I’m gonna fly like a bird through the night… A review of Sia’s 1000 Forms of Fear

sia-1000-forms-of-fear-650In a week where I have been defending myself against charges of hipsterism (I really like scarves, dammit), I fear that I am going to add fuel to the fire by reviewing Sia’s new album ‘1000 Forms of Fear’.

I liked Sia before she sold out.  There.  I said it.  When I was in uni, Breathe Me was a regular feature on my playlists.  The album, ‘Colour the Small One’, was never going to rate on anybody’s list of favourite albums, but it was still solid and dependable when you needed a bit of a sulk.  The next proper album, ‘Some People Have Real Problems’ was an altogether different beast.  Sia claimed that she only ever wanted to make pop songs, so SPHRP was filled with songs like Clap Your Hands and The Girl You Lost to Cocaine, with Soon We Will Be Found as a song in her old style: mopey, moody, and melodramatic.

Oh yeah.  Feel those strings.

Then ‘We Are Born’ was released which was a runaway success, especially Clap Your Hands and You’ve Changed.  That brings us up to ‘1000 Forms of Fear’, the first single from which, Chandelier, has been an enormous hit in the US — not least due to its amazing music clip.

Everything that’s good about this album is right there in the single.

Continue reading “I’m gonna fly like a bird through the night… A review of Sia’s 1000 Forms of Fear”

Sun is cold and rain is hard… The neglected world of music criticism #arts

listen-out (1)


The terrifying image left was the still image advertisement for the Listen Out festival.  There has been a wave of cancellations and downsizing in the music festival world — perhaps not unreasonably given the ridiculous rate of growth we’d seen over the past decade.  Parklife was perhaps the largest festival for dance music in Australia but, in response to the realisation that we’d hit Peak Music Festival, it refashioned itself as the artistic, smaller, and ‘more intelligent’ Listen Out.

It was so artistic, small, and more intelligent that it even advertised itself in French.  French ballerinas.  Creepy, soul-eating, nightmare fuel, electro-tech French ballerinas.

It was so artistic, small, and more intelligent that police were able to seize $10k in drugs.

What is surprising is that the latter story continues to be the dominant lens through which most of the population interprets music festivals.  It’s a fun time in the blistering heat listening to a variety of different artists while being fenced in with Australia’s drug culture.

In other words, there seems to be tacit agreement that music festivals are not really art forms worth critiquing in any meaningful or intelligent sense.  There’s no discussion about their composition or construction.  There’s no analysis of the interaction between the shifting, nomadic audience, the transient performers, and the physical location of the entire ordeal.  There’s no interpretation of that which is being interpreted.

Which is weird.

Continue reading “Sun is cold and rain is hard… The neglected world of music criticism #arts”

And it’s a conversation I just can’t have tonight… Florence and the Machine ‘Ceremonials’

I promised myself that I wouldn’t dislike this album.

It’s so cliche and faux-intellectual.  ‘Oh, dear.  Their debut album was sooooo good and this just isn’t nearly as good.  They should have done the same thing they did in their first album.’

The sentiment, I am sure, originates from the same hipster bullcrappery as ‘I knew them before everybody else knew them’.  The new is never as good as the old.  The popular is never as good as the obscure.

But, holy Zeusidon, I’m having a lot of difficulty liking the new album.

I wasn’t as glowing in praise as everybody else with the original album, Lungs.  Sure, there were some amazing songs on that album.  Even songs which didn’t become singles were powerful contests between the Florence’s voice and the Machine’s beats.  The lyrics were clever, flirting between playful and profound.  Waves of sound would crash chaotically in that haphazard way that only happens when the musicians are firmly in control.

But there were some real dog songs on that album.  I routinely skip ‘Kiss with a Fist’ and ‘Girl with One Eye’ because they suck.  There is no excuse for how bad they are and the rest of the album is so good that it makes their mediocrity all the more inexcusable.

Ceremonials is an album of ‘Kiss with a Fist’ and ‘Girl with One Eye’ songs.  One song is obviously out of tune; another is littered with flatly dumb lyrics.  It’s as if they were too busy rolling around in their mountains of money to be bothered writing anything decent.  ‘Don’t worry,’ you can hear somebody in the band management say, ‘No matter what you produce, people will buy it.  They will eat your shit sandwich and call it a banquet.’

It feels as if there has been a change in the creative engine of the band.  Lungs had songs written by most of the band and was produced collaboratively.  Ceremonials was produced by Paul Epworth alone, and most of the songs are Florence Welch and Paul Epworth affairs.  The only good songs on Ceremonials are the progeny of other members of the band.  The superb ‘No Light, No Light’ is a co-creation of Isabella Summers who was behind all the best songs on Lungs (with the exception of ‘The Drumming Song’).

In short, Lungs wasn’t as good as people remember it being.  People remember the really good stuff on that album and forget the occasional mutant horror.  The variety on the album befuddled the audience, like genetic diversity in a population makes the species more resistant.  Ceremonials has very little diversity.  The same producer throughout and mostly Welch-Epworth creations means that it catches some crippling disease in the first song and the rest of the album crashes with it.

In short, get the new Like a Version album instead.  Holy crap, it’s good.

I will take you as you are. Please accept me as I am… and my choices for the Rage Top 50.

Vote for us in the rage FIFTY 2009

Music videos occupy a weird space these days.  In theory, they’re supposed to be excellent enough to draw your attention to the music.  Why do companies seem hell bent on preventing people from accessing the videos?  Some even go so far as to charge people to download them.  It’s entirely nuts.

Anyway, here’s my selection:

1. Washington – Sunday Best

2. Clare Bowditch and the New Slang – Modern Day Addiction

3. Goldfrapp – Alive

4. OK Go – WTF?

5. Sia – Clap Your Hands

And someday you’ll see I only wanted to please… and I’ll play you this CD

There are some things in life when you think that something is going to be really, really good, and it turns out to be really craptacular.  The Phantom Menace, A Confederacy of Dunces, most films starring John Malkovich, the entire life of Neil Gaiman (including his ‘Hey, I’m sorry for upsetting people with my crappy behaviour, but you guys are a bunch of disabled feminists’ girlfriend, Amanda Palmer).

These things serve to remind us that we cannot take enjoyment for granted — the material world is a place of misery and disappointment created by a malicious deity who didn’t want humans to understand Gnosis.  Yeah, you know what I’m talking about.

On the other hand, there are things which do the opposite of this.  We come across them not expecting much and discover that they’re beautiful, wonderful, mysterious, and completely lovely.  There’s a richness to them which you’d never have suspected, and you feel slightly silly for having doubted how magnificent it is.

Of course, I’m talking about Monkey: Journey to the West. Continue reading “And someday you’ll see I only wanted to please… and I’ll play you this CD”

This morning, I woke up with this feeling I didn’t know how to deal with… and 2009 was awesome

I voted in triple j's Hottest 100, have YOU?

My top ten songs for the year (in no particular order):



EDITORS – Papillon

FLORENCE and THE MACHINE – Drumming Song



LA ROUX – In For The Kill

METRIC – Help I’m Alive


FLORENCE and THE MACHINE – Rabbit Heart (Raise It Up)

Best movie of the year:

Where the Wild Things Are

Admittedly, I’m yet to see District 9 (I bought the DVD yesterday) and MoonStar Trek was more awesome than anybody could have expected but still didn’t manage to be as absolutely perfect as WtWTA.

There were some right stinkers this year as well.  Coraline was probably the worst new film I saw this year.  Everything that WtWTA did well, Coraline managed to foul up (even though both films were largely exploring the same territory).  Dragonball Evolution managed to be disappointing despite the already low expectations (it wasn’t even fun).  And Up! was an exceptional waste of time.  I still can’t work out what the plot was.

The biggest disappointment was X-Men Origins: Wolverine.  What a bafflingly confused pile of crap that was.

Favourite meme:

Boxxy.  It was a good start to the year.

Best new book:

It was a bit of a shitty year for fiction.  A new Dan Brown novel and Eoin Colfer’s attempt to impersonate Douglas Adams rather ruined the year for me.

Unseen Academicals by Pratchett was a lot of fun.  It’s interesting to see the continuing development of Vetinari, and I wonder if there’s much more development in store for him.

In comic books, I really liked Messiah War.

Best new video game:

Legend of Zelda: Spirit Tracks.  It won’t break any records and it probably won’t go down in time as a classic game, but it is so much fun.

For sheer brilliance, special mention should be made of Batman: Arkham Asylum.  I bought it for my younger brother (who has an XBox) and it’s mesmerisingly good.