Top 50 Albums of 2014, Part Three: 30 – 21

Crossing over the halfway point! Livin’ on some sort of prayer. Parts one and two are to be read/caught up on here and here.

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30. sleepmakeswaves – Love of Cartography
Spotify || Rdio || Bandcamp

The sooner that Australia wakes up and smells the vibrancy of its extensive post-rock community at hand, the bloody better. Sydney’s sleepmakeswaves have become the vanguard act of it in short time, less pushing the envelope and more reading the letter it contained from atop a mountain. With the airtight production guidance of rock expert Nick DiDia, Cartography became a full realisation of everything that the band could be; exploring new depths as well as searing highs – often within the same song. This is the sound of actions speaking far, far louder than words ever could. Consider the game changed.

THREE TOP TRACKS: Great Northern, Something Like Avalanches, Perfect Detonator.

LISTEN:

29. Fucked Up – Glass Boys
Spotify || Rdio

They may be the least hardcore and the least punk band in hardcore punk, but by some bizarre law of double negatives it’s made Toronto sextet Fucked Up far more hardcore and far more punk than a significant amount of their peers. Each of their albums feels momentous, grand in both scope and execution. Glass Boys proves to be no exception, in spite of a leaner runtime – in fact, it allows you to focus further in on the remarkable crafting that goes into each track. An alternate version of the LP with half-speed drums proves to be strangely-alluring additional listening.

THREE TOP TRACKS: Led by Hand, Glass Boys, Sun Glass.

WATCH:

28. Manchester Orchestra – Cope
Spotify || Rdio || YouTube

Manchester Orchestra have the heart of a lion and their collective eyes on a grander universal bigger picture. It’s now taken them through four albums of life, death, acceptance, honesty, sin and confession; and though one’s take on which is the superior of them may vary from listener to listener, it’s nigh-on impossible to leave a Manchester Orchestra record empty-handed. Although often shrouded in deep-cut metaphor and surrealist lyrical imagery, Cope has its own means of cutting directly to an emotional core at its most crucial points. It’s yet another excellent release from a band that works in mysterious ways.

THREE TOP TRACKS: Girl Harbor, Top Notch, Cope.

WATCH:

27. Run the Jewels – Run the Jewels 2
Spotify || Rdio || Download

We’re not in side-project territory anymore, Toto. The once-unlikely pairing of Killer Mike and El-P, now onto their third release together, has begun to make more sense in the greater spectrum of hip-hop perhaps more than practically anything else this decade. Such a bold statement can be backed by noting the remarkable impact of their second album. Swarming, visceral beats, simultaneous lyrical assaults and a completely-unexpected cameo from a fiery Zach de la Rocha all assisted in allowing Run the Jewels to forcefully smash through the underground and lead riots through the city streets. All hell can’t stop them now.


THREE TOP TRACKS: Early, Oh My Darling Don’t Cry, Close Your Eyes (And Count to Fuck).

WATCH:

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26. Future Islands – Singles
Spotify || Rdio

Some longer-term fans of dramatically-flaired electro-pop explorers Future Islands may feel somewhat disgruntled that it’s taken until their fourth studio album for a wider audience to be paying them the attention that they so rightly deserve. Think of it, instead, as a blessing in disguise: With the world now watching, we see the trio at the very best of their collective abilities; presenting a refined and distinctive take on their genre that revels in its kitsch and unfashionability so much that it comes full circle, leading to the arguably being the coolest damn record of the year. Who’d have thought?

THREE TOP TRACKS: Doves, Seasons (Waiting on You), Sun in the Morning.

WATCH:

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25. James Vincent McMorrow – Post Tropical
Spotify || Rdio || YouTube

For a timid Irish lad, James Vincent McMorrow certainly proved to have balls of steel when he made his launch forth into the great unknown at the start of the year. His second album was described by many as a 180 of sorts, doing away entirely with the folksy instrumentation of its predecessor. Perhaps a more fitting angle, however, would have been a 270. Post Tropical incorporated hindsight in regards to McMorrow’s raw-nerve emotional songwriting and his delicately-placed falsetto, but it also gave view to a brave new world. Who knows who he may yet become? It’s all blissfully uncertain.

THREE TOP TRACKS: All Points, Outside, Digging, Cavalier.

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24. Luca Brasi – By a Thread
Spotify || Rdio || Bandcamp

Two-fifths of Luca Brasi left the fold not a year before the release of their second studio album, a blow which may well have spelled the end for a lesser band. The Tasmanian natives were quick to mend, however – it wasn’t long before their triple-guitar interplay was woven into a tighter twin assault; while replacing the towering Saxon Hall on drums with the impeccably-bicepped Danny Flood was like switching out an unstoppable force for an immovable object. The craftsmanship of the songs, too, proved to be their greatest collective achievement to date. They – and we – live to fight another day.

THREE TOP TRACKS: Western Junction, Borders and Statelines, Here’s Looking at You, Kid Rock.

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23. Kishi Bashi – Lighght
Spotify || Rdio || Bandcamp

Kaoru Ishibashi finds himself in the realm of indie-pop with the violin as his weapon of choice over keyboards or guitar. This left-of-centre take on the genre allows for KB’s amazing technicolour dream-music to roam as freely as it pleases. On Ishibashi’s second LP under the moniker, he layers both his instrument and his voice to the point of assembling a chamber orchestra and a choir respectively. By means of beautifully striking contrast, there are also moments of quiet that reel in focus to the man behind it all. Much like its cover, Lighght is a stunning work of art.

THREE TOP TRACKS: Q & A, Philosophize in It! Chemicalize with It!, Carry On Phenomenon.

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22. Ted Danson with Wolves – WWTDWWD?
Bandcamp

From their culture-jamming band name to their sax-wielding take on DIY math rock, there’s nary a band runnin’ ‘round these parts that’s quite like Sydney’s Ted Danson with Wolves. It may well not have been their intentions when they initially formed out in humble old Tamworth several moons ago, but it’s where they’ve ended up on their outstanding debut effort. Its hyper-literate lyrics delve into the seriously strange and the strangely serious on a tandem basis, shrieked above a mesmerising cacophony of bass rumble, drum splatter and guitar squiggle. The outsiders found a way in, at long last. WWTDWWD? This.

THREE TOP TRACKS: Tim Has a Really Good Idea (Again!), Bohemian (I Don’t) Like You, In the Throes of Golf Woes: “It Was a Coarse Course, of Course.”

LISTEN:

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21. The Smith Street Band – Throw Me in the River
Spotify || Rdio || Bandcamp

Wil Wagner has said several times that there have been moments where he’s considered quitting music entirely. Throw Me in the River makes one ever so grateful he made the right call and kept his band alive. Were it to be summed up in three words? Let’s try “location, location, location.” Its songs take place all over the globe, from late nights in Calgary to a boiling day at Meredith Music Festival; not to mention its recording taking place in the small town of Forrest. No matter where you’re from, River shows that it’s where you’re at that’s most important.

THREE TOP TRACKS: Calgary Girls, Surrender, Throw Me in the River.

LISTEN:

The Top 100 Songs of 2014, Part One: 100 – 81

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We’re back once again with a retrospective on the year that was. Here are the 100 songs that made my year – not only the building blocks for my musical experiences, but my personal ones too. It’s been a pretty amazing time to be a music fan, as all of these songs will attest to.

Before you go any further, I compiled a supplementary playlist of 50 songs I really enjoyed in 2014 that just missed out on the top 100. You can stream it over at Spotify by either clicking here or streaming directly below:

Once again, I have to preface that you are completely allowed to not enjoy all of the songs on offer here. Or even any of them, for that matter. I do put it to you, however, that nothing here is “wrong” just because you’re not a fan of it personally or if something you do like doesn’t appear. If you feel so strongly, why not make a list of your own? I double dare you.

It begins…

– David James Young, December 2014

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100. Corpus – Awash with Monotone

Feeling everything and nothing all at the same time. It’s truly one of the more difficult feelings to describe; leaving Sydney duo Corpus to enter the colour scheme and add a little synaesthesia to the mix of their cathartic, tense blend of third-wave post-hardcore and millennium-turn alt-rock. It projects a sense of distance and immediate proximity; of immeasurable loss and momentous gain. Not telling you all – and yet, in doing so, telling more than one might have ever suspected. “Awash with Monotone” is stuck in a moment – and, thanks to some masterful songcraft, it comes out alive.

99. Childish Gambino – Sober

Donald Glover is gonna just keep on doing Donald Glover. You get the feeling that he was going to be doing that anyway, regardless of whether anyone was listening or not. After ending out 2013 with because the internet, which folks either destroyed or called album of the year, the artist formerly known as Troy dropped both a mixtape and a new EP within immediate succession of one another. This end-of-summer rnb bliss release proved to be the pick of the litter, particularly when the pitch-shifted outro throws a smart, avant-garde curveball. Now we’re so high.

98. The Felice Brothers – Cherry Licorice

“I don’t care if it sounds ridic’lous!” sneers Ian Felice after announcing that the song’s title is all he’s interested in chewing on. Nor should he – as a matter of fact, “Cherry Licorice” could well be one of the most carefree songs of the year. Landing somewhere in the middle between Bob Dylan and Bright Eyes, there’s a simple joy to be had here: With its warm accordion and jangly guitar, the brothers offered up some particularly pleasant confectionery. Bonus points for rhyming ‘ladies and gents’ with ‘excrement,’ while we’re at it.

97. Die! Die! Die! – Get Hit

Two words. Six letters. An endless cycle of repetition. After awhile, “Get Hit” becomes more than a song title and a chorus – it’s a mantra; a cathartic cry out at those that are holding you back or holding you down. It exists on a vicious cycle, and there’s no getting off. Each snare roll sounds like a haymaker to the jaw, while Andrew Wilson laments over the ultra-violence with radiating guitar noise. The Dunedin natives have rarely sounded this dark, this brooding or this flat-out furious on record before. Furthermore, they’ve rarely sounded this good.

96. Chet Faker – Cigarettes and Loneliness

We all know what a love song sounds like. You’ve heard them on the radio, you’ve sung along to them… hell, you might have even written a couple yourself. This, conversely, is what a “love without love” song sounds like. Faker revels in his thinly-veiled non-chalance during the track’s verses before letting a bit of that heartbreak out as the song progresses – a little bit here and there, until he’s basically on his knees and openly mourning his failed, unrequited love without love. “Cigarettes and Loneliness” is the sound of a man falling apart.

95. Jacob feat. Luke Hughes – Floors

Much like Nicholas Cage, “Floors” is gone in 60 seconds. It does a lot more in that time, however, than Cage ever managed with that lousy remake of his. Odes to a life on the road are nothing new (what’s up, Willie Nelson?), but the vantage point of knowing that there’s always a show to be playing somewhere adds hope and a new perspective into the mix. Luke Hughes, frontman for the late, great Thesis, subsequently bowls the track over entirely with a roared refrain that is delivered with both love and hate. That’s touring for you.

94. Pixies – Snakes

If you asked “How many people thought the new Pixies album was terrible?” you’d get a raised hand from more or less everyone in the room. Were you to follow that up with “How many people actually heard the new Pixies album?,” however, the majority of those hands would be gone from the air. Yes, the proto-grunge legends somehow ended up as underdogs in 2014; but amid the backlash came this left-of-centre gem. Boasting some outstanding guitar work from Joey Santiago and some classic Black Francis weirdness, there was more to the Pixies 2.0 than met the eye.

93. Angus & Julia Stone – Heart Beats Slow

In their time away from the shared spotlight, both Angus and Julia released solo albums. While both had their merits, they also proved that there’s something truly special about their work together. The songwriting is stronger, the vocals tessellate brilliantly and the left knows exactly what the right is doing at all times. It’s as if they exist in a hive mind. It would certainly explain how a track like “Heart Beats Slow” comes so naturally to the siblings – with its drawn-out groove and reggae-tinged rhythm, it brought in the gentle breeze of familiarity and sent us sailing once again.

92. Broken Bells – After the Disco

10 years removed from The Grey Album, Brian “Danger Mouse” Burton is still finding new ways to push the proverbial envelope and challenge his listeners in his approach to both songwriting and production. Indeed, “After the Disco” almost sounds like one of his famed mash-ups – a dash of the Shins, a Chic beat, some prog-rock keys and a Queen bass-line. A potential mess, the song instead lets its colours run into something truly beautiful. What was initially thought to be a one-off between Burton and James Mercer back in 2010 has found life again – and what a life.

91. Passenger – Heart’s on Fire

It may be clear to all and sundry that a certain song stands as what pushed humble busker Mike Rosenberg into international superstar Passenger. The cracks certainly began to show, however, with this live favourite – often performed alongside Ed Sheeran and inevitably one of the more tender, beautiful moments of any Passenger set. Its premise is one that’s so simple, it could have come from anywhere – Cut Copy even attempted it several years prior with the apostrophe removed. That is, of course, until Rosenberg begins to sing. It’s clear, then, that it came from the heart. Directly.

90. Angus & Julia Stone – A Heartbreak

The Stones are often classified under the banner of folk rock, but it’s rare that a song of theirs is able to be considered as more of the latter than the former. That’s where “A Heartbreak” emerges, here serving as both the opening number to their self-titled third LP and a potential mission statement. The song is simply resplendent in its aphotic corners, muted guitars and stomping drums. The blunt yet understated lyrical content further indulges the two in their collective darkside – at the very least, they indicate that we’re not on that big jet plane anymore.

89. La Roux – Kiss and Not Tell

Elly Jackson arrived late in the game of the 2000s – figuratively within its final months – but was there just in time to drop in classics of the decade such as “In For the Kill” and “Bulletproof.” There weren’t any new classics to be found on La Roux’s second album, but there didn’t need to be. Honestly, Jackson simply sounded happy to be back making music under the moniker again. Here, she further immerses herself in synth-pop with flourishes of early Depeche Mode, a pinch of ABC and some classic La Roux ambiguity. It feels like home once again.

88. Ed Sheeran – Don’t

The second single from Sheeran’s chart-smashing x (say it “multiply”) raised a lot of questions to a lot of different people. “Is it about Taylor?” openly pondered the screaming teenage girls that make up a fair slice of the pie chart detailing his demographic. “Is it about Ellie?” tweeted the twenty-somethings supposedly above teen fandom and yet unable to help themselves in a little gossip. The most important question came, though, from true pop afficionados: “Exactly what more will it take to prove that this kid isn’t fucking around?” A career-best single from a career that is still yet blooming.

87. Hockey Dad – Beach House

The term “sports-montage rock” is often used as derogatory slang for lifeless, paint-by-numbers music that blends into the background of tackling, goal-scoring and cheering footage. This is only being brought up to preface something that must be said without any intent to insult: “Beach House” needs to be incorporated into a skate video and it needs to be done post-haste. This scorcher is a blend of Vampire Weekend hooks (“Ay! Ay! Ay!”), Wavves guitar tone and bounding, youthful exuberance. Oh, and it would be totes wicked rad if there were some kickflips to go with it.

86. Postblue – Pig

Kids have seemingly always been in bands that ape the musical stylings of a movement they either weren’t alive for or are far too young to remember directly. This, of course, doesn’t mean that those acts should be directly dismissed – it’s not the influences, per se, but what a band does with them. In regards to Melbourne-via-Byron’s Postblue, it means taking the definitive traits of the grunge era – snarling vocals, Big Muff pedal stomps and smart loud-quiet-loud dynamics – and wheezing some fresh air into them. It’s been done, sure, but right now no-one’s doing it better.

85. Latham’s Grip – Anyone Else

Anyone who’s been in a rock band can attest to that unbeatable moment where an instrumental break is being jammed upon, the eyes connect around the room and, without a word being said, it just keeps on going. That’s a huge part of “Anyone Else,” and it makes the song all that much stronger. Where many bands would cut off, Latham’s Grip push until they get through to the other side. It works wonders on what’s already an exceptional cut of garage-dwelling alt-rock. “All I’ve got is who I am,” laments vocalist Jesse Hepplewhite at one point. Sometimes, that’s more than enough.

84. Clap Your Hands Say Yeah feat. Matt Berninger – Coming Down

Where did we lose Alec Ounsworth? The foundations of the little Brooklyn band that could came crumbling sometime after 2007’s Some Loud Thunder, but its leader never gave up hope – even when figuratively the entire band left. The road to redemption begins here, with what is easily the project’s strongest single since “Satan Said Dance.” A buzzing rhythm section matches up with churning post-punk guitar as Ounsworth pours his peculiar brand of paranoia over the top. Later, The National’s Matt Berninger turns up to offer an even gloomier viewpoint; and the class of 2005 lives on somehow.

83. Mark Ronson feat. Bruno Mars – Uptown Funk

Mark Ronson rocking up all non-chalantly with a single in November is basically like that Bill Murray cameo in Space Jam – you didn’t see it coming and it took most of the run-time to actually happen, but it’s what you’re going to remember it for. Along for the ride is your boy Bruno Mars – once a fedora-tipping lovesick puppy, now a swagged-out smooth operator calling the shots. “Uptown Funk” is Prince, it’s Sly and the Family Stone and it’s James Brown, but there’s something more important about it. It’s the trumpets sounding the return of the king.

82. FKA twigs – Two Weeks

This ain’t no Grizzly Bear cover. This ain’t no disco. This ain’t no fooling around. Over a dizzying, clattered trap beat, twigs approaches her lover in the song’s lyrics with all the subtlety and nuance of a Prince record – the mix makes it feel as though she’s practically singing directly into his ear and we’re eavesdroppers. Who’d have guessed that an ode to stoned, bestial sex would wind up as one of the sexiest-sounding songs of the year? FKA twigs has rightfully emerged atop the throne after some promising leadups to her debut. Your move, motherfuckers.

81. Röyksopp & Robyn – Sayit

Scandinavians having sex with robots? Sure, why not. An adults-only sequel to the pairing’s original collaboration, 2007’s “Girl and the Robot,” things get decidedly hot and heavy this time around – even with a strictly limited amount of words actually being spoken. It’s all in the beat – hammering, propulsive and incessant; mercilessly pounding away on the bass drum to ensure there’s not a single second across the five-minute runtime when you’re not a sweaty, dancing mess. If ever you needed proof that these three are a match made in Heaven, here it is. Let’s get freaky.

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80 – 61

2012 – A Year in the Front Row. Part One: Jan/Feb/March

So, here’s an idea I had. I go to so many damn shows, why not do a retrospective? Especially considering 2012 was easily my busiest year of gigs ever. So, here is part one of four. It’s a very brief recount of the year that was, but one I was compelled to share. Enjoy! – DJY

JANUARY

With a slew of bands still staying over from the New Year’s festivals, as well as some perfectly timed tours, my first few weeks of January 2012 were insanely busy. Within the first week alone, I’d seen old favourites Bluejuice, Italian skramz band Raein, U.S. hip-hopper Jean Grae, U.K. movers-and-shakers The Jim Jones Revue, pop-punk heroes Tonight Alive (the first of four times I’d see them this year) and mid-teen heroes The Dresden Dolls. An exhausting highlight reel of great, diverse and interesting music hanging around Sydney and Wollongong at the time.

Unfortunately, the only sour note among the lot was Jean – arriving forty minutes late on stage and proceeding to treat her fans like idiots while barely putting any effort into her rapping still ranks highly among my year’s sorest disappointments. Still, you’ve got to take the good with the bad – and, there was so much good to take.

In particular, I point to the Dresden Dolls show at the Enmore Theatre as still one of the best shows I went to this year. For two-and-a-half hours, I partied like it was 2006 and celebrated the reunion of one of my biggest high-school obsessions. Having seen Amanda solo twice before, I already had an idea of what to expect – but bringing drummer Brian Viglione into the mix sent the entire affair to strange new levels. A great one to tick off the bucket list.

Not long after that, I was headed to Melbourne for the first time ever. I had the honour of playing with former A Death in the Family vocalist/guitarist Jamie Hay – eerily enough, on Friday the 13th, the day that AditF had announced their split. He didn’t let the news get in the way of a phenomenal performance, thankfully. The weekend immediately following this show lead to my main purpose of visiting Melbourne – Sugar Mountain.

An awesome initiative from Two Bright Lakes, this night was the first of three times I would see percussive adventurers tUnE-yArDs in this month. Getting to see the delightful Deerhoof and the blistering Thee Oh Sees was the icing on an already delicious cake. The next night at the Corner Hotel, I got to see tUnE-yArDs doing her thing once again. I appreciated a total switch-up of her live set – she even started on the same song that she had closed with the day before, and vice versa! My final time seeing her was a day after returning home, at the Famous Spiegeltent as a part of the 2012 Sydney Festival. I also managed to sneak in a breathtaking set from U.K. chanteuse Beth Orton at City Recital Hall for the Festival, too. Gotta be happy with that.

Onto a far-less cultured festival, the one and only Big Day Out. I only managed to get in a single sideshow this time, but it was more than worth it. Battles shook the foundations of the Metro Theatre like nobody’s business. Having now seen these guys 4 times, I can affirm their status as mind-melting musos that you could watch individually for a set’s entirety and not get bored. That said, their MVP is unquestonably Mr. John Stanier. ‘Tis no man! ‘Tis a drumming machine! Onto the BDO itself: Highlights included the bombastic Kanye headlining set, the world-class rock & roll of Soundgarden, Cage the Elephant and My Chemical Romance and the insane celebratory dance party of Girl Talk. Despite relatively poor ticket sales, BDO was a tonne of fun.

The month finished with a quick visit to Wollongong for day 2 of the Stacked Music Festival. Although I attended almost exclusively for Sydney legends Gay Paris, there were also a few treats thrown in for good measure – local champions The Conspiracy Plan, brattish post-punks Chicks Who Love Guns and the always-delightful folk-rockers The Pennys.

TOP 5:

  1. The Dresden Dolls
  2. tUnE-yArDs
  3. Kanye West
  4. Battles
  5. Jamie Hay

DISHONOURABLE MENTION: Jean Grae, plus the shitty local band that opened for Tonight Alive whose name escapes me.

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FEBRUARY

I was eased into February quite nicely by one of my favourite events in Blood, Sweat and Beers. This show would mark the first of many times I would see positive-thinking pop-rockers Milhouse, as well as sets from Canberran bong-ripping favourites I Exist, Tassie boys Luca Brasi, country bumpkins Wagons and the brilliant Harmony. With Laneway in town, I caught a sideshow for Canadian sensation Leslie Feist, although admittedly I was going almost exclusively for her support in the delightful Mountain Man. These sweet-singing ladies subsequently wiped the floor with Feist herself, who was half-an-hour late on stage and caught up in her own self indulgences too much to make this show worthwhile.

I then returned to my second home of the Annandale Hotel for three shows headlined by Michigan post-hardcore cult heroes La Dispute. These shows were just as inspiring and engaging as the very first time I saw them back in 2009, but for very different reasons. The 2009 shows were inspiring on account of an American band doing a completely D.I.Y. Australian tour that was done out a pure love for what they do as a band.

These shows were inspiring on account of seeing a relatively little-known band playing a very unfriendly style of music managing to pack out the Annandale for three shows with a huge, hungry and wildly boisterous audience. In other words, they’ve more or less arrived in Australia. We also got some fantastic local supports at these shows: Let Me Down Jungleman, Hira Hira (shout out to Jack Wotton for doing double duty!), Perspectives, Between the Devil and the Deep, Making and the late, great Animal Shapes.

Nearing the end of the month, I got to spend some quality time with some of my songwriting heroes – namely, Dan Mangan and Ben Gibbard. The former played a wondrously joyful set at Notes in Newtown, while the latter lead his band (and one of my all-time favourites), Death Cab for Cutie, into a second headlining show at the Enmore Theatre just up the road. Despite an annoying, iPhone-ready audience, I still had a great time at my third Death Cab show.

Sandwiched in-between Dan and DcfC was SoundDave, a DIY all-day festival held at another one of my Sydney “homes,” Black Wire Records, curated by Milhouse/Between the Devil and the Deep bassist/FBi radio personality/all-round heartthrob Dave Drayton. I was a volunteer for the entire day, and was so happy to be involved. Highlights including decidedly bitchin’ sets from Epics, Fat Guy Wears Mystic Wolf Shirt and Surprise Wasp, fronted by Gay Paris bassist Dean “Slim Pickin’s” Podmore. Top stuff.

Although I gave Soundwave a miss, I still managed to wrap up the month with two great “Sidewaves” at the Metro Theatre. The first was the final Sydney show from Thursday, a band that I will gladly admit meant a hell of a lot more to most people in that room than me. I was a late bloomer for Thursday, only really getting into them later in high school. And I was a War All the Time guy, as opposed to a Full Collapse guy, which was the album they were playing in its entirety. Even so, I came out of that show with a mountain of respect for what they accomplished in their time, and it was an honour to be a part of it. Finally getting to see Circa Survive live was also a treat.

A few days later, on a rare February 29th, I got a triple-horned hardcore treat with Enter Shikari, letlive. and Your Demise. Each put on a great set with their own style and energy, but I’d be kidding myself if I wasn’t there to get properly mental to letlive. After discovering them in mid-2011, I vowed that I’d be front row centre as soon as they toured. And so it was – I screamed, I jumped, I climbed on things and I essentially acted all of the ways a 21-year-old really, really shouldn’t. And it was GLORIOUS.

TOP 5:

  1. La Dispute
  2. Dan Mangan
  3. letlive.
  4. Death Cab for Cutie
  5. I Exist

DISHONOURABLE MENTION: Feist. Sorry, babe. Maybe next time.

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MARCH

A pinch, a punch and some motherfucking MASTODON for the first of the month! Don’t mind if I do, thanks. With French destroyers Gojira and Norwegian warriors Kvelertak in tow, my brother Chris and I were treated to one of the most brutal shows I’ve seen all year. This was also the first of three shows at new Sydney venue The Hi-Fi I would attend this month, and all within a few days of one another. The very next day, I saw the delightful Ben Kweller doing his thing, while on the Sunday I’d finally get to see Manchester Orchestra live. Along with my ridiculously similar appearance to Andy Hull, I love all of their albums, especially Mean Everything to Nothing. Watching the band play “Everything to Nothing” live is one of the few gig moments from 2012 where I’ve actually teared up. Truly incredible stuff.

With Future Music Festival in town, I had yet another chance to see Die Antwoord after catching them at both the 2011 Big Day Out and at their show with M.I.A. the very next day, at which they completely blew her off the stage. Here, I found them in the illustrious surrounds of the Enmore, which was decidedly packed full of people from the Zef Side of Sydney. Despite going on late, they put on a truly fantastic show – bounding energy and a seemingly endless supply of bangers.

Next up was a return to Black Wire, to see the hilarious Battle Pope get rowdy along with Fat Guy Wears Mystic Wolf Shirt, The Reverend Jesse Custer and Jesus Christ Posse. Right there is four of my favourite heavy bands in the country, so that was more or less a dream come true. Another festival in March was Golden Plains, and from the cool streets of Portland came the femme-fatale quartet of Wild Flag. Lots of dancing to be had at their show at the Manning Bar with Love of Diagrams and impressive upstarts Unity Floors.

I’ve had the chance to do multiple shows on tours a few times this year, as evidenced back in February with La Dispute. These next two shows would be the first of two times I’d double up on some Children Collide action this year, bringing my grand total to nine times of seeing them live. For what it’s worth, they never let me down. Although the turnout for their Metro Theatre show was abysmal, they packed out the Patch in Wollongong and put on a truly hectic show for all involved.

During the final song, I decided to flip myself off the foldback and into the crowd. Half-expecting to fall to the ground, I ended up being carried all the way to the back of the venue, eventually toppling downward in-front of my bug-eyed sister, who could not believe her baby brother had just crowdsurfed like an absolute champion. Good times. Shout out to the killer supports, Deep Sea Arcade and Palms.

Nearing the end of the month, I was back at Black Wire to see two of my favourite Australian musicians, and people that I’m honoured to count as friends – Jamie Hay and Jen Buxton. I also had the pleasure of meeting Jen’s little dude, Eli. He has the biggest cheeks I’ve ever seen. I showed a world of restraint for not just sinking my teeth directly into them. Don’t tell her I said that, of course.

Oh yeah, I also saw Evanescence. The less said about that, the better. At least Blaqk Audio were pretty good.

TOP 5:

  1. Manchester Orchestra
  2. Mastodon
  3. Die Antwoord
  4. Children Collide
  5. Jamie Hay and Jen Buxton

DISHONOURABLE MENTION: Evanescence. Childhood memories tainted forever by this soulless display of mediocrity.