My 2012, as was my 2011, can be entirely explained through my Triple J Hottest 100 votes... Click on song titles to hear and watch. Songs not in order. Electric Guest takes out the Number 1 spot.
Macklemore & Ryan Lewis- feat. Wanz – Thrift Shop
Liz’s car may not be in the best shape and you may have to sift through piles of trash just to get into it but man can it still pump out ‘Thrift Shop’ (and Kanye West’s Clique) rolling through Wollongong, and The Harp may be disgustingly seedy and their floors overly sticky but they can still drop ‘Thrift Shop’ on the d-floor at 1am to which you will regrettably yell out ‘I love the Harp’ in a state of zealous excitement and they may be 11 years old and way too young for such language but when it’s their Year 6 Farewell and the principal is watching the teacher come DJ may just play ‘Thrift Shop’ uncensored by accident to the screaming joy of a short crowd who despite their long running, painful obsession with Gangnam Style will sing you all the words to ‘Thrift Shop’.
Macklemore and Ryan Lewis are infamous for bringing new meaning to ‘popping tags’ and doing it ‘grandpa style’, for bringing ‘skeet’ back into our vocab, for squeezing more hella’s into one song than any other rapper and for 10 years on making a still crude reference to R. Kelly’s infamous ‘peeing on a minor’ incident. When I heard the boys at school singing Thrift Shop, after having themselves excuse such language, I told them about our Thrift Shop party in which my friends and I were to go to Vinnies, with only $20 in our pockets, in search of the most ridiculous come-up to wear to an inconspicuous Tuesday night of bowling. One of the boys told me I needed to find flannel zebra jammies or a fur fox skin and if all else fails he added “it shouldn’t be too hard to find a built-in onesie with the socks on, motherfucker”.
When ‘The Heist’ was a feature album last year Triple J asked Macklemore why he chose thrift shopping (needs to be translated to op-shopping for all the Australians) as a theme for a song. He replied simply ‘why not?’ Some days are made for talking about feelings and crap and some days are made for thrift shopping.
Jack White- Love Interruption
“I want love to: roll me over slowly,
Stick a knife inside me, and twist it all around.
I want love to: grab my fingers gently,
Slam them in a doorway, Put my face into the ground.
‘Love interruption’ is only 2 minutes and half in length. It is minimal and it is harrowing. Jack White’s voice is clear and the tantalising harmony of Nashville singer Ruby Amanfu’s voice disjointedly overlaid is subtle to the point of creepy. Jack White manages to intertwine seamlessly a narrative of love with the imagery of pain and death to a point in which you find it difficult to distinguish a difference between the two. White adds a further complexity by toying with the idea of love as a manipulator of the mind (“I want love to change my friends to enemies and show me how it’s all my fault”) and a disguiser of truth (“I want love to, forget that you offended me”).
The brilliantly compelling verses welcome love’s atrocities but the hook, “I won’t let love disrupt, corrupt, or interrupt me any more”, provides a breath of hope that the victim still has the desire to overcome love’s inflictions. Or perhaps in this line they are simply inviting death to provide them with nothingness; final freedom from love’s pain. I can’t help but wonder whether they were saved from love or overcome in the end?
Mumford and Sons- I will Wait
This is a long and convoluted story. Please stick with me here as it is one of my favourite travel stories.
In April 2012 I went to Coachella in Indio, California. It was an epic 3 day desert festival complete with scorpions, dirt and dust and sun, intense heat and a new friend called Travis. Travis I met by offering him left over dinner. He happily accepted. Noticing he was on his own we became festival friends. The next day we met again both with the common goal of seeing Laura Marling. I wasn’t a fan of Laura Marling. I explained to him. But for my brothers sake I had to go see her live. I went on to describe my brother’s love for Laura Marling and his inner torment over loving Mumford and Sons despite the rumours that Marcus Mumford had cheated on Laura leading to their break up.
Travis believed he could confirm the rumours. In fact his roommates were, at that exact moment, attending the wedding of one Marcus Mumford in England and it was not to Laura Marling. Turns out Travis knew Marcus and the boys well. I was gobsmacked but sceptical of my new friend’s stories. The festival went on and when it ended we parted ways, until it came to my final night in America. Travis lived in Orange County and I was flying out of LA close by. I crashed at his that night.
Travis was cool. He epitomised California cool. He knew music, he knew art, he knew writing and to me he lived and breathed the very essence of California. And amongst all the art and images on the walls of his place was pinned a single photo; a photo that stood out from everything else in his place; a photo of Marcus Mumford, his bride and their friends at their wedding. His roommate told me stories of Marcus’ bucks day, of the wedding and of Marcus; a glimpse into the life of one of my favourite artists.
After missed chances of previous shows I finally had the opportunity to see Mumford and Sons live at their own, personally organised festival called “Gentlemen of the Road”; a festival within a series of “Gentlemen of the Road” festivals. This one held in Dungog, a town which Matt and I knew well from our childhood. Mumford and Sons played a show like no other. The sound was loud, the sound was clear, the sound was all involving. The sound seeped into every crevice of your body and squeezed you tight and only let go when the music stopped. This, following on from an unbelievable set from Edward Sharp and the Magnetic Zeros, will forever be one of my favourite music moments and all I could think to yell out was “I know your friend Travis!” Guess that's better than my brother yelling out "Why would you ever cheat on Laura Marling?"
Lake Tahoe introduced me to true Californian bluegrass. I loved every show I saw. It was fast and energetic, and contained incredible string instrumentals. Lake Tahoe also introduced me to Taylor. I have never seen that kid happier than stomping at a bluegrass gig. Before leaving California I wrote out a book for Taylor to help him work his way through Australian music. We always shared music. When we parted ways sharing music was one thing that could remain unchanged even if we were on opposite sides of the world.
I could have easily chosen First Aid Kit to represent this sentiment. Taylor saw them at a festival in Oslo and then I saw them at Falls Festival in Tasmania. Whilst we didn’t see them together it was hard to shake the feeling that at some point he was listening to the same beautiful chords of the Söderberg sisters in person just as I was. Instead I choose The Lumineers, Ho Hey partly because my favourite First Aid Kit song ‘The Lion’s Roar’ was actually released prior to its 2012 album release but mostly because Ho Hey is a beautifully simple song and mostly because Taylor introduced me to it. Never stop sharing music with me Taylor. It makes me realise how close you still are to me despite the time and the distance.
The Bamboos – feat. Tim Rogers- I Got Burned
When The Bamboos came into Triple J to do their ‘Like a Version’ cover of Frank Ocean’s ‘Lost’, Lance Ferguson explained that they had chosen ‘Lost’ not only because it was an amazing song but because he had always wanted to hear Kylie Auldist, one of their vocalists, sing about titties. Their cover, on a Friday morning on my way to work, was simply one of those songs that filled your head with that soul sound and your lungs with joy; an uplifting joy that wouldn’t pass the rest of the day. Whilst a personal predisposition towards covers being voted for in the Hottest 100 inhibits me from including their cover in my list, ‘I got Burned’ is an original that I love even more and with ‘On the Sly’ missing out on a well deserved spot in the 2010 countdown I couldn’t pass up the vote for this one.
I was very disappointed to hear that I had missed seeing Tim Rogers show up to perform this song with The Bamboos on stage at Homebake last year. I did however have the chance to see The Bamboos at the Marion Bay Falls Festival over New Years. Auldist and Ella Thompson have a voice that radiates through the crowd and the sensual moves to match. In fact each member of the Melbourne based band is incredibly talented in their own right and the 9 piece outfit as a whole does an astounding job of showcasing each individuals abilities on stage whilst maintaining a smoothly unified sound. The only band I’ve heard take something as simple as a flute and use it to create a breath holding, body raising solo that somehow manages to add another dimension to a deep-funk sound. Nothing quite cures a day 3 festival hangover as a flute solo.
Everything Everything- Cough Cough
Can’t help but be sucked into the infectiously choppy, hip-hop jam structure off Cough Cough. The disjointed fabrication of this song affects self control over your bones and head causing them to move and bop in an erratically fast rhythm. Jonathan Higgs’ hectic vocals build to a point of near bursting before oozing smoothly into the chorus just in time for you to wrap your head around the lyrics “And that Eureka moment hits you like a cop car! And you wake up just head and shoulders in a glass jar!” And then of course you realise you’ve been taken so aback by the snare snippets, horns and drums that you haven’t even stopped to listen to what they’re going on about.
“Money,” Higgs says, “the power of money and the desire to get away from it. It’s also about waking up and seeing the world as an unfair place and then slipping back under the spell of greed. It’s about having no money, and wanting more money, and wanting nothing to do with money at all.” Even reading this back over I read it fast. It takes my brain a while to slow down to a regular rhythm after listening to Cough Cough on repeat.
Of Monsters and Men- Little Talks
My brother and I are hopeless about sharing music with each other. We are both so self involved in our own personal preferences that when one tries to share a new find the other will respond with their own new find ignoring the original suggestion. When I was buying Laneway 2013 tickets I showed my brother the line-up. He didn’t seem so interested in the list. I introduced him to ‘Of Monsters and Men’. He hasn’t stopped listening to them since. I win this one.
Electric Guest- This Head I Hold
Spotify has revolutionised the way I listen to, source and share music. In previous years my number 1 spot was always left to the track on my iTunes with the highest listens. ‘This Head I Hold’ takes out my number 1 spot for 2012 because it had the most plays on my Spotify account. Picking my number 1 song in this aspect is an easy process, describing and justifying the song as my number 1 choice is however a more difficult process for me.
‘Mondo,’ the album from which this song comes from, became the sound track to my last months in America and my first months back in Australia. I struggled more than I wish to admit coming back to Australia. It was a transition phase that did not suit me well. I kept to myself, I argued, I complained, I grappled with missing travel, and friends and family and California. I had no money in fact I owed money. I had no car to get to work and no work to get a car. All the time “This Head I hold” was on repeat on my Spotify.
But there are no sad feelings attached to this song. Instead I recall this song with immense joy because it makes me sing and it makes me dance and because after 2 months of being home on the night of my 24th birthday my brother took me to see Electric Guest at the Metric in Sydney and we sang and we danced just as we always had and I remembered all the reasons I loved living in Australia. I month later I had a car, I had a job at a school I now call home, I was back with beach views, I had Californians coming to visit, I had a spring leading into summer and I had a lot of good music coming my way that I could sing to and could dance to.
Tuka- Just to Feel Wanted
Tuka, one third of the Thundamentals, doesn’t do an interview without a ninja sitting in the background. The ninja reads a magazine the entire time. No reference is made to the ninja throughout any of the interviews. If you listen carefully every now and then the ninja from beneath his cover will throw Tuka a word, or name, he’s stuck on. It’s a helpful ninja slip-up that is welcomed by Tuka and the interview continued. I wonder at what point Tuka wakes up to the ninja’s actions and thinks to himself “shit the ninja spoke again!”
Tuka is a creatively intelligent artist. He, like Chance Waters, has a powerful way of articulating meaning and influences behind his music whilst maintaining the stereotypical, laid back hip-hop vibe and crude language that we love. Tuka gets lost in his head a lot. He posts daily random art, imagery, stimulus for the world to see, like an avenue for expressing himself to the world by sharing what he himself is looking at and responding to. In fact the title track from his second solo album “Feedback Loop” deals with the idea of how we process and organise ideas within ourselves, share these ideas with society and the time lapse for responses to come back. He explains a notion of ‘boycotting ideas’ in which people are hindered from communicating their fully formed thoughts by people who are quick to criticise too early. Gratify a person’s idea by giving them the chance to make known their thoughts before taking the opportunity to criticise he says. Tuka also gives a good analogy of the Australia hip-hop scene breathing in and out and speaks of a movement to break away from the ‘Aussie Hip-Hop’ label allowing artists to simply produce hip-hop.
Tuka, I have all the time in the world for. He speaks of embracing positivity and fucking politicians. He is ambitious. He explains in one interview how he started his career. He wrote one song then performed a gig, 3 songs then performed a gig, 5 songs performed a gig. Now he’s having massive success with the Thundamentals and releasing solo albums. I would say I’ve found an unusual role model in Tuka, in his drive and commitment and his ideas. Plus I fucking love his songs! I mean come on, the verses for ‘Die a Happy Man’ come from late night/early morning conversations with patrons at Newtown’s ‘The Townie.”
“Just to Feel Wanted is a light-hearted song, but it’s got a dark edge,” the MC explains. “A couple of years back, I had a conversation with my mum about wanting to do music as a career – and just trying to do art in Australia in general. She doesn’t give a fuck about the music scene – if it’s a good song, she’ll listen to it. So she actually coined the phrase in the chorus – ‘People make a lot of bullshit just to feel wanted’. It stuck in my head. It felt like a throwback Bob Dylan lyric that he never got around to writing.” When asked about the ninja he replied “I like ninjas. Ninjas are bossy.”
A new wave of electronic/indie (Indietronica) swung through Australia in 2012 from Alt-J to Purity Ring to the home grown Triple J unearthed artist Flume. I love watching this genre unfold and transform and once again Australian artists are coming to the forefront. 21 year old Harley Streten from Sydney is Flume. By the end of 2012 Flume was one of Australia’s most talked about producers. He released his first album in November with 15 original tracks featuring artists such as Chet Faker, Moon Holiday and Jezzabell Doran and supported in concert the likes of The XX and Totally Enormous Extinct Dinosaurs. This kid is going far in 2013. See you at Laneway.