tonight in melbourne!

So if you happen to be hanging around Melbourne and you're contemplating just what you're intending to do on this spooky Friday the 13th, contemplate no more! As tempting as it may be to stay in and watch A Night At The Museum, you should come along to the best indie pop show this side of the Slumberland 20th anniversary shows.

Yup, Melbourne's finest, Summer Cats, finally launch their album Songs For Tuesdays locally! In for the party are The Zebras, The Motifs and, with much anticipation, Bart from The Cat's Miaow will be playing solo! Wahoo! Stick around and dance the night away to the best pop jukebox in town, courtesy of the Long Division DJ team (being yours truly and the super-talented Catherine Insch). 

Sure, we'd all love to be at the Black Cat in DC to dance the night away with Pants Yell!, Brown Recluse, The Ropers and more, but the Slumberland celebrations will more than be kicking on in the antipodes!

pants yell! - received pronunciation

I've recently arrived back in Australia, and have been confronted by searing 35 degree days and beautiful warming sunshine upon my return. In some ways I miss the chill of the air and the changing leaves that autumn (or fall) brought in the United States, but I'm able to capture the mood with the fifth (and final) album by Boston's Pants Yell!, Received Pronunciation.

As one of my favourite bands of recent years, it's an absolute delight to listen to a new record by this trio, whose storytelling lyrics (courtesy of Andrew Churchman), coupled with clean, simple melodies, are at the pinnacle of modern pop. While the album might lack the soaring majesty that strings added to their last record, Alison Statton, there's a certain maturity and all round elegance that embraces this record. I love the simple drumbeat that kicks the record off, on "Frank and Sandy", which to me sounds like it's about parents, rather than hangovers. And it's this crypticism that lives in Andrew's lyrics that makes the band much more endearing - isn't it a much richer experience to listen to the lyrics when they have something to say and comprehend?

Elsewhere, there's scratchy guitars and stop-start rhythms on "Got to Stop", which combines angsty lyrics with some damn fine jangle, and a brilliant shimmer of cymbals across "Someone Loves You". Overall, though, Received Pronunciation might not capture your consciousness from the first listen, but rest assured, like with most good things in the world, time and patience will reward you with more riches than you could imagine. Best of all, buy this record and score yourself the coolest obi strip! 

Buy yourself a copy of Received Pronunciation from our dear friends at Slumberland!

In Brooklyn

Well, it's been quite a while since I last managed to compose a post, but as I sit here in my hotel room in Brooklyn, I felt it due time for some form of catch-up. I've been in New York for almost two weeks and it's been a whirlwind of crazy fun shows, amazing shopping and the best Halloween party ever. I'm unable to upload photos at the moment, but here's a rundown of highlights thus far:

* The Smith Westerns - four guys in their late teens/early 20s from Chicago - blew me away with their ramshackle noisy pop and declaration that: "all these songs are about love". Even with broken strings and blinding fringes, these guys pulled together one of the most fun sets I've seen in a while.

* At the same show, Still Flyin' brought the hammjamms once again, complete with one Marky Lucksmith on bass. It was interesting to see them outside Australia, but thankfully everyone got dancing as they once again brought the parties. I don't know how people can't have fun at their shows!!

* The following night, My Teenage Stride reincarnated The Wedding Present with their live set at Delancey's - Jed's stage banter was obnoxiously hilarious, and the keyboard player's enthusiasm made me want to dance even more to join in the enjoyment. 

* For Halloween, I dressed as a French mime and danced the night away at Mondo's spooky pop dance party. Singing along to songs when you're supposed to be silent and miming threw a few people off, but I had a killer night on the dancefloor!

I've also been to Boston, Washington DC and Philadelphia, and even won myself $300 on the roulette table in Atlantic City. How's that for luck, eh?!

More to come upon my return to Melbourne, as well as some updates from the past few months. Let me just say, I think El Perro Del Mar has stolen my heart...

new beginnings

Here in Australia, it's the first day of spring, and today, moreso than ever, I really felt like it signalled new beginnings. I caught up on work I'd been procrastinating on, did some things I hadn't done in quite a while, and, on my way back from going for a run, rekindled my love of Love Is All. 

It's not like the love needed rekindling as such, but hearing 'Movie Romance', from last year's terrifically schizophrenic A Hundred Things Keep Me Up At Night, filled me with such hope for the season. But why? That rolling guitar line, Josephine's "HA!" at the start followed by the sassiest vocals this side of Kate Jackson, and the shoutiest, catchiest chorus Scandinavia could ever produce:

"I laugh in the face of a movie romance

Because against this, they don't stand a chance"

It's the perfect summation of how everyone's lives should be - fast, fun, to the point, and most of all, full of love that Hollywood could never reproduce. I'm gonna channel this and make my love for Love Is All love for all!

Here's an early version of 'Movie Romance' for you to download, off their Lost Thrills EP! 

live: the lucksmiths, brisbane, 23/08/09

And so it ends: a chapter of my life that began as a 17 year old living in a horrible outer suburb closes, eight years later, on a balmy Brisbane Sunday night, with The Lucksmiths playing their final show to a sold out northern audience. It was a mixed audience: ardent fans who have been at their shows for years stood alongside emerging faces, a new breed who surely wanted to see this band just once before they never could again. 

When the break-up was announced, I was adamant I was going to see them in Brisbane, and I'm glad I made the whirlwind flight back for that one final night at The Zoo, where I'd seen them play countless times before. Part homecoming, part nostalgia trip, but mostly closure, I felt memories flood back of seeing them as an 18 year old in that very room, wearing Belle & Sebastian t-shirts, tartan skirts and knee socks, dancing to a band who helped me discover what it meant to be a pop fan. Years might have passed, but that same joy and sense of discovery still prevailed, as lyrics to songs I've not listened to for years were automatically recalled. 

My tapping toes never missed a beat, despite shoes that kept slipping off my dancing feet - one final dance to "Untidy Towns", "Smokers In Love", "T-Shirt Weather", "Under The Rotunda", et al. and the smile couldn't be wiped from my face. Hearing "Frisbee" played live for the first and last time was such a highlight, as were the closing numbers - "The Year of Driving Languorously" for the main set, and "The Music From Next Door" on the encore.  They might not have played my favourite song, "The Golden Age of Aviation", but I didn't mind at all - after two hours of The Lucksmiths and every other golden melody they've crafted, and I felt well satisfied. Pop fans around the world will miss their charm, wit and personality, and I feel incredibly lucky to have seen them play so often over the last eight years.

I didn't take any photographs, unfortunately, because I was much too busy dancing and cherishing the moment. A picture can't recreate the feeling of listening to their songs and reflecting back on all those shows.

I have the opportunity attend one of their final shows in Melbourne this weekend, but I am entirely torn by this. On the one hand, I'd love to hear their songs emanating live one final time, but my memory of the Brisbane show is just so complete that I am satisfied if I don't get to see them again. I don't want to spoil those thoughts by attending a show with an unfamiliar crowd, without that warmth that came from seeing them with those I know. 

Goodbye Lucksmiths - you've shown me such a great time, and your memories and songs will continue to burn strong!

Slumberland love + Brown Recluse

There's not much point repeating at length what multiple others have already said so succinctly, but it's all true - as Slumberland continues to fire out incredible records at alarming regularity, it's difficult to comprehend how 2009 would have sounded without its seal of quality across the pop landscape. I'm entirely addicted - from the soaring modern tribute to my favourite girl bands on Liechtenstein's Survival Strategies In A Modern World, to the shimmering spunk of the Champagne Socialists 7", I could almost live without any other record label in the world right now. And don't even get me started on how much I love Cause Co-Motion - honestly, my love of this band's shambolic crashing punk deserves far, far more than a passing mention.

My next Slumberland order will load up my virtual trolley with the new Searching For The Now singles, loads of new Pains vinyl(including the 'Come Saturday' 7", featuring 'Side Ponytail' on the b-side - at last!), and a beautiful 12" from Philadelphia's Brown Recluse. Called The Soft Skin, the cover of this EP instantly conjures up comparisons to other records featuring captivating eye close ups - certainly The La's and The 6ths both instantly spring to mind.

Given the beauty apparent in both of those records, both on the cover and in the sounds, it's impossible to comprehend Brown Recluse sounding any different. Thankfully, I am not disappointed - it's all hazy melodies infused with horns, harmonies, and a deep love of the best of sixties music and beyond. It's like a perfect update to the sound heard around Arab Strap era Belle & Sebastian, with further influences like Os Mutantes and The Zombies ever present. It's so timeless, yet seemingly so relevant and fresh - perfect clarity of vision and sound in amongst a sea of bands producing lo-fi, crashing, noisy pop. Brown Recluse are the sound of a late summer's day, a bright autumn morning, a springtime Saturday at noon, or a late winter's night in a warm room. When a band can span seasons, you know they are worth treasuring, and I really do treasure having Brown Recluse's sounds in my life.

Listen more and buy yourself a copy here.

the pastels & tenniscoats

At last, I am back with a functioning computer and a night at home. Oh for small joys! And what better way to spend a chilly and wet Monday evening than listening to a cover of The Jesus and Mary Chain's 'About You', as covered by The Pastels and Tenniscoats! What a combination. You can take a listen for yourself right here.

Tenniscoats have been to Australia on a couple of occasions, and I've unfortunately missed out on seeing them each time - on their last tour in February this year, I happened to organise a little club night for myself on the same night they played in town. Such poor timing! I hope the next time they play, they can bring along some fine Scots and play songs off their bound-to-be-fine collaboration record, Two Sunsets. You and I will be able to garner ourselves copies from Domino and Geographic from September 22.

Meanwhile, speaking of Stephen Pastel (surely still one of the dreamiest men in every pop girl's lust list), here's some words of wisdom taken from a Pitchfork interview*:

I like a lot of the music coming out of America recently, like Ducktails, Real Estate, and Crystal Stilts. I heard about Real Estate because we've got a record shop in Glasgow and one of the people who works there told us about them. They reminded me of Orange Juice and Pavement, but they really have their own identity, too.

I think there's a real coherent thread from Swell Maps and Television Personalities through to things like Blank Dogs, caUSE co-MOTION!, Vivian Girls, and the Pains of Being Pure at Heart. Listening to new bands, I get a sense of déjà vu-- and not always in a good way. But if the Pastels were still trying to play the kind of music we played in 1985 or 1986, I would probably feel more territorial-- but then I'd only have myself to blame.

I found this quite an interesting comment, given I've had a few conversations recently about originality vs derivation in a lot of current bands. My take? I love the sound, so I don't mind if a band wants to blatantly rip off the past, but I can understand why certain bands are disliked for being a direct replica. But I tend to think I always prefer going back to the original bands to hear what it was like the first time around...

* Urgh, two Pitchfork links in a single entry? Sorry. Not intentional.