in November for Rolling Stone: “Album closer ‘A Turreted Berg’  – characterised by a subterranean bass hum, a simple backbeat and screaming guitar squalls – is the single best song they’ve released. ” (Link)

Die! Die! Die! – ‘Frame’
Precis: Frantic, emotive, timeless.

From the album Form, reviewed in August for The Vine: “Closing track ‘Frame’ proves the singular highlight. It might be the most satisfying, most perfect song that Die! Die! Die! have ever released. Its sparse verses shiver in anticipation of the release offered by the towering chorus (“Give up the ghost, you can’t escape / We’re too close; I am here now”). ‘Frame’ is a masterpiece in three-point-five minutes.” (Link)

Tokyo Police Club – ‘Bambi’
Precis: Clipped electronica and sharp drums, intercut with a killer pop chorus.

If you asked me to pick a song released in 2010 that best evokes ‘joy’, this would be my first choice. It remains as exciting in December as when I first heard it in August. You should play it five times in a row, at least.

Gigs:

Metallica – Brisbane Entertainment Centre, Saturday 16 October (review)

“For the first hour, it’s exciting enough just to be in the same room as Metallica. Metal bands don’t come bigger than these four men, and since it’s been six years between visits, there’s electricity in the air. From the moment the lights dim and their introduction music – ‘The Ecstasy Of Gold’, the theme from The Good, The Bad and The Ugly – plays, we’re transported. We forget we’re in a big, shitty shed 20 clicks from the city centre. This show is about spectacle, and nothing’s done by half. It’s something special to witness a band who still sound fresh in a stadium despite having been in the game for nearly 30 years, and having punched in this weight division for more than half of that. This is their norm. By their standards, playing to 13,000-odd fans probably qualifies as an intimate show.

As they rip through the climactic vocal section of ‘One’ with blistering intensity (“Landmine! Has taken my sight! Taken my speech! Taken my hearing!”), I realise what a rare talent they have, to make some these tired-ass songs sound fresh. And then they follow up ‘One’ with ‘Master Of Puppets’, one of the greatest metal songs ever. There’s no-one not grinning, headbanging or fist-pumping. For some artists, reminiscence is a dirty word. Not so for Metallica, who dip deep into their back catalogue tonight, all the way back to their 1983 debut Kill ‘Em All. The house lights are requested for their finale, ‘Seek & Destroy’, during which dozens of Metallica-branded beach balls are dropped from the ceiling and punted around by both band and fans, and by this point, I can’t stop grinning. I’m not alone.”

Massive Attack – Brisbane Riverstage, Tuesday 23 March (review)

“They wield a back catalogue that makes lesser artists tremble, and they’re not afraid to use it. British trip-hop production duo Massive Attack close out their first Australian tour since 2003 with a commanding performance at the Brisbane Riverstage that delivers on all fronts: sonically, visually, and emotionally. Speaking to The Vine (link) on the eve of their Perth show nearly two weeks ago, Grant Marshall – a.k.a. Daddy G, who forms half of the core duo alongside Robert del Naja (3D) – spoke of how he’s learned that “you’ve got to give people something that’s quite memorable”. Check that box. Take a song like ‘Teardrop’. It’s that rare kind of musical composition whose impact is felt across generations, gender and race. Tonight, it’s performed by longtime Massive Attack collaborator Martina Topley-Bird, whose talented, vocal loop-heavy support slot proved a fascinating precursor to the main act. Their most distinguished tune has been reworked into an arrangement comprising little more than a backbeat and her beautiful voice that sings of love, loss and hope. It’s a touching moment for the thousands stood in silence, and as the song climaxes, I decide that it reaches a summit of human expression through music that few others can lay claim to.”

Faith No More – Soundwave Festival @ RNA Showgrounds Brisbane, Saturday 20 February (review)

“Immaculately dressed in pale suits, Faith No More immediately establish rapport with the tens of thousands who crowd the main showground bowl to witness the reunited headliners after their 12 year absence. Opening with a full-band lounge version of ‘Reunited’ by vocal duo Peaches & Herb, it’s made immediately clear that their ‘Second Coming’ tour is no half-baked cash-grab; instead, the band are serious about doing justice to what was left behind in 1998. Serious, that is, while maintaining the playful, casual air for which they became known. (During set closer ‘Just A Man’, Mike Patton hijacks a video camera and – mid-song, without dropping a note – forces the operator to film his cock, which briefly appears on the giant screens that flank the main stages – video of the incident.) Any doubts about their reformation were squashed the moment the suits walked onstage.”

To see the rest of the critics’ choices, visit The Vine.

Elsewhere: my 10 favourite Australian albums and five favourite Australian songs of 2010, for Mess+Noise.

The Vine interview: Big Boi

An interview for The Vine: face-to-face with Big Boi in Sydney. Excerpt below.

Big Boi – interview

In Australia for one night only to promote the new Need For Speed: Hot Pursuit video game, American hip-hop artist Antwan “Big Boi” Patton had been booked wall-to-wall with media commitments from the moment he arrived at the Hordern Pavilion. From 1pm onwards, he was being filmed, questioned, and photographed by an extensive media contingent, all eager for a moment in the presence of one half of the multi-million selling duo OutKast. In the hall adjacent, a few million dollars’ worth of cars are having their tires kicked – though not literally, as they’d probably be escorted from the building – by a couple of thousand gig attendees, all of whom were offered free tickets through a variety of web outlets. Initially access was only guaranteed to those who pre-ordered the new game, but in the weeks leading up to the event, it seems that EA and their partners couldn’t get rid of the tickets fast enough. Indeed, at the height of Big Boi’s kickarse, hour-plus-long set, the Hordern was only about half full.

Before the show, The Vine was initially scheduled for 10 minutes with Big Boi in a space upstairs at the Hordern that’d been designated as the venue’s green room. In actuality, it was a room flanked with thick black curtains, long tables, and a couple of dozen people milling around. A curious combination of anticipation, expectation, and desperation hung in the air. Only two chairs were set up, atop one of which sat Big Boi in front of a television, an Xbox 360, and the new Need For Speed game. The other seat was warmed by a revolving door of interviewers, most of whom were committing their conversation to video. This wouldn’t be a problem if each team filming used the same chair, game banner and lighting set-up, but of course, it’s never that easy. The Vine watched as a half-dozen video teams – mostly Australian, but a couple of New Zealanders, too – generally spent more time re-arranging the set than they did actually speaking to Big Boi.

It’s past 8pm when my interview opportunity arrives, and by that time, I could tell that the rapper was well and truly over posing for photos and answering the same five questions. I’m informed that since they’re running behind schedule, my time with Big Boi has been cut in half. Great! “Try and keep it close to that five minute mark,” his tour manager tells (warns?) me; “We wanna get him to relax a little bit before the show.” And fair enough. I’d moved the chairs a few metres away from the television because I wanted his full attention, but his tour manager insists that they be moved back, directly in front of the screen. Big Boi mishears my name (“Anthony?”), shakes my hand, picks up a controller and turns his sunglass-clad eyes to the game, where he’s driving a yellow Lamborghini at high speed through a beautiful, snowy mountaintop setting. This will take some skill.

–

“So I hear you’re a bit of a gamer,” I begin.

“Yeah, man,” he replies. “I do a little somethin’ here and there, you know.” Eyes on the screen. Mind more interested in the game than in speaking with yet another journalist he’ll never meet again.

Full interview on The Vine. More Big Boi on MySpace. The music video for his song ‘You Ain’t No DJ‘ is embedded below.

Elsewhere: a review of Big Boi’s debut album, Sir Luscious Left Foot: The Son Of Chico Dusty for The Vine.

The Big Issue story: John Butler Trio

A story for The Big Issue #362: a profile of the Australian roots/rock act John Butler Trio ahead of their Australian tour throughout August and September 2010.

Click the below image for a closer look, or read the article text underneath.

John Butler Trio: Riding The Rails

Over the past 15 years, John Butler has strummed and sung his way to his present status as one of Australia’s most recognisable musicians. But people’s perception of the 35-year-old, who was born in the US and moved to Australian when he was 10, can vary widely, as Butler is all too aware.

“I think to some people I’m a blues artist. Some people think I’m a sensitive new age guy who writes songs about his children and his family. Some people think I’m somebody who’s lived in Australia for 24 years, and is Australian, and loves Australia but still has an American accent, he laughs. “I’m many things to many different people. I think some people hate me, some people love me and there’s probably a lot of people who don’t give a shit – and that’s probably a healthy thing.”

“I’ve tried to let go of what I hope people see in me, because for quite a long time I felt misunderstood,” he says. “I have these ideas: I do care about peace and justice, the truth, my country and its land and culture. For that to be pigeonholed; for that multidimensional point of view to be put into a single point of view of a ‘tree-hugging hippie’ was frustrating, for a long time. I felt that a lot of these things are not fringe issues. They concern us all; they’re everyday people stuff.”

Maturity has lent a new perspective to Butler’s interpretation of such misconceptions, though. “I’ve learned not to care so much about that misunderstanding,” he admits. “There’s bigger fish to fry. I’ve got two children who are amazing. I’ve got an amazing band. I have a fantastic, amazing wife. I need to worry about what they think about me more than how the general media is going to misconstrue me to make it more palatable to a reading audience.”

The Big Issue caught up with Butler in the midst of an intensive European tour, which immediately followed a triumphant series of shows in the United States. The US highlight was the Trio’s first headline show at a capacity Red Rocks Amphitheatre in Colorado, a buzz that Butler likens to his skateboarding background.

“When I used to skate really heavily – I still skate, but when I was riding and trying to get sponsors – I’d climb these eight-stair handrails and ollie, 50/50 grind on ‘em. I was thrilled by it, I wanted to do it, it excited me, and at the same time it scared the fuck out of me. I’d played Red Rocks seven or eight times before and always opened up for other people. To be headlining that show and playing to 8,500 people – the biggest audience we’ve ever had, anywhere in the world – it came like a huge fucking wave, a big wave that I dropped into and I was just trying to make sure I didn’t fall off. It was exhilarating, scary, exciting and daunting; all those things. It was like an eight-stair handrail.”

With so much time spent overseas, how does Butler retain his connection to Australia? He replies: “I know this almost sounds like a Qantas ad or something,” he replies,”But wherever I go in this world, I’m taking the spirit of our country with me… It’s like when they see AC/DC or The Cat Empire, or whoever else: we’re all ambassadors for our culture. Every time we play, we’re like – in a slightly, kind of defiantly arrogant way, but with great respect – ‘This is how we fucking roll. This is recipe and this is how we cook. Come to our kitchen, and let’s get it on!’”

The John Butler Trio song ‘One Way Road’ has been used recently on the One HD sports channel. How does Butler feel about being associated with TV advertisements? “I see these things as kind of like infiltration. I’m not really a sports fan, but I don’t have anything against sports.”

He starts singing the song’s lyrics to himself – They come, they take / It’s never enough because they can’t relate / To the real world, thinking that the oyster is just for the pearl – before interrupting himself. “Oh, big lyrics! Of revolution and progression. For that to be on a mainstream TV station?” He laughs: “I’ve infiltrated these mofos! I don’t have a problem with it. In a way, I’m using their forum to spread a message that I think is important. I feel like, okay: the revolution will be televised!”

But one thing should be made clear: Butler keeps control of which ads his music will appear in. “It doesn’t mean it’s a slippery slope to doing a BP ad, by any means!”

by Andrew McMillen

The John Butler Trio are touring Australia through late August until late September. For more details, visit johnbutlertrio.com

Elsewhere: the full transcript of this conversation between John Butler and myself, which was published on The Vine.

More John Butler Trio on MySpace. Music video for their song ‘Revolution‘ embedded below.