Some things I’ve been enjoying of late!

A/N: If you subscribe to this blog via email, you may have seen this post come up before… I accidentally pressed the ‘publish’ button instead of the ‘save draft’ one, and when I ‘trash’-ed and tried to continue working on it from there, it republished it again! Sorry – please ignore them!

Right now, I’ve just started work on a couple of other, more ambitious posts, which I’m hoping will go up at least by the end of January. But in the meantime, I thought I’d muse on some of the pop culture – the TV shows, books, movies, and (of course) music – I’ve been enjoying over the past few months!

Firstly, though, I just want to say a few words about Leonard Cohen and the relentlessness of this year’s obsession with making cool people pass away. I only started to delve into Cohen’s work a few months ago – after watching a documentary made on him in the mid-’60s that my mum and I found in our favourite record shop – but he quickly became one of my favourite artists. Mum and I spent the past couple of months enamoured with his beautifully atmospheric music and poetry, and we’d only planned a couple of days before the news to listen to his newest album, You Want It Darker, together. And so we were both saddened to hear that – so soon after we’d begun to really discover his work – that he’d passed away. He will be sorely missed.

Music

Unsurprisingly, I spend the vast majority of my time reading about music. (I don’t run a food blog, after all!) It’s from this constant reading that I unearth many of the bands I haven’t yet discovered – a method that has lead my to some of my favourite artists in the world – and these past few months have been no exception on this front. Here are some notable examples:

  • Big Star: It’s been a while since I stumbled across my first Big Star song in the middle of an art class in March, but it wasn’t until I acquired a copy of their first two albums on CD that I began to delve fanatically into their discography. The band’s music is so beautiful – filled with jangling guitars and chiming harmonies, with all the twinkling prettiness of a sunny Spring day – and their story – filled with failure and tragedy, until not so long ago when their records found themselves buried deep in the collective consciousnesses of the majority of post-1985 alternative bands – fascinating. I’ve barely stopped listening to their Third album, and founding member Chris Bell’s solo compilation I Am The Cosmos, since, and I think they may be my favourite band along with Sonic Youth right now. (Bowie doesn’t really count as a “band”, does he?)
  • The Smiths: I was entirely unable to see the appeal of The Smiths – sans Johnny Marr’s guitar skills, which I’ve always appreciated – up until about a month ago. This change-in-heart was the culmination of two events: the first one involving me reading an article about Morrissey’s musical and literary influences and thus realising that I liked about 9/10ths of the artists and authors he mentioned, and the second one being me listening to ‘How Soon Is Now?’ with headphones and then thinking it was one of the greatest things I’d ever heard. I’ve since discovered that The Smiths were every bit as musically and melodically beautiful as Marr’s guitar skills had previously suggested to me, and that Morrissey’s voice and lyrics are not actually as annoying as I had found them before, but are instead rather interesting and funny. The Queen Is Dead has been my album-of-choice while drawing and painting for the past month, now! (I still love the Cure though. I can’t choose between the two!)
  • Lydia Lunch: I’ve found Lydia Lunch rather fascinating for a little while, now – her almost gothic aesthetic, her “I could care less” attitude, her involvement in the “no wave” movement (one which I find just as fascinating as well). I’ve been listening to her album, Queen of Siam, on constant repeat for a few months, and I find her music just as fascinating as I do her image. It’s so cool! It has all the arty, underground rebelliousness of the New York punk movement that preceded her no wave – but amplified, and with all the experimental spirit and dark mysteriousness that, say, the Ramones (as much as I adore them!) lacked. Plus, she worked with Nick Cave and Rowland S. Howard – who are kind of national treasures here in Australia – so she gets extra points for that too. She’s so cool – go look her up now, and be inspired!
  • Blondie: I think I may have written Blondie off as a disco band in the past, which may explain why I didn’t delve into their catalogue until a few months ago. However, I haven’t let this late start stop me in developing a fanatic obsession with their music and their image. There is something infinitely fascinating about them – the way they added pop sensibilities and glamour to the CBGB scene and yet retained all the punk attitude of their contemporaries is the epitome of cool. Parallel Lines must be one of the most perfect albums of all time because of this – it’s sleek and poppy, but still alternative-ly self-assured and outspoken. And their image deserves kudos too – there is kind of a streetwise glamour to it, dirty and brassy yet beautiful and glitzy, which is my kinda thing. Plus, Debbie Harry is also a major role model of mine both stylistically and as a female musician.

TV: Twin Peaks

It took me four months to watch every episode – Fire Walk With Me included – of Twin Peaks. I started it knowing vaguely of its “cool ” status, of how it involved cherry pie and saddle shoes and some girl being murdered and “wrapped in plastic”, and of how David Lynch was involved in it and how he had also directed Mullholand Drive and of how (as much as I enjoyed it) confusing that was and how I wondered if it would be like that as well. But by the time I finished, I was completely and totally enamoured by it. It’s been well over a month since I watched the final episode, but I miss its presence in my weekends more than I’ve ever missed a TV show before… Perhaps the reason for this is of how utterly fascinating and enthralling the show’s narrative is. Exploring the devastating fallout after the murder of seemingly-flawless homecoming queen Laura Palmer, the way that its creators (Lynch and Mark Frost) explore the duality of Twin Peaks’ quaint small-town outer, and the greed, lies and pure evil that haunt it, is edge-of-your-seat thrilling. And many of its characters – some that you are destined to adore like no other from their first scene, others that you endlessly loathe and yet find compelling as a consequence – must be among the most well-developed and enthralling (and well-dressed! Case in point: Audrey Horne) in all of TV history. Angelo Badalamenti’s soundtrack for the show is perfect, both for mirroring the show’s many atmospheres and as music in itself, too. It is simultaneously the funniest, saddest, most beautiful, most frightening – and undeniably among the best – thing I’ve ever watched. I cannot even tell you how excited I am to see how everything will pan out in the new Season 3 set for release next year!

ggs

And a quick word on the other TV show set in quirky, small-town America where all the main characters have coffee addictions – Gilmore Girls! Its special new season finally came out the other week, and while I won’t be able to watch it for a while as I don’t have Netflix (no spoilers please, then!!), my obsession with the original series – I’ve actually lost count of how many times I’ve watched it – has ensured that it’ll more than likely be well worth the wait! I can’t express how glad I am to welcome some of my favourite fictional characters ever back (though did they ever leave?) into my world, as demonstrated by my rather melodramatically excited reaction to the trailer. I can’t wait to see what they’ve all been up to over the past nine years – but I especially hope that Jess and Lane are still as perennially cool as when we last saw them, and that the former is as great an author as his last appearances in the original series suggested he was destined to be (team Jess! team Jess!), and Lane is back playing in a band…

Book: Slouching Towards Bethlehem (Joan Didion)

To quote an essay I penned on the book for my English class:

There are some books which are destined to entirely engross and change the course of your life. These books are perhaps the most beautiful, the most eloquent, the most thoughtful thing you’ve ever laid your eyes across, and you know – almost as immediately as you dive into the first chapter – that it will force you to spend the rest of your life rereading it on endless loop and quoting its every word to everyone you meet. I have been lucky enough to have been blessed with a couple of books of this ilk within my life. Joan Didion’s Slouching Towards Bethlehem is one of these. Perhaps it is the greatest of them all.”

Right now, I’m convinced that Slouching Towards Bethlehem – Joan Didion’s first non-fiction anthology, published in 1968 – is the greatest book I’ve ever read, and perhaps one of the greatest ever published. To me, it is almost perfect – Didion’s writing style is the most eloquent thing I’ve ever read, filled with adjectives and infinite wisdom and mystery alike; she writes of the fractured, deceivingly glamorous American “cool” that I have long been fascinated by, of a contrasting collection of figures and characters to endlessly intrigue, and of all the things both internal and external that she has come across in her personal life to which many a reader will scream “Yes! I relate!” over and over to their bedroom walls; it is also unapologetically feminine, something I hadn’t really come across in a book before and a quality that I – as a young woman – find beautiful. I’ve never been so enthralled by a piece of literature before.

Movie: Heathers 

Here are three of the many reasons why Heathers is my favourite movie, second only to The Man Who Fell To Earth:

  • It’s one of the funniest movie I’ve ever seen. The script has some of the wittiest, fast-paced one liners ever written – laced with the most ridiculous black comedy, and clever enough that they never insult the audience’s intelligence – and its merciless satire towards almost everything the world held (and holds) dear is often so cruel it’s hilarious. I don’t think anything’s made me laugh so hard, ever. Here is a good list of only a few of the script’s highlights! Plus, the plot is so twisted and kind of comically disturbing that’s it’s funny.
  • It stars Winona Ryder. ‘Nuff said. (This is coming from someone who, for a few months, watched almost exclusively movies featuring her. She is the best.)
  • And how real it is. For all of its hilarity – and its disturbing plot – Heathers is actually one of the most brutally accurate portrayals of high school that I’ve ever seen in the media. Never once does the movie romanticise or censor it – instead, it shows it exactly like it is, and the movie is all the more intelligent, confrontingly authentic and powerful for it. A reason related to this that I feel deserves a special mention of how ruthlessly disparagingly it displays the concept of high school social ladders, something that must’ve been pretty brave for a world where an originally-quirky Molly Ringwald ends up with the preppy rich kid and an even more quirky Ally Sheedy ends up being transformed into a total it-girl! The very ending – the bit where Veronica walks through the corridor (without giving spoilers away!) – is the absolute best. It’s both great humour and social commentary!

As with pretty much everything else mentioned in this post, I could talk about my immense love of Heathers for years, but let’s just leave it at a paraphrased quote from the movie itself: “It’s beautiful.” (You can deduct whether this is sarcastic or not yourself!)

And so that’s what I’ve been into over the past few months! What about you?

And just before I sign off, I thought I’d mention that today is the anniversary of John Lennon’s death – hope you’re resting well, and thinking of you!

Pictures Of You…

 

PattiSmithHorses

The cover of Horses is a good example of truly great rock photography (taken by Robert Mapplethorpe)

Let’s face it: it is rare to become a fan of a band simply because the music is pretty good. While, of course, the music is a massive catalyst in such a decision, we become invested in our favourite artists for a myriad of reasons – and often, the visual chops of said artist is one of these. Think about it – it is difficult to picture the early Beatles without their Pierre Cardin-designed collarless suits, glam-era David Bowie without glittery, flamboyant catsuits and bright-red platform boots, The Sex Pistols without their Vivienne Westwood designed garb, The Cure’s Robert Smith without his teased hair and copious amounts of eyeliner… But of course, it’s a little difficult to be fascinated by a band’s visual presentation without seeing them first. And unless you’ve been lucky enough to see one of the above in real life, it is at this point that the world of rock photography enters the picture. (Pun intended.)

london calling.jpg

Joe Strummer (taken by Pennie Smith)

When I mention ‘rock photography’, I do not mean the kind that consists of the unimaginative awkwardness equal to that of your Grade 5 school photo. I mean the kind that appears to effortlessly capture the spirit of what music is all about – think the cover of Patti Smith’s Horses, the freezeframe of Joe Strummer about to smash his guitar that eventually became the cover of London Calling, that photoshoot of Bowie and his lightning bolt makeup…  So today, I’m going to name and showcase a few of my favourite rock photographers – the masters of capturing the spirit of rock’n’roll – and I’ll say a few words about them, too. Though, as they always say, a picture is worth a thousand words…

Mick Rock

Most famous for photographing: David Bowie, Lou Reed, Iggy Pop, Syd Barrett

Contrary to what regular readers may assume, I didn’t discover Mick Rock’s photography via his extensive Bowie work, but through his photoshoot for the cover of Syd Barrett’s debut solo album, The Madcap Laughs. There is something so mysterious and magical about these photos – Syd (wearing smudged kohl and a pair of old velvet flares) sits among his hazy and delightfully cluttered flat, somehow effortlessly capturing the spirit of his work.

But it was his Bowie shots that made him my all-time favourite photographer. The pictures he took of Bowie throughout the early ’70s are glittery, glamorous insights into the heady worlds of Ziggy Stardust and Aladdin Sane. Each shot manages to translate the theatricality, the otherwordliness, the arty intellectuality, the freakish beauty of his work into what are (in my opinion) some of the greatest photos of all time. Of course, Bowie (well aware of the value of utilising both sound and vision) was photographed many times by countless photographers – but very few others managed to instinctively get what he was all about and freeze it within a few frames of film.

But then – then – I discovered that he took pretty much every famous picture of every iconic glam artist, too! His shots of Lou Reed, Iggy Pop and Brian Eno – alongside the Bowie ones – take the dangerously dark glamour of the movement and turn it into something we can still find infinitely fascinating and a little rebellious today. And apart from this, he also took a myriad of other incredible pictures of every other artist of the time you can think of – Queen, The Stones, Blondie, The Ramones, The Runaways, The Sex Pistols, Siouxsie Sioux… No wonder he is referred to as “the man who shot the ’70s”!

http://www.mickrock.com/

Bob Gruen

Most famous for photographing: New York punk, John & Yoko – but also every other artist you can think of

Even if you don’t know who Bob Gruen is, you most certainly know his work – he was the guy who not only shot that famous image of John Lennon wearing his ‘New York City’ shirt, but who actually gave John said shirt in the first place! Gruen shot almost every other iconic artist of the era as well, seemingly turning up at every show that passed through New York (where he is from). Among his other famous shots include a “multiple image” of Tina Turner and a picture of Sid Vicious with hot dog mustard all over his face, but he’s also photographed everyone from Led Zeppelin to KISS to Dylan to Green Day to the Beastie Boys to Sly Stone to Elvis Costello to [insert first artist off the top of your head here]…

Asides from this, Gruen was a regular at New York’s most iconic venues, CBGB and Max’s Kansas City – so consequently, he also shot a who’s-who of New York underground music throughout the ’70s and ’80s! He photographed native artists like the New York Dolls, the Ramones, Patti Smith, Talking Heads, Devo, Plasmatics, Television and Blondie – on top of non-natives, like Nina Hagen, the Pistols and The Clash – performing to their equally-fascinating audiences, juxtaposing their fashions and reactions alongside the artists themselves. In a way, Gruen is to punk what Rock is to glam – he effortlessly captures the sweaty, intimate passion that defined much of the New York scene in a way that few others have mastered. But everything he’s shot has this too. His images never fail to remind you what rock’n’roll is all about…

http://www.bobgruen.com/

David Bailey

Most famous for photographing: The Stones, Lennon & McCartney

It’s probably kind of a stretch to refer to David Bailey as a “rock photographer” when most of his legacy stems around his relationship with models such as Jean Shrimpton and the like. But perhaps it is his background as a fashion photographer that makes his pictures of a few of the biggest stars of ’60s rock so interesting and great.

My favourite of his many photoshoots is the one he did with John Lennon and Paul McCartney at the beginning of 1965. The pair are photographed in the richest tones black-and-white film can produce against a starkly cold, white background – and though the photos are obviously staged, there is a candidness to the pictures, something that seems to transcend whatever a normal photo can capture. But perhaps Bailey was always more famous for picturing The Stones; asides from shooting Mick Jagger a number of times, he also took many of the band’s album covers, including their self-titled sophomore effort, US release The Rolling Stones, Now! and most famously Aftermath. Other musicians he’s shot include Marianne Faithful and Alice Cooper.

http://www.visualartists.com/artist/davidbailey/

Janette Beckman

Most famous for photographing: British punk and new wave

While Bob Gruen was capturing New York punk, Janette Beckman was busy photographing the various circles among the British musical underground at the same time. Like him, she managed to shoot a who’s-who of her scene, her work encompassing artists like Siouxsie Sioux (the subject of her first photoshoot), Public Image Ltd, The Jam, Echo and the Bunnymen, The Undertones – even The Who! She also captured a number of American artists who passed through town, too, such as Lydia Lunch, The Cramps and Debbie Harry. Beckman also shot a number of images of young people in Britain at the time, illustrating the assorted tribes – punk, mod, ska, and so on – that found themselves scattered around the country at the time, and later went on to shoot a bunch of hip hop groups in the ’80s.

In contrast to Gruen and Rock, her images rarely show her subjects performing onstage – instead opting for staged shoots and backstage candids – but this doesn’t stop her from capturing the spirit and ethos of the movements around her. Her shots capture the passion and philosophies of the artists in fascinatingly inventive ways – the way she captures the feeling of the music is perhaps only precedented by Mick Rock. Her work is quirky and endlessly interesting, an incredible document of much of the greatest music of the time.

http://janettebeckman.com/

Brad Elterman

Most famous for photographing: candid shots of a who’s-who of ’70s rock’n’roll

Unlike the other photographers in this list, Brad Elterman did not become an official photographer until a few years into his career. This is illustrated by my favourite story about him – of how, in 1976, he was denied a photopass into Bowie’s recording studio during the making of Station to Station, so instead opted to wait outside the studio and ambush Bowie and his crew as they left that night. Despite this, though, he still managed to photograph a heap of major faces in ’70s rock’n’roll, and in a way that many of his official counterparts would be incapable of.

Elterman’s shots are candid and compelling in a way that more professional photoshoots are not. He so easily shows the emotions and lives of his subjects – his pictures are relaxed and fun, and they capture a certain realism about the whole thing. He’s photographed everyone from Joan Jett to Bowie, Dylan to John and Yoko, Michael Jackson to Joni Mitchell, and there is just something so special about each! There is no-one who has shot the rock’n’roll world with his unbelievably unique eye before or since, and it is this that makes his work so great…

http://www.bradelterman.com/

And so, who are your favourite rock photographers? What are your favourite pictures of rock music? Be sure to tell me in the comments!

My Favourite Albums of 2015

AUTHOR’S NOTE: Well, finally… This post has been 3 months in the making, haha. Alas, here it is…

I was really disappointed with this year’s triple j Hottest 100. For a supposedly-prestigious countdown of the year’s best alternative tracks, this year’s edition consisted almost entirely of EDM. I find it saddening that this is what triple j (previously huge supporters of our local alternative scene) has come to – a stream of soulless, forgettable club music, that, in the end, is really ‘pop’. To quote The Church’s Steve Kilbey’s article on the 100 for The Guardian, “I thought triple j would have a lot more edge than this smooth, manufactured fare.”

I don’t, however, feel that this accurately represents the year that was. For in my opinion, 2015 was the greatest year for music since at least the mid-’90s. Though my thoughts that the EDM trend had faded were obviously incorrect, there were plenty of inventive, affecting releases to make up. The keyboards and synths of 2014 faded a little – guitars making a triumphant return to the alternative arena in their place; the ‘album’ made a huge comeback, so many of the following carefully sequenced as only the greatest pieces of musical art are; many now-“retro” genres (psychedelia, grunge, old-school punk and folk) experienced perhaps their greatest rebirths in recent years, creating work easily as good as those of their predecessors. And while my faith in the current music scene was thrown into jeopardy a good number of times, the following 10 albums (and so many more, too!) more than reassured me. Perhaps 2015 will go down in history as my generation’s ‘1967’ – for I know that so many of these albums will be seen as classics and will change lives in years to come. So here goes…

(I should also mention that this list is by no means complete. There’s still a lot of albums from last year that I haven’t yet been able to listen to! Perhaps there will be a follow-up to this post at some point…)

10. Currents (Tame Impala)

currents tame impala

Currents was easily the album I anticipated most on this list. However, I was a little disappointed. Though I remain a fan of Kevin P. & Co’s work, the swirly guitars that had drawn me to their discography had been replaced by club-worthy synths and drum machines. Their fascinatingly-weird brand of psychedelic rock was now pop.

Despite this, I still loved Tame Impala’s latest effort. Kevin Parker far from neglects the idiosyncratic, kaleidoscopic edges of Lonerism and Innerspeaker, each track still sounding as hypnotically psychedelic and, well, a little out of place as the work that preceded it. Each track swirls through your mind, a showcase for Parker’s incredible musicality, his voice sounding like John Lennon on Revolver, the synths a suprisingly-earcatching hybrid of Spiritualized and pop music. It is just so much more inventive and weird than so much of the stuff it is lined up against! Currents proves Parker’s status as music’s residential genius right now is more than deserved. His work truly is among the greatest of our time.

START WITH: ‘Cause I’m A Man’

[BUY]

SEE ALSO: I Went To See Tame Impala!

9. Depression Cherry (Beach House) 

depression cherry beach house

After a 3-year break, Beach House were famously prolific in 2015 – following up August’s Depression Cherry with October’s Thank Your Lucky Stars. And perhaps it was just the anticipation (and the velvet cover…), but the former wins out for me.

Depression Cherry is exquisitely delicate and positively other-wordly from its first chord. Listening to it is like being caught in the most beautiful dream – the instrumentation subtle yet lush, spellbinding, ethereal. The synths, like sonic gossamer, flicker and swirl around your mind, embellished with jangly lead guitar, sheer bells and dreamy vocals. It is so calm, so gentle, so warm, and will undoubtedly leave you spellbound after the first listen…

START WITH: ‘Beyond Love’

[LISTEN/BUY]

8. Slow Gum (Fraser A. Gorman)

slow gum fraser a gorman

Good news – there’s more where Courtney Barnett came from! Fraser A. Gorman is an artist signed to Milk! Records (the record label Barnett and her partner Jen Cloher began in 2012), and his 2015 debut – though not receiving the same incredible success of hers – is just the best, too!

Slow Gum is steeped in old-school folk and Americana (the cover even evoking The Freewheelin’ Bob Dylan!), also taking cues from – as his bio notes – artists like Transformer-era Lou Reed and Big Star; yet it doesn’t rehash the past. In true Milk! Records style, his lyrics are charming and quirky, telling stories reflecting love, life and what it’s like to be a young Australian right now. The music is equally charming and quirky – it’s laidback, slightly sleepy, nostalgic yet anticipates what’s to come. It’s driven by the greatest acoustic guitar, a fiddle (!), surprisingly rock’n’roll drums, glowing electric organ, lead guitar that goes from Neil Young to Courtney Barnett in the space of a song, pretty harmonies, and his vocals are like a sweeter, Australian Bob Dylan. It’s just so great – the kind of thing you’d listen to as Summer comes to its end, that you’d sit in the sun on Sunday morning and sing along to over coffee and toast. A painfully-underrated cut from last year that deserves your attention!

START WITH: ‘Shiny Gun’

[LISTEN/BUY]

7. b’lieve i’m goin down… (Kurt Vile)

blieve im goin down kurt vile

I’ve never previously counted myself as a fan of Americana music, but as soon as I heard the beginnings of b’lieve i’m goin down…‘s ‘Pretty Pimpin’, this was completely irrelevant. Maybe it’s the song’s guitary stomp, which makes you want to immediately get up and dance, or Vile’s idiosyncratic vocals and rambling lyrics, or something else entirely – but I found it deliciously addictive, and have barely stopped listening since.

This brand of quirky, introspective folk rock is just as great throughout the remainder of b’lieve i’m goin down. The music is raw, welcoming and hooking – boasting some incredible fingerpicking, a lead guitar that sometimes lays in its country roots but more often finds itself in territory dominated by tougher rock’n’roll – that goes from wailing to stabbing between tracks, subtle keys, a banjo. Vile’s voice is delightfully unusual and slightly deadpan in its stylings, yet the melodies he sings are the kind you’ll be humming for days to come. The lyrics he writes are wonderfully rambling and contemplative, recounting an inner monologue in his fascinating manner. Another record that you’ll fall in love with on the first listen, and one that won’t leave your turntable/MP3 player for weeks to come!

START WITH: ‘Pretty Pimpin’

[BUY]

6. Quarters! (King Gizzard and the Lizard Wizard)

quarters king gizzard and the lizard wizard

Beach House weren’t the only overly-prolific band of 2015. In fact, last year’s release schedule for infamously-prolific psych rockers King G & Co. was fairly normal! True to form, the band released two albums last year: Quarters! in May, and Paper Mache Dream Balloon in November… Unlike the latter album (which was announced to much fanfare and met with great anticipation), Quarters! came out quietly in late Autumn, not even released on CD. The album only contains four tracks – each of them precisely 10 minutes and 10 seconds long! – and is a lot simpler than the Tame Impala/POND cuts to which they’re compared. But this does nothing to diminish its undeniable greatness.

Quarters! consists of some kind of dreamy, psychedelic magic, the kind that will leave you spellbound with its incredible beauty. It’s not overpowered by outlandish busy-ness, like POND and Tame Impala, instead celebrating its weirdness in a starker – yet just as satisfying! – manner. Jangly jazz chords play softly throughout each of the four cuts, paired with soulful vocals, hazy guitar arpeggios, gentle reverb, shimmering keys – making for space-agey doo-wop tunes and giddy, experimental freak-outs and foggy folk tracks, the kind of things fit for the fading warmth of Australian Autumns… And while it’s still heaps of fun (KG&TLW have always been unapologetic about the fact that they’re among the silliest bands around), the album is perhaps more affecting than its successor – the kind of music that digs deep into your mind, that becomes a favourite that you’ll play until it wears out, that makes you want do stuff yourself. It quietly accepts its freakishness, and celebrates this – and that’s why it’s so good. The album is so brilliant, so strange, so fascinating – you’ll never get tired of it!

START WITH: ‘God Is In The Rhythm’

[LISTEN/BUY]

5. Man It Feels Like Space Again (POND)

man it feels like space again pond

POND have always garnered a number of comparisons to Tame Impala, not least because 3/5ths of its current lineup have been touring members of the latter act. But although POND’s 2015 effort did not receive the accolade of Tame Impala’s, I have to say that I prefered it – considerably.

Man It Feels Like Space Again is a delightfully spacey, exciting affair, stumbling from track to track in a hazy, psychedelic dream. Each is drenched in effect – dreamy reverb, unsettling synthy strings, chugging phasers, erratic fuzz -, driven by brilliantly eccentric drums, layered with floaty vocals (mixed lower than usual – sometimes practically inaudible – but to great effect!), embellished with the prettiest, spaciest guitar, echoing – and even rivalling – the madly psychedelic moods created by many artists in the late-’60s. It’s unpredictable – ranging from glammy disco cuts to foggy waltzes – and so weird, so much more experimental than many of its contemporaries. Dominated by a ‘more is more’ philosophy, it swirls from the speaker, bursting at its sonic seams with with its bizarreness. With each listen, you’ll notice something new – it really never gets old. Man It Feels…, despite its relative obscurity in comparison to Currents, is just so much more weird, more interesting, more unpredictable, more fun. And that is why I’m still listening to it so much, over a year since its release…

START WITH: ‘Elvis’ Flaming Star’

[BUY]

4. Feels Like (Bully)

feels like bully

Listening to Feels Like is a little like running back to the ’90s, when the majority of alternative bands employed guitars to play their brands of punk and grunge instead of poppy synths, and when the most acclaimed female musicians were more Kim Gordon than Beyonce. But that’s kind of simplistic – for Tennessee punk band Bully’s debut LP sounds too fresh, too great to be but a mere throwback.

Feels Like begins with the visceral, thrilling ‘I Remember’, which rips through your speakers with its ferociously loud guitars, whirlwind drums and singer Alicia Bognanno’s howls and screams. The rest of the album is the same – a collection of impassioned punk anthems, ready-made for playing on constant repeat. The music is fierce and relentless, thrashing itself through each song, reminiscent of Sonic Youth, Pixies, early Sleater-Kinney. It is inaccessible, yet kind of anthemic, and it’s punk – refreshingly hard and edgy, and just as good as the bands that inspired it. Alicia Bognanno’s voice is just the best, too…  And Bognanno’s lyrics are undeniably brilliant – like the Slits before her, she writes relatable lyrics that effortlessly capture the thoughts and anxieties of so many girls, the kind an introverted, teenage music-geek would scribble all over their schoolbooks and quietly quote to themselves in their bedrooms. And Feels Like is the kind of record that celebrates what it’s really like to be a teenager in this world, painfully relatable, and why I, for one, love it so. It is one for playing on constant repeat until you wear it out, and one for quietly sneaking onto a party playlist to prove that you’re cooler than everyone else. And one that once you start, you won’t be able to get enough of…

START WITH: ‘Trying’

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3. Ivy Tripp (Waxahatchee)

ivy tripp waxahatchee

Listening to Waxahatchee’s Ivy Tripp is like crowding around a fire on a particularly cold Winter’s day. It is warm and inviting, quirky and impossibly pretty. Waxahatchee (aka Katie Crutchfield) compiles each instrument – the guitars, keys, synths, drums – in a delightfully “DIY” manner, the kind of thing you’d record with your newly-formed indie band in your bedroom (but in the greatest way possible). It seems so delicate, fragile, yet leaks with passion and independence. And her vocals – so strong, yet so flowing – must be among the most beautiful I’ve heard. The kind of record you’ll fall in love with as soon as the first chord begins, and that demands to be played on repeat for years to come.

START WITH: ‘La Loose’

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2. No Cities To Love (Sleater-Kinney)

no cities to love

2015 marked the return of the incredible Sleater-Kinney, a band of three immensely talented women whose mix of scuzzy guitars, powerful vocals, catchy melodies and confident lyrical matter have continually inspired and reassured many a girls’ (myself included) love of rock’n’roll, as well as establishing themselves as among the greatest rock bands of our time. No Cities To Love not only reiterates these statements, but establishes itself as among the band’s best records yet.

Cities flings itself from track to track with an incredible excitement and energy, almost never matched by newer bands. Carrie Brownstein’s and Corin Tucker’s guitars thrash at each song with a fuzzy, murky dissonance that barely anyone else bothers to create these days, and Tucker screams her vocal lines with a phenomenally ferocious passion (think X-Ray Spex’s Poly Styrene). Each song is raw and raging, possessing an energy – a fire – reminiscent of the ’70s greatest punk albums; yet each is anthemic, too, prime for party playlists and bedroom sing-alongs. Cities is an incredible rock record: a piece of raucous, fast-paced rock’n’roll that never fails to satisfy, that raises your adrenaline as soon as the first chord lifts off. A set-to-be classic.

START WITH: ‘Price Tag’

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1. Sometimes I Sit and Think and Sometimes I Just Sit (Courtney Barnett)

sometimes i sit

It would easy to suggest that my love of Courtney Barnett’s Sometimes I Sit and Think and Somtimes I Just Sit lies mainly within its obvious homage to ‘retro’, guitar-driven rock, but this would be lazy – for it is so great on so many levels. Barnett slays her debut LP, laden with the wittiest lyrics, a voice among the uniquest in music today and tight, tough instrumentation, creating what is undeniably now a modern classic.

Barnett’s music is so incredibly refreshing in a world where Justin Bieber and gone-solo boyband members top the charts. Her lyrics are astute and entertaining, ramblingly poetic, simple and humble yet funny and smart. She manages to turn the most mundane of human experiences into interesting and often hilarious stories, penning lyrics you’ll sing until you can quote them at a second’s notice. She sums up what it means to be a young Australian in an almost disturbingly-accurate manner, recounting scenarios we know all too well with her proudly-displayed accent – so while Barnett has achieved international success, her work perhaps means most to all the young Australians who identify best with it. It is nice to hear your own accent, to hear slang you use every day in music you love, rare in a world ruled by America and Britain. She has easily become among the most important voices in music today.

To boot, Sometimes‘ incredible lyrics are backed by an equally-great band. The music crackles with such a rich exuberance, bursting with fun and fuzz-pedals. Barnett plays a mean guitar, thrashing it just like her grungy heroes. And paired with the help of drummer Dave Mudie and bassist ‘Bones’ Sloane, she creates a brand of indie rock so much rawer than that of those around her, echoing Australia’s longstanding love of garagy guitars, yet creating her very own sound at the same time. Think Nirvana, but funnier. But Sometimes isn’t retro, outdated – it’s fresh, made for the 21st century, and unlike most music out now, inventive and original. It is this – Barnett’s originality, her quirks, her (as SPIN put it) “low-key brilliance” – that has already cemented her debut as a classic, alongside Horses and Violent Femmes. And it is this that will ensure that it remains so, for years to come…

START WITH: ‘Pedestrian at Best’

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SEE ALSO: I Went To See Courtney Barnett!

Albums I’m particularly anticipating this year include Iggy Pop’s Post Pop Depression, The Drones’ Feelin Kinda Free, Sunflower Bean’s Human Ceremony, Glitterbust’s (Kim Gordon’s new band) debut, Adelaide noise-rockers Horror My Friends’ Stay In, Do Nothing – but I feel that Bowie’s Blackstar may have already taken out #1… (I guess we’ll have to wait and see!)

Did you listen to any new music in 2015? What were your favourites? Be sure to tell me in the comments!

(Also, if you’re viewing this on the site, you may notice that I’ve made a few cosmetic changes! Hope you all like them! The drawings in the header are ones I’ve done myself over the past year…)