en http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Thu, 1 Jan 1970 00:00:00 +0000 Thu, 1 Jan 1970 00:00:00 +0000 60 http://www.audioscrobbler.net/data/webservices http://www.last.fm/user/philbicker/journal The Last.fm journal for philbicker. Last.fm journals are a place to talk about all things music. http://www.last.fm/user/philbicker/journal/2013/04/22/5t1quh_the_top_200_project Mon, 22 Apr 2013 14:22:09 +0000 http://www.last.fm/user/philbicker/journal/2013/04/22/5t1quh_the_top_200_project It's the classic desert island discs scenario, which if you've had the pleasure of listening to the Radio4 'Castaways' you will appreciate http://www.bbc.co.uk/radio4/features/desert-island-discs/find-a-castaway. However, in this case the impetus was a conversation with a colleague about a more modern equivalent. It went something like "I'm getting a new ipod. I reckon I can fit about 200 albums on there so now I need to choose" and so the Top 200 Project was born. You might think that it's not hard at all, you think 200 is plenty, it sounds luxurious until all of a sudden you've got 2 slots left and you have to make those really hard choices.

So here are the rules:
- must be albums: no compilations (unless they are genuine, original collaborations or collected EPs) or greatest hits (that's just plain cheating)
- must not be live recordings: live recordings tend to have setlists that borrow from previously recorded material
- no more than 3 titles from any artist

The idea is that it is a living list, as new discoveries are made they will displace older favourites that might have once made the grade but have now been purged from their privileged position and cast aside for a more worthy offering. This is in no way meant to be a 'greatest albums of all time' thing, but rather a very personal thing about the albums most precious and significant to me.

You can see the current top 200 in my tags here: http://www.last.fm/user/philbicker/library/tags?tag=top+200

Enjoy!]]> http://www.last.fm/user/philbicker/journal/2011/12/02/585p82_my_favourite_albums_of_2011 Fri, 2 Dec 2011 12:47:07 +0000 http://www.last.fm/user/philbicker/journal/2011/12/02/585p82_my_favourite_albums_of_2011 Panda Bear - Tomboy

After the sheer brilliance of Person Pitch, this was my most anticipated album of the year and it didn’t disappoint. The advance track, Last Night at the Jetty, that dropped late 2010 really gave an inkling of the genius of Noah Lennox that awaited us. It is hard for me to talk about Panda Bear without drawing comparison to Brian Wilson and the Beach Boys. His commanding voice with layered harmonies creates this dreamy atmosphere that captures your imagination and carries you away. The blend of electronic elements, with acoustic instrumentation and samples is perfectly balanced.

What I really love about this record is the bright mood of optimism both musically and lyrically. From the opener You Can Count on Me where he sings “Know you can count on me, I’ll get so up for it” to Last Night at the Jetty “Didn’t we have a good time?” and Friendship Bracelet that reflects on the enduring bond of close friends. Ultimately, I think this is an album full of hope, which builds, draws you in and lifts you up.

Bon Iver - Bon Iver

Bon Iver was largely a solo project for Justin Vernon on his debut For Emma, Forever Ago. There was great mystique about this bloke who headed off to a cabin somewhere and recorded this beautiful album of sorrow and loneliness. That was almost four years ago, and in the time that has passed Bon Iver has blossomed into a much fuller sound with an edgy arrangement of instrumentation. It is a masterpiece that brings the best elements of contemporary folk together with modern rock.

Vernon’s voice on this album is incredible. At times it is deep and soulful, then he will launch into his trademark falsetto. He has this mastery of depth and range knowing precisely when to apply it to envelope you in the mood of his song. This album is a journey that transports you through the various states of mind that builds and flows. It is much more complex than it’s predecessor celebrating a spectrum of emotion. It is amazing in its entirety but comes to a crescendo at the close of the album with Beth/Rest. Rich with 80s pop synth, a song about deep “heavy mitted love” and the closing statement “this is axiom”. Perhaps this just further emphasizes the journey, and it’s conclusion.

Skipping Girl Vinegar - Keep Calm Carry The Monkey

One of my favorite local (that is Melbourne) bands released, what is IMHO the Australian Album of the Year. I had the privilege of seeing them for the album launch. Quintessentially down to earth and approachable, one of the trademarks of their live shows is baking for the fans and giving away free stuff (that is usually obtained from Op Shops). I firmly believe this will be a breakthrough album for the group, much like Midnight Remember was for Little Red last year, but I also believe the band will never leave this endearing quality to their fans.

From the very first track Chase the Sun with its “demented Muppets” sing-a-long this album just grabs you. You Can harps a little to the sound of Arcade Fire’s The Suburbs and is a song of just equal quality to anything on that record. Then to the toe-tapping, hand-clapping Hold To Hold. The acoustic sounds, the charming lyrics and the delightful vocal harmonies make this an exquisite album that immediately loveable, yet one that you will not tire of listening to.

They traveled to the US to record the album, and as a result managed to secure the services of Ron Sexsmith to do vocals on the last track Heart Does Ache. It’s not as if the extremely talented group needed help, but it certainly adds something special for the closer. Just hearing Ron sing of St. Kilda is a buzz!

One thing that must be mentioned in reviewing this album is the packaging. It is a true work of art. On the first album, SGV had this motif of a library book, so on outside spine there was a little sticker complete with a dewy-decimal number, and on the inside there was a borrowing slip. For this album the package has gone to a whole new level, continuing the library theme, but presenting inside a series of folders each embossed with a scene that when put together tell a story. So, if you going to buy this album (and you should) the CD is a must-have!

James Blake - James Blake

Before I was introduced to James Blake I had no idea what ‘dubstep’ was. I just assumed it was some obscure fringe of electronic music that I would never have any real interest in. Many credit James Blake for bringing dubstep into the mainstream, and equally he is criticized by the dubstep purists. Whether you call it dubstep or not, I know when I first heard this album I had never heard anything like it before, so for me he is a pioneer. After my first listen, I was literally blown away and declared on the spot that this guy would be huge and this album was one of the years’ best.

The first half of the record is heavily electronic. Lots of synth, bass, beats, drum ticks, static bursts and importantly silence. It is the use of space in the tracks that makes James Blake a master of his craft. This is arranged around his haunting vocal, which has this eerily unique and uneasy quality. Wilhelms scream is chilling example of this incredible quality. Sometimes it is pure and other times heard through a vocoder or double tracked to stunning effect.

The mid-point of the record introduces the piano, with a beautifully solemn cover of Feist’s Limit to Your Love. His approach to the song is so delicate that it takes nothing away from the original, but re-interprets it respectfully and makes it truly his own intelligently incorporating Blake’s signature sonic manipulations.

For me, this album is simply breathtaking and my most played album of the year.

Iron & Wine - Kiss Each Other Clean

The first I heard of the new Iron & Wine album was an NPR podcast where the band played it live in it’s entirety. That alone is ambitious for any band, but considering this album is a real departure from the typical Iron & Wine album and Sam Beam has put together a whole new band it is quite incredible. UNCUT magazine had a great story and interview with Sam Beam earlier in the year and it is clear this is a guy who believes he can achieve anything. This album is a true testament to that ambition.

The layers of sound in this album are a far cry from the familiar ‘one man and his guitar’ that once was the staple of Iron & Wine. Even Beam’s often gravelly voice, is now front and center, accompanied throughout with sweet backing vocals and harmony. Half Moon is one of the most obvious examples of this. The record also introduces a whole range of instrumentation including subtle electronic elements, distorted guitars, and saxophone. At times it is the characteristic mellow of a beautiful piano ballad such as Godless Brother in Love and then it gets funky with songs like Big Burned Hand.

The lyrics dwell on imagery of the city and countryside, rich with metaphors of animals, trees and rivers. All told this is a solid album from start to finish and shows the maturity of an extremely talented artist accompanied by an awesome crew of musicians.

Unknown Mortal Orchestra - Unknown Mortal Orchestra

This was my most addictive Album of the Year. From the very first listen it just grabbed me and wouldn’t let go. I remember the first day I got my copy I must have played it 3 times back-to-back, then took it over to my mate’s place where we played it again over and over…

These guys have such a great vibe and feel. The driving beats, the low-fi buzz of guitars and the perfectly crafted hooks that stick in your head all day and have you singing along (even if you can’t always make out exactly what they are saying!) Bottom line, the album is all about fun. Touches of psychedelia meets funk with hypnotizing lead vocal.

Gruff Rhys - Hotel Shampoo

I only discovered Gruff recently through his collaborations with Danger Mouse & Sparklehorse on Dark Night of the Soul and Gorillaz Plastic Beach. Of course, he has been around for a while and I am just late to the party. This album showcases the diversity, humor and charm of the Super Furry Animals lead singer.

There is plenty to love about this album from the quirkiness of the front cover that refers to Gruff’s habit of collecting Hotel Shampoo bottles, to the delightful melodies and array of instruments on many tracks.

It is full of variety and no filler. To single out a few, Sensations In The Dark has a great groove, enhanced by a brilliant horn section; If We Were Words (we Would Rhyme) is a sweet and folky sentimental song; Conservation Conversation is a protest song about the environment; and Space Dust #2 is a hilarious little duet.

Fleet Foxes - Helplessness Blues

Compared to their self-titled debut, this follow-up has a more somber mood on the whole. The unmistakable harmonies are present again, but this time the lead vocal of Robin Pecknold is more prominent.

The themes are contemplative and introspective. The opening song Montezuma repeats “Oh man what I used to be. Oh man, oh my, oh me!”. Lorelai starts “I guess I got old” and follows this age motif in a song of missing a lost love. The title track Helplessness Blues says “What’s my name, what’s my station?” continuing the theme and the song ends “Someday I’ll be like the man on the screen”.

It is a beautifully crafted album, with the delightful vocal harmonies off-setting the deep and melancholy premise of the lyrics.

Beirut - The Rip Tide

This album features a wealth of traditional instruments from ukulele, accordion, organ and horns. Zach Condon’s lead vocal is husky at times, and often accompanied with a backing vocal for emphasis. The recurring blast of horns over soft piano or strumming is the predominant sound. It is a sweet arrangement of gypsy meets mariachi.

At 9 tracks and a little over 30 minutes it is the shortest album to make my list. I found it was also a record that demanded a few listens to fully appreciate, but in doing so I was rewarded with the songs growing on me.

Gotye - Making Mirrors

At the time of writing, this album is already enjoying accolades winning numerous awards. It is a fantastic pop album, and represents the talents of Gotye at his very best. The percussion is brilliant and the use of samples is extremely clever, with sounds gathered not only from a collection of old records but recordings manipulated electronically and layered into the mix. An example is the baseline on Eyes Wide Open uses a sample recorded from hitting a wire fence!

As with the last Gotye album, the voice of Wally De Backer is a highlight. The appearance of guest vocalist Kimbra on Somebody That I Used to Know was masterstroke, complementing Wally’s vocal perfectly.

While I think there are a few weaker tracks like Smoke And Mirrors there are many highlights. I Feel Better has a fantastic hook, that harps back to the Motown heyday; State Of The Art applies vocal enhancers to great effect in a humorous song about Wally’s organ; and Bronte is a gentle and heartfelt song.]]> http://www.last.fm/user/philbicker/journal/2011/05/04/4d4ict_it%27s_quite_a_big_news_day... Wed, 4 May 2011 12:48:12 +0000 http://www.last.fm/user/philbicker/journal/2011/05/04/4d4ict_it%27s_quite_a_big_news_day... Mon 2 May – Gruff Rhys
When I found out Gruff was coming to town AND playing at one of my favourite little venues I was very excited. He generously made his new record Hotel Shampoo available for streaming on his website well before it was released. I spent a good deal of time with it then, and have done more so since I finally got my hands on the CD.

The night started with a delightfully witty solo performance by Dan Kelly. It was a small crowd to begin with, but he came prepared with his own laughter & applause track :) Not that he needed it. He gave is new record "Dan Kelly's Dream" a good plug, played some of his staples and took requests. His electric guitar buzzed, his crazy hair shook and we all smiled. My favourite was Bindi Irwin Apocalypse Jam - an instant hit.

Then came the main man. I had no particular preconception of Gruff's set. The table on stage, laid out with an assortment of cryptic items (including a fake Orange) was a hint, but even then difficult to interpret how he would incorporate this into the show.

After a lengthy pause, the curtains were opened and he wandered on stage. His presence was immediately endearing, as he sat in front of his table, guitar in hand. He thanked Dan for his opener and thanked us all for being there. Then the magic happened. He took a 7 inch vinyl and placed it on the record player (a track of chirping birds as an accompaniment that he would revisit throughout the show) and began a rendition of Shark Ridden Waters. From there we were swept away. Gradually he introduced us to "Martin the metronome", his "electronic bagpipes" (a small box with a few red lights that gave a familiar drone), his velcro-attached guitar modification (which compensates for the fact he learned to play upside down), his glow in the dark keyboard (apparently, the inspiration behind Sensations In The Dark), more vinyl samples, loops, bells, the plastic orange...

He played us a few songs in his native Welsh from his earlier records, a highlight for me was Gyrru Gyrru Gyrru which he helpfully translated for us means "Drive Drive Drive" and is a song about driving a long way. He noted that Cycle of Violence was probably an appropriate choice saying "It's quite a big news day... with Cardiff City playing Middlesborough..." When introducing If We Were Words (we Would Rhyme) there was a solitary sound of acknowledgement from the crowd, to which Gruff responded by saying "when I play this bit, just start cheering like it's one of your favourite songs". Just a few examples of his brilliant humour and remarkable talent that was apparent for the whole evening. Nothing pretentious, just a sincere display of creative talent. One of my favourite gigs of the year, and one I will always remember with a great fondness.]]> http://www.last.fm/user/philbicker/journal/2011/05/04/4d4ezz_groovin%27_in_bendigo Wed, 4 May 2011 11:33:31 +0000 http://www.last.fm/user/philbicker/journal/2011/05/04/4d4ezz_groovin%27_in_bendigo Sat 30 Apr – Groovin' The Moo 2011
I like the idea of Groovin' the Moo. Lots of major festivals like BDO are uber-popular and played in the big cities. So it is nice to see a festival go to some regional centers to give the country folk some love.

The line-up had some big highlights for me. I justified going (I have seen ALOT of music this year) just to see The Go! Team & Cut Copy but there were plenty of other great highlights.

So here is my wrap up:

Crowd Favourite: Architecture in Helsinki
These guys had the whole tent rocking, everyone dancing and singing along. Their rapport was incredible and it was an absolute blast to bop along to them along with everyone else.

Best Musical Performance: Gotye
I have never seen Gotye live before, so I was really interested to see how Wally translated into a live show - particularly a festival show. He didn't disappoint. We had a good position, central to the stage and the craftsmanship was sublime. Aided by a tight band, this show was a real delight and a refreshing change of pace.

Biggest Disappointment: The Drums
I had high hopes for these guys. I haven't listened to them extensively, but listened enough to know I really like them. Their live show just didn't seem to translate. The presence on stage was aloof and failed to really connect with the audience.

Most Fun: The Wombats
The anticipation for these guys was massive. Clearly the act that nobody wanted to miss. A great mix of new material and classic back catalogue. I did giggle when they played 1996 - thinking that most of the crowd were probably born in that very year.

Biggest Surprise: Darwin Deez
The hipster poster-boy and his band was electric. I'd heard a few of his big hits but never really paid attention. This gig got my attention. A great vibe featuring bouts of spontaneous synchronised dance moves. Nice.

Biggest Regret: Washington vs The Go! Team
The Go! Team was a HUGE draw card for me. I really love the energy of this band and the sheer intoxication of their sound. However, I think I had built up my expectation a little too much. The new record Rolling Blackouts is amazing, and I was hoping they would give a good showcase of it. Unfortunately, one of the risks of playing at a festival is the sound is not optimal. For a band that always has SO MUCH going on, it really is critical to get that right - they didn't. The mic level was criminally way too low. Another risk of playing at festivals is a crowd that has no idea who you are and doesn't care. Going up against Washington meant the crowd was small and hardly anyone seemed to know the new songs. I danced, I sang... I really enjoyed it, just think it could have been better (and that Washington would have been a better choice). Really looking forward to the side show now, where I am sure they will blow me away.]]>