the big list: the best in music for 2013

End of year lists are pretty much…the best part of the year. So here’s our (heavily biased) idea of what happened in music in 2013: 

Album of the Year:

(the nominees…)

 - Haim : Days Are Gone

- Kanye West : Yeezus 

- Arctic Monkeys : AM

- Arcade Fire : Reflektor

- Disclosure : Settle

- Jagwar Ma : Howlin’

- Rudimental : Home

- Tegan And Sara : Heartthrob

- Laura Marling : Once I Was An Eagle

- James Blake : Overgrown 

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WINNER: Haim – Days Are Gone 

 

 

 

 

 

 

 

 

 

 

 

 

Record Of The Year:

(nominees…) 

- “Royals” – Lorde

- “Days Are Gone” – Haim

- “The Wire” – Haim

- “When A Fire Starts To Burn” – Disclosure

- “Latch” – Disclosure

- “Black Skinhead” – Kanye West

- “Blood On The Leaves” – Kanye West

- “Still Into You” – Paramore

- “DNA” – Empire Of The Sun

- “Master Hunter” – Laura Marling

- “Reflektor” – Arcade Fire

- “R U Mine” – Arctic Monkeys

- “I Knew You Were Trouble” – Taylor Swift

- “Q.U.E.E.N.” – Janelle Monae ft. Erykah Badu 

WINNER: Haim – “The Wire” 

http://www.youtube.com/watch?v=1TffpkE2GU4

Gig of the Year:

- Tegan And Sara – Sydney Opera House

- Lorde – Splendour In The Grass

- Laura Marling – Splendour In The Grass

- Haim – Splendour In The Grass

- Alison Wonderland – Splendour In The Grass 

- Black Rebel Motorcycle Club – The HiFi 

- James Blake – Splendour In The Grass 

WINNER: Tegan And Sara

(Honourable mention to Alison Wonderland, for delivering the most badass/hectic DJ gig this year)

http://www.youtube.com/watch?v=hEW-4YwBZHM

Best/ Weirdest/ Freaky Music Video of the Year: 

- “Bound 2″ – Kanye West

- “Wrecking Ball” – Miley Cyrus

….actually that just about covers it.

WINNER: Miley Cyrus…for making demolition work thoroughly traumatising. 

http://www.youtube.com/watch?v=My2FRPA3Gf8

Biggest Musical Fuck Ups of 2013

- The One Direction Movie

- Festivals Cancelling (that’s you Harvest…Homebake)

- Bottle throwing at gigs (it’s not cool, see Azealia Banks) 

WINNER: The One Direction Movie

http://www.youtube.com/watch?v=C0I9ikjQtuI

Biggest Musical WTF?? 

- Miley Cyrus

….there’s no need for any other nominees. 

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…yep. 

 

Breakthrough Artist

- Haim

- Lorde

- Jagwar Ma

- Vance Joy

WINNER: Lorde

http://www.youtube.com/watch?v=LFasFq4GJYM

Quote of the Year:

“Now is an important time not to Google myself.” – Miley Cyrus 

 

Let us know what you think (i.e. we want your outrage.) 

 

 

Splendour Psych Up: Laura Marling

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Laura Marling

Master Hunter

 

Laura Marling’s last release (2011′s A Creature I Don’t Know) spun jazz arrangements with folk sensibilities and came up trumps, with Marling’s voice inching ever close to the untouchable Joni Mitchell.

New single “Master Hunter” is a slightly different beast, a low slung blues creeper that probably won’t sooth you as much as chill you to the bone. Joni Mitchell is not too far ahead.

 

Once I Was An Eagle is out now.

BREAKING ARTIST: Owl Eyes

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Owl Eyes

Closure

As lead single from her debut record, “Closure” does what it’s supposed to: deliver a scintillating hook amidst a tornado of laptop electronica.

Another Australian Idol alumna, Brooke Addamo has successfully sidestepped the world of bubblegum pop, choosing to blend glittering disco pop with heavy doses of indie. Luckily for her, it works.

Nightswim is out now.

New Single: Matt Corby – Resolution

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Matt Corby

Resolution

Matt Corby, of the wild wolf screams and paper-thin falsetto fame, is set to release his highly anticipated debut record later this year.

At first glance “Resolution” is classic Corby: hushed acoustic picking lying steady under Corby’s pillowy vocals. But it’s the addition of the clattering afro-drums and gospel claps that turn “Resolution” from a skeleton into a fully fleshed out being.

BREAKING BAND: Haim

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Haim

Falling

The leather wearing, guitar slinging, California slacker sisters Haim* may look like they’ve just broken out of St. Trinians, but at least they can craft one hell of a tune.

Courting a median age of 23, sisters Alana, Danielle and Este topped the BBC Sound of 2013 list – a huge indicator of impending world domination (Adele topped 2008′s list, for example.) Single “Falling” name checks everyone from Fleetwood Mac to Destiny’s Child, chopping up wistful harmonies over some heavy, scattered percussion. It’s a big single that may just be worth the hype.

haim

 

Haim will play Splendour In The Grass in July.

*Pronounced ‘Hime’ not ‘Haym’

 

ALBUM REVIEW: Abbe May – Kiss My Apocalypse

640x640-cAbbe May

Kiss My Apocalypse 

- (Independent/MGM) -

By the sound of her guitar slashing 2011 debut, Design Desire, Abbe May seemed ready to unleash 70′s rock/sex hell on the world. Influential blog Popmatters declared that she was “ready to destroy the rock world”, and she snatched up a nomination for the Australian Music Prize. She seemed ready to take up the mantle of modern rock heroine.

Which makes the screeching U-turn of her followup intriguing. Or perhaps not to her, at least: “I’m bored with standard rock”, May states in the press release, “I’m bored with the standard cool.” That probably explains why Kiss My Apocalypse eschews rock in favour of minimalist, pulsing R&B and laptop driven synth-pop.

Produced by May and Sam Ford, It’s an oddly incoherent collection – tracks are stitched together with quiet interludes that often only contain a throbbing drum machine (opener ‘Hurricane Heartbeat’), or screwed up vocal harmonies (the aptly named ‘Cyberpunk Choir’).

When the songs do take form, often they’re more like imprints than actual structures, ‘T.R.O.U.B.L.E’ exists on a pumped up vocal hum with some doomsday synths providing the backbone, and ‘Want Want Want’ doesn’t go much beyond the same formula.

May described her new style as ‘doom-pop’, and even beyond the world-is-ending song titles it’s a curious description. May revels in darkness and sensuality, the lyrics full of post-coital cigarettes and sexual imagery. Singing of betrayal and heartbreak, May definitely resembles the victor, and the songs burn with a distinct ‘screw you’ mentality.

The better cuts on the record play to this strength: single ‘Karmageddon’ is built on a hellish synth shudder and thick vocal lines, and the title track is a slow, sonic kick in the teeth to her foes.

As a slinking pop experiment, it excels, the songs belonging to the kind of late night meet ups that it so describes. As a contemporary pop release, it’s also interesting, owing as much to The xx as it does to Frank Ocean. Whether or not it’s the successful genre cross over that May desires may remain to be seen.

Rating: 6.5/10

Kiss My Apocalypse is in stores now.

ALBUM REVIEW: Half Moon Run- Dark Eyes

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Half Moon Run

Dark Eyes

What goes on up there in Canada?? For such a polite, chilly country they’ve managed to turn out some of the most prolific and successful artists of the last 50 years (Joni Mitchell, Neil Young, Leonard Cohen, Alanis Morisette, Tegan and Sara…), completely altering the musical landscape in a thoroughly unreserved and un-Canadian way.

From this great bed of influences, it’s not surprising that Canada still cultivates some of the most interesting music around. Emerging from Montreal with debut record Dark Eyes, indie rock outfit Half Moon Run have created one of the most impressive albums of recent years. In just under 40 minutes, the group have cut 11 tracks that balance skittered percussion with dreamy vocals, intricate guitar lines with bouncing keyboards, and three part harmonies that the Dixie Chicks would kill for.

It’s this profound ear for balance that gets the mind humming. Songs that manage to hold down atmospheric soundscapes with danceable grooves at their base work so well you wonder why nobody does this all the time. As a bewitching case in point, opener ‘Full Circle’ is a cold piece of folk – a thumping percussive beat with Devon Portielje slip sliding his way through the lyrics atop a crisp acoustic. On the jittery ‘Call Me In The Afternoon’, the harmonies touch down momentarily before leaping to the next line, spurred on by the clacking drum sticks.

They’re alright on the slower stuff as well. ‘Need It’ is perhaps the obligatory love song, but luckily the pillow soft harmonies will get you through. ‘Nerve’ may just be the standout, a twisting mid-tempo groove with a softly pawing hook. Sure, they may shamelessly channel Radiohead on cruisers ‘Drug You’ and ‘Give Up’, but it’s still viewed through their own prism. And it’s that distinct, complicated prism that make Dark Eyes such a sonically arresting record.

Rating: 9.0/10