The A-Z of Indieness

Recently, in a trip to Kenya, I saw a man selling those signs that you put up in kids bedrooms so the can learn the alphabet. It’s got each letter, followed by a word, and then a picture. Kids associate or some shit, and boom, you have a fucking child prodigy. Anyway, this particular poster was different. It had the usual A for Apple, B for Bumblebee bullshit, but for G, instead of Grape, or Gynaecologist or whatever, it had Gun. Personally, I think that sends a kind of bad message to teach your kid that the first thing to associate with the letter G is a tool of death. But maybe that is just a reflection of the context and environment. So I thought I would create my own little A-Z for children who are bred from the particular hipster side of the gene pool.

A is for ATTENTION: DUBSTEP IS NOT A GENRE, or Alt-J

B is for Black Moth Super Rainbow

C is for Come On, How Do You Not Know The UV Race, or Com Truise

D is for Death Grips

E is for Electric President

F is for Fleet Foxes or Fuck Off David Guetta

G is for Guided By Voices

H is for Have You Heard of This Band?, or HTRK

I is for Interpol, or I Only Like Icelandic Post-Wave Folk-Punk Goth Minimalist Techno

J is for Japandroids

K is for Kurt Vile and the Violaters, or Katy Perry Should Retire.com

L is for Los Campesinos!

M is for My Bloody Valentine

N is for No More Maroon 5, or Neon Indian

O is for Orca Orca, or Orgasms Over Latest Arcade Fire Album

P is for Portishead

Q is for Quickly, Let’s Get Some Vinyl, or The Queers

R is for Radiohead (of course)

S is for School of Seven Bells

T is for TEEN, or Tame Impala Fan Club

U is for Unknown Mortal Orchestra

V is for Vivian Girls 

W is for Wu-Tang Clan

X is for XX, The

Y is for Yuck

Z is for Zeahorse, or Zilch of These Bands on This A-Z List Are Even Indie

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Video: Ty Segall-Thak God For Sinners

Honestly, one of the most unnecessarily creepy things to ever hit the internet. Seriously, it’s like if The Human Centipede was done on a budget of $10 and featured Robert Smith from The Cure in the lead role. It’s a pretty strange concept for Ty Segall, who usually releases songs that are simple in their onslaught of haughty garage. Besides the video that will give me nightmares forever, it’s a great song.

Australia Day Playlist

Quick playlist for some cliches that we all secretly love: sunburn, beers, Aussie Flags, BBQ’s and Aussie tunes. This is an array of some of the best of the best that Australian music has to offer in all it’s genres, from folk, to punk, from hardcore to electro-pop. No traces of AC/DC to be found. 

1. The Presets-My People

2. Tame Impala-Feels Like We Only Go Backwards

3. Royal Headache-Down the Lane

4. Hilltop Hoods- Nosebleed Section

5. Dune Rats-Fuck It

6. Sticky Fingers-Clouds and Cream

7. Pond-Moth’s Wings

8. Radio Birdman-Do the Pop

9. The Scientists-Frantic Romantic

10. Grinderman- No Pussy Blues

11. The Go-Betweens-Lee Remick

12. Tony Migrant-Honeycomber

13. The Rubens- My Gun

14. Bleeding Knees Club- Teenage Girls

15. The Triffids- Wide Open Road

16. Eddy Current Suppression Ring- Which Way to Go

17. San Cisco-Awkward

18. Pendulum- Witchcraft

19. Kid Sam- Down to the Cemetary

20. Fishing-OOOO

21. Regurgitator- Bong in My Eye

22. Violent Soho- Bombs Over Broadway

23. Bluejuice- Vitriol

24. Children Collide- My Eagle

25. Boy & Bear- Milk and Sticks

26. The Mess Hall- Bell

27. Hermitude- Speak of the Devil

28. The Avalanches- Since I Left You

29. Temper Trap- Science of Fear

30. Augie March- One Crowded Hour 

31. John Butler Trio- Zebra

32. PNAU- Wild Strawberries

33. Spiderbait- Calypso

34. Parkway Drive- Boneyards

35. Cut Copy- Pharaohs and Pyramids

You A Stupid Hoe!-An Essay

Nicki Minaj is one of the most popular, sought after and talented professionals in contemporary popular music today. Yes, you read that right, I did just call Nicki Minaj, the woman that looks like one of the muppets, a talented individual. I mean, and although this does go against one of my core beliefs and my conspiracy theory persona that the corporations control everything, she wouldn’t be one of the highest selling artists if she didn’t have an ounce of talent. She may not have much (let me rephrase that: all of her talent is located in her arse, literally) but she does have some, and she is revered the world over as one of the best females in hip-hop/R’N’B music in the past 60 years. No, I’m not squandering the talents of people whom the music industry respects, such as Janis Joplin, Whitney Houston, The Du-ets, and (<3) Beyonce, but it is an undoubted fact the Nicki Minaj is a formidable force, and is here to stay, at least for the next 2-3 years, until some new found trend with German robot folk-trance becomes the next big music fetish.

Unfortunately for some, this is where my praise of Nicki Minaj stops dead in it’s tracks. You see, Nicki Minaj represents a recent plague and step back in general feminine rights and respectability for women in the music industry. For a long time, and I do mean a long time, women’s rights were generally inclining and were somewhat becoming equal in terms of respect and a selling point in reference to men’s music, or music made by and for a male demographic. To understand how hard this must have been to accomplish, remember that almost all genres were dominated by men, and women were usually laughed out of existence. Can you imagine an all-female KISS in the 80’s, singing about ‘Rock and rolling all night, and partying every day’, whilst pointing at their ‘Loveguns’ and sticking out their tongues? They would have been laughed off stage. No, there was a time when women couldn’t, regardless of dedication or talent, infiltrate the music industry of male genres. There was a very limited representation of women in punk, metal, alternative, and rock in general. Sure, you had the exceptions: Joan Jett, Patti Smith, Nico from the Velvet Undergound etc.but there still wasn’t mass representation. Women were expected to submit to gender roles absolutely, despite the rise in feminism, and a slow development into popular culture and the work force.

Anyway, this all changed with the over sexualisation of culture, also known as, kids getting horny as fuck. When sex became huge, women in music had a tool they could exploit, hanging their vaginas over men as a resource for getting shit done. With the power of sex, talent began to infiltrate the music mainstream, and the first real pop stars were born, who were independent of a male status and regulation. Women began to make songs for women, and not just about dumb, stereotypical ‘women’ shit, like shopping or stuff, but about their importance in society and showing the gratitude they felt they needed and represented for all the hard shit they’d been put through. For the first popular time, in the 80’s (in my opinion anyway), woman were truly appreciated and set apart in the music industry, for the talent that they possessed and wanted to show off. You had your mainstreams like Madonna, Cyndi Lauper, Blondie, and Pat Benatar in pop music, girls who had always been there, but were now making millions, and you also had a rise in women’s presence in rock, from Siouxse Sioux from Siouxsie and the Banshees, to Heart, Stevie Nicks and an early stage of Kim Gordon in the up and comers Sonic Youth. Then things progressed into the 90’s, where shit just fucking took off, and a whole feminism movement took hold, entitlement becoming the name of the game, and an independent status truly taking the music industry by the balls. ‘FUCK MEN’ was a phrase that wasn’t out of place, and some bands like L7, Garbage, The Breeders and Veruca Salt were totally fucking shit up by themselves and giving a much needed womanly presence to combat the bullshit of 80’s glam rock from atrocities like Motley Crue, Poison and Bon ‘I belong in a morgue of plastic and hair-product’ Jovi.

But where did it all go to shit? Yes, this is the point where I start to serve shit back to Nicki Minaj (thank fuck). Actually, who knows? It’s not that there’s been any sort of lacking in female stars who are good role models in music recently, between the 90’s and now. Arcade Fire, one of the biggest in the indie rock movement, centres around a woman. Florence + The Machine revolves around Florence Welch. Australia’s own Sia is a huge pop star, and is definitely not a whore. So why does an artist like Nicki Minaj rule the air waves? Who fucking knows. But she’s a wench that should be destroyed in a bath of fire. I mean, anyone that actually uses some of the stupidest lyrics imaginable should be shot down with something resembling a missile. These are some quotes, yes, real quotes from her song, and I might add, huge radio hit, ‘Super Bass’: “That’s the kind of dude I was lookin’ for/And yes you’ll get slapped if you’re lookin’ hoe” “Can’t you hear that boom, badoom, boom, boom, badoom, boom, bass/ Yeah thats the super bass”. Is that not dyslexic? It doesn’t make any fucking sense. Are you really that material that you’ll refer to lust as the bass system of a club, and that the man you want in your life is a coke dealer? That’s totally fucked in the head, brah. But, but, but that’s just one song! Nicki fans will exclaim. Everyone has a shit song that they get the radio to play so that they can break through and really experiment with their art. OK, benefit of a doubt, here’s some lyrics from another hit ‘Starships‘….no, it’s better if I explain it, because lyrics don’t really feature in the song. Instead, we’re treated to someone who’s being strangled, and their last words are ‘Higher than a motherfucker’ before a bass beat drops into the bridge. Also, Nicki wants you to know she’s from ‘the street’ and wants to chuck a Tyler, The Creator, so she randomly spouts jibberish like “Jump in my hooptie hooptie hoop, I own that” and ” Now everybody let me hear you say ray ray ray/Now spend all your money cause today’s pay day/ And if you’re a G, you a G, G, G/ My name is Onika, you can call me Nicki”. Honestly, does anyone in the entire world have a fucking clue what that means, or did she have a stroke in the recording booth, and start skipping like a scratched CD. Like the song Starships, Nicki is from outer space (yeah…what…that’s called a diss…motherflipper…can I get a yeah?)

When Nicki Minaj emerged onto the music scene she was like a warped Azaelia Banks. She had talent, she could rap, she knew how to make some music you could dance to, she was blessed with some good looks, and she was fucking weird, which is always good in music, and keeps everything fresh. Instead, she found out she could sell more to dumbfuck 12 year olds who will do anything the Top 40 tell them to, and reverted into the ultimate, whorebag cliche. Instead of being a standout for females in music, she levelled herself to the likes of Rihanna, Lady Gaga and every other pop star who’s sold out in the last 20 years. She used her looks and the promises of sex in her songs to sell herself, and now it’s too late to revert. She looks like a fucking one-espressioned disco ball, showered in glitter and products. I’m actually unsure if she’s a 100% real human being or if she’s just been covered in so much stuff that she has become a nonexistent sentient ball of coloured shit that rolls around accidentally making music, by bumping into various musical devices. Unlike the actual pop stars, who used sex as a device to then show off their talent and pave a way for women in the music industry, Nicki Minaj is just another example of the women who are squandering this privilege, lowering the respect for women in music, and generally fucking up everything their forewomen (I don’t know, is that a thing) ever tried to do. Sex sells, but wouldn’t it be better if she made real music that wasn’t a series of blips and references to fucking everything with a pulse and her own arse?

Basically, what I’m trying to say is….can Nicki Minaj stop making music, and leave the industry to bands that talk about surfing and other relevant things chock up the airwaves? Dune Rats. I want to hear more Dune Rats instead of ‘Starships’ and ‘Beauty and the Beat’.

I was told to write this by my mate Seb, who drunkenly told me I should bag out Nicki Minaj for 1000 words. Thanks Seb.

Gig Review: Big Day Out 2013

Friday January 17th @ Sydney Showgrounds

There is no introduction to this review. I’m going to try and keep this under 1000 words to keep everybody happy, and ensure you don’t strain your brain with a word count larger than 4 digits.

The first act on the roster was Royal Headache, the third performance of theirs that I’d seen. It was impressive as always, warming up a crowd ready for a (sigh) big day out. No one on stage was worried about impressing anyone or gaining attention, and simply wanted to play to people that had rocked up early enough the see them. It was a nice, short and sweet set that delivered more than it should have.

Next on the agenda was Sydney production duo Fishing. Better than I remember on previous occasions, they had a small, dedicated crowd gathered that danced and bopped. The music was happy and made everyone in the crowd happy. Set highlights were the single ‘OOOO’ as well as video producer and musician SPOD coming on stage for a bit of a rap. No offence SPOD, but stick to producing. It’s your born game, and you’re awesome at it.

After Fishing came time to test the waters of the infamous Boiler Room. And fucking boiling it was as Adventure Club hit the stage. The one man/machine had quite the audience, surprising me a lot. With limited visuals, and a limited sound, Adventure Club still advanced with a talented and heartthumping set, ensuring sweat, blood and maybe a bit of vomit was pouring out of every drenched face in attendance. It isn’t hard to be sucked up by Adventure Club’s rocking beats and heavily hardcore-influenced electronica dubstep. It’s like a not-shitty Australian version of Skrillex, with a good haircut.

On the way to the Green Stage to see Deep Sea Arcade, it was worth a check out of the Lilypad featuring Sydney slackers The Gooch Palms. The duo, one sporting a ‘Hunx and his Punx’ shirt, the other absolutely nothing (he was naked, for people that don’t pick up on subtlety) played a set that was not unimpressive, but didn’t leave much to the imagination (BOOM, DOUBLE ENTENDRE MOTHERFUCKER). What they lacked in creativity, they more than made up with energy and enthusiasm, ensuring any passerby’s to at least drop their jaws for a few seconds and listen to a song.

Deep Sea Arcade were one of the most delightful surprises of the day. Showing off the tunes from their latest album,’Outlands’. They performed an incredibly tight and free-flowing set, no hiccups or disjointed awkwardness, the sign of a band that has truly come into it’s own, impressive for the short time they’ve been together, and their limited touring experience. They had a lot more of a rock edge to them, rather than the psychedelic approach of the album, but in the sweltering heat, and playing to their fans who were more than prepared to dance, it seemed appropriate, and worked more in their favour than if they had done a high-society and polished execution of their set, rather than the ragged and fun set they actually performed.

Hunting Grounds were the first band I got to experience at the Vans Essential Stage, thankfully moved indoors because of the heat, and the amazing intensity and pleasure of the band was obvious. The crowd was in constant mosh mode, and not for one minute did the band lay off in their frantic disposition. Triple J heavy-weight single ‘Flaws’ and set closer ‘In Colour’ attracted the biggest responses, however the crowd was on edge and lapping up every note the band could possibly play. A fantastic, well executed performance.

Next was anarcho-punks Against Me! on the main stage. They played to a small crowd, and their selection in the lineup could be conceived as controversial due to the bands sound, politics, and front woman’s recent sex change from Tom Gabel to Laura Jane Grace. However, the intimidation and awesome levels only exaggerated themselves as a heavily tattooed lady in stiletto’s and a leather skirt screamed lyrics like ‘I was a teenage anarchist, but the politics were too convenient’ and thrashed on a guitar. Playing hits mostly off their standout album ‘New Wave’, but still spreading the setlist throughout their lengthy career, the set proved engaging and enticing, the best that Against Me! could have performed.

Jagwar Ma came next, and although they played for little to nobody, it was a crying shame. Their live show isn’t exactly anything to die for, or shell out heaps of cash for, but their songs are tangible strings of love and lust that swelter with heavy passion. What, I’m trying to say is that they play some great music, and that I personally can’t wait for a record to drop from them later this year. ‘Come Save Me‘, off the single of the same name had the crowd in the highest spirits.

From what I saw from Grinspoon’s set, it didn’t look like much was mixed. Grinspoon seem to be a fixation of the Big Day Out, a band that will inexplicably draw a modest crowd, no matter who they clash with. This year they held the main stage, for promotion of their latest album ‘Black Rabbits’, but played a best-of collection, with hits like ‘Champion’, ‘More than You Are‘ and ‘Chemical Heart’ all making an appearance. From were I stood, it seemed like a bit of a half-hearted performance that they knew would psyche up the mosh, but left outsiders unimpressed.

After leaving Grinspoon a bit disappointed, I was greatly relieved by one of the days highlights, Death Grips. The controversial alternative hip-hop group has had a very interesting past year, releasing two albums, one (‘The Money Store’) being highly critically acclaimed, and being cropped from their label Epic. However, they proved they could deliver a manic performance, and weren’t based on hype. MC Ride was a whirlwind of energy, throwing his arms and bare chest into an audience that couldn’t get enough, forming violent moshpits at will, whilst an eclectic light show jittered in the background. Meanwhile, on the left hand side of the stage, the most impressive feat of all was live drummer Zach Hill. Composed of two piece drum set (snare and bass drum) he looked overpowered by a demonic possession, jumping all around his corner of the stage, whacking the drums with a frantic passion of satanic proportions. It was an awe inspiring image. The crowd responded to hits like ‘Get Got‘ ‘Guillotine‘ and ‘Come Up and Get Me’ with a riotous enthusiasm, one poor individual actually throwing up next to me, but continuing to mosh despite being covered in filth and lunch.

Death Grips’ seductive set was equally matched by Nashville, Tennessee band JEFF the Brotherhood on the Green Stage. Unfortunately barely watched by a small crowd, they played one of the best secret sets of the day, full of mind blowing guitar noise, gruelling bass, and head pounding drums, delivered by only the two brothers Jake and Jamir. These guys are home grown talent, with a fantastic album recently released (and produced by Dan Auberach of the Black Keys) and heaps of other awesome material under their belts. ‘Sixpack‘ was a set highlight, however the jamming that spewed from their custom 3-stringed guitar was astounding. Loud noise has never been so great.

More disappointment followed, especially from a band I had been wanting to see for so long. The Yeah Yeah Yeahs delivered a performance that was underwhelming, barely getting the crowd moving. It seemed like the band were just going through the motions, and could be mistaken of being high out of their minds. Guitarist/Bassist Nick Zinner barely moved and showed no emotion, whilst singer Karen O, who posseses one of the most formidable voices in modern rock, barely contained any of the zest and raw power than she is renown for. Her howls were more like whimpers, and although she had the gadgets and accessories, and a whole bagful of greatest hits tricks, from ‘Maps‘ to ‘Heads Will Roll‘, from ‘Phenomenon’ to ‘Zero’, Yeah Yeah Yeahs left the stage having made nearly no impact.

I was very cynical about watching The Killers. On one hand, I hated their latest album (total white trash, self entitled bullshit; like the Las Vegas Coldplay), Crystal Castles and Foals had clashing sets, and the entire stadium was totally packed out, with barely any room to breathe. On the other hand…it’s the fucking Killers. When they opened with ‘Mr. Brightside‘, I knew I’d made the right decision, and what followed was the most eye catching and awe-inspiring show of the night. Filled with glitter, glamour, trippy visuals, a frontman who knows the fuck out of what he’s doing, and lightning bolts (both real and props) the set featured a highly intoxicating and beautifully delivered greatest hits set, taking in all the best of the Killers and setting it loose on the people of Sydney. It was honestly one of those shows that will go down in Big Day Out history, finishing with a shower of sparks and ‘All These Things That I Have Done’ followed by ‘When You Were Young’.

Finally, the main event had arrived. If you wanted room to breathe, you had come to the wrong place. The Red Hot Chilli Peppers set at Big Day Out was everything you wanted at a stadium gig: great songs, great people, thrashing everywhere, sweat pouring from every crevice, and a unified love for the band onstage. The set played on the extremes, giving us ‘All Around the World‘, ‘Californication‘, ‘Snow (Hey Oh)’, and ‘Higher Ground’ (Stevie Wonder cover) and also showing off, or at least showing us 5 tunes from their latest album as well as jam sessions and instrumentals between the famed musicians Flea, Chad Smith, and new guy Josh Klinghoffer. Set closer ‘Give It Away’ blew everyone’s mind in the stadium, a powerful punch to the internal and external systems that knocked out your breath but forced you on through frontman Anthony Kiedis’ energy. The band played eclectically onstage and made many dreams come true that night. They made it rememberable, awesome, and soulful, everything you want out of a stadium gig, and a Chilli Peppers concert.

After the hour and half trudge through Sweatsville in the never ending Chilli’s mosh, I was in need of some well deserved rest, which was provided by the beautiful set by Animal Collective. I did not understand a single word, or recognise a single song from their set, but just watching and listening was an experience to remember. The stage was covered in coloured, glowing fronds, and a set of multi-coloured glowing teeth hung over the band as they played some seriously weird shit, accompanied visually by some equally weird shit. It turned me into a fan, and although no one in attendance could move that much after losing at least 5kg’s at the previous set, everyone in attendance was loving the basking glow of Animal Collective’s tunes.

To round the day off, it was back to wear it all started, kind of: The Boiler Room. Headlining  was everyone’s favourite masked purveyor’s of electronica, The Bloody Beetroots, and their set was tight, visually stunning, exhausting, and mind melting. I honestly can’t think of any better adjectives to describe such a great setting. The multitude of flashing lights that pierced the eyes, while the brain was victimised by light footed and gashing beats is an overwhelming and must have experience. Yes, The Bloody Beetroots know how to entertain well, and they know how to mix an electronic track. They may not do it the best, but they do it fucking well.

After 12 and a half hours in a sweltering sun that scorched the very concept of staying sun safe, at a music festival that is embraced as an Australian tradition, and for some rite-of-passage, The Big Day Out’s pro’s far outweighed it’s cons and set up a fantastic festival for Sydneysiders to enjoy, and try not to fuck up with overdoses of dingers, alcoholism and sunburn.

P.S Sorry I just made you read 2000 words 😦

Video: Dune Rats-Red Light Green Light

This video/single is so fucking new that the doctors still haven’t figured out it’s gender. Currently, they’re going with alien crossbreed. Anyway, good stuff from everybody’s favourite stoners, full of makeup, weed, blood, guts,weed, New York accents, garage-y guitar, balls out bass and more weed. There’s apparently going to be another new video released soon that centres around the members smoking up in the sticky fingers mansion, so there’s that to look forward to.

Video: Dinosaur Jr.-Pierce the Morning Rain

Quick Question: Is there anything better in the world than a weird looking average American family going through the motions in a Dinosaur Jr. film clip that features the husband discovering a fetish for sub woofers in his car, and going through such an intense pleasure that he forgets to drop his kids off at ninja practice, and instead floats off to a dreamy world in which he’s beaten up by Henry Rollins? Quick Answer: No

Video: Captain Murphy-The Killing Joke

Steven Ellison aka Flying Lotus aka Captain Murphy is the current king of hip-hop. Under the moniker of Flying Lotus, he drops beautiful, twisting beats warped under intense bass and instrumentation. As Captain Murphy, as this gem shows, the beauty is still there, but it has caved under a layer of brutality and stoic rapping that is the total ballz. In this particular stunner, samples from Batman, including lines from Liam Neeson, Heath Ledger and Michael Caine’s Alfred, are swapped under a hypnotic double bass and tinkering line. Then Captain Murphy’s voice juts in, and it’s just vicious, snarling lyrics till the song stops. Awesome stuff.

Gig Review: The Hives

Monday 7th January @ Metro Theatre

The Hives are renown for having ‘the best live show in the world’. Now thats a pretty big claim. Fuck it, that’s downright egotistical and obviously wrong. How can some punks in matching suits have the best live show in the world? Have they ever heard of The Flaming Lips? Those motherfuckers have giant, laser hands. It’s impossible to beat shit like that, especially when all you’re bringing to the table is a top hat and Swedish bravado. I had to check out The Hives live show, so that I could personally call bullshit.

I was fucking wrong. But more on that later. Dune Rats, the wild, and slightly red tinged, eyed duo hit the stage to warm up the crowd. More like Bong Rats, amirite? No. No that was shit. Whatever. Between throwing repulsive banter at the crowd, accusing audience members of being stoned, and fucking with their temporary bass player Brett, they played songs. Recent Triple J hits like ‘Fuck It‘, ‘Pogo’ and set closer ‘Rat Bags’ actually had the crowd moving, an accomplishment for any opener. There was also the ultimate amateur cover version of the ultimate amateur anthem ‘Blister in the Sun’ by The Violent Femmes, that was so feel-good, little specks of sunshine filtered through the roof. Dune Rats are bound for the top of the fucking garage/surf/punk ladder, and they’re taking their bongs with them.

After a short wait, some doom piano keys pounded down, and blackness shrouded the room. Although the gothic masterful music haltered for a bit too long, the intensity built to fever pitch, as first the drummer, then the rest of the band, and finally frontman Howlin’ Pelle Almvqist walked onto stage. Fuck me, they are a triumphant band. They immediately blast into a few hits, starting with ‘Come On’ and featuring ‘Try it Again’ and ‘No Pun Intended’, and made it exasperatingly unachievable to leave the moshpit. Sweat poured down every crevice of every attendee, and we are only five minutes into the show. Well played Hives, well played.

Like the set piece on the back wall, a picture of Pelle with a manic/rapist face holding puppet strings in his hand like some kind of ambivalent, masochistic God, Pelle holds the audience in the palm of his hand, manipulating at will. He showed his prowess for frontman and puppet master well throughout the night, forcing the crowd to sit on the ground before the captivating peak of set closer ‘Tick Tick Boom’, thrashing the sweat mosh into a whirlwind of exhausted delight during must-mosh tickets such as ‘Hate to Say I Told You So’ and ‘Main Offender’ and spouting off cliched but original (if that makes sense) lines such as ‘We are, in fact, the greatest band in the world’ and ‘There’s a heatwave tomorrow. The Hives are in town. Co-incedence? I think not!’ I mean whats not to love, when a slightly short, top-hatted man yells that kind of shit into your face?

The set was a much loved one by Hives fans and new punters. It had just the right amount of rare material (Bigger Hole to Fill, Die Alright!!!), live favourites (Walk Idiot Walk, Won’t Be Long) and new stuff (Go Right Ahead, I Want More). These guys have been in the live scene, 20 years to be precise, long enough to know exactly what people want, and exactly how to deliver it. Yes, The Hives are definitely a band to tear heads off to see live. If you can’t see them live, then do the next best thing and buy a record. Their too fucking good not to listen to on a daily basis.

BDO Playlist

Big Day Out is motherfucking days away! In approximately two days, the same number of brain cells Beavis and Butthead have combined, I, and about 50,000 other people will be jamming in the Sydney Showgrounds to diverse artists from a wide variety of genres, all gathered in one place to celebrate music, sunburn and dehydration. What fun it shall be! Anyway, if you’re going you should probably look at these essential artists to see, and beef up on their tunes, so your not the only fucking idiot standing there that has no idea what the words are.

1. JEFF the Brotherhood-Sixpack

2. Yeah Yeah Yeahs-Maps

3. Red Hot Chilli Peppers-Suck My Kiss

4. The Killers- Mr. Brightside

5. Foals-My Number

6. Crystal Castles- Plague

7. Vampire Weekend-Oxford Coma

8. OFF!-Fuck People

9. Against Me!- I Was A Teenage Anarchist

10. Jagwar Ma-Come Save Me

11. The Bloody Beetroots-Warp 

12. Death Grips-I’ve Seen Footage

13. Animal Collective- Fireworks

14. Sleigh Bells-Infinity Guitars

15. Hunting Grounds-Flaws

16. The Bloody Beetroots-Awesome

17. JEFF the Brotherhood-Mind Ride

18. Red Hot Chilli Peppers- Dani California

19. Crystal Castles- Year of Silence

20. The Killers- When You Were Young