The return of The Presets.

Posted by Adem on Aug 6, 2012 in Australian Pop, Modular Love | 0 comments

The Presets are gearing up for the release of their third studio album Pacifica – their first since 2008′s phenomenally huge Apocalypso – with the release of a new single entitled “Ghosts.” So far we’ve had two very different slices of electronic music from the Sydney duo.  The first track, the bonkers “Youth In Trouble”, is a hyperactive 1990′s rave-up that wouldn’t sound out of place amongst a playlist of Underworld’s greatest hits or Rollo & Sister Bliss remixes. It’s been a long time since dance music on a Global Scale has been executed as well “Youth In Trouble.”  If you’ve yet to hear the track be patient, the production makes you work hard for your climactic rewards but once you’re there you’ll know exactly what I’m talking about.

From the massive, stadium-ready rave-build-up’s to the complete acid house production throwdown, this six and a half minute club romper is exactly the kind of rave I want to hear in 2012 and is exactly the kind of rave radio had no idea it would be forced to once again slot into their watered-down commercial radio formats. “Youth In Trouble” peaks (ho ho!) and reaches ultimate-rave climax in its final 90 seconds and has left me panting for more since its arrival in June. The anticipation has just gotten itself thicker, too.

The stark in contrast “Ghosts” is the complete opposite of a rave-up and sees Julian’s vocals teeter into Chris Martin territory - not a bad thing, particularly when you take into effect how solid Martin’s vocals actually sound backdropped against sledge-hammering basslines. But with “Ghosts” the band have really stepped out of the soundscapes they’re familiar with, providing a mid-tempo gallop complete with tinges of Blackbox and the KLF. This may not be the radio-ready anthem the commercial FM networks were hoping for from the boys but there’s definitely a lot more commercially viable about “Ghosts” than there is in “Youth In Trouble.”

 PACIFICA is released through Modular Records on September the 7th, 2012.

THE TOP 31 LP’S OF ’11 > #29. FAUX PAS – LOSTWORKS

Posted by Adem on Nov 29, 2011 in Albums of the Year 2011, Australian Pop, Faux Pas | 0 comments

#29. FAUX PAS – LOSTWORKS

One of the best kept secrets of the year is the genius that is Melbourne’s Tim Shiel, AKA Faux Pas, and this compilation of unreleased material and b-sides. Lostworks serves as a companion piece to Shiel’s very good 2010 release Noiseworks (which you can buy, along with his other stuff – and I highly reccomend that you do – on iTunes) but brilliantly plays out like a well-crafted and thought out album all in its own right. In fact, I prefer Lostworks to Noiseworks – both are actually very excellent but incredibly different to one another and the mood running through Lostworks has a real undeniable magic about it.

This album is like an electonica fans wet dream; there’s a totally nuts/amazing bleepy French House moment on the monstrous “I Will Follow” that teeters into Vitalic territory without turning into Techno. Really progressive and incredibly driving – these are the general musical themes within the darker tones of Lostworks.  “Maximums” plays as an epic 8-minute mid-tempo dance track that harmonises excellently with exquisite classical piano keys and a thumping bassline. There’s a particular beat drop at the 2″40′ mark that just kills me every time – incredible stuff and full of so much emotion. Oh, and of course the genius slight hint of a saxophone does indeed help proceedings reach even greater heights. The slight guitar strums and power running through the gorgeous “Renfield’s Dream” is one of the most incredible songs to listen to when hungover, but not as incredible as it is driving through the night after a hot Summer’s day. Lostworks serves. it. up. from start to end, and this particular track serves up an even more exciting twist in its final two minutes.

It’s the stunning album opener, a chilled disco-bassline enveloped by angelic edges by the name of “Organon” that reigns supreme as one of two moments on Lostworks that are the records finest of hours. A deep, very progressive-house styled journey into a musical wilderness – it’s that type of electronic/dance music that really takes you on a massive journey as you travel along with it. The second is the mental “Skwlver Line”, which starts out a little like Band Aid’s “Do They Know It’s Christmas” before ripping you a complete new arsehole and taking things to Paul Kalkbrenner heights. One of the most exciting songs I’ve heard from an Australian act this year.

Lostworks is great in that it’s not threatingly banging-a-dance-album that you can’t listen to when you’re just relaxing at home, but it’s also great because it is still incredibly danceable as well. Almost every moment on this 10-track gem is booty-shakeable to. So much so that it’s one of the few albums I’ve shared around heavily with friends that really appreciate electronic music, because as far as I’m concerned this is one of the most accomplished and thrilling dance albums this country has produced in years and people who like that need to be aware. What makes this so definitively special to all other dance records this year is that it’s dancey but has it’s feet very firmly planted within organic instruments, musical notes and melodies. A truly special moment in Australian Music that will go by unnoticed by so many, and that, my friends, is one of the biggest injustices of them all.

Amazingly you can download Faux Pas’ LOSTWORKS COMPLETELY LEGALLY AND FOR FREE (!!!) from his website. So now you have absolutely no excuse.

THE TOP 31 LP’S OF ’11 > #30. CUT COPY – ZONOSCOPE

Posted by Adem on Nov 29, 2011 in Albums of the Year 2011, Australian Pop, Cut Copy | 0 comments

#30. CUT COPY – ZONOSCOPE

2011 saw Cut Copy deliver a mixed year of successes and disappointments. On the plus side earlier this year they put on what was probably their greatest live performance for their Melbourne album tour date, whereas on the Negative, for example, the video clip for one of the most majestic songs in their back catalogue, the stunning “Need You Now”, came complete with a sporting Mise-en-scène that remains the most embarrassing Australian Pop Music Video to date.

And then of course there’s Zonoscope, an album that started the year off in champion style but has, tellingly, aged in places over the last 10 months. “Need You Now” remains their most beautiful and precious song but the memory of that video clip does knock points off its brilliance. Stuff like Dandy Warhols ode “Where I’m Going” and bizarrely bonkers “Blink & You’ll Miss A Revolution” (which channels Cydni Lauper’s “Goonies” through its melody) both play as proper highlights along with “Need You Now,” but it’s the true staying power of monumental album closer (clocking in at just over 15 minutes) “Sun God”, the rip-snortingly good “Corner Of The Sky” and the effortless “Pharaohs & Pyramids” that keep this record within The Top 30 of the year. Each of these tracks are three of the greatest in the bands career and will live on as Cutters Classics in the years to come.

Totally boring filler “Take Me Over’ – which should never have even been a single – wastes a bit of time getting over and done with, much as the should-be-great-but-is-kinda-naff “Hanging Onto Every Heartbeat”, which is musically on point but loses itself vocally when the chorus chimes in. Interestingly though, Heartbeat is the only song on Zonoscope that could be mistaken for something lifted off the bands first.

Whilst Zonoscope may have seemed to be as good as 2008′s “In Ghost Colours” when it was initially released in February, as the months have rolled by the strength of the bands first two records have proven to be sharper and more cohesive than Zonoscope. That’s not to say it isn’t a great album, but the problem here is that Zonoscope often suffers from a few too many ideas being thrown into the one.

THE TOP 31 LP’S OF ’11 > 31. ZOË BADWI – ZOË

Posted by Adem on Nov 29, 2011 in Albums of the Year 2011, Australian Pop, Zoë Badwi | 0 comments

#31. ZOË BADWI – ZOË

Australia’s Zoë Badwi may be a young, fresh face on the charts but truth be told Badwi is nothing short of a local music veteran,  having bum-danced her way through “I’m So Excited” with her then pop group Sirens and hilarious Big Brother contestant Sara-Marie. But aside from her stint with Sirens, Badwi also played a prominent role within ABC TV’s hit show from 1997, RAW FM, which was – coincidentally – a television show loosely based on former Melbourne radio aspirant Hitz FM – a station I’m sure you’ve all heard me talking about numerous times. Badwi has worked her arse off over the years within projects that are centralised around Australia’s Music Scene and the arrival of her debut Zoë is a keen testament to not only how determined she is to make an impact, but also how talented she really is.

There are already five singles lifted off Zoë, with the most successful being the hugely euphoric “Freefalin’” but it’s album highlight and criminally overlooked “Accidents Happen” that should have been a blow-up hit across the country and delivered Badwi the continued success that she and this album deserve.  Badwi is in her finest of elements though when she’s dancing to the sound of heartbreak; forward-thinking pop like “Reckless” and “Until You’re Over Me” seem like amazing moments that could be wasted as being merely album tracks – the latter serving as one of the years absolute best songs. The best thing about this debut is that you’d expect it to be a primarily dance-heavy record, but Zoë’s sharp ear for pop melodies and experimentation deliver an exciting blend of dance-pop and even small glimmers of shoegaze-rock; particularly when it comes to the epic “One Step Behind”, a pinnacle in Badwi’s already incredible career.  Beautiful ballad “Believe You” takes Badwi off the floor and into more vulnerable territory and the results are breathtaking. But it really is the attention to detail on the dance tracks across this record that really make it special. Even the Sunday-service-style pianos across the bonkers “In The Moment” demonstrate Badwi’s obvious appreciation and respect for dance music – there are hooks and melodies on this album some of the worlds biggest female pop stars would kill to have on their records.

For a debut release, this is a deliciously surprising disc that doesn’t hold back and sets the stage for an incredibly promising and exciting future for one of this countries finest pop stars.

Could you be the one for me?

Posted by Adem on Oct 11, 2011 in Australian Pop, Rogue Traders | 0 comments

You may recall last year when I tallied up my end of year lists that I’d become particularly partial to a Rogue Traders track by the name of “America.” It was to be featured on their unreleased fourth album “Night Of The Living Drums”, which was an on-point introduction to the vocal stylings of the divine Ms. Mindi Jackson, however it hadn’t seen the light of day beyond five-track promos that briefly circulated last year. To this day “America” remains one of my most played tracks in iTunes and – up until today – has been virtually unheard by the masses.

Well now you can listen to it… at least a 2 minute teaser for it any way.

Rogue Traders – America – Full Teaser by Rogue Traders

I wonder why this has finally been made available?

I wonder why this is only a teaser?

I wonder…

Any way, for those of you who need a refresher as to what this incredible Rogue Traders LP would have sounded like, here’s an album teaser…

Amazing.

To Infinity and Beyond.

Posted by Adem on Oct 5, 2011 in Australian Pop, CD Reviews, Sneaky Sound System | 2 comments

SNEAKY SOUND SYSTEM
“From Here To Anywhere”
(MODULAR) 10/10.

Saviours of Australian Pop and music’s greatest duo since The Pet Shop Boys, our very own answer to Xenomania and therefor Girls Aloud, Sneaky Sound System have returned with one of my most anticipated releases of the year. “From Here To Anywhere” picks up exactly where their flawless sophomore album “2″ (read my original review – which I still stand by 100% - here) left off; Sneaky still have one foot firmly planted in the past whilst keeping their other three feet directed straight toward the future. That exciting blend of 1980′s synths and 2000′s approach to electronica is back in full swing for Anywhere, and much like their previous effort, it too is nothing short of being breathlessly amazing.

The thundering bassline of album opener “Friends” is an immediate step in the right direction, brushing itself up against sexy guitar licks and sonically lending itself slightly to Roger Sanchez’s “Another Chance.” Within three seconds of the chorus dropping it’s easy to see there’s really no fucking around on From Here To Anywhere; Sneaky mean business, and the business of the day is perfect pop music. Big, big chorus with chunky upheaval-like production that rolls along effortlessly; It’s the Sneaky Way. The first two singles then follow, with current radio-topper “Big” being the best of the bunch. “We Love” – a deliciously clunky club track – seems like a wasted opportunity as the first single, sitting amongst nine other songs that are infinitely better than it. That’s not to say We Love isn’t a great song, but when there are so many other brilliantly put together songs on here it makes you wonder why it was chosen to kick off this new era when something as monumental as “Big” sat there, waiting its turn. “I Need You So” is the only other song on Anywhere that goes back to that ‘In The Club’ territory heard on “We Love,” except that I Need You So is the better of the two. If the guys really wanted a club-banger for the first single then this should have been the choice, at least from a commercial standpoint.

Glitter-bass rears its head for the stunning “Really Want To See You Again”, complete with lyrics that get it; “I was breakin’ outta rules for you… I don’t want to talk about you, but I really wanna see you again. I don’t want to think about you, but I really wanna see you again.” The best lyric? “Don’t get me wrong, only fools get me wrong, I’s a mess when I was with you.” Keep an ear out for the brilliant bridge/middle8 combo that absolutely slays.

Making small – but noteworthy – references to the influential Human League, particularly their classic “Don’t You Want Me Baby”, “Remember” is a highly dramatic production for a song that is one of the bands hardest, lyrically speaking. “Don’t tell me we were wrong from the start, don’t hide your heart away so it can’t get back to the sweetest part.” The heartbreak continues in songs like “I’m Not Leaving” (which is much like an updated offcut from Whitney Houston’s “I’m Your Baby Tonight” L.P. – never a bad thing at all,) which is the closest Anywhere gets to serving a ballad.

One of the best songs on Anywhere “The Colours”, is destined to be a single at some point. BIG synths with a mind-blowingly tight chorus, everything comes to an exciting climax just after the middle 8 and I am telling you, you will know when this is happening because your ears will asplode everywhere. However, the biggest interest should be strummed for the records most stunning moment (well, perhaps after “Big”), and – typically – it’s a track called “1984.” “Maybe we can televise at the Minsitry of Love?” Miss Connie coos before launching into the biggest and most commercially viable moment on all of Anywhere. It’s an obvious pop cultural reference to the book of the same name and the lyrics suggest this from the moment it begins. Everything from the way it abruptly opens, The Divine Miss Connie’s talky-bits, Angus’ brilliant production – without a doubt in their Top 5 songs of all time.

The record comes to a close – perfectly only 10 tracks long – with Balearic-banger “Lovetown”, taking bits and pieces from the Metronomy school of dance and combing it all together with cheeky lyrics that play like some kind of Caribbean disco dream.

The best thing about From Here To Anywhere is its ability to knock you in the face from the get-go with huge, euphoric build-up’s across all of the songs that lead to death-defying climaxes. It’s everything we loved about “2″ – and then some. Angus and Miss Connie have knocked this one so far out of the park it’s hard to imagine any Australian artist toppling them over the next 12 months. Whether this sells or not, Sneaky Sound System are, and always have been, at the very top of their game, and “From Here To Anywhere” is their second (of three) truly perfect and completely flawless long players. So many artists can’t even achieve that in 10 years – yet they’ve done it in 5.

The only way is up. Sneaky Sound System are here to save our lives with the highest quality pop this country has ever served.

FROM HERE TO ANYWHERE is released THIS FRIDAY October 7th in Australia, with a subsequent release worldwide from October 17.

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FURTHER SNEAKY READING ON ADEM WITH AN E:
A SNEAKY CHAT with MISS CONNIE >> SNEAKY “2″ REVIEW >>

This is the moment we’ve been waiting for.

Posted by Adem on Aug 29, 2011 in Australian Pop, Sneaky Sound System | 2 comments

“Big” is the new single from Sneaky Sound System and it is exactly that.

Following up from the first single “We Love” (which has a highly entertaining video), this is the second offering from their third long player “From Here To Anywhere”, which I am VERY excited about. Sneaky have signed on with Modular who as most of you will know is one of my absolute all-time favourite record labels, so naturally I was expecting Big things from the first single We Love. It’s definitely a good song but when you’re sitting on something this huge, as my friend Edward said to me on Facebook today, it’s hard to understand why “Big” wasn’t the first single. Because it is really something else.

>|< LISTEN TO SNEAKY SOUND SYSTEM’S “BIG” HERE >|<

It’s undeniable magic. That chorus may very well be their most sonic and wonderful creation so far, and that’s AMAZING news when you take into consideration the fact that they are bloody excellent at choruses and are pretty much Australia’s answer to Xenomania/Girls Aloud.

Miss Connie and Black Angus have a hit with this. Remember the first time you heard Rogue Traders’ “In Love Again” and you went “Oh my GOD, that is BEAUTIFUL”? This is Sneaky’s moment of that magnitude; this is a soaring, majestic pop song with enough thumping electronic hooves to go along with some of the bands best, most sincere lyrics.

Sneaky Sound System’s “BIG”  is the second best song of 2011. And if the magic of their last album is anything to by then Lady Gaga will finally have some real competition for Album of the Year.

Almaryse and the Frill of the Fight.

Posted by Adem on May 23, 2011 in Almaryse, Australian Pop | 2 comments

One of my Aussie acts to watch in 2011 are Brisbane pop-trio Almaryse & The Frill of the Fight, whose blend of pop and 80’s funk bring them to the forefront of an impressive and highly talented list of untapped magic in this country.

Their debut single, “And I…” is the kinds of jam you’d listen to as you wind down on a Sunday, hungover as sin, hoping the music will take the edge off your thumping headache. It’s the kind of jam you’d not-quite-slow-dance-but-close-enough to, for example, at a Sexy Party – with a Sexy Someone (or multiple sexy someones, depending on your mood.) It’s the kind of jam you’d hear once and think “That’s a pretty great pop song,” before rushing to iTunes to hand over some cash in order to own it. It’s the kind of jam that’s Very Good.

The charismatic frontwoman who, like previous pop legends Madonna and Cher before her, is simply called Almaryse, and is one of Australia’s brightest upcoming pop stars with a swag of ripper choons under her belt, and an astute eye/ear combination for what makes pop music so right. I’ve even been lucky enough to belt out a song with her in a Karaoke bar, can you even imagine. Naturally she was very, very good but I, sadly, wasn’t quite drunk enough at that point and was unable to match her fabulous performance skills. “Stick to writing about music,” I’m sure that was what they all chanted.

The dashing, beautifully shot video for “And I…” joins the YouTube ranks as a proper must-see.

The fantastic trio have their sights set on International waters this year and, hopefully, we’ll get a full length EP or album before 2012 as well. Big things… Big things…

“And I…” is available from iTunes worldwide now.

Washington Post.

Posted by Adem on Jul 17, 2010 in AdeMTV, Australian Pop, Washington | 1 comment

Meg Washington is an incredible Australian pop lady, and after a run of really amazing singles and EP’s she’s finally releasing her debut album. “I Believe You Liar” is released through Mercury/Universal on July 30th and could end up being one of the years best if the new single is anything to go by.

This is the new Washington video clip. The song is called “Sunday Best” and it ticks just about every box on my list both visually and musically. I saw it last night on Rage, our late-night music show here in Oz, and was pretty blown away. Ridiculously fun and incredibly well put together, best I’ve seen from this country so far in 2010, so there you go.

I interviewed Meg a few months back and she was one of the most refreshing and hilarious people I’ve ever had the honour of speaking to. I’ll try and find the transcript and post it on here next week, but in the meantime I’m just going to watch “Sunday Best” again and hope that a higher quality audio of it arrives on YouTube soon.

Rollo & Sister Bliss return to heyday form.

Posted by Adem on Jul 12, 2010 in Australian Pop, Rollo and Sister Bliss | 0 comments

Back when I was a teenager, Rollo & Sister Bliss were THE go to for amazing remixes. Time and time again they created legendary dance music history with their building, euphoric takes on some of the biggest songs released. Everything from Donna Summer to even their own brand of music as apart of Faithless, generally speaking, Rollo & Sister Bliss were – and are – two of the greatest DJs in the dance community.

Over the last couple of years, Rollo & Bliss’ output as a remixing duo hasn’t been hitting the usual track-records or meeting the standards many of their previous re-swizzles have. There was a distinct sound to the way Rollo & Bliss remixed, but as house music turned into something completely different all together as the late 90′s drew to a close, so did that euphoric, trancey house bassline we’d all come to know and love from R & Bliss. But now, with the 90′s revival well and truly here, it seems fitting that a remix that harks back to that particular time be exactly the kind of sound Rollo & Sister Bliss recreate with this, their finest and most spectacular remix in about five years.

What’s probably even more exciting is that it still sounds like a remix that’s been done in 2010. It’s still fresh sounding but somehow manages to push a number of nostalgic buttons for me along the way. Hell, maybe even you.

The Temper Trap (from Melbourne) released this, their “Love Lost” single last month, with this remix tacked on as a b-side. The original version is fine, but there’s something really magical about that breakdown and beat-drop toward the end of the remix that really takes the song to a much further emotional level. That euphoric sense of beauty, tragedy and brilliance, all rolled into the one truly monstrous and epic seven minute club thumper.

Welcome back Rollo and Sister Bliss. Don’t Leave…

A Star Is Born.

Posted by Adem on May 7, 2010 in Australian Pop, James Ash, Mindi Jackson, Rogue Traders | 4 comments

Mindi Jackson was quite the breath of fresh air at the Logies (Australian Television awards) on Sunday night, and I think others are finally starting to see where I’m coming from. Performing their new single “Would You Raise Your Hands?”, the Rogue Traders tore Crown Casino a brand-new rectum with this corker of  a performance.

The performance is energetic, has a great dance routine (put together by the incredibly talented Squared Division, MINDI THEN JOINS THE DANCE ROUTINE TOWARDS THE END, there are green lasers and people in helmets – it’s exactly the kind of thing some second-rate Australian pop stars should take a look at before any future live performances. Mindi’s performance in particular was pretty great – you can see just how much stage presence she has and how good she is at entertainment; this was the performance of the night in an evening where the legendary k.d. Lang performed – let’s not forget this.

The single is really, really good too. And yes, it does sample Adam Ant but it does so with not only Ant’s permission but also absolute blessing. It’s a tiny fragment that just adds spark to an already brilliant pop single. I’ve spoken about the song before on the blog but now that it’s out there, perhaps a little bit more needs to be said.

“Would You Raise Your Hands?” is a certifiable Rogue Traders classic. It works just as well incredibly loud in my car as it does banging to a crowd at the Logies. It’s the kind of world-class pop they can take overseas and (hopefully) have a banging smash with. The chorus is a firebomb of excitement and the subject matter is one quite close and dear to a pop enthusiast like me’s heart. It’s so ready-for-radio it’s ridiculous and is exactly the kind of track the Rogues need to prove they’re here to stay after the flatline-response to their last single “Love Is A War”, which was fine but let’s face it – this is their real first single now, innit?

The single is available now on iTunes, and the album “Night of the Living Drums” (you may remember the Sneak Peak of that I gave you in January) is on its way, and thank God for that too because in a year without a new Sneaky Sound System album, it’s all up to the Rogue Traders to be the nations saviours of pop for 2010. And thank God also that the album is full of tracks to do just that – I can’t wait for everyone to hear “America” and be blown away by it as much as I was the first time I heard it, a track that’s shaping up to be my chosen Rogue Traders magnum opus.

More details on the album when I hear more about a release date, but needless to say I’m very excited and hope some of you are too.

Oh and you can watch the okay (but the Logies performance is leaps-and-bounds better) video clip for “Would You Raise Your Hands?” here.

—————

NEXT WEEK: Simon Curtis album review, and new interviews with both the Cassette Kids and Matt Van Schie.

EXCLUSIVE! Moto Blanco remix of Gabriella Cilmi’s “Hearts Don’t Lie”

Posted by Adem on Apr 20, 2010 in Australian Pop, Gabriella Cilmi, MP3 | 5 comments

Gabriella Cilmi’s gearing up for the May 31st release of the Bee Gee’s-infused second single “Hearts Don’t Lie” from her incredible sophomore album, “Ten.”

One of the serviced remixes for the single was wiz-twiddled by UK dancefloor destroyers Moto Blanco. As a bit of a scoop – this is the very first time it’s gone live anywhere online – I offer you this gift; the exclusive first play of the Moto Blanco remix of Gabriella Cilmi’s “Hearts Don’t Lie.”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Yes please.

“Hearts Don’t Lie” is released in the UK on May 31st. “Ten” is out now.

Van Solo.

Posted by Adem on Apr 16, 2010 in Australian Pop, CD Reviews, Matt van Schie, Van She | 4 comments

MATT VAN SCHIE
BALMY NIGHTS
(BANDROOM) ★ ★ ★ ★ ★

There is something admittedly really exciting about Matt Van Schie being a proper pop star.

Van She themselves, although definitely housing some brilliant pop hooks, generally seem to fall more into the Rock/Dance bracket – particularly with their fan-base. The band themselves are working on their new album as you read this; but there’s been a big chunky break in between that was perfect for solo ventures and side projects to come up to the proverbial podium. The bands resident synth-god Michael Di Francesco added his production touches to the ace new Cassette Kids album, and Matt, well Matt’s gone and done what I’d always hoped he would – a truly outstanding pop record.

“Balmy Nights” is perfect from beginning to end. Complete with four tracks, the EP serves as an incredible introduction into Matt’s musical mind and where he wants to take this particular project.

Lead single and EP opener “Saturday Night” gets things off to a rollicking start; that bass guitar sounding prominent over the 80′s referencing synths and a chorus of killer proportions. Next single “Journey”, featuring Matt’s Van She band-mate Di Francesco, is a Depeche Mode/Duran Duran loving synth-happy pop ballad with sharp production and a truly dreamy bridge. By the time the ace “Lady” and “Two Love” have started, you’ll have figured out this EP is, essentially, a collection of really fun and supremely executed pop songs. And they generally all seem to be about the romantic side of life.

In its demo form, “Two Love” charted in my Top 10 of the year for 2009, and rightly so. There’s something very Motels-esque about this – in melody and production, it’s actually almost like a dancier version of this absolute classic. These are the kind of songs you hear that instantly just hit the spot. Out of the four tracks on here, “Two Love” is not only the best on “Balmy Nights”, it’s also the most accomplished and fresh-sounding.

“Balmy Nights” is a pop record. There’s nothing wrong with wanting to make pop music. It’s the kind of thing that should be encouraged. If Matt had turned around and made an EP full of rock-cum-indie-cum-dance anthems, provided they were good I would still have been on board, but perhaps not as excited as I have been about this batch of tunes.

Van She give us excellent material that falls into that aforementioned sub-genre; so I want something different from a solo project. And Matt’s definitely stepped up. Most people would kill for a debut pop release to sound this swish, slick and to just work as well as it does.

Buy this because I want a full-length album. I have a feeling Matt’s going to blow our minds with whatever he does next.

Purchase “Balmy Nights” from iTunes.

Cassette Kids – Nothing On TV

Posted by Adem on Apr 15, 2010 in Australian Pop, Cassette Kids, CD Reviews | 2 comments

CASSETTE KIDS
NOTHING ON TV
(SONYBMG) ★ ★ ★ ★ ★

In 2008 Sydney’s Cassette Kids took home the prize of the Triple J Unearthed competition and followed it with the release of their debut EP, “We Are.” 48 months later, and the Cassette Kids are finally launching their debut Long Player, “Nothing On TV.”

For those dismissing the band as another Ladyhawke or Modular act aren’t, however, looking hard enough. Aside from the fact they aren’t even on Modular, there’s a lot more to the Cassette Kids than a few ball-tearing pop tunes and some dance beats. “Nothing On TV” proves this in around 50 minutes playing-time.

In fact, anyone expecting an all-out pop album (or dance album, even, which it seems Rave Magazine thought it was… which does make you think if they even bothered to listen to the record, or whether they just jotted down what they thought was wrong with Australia’s dance music scene and then fobbed it off as a review – WHO KNOWS) is going to be left surprised. There is definitely an air of incredible pop sensibilities at play here, but there are some exciting and creative rock-monster moments on here (“You Shot Me” comes in like an exciting bat out of hell upon your stereo) that still separate the Kids from the rest of the dance-pop-indie hybrid. Very smart.

Production credits for “Nothing On TV” sit with Van She’s synth-master Michael Di Francesco (who’s almost turning out to be Australia’s answer to Stuart Price); there are 80′s licking guitars and 90′s references here and there; from the almost No Doubt feel to some of the music (“Freaky Sweetie”, “Wherever You Are”), to the thundering techno beats of album (and career) highlight, the title-track “Nothing On TV” which – in its final minute – turns into one of the most exciting and innovative moments in Australian pop for a long time.

“Game Player” is TV’s other crowning moment who, along with the records singles “Spin” (still one of the years best singles) and “Lying Around”, come complete with choruses so infectious you’ll be on anti-biotics not long after hearing them.

The best thing about “Nothing On TV” is that, although it definitely cross-references other artists and genres of music the Cassette Kids themselves have sought inspiration from, it still sounds like a record put out by the Cassette Kids. It still has that grimy energy from their original debut, it’s just a little more polished this time around.

I await with much excitement to see what they’re going to do next.

NOTHING ON TV is released through Sony/BMG Australia tomorrow. Clicky to pre-order a physical copy from JB HiFi, or jump on iTunes tomorrow to purchase a digital copy.

Chatting to The Cilmi.

Posted by Adem on Mar 29, 2010 in Australian Pop, Gabriella Cilmi, Interview, Xenomania | 2 comments

A few weeks ago I was lucky enough to chat with the divine Gabriella Cilmi for the blog. After not being the biggest fan of her first album, 2008′s “Lessons To Be Learned”, I was more than happy to do a complete turn-around regarding my thoughts on the woman I now call ‘The Cilmi’, provided the material was of a higher standard. Thankfully it was, and during our chat Gabriella was funny, incredibly switched on and full of personality – all things which made her even more endearing than, at the time, she had been to me simply through the five songs I heard on the album sampler. In the chat we talked Xenomania and Brian Higgins, Donna Summer and how she inspired the recording of her incredible new album (review this week) “Ten”, how that very record was almost an exercise in the sounds of Bossa Nova and New Orleans Piano, and wanting to date Jimi Hendrix…

Hello Gabriella how are you?!
Good good, how are you?

Yeah really good, is this your hundredth interview for the day?
(Laughs) Well you are like my gazzilionth interview but it’s okay, I’ve found those amazing coffee beans that are covered in chocolate, you know them?

(Laughter) Yes I do…
Well I’ve become quite addicted to them over the last couple of days. I just chew them when I get a bit tired (laughs).

I have all these questions I want to ask you but before I get to any of those I need to tell you – “Love Me Coz You Want To” is one of the BEST songs I’ve heard…
Oh amazing! Yeah I’m glad you like that one Adem! That’s actually one of my favourites on the record. That one’s interesting because it started out a bit Motown-esque, it had that vibe from my last record, and the label kept on saying “Oh you have to keep it that way, that’s how it should be”, and I was like, well, no, that’s not how it should be! So I kind of took the song away with my band and produced it with them, and came up with this new version of it. So I think it was the right thing to do now that you’ve said that, thank-you.

Well I’ve had that song repeat for most of today in the lead up to this interview you know.
(Laughs) Awesome awesome, so you’re liking the album?

Loving it! So bloody amazing. Speaking of producing that song with your band, how different was it producing alongside those guys as opposed to the well-established producers you’ve worked with before?
It was funny because, they’re all really talented but I spend so much time with them (laughs), you know, we sit two-weeks on end in the back of a van together, and by the end of it you really just wanna kill each other. It’s a kind of love/hate relationship that makes anything good really, when you think about it, I mean, Brian Higgins from Xenomania, who I wrote my first album with, we always had this love/hate relationship, we’d really disagree on a lot of things, but when we agreed it worked really well. The love/hate thing works good for me (laughs).

So the album is definitely a huge shift from the debut “Lessons To Be Learned” – a big transition from motown-eque pop to disco and electropop – did you have any idea that’s what you wanted to do when you sat down to start working on the record, or were you surprised as well?
(Laughs) No I definitely surprised myself! I actually sat down and thought I would write a New Orleans Piano record, you know, Professor Longhair-ish, but then I thought, you know, I’m probably not a pro on the piano like they are (laughs), and then I tried this bossanova styled thing and everyone was just looking at me like “what are you doing?” (laughs), anyway, then one of my bandmates gave me a Donna Summer record, “I Remember Yesterday”, and from then on that changed the direction of the album. I was listening to a lot of Giorgio Moroder, you know, a bit of Irene Cara there, and I guess that really inspired the record too. I ended up with the most perfect work-out song in the world, “On A Mission.”

It’s very good in the gym I must say, and equally as exciting to sing “I am a Gay man… on a mission” whilst on the treadmill.
(Laughs)

You’ve actually referred to the song as being a 21st century answer to “I Will Survive”…
Well it so is!

Oh definitely, definitely. Where did the drive for that song come from?
I actually don’t know where (laughs), I wrote it with this big bald guy, who was really into musical theatre, so I guess I always wanted to write a song like that, a song that’ll be around that empowers and inspires, I really love Gloria Gaynor and I wanted one of those songs that was gonna take no nonsense from anyone (laughs).

Gloria and Donna are all favourites, so what’s your favourite disco track?
Oh gosh, so many different ones! My favourite disco tune though would probably be “Love To Love You Baby” by Donna Summer, I just think it’s the sexiest song going around, it just sends you into a trance almost, you just can’t help but be entranced by it. It just gets you… ah, amazing song. And my inspiration for the record as a whole I guess included Irene Cara’s “Flashdance”, and when you’re talking about disco you can’t really go past The Bee Gees. And everyone should be proud to know that they were Australian!

Indeed! And you have your own Bee Gee inspired romper on the album too, don’t you?
Yeah yeah, “Heart Don’t Lie”, that’s actually one of my other favourites, it’s got this really cool bassline that’s kind of reminiscent of Betty Davis, and she’s so funky and fierce, she’d just go on stage in a bikini with massive knee-length silver boots, such an incredible look going on. Plus she dated Jimi Hendrix.

She did.
If I could go back in time and date anyone it’d probably be Jimi Hendrix.

Really?
He sets guitars on fire, that sounds unreal.

Not exactly ‘bring him home to Mum’ material though…
Yeah my Mum probably wouldn’t like him (laughs), I’m sure she’d prefer Justin Timberlake or something like that. He is the guy that you bring home to your Mum though, isn’t he?!

I’m pretty sure even my Mum would be pleased if I brought him home.
(Laughs) Of all the Male popstars out there, he’s definitely the one you take home to Mumma.

So with this album you worked with Greg Kurstin, The Invisible Men and Dallas Austin as well as Xenomania, who you worked with on the first record. Do you think people were just expecting you to pull a Girls Aloud and make a full album with Higgins again?
I guess so, I guess people probably were expecting that. But I spent four years with them writing the first record, so I think it was just, for me, natural to move on. I loved working with Greg Kurstin as well, producers have to be really intuitive and understand the artist and what they’re feeling, how they want things to sound… he was really good at taking the picture in my brain and creating it (laughs). “Superman” is one of my favourite tracks on the record and I wrote that with him.

Have you decided what the next single is going to be yet?
We haven’t really decided yet, but I’m thinking it’ll be “Hearts Don’t Lie”, but we’ll see how that all pans out. (As it turns out “Hearts Don’t Lie” was confirmed late last week as the second single.)

What’s it like working with Brian Higgins and at the Xenomania towers?
Well I started working with them when I was 13…

Shit!
Yeah! So I’ve known them for a long time, at the time I didn’t realise they were so big, I knew they’d worked with Girls Aloud and the Sugababes, and certainly at that time I didn’t really like that kind of music, I was young you know? I was used to jamming in my garage playing AC/DC and Led Zeppelin covers so it was such a different ball game to me. They taught me a lot about pop music and writing pop music, it’s a real art-form, they’re really quite obsessed with melodies, or the way things are placed in the song.

Everyone’s talking about your ‘sexy new image’ – do you think it’s important to break free a little of the image from the first record now that you’re older? You were 15 when you did your first video…
Yeah exactly, I still find it hysterical when you read articles ‘Gabriella Cilmi – not so sweet!’ (laughs), and then there’s pictures of me in, I guess, a bikini, I was 15 when I filmed the video for “Sweet About Me” and, to be honest, that wasn’t so sweet at all I mean there were guys hanging upside down all around me (laughs). I guess it is kinda sexy, it’s certainly a lot free-er. As a space Queen I feel like I can do whatever I want!

The video is bonkers and brilliant, you get to play Barbarella AND THERE’S A DANCE ROUTINE – please tell me there will be more of this kind of thing in the future?
I think so! I think you’ll see more crazier videos and outfits, I’d love to do more of that. I think so, yes.

Keep all of this up and your Gay following should triple in size by the end of the year.
(Laughs) Well the first invitation I got to play a gig at this year was for G.A.Y, which is really exciting actually!

Thank you Gabriella!

Interviewing Amandah from Operator Please…

Posted by Adem on Feb 15, 2010 in AdeMTV, Australian Pop, Interview, Operator Please | 3 comments

Gold Coast formed Operator Please are hot-on-the-heels of releasing “Logic”, the debut single from their as-yet-unreleased sophomore album ‘Gloves’. Gearing up to headline at this years mammoth Future Music Festival, the bands front-woman, the passionate and delightful Amandah Wilkinson, sat down with me for a chat about the new album, working on the road, Lady GaGa, and preferring to be labelled as a pop group rather than an Indie one.

Operator Please had a wild 2007/2008. Releasing their debut album Yes Yes Vindictive saw them touring globally and promoting their wares across the world. Alternative radio were hammering their singles, but so were the commercial radio networks. It was hard to escape Operator Please mania, and whether you loved or loathed their debut single, the quirky “Song About Ping Pong”, there was really no denying these kids were on the rise.

It’s 2010 and they’re not exactly kids anymore. ‘Logic’, the bands new single, is a spiky pop song that demonstrates a clear growth, not only as artists but as a collective. It’s punchier, perhaps more importantly; poppier, and feels more refined.

“We only really decided on the single maybe a month before we put it out,” says Wilkinson. “There were a lot of contenders, but the band kind of felt like ‘Logic’ should be the leading single for quite some time, so we just did it.”

It’s an exceptional pop record, even if the Alternative stations try to tell you otherwise.

“I’ve always written pop songs,” Amandah says, before laughing. “I was a little confused with the Indie/Alternative title we got, but I’ve always thought we’ve written pop music.”

In a year where pop finally took precedence thanks to the emergence of Lady GaGa, Wilkinson gets excited as I mention Lady’s influence on the pop spectrum. “I think pop is becoming more predominant,” she says. “We went through particular styles of music; a few years ago pop was all about bubblegum, but a while before that pop was Blondie and Madonna, then you had the trio of Madonna, Prince and Michael Jackson. Now Lady GaGa’s coming through, I don’t think people are expecting it but I think it’s amazing.”

Surely there are fans who would guffaw at claims that Lady GaGa was worthy of attention. Maybe even some that would do the same at the mere mention of the word ‘pop’. Amandah doesn’t seem to care though, and is quite pleased the great divide between credibility and pop music is moving its way closer to one another.

“There’s always going to be people that hate pop music,” she adds. “But the majority of the time, most people aren’t aware they’re listening to a pop song when they are (laughs). It’s true though, it’s a structural thing, all these key elements that make up an incredible pop song – you can put fuzzy guitars or whatever you want and call it whatever genre you want, but chances are you’re putting fuzzy guitars over a pop song. You know? Pop connects, it connects with people. The Beatles were pure pop mate, and think of how huge they were. I just think it’s really good that the stigma is disappearing, because particularly in the 90’s there was this big separation between pop music and alternative sounds. It was a very big spectrum, and we’re not necessarily closing the gap, but it’s definitely being turned around.”

Gloves, the bands follow up to their 2007 debut Yes Yes Vindictive is said to include lots of synths, xylophones and drums. The band took the combination of being on the road and listening to music to form the creation of the songs within the new record; everything from pop to 90′s RNB.

“I think I personally reverted to a lot of stuff I was listening to when I was in high school – you know, lots of RNB (laughs) and Hip Hop, I’ve always loved 80′s Madonna and Janet Jackson and Prince. All the experiences from being on the road, watching other bands perform live; it all just kind of rolled into one really.”

Being on tour for such an extended period of time did play tricks on the bands mind however. An element of cabin fever began to brew as they tried to juggle being on the road, writing new material and not being able to record any of it.

“I guess that being on tour you don’t get too much of that time, so it was a mixture of absolute frustration, but also enjoying being on tour simply because we were on tour (laughs). But if you get the two worlds melded up it can actually get quite frustrating and difficult. You’re there to play live and you really need to give it your all to do that. You think about a new record, mainly what we used to have to do, because we, you only get so much time to yourself, so I find if I can get ideas down by myself and then get them out to the band I feel less nervous about it. Because I’m always real nervous about showing people new ideas or showing people new music, wearing everything on your sleeve and being vulnerable to everything (laughs).”

Amandah admits to me that, during the albums early days, she was nervous and a little scared to share the music. “I’m not now though,” she assures me with a cheeky laugh.

“I think, because you have a back catalogue of music, when you’ve first written your new stuff it’s actually quite alien until you’ve played it with the band. You’re forever comparing the new stuff to your old stuff, which is something you can never do, you just need to have the confidence to do what you want to do. I was nervous at the start, but now I’m ready to just get it out (laughs).”

Between agonising over the tracklisting, to choosing which songs will end up on the final cut, Wilkinson’s job at arranging the albums finer details have caused her somewhat of a proverbial headache. Striving for perfection is hard, but the burning desire to get it right is evident in her responses.

“We want to make sure it’s the right title. It’s kinda the same with naming songs and putting together the tracklisting for the record, you have to make sure it’s right and sit with it for a bit. Which can be a pain the arse!”

It’s an album Wilkinson and her band are hoping to take overseas, after spending most of 2008 on tour through International shores. “We didn’t spend much time in Australia on the last record,” she says.  “We were in London, Europe and Japan, some shows in the US, but we’re really hoping to just step it up another level you know? I reckon growth and growth through new records and whatever (laughs). I’m not the kind of person that’s like, oh yeah, I want to be the biggest band in the world or whatever (laughs). I know it’s ambitious and all that crap, but you need to take it step-by-step I think. I’m just hoping we bump it another level, and that’s all I can hope for. And if it goes further than that – awesome.”

A really good song.

Posted by Adem on Jan 28, 2010 in Australian Pop, Cassette Kids, Twenty-Ten | 3 comments

I’m normally not for posting twice in one day about the same song, but there is plenty now that needs to be said about the Cassette Kids‘ new single “Spin”, which I’ve had on repeat at such an obsessive rate it would make Glenn Close blush.

Over the last 12 hours I’ve basically thrashed a MySpace rip of this song. And over these intense repeated listens, I’ve enjoyed learning most of the words and singing it at a very high volume in my car. It’s been a REALLY good day for music for me because this is pretty much all I’ve listened to. It’s one of the most incredible love songs about music I’ve heard in a bloody long while, and that chorus is so radio-ready it can’t possibly not do well.

I remember when it eventually clicked (after about the 17th consecutive listen) in my head that Kelly Clarkson’s “Since U Been Gone” was one of the greatest radio-ready pop songs of all time. This is just as radio-ready. It’s infectious, it’s sort of about the world ending – but not really at all about the world ending, but more about if it were ending that the idea of a particular song being one you’re okay to hear right before you die. So in other words = Very Overly Great.

I really loved the Cassette Kids when they released their debut EP and have fawned over them on the blog a few times in the past. I LOVE them now though. This song has put them in a first-class different league.

If people don’t buy this single I’ll actually consider not bothering anymore. I just love it so much. These guys have combined all of their childhood (and young adult) musical and life influences into what’s shaping up to be one of those really special Australian electronic-pop-hybrid albums of the year. 2010′s Presets or Cut Copy, if the new material I’ve heard is anything to go by.

Stars in the making, each and every one of them. I can’t bloody wait for the video clip or for the song to be available on iTunes.

We can listen as the world goes crazy.

Posted by Adem on Jan 27, 2010 in Australian Pop, Cassette Kids, Twenty-Ten | 2 comments

THE NEW CASSETTE KIDS SINGLE IS EVEN BETTER THAN THEIR LAST.

I caught the Aussie four-piece live the other night supporting for Calvin Harris here in Melbourne (review and pics of the Calvin portion tomorrow), where they showcased a mixture of older songs with some as-yet-unreleased material from their upcoming debut album, Nothing On TV.

“Spin”, single number 2 from the record in question, has a VERY big chorus; it’s like throwing Roxette, No Doubt and Ladyhawke into a grinder and serving the result in a glass full of ice. Incredible.

The video clip was shot this week in Melbourne, but until that’s made available on the web, you can hear “Spin” in full over on the bands MySpace.

http://www.myspace.com/cassettekids/

Cassette Kids are shaping up to be one Australia’s greatest hopes, not only for 2010, but beyond. “Lying Around” should have been bigger than it was, and “You Take It” remains an important staple in Australia’s Indie-pop scene.  Their debut EP We Are STILL gets spun frequently on my stereo, and now there’s “Spin”, an accomplished and sophisticated slice of infectious pop music that somehow trumps all of their already stellar work. It’s also a song about songs, one of my favourite topics in Pop.

To top it all off, not a single one of the members is very ugly at all, are they?

See for yourself.

Posted by Adem on Jan 22, 2010 in Australian Pop, Rogue Traders | 1 comment

Hopefully I’ll see you there.

The new Rogue Traders album: Yes, it’s a dance record.

Posted by Adem on Jan 15, 2010 in Australian Pop, Rogue Traders | 4 comments

Last night I had the privilege of sitting with Rogue Traders co-founder James Ash and having a listen to a bunch of demos for the bands upcoming album, their fourth overall and their first since Natalie Bassinghthwaighte’s departure.

Here’s the thing; it’s really, really good. Some of these unfinished demos sound more fresh and exciting than most of the things on the charts at the moment; I’d even go as far as saying there are some moments so spectacular that they trump certain key-points found on the bands last two albums.

All the stories you’ve heard about it being a dance record are bang on. If you were at all deterred by lead single “Love Is A War”, then you’ll be pleased to know it’s probably one of the less instant moments among the new tracks.  It’s also the least straight-up-dance moment as well; there are spikey club-cuts throughout, with mild nods and references to everyone from Blondie, Phil Oakey, the Sugababes (v2.0) and even Madonna. In fact, the new Rogue Traders album is a bit like Richard X meeting up with Rachel Stevens and Lene Lovich in a thumping nightclub.

“Ease Your Mind” is, as James described it to me, like the Sugababes having it off with Justice. Think of “Whatever Makes You Happy” and then essentially times it by 10. One of the more instant moments, the glam-rock meets synth-overdrive of “Would You Raise Your Hands”, was an immediate favourite and is about musical snobbery. It’s a tongue-in-cheek, arms-aloft club-pop banger that smells like a hit single.

“Skyline” – although sounding nothing like it – is the albums answer to “In Love Again”, in the sense that it’s dreamy electro-pop with EXCELLENT lyrics. There’s also “Girl In Gold”, which is Ash’s tribute to Debbie Harry from Blondie (he told me he was staring at a poster of Deb as he penned the chorus – amazing), “America”, “So Lonely” (inspired by Britney Spears) and “Ease Your Mind.” All very, very good.

And what about Mindi Jackson, the bands new vocalist? Can she fill the shoes left vacant by Natalie? More than capable, actually. It doesn’t take long to hear that Jackson’s voice is stronger and has a lot more texture than Nat’s does; the vocal arrangements on the album are more complex and a little more experimental – a definite plus. I’ve said before that Mindi’s voice reminds me of Lene Lovich; add a very young Gwen Stefani, No Doubt-era into the mix as well. I’m actually REALLY looking forward to seeing Mindi perform with the band for the first time live on stage.

So in summary, If you were at all worried about the album; don’t be. Whether your worries were spawned by the idea you felt they couldn’t go on without Natalie, or because you didn’t quite like “Love Is A War”, cast them aside.  It’s okay to be wrong sometimes and in this case, you are.

This album will change peoples minds about the group. Within a few minutes of hearing it I’d almost forgotten about the bands past; it is ALL about the future from now on in.

UPDATE: Album Teaser available on TheirSpace.

Cilmispooner.

Posted by Adem on Jan 11, 2010 in AdeMTV, Australian Pop, Gabriella Cilmi | 2 comments

Roisin Murphy may have had the first amazing track of the decade, but Gabriella Cilmi – of all people! – has the first anthem. “On a Mission” is officially brilliant and I don’t care if she’s boring and a bogan.

The ace Glenn Dunks just popped this up as his status update on Facebook, and I couldn’t agree more with him.

Gabriella Cilmi‘s new single, “On A Mission”, is BIG, as opposed to the rubbish that was on her first album which I still don’t understand the hutzpah over – it just wasn’t that good. This though; THIS is great. It’s like Xenomania having a stab at creating Fischerspooner‘s “Emerge”, don’t you think? The press shot is HOT as well; moving her from the ‘boring bogan’ label to the ‘has potential’ one. At least she’s conscious about the fact she can’t dart around looking like any-old K-Mart shopper anymore. Here’s some more evidence – the FUN video clip.

First listen, I was unimpressed. Second listen, I was hailing it an 8.5 out of 10. Third listen; 10/10.

Two posts in one day; what is this, 2006?

Hello there, Mindi Jackson.

Posted by Adem on Nov 24, 2009 in AdeMTV, Australian Pop, James Ash, Mindi Jackson, Rogue Traders | 8 comments

Meet Mindi Jackson. She’s the new lead vocalist for the Rogue Traders.

Some of my fellow Van She fans that read this website might find Jackson’s voice a little familiar; in 2007, under the name Melinda Jackson, Michael and Nicky from Van She Tech took her track “Fall In Love” and gave it a corker of a re-swizz which ended up in my years-end best-of lists.

But now, Melinda is Mindi, and her first release with the Rogue Trader crew is the drum ‘n bass hybrid-pop stomper, “Love Is A War,” which sounds like Lene Lovich having it off in a dark alley-way with No Doubt’s back catalogue. Never a bloody bad thing.

Double hand-claps? CHECK. Amazing outfit? CHECK. Excellent hair-styling? CHECK. Non-offensive rap? CHECK. Ability to dance in very high heels and look effortlessly fabulous? CHECK. Of course, the less said about the food fight scenes the better; I have this incredible phobia of food touching my skin. Don’t ask.

I am COMPLETELY on board for this next, exciting phase of the Rogue Traders journey. I think that, perhaps the most exciting part, is the fact that Mindi looks more than comfortable in the group, whether it be in the clip or on the (usually) painstakingly boring Sunday Sunrise in an interview situation. There’s a star quality about her and yet, she’s – at the moment – not exactly a household name. The last time around, James and Co HAD a star already; but this time it’s that much different, and a whole lot more exciting.

What’s even more thrilling is the obvious appreciation both Mindi and James have for each other as artists, an appreciation that shows during that Sunrise interview – it’s effortless, there’s not a cringeworthy moment shared between the two of them, which speaks volumes I think, about the kind of guy James is, but also the kind of woman that Mindi is.

I can’t wait for the album, which is happening next year at some point. I know a few people are a bit sketchy on the track (from what I’ve read on Twitter through fellow bloggers posts, anyway) but, as per usual, there’s always something that strikes a chord with listeners on a Rogue Record. Even if you’re not necessarily keen on this first single, I can guarantee there will be something you’ll LOVE on the album. James recently told me they were working on a track that was a little bit early Sugababes. Bonza bonza bonza.

Extreme Rogue Traders/Mindi Jackson Appreciation Mania starts here.

Cassette Kids: The Interview.

Posted by Adem on Nov 4, 2009 in Australian Pop, Cassette Kids, Interview, MP3, Van She | 3 comments

http://www.youtube.com/watch?v=VcUxAr2_dRo

Well over a year ago I ran a Cassette Kids piece on here and bung on about them being my new favourite pop group. The Sydney-siders have just finished creating their debut album, Nothing On TV, the exciting follow-up to last years EP, the ace We Are, and are about to embark on a National Tour supporting the new single, Lying Around, co-written and produced by Michael Di Francesco, he of-the Van She.

I spoke to Katrina from the Cassette Kids late last year for a chat but never posted the interview. And just last week, I spoke to the lovely lady again, and this time I’ve made sure it’s ready to go for your listening pleasure.

DOWNLOAD THE INTERVIEW IN MP3 FORMAT HERE.

Easily one of the best interviews I’ve done; up there with the ace Antigone ones actually. Katrina’s an incredibly great subject to interview. It’s refreshing to speak to someone in music who has an incredibly contagious approach to the passion for their work, whilst still holding on to a brilliant sense of humour. It doesn’t happen too often at all and, as when you’re doing interviews with artists week-in, week-out, these type of pleasantries are never taken for granted.

DOWNLOAD THE INTERVIEW IN MP3 FORMAT HERE.

“It’s definitely a dance record this time.”

Posted by Adem on Oct 25, 2009 in Australian Pop, Rogue Traders | 6 comments

Without further ado, it’s time to take in the news regarding the next Rogue Traders album; their first without Natalie Bassinghthwaighte since their debut record, and their first with new vocalist, the mysteriously  dubbed “X”. Kylie-Minogue-album jokes aside, X sounds like a keeper; from what James Ash has said on the forums and what-not, I have a feeling I’m going to like this person… I am speculating “X” is a female but… I could be wrong?

Speaking of James, Sir Ash got in touch with me to give me a bit of an update on what’s going on. It is news I am allowed to share with you all which I guess I’m pretty over-the-moon about. Anyway. I’ll give you the rundown in point form.

* It’s been 17 months almost to the day since Nat left the band.

* James is well aware – and prepared – for the idea of losing some old fans, but also gaining some as well. FYI; those of you who are more inclined to favour the Rogues’ first album, the Natalie-free “We Know What You’re Up To”, might see all of this is as a very, very good thing. I know I certainly do.

* It’s, quote; “definitely a dance record this time.”

* The first single is “like Drum and Bass punk.” Mmm, this sound Brilliant.

* James was offered a fortune last year to do a TV show to find a new singer for the band. When the executives asked him what he wanted out of his career, it seems “I want to make great records I’m proud of” was not the answer they were looking for. Can’t imagine why…

* People have actually tried telling him how much like Natalie they are in order to get their foot into the band. This would have to be the most hilarious and yet highly offensive thing I have heard for some time. Do you reckon these people actually think about how stupid they might sound if they open their mouths with this kind of garbage? Evidently not it would seem.

* The identity of “X” should be revealed soon. “We’ll be popping out from behind that curtain in just over a month.”

So there you go, bit of news to tide you over until the big announcement. I’m thoroughly excited. The kind of excited I was when I heard Natalie has recorded Voodoo Child with the guys. Rogues v3.0 already feels right, and yet I have bugger-all idea who the person fronting it is…

Antigonechat.

Posted by Adem on Sep 16, 2009 in Antigone, Australian Pop, Interview, MP3 | 0 comments

In what is surely a coincidence (a spooky one at that), it has been just over a full year since I last spoke to the magnificent Antigone on the website. A lot’s happened in the last 12 months…

Antigone talks candidly to me about the future of her debut solo album, Antigone Land, her favourite tracks on it, and discusses her not-so-pleasant run-in with Little Boots…

On MediaFire, for your downloading pleasure…

Interview with Antigone (2009).mp3

Review (finally!!!) of Tig’s glorious debut solo CD coming after the weekend. “One of the years best”, as they say.

R.I.P. Dean Turner.

Posted by Adem on Aug 23, 2009 in AdeMTV, Australian Pop | 1 comment

A sad day today for the Australian music world, as news comes to hand that Dean Turner from Geelong-born-band (which just so happens to be where I come from and still live) Magic Dirt passed away last night battling lung cancer.

He was aged 37.

My sincerest condolences to Turner’s family, friends, and of course the band and their fans.

Magic Dirt have not been a band I’ve followed in the last few years, however there was a time (during high school) that I absolutely worshipped them. This song, the ace “Dirty Jeans”, still remains one of my favourite Australian pop songs of all time.

ARRIVAL.

Posted by Adem on Aug 10, 2009 in Australian Pop, Interview, MP3, Van She, Visitor | 0 comments

Visitor are an amazing new Aussie-bred, London-based pop duo who are currently working with Diamond Cut and my beloved Van She on a set of their debut records. They have a FIERCE launch track in “Los Feeling” which, without sounding too cliched, pulls together the best synths of the 80′s and 90′s, throws in a seriously euphoric chorus and envelopes itself into a three-and-a-half minute epic-pop showdown. Brilliantly, the guys have allowed me to share this very song in a completely legal Internet download for you on the site.

Visitor – Los Feeling (Rough Mix).mp3 (Mediafire)

(XO talked about these guys a couple of weeks back, FYI.)

Anyway, Kyle from the duo agreed to partake in a minterview; a miniature interview (oh dear). I found out what they are all about, who they’re working with, and whether Kyle loves UK Big Brother’s Davina McCall…

Tell me a little bit about you guys; who’s in the group, the ‘general’ introductory bits…
Visitor is Kyle and Lucas. We met each other at school in Melbourne when we were kids, and moved to London a few years ago, where we formed and de-formed electronic/rock bands. We recently realised that we wanted to do something much more focused and poppy I guess, and so Visitor was born. We only unveiled everything on Monday, but so far people seem to be ‘getting’ it, which is quite a relief.

So you’re working with Diamond Cut and Van She on the album… anyone else? How’s it been working with all of these guys so far?
It’s been amazing. We first encountered Diamond Cut last year when he did a remix for us and it’s kinda escalated from there. The Van She connection came out of working with Diamond Cut. Kinda strange to have travelled half way around the world to end up working with a bunch of Australians. There are a few exciting names bouncing around that our management have been speaking with, but we’ll keep those a closely guarded secret!

How long until we have some more songs to listen to from you guys?
The music’s there, we’re just wanting to give everything a chance to settle in. I think it would ruin impact if we just stuck four amazing songs up at once. Soon though. Soon.

What’s the situation with labels and signing prospects?
We’re currently discussing a few different things with several labels. Nothing we can talk about obviously.

Because I am currently going through a manic ‘retrospective’ Madonna mood, what with her new Greatest Hits package looming, what’s the earliest memory you have of her?
Getting on her knees in front of the black Jesus, and getting her cans out. I don’t think anyone would really appreciate her doing that these days. The world’s a different place.

Will Janet Jackson ever make a good album again do you think?
Probably. Maybe. I guess not, really. Probably no way. We’d like to think so. We hope so. Actually, we don’t mind either way…

Are you watching UK Big Brother, and if so, who are your picks to win?
To win? I think that guy who looks like Wolverine would be pretty cool let loose in to the real world. He could live in sewers like some kind of modern day Mad Max…

Do you love Davina?
Love is a strong word, but I would definitely say there is a budding romance.

Thank you Visitor.

Sneaky Sound System team up with Tiesto.

Posted by Adem on Jul 26, 2009 in AdeMTV, Australian Pop, Sneaky Sound System | 3 comments

“Phwoar.”

Out with the old, in with the new.

Posted by Adem on Jun 11, 2009 in Australian Pop, Rogue Traders | 3 comments

In news that has excited me to no end, the Rogue Traders’ (whose line-up changes are beginning to rival that of the Sugababes) James Ash has announced the band have finally found a new lead vocalist, replacing that one off-of So You Think You Can Dance/MOR pop songs of 2009.

The replacement, currently only known as “X”, has posted over on the official Rogue Traders forum; read what they’ve got to say for themselves.

Some “general thoughts” on the matter:

> “X” is, hopefully, not going to follow the same fate Kylie Minogue’s “X” followed; three people buying the record worldwide. I’m confident this won’t be the case.

> Someone on the Rogue Traders forum has suggested it is Micky Green. That would actually be really great.

> If it is her though, does that mean she too is going to fuck off once she’s gotten too big for her boots to do the solo thing? I’M NOT SURE MY BLOOD PRESSURE COULD HANDLE THAT AGAIN.

> Whoever it is, I’m quite sure this is going to be heaps better than the previous incarnation.

> And, for that matter, heaps better than this, whose video clips continue to give me heartburn.

> Both Rogue Traders and Sugababes have songs named “Overload.”

> Rogues’ “Overload” has aged very, very well and would be an amazing comeback single for the Sugababes, which they would – obviously – have to rename to “Switch To Overload.” Nonetheless, it’s a bit of a masterstroke genius idea and I’d like both parties involved to somehow get in touch with one another.

> Also, it would probably have to be sped up a little bit.

> Actually, forget all of that; can I make an official request that this song be dug-up again for the next wave of Rogue Trader shows? KTHXBYE.

> In all seriousness, It’ll be really nice to come back to the Rogue Traders project with what is definitely going to be a new lease of life, and I wish them all the bloody best, because if anyone deserves it more now, it’s Jamie, Stevie, Melinda and “X.”

Once more news come to official hand, I’ll keep you posted…

Some Photography.

Posted by Adem on Jun 6, 2009 in Australian Pop, Modular Love, Van She | 4 comments

Here are some nice new pictures of Van She.

Whoever photoshopped the last one forgot to put the eyes back in. WHAT WERE THEY THINKING.

Van She have got an exciting new thing coming out next week you may have heard about, and chances are I’ll have something to say about that soon.

Meanwhile, here is a picture of Nicole Scherzinger as The Worlds Greatest Monster™, Diana Ross.

As you were.

A Sneaky Chat with Miss Connie.

Posted by Adem on Apr 20, 2009 in Australian Pop, Interview, Sneaky Sound System, Stuart Price | 6 comments

Last week I was lucky enough to have a chat with Sneaky Sound System legend/Australian pop/fashion icon, Miss Connie Mitchell. We discussed everything from the state of pop music in Australia, to fashion, to Barbeque’s, album number three, and even working with Stuart Price. Here is a transcript…

Hello Miss Connie, how are you??
Good, very busy but good!

So you guys have just embarked on your Poptronica tour… any new tricks up your sleeves you want to share??
(Laughs) I think we always have to have new tricks because, members of the audience would be getting bored. We like to keep it fresh and new. Come and see what tricks we’ve got for you though…

(Laughter) I will definitely be doing so… You just recently returned from Overseas, in America! How was that?
Oh that was crazy, it was off the hook!

Oh really?
Yeah, it was just bloody amazing. Um, yeah, I think the difference in America is that the crowds come along because they’re excited to be seeing you anyway. There’s a certain level that you kind of have to be over there… I mean, can you imagine the kind of amazing things they’re exposed to over there?

Oh absolutely.
Yeah, and it’s every week at their local venue (laughs). I mean, one of the places we’d played was used by Rhianna the week before for a gig, so that’s the standard you know.

How are things shaping up for a US release??
Very good indeed, we’ve actually had to push it forward because of the demand.

Oh wow.
Yeah, well that’s definitely want you want.

You’ve got a show coming up soon with Lady Gaga… how did that come about?
I have no idea! (Laughs) I’ve been asking the same question myself. I think it will be safe to say though that my crotch will not be seeing any airtime.

(Rapturous Laughter ensues)
(More laughter)

Speaking of all things overseas, that’s a very saucy new video clip for “I Love It”…
I know isn’t it just? But you know, it’s not as saucy as I would have liked! If you’re gonna do saucy, you have to do it properly, and the men were supposed to be topless but they wouldn’t get their shirts off. And they’ve all done Playboy and Penthouse shoots!

Tsk tsk tsk… unbelievable.
Isn’t it?! “Oh no, I don’t want to take my clothes off because it’s for a video clip!” Well you did Penthouse just last week!

“Oh but that’s different, it’s not moving picture” – was that their excuse?
(Rapturous Laughter) Oh of course!!

How are things going in the UK?
Really good as well, it’s nice to see that funny feeling between Australia and the UK has dissipated. There’s no such thing as “you’re a convict” anymore (laughs). It’s the complete opposite, I found England really refreshing.

You’ve got the remix EP out there which will be followed by the album, yes? When’s that happening?
Um, I think we’ve got the album coming out next month.

Quite soon then.
Yeah. Same release date as America actually.

Where do you think Australia sits when it comes to cutting edge pop music?
I think Australia’s pretty on for cutting edge pop at the moment, in terms of the rest of the world. You’ve gotta remember that a lot of these festivals which have cutting edge pop acts, they’re Australian. We’re just innovators, and they’re the… deliverers (laughs).

You’ve just released “16” as the new single here in Oz, any word on a follow up choice to that?
Well we were lucky enough to get the Thin White Duke to remix one of our tracks.

Stuart Price!!
Yeah! Well he’s done Madonna, The Killers, and he had one of our songs on his hard drive but he didn’t know what it was or who it was by. He then spent about a month tracking it down, and it happened to be “It’s Not My Problem”, which he then went and did a mix of it for, we were like, my God, wow, thank you…

Brilliant…
Yeah so we’re probably going to go out with that remix.

That’s a bloody good story…
Isn’t it Adem?! It was in his iTunes folder as “Track 1”. It just came up as “Track 1” (Laughs). So here’s a little tip guys… send out your demos but don’t label them properly! Just assign “Track 1” to every track…

And make them do the hard work.
(Laughs) Exactly.

You guys put together a tour montage video for the release of “16”… does that mean there might be a tour DVD at some stage down the line?
You know, that’s a really good idea and I think what we’re trying to do is break the mould when it comes to merchandise and DVD’s. So, we might even do some chairs… some Lego Chairs… Lego pendants, maybe some 8MM film, who knows?! Barbeques… I’m sick of just seeing T-Shirts at the merchandise stand! You know, I’m sick of it.

Good idea, give the fans something unique, something they can cook a kebab on even.
Exactly (laughs). BMX Bikes…

Kinder Surprises.
(Laughs) With “SSS” carved into them.

You’ve taken more of a drivers-seat position with the recent album, lead vocals on all the tracks, co-writing… did it make you a little nervous working on the new album, particularly after the success of the first?
Of course, there was a bit of a benchmark there you know?! I was like “oh babes, it’s terrible!” But, it wasn’t! I guess there are some people that go around being incredibly cocky about it, saying “Oh, it’s unbelievable, it’s fantastic”, like that guy from PNAU, but I just can’t do that. I’m the one going “Oh nahhhhh, it’s terrible!” (Laughs) But that’s how I operate, and I’d be a little bit concerned if I didn’t to be honest.

Has discussion about album number 3 come up at all?
Well we’ve been working on Number 3, well, immediately. There’s nothing as stupid as waiting around two years to come out with another release, you know you need to strike while the iron is hot, while everything is firing, get it out. Get working.

Do many people bring up your days with Primary?
Yeah quite a lot of people do. Which is really nice because it’s apart of Australian music history too.

I was a fan and thought I recognised the voice when I first heard ‘I Love It’.
Oh hooray! That’s good, I always hoped I had a distinctive voice.

Is it true Damon and Angus discovered you singing in a park, or is that a bit of a fib?
No it’s completely true!

Really!?
Yup, Hyde Park. I was in the park with a girlfriend just being an idiot, pretending to be one of those female singer-songwriters, you know those ones?

(Laughter) Yes, I know those ones…
(Laughs) I live in Newtown and I’m a female singer-songwriter (laughs), um, and they just walked past. They came up and said they had a song, they were in a band and they had a studio, and I was all “yeah right!” Two guys (laughs)…

One girl…
(Laughs) Come and par-tay back down at our studio! But I sussed it out with a friend and it turned out they were legit, so I went down there and the first song we recorded was “I Love It.”

Look, I must say Connie, you’re one of the best dressed pop stars in the world; where does your couture all come from??
Oh thank you Adem! Couple of people around me have really good eyes for fashion, but at the end of the day you also yourself have to have good eyes for what you want to wear, what’s going to fit your body the right way. So usually I have a lovely sewing girl who I say ‘I want this, this and this’ to, and then give it to her and she’ll make it up. I also have a really good stylist, who’s been so good, I can go off around the world and come back with stuff and she’ll go “Oh my God, where did you get that?, you don’t need me anymore!” So it’s a mixture of the three, a holy trinity of style. But at the end of the day, the boys are viciously good at saying yes or no to a costume. Like, NO, or THAT’S AMAZING. I’ve had “Get that off. Now” as well.

That’s never been offensive?
No, that’s how you know who your real friends are! They’ll tell you if you’re going to look hideous in something (laughs).

I’m hoping you’re still holding onto that incredible black & white ARIAs dress…
I am indeed! That was pretty amazing, and he’s a really great designer, that was designed by a guy named Daniel Varquian, who was actually a truck driver who decided he wanted to be a fashion designer instead. And thank God he did, I’m not sure how that actually came about, but thank God it did (laughs). I’d like him to do some more stuff in the future but, I can’t seem to find him.

Oh no…
I’ll get back to you on that! Maybe I’ll hire a detective (laughs). But it might be one of those dresses that never gets topped. I’m not saying it’s the greatest dress of all time (laughs) but, look, it might just be the one that goes into the glass cabinet (laughs).

By now everyone’s heard the Kylie Minogue story relating to “I Want Everything” – are you guys still being asked to do work with other artists?
Yeah we are, surprisingly we have other artists wanting to do collaborations with us as well. We’ve actually got a couple up our sleeve which I’m really excited about but I can’t say anything about them… But I think you’ve got to pick the right thing to do. Plus, we’ve got the third album to look at and there’s really a whole lifetime to write songs for other people.

Thank you so much for the chat Miss Connie.
Oh thank you, thank you, I’ll see you soon!

Bye!
Bye!

What an amazing classic cover version.

Posted by Adem on Apr 15, 2009 in AdeMTV, Australian Pop | 4 comments

That is all.

Interview: Michael Van She.

Posted by Adem on Feb 23, 2009 in Australian Pop, Ladyhawke, Modular Love, Pop News, Van She | 7 comments

On Saturday night I spoke with Van She and Van She Tech‘s Michael Di Francesco on the old telephone line, and below are the transcribed results from that discussion. There’s a lot of juicy stuff revealed during our chat, including a scoop (!!!) on the UK release of the album; there’s something different being added, a tentative release time-frame for album number 2 (which they’re currently working on), but also, a lot of uncovered stuff regarding the bands remix project, Van She Tech. Are the remixes labeled Van She Remix and not Van She Tech Remix labelled incorrectly? Is it true Van She Tech were going to change their name to Arithmatix!? Are there actually 2 girls involved in the Van She Tech project or not? Were the boys even supposed to be publicly credited for their work on Rhys‘ debut single “Hot Summer”? Are they possibly heading out on tour with a certain cat-and-dog-loving (hem hem) Ladyhawke?

All is revealed below.

If you end up reporting any of this on your website/blog/whatever, please credit back to this interview. Cheers, and hope you enjoy.

Hello…
Adem!

Hey man, how are you today?
Today I’m good. I’ve spent all day in the QANTAS lounge in Adelaide [airport] this morning, then to Sydney for a couple of hours, and now we’re in Canberra.

Oh my.
Yeah, we played a Nova showcase last night in Adelaide and tonight we’re DJing in Canberra.

Always busy, you boys. So, I’m going to ask the question I’ve had people demand I ask you right off the top of the interview; are you guys working on new material for album number 2 yet or not?
Yes. We’ve started, it’s funny coz we’ve got a timeline happening, and a lot of this year is devoted to writing, the later half of the year recording, and hopefully release early next year.

Ah hurrah! So the good folk reading at home aren’t going to have to wait as long this time around?
Nope, no, nowhere near as long. And at the moment we’re doing a, kind of special party mix version of the [first] album. Which has the techno. We’re remixing a lot of the tracks.

Hey that’s cool.
Yeah. So you’re the first person who knows that, no one knows that yet. I’m not even sure I’m meant to tell you, but I’ve told you so (laughs), it’s a scoop! It’s for the overseas release, in conjunction with the album there’ll also be the remix album. But we’re not remixing all of the tracks.

Oh so just a few of them?
Yeah about five or six, something like that.

In regards to that first album, was it a little bit frustrating, having to push the album release date back so many times?
Um, yeah, yes and no, but once it’s out you just kind of forget about all of that. At the time it’s frustrating but these things happen for a reason, and it has to fit in with schedules.

You’ve had really positive feedback from UK radio for “Cat & The Eye” – the albums finally getting a release this year over there, yes?
That’s correct. And we’re maybe going over there later in the year to do a tour with Ladyhawke.

Oh brilliant.
Yep, all in between recording and writing. Which we’re all very excited about. And last night we did this gig and we were all, oh, we need to start playing new material. I mean, we’ve been playing the same songs for so long, what a lot of people don’t realise is that, even before a lot of those songs came out and were released on the album, we were playing them. Because we only really had four songs that people knew. So we started playing the newer tracks to keep with a 45 minutes set (laughs). And we’re kind of known for finishing a set in less than that time (laughs again), we have a habit of finishing quicker than we’re supposed to for that exact reason.

This is all incredibly exciting.
Yeah absolutely, and yeah, wait, what was the question again?

(Rapturous Laughter prevents me from repeating the question)
(Rapturous Laughter) Ahh yes, the UK release. Yeah, we’re very happy about that (laughs again.)

So over the last 12 months the band were virtually living out of suitcases, moreso than usual. Show after show, flight after flight… is it easy to lose the motivation or the will to perform at any point?
Ahhh, yeah, definitely it is (laughs). It’s more the situations and, the things that are happening around you that can affect and influence your motivation. Along with tiredness. I mean, there’s nothing worse than getting up in an aeroplane, and not having breathed a breath of fresh air for however many hours, then having to go straight to a soundcheck and then go straight to dinner. I mean, it’s fun, and we’re doing what we love, but at the end of the day it’s still work, and we are serious about it. You have a duty to perform and to do your best, so even if you have had a shit day you have to pull it out.

Do you think, in our current music climate, that the touring is just as important as the CD releases?
I dare to say No. With the climate as it is you can be in multiple places at once with the Internet, but at the same time… I don’t know, there are many sides to that argument, but I really think we all don’t want to do a show unless it’s worth it.

I wanted to clear something up about the remixes you guys do… Now, if any remixes are titled as ‘Van She Remix’ rather than ‘Van She Tech Remix’, is it safe to say they’ve just been incorrectly labeled?
Yeah yeah. But, we’ve been kind of been pushing the more ‘Van She’, either or, it’s kind of up to whoever’s commissioning the works discretion. It happens all the time, we get a remix request for a Van She Remix or a Van She Tech Remix, it really makes no difference to the process. If anything it’s better, because it’s more focused on the band.

So that’s still just yourself and Nick doing the remixes?
Yep, yep.

Do you pay much attention about what’s written about you guys on the internet?
There have been a couple of times when I’ve been bored, and I’ve gone on to read stuff, but I just find myself getting… angry (laughs). I dunno, occasionally I’ll get on, and everyone has an opinion and everyone is tough. I don’t really take it too much to heart, but it is what it is.

There’s a group of people online who seem to think the Van She Tech remixes are better than the Van She originals… has that ever worried you at all?
Um… I haven’t read any of that stuff. Does that upset me?

Yeah.
Um… no, it just kind of reaffirms how we perceive what we are doing, and how we kind of… I think that the way the album is, it’s a knee-jerk reaction to the remixes. We kind of felt we were doing all this techno, and we felt that the band needs to be… bandy. Or Indie. It’s like… chasing the Indie dream. We’re all comfortable with electronic music and techno, and I think that the next album will incorporate more of that in what we do. Nah, it doesn’t really [upset me]. I still think the songs are good whether they have a disco beat behind it or not (laughs). I mean, if we didn’t think any of the songs weren’t good, we wouldn’t have put them on the record. Obviously some people like the techno more than they like the band, and others like the band more, or other people have no idea about the band or the techno. I think it probably can get quite confusing for people (laughs), but we enjoy doing both. But that’s another reason why we’re doing the remix package for overseas, so that people don’t get confused.

What has stood out for you as the best remix you guys have done?
It’s funny, one of my favourite ones is the Dragonette dub, I’m not even sure if it’s out, or sure if it was included on the release of that track…

It’s on the promo CD for the single…
Oh okay. Well, we sent off the original remix, and then got a message back asking if we could do a dub, without the vocals. So, anyway, in a couple of hours we just did a completely different track with a little bit of vocal in it and it ended up being so much cooler, we kinda wished we had’ve made that the remix. That’s probably my favourite one, and the other favourite is probably the Klaxons. Whenever I hear that I get goosebumps.

Well, it’s probably your benchmark classic.
Well, when we did that we didn’t like it, we weren’t sure about it and didn’t think it was very good. We were really doubting it, but it just got to the point where we had to finish it and put it in. It kind of worked out well. And I also like the I Am Finn one. What’s your favourite Adem?

Um, the I Am Finn one, Martina Topley-Bird and the Klaxons one.
Ah nice.

Are there any that you think, shit, that could have been a lot better than it was?
Remixes? Hell yeah! All of them (laughs)! I think we’re pretty, you know, we’re always trying to get better and want to get better, you never stop learning. So, I think, there are always things… nothing’s ever finished, and if it weren’t for the deadline things probably wouldn’t get finished. And a lot of things aren’t ever finished for that exact reason. When you create something you have to get to a point where you say ‘that’s finished, that’s enough.’ You don’t just keep working on it forever and ever and ever. Or, you’ll just stop on it all together because you just lose respect for it. You become scared of completion. But, one that particularly could have been better? There is one, that wasn’t that great. The Pendulum one. I actually don’t think I even have a copy of it on my computer… but yeah, it’s pretty deep, kind of cool, but then at the end it just goes… (laughs). We could’ve done that a bit better.

And still on Van She Tech, quite some time ago I remember reading there were two females involved in the project; gospel or gossip?
Total gossip, yep. When we were doing the Nevereverland shows in Australia, the guys from, ah shit, complete mental blank! I can’t even remember the name of the band (guffaws)! They’re from Germany…

Whitest Boy Alive?
It was! Yes, thank you! Well, they were under the impression that Van She Tech were Van She’s technicians, like, our equipment people, that did remixes for the band (laughs).

Oh! (Laughter)
Yeah, I don’t know how they got that idea (laughs). But there have been times when we’ve been DJing and people will come up to us saying ‘I thought there was supposed to be two girls’. It’s just a joke, (laughs) just to throw people off. And it works!

Like the incredibly false story about how you guys met during an audition for a rock group citing Sepultura and Phil Collins as influences?
(Laughs) Yeah, yeah same kind of thing!

Something that popped up last year was your DJing alter-ego Arithmatix! Several comments written on different music blogs had reported that Van She Tech were going to switch over to the Arithmatix! name; Gospel or Gossip?
Ah, yes yes yes, it’s funny, that name was actually conceived by my girlfriend, and we were going to change the name from Van She Tech to Arithmatix! The Utah Saints remix was actually going to be Van She Tech featuring Arithmatix! to introduce it. But at the last minute we decided that maybe we shouldn’t. And so, I just took the name because, well, my girlfriend (laughs), and I needed a name to DJ and do other projects under so, just another alias. But yeah, we were going to switch it over.

Do you think there’ll be any releases or remixes under the Arithmatix! banner somewhere down the line?
Oh yeah definitely, yep. Finding time is the hard thing.

Well you’ve got lots on!
(Laughs) Indeed.

Speaking of remixes, what happened to the Kelly re-release?
Um, that’s a really good question. I don’t know (laughs). I don’t really think it did what they were hoping it would do. When I say they, I mean the record company and our management at the time.

Yourself and Nicky have just done some work with So You Think You Can Dance’s Rhys on his cover of the Monrose track “Hot Summer.” How was that?
Um, interesting. Interesting. It’s one of those classic scenarios where someone asks you for something, you agree to something… (long pause). No one was supposed to know it was us, it was supposed to be under a different name and we were production work for hire. Of course, they put Van She Tech next to it…

In big bold letters, splattered all over the press release!
Yep! To try and drum up some interest and, unfortunately, it didn’t work.

(Laughter)
(Laughs) But I don’t know what’s happening with that. We’re supposed to be doing another one, we’ve given them the instrumental track but haven’t heard anything. That’s just the extra curricular work. He’s a lovely guy though, and he’s a fantastic dancer and a great singer so, but we haven’t heard from them in a couple of weeks. Thank you for reminding me, I need to call them…

(Laughter) No worries!
(Laughs) But it was cool to do some pop and to do some American sounding stuff. We really enjoyed the process and really enjoyed working with Rhys, definitely.

What do you think of the original Monrose track?
Yeah, I like it. It’s not something that I’d buy, but it is a good track.

Are you guys interested in producing for other artists in the future?
Oh yeah, if it’s the right artist and the conditions are good and if there’s time. I mean it’s fun, it’s good to work with other people.

So what’s left to do in 2009?
Well we’ve gotta do these party mixes, which have to be handed in in less than 2 weeks time, which we’re freaking over because, with me living in Melbourne and Nick living in Sydney, it makes getting together a whole lot difficult. Then we’re just going to get stuck into writing and recording demos. The odd show here and there, we’ve got Bacardi Train coming and Roxanne’s in Melbourne. We’re going to Japan in a couple of weeks, just for three or four days. But yeah, it’s going to be fantastic to be home for the majority of the year.

Good, I’m very happy you’ll be home more too.
Yeah, coz last year, like you said, living out of suitcases… (laughs).

Thanks heaps mate for chatting with me today, much appreciated.
Ah no worries Adem. Thanks dude.

Catch you later…
Ciao, bye!

Van She Tech DJ at Geelong’s Club 4Play on Thursday, March 5, with doors opening at 9:30pm. Van She the band take to the stage at Melbourne’s Roxanne Parlour, Friday March 20, with doors opening at 8:00pm. For further details on Van She’s touring schedule across Australia and Japan over the next month, head over to their MySpazz.

Welcome To Miami Horror.

Posted by Adem on Nov 28, 2008 in Australian Pop, Interview, Miami Horror | 2 comments

I was lucky enough to have a chin-wag with the lovely Ben from Miami Horror (the one that isn’t me in the above photo) a couple of weeks ago in the lead up to his newly released debut EP Bravado (my review here). We discussed the history of the EP, his upcoming debut album, being shafted for OneLove DJs at an Alan Braxe gig, Michael from Van She and the future of Gameboy/Gamegirl. Read on…

Hello Ben Miami Horror, how are you?
Good how are you Adem?

Very well thank you Ben. What are you doing right now?
Well, me and Ooh Ee are setting up the live set today.

Wonderful! First of all, congratulations on the fantastic EP; good to finally have it out there?
Yeah. (Laughs) But I’ve been waiting so long, it just doesn’t make a difference to me now (laughs). It’s good though, from everyone else it’s getting a really nice reaction.

So how long have the tracks on the EP been knocking about for? I remember seeing “Don’t Be On With Her” on Discodust back in February last year…
(Laughs) Yeah, that was the only track that I had put out, and then I had a demo version of “Summerfest” that some people had ripped from MySpace, but that sounds nothing like the original…

Oh really?
Well… it is, but, not for me production wise. Most of it’s fairly new, the last three songs are new. And I spiced up “Don’t Be On With Her” quite a bit.

Yes you did spice it up a bit, the original version was without vocals before; was that always the plan, to turn it into a vocal stomper?
(Laughs) I think I always planned to have vocals on it, just that back at the start of last year when Discodust posted the track, Alex had just emailed me and said he really liked the stuff I’d done with Gameboy/Gamegirl and wanted to know if I had any demos that he could post, of course I was excited and really keen for it… it gave me a real kick to get things happening. For me, I was just in my bedroom you know? I couldn’t just whip up a vocal on my own, and I finished it how it was. But looking back on it six months later I saw… what it needed, I guess.

Completely happy now?
Well, looking back at it now, I would have liked to have put even more work into it, but I knew that I just had to let go of it eventually (laughs). I’ve kind of been touching it for two years.

Let’s talk about the video, which is full of lo-fi brilliance. This was your first video clip, yes?
Yep.

How was the formation of all that? I understand you had this particular clip dreamt up quite some time ago?
Yeah, it was a concept I had wanted to do since the track came out, I thought it was kinda most appropriate for it. Just to really have a really authentic film clip, something that people would see and wouldn’t know if it was new or old (laughs). It’s actually on video, the recording. You can’t really tell on YouTube and things like that because it all gets blended together, but if you watch a high quality version it’s got lots of nice video grain and artifacts through it. And it’s all kind of bleeding and smoothed over. Once we ran it through the video it looked much better. We’re really happy with it.

Michael from Van She was supposed to play keys in it wasn’t he… what happened there?
It was obviously hard to organise the two schedules…

I can imagine…
I just thought, we’re good friends and he was in Melbourne, so if he could come down for it that would have been good. But we moved the date on him a couple of times and then it turned out he was in New York when we went to finally shoot it so, we just used the actual band from Miami Horror now.

Obviously there’s a thick air of 80’s and italo influences through the EP; who were the formative artists you listened to as you honed your musical ear?
I think the one that’s most obvious on the EP, but won’t show through on the album as much, is Prince. Coz I actually did grow up listening to Prince on repeat, there was something about the music that got me.

Has anyone said to you that “Don’t Be On With Her” sounds quite a bit like vintage Madonna?
(Laughs) No, only you Adem!

(Rapturous Laughter) Fucking Typical eh?
(Laughs) Nah, I think I have heard it once before. I know that it sounds more like Prince, I never really had the Madonna thing put on it… It’s definitely, I know exactly what you’re talking about though. There was a period where that whole production sound crossed over between Madonna and Prince, a few tracks with similarities.

“Make You Mine” features Alan Palomo from Vega on vocals. How did that collaboration come about?
Well I’d always been looking for vocalists, and then I came across this track in my iTunes, it wasn’t even Vega back then, it was from another project. And I though, geez, this guy has so much potential to fit to the kind of voice that I wanted.

Did you record together?
No, he recorded in Austin, that’s where he lives, and he’d be sending me stuff daily, back and forth, and tell him, “Oh, that’s not good enough, go do it again”… it was very hard, so much harder than I thought it would be, but we pulled it off!

So now that the EP is out there, are you seriously thinking about a full album release?
Yeah…

When is releasing that a possibility?
I hope by the middle of next year, but we will be dropping a couple of singles before then anyway, so it kinda will be able to hold off that long, if not a bit longer. I think about three singles or so before the album. Hopefully it’ll be ready by then, but yeah, it’s full steam ahead on that.

And just that?
Yeah, no more remixing, I’ll do the occasional good one, not much production for other people. I’ve just really gotta focus on this now, especially because it’s working and I can!

So how long ago did you start working on the album?
It was just an evolving concept for, about a year and a half now, once I’d started thinking about putting an album together and what I would want and how it should sound. But one of the tracks on it is almost as old as “Don’t Be On With Her”…

Oh wow.
Yeah. But, most of it’s new stuff, and some is using parts of old things that I’ve made all joined together. So, all up, I’ve got about six to twelve songs ready for that. Not entirely finished but definitely on its way.

Any interesting vocal collaborations you can share with the readers?
Um, not just yet (laughs). We might be hooking up some through EMI because they have France and the UK. It’s been suggested that I work with Yelle…

That’s interesting.
It’s not as fitting for my album though. I’d be happy to produce her a track, but my album, it’s got a different vibe.

When did the EMI signing happen?
I only officially signed late August or so. But we’d been talking about it since June, I think… actually, maybe a bit earlier. Obviously Sweat It Out was the other option, and I was actually really prepared to go with them, but EMI seemed to have more faith…

And a better deal?
Yeah definitely, so I took that.

You’re about to go on tour for the EP launch with a full live band; is this the first time Miami Horror will be a fully-loaded band on the stage?
Yep, it’s the first time, and it’s definitely been confusing people (laughs).

(Laughter) How so Ben?
Where the people came from, and whether it’s permanently a band, that kind of thing. But they’re all people I’ve worked with, one’s someone who I worked very closely with on the tracks, and then there’s Ooh Ee who also helped out with a few tracks and has writing credits on the EP and album, then Josh, who’s the guitarist and singer; he sang on “Don’t Be On With Her” and a few other tracks as well.

People are quite confused as to whether it’s just you, or a band, or a duo, aren’t they? Because at Parklife there were two of you up there…
Yeah (laughs). I’m kind of working with Dan (DJing partner) on a side thing, sort of like a live DJ set. We’ll be mixing up a few other influences, loops and hooks from other older tracks, in amongst remixes and originals that will make it less of a club experience, and more of a party vibe. It’s something I’ve been wanting to do for a while but because of the clubs I’ve been playing in, I’ve been limited. There’s gonna be the two live sets now; the band and the live DJ set.

Now, the name. Did you pull it from the 1985 movie also called MIAMI HORROR?
(Laughs) No I hadn’t even heard of it! I even did a search before I decided on it, and then suddenly six months later I found it! I dunno, I think maybe coincidently someone had written a review on it, just some kid had written about it, and it was now much easier to locate it.

Because the original title of the movie is actually Miami Golum.
Oh really?

Yes. It was only Miami Horror in some countries so really, they should stop being greedy and just stick with the one name, shouldn’t they?
(Laughs)

Is there anything ELSE to the name other than that?
There’s a little bit of a story, but I’m going to save it for the album.

Oooh, concepts!
(Laughs) Yep…

Recently you were billed to play alongside Alan Braxe in Melbourne but, for some reason, your name – alongside Ooh Ee’s – was left off the lineup at the last minute. What happened there?
Well, yeah, they sold all the tickets with my name on it and had my name on all the posters, and then when it came to organising set times, Future and OneLove decided to put their own DJs on, to save on a bit of money they were paying for Alan I guess.

Bit of a joke really, how unprofessional…
Well it is really, I was obviously really disappointed not supporting Alan – my favourite producer ever, and at first I didn’t kind of realise, it didn’t hit me that I was playing with him, but as soon as it was taken away I thought, how could I have let this go? I pushed harder but there was no success. They wouldn’t even let me play for cheaper…

What?!
Yeah. They just wanted to put themselves on.

Let’s move on to the digital age. Music is accessed in a vastly different way these days than going back 15 – 20 years ago, particularly with the emergence of blogs like discodust et al. But the digital age of downloading seems to be doing dance and electronic music more favours rather than hindering it, don’t you think?
Yeah for sure, it’s really good for developing artists, artists that are small and have good music can get their stuff out. And dance wise, it’s just the way it’s happen, it’s growing. It started out, for our scene at least, as very indie, and there’s still a lot of indie tracks posted, it kind of seems the poppier and dancier stuff worked on these blogs and took off a bit more. It’s been really good.

We as a country are certainly being recognised as one of THE places for that kind of sound don’t you think?
Well it’s between us and France pretty much. French music is a bit harder now though, we kind of do our own thing, it’s always been happier, it’s always been more light-hearted and synthier, that’s why, for our population size, we really are kicking arse (laughs). And the amount of really good music we can produce is incredible.

So what’s the plan regarding overseas?
Yeah, the problem with that is, most of the people that would know me would be off blogs, and they would already hear it or get it by the time it’s released over there. It just depends on if [the label are] confident with it, they can push it to a less internet-based audience which would be good, and the deal with that is, they’ve got three or four months to do so that is. EMI that is. Otherwise we can source our own. But four months later is pretty late… so I’m not sure how that’s gonna work. But we’ll just see how it goes, I mean, it IS officially a worldwide deal, it’s just their job to source it all internationally now and convince the other EMI’s I’m worth releasing.

You’ve worked with Gameboy/Gamegirl in the past so I’m curious to know if you’re doing anything new with them in the future?
I wanna take this album project a lot more seriously, it’s a priority for me to get it done, and I think that if I get these tracks out when they’re done they’ll work better. But Gameboy/Gamegirl are actually in talks about their future today. One of them is going back to school so…

At this point, the operator rudely interrupts to notify me we’ve hit the 19 minute mark in the interview and I need to wrap it up, which throws me completely just as I start getting a bloody scoop happening and, naturally, I forget to press further.

Well. Thanks so much Ben for chatting, it’s been a blast…
Cool thanks man.

See you soon mate.
Bye Adem!

Bravo, Bravado!

Posted by Adem on Nov 26, 2008 in Australian Pop, CD Reviews, Miami Horror | 4 comments

MIAMI HORROR

BRAVADO

(EMI) A+

The arrival of Melbourne production whiz Miami Horror’s debut EP Bravado has been a long time coming. The new single, “Don’t Be On With Her”, surfaced in a reasonably similar format on the interwebs well over a year and a half ago and yet, in its vocalised and marginally tweaked reincarnation on the EP, sounds as fresh and, more importantly, vibrant, as it did the very first time.

There’s an obvious appreciation of Prince’s earlier work throughout this EP, in particular the aforementioned single which also digs itself into the Jellybean Benitez, Reggie Lucas and Nile Rodgers styled production found within Madonna’s historical first two albums. In its three minutes and forty two second duration, “Don’t Be On With Her” does more than just pay homage to the some of the greatest synths of the 80’s; it recreates them in a modern musical landscape. “Summerfest ‘86” relies on an exciting electric-guitar riff that pulses through a slappy bassline, whilst highlight “Make You Mine” gives off shades of Wham!’s “Club Tropicana” as it melds into some chic French house and an alarmingly catchy chorus. “Bellevue” is the kind of track you could very easily have heard as you raced cars on your Atari in the 1980’s; check out those big, enormous synths, with a euphoric build up toward the tracks final 30 seconds. It really is all about “Illumination” though, the records closer, which is a an absolute masterpiece. Displaying a Transylvanian cosmic-feel within its intro, “Illumination” bases itself on the kind of score you’d hear in some of the greatest of classic horror movies. There is an eerie deliciousness about this particular epic-monster that seeps into your ears and toys with your endorphins. It’s bonza-brilliant, Bravado’s absolute pinnacle and Horror’s greatest achievement to date.

Miami Horror is already working on material for his debut album, one he’s hoping to have out over 2009, and if this introduction into his work as a producer is anything to go by, we’re in for more eclectic and exciting sonic treats in the months to come. An enthralling glimpse into the promise of your new favourite artist.

I urge you all to go out and buy this; whether it be the physical copy through JB HiFi Online or the downloadable package over at 7digital or Aussie iTunes. Visit HorrorSpace to check out some of his work in full before forking out the goods if you must.

Cat (& The Eye)’s Out Of The Bag.

Posted by Adem on Nov 20, 2008 in AdeMTV, Australian Pop, Van She | 5 comments

The lovely folk down at auspOp broke cover on this release today, which I guess means press has ‘gotten out’ about the folks tinkering behind its production.

Rhys was the runner up in the first Australian season of So You Think You Can Dance, and now he is set to become a pop star, with a little help from Monrose… and Van She.

Rhys’ debut single, “Hot Summer”, produced by Nicky and Michael from Van She, is a cover of the incredible 2007 Monrose hit I clearly remember enjoying quite a bit last year. Rhys’ cover is pretty bloody darn good, and further cements my belief in Van She as another of Australia’s finest pop hopes. The video is not online yet, but a small snippet of the making of is, which you can watch below.

This Will Sell Quite A Few Units.

Cassingle.

Posted by Adem on Nov 19, 2008 in AdeMTV, Australian Pop, Cassette Kids | 2 comments

Sydney’s Cassette Kids have already supported the likes of The Presets, The Ting Tings, Van She, New Young Pony Club, Crystal Castles and Muscles. At the beginning of this year, after they won Triple J’s Unearthed competition, the four piece were snapped up by Sony BMG for a recording contract and have just released their debut EP, “We Are.”

The above video is for their debut single, “You Take It,” which not only showcases their potential as one of Australia’s great new pop hopes, but also plays host to the emergence of an absolute superstar in the form of frontwoman Katrina Noorbergen. You’ll also notice that the band as a whole aren’t exactly ugly either.

Full EP review and an interview with the down-to-earth Katrina coming soon. In the meantime, head on over to TheirSpace and listen to the incredible “Forwards Backwards.”

Happy Birthday! Here’s A Kitten.

Posted by Adem on Nov 16, 2008 in AdeMTV, Australian Pop, Modular Love, Van She, Website | 16 comments

Happy Blogging Birthday to me!

*UPDATE: YOU CAN LEAVE COMMENTS NOW. THANKS POSTER GIRL!*

Today marks 1 year since I opened Adem With An E. It also marks my 6th year of blogging in general, with the other 5 of those 6 years dedicated to my old site I’m Always Right (which you’ll now find the majority of its posts have since been migrated over here.) Ayye! As a sort of birthday present to myself, with thanks to my amazing best friend Stefan Nott (aka: Graphic Design God), I now have a new looking website to unleash upon you all. I really hope you like it; I absolutely love it and am so stoked with what Stef has poured blood, sweat and tears over. Particularly so when you take into consideration the amount of times I emailed him about changing a single picture, or adding another one… I can safely assume no one is more relieved it is all finally over than he is.

That said, I hope you enjoy the new look. There may be a few glitches if you’re using IE6 but, quite frankly, if you haven’t upgraded to IE7 or IE8 yet, that’s really not my problem (IE6 users will notice  the content in the sidebar is all the way at the bottom of the page…) Of course, there may actually be some glitches in general whatever you’re using; please bare with me whilst I sort it all out…

I’ll be popping up a bevvy of interviews this week and a few other special surprises, so keep coming back as the week progresses for prolonged birthday fun.

Unfortunately, I don’t have any actual birthday treats (other than the hot new site) to share with you all, so instead, here is a very recent (not even a fortnight old) video of Van She and New Young Pony Club being interviewed whilst in Germany. Please note; any of you upset by Matt Van Schie‘s switch to brown hair will be pleased to see it’s now back to blonde.

Vanrage.

Posted by Adem on Nov 15, 2008 in Australian Pop, Modular Love, Television, Van She | 1 comment

Van She are guest programing rage tonight (Saturday evening) just a little after Midnight on ABC1. The playlist of video clips (all selected by the boys) has a number of corkers and a few delightful surprises. Perhaps none more delightful than the inclusion of what is Tina Turner‘s 2nd greatest song ever, “We Don’t Need Another Hero (Thunderdome)”. I have no idea which of them chose it, but whoever it was is now my favourite member of the band.

Other clips they’ve chosen includes stuff by Soulwax, Kraftwerk, Phoenix, Cassius, Aphex Twin, The Cars, E.L.O., The Pointer Sisters, Prince, Visage, INXS, AC/DC, Def Leppard, Bjork, Michael Jackson, Sinead O’Connor and “many more.” You can view the full playlist here. From 3:30am onward, rage will then play all of Van She’s video clips, and some jtv live performances.

Guess that’s my Saturday night sorted then.

Amazing.

Posted by Adem on Nov 12, 2008 in AdeMTV, Australian Pop, Miami Horror | 3 comments

The video clip for the new Miami Horror single, “Don’t Be On With Her”, from the INCREDIBLE “Bravado” EP which I’ll be talking about after the weekend. 

Will be chatting to Ben Miami Horror tomorrow as well so that should be up online at some stage soon too.

Yeah, I Have No Idea What This Is All About Either.

Posted by Adem on Oct 27, 2008 in AdeMTV, Australian Pop, Sneaky Sound System | 2 comments

So that’s the video clip for the new Sneaky Sound System single “When We Were Young.”

Some points on the song itself:

> Their greatest single to date.
> One of the greatest pop songs of our time.

Some points on the video clip:

> Where the fuck is Miss Connie?
> What a load of old shit.

“Phwoar.”

Posted by Adem on Oct 25, 2008 in Australian Pop, Cut Copy, Ladyhawke, Modular Love, Muscles, Phwoar, Robyn, The Presets, Van She | 0 comments

Fucking hell. Have you seen the first round (!!) line up for the Australian leg of Modular‘s Nevereverland party?

Klaxons
Hercules & Love Affair
Van She
Ladyhawke
The Presets
Cut Copy
Whitest Boy Alive
The Bumblebeez
Muscles
Tame Impala
The Bang Gang Deejays
AJAX
The Lost Valentinos
Mission Control
Temper Trap
Canyons
Pepperoni
Andee Van Damage 

And again; Fucking hell. Is that probably the best line-up for a festival all year? How am I going to cope with so many of my favourite artists playing on the one bill? Seeing as she’s signed to Modular in Australia, will Robyn be a last minute addition? Could someone please make the latter happen?

Whilst I’m on the topic of all things Modular, some interesting news on Muscles has cropped up this weekend. He’s ditching his MySpazz account and urging fans to sign up to his official newsletter should they want updates on what’s going on with his new single and album project. Go to his bit on teh interwebs and sign up to “Muscles Mail” to stay in the loop.

When are Girls Aloud going to be signed to Modular?

DOWNLOAD: Free Presets Jam.

Posted by Adem on Oct 25, 2008 in Australian Pop, Modular Love, MP3, The Presets | 1 comment

I know. Just the other day I was banging on about how I don’t really post MP3′s that often on the site, and then I go and post two of them days apart of each other. This time, however, the MP3 I’m posting is very much legal and won’t get any of us into trouble should you download it.

You might remember me talking about the new Bang Gang Deejays ‘D Is For Disco, E Is For Dancing’ compilation CD last week. On the disc, there is an exclusive, previously unreleased remix of The Presets‘ “Kicking & Screaming.” It’s a bit of a stomper.

Thanks to the lovely people over at Modular HQ, I’m able to offer you that very remix as an MP3, in full, 320kbps super-sound FAW MAI READERZ.

The Presets – Kicking & Screaming (Bang Gang’s E Is For Edit).mp3 | MEDIAFIRE

“zomg.”

This Is Quite Good.

Posted by Adem on Oct 20, 2008 in AdeMTV, Australian Pop, Van She | 5 comments

Yes, another Van She update.

So a while back (only evident by the fact that Matt Van Schie is still a blonde in these videos), The She did an acoustic electronic (!) performance of three tracks for MTV’s Spankin’ Sessions. They’ve just been thrown online; “Kelly”, “So High” and “Strangers.” For some reason, the So High video only goes for 29 seconds; bit of a boo-boo at MTV perhaps. BUT DON’T WORRY – I’VE EMAILED ONE OF THE LOVELY FOLK AT MTV AND NOTIFIED THEM OF THIS CRUCIAL ERROR.

Anyway, you can view two full tracks, and one partial one, by clicking here.

REALLY solid performance and much better than the one posted on that Moshcam website I posted a few weeks ago. The cool alternate version of “Strangers” is a total winner.

SOME POINTS:

Tomek sings a substantial amount in these videos.

Michael does some clever key-trickery.

Nicky straddles his acoustic guitar.

Matt is wearing light pink pants.

Said pink pants shouldn’t work, but they do.

fin.

Victory.

Posted by Adem on Oct 20, 2008 in Australian Pop, Axle, Modular Love, The Presets, Van She | 7 comments

Congratulations to Kim Moyes and Julian Hamilton off-of The Presets for picking up the best awards on offer at tonight’s ARIAs (the Aussie equivalent of The Brits or The Grammy’s.) Best Group, Best Dance Release, and the big one; Album Of The Year. The cheers and shrieks of joy at the ARIAs party I attended this evening when that announcement was made were deafening. We were all so, so proud.

I interviewed Julian some time ago. If you didn’t read it when I originally posted it, maybe now that he’s an ARIA award winning artist, you might want to…

Congrats also to Modular, the boys’ record label, also for the wins and for bringing such pop art as The Presets into our lives all those years ago.

As for the rest of the awards, it was all very bland. Aside from show-stopping performances from The Presets (now THAT’S an on stage costume!) and P!NK (kudos to Sam Sparro as well for a pitch-perfect “Black & Gold” – though I’m not entirely sure his outfit would pass the Roisin Murphy fashion checklist and — as the lovely Phil at Worra said some time ago – it was very ‘My First Stage Costume’ in appearance), the rest of the ceremony was pretty much about Gabriella Cilmi, who won all six of the awards she was nominated for.

I’m slightly baffled, I won’t lie.

You all know how I feel about “Sweet About Me” and there were better nominees in each of the categories she was up in. She did thank Brian Higgins and Miranda Cooper though, which was nice. I would like to know if she was insanely drunk (a no-no seeing as she’s only 17) or just a bit of a mess when it comes to public speaking? Each speech she gave was squirm-in-your-seat worthy. So much so, each time she would win a gong, the smokers at the party I was at would clutch onto their cigarette packets and head outside for a quick fag.

I was quite pleased to see Axle Whitehead return to the ARIAs, and also to hear around 3 seconds of Van She‘s “Kelly” during the introduction of one of the presenters. That was nice!

Full list of winners here.

Van She AU, US & UK News.

Posted by Adem on Oct 12, 2008 in Australian Pop, Van She | 3 comments

AUSSIE NEWSFLASH OCTOBER 13TH:

Van She have just been announced as the support special guest act on Bloc Party‘s upcoming tour of Australia. Very good news; that’s SOME double bill… Stuff about music that is not Van She coming on Thursday. Might even tell you what I think of the new Natalie Bassingthwaighte single (8 out of 10. Oh, well that settles that then.) The working week has eaten me alive I’m afraid… Either that, or it’s Grace Jones‘ Hurricane that’s eaten me alive… She’s been known to devour people whole, you know; Read this. And don’t even TALK TO ME about the “cover art” for the new Girls Aloud album. They are surely fucking having us on… right? Ugh, painful.

Anyway, below this picture of Van She hanging out by the school lockers (hem hem) is some pleasant news relating to US and UK readers.

FOR THOSE IN THE UNITED STATES:

Van She Tech (the DJ project) will be playing a series of US Debut sets this week; New Yorkers and LA types can check Nicky and Michael (pictured above, far right) mixing up a storm on Tuesday the 14th of October (NY) at The Santos Party House, and Wednesday the 15th of October (LA) at The Vanguard. Michael told me last night they’re pretty excited as these two shows will be the projects first time playing in the States. Definitely worth checking out, regardless of it being a school night… Tix for the NY show are $10, and the LA show is free (!!) – you just have to RSVP here. If any of you lovely readers do head on to any of the shows, I’d love if you took a couple of happy snaps…

-

FOR THOSE IN THE UNITED KINGDOM:

The Nevereverland Festival kicks off overseas this year; celebrating Modular‘s 10th Birthday in fine style at London’s Coronet Theatre. Van She (the band) and Van She Tech (DJs) are headlining the bill alongside Ladyhawke, The Presets, Shy Child, Fred Falke, Lifelike, Eine Kleine, Nachtmusik, Frankmusik plus more to be announced. Oh, and the Popjustice DJs will be in full flight at the event too which seems to cap off an already brilliant line-up with quite the cherry on top (actually, WHEN are we getting some Popjustice style shows/club night in Australia? This would be very good, would it not?) Tix are £19.80, and you can get them online from here. I’ll let you know once I’ve heard about other places across the UK the boys are playing.

Watch Van She Live In Concert.

Posted by Adem on Oct 5, 2008 in Australian Pop, Van She | 0 comments

The other night I was saying to a friend “You know, I really wish there were some nice quality videos of Van She performing live available on the internet.” 

Low and behold, the launch of Moshcam. It’s a new website which features videos of live shows from over 250 gigs put on across Australia this year.  Van She, Sneaky Sound System, The Pipettes, Damn Arms, Midnight Juggernauts, The Jezabels, !!!, Amy Meredith, Lost Valentinos, The Vasco Era, VHS or Beta, The Vines and a STACK more. The video quality is near perfect and the audio is crisp-clear. A truly amazing addition to the world of the Internet, without a doubt.

Now, you can watch Van She perform eight songs in full over on the website, and the performance is from back in June of this year. The songs are: Sex City, Cat & The Eye, Talkin’, Strangers, Changes, A Sharp Knife, It Could Be The Same and Kelly. I’m incredibly pleased to finally have a Van She show professionally recorded and available at my viewing disposal whenever I like, though I should warn you the show is a little shaky. Some general points…

* The boys had just returned from Japan the morning of this show and were, naturally, pretty tired. Glenn Stephanie’s Harajuku Girls probably kept them up all night with that “Wind It Up” racket, I’ll bet.

* There are, admittedly, a couple of moments where the guys look a little bored. Probably because I’m not there. YOU KNOW IT’S TRUE.

* What the fuck is that crowds damage? Did anyone there even really like the band? I’m confused. Again, this would not happen in Melbourne because we’re of a different breed around these parts.

* Some may say a ‘crazy’ breed. Whatever. We give good live music lots of love.

* I do love that slight homage to “Smells Like Teen Spirit” at the beginning of “Sex City,” yes? Why had I not noticed this before?

* There are a few patchy live moments, definitely. I BET YOU DIDN’T EXPECT ME TO SAY THAT. I’m sure they’d be the first to admit it themselves as well.

That said, if you love them, or even like them, watch it. Especially if you’ve just gotten into the boys with the new album release and have only seen them live a couple of times. Regardless of how tired they were or whatever, this 40 minutes of video footage made me the happiest I’ve been since… er… their last gig…

I would very much like for Moshcam to put up a recording of the boys’ recent album launch tour shows, which were a lot more polished and somewhat of a visually arresting spectacle I’d sort of possibly give a vital limb as a trade to see again. Big, fuck off digital screens with splashy imagery, spliced together with footage of Shannen Doherty and Molly Ringwald, among other Iconic 80′s stars. Unfortunately, there were NO SHOTS of Jennie Garth during “Kelly”, but this is something I’ll bring up with the guys next time I see them perhaps. Their gig at Melbourne’s Prince Of Wales last month was probably their absolute greatest live show to date.

Anyway, on a somewhat side note, Michael Di Francesco (synths/he off-of Van She Tech) is playing a solo DJ set in Melbourne on Saturday under the pseudonym Arithmatix! More info here.

Tomorrow: Lady Gaga Interview.
Later In The Week: Lady Gaga Live & Parklife Music Festival reviews.

Parklife Music Festival ’08.

Posted by Adem on Sep 29, 2008 in Australian Pop, Gig Reviews, Goldfrapp, Miami Horror, Modular Love, Van She | 0 comments

After the logistical nightmare that was last years Parklife festival, the only way for the event organisers to go this year was up. The thought of it somehow being worse than 2007’s event was unthinkable, because that’s how bad it truly was. Awful sound, awful set-up, awful crowd (and on that note, way too many people in attendance) and more line-up clashes than you could poke a stick at. Thankfully, almost everything was rectified for 2008. 25% less tickets were sold, and this year there were even select tickets available for sale on the door. The crowd were incredibly friendly, ready for anything and passionate about the music. And the true sight for sore eyes was the lack of retina-burning fluro clothing on display. Last year, it was like walking into a giant pencil case filled with highlighters, but this year; normal colours, normal clothing, barely any dickheads and a whole lot of fun. Which is exactly what you want from a festival.

The day kicked off with a set on the wheels of steel from Van She Tech, opening with Justice’s latest epic monster “Planisphere,” before gliding through their own remixes of Ladyhawke’s “Back Of The Van” and Utah Saints’ “Something Good” to rapturous applause. Neon Neon lit up the stage with their car-infused electro-rock, whilst the Damn Arms DJs, Bag Raiders and Yuksek respectively bung out killer party sets for the masses dancing around their allocated stages. The day truly belonged to Goldfrapp though, whose startling and stunning performance in front of a packed out Water Stage was truly breathtaking. “Number One”, “Ooh La La”, “Train” and the showstopping performance of “Strict Machine” were magnifique, but it really was all about the ethereal performance of “Caravan Girl”; quite the powerful and emotional live music moment. Goldfrapp were, hands down, the greatest act of the day.

Often compared to Goldfrapp are Canadian poppers Dragonette, who delivered a surprisingly flat performance; a number of the band were quite ill and lead singer Martina looked like she was rather exhausted. Unfortunately, more points were taken away from them for leaving off “True Believer” – their best song – from the live set.

Local hero Miami Horror MORE than made up for any Dragonette-inspired disappointment with a set of bonza brilliance and, as you could imagine, Van She’s full-blown live band set which followed was a nice way to kick off the dark night sky. Opening with “Cat & The Eye”, it was nice to finally see the boys playing an evening festival set, as opposed to a day time one which, in all the years and all the festivals I’ve seen them play, is the only kind of festival set they had played until Parklife. Closing with their Play Paul collaboration “So High.” Fake Blood was just as incredible, and Does It Offend You, Yeah?’s closing set placed quite the delicious cherry on top of an already stellar proverbial cake.

Obviously not everything can go perfect though. No passouts? Come on, you have got to be kidding me. Then, as much as they sorted out the crowd and sound situation this year, the immense clashes between acts on the line up were STILL in full force. Soulwax and Diplo both on at the same time as Dragonette, Peaches and Plump DJs on at the same time as Van She, Dizzee Rascal and 2ManyDJs on when Fake Blood and Does It Offend You, Yeah? played to their crowds… it was a day of seriously hard decision making. Often, it paid off (Van She over Peaches was a solid choice), but other times, it just delivered immense regret (Dragonette over Soulwax? What an idiot I was.) But other than that, Parklife re-cemented itself in the party calendar as being one of THE most important music festivals of the warmer months.

Picture Of The Week.

Posted by Adem on Sep 20, 2008 in Australian Pop, Phwoar, Van She | 3 comments

“Phwoar.”

In regards to the boys’ gig in Melbourne from last weekend; “how was it?” I hear you ask. Fucking Incredible, probably their best live performance to date. Photo gallery.

As you were.

Free NEW Van She Remix Download (and some other points on the band in general we should discuss.)

Posted by Adem on Sep 11, 2008 in Australian Pop, Free Shit, MP3, Phwoar, Van She | 8 comments

Oh dear. It looks like my cousins have been at my Van She poster with the crayons again.

And now for a band that barely gets a mention round these parts. For those of you here for the MP3 and nothing else, I’ll spare you the mechanics. It’s the new G.L.O.V.E.S. remix of the next single “Changes,” and the download is completely free and Very Legal Indeed (thanks Modular!) regardless of the fact that it has actually been uploaded to Sendspace. I’ve no idea when the single is coming out anymore (one of the boys told me a while ago it was to be the end of August, but it seems that release date has since gone tits up,) but I’m guessing this remix will be apart of the digital bundle once ‘it’s out there.’ Anyway, you can enjoy the glovey goodness here.

And now for the actual post… Obviously I’m kidding about my cousins and their crayons! But the gorg picture fronting todays entry is actually the amazing artwork for posters promoting the Album Launch Tour the boys are currently on across the country… Minus the “V – It’s Still Amazing” part though. Though, on that note, their debut album “V” is actually Still Amazing, is still a 10/10 record and is still the best of the year. Girls Aloud = You Better Deliver The Goods if you plan on beating The She. But as much as I ADORE the cover art for the new album to pieces, don’t you think the above picture would have also been a FUCKING BRILLIANT cover as well? Very dishy gazing going on there. Can we have a vinyl edition, perhaps?

Those of you with websites are probably aware of some of the ridiculously hilarious things people will type into a search engine which, in turn, somehow leads them to your blog. Interestingly, this week as I was glancing through my StatCounter, an alarming search in relation to Van She popped up as a referring site: “are any of van she gay?”

!!!!!!!!!!!!!!!!!!!!!!

Whoever you are out there in search-engine-land, I regret to inform you that Van She are NOT of a homosexual inclination. SAD BUT TRUE. Apologies if this has caused you any discomfort or upset. If pain persists, please see your doctor. Did you know that Sam Sparro is A Gay? So is Darren Hayes. They are not in Van She though.

There were some hilarious searches in relation to Ladyhawke and also Madonna which are actually quite X-rated and even a bit too much for ME to post, but they gave me a chuckle nonetheless.

On another note, there is a really good interview with Van She’s Nicky in todays Herald Sun HIT lift out, which was written by the ace Cyclone Wehner. There’s also another rather good interview with Nick written by Greg Barila that is online now if you’re interested; a great read.

I saw the boys play two weeks ago in my hometown (which was actually quite a lovely and intimate show; a change of pace from the larger venues I’ve seen them in of late,) and am seeing them put on the same show in Melbourne tomorrow night. And by “the same show” I actually mean “the proper version of the show with all the lights, whiz-bang digital screens and a proper stage,” as opposed to the show from two weeks ago which certainly had its restrictions due to the size of the venue. If you’re at all interested you can view pictures from the hometown show here.

And that’s the end of today’s story.

SO. After all of that, what have we learnt?

* Free Remixes Are Good.
* Search Engines Can Be Funny.
* “V” Is Still Amazing.
* Tour Poster Artwork Can Sometimes Be More Appealing Than Album Artwork.
* Van She are NOT Gay.
* Sam Sparro and Darren Hayes ARE.

Thank you for your time.

fin.