Regina Spektor interview

My favourite interview of the year was unquestionably with Regina Spektor. I had been advised that she didn't like giving inerviews, and was therefore a little wary that I would be disappointed with the outcome of our chat. I hoped not because I am a massive fan. To my joy, she was sweet, funny, open and genuinely friendly. I fell in love down a phoneline. Here is the outcome:


NEW YORK’S REGINA SPEKTOR HAS RELEASED ONE OF THE MOST CRITICALLY ACLAIMED ALBUMS OF THE YEAR AND, AS ROB TOWNSEND FINDS OUT, SHE APPROACHED IT IN A WHOLE NEW WAY

If you read any review of Regina Spektor, you will inevitably stumble across the words ‘kooky’ and ‘quirky’. While it is true that the Russian-born singer does favour weird and wonderful lyrics and themes, and enjoys experimenting with all manner of sounds, she is also a songwriter of incredible quality (if anyone this year has written a song more beautiful than her new album’s standout ballad Samson, I have yet to hear it), which leads one to wonder if she gets frustrated with constantly being written off as an oddball. “That’s a really interesting question,” she says. “I used to get a lot more frustrated, but then I thought ‘it doesn’t matter’. To me, really standard things are quirky, everybody has their own taste.” She pauses for a moment’s thought, before continuing. “Maybe it’s because I’m female. The Beatles made I Am The Walrus and Bob Dylan sang about how ‘everybody must get stoned’. Lots of men have fun but when they do it people say they’re ‘being adventurous’ or ‘pushing the envelope’. Kate Bush and Bjork are described as kooky, whereas Trent Reznor isn’t.” It seems though, that Spektor isn’t the kind of person to ruminate on such matters, and she brushes it off by saying: “I don’t mind so much, it’s the only way some people can think to describe something different. I think I’m a pretty sane person. Maybe someday I’ll make a really serious album. And people will probably still call it quirky.”

I saw Regina at the Latitude Festival

Regina Spektor’s personality is as charming as her music. The flame-haired singer-songwriter speaks in the softest, sweetest New York accent, making her sound like a gangster’s moll from the 1930s. A one-time collaboration with her buddies The Strokes aside, the Australian public would be forgiven for not knowing a huge amount about Spektor. This is perhaps because she isn’t the biggest fan of doing interviews to promote herself. “I find it hard when someone clearly hasn’t listened to your music and is just reeling off things from your biography,” she admits. So when I tell her that I am something of a fan, the shy songstress is genuinely delighted, and instantly opens up about her latest album, Begin To Hope.

The album, which is her fourth collection of dreamy, fun and intriguing piano-based songs, has seen her take a different approach to piecing together her work. Previously, her long-players were rattled off in the space of just a few days, but for this recording, she holed herself up in a New York studio for two months to create an even more experimental record. “It was really wonderful. It felt great to have time to work on the songs. The big fear was that is was going to be something that was more fun to make than to listen to. Imagine someone is cooking, and they really enjoy the process of putting in lots of peppers and colours, but there is always the danger of overcooking it.”

The universal acclaim that Begin To Hope has received suggests that nothing was overcooked in Spektor’s kitchen, and she clearly enjoyed being able to spend time considering her work. “Some things are easy to scrap, some things are hard to scrap. It’s nice to be able to come back and listen to it fresh the next morning.” So, will she approach her next recording in this way or will it be a return to the old style of doing things? Well, neither, as it happens. “I’ll do it a third way. I always want to do different things. You never want to get stuck in a rut.”

On top of her beautiful albums, Spektor’s live show is an absolute treat, which perfectly combines fun and intimacy. “I love playing live very, very, very much. I’m also really fucking lucky though. The people who come to my shows are really cool to each other and cool to me.” Her tours have yet to take her to Australia, but there is the desire within her to visit soon. “I really want to. Hopefully in 2007. I’ve heard really great things about Australia from bands like The Strokes and Dresden Dolls and from crew members that I’ve worked with. Everyone who goes there seems to love it.”

One senses that, if the fanfare surrounding Begin To Hope is any guide, it won’t take Australia too long to fall in love with her as well.

Am I the new Daniel Boud/Cybele Malinowski? Er...no.

Some of you will remember that I used to take the occasional photo back in the day? Well, recently, I had this photo of Thom from Mercy Arms printed in an Australian magazine. I don't think the photographers on the Sydney scene have too much to worry about to be honest, but I don't think it is a bad shot considering it was taken on my trusty/crappy point-and-shoot camera.

Also...

This shot that I took of David Ford at The Hopetoun hotel got used in an English magazine. They used one of my photos of him on the cover as well, but this one is better.

Drum media End of Year Poll

This year, I was asked to do an end of year poll for Drum Media. Ridiculous as it sounds, it was a lifelong dream of mine. I am forever making such liss in my head. Here is a potted version of what I came up with:

TOP 10 ALBUMS
1. Giant Drag - Hearts and Unicorns
2. Regina Spektor - Begin to Hope
3. David Ford - I Sincerely Apologise For the Trouble I’ve Caused
4. Yeah Yeah Yeahs, Show Your Bones
5. Goyte - Like Drawing Blood
6. Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not
7. Micah P Hinson – Micah P Hinson and The Opera Circuit
8. Tom Waits – Orphans: Brawlers, Bawlers and Bastards
9. Kimya Dawson – Remember That I Love You
10. Muse - Black Holes and Revelations

Album of the year. So says Bobby Six

ARTIST OF THE YEAR
1. Regina Spektor
2. Goyte
3. David Ford

BEST LOCAL ARTIST GIG
1. Bridezilla/The Ghosts/Mercy Arms, Candy’s Apartment
2. The Vines (who’d have thought?), Homebake
3. Sarah Blasko, @Newtown

BEST TV SHOW
1. Extras
2. Family Guy
3. Australian Idol(oh the shame)

BEST FILM
1. Little Miss Sunshine
2. Borat

BEST WEBSITE
1. Myspace
2. Youtube
3. Shesaidhesaid.org

HIGHLIGHT OF THE YEAR
Not The Ashes. Anything but The Ashes.

PREDICTION FOR 2007
Bridezilla to become massive. If you don’t fall in love with their music, then I’ll eat my laptop.

QUOTE OF THE YEAR
“Lachlan Marks, Rob Townsend and Andrew Street are a bit smug about getting in (to gigs) for free,” according to a disgruntled reader in the Drum letters page.

2006 IN REVIEW
My 2006 started in August, when I moved to Sydney from grey old England. While my knowledge of English and American alternative music is pretty comprehensive, my awareness of the Australian scene didn’t really stretch far beyond Wolfmother and Men at Work. I was therefore happy to discover a vibrant Sydney scene with a real sense of community that made London seem even more up its own arse than I already knew it was. With fantastic young bands and no end of kids willing to go to their gigs, this place holds its own against other cities. Take it from a foreigner. While the NME has spent this year meticulously constructing its own scenes (New Rave anyone?), over here people just allow great bands like Mercy Arms to grow organically, without feeling the need to pigeonhole or label them. Oh, and the weather is better over here too.

This is just a selection of what I wrote. For the full listing go here: http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=12792787&blogID=210142284&MyToken=863eed6a-2e88-4487-9257-e47414164618.

Taronga Zoo

I went to Taronga Zoo. It was a spur of the moment thing. I was walking through Circular Quay and I just decided to jump on a ferry.

I saw Giraffes for the first time in my life. They are my favourites. Tall, friendly, a bit weird looking. They remind me of, well, me. It might sound sad but seeing them kinda took my breath away. It is hard to explain. So I won't try.

I also saw koalas. And lions and tigers and bears. Oh my.

Bridezilla - Really hot right now

So, as many of you know, I have been championing Sydney band Bridezilla for some time now. I genuinely think they are as good a band as I have seen since forever. Such potential. Anyway, it seems that people are starting to take notice. My editor at Drum Media phoned me up and asked me to come up with a short piece for the 'Bands to watch in 2007' feature. here is what I came up with:

Bridezilla are five op shop cool teenagers who are causing quite a stir with their beautifully crafted, exciting indie-folk sound. Led by effortlessly charismatic vocalist Holiday, their energetic live show is a beguiling experience which sees each hugely talented member bringing their own affable individuality to the band, as mesmeric violin and sax solos are woven through interesting and accomplished guitar work and playful drumming. Young, stylish, fun and, most importantly, frighteningly gifted, Bridezilla may soon be your new favourite band.

New Young Pony Club Drum Media Feature

One of my favourite interviews of this year was with the intelligent, and very funny Tahita from New Young Pony Club. Here it is:

ON THEIR FIRST EVER VISIT TO AUSTRALIA, LONDON’S NEW YOUNG PONY CLUB TALK TO ROB TOWNSEND ABOUT NEW RAVE, TOURING AND CAT FIGHTS WITH LILY ALLEN

“A good gig is better than sex.” Frontwoman Tahita pauses for a second, before correcting herself. “Well, actually it’s like having sex with 1300 people. And no consequences.” Watch out; New Young Pony Club are heading this way, and they’re bringing their unique brand of punk-funk, disco-pop noise with them.

For the uninitiated, New Young Pony Club is a supercool collective, comprised of three girls and two guys, that was born following a meeting between Tahita and guitarist Andy Spence three years ago. Bored with the plethora of dad-rocking post Brit-pop bands dominating the indie scene, they saw a niche for the fusion of guitars and dance music, and so their journey began.

NYPC’s influences come from far and wide. There are traces of the New York punk scene from the 70s, the rave scene, as well as nods to bands like The Stone Roses and The Rapture. “Our sound is a free-for-all, a car crash of styles,” the instantly likeable Tahita confirms. The band’s recent eponymous EP release brilliantly showcases this sound, offering simplistic lyrics and chunky, funky beats. It is infectious stuff.

Because they’re guaranteed to get you dancing, NYPC have lazily been labelled with the New Rave tag that all English bands combining guitars and dance music have been lumbered with. Like most of these groups, they feel a little uncomfortable being pigeonholed in such a way. A slightly baffled Tahita does her best to describe a scene that nobody really seems to fully understand. “It’s more a term based on people’s hopes of what is going to happen - the potentiality of a group of bands,” she says by way of explanation. “We’ve had a Labour government in England for ages now and things are getting corrupt. People, particularly young people, want to feel like they have something of their own. There seems to be a spirit lifted directly from 1988, when there would be a cavalcade of cars heading out to the countryside for a rave. Now it all happens with bands playing in warehouses in East London.”

And where did the band’s name come from? “I just like the idea of a Pony Club. It is cutesy and innocent, but then there is also that whole domination thing where people dress up as ponies and draw carts. There is also a lot of Freudian imagery entrenched within horses.” Almost as an afterthought, Tahita adds: “Also, it’s a good acronym.”

Until now, most of the band’s performances have been in the UK, including a recent tour with potty-mouthed songstress Lily Allen. “She’s an interesting girl,” the refreshingly candid Tahita says. “She’s pretty nice, and her band and our band got on really well, but to start with, her and I kind of circled each other like cats, ready to scratch.” In an attempt to clarify the reason behind the initial animosity between the two, she merely says with a laugh: “It’s a front-person thing. It was fine in the end though, and she gave us all flowers at the end of the tour.”

Keen to escape the freezing cold winter’s days of London, the gang of five are heading to Australia this week for the first time to perform at the Modular Christmas party, and a genial Tahita can’t wait. “It’s going to be an absolute riot, “ she enthuses. “I’ve heard that people are really up for it compared to London, where you have to shove a rock up people’s arses to get them moving.” NYPC’s tour also takes them to America and Japan, which is something that will test their stamina to its very limit. “I’m looking forward to seeing more of the world, and I think I’ll enjoy it, but I’m a weakling,” the singer openly admits. “A few nights of doing naughty things and I’ll be coughing, hacking and just wanting to be put in a cardboard box and fedexed home.”

And what does the future hold for New Young Pony Club? “Everyone wants to feel like they are going to be the biggest band in the world, but I’d just be happy to get a really good album out; something that sounds timeless,” Tahita says sincerely. “We want to write emotive songs, as well as songs that make you feel like going out and biting somebody.”

Ben Kweller album review

Here is a review I did for the new Ben Kweller album for Drum Media. I was also meant to interview him but it fell through:
BEN KWELLER
Ben Kweller
Sony/BMG

He may still look about 14, but the cherub-faced lynchpin of the NYC anti-folk scene has grown up.

Ben Kweller may seem like a painfully uninspired title for his third long-player as a solo artist, until one realises that the Texan-born troubadour plays absolutely everything on the album. This, more so than his previous releases, is a personal and autobiographical project.

This album marks a departure in style for Kweller. His trademark sugary sweet vocal remains [and yes, it still prompts the desire to ruffle his mop of hair even though he is now 25], while catchy Beatles-esque choruses are scattered sporadically, but overall Ben Kweller is a more introspective offering. He is now a father, and this album reflects his maturity, as the previously favoured grungy, distorted power-pop has been edged out in favour of layered harmonies and lavish balladry.

Standout moments include the brazenly grand Penny On The Train Track, rocky album-closer This Is War and tender piano ballad Thirteen that, as if to prove a point about his new approach, is completely sans chorus. Disappointingly though, a number of the tracks sound indistinguishable from each other, as though, in focusing so hard on the production, Kweller has lost something of his offbeat charm. It feels almost too measured.

In maturing musically, Kweller has also perhaps diminished the kookiness that was so appealing about him, but while Ben Kweller doesn’t represent his best work, there are still plenty of moments of honesty and beauty to admire.

Bridezilla support Midlake and play at the Starvation Christmas Party

It was a hectic couple of nights. On Friday I went down to The Gaelic Club to see Midlake supported by Bridezilla and Bertie Blackman. I wasn't reviewing, it was simply for pleasure. Anyway, I turned up early and got to see Midlake soundchecking, which was sweet. Then I hung out backstage with the Bridezilla guys, taking photos and making movies, until it was time to perform. They were once again jaw-droppingly great. With every gig I grow more convinced that they are going to be massive. I hope so, it couldn't happen to a nicer set of people.

Bridezilla at The Gaelic

I didn't see Bertie Blackman but Midlake were great (what I saw of them. I spent much of their set outside in the rain. don't ask). After those not old enough to remain in the venue went home, Kirin, Tash and I stayed for the rest of the gig. Midlake were so good I wanted to marry them (I think about 3 people will get that joke).

The following night was the Starvation Christmas Party. I arrived early again and proceeded to drink myself into a stupor. Actually, I didn't really, as I was super tired from the night before and the booze was proving insffective. It was a good night nonetheless. Bridezilla, PoMoMoFo and The Vendettas played.

Daisy and Bridezilla at Starvation

My friends and I had fun. The police tried to shut the party down. They kinda succeeded, but not before we all had an ace time. I hung out with Anita, Rhys and Daisy too, before staggering home tired and...well...feeling a little strange. But that is a whole other story. For another time maybe.

Talk Of The Town

I have my own column in an English Newspaper called The Evening Argus. I just pontificate about football (soccer) every week. Here is a random example:

In an earlier column I was slightly flippant towards an Australian institution. I described Aussie rules football (AFL) as “essentially 36 massive men in ill-fitting kit fighting on a cricket pitch.” I now realise I was wrong to describe it in such a derogatory manner. I have recently learnt that this game that I so offhandedly mocked could teach our own national sport a thing or two.

Sure, AFL is a tough, bruising, oddball sport (with an odd shaped ball), but, hidden beneath the brute physicality lies a gentleman’s spirit and a sense of sportsmanship that puts our bolshy, petulant Premiership stars to shame.

A few weeks ago I watched the AFL Grand Final (basically the equivalent of the FA Cup Final) between The Sydney Swans and The West Coast Eagles. It was honestly one of the greatest sporting occasions I have ever witnessed (and I watched the Albion at Priestfield for two years). Not that it will mean too much to you, but The Eagles won by a single point in an 85-84 thriller. Undeniably enthralling though the action was, there was something else about the match that beguiled me, namely the spirit in which it was played and watched.

Considering that this was the biggest game of the season for these two teams, there was barely a contested decision from the players when a controversial ruling went against them. They accepted the referee’s pronouncement with grace, and realised that no amount of whinging would change his mind. It made for a refreshing change from watching the Premiership, where foul-mouthed millionaires throw their toys out of the pram at the slightest hint of injustice.

Immediately after the match had finished, the losing team captain and manager, despite being visibly devastated, stood on the pitch and spoke through the public address system to congratulate the winners. As they did this, 97,000 pretty much unsegregated fans stood in respectful silence. There was no jeering and no obscene chanting towards their opponents. When the beaten team had finished their monologues, representatives from the winners did the same to commiserate the players and supporters of the side that they had just defeated. Can you imagine Alex Ferguson standing on the pitch at Cardiff with a microphone and praising a victorious Arsene Wenger? More likely, he would use the platform to bemoan the fact that the referee didn’t play the full five minutes stoppage time.

In English football we pride ourselves on having one the best sports leagues in the world, but watching this passionate, thrilling AFL spectacle unfold without a whinge, a sending off or a crowd scuffle, made me realise just how much English soccer actually has to learn.

Homebake - Like a wetter Glastonbury

So, after much fretting, I managed to get a ticket for Homebake (thank you Anita/Mr Mathison). We arrived in beautiful sunshine, jumped the queue and all seemed to be good. Then the rain came. Holy Jesus did the rain come.... It threw it down. So much so that the Hopetoun Stage had a powercut, and my trainers turned to sodden cardboard. Still, Anita and I had a great time watching Wolf and Cub, The Vines and Silverchair.
I also hung with Kirin from Mercy Arms and Daisy and Millie from Bridezilla, as well as sheltering from the rain with my dear friend Daniel Boud. It was a good day. Us Brits are used to a bit of rain.

And how good were The Vines? Surprised? Heck yes. I thought they were yesterday's papers.

Bridezilla at Vanguard

I reviewed Bridezilla for the second time when they supported CODA at The Vanguard. I could get close enough to the stage to get any decent shots due to the layout of the venue, so I've included a couple of shots of us being bums on King St after the show instead.

CODA
BRIDEZILLA

25/11/06
Vanguard, Newtown

From their position as set-openers at various venues around the city, Bridezilla have been winning plenty of new fans lately, and it didn’t take long for the audience at Vanguard to find out exactly why. Each effortlessly cool and immaculately dressed member of the teenage five-piece showed a charming onstage individuality that was a welcome change from the current surplus of bands made up of disinterested-looking skinny-jeaned indie clones.

Debuting news songs, the youngsters soon grabbed the attention of the busy venue with their folky rock sound, not least when the exceptionally gifted violinist Daisy confidently strode to the centre-front of the stage and captivated every single person in the room. During set-closer Saint Francine, charismatic singer Holiday offered a breathtaking vocal that sent shivers down spines and ended a collection of songs that had the crowd hollering for more. It was a jaw-droppingly good show, and if Bridezilla keep on connecting with audiences in such a way, then it’s clear that they’ll have a really big and exciting future ahead of them, and deservedly so. This is clearly a band to watch out for in 2007.

The fact that the CODA drummer Jared Underwood has been bashing the skins for longer than Bridezilla’s drummer has been alive must’ve made them feel pretty ancient compared to their support act, but they didn’t let it show as they enthusiastically belted out their familiar, perky fusion of dance, classical and urban music to a packed house.

The classically trained musicians played plenty of tracks from their latest long-player Calling Mission Mu, many of which had that recognizable far-eastern feel to them. At the back-end of a tour in support of the new album, they were in jovial mode, and they punctuated their tunes by regaling the audience with amusing anecdotes from on the road. It was certainly a feelgood show.

The tiny Vanguard stage meant that the local quintet were unable to embellish their set with dancers and theatrics as they often like to, and obviously there were no vocals, but there was comfortably enough energy coming from the stage for none of this to be an issue. The crowd absolutely lapped up their fairly long set, and left the venue happy in the knowledge that, in Bridezilla and CODA, they had just witnessed two generations of very accomplished, very talented musicians.