Steven Nistor interview

American musician Steven Nistor performed on the breathtaking new Danger Mouse and Sparklehorse album. BobbySix.com talks to him about how the album was put together, the legal wrangles that followed and the loss of his friend, Mark Linkous:

"One night, I went to see Gnarls Barkley play and, after the show, Danger Mouse wanted to know if I was available to play on a Sparklehorse record. I was freaking, since I'd been a fan for about ten years, but I kept my cool and said, 'Uh, yeah, I think I have some availability.' Ha!"

And so came about Steven Nistor's involvement with the recently-released Danger Mouse and Sparklehorse long-player, Dark Night of the Soul. The record is a hugely ambitious project with each track seeing not only the coming together of Danger Mouse and Mark 'Sparklehorse' Linkous, but also collaborations with The Flaming Lips, Julian Casablancas, Frank Black, Nina Persson, James Mercer, Gruff Rhys, Iggy Pop, Suzanne Vega, Vic Chesnutt and Jason Lytle. Oh, and not forgetting that none other than David Lynch provided artwork and a vocal or two as well.

To indie fanboys, this will surely conjure up images of Nistor downing shots with Iggy Pop, partying with Wayne Coyne and sneaking off for a crafty smoke with Gruff Rhys, but the truth is far less hedonistic. "Unfortunately I didn't meet any of those people until the album was finished," Nistor admits. "If you look at the credits it looks like I was jamming keyboards with The Flaming Lips. As much as I would have liked that to have been a reality, those decisions were made well after I laid my parts down. People have asked me 'What's it like to work with David Lynch?' and I have nothing to say because I [first] met him at the Gallery Opening for the record in 2009!"

The album - epic, beautiful, cinematic; at times melancholy and ethereal, elsewhere impish and punky - lands on shelves this July after over a year of legal wrangling with the record company. For a time, it seemed that it would never see the light of day. Nistor though, who played drums and keys on most of the tracks, had no idea that, behind locked doors, wars were being waged over its release . "I knew nothing of the legal stuff that surrounded the album," he shrugs. "My brother sent me an NPR article, a year or so later, about the whole thing saying, 'Did you play on this record?' Up to that point I had no idea what happened to the tracks after I left the studio. At that time I thought maybe an album called Sparklemouse or something would come out."

Indeed, even once the recording process had started, the corkscrew-haired musician was in the dark about exactly what shape his hard work would eventually take. "At first all I knew was Mark [Linkous] was writing lyrics and music around some sample ideas that Danger Mouse had, so I figured it was a Sparklehorse project, to be 'produced' by Danger Mouse. When you're being hired to be in that kind of situation, you don't really ask a lot of questions. After a week of playing some really cool stuff with them, I didn't hear anything for about four or five months from Danger Mouse or Mark, so I figured, 'Well okay, I hope they have something they liked.'"

When Danger Mouse did get in touch again, he told Nistor that he had "four or five different projects going on," and that he wanted him to be involved in all of them. "That summer I was playing a bunch of different instruments and sometimes I didn't know whose project it was. I really had no idea what the concept for Dark Night of the Soul was going to be, let alone which artist I was playing for. This was certainly no fault of Danger Mouse, but my own laziness. I just wanted to play."

So, at Danger Mouse's studio, Nistor continued to contribute to an album that he knew little about, collaborating with artists he had never met. Yet, in spite of such vagueness, he was still very much involved in the creative processes. "Danger Mouse is hands off at first; wanting you to try and come up with an idea that he didn't think of. Then if it doesn't seem to be working he'll get more involved in shaping the drum or piano part. He and Mark had a sort of scrapbook of musical ideas based around a riff, a sample or a keyboard sound and they would let me jam along it."

As is the way with most recording sessions, at times it took a whole lot of head scratching for things to come together. "Sometimes you hit on an idea that takes off right away, other times you've missed it completely and you need some direction. And there are all shades in between. The song that instantly comes to my mind is Pain [featuring Iggy Pop]. I'm pretty reserved when I collaborate, especially behind the drums because I don't want to make myself the focus. Mark kept asking me to be 'wilder' and 'crazier'. He wanted me to do a lot of fills and make it flashy and kinda funny. So I'm in the drum booth thinking I'm getting there and the track stops. Now, Mark was one of the most polite people I've ever met and didn't like to impose himself, so when he entered the booth from the control room I got a little nervous. He sat next to me and said, 'Steve, you're a really good drummer. You're probably too good for this song. Pretend you're playing by yourself at the junior high talent show.' I laughed but could tell he was serious, and that little piece of advice completely opened me up to what he was going for. The next take I played is the take you hear on that song."

Since the record was completed, it has been surrounded by tragedy. Vic Chesnutt, who performed on it, died in December 2009. Then, in March of this year, Mark Linkous took his own life. "He was a really sweet guy. He had a vicious sense of humor. But you could tell he was in a lot of pain, emotionally."

Posting on his website shortly after Linkous' suicide, Nistor said: "The heartbreak and disappointment come and go but I just try and remember the time I spent with him." And now, a few months hence, he is able to look back on his friendship with a smile. "My memories of Mark are completely positive. There are also some that are really funny. When we were working on what was going to be the next Sparklehorse record at Steve Albini's studio, we were staying at the apartments they have there, and me and my girlfriend were rooming next to Mark. Steve has three or four cats and they would sneak into our rooms if we left the doors open. One night Mark was trying to go to bed and, from what I could tell, the cats kept jumping into bed with him and wouldn't leave the room. And you know how cats are when they figure out they're annoying you? They sort of mess with you even more. So we're trying to sleep next door and we keep hearing this Virginian accent screaming, 'Geee-yet! Geee-yet!' Mark was really soft-spoken and didn't raise his voice much, so it was really kind of funny. We were trying not to laugh too hard while this went on for 45-minutes."

Two Steves: Albini and Nistor

With Dark Night of the Soul finally in the shops, what's next for Steven Nistor? "I've been recording bands in my studio, as well as recording drum tracks for others via email, and I'm just getting started on my own record, which I'm very excited about. It's going to be drum-centric, 70's style. I've also been doing tracks for Daniel Lanois, as well as tracks for Alison Krauss/Robert Plant that Lanois is producing." And as if that weren't enough to keep him busy: "I'm doing a show, playing drums for Brian Blade, which I'm really, really excited about. Hopefully that will lead to more live stuff with him. It's really kind of crazy and exciting... playing drums for the best drummer in the world!"

Inception

I saw Inception this week. While I think Toy Story 3 still pips it to being my favourite film so far this year, Inception offered me my best viewing experience in eons. The cinema was fairly full; there were teens I assumed would be texting, crunching and slurping alongside old folk I thought would noisily explain the plot to each other. However, there was nothing but silence throughout. Not a peep. Why? Because Christopher Nolan crafted a story so complex and intelligent that it was impossible to lose concentration for a second. Nor would one have the inclination to. Finally, a blockbuster with a brain in its head that pays the audience the respect of assuming they have one too.

The story, which - without wishing to give too much away - takes place largely within the subconscious of the characters, revolves around the idea of extracting and implanting ideas via dreams. In the wrong hands, the plot could have felt ludicrous and contrived, but Nolan has managed to make it utterly believable. The action sequences are really gripping too.

So, if you want your blockbusters to offer food for thought rather than chewing gum for the eyes, then give this film your true support and show the money men that audiences are cleverer than they give us credit for. Maybe then we'll get a few more Inceptions and a few less Tranformers.

Getting To Know... The Preachers

Sydney's The Preachers are one of the bands to watch in 2012. Vocalist/keyboardist Isabella Manfredi talks to BobbySix.com about the band’s inspirations, the future and their home city:

I would describe The Preachers' sound as blues rocknroll with a dash of country.

We take inspiration from The Band, The Stones, The Patti Smith Group, Nick Cave & The Bad Seeds, Elvis Costello, Bob Dylan, The Clash, Miles Davis, John Coltrane and Jack Dejonette. We like the old school ethos of production and musical process. People like Brain Wilson and Phil Spektor, George Martin and T-Bone Burnett. Individually our tastes are eclectic and we're definitely not a 60’s wannabe band.

Sydney is its own worst enemy. There's no shortage of talent and ideas coming out of the music community at the moment, but Sydney folk are a notoriously competitive and cliquey bunch. We're always looking at the guy next to us thinking "who does he think he is?". It's a lot easier to be resentful of other bands, especially if there’s an ideology clash there, but, at the end of the day, they've got a record deal and you've got a reputation for being an arrogant cock. Support and respect for what other people are doing builds community in the true sense of the word. Here are some Sydney names that have our respect: Danimals, Domeyko/Gonzalez, Arkestra, Sooners, Hero Fisher, Royal Headache, Jack Ladder, Kirin J. Callinan, The Holy Soul, Psychonanny & The Babyshakers, Step-Panther. We could go on…

I wish The Preachers had written Me and My Woman by Roy Harper. One of the first experiments with multi-track and a serious Opus for anyone interested. I'm also hooked on Sweet Surrender by Tim Buckley (in fact the whole album Greetings From LA is genius) and Keys To Your Heart by The 101s at the moment.

It might surprise people to learn that [guitarist] Jak and [bassist] Thomas recorded and mixed our entire EP themselves. We spent six months amassing the gear and moved it all into an orchestral practice hall in Stanmore [inner-west Sydney]. The EP was recorded there over two weeks using 8-track and a lot of ingenuity.

In five years time we won't still be living with our parents... fingers crossed.

Danger Mouse and Sparklehorse - Dark Night of the Soul

Few albums come weighed down by so much history. Finally arriving on shelves following more than a year of legal wrangling with the record label, not only is Dark Night of the Soul dedicated to Vic Chesnutt, who performed on the record and who died last December, but its release also follows the suicide of Sparklehorse’s singer/songwriter, Mark Linkous.

An ambitious project presented by Linkous and Danger Mouse, Dark Night… has a grand, cinematic feel to its 13 collaborations, all of which extenuate the qualities of the incredible list of artists involved. The Flaming Lips reprise the ethereality of their Soft Bulletin/Yoshimi era and Gruff Rhys combines lyrics about the horrors of war with the kind of dreamy psychedelic folk he’s so good at. Black Francis gets shouty on Angel’s Harp, Julian Casablancas’ Little Girl is dizzying, and, on the frankly magnificent Pain, Iggy Pop drones like a madman about a “Headache in my ageing skull,” over cacophonous drums and fuzzy, breakneck guitars. Meanwhile, David Lynch contributes not only a lyrical turn or two but also photographs to accompany the album. While Linkous was clearly happy to sit in the shadows and allow the guests to take centre stage, these breathtaking compositions show what a wonderful songwriter and poet the man was. Similarly, Danger Mouse’s signature sounds don’t overbear, but rather create a perfect ambience.

In bringing down the curtain on Mark Linkous’ own tragedy, the wonderful and poignant Dark Night… adds to a Sparklehorse legacy that perfectly illustrates the beauty and fragility of life. In Linkous’ passing, the world is a poorer place.

Changing Lanes Festival gets the go-ahead

It wasn't long ago that I was bemoaning how festivals can just lazily shove up a couple of stages and charge the shirtless masses extortionate amounts for tickets to watch Dizzy Rascal and Muse for the umpteenth time. Since then I have been impressed by a (hopefully) changing dynamic. Smirnoff's innovative approach to enhancing festival experiences, both at Future Music and at their own extravaganzas, is exciting and, as always, I found this year's Laneway to be a delightful way to spend a Sunday.

Last week, another festival that promises to be more about the whole experience than just the music got the green light from Marrickville Council after months of hard work. Changing Lanes, presented by MAPS Entertainment and in collaboration with the Sydney Fringe Festival, is a fund raiser for FBi Radio. It will take place on the 19th of September in Newtown, Sydney and will celebrate the city's brimming artistic and music communities. The line-up - announced soon - will feature bands and DJs that span indie, rock, acoustic, dub-step, hip-hop and electro. Local and international street artists will involve themselves throughout the day in a live painting event and there will also be food, fashion, vinyl and bike stalls there.

Ticketing details should be announced imminently.

Somedays Launch Sometimes Magazine

Sydney's Somedays is a bit of an institution in that it is a clothing store that doubles as an art gallery. Not content with having both of those bases covered, it now ventures into the world of print media, and this week launched issue one of Sometimes magazine.

A collection of conversations on fashion, contemporary culture and art, the magazine is rather beautiful. BobbySix.com went along to the launch to help wet the baby's head with a beer or two. Here are some snaps.

Not skinny-jeaned indie boys gazing at their feet through floppy fringes

Much as we love our indie-boy guitar music here at BobbySix, we of course like to open our ears a little wider too. Heck, we even went to Johannesburg earlier in the year for some South African sounds (and for a bit of trance thanks to Tiesto).

Anyway, a couple of bands wrote us lovely letters this week, so we thought we'd show them some love. Firstly, if indie roots is your bag, then check a group from Australia called Blue King Brown. They (above) have spent the last few years touring the world sharing the stage with the likes of Santana and Lauryn Hill and will be supporting John Butler Trio in August and September. Visit their Myspace here.

Also, someone worth a look for her interesting electro-digi-funk is Irish artist Meljoann (above), Her EP is called Tour Guide and is making waves in The States. Friend of BobbySix.com, Nialler9 has the scoop on her. Have a listen to her stuff over at her Myspace.

Getting To Know... Megan Hostetter

Megan Hostetter is a model from Lancaster, PA, in the good old U.S. of A. whose increasingly impressive portfolio includes work with the likes of Jonathan Leder. Sparing a few moments before auditioning for the upcoming season of America's Next Top Model, she talks to BobbySix.com about modelling, her aspirations and the bands that she is really into at the moment:

Modelling is something that I can't get away from. I've been trying to get involved with the industry since I was thirteen. However, for me it takes a lot of hard work and dedication to be successful.

Aside from modelling I am a typical 19-year-old girl. I work as a server and go to school for communications. I also volunteer and like to spend time with my friends and family.

I’ve never done anything really crazy. Some of my friends have all these crazy stories but I am too nervous to do anything out of the ordinary. However, while I may seem quiet and shy, I have absolutely no problem sticking up for myself… and it’s gotten me in some major drama.

My music tastes are pretty much anything and everything. Right now I am really into Band of Skulls and MGMT, but The White Stripes have been my favorite since I was 14.

I get really excited when people tell me that I look like Scarlett Johansson because I think she's gorgeous.

I get angry about people who are selfish. I believe that you get what you give and people who are selfish get nowhere.

I aspire to be successful. Whether its with modelling or with school. It might sound like a cliché but I want to reach my goals and be able to be proud of everything I accomplish.

If you would like to work with Megan, drop an email to info@bobbysix.com and we'll pass your details on to her.

Interview by Rob Townsend

Wolf Parade - Expo 86

Wolf Parade are often referred to as a supergroup. Whether such a superlative should be used to describe a band made up of members of Handsome Furs, Sunset Rubdown and Hot Hot Heat is a debate for another time, but, regardless, the Canadian four-piece has always brought something interesting to the table. In keyboardist Spencer Krug and guitarist Dan Boeckner the band has two distinct characters at its helm who, on their first two albums, stamped their own idiosyncrasies on their compositions.

Opener Cloud Shadow On The Mountain suggests the same will happen on this third long-player, as it is certainly Krug’s baby. His tense spoken-word vocal, “I was asleep in a hammock/I was dreaming that I was a web/I was a dreamcatcher hanging on the window of a mini-van parked along the water's edge/I'd say that I was all alone,” is warbled like a paranoid David Byrne before all kinds of hell breaks loose on drums and guitar. It’s a magnificent, tightly-coiled start. Sadly though, the album struggles to sustain this excitement. Up next, the standard, Springsteen-inspired Palm Road - featuring Boeckner on vocals - is a good example of the rockier nature of Expo 86. While its fuzzy jams show off some of the dichotomy of the band’s previous two outings, the usually clear lines between the two songwriters are more blurred than usual.

Despite several good moments, Expo 86 is overly dense and loose on too many occasions. It gives off the feeling that the two talented songwriters at the forefront of Wolf Parade are saving their best ideas for their other projects, which is a shame because Expo 86 doesn’t miss the mark by much, but it ultimately lacks the spark needed to turn a solid album into a great one.

Vote for Oliver Heath's Band Of Skulls video clip

Sydney resident and sometime moustache wearer, Oliver Heath, is a film-maker. His works have exhibited all over the place, from commercial galleries to bohemian urban dives.

His latest piece is entered in a competition to become the official video for the Band of Skulls single, Fire. "It's great doing clips for this competition because you can make a video without having to go to the band/label/management committee," Oliver explains from his warehouse studio. "It gets judged when it's done and you get to compare it to other people's. Friendly competition. It's great to see other videos from all over the world."

About the clip, in which a monochrome world takes a psychedelic turn, Oliver says, "Because of zero budget considerations, I have a standby mental list of locations and friends that I like to incorporate into a video project. So in this case I was listening to the song, and my friends at the Carnival of Electric Illusions instantly popped to mind - totally Fires of the Night. The've got a great take on Bowie's neo-romanticism. They live it full-time, and put on these crazy down-the-rabbit-hole parties. I'd wanted a chance to show the magical effect they have on me, and this was it. The story is literally about the slap-you-in-the-face creativity of night creatures dragging you - kicking and screaming - from the perils of the monochrome world."

photo of Oliver by Kalindy Millions

When it comes to inspiration for the film clip, Oliver took from a number of eclectic sources. "I shot the black and white stuff in tribute to elements of Jarmuch and Hitchcock, the colour stuff was inspired by the creature of the night sequence in The Rocky Horror Picture Show," he explains. "The lens filter prisms were from the 70's and a camera fair find, rotated by hand during the shoot, no less."

"I try and keep the clip on theme but not too literal so that it's a mood piece, adding to the enjoyment of the music without stealing the limelight. People should still have space to think about what the song is about, but you don't want to make a meaningless collage of video. It's a balance. I think we got it right this time."

You can watch Oliver's entry to the competition and - naturally - vote for it, here.

Latitude 2010 - Who To See

Up here at Bobby Six Towers the festival of choice is Latitude. You can forget your Healing Fields of Glastonbury or your drunk 15-year-olds making fires out of plastic cups at Reading, it's all about strolling through the beautiful Suffolk countryside, taking in some fine bands and enjoying the chilled out (if slightly middle-class) atmos.

Last year, we even took to the stage with out friends The Late Greats to sing an acoustic version of - wait for it - Gangsta's Paradise. Highlight of the year? Try highlight of our lives.

So, if you are heading to this weekend's Latitude, here are a few tips of who to see.

Thursday

About three years ago, BobbySix.com was in the back room of a Kings Cross hotel (don't worry, this story isn't going in the direction it's threatening to) sitting cross-legged on the floor with about 100 other people watching an impromptu performance by Nigel Kennedy. It was mind-blowingly good (below).
He will be in slightly prettier surroundings on Thursday evening, and if you want your festival to get off to a magical start, then you'd be wise to pour yourself a mug of goon and find a nice spot to watch him do his thing.

Friday

If infectious indie-disco is your bag, then Hockey are sure to get you dancing, at least, they certainly had such an effect on the crowd at this year's Laneway Festival in Sydney. The Sunrise Arena sees turns from Girls and Tokyo Police Club, while old friends of BobbySix.com, Angus & Julia Stone bring their beautiful folk to the Word Arena. If their previous Latitude appearance (below) is anything to go by, they'll win plenty of hearts.

Later on the same stage, check out Richard Hawley before trying to catch some of both main headliners, The National and the lung-busting presence of Florence and The Machine.

The must see act of Friday though is surely the wonderful Laura Marling. While her poetic, bleak folk would surely be better suited to a smaller stage than the Obelisk Arena, her set will surely be one of the highlights of the festival.

Saturday

Will Paul Heaton be worth a look? Only one way to find out really (update: check the comments section at the end of this post!). Weirdy distopian folkster Lupen Crook should be an early treat worth making the effort to see too. Elsewhere, Josie Long will be bringing the laughs to the comedy tent and Paul Greengrass is A-ing the Q's in the Film and Music Arena.

Someone it is unquestionably worth paying attention to on Saturday evening is David Ford. Having played a secret show by the river last year (above), this time round he'll be on the Word Stage. Don't miss his set. In fact, you'd be wise to stay in the Word Tent for the rest of the day, as Noah and The Whale, The Horrors and The XX all follow Ford's show. Otherwise, the cardiganned tweeness of Belle and Sebastian will probably be lovely, or there is always the visceral Archie Bronson Outfit in the Sunrise Arena.

Sunday

More than likely having played backing band to Laura Marling, Mumford & Sons will be on the same stage on Sunday, with their pleasant enough country folk. Meanwhile, Midlake will hope their sound isn't dogged by the same muddiness that they encountered at Latitude in 2007. After them, Melbourne's The Temper Trap (below - another band long-since championed at BobbySix.com) show how their popularity has soared since last year's triumphant showing on the Word Stage, with a slot at the back end of the day in the Obelisk Arena.

On the Sunrise Stage, These New Puritans simply have to be seen. Their ambitious album, Hidden, still sits atop the BobbySix album of the year poll for 2010. My Bloody Valentine-inspired The Pains of Being Pure at Heart might be worth a look too. If you need a break from the music, then check out the incredibly funny Richard Herring in the Comedy Tent and hear Jim Bob read from his new book in the Literary Arena.

For those of us that think headliners Vampire Weekend are at least twice as shit as everyone else seems to, then its a no-brainer to choose Grizzly Bear instead, and before them sees the very welcome return of The Coral and the exciting inclusion of a set by Charlotte Gainsbourg.

If you head slightly off the beaten trail, you're sure to find loads more diverse and interesting stuff to see and do as well. It promises to be a great one. Send your photos and reviews to info@bobbysix.com

Robyn - Body Talk Pt 1

As the title suggests, the new long-player from Swedish singer/songwriter Robyn Miriam Carlsson is the first in a series, and it only takes a few seconds of opening track Don’t Fucking Tell Me What To Do to make the proposed three albums seem like a very appealing prospect. Over an insistent electro-dance beat, her spoken-word delivery lists a collection of apprehensions and vices. “My drinking’s killing me… My heels are killing me… My email’s killing me.” Half a swipe at the superficiality of modern living, half a genuine window into the singer’s anxieties, it’s an intriguing start.

Moving on, the odd cartoon rap-pop of Fembot is followed by lead single, Dancing On My Own, which is a sweeping industrial dance anthem. “I’m in the corner watching you kiss her,” the chorus cries like the lovesick offspring of Ultravox’s Dancing With Tears in My Eyes and Robyn’s own mega-hit, With Every Heartbeat.

Dancehall Queen is a collaboration with Philadelphia DJ Diplo which reprises mid-90s Euro dance. Whether the world needs a homage to this era is questionable but there is a certain charm to this unabashed, Ace Of Base cheesefest. Counterbalancing it, None Of Dem (which features Norwegian duo Röyksopp) is dark and brooding and is followed by Hang With Me, a straightforward ballad over strings and piano, and Jag Vet En Dejilg Rosa, a haunting traditional Swedish folk song.

With the eight songs clocking in at half-an-hour yet still managing to seamlessly travel in so many directions, Body Talk Pt 1 is quite the achievement and really whets the appetite for parts two and three.

Getting To Know... Bianca Miles-Jordaan

When BobbySix.com went to Johannesburg earlier in the year for the Smirnoff Experience, the wonderful Bianca Miles-Jordaan was one of the hosts. As well as having an almost unparalleled joie-de-vivre and sunny disposition, it turns out that she is a talented soul too. Aside from working for MTV, she also owns a fashion label, Tee & Whiskey, which, along with her good buddy, sees her design all manner of women's clothes and accessories. In the latest of Bobby Six's Getting To Know... series, she talks about Tee & Whiskey, her work at MTV, her music tastes and her famous mum:
Tee and whiskey is a special project that developed organically one moonlit night in March 2007. It embodies all what we love about being African/female/fashion lovers/whiskey drinkers/lovers of Jozi's [Johannesburg's] urban renewal/illustration/streets at night/accessibility (I believe in massclusivity) and, most of all, just being able to love and create the things we cherish most when we can.

Johannesburg is female. I do believe it has a feminine personality to survive so much of a rich past. She is haunting, vibrant, embracing, emotional at times, beautiful, colourful, wise yet still so young. She really is a cool teen with really old sneakers that are slowly being renewed.

At MTV Networks Africa I am the Marketing and Events maiden for all the various shows that play across our channels that feed into millions of homes daily. I work with a team across the continent to make nice TV so that people can live and embrace the liveliness of music and entertainment as that's what connects us all globally.

I recently bought a pair of two-tone Melissa, Alexandre Herchcovitch brogues (made in Brazil). They smell like Strawberry cupcakes, yum. Also, I bought a lovely Country Road scarf for my boy, even though I know I'm going to rock it most, and a cute little palm-sized Allessi cheese-grater that makes me want to make gourmet sarmies non-stop.

My favourite artist at the moment is Chad Van Gaalan. He just made the sickest track called Bare Feet on Wet Griptape that makes me smile because I love his creative cartoon thinking and approach to life. He makes his own videos, doodles, writes, produces and is rather pretty on the eye too. Other than that I am consumed by the latest albums out from B.O.B; Robyn (Body Talk).

It might surprise people to learn that I am the daughter of an Apartheid Supermodel. In the early 80's there were five black females (they were called the Big Five) who modelled professionally. My mom was one of the five who got to travel the world and earn foreign currency, be the first black female to model a De Beers Model, rocked Dianna Ross's famous Gold Dress at an auction in Johannesburg; was the muse for many years to South African pioneer designer Peter Soldatos, work on the Anti-Fur campaign in New York and so on. All with two toddlers under her belt. Now that's where I get my determination from!

Visit the Tee & Whiskey blog and check out the Facebook page too.

A Million Years interview

With their debut album set for release this month, A Million Years lead-singer Keith Madden talks BobbySix.com through his foolproof rules to surviving a tour:

While your run-of-the-mill critic would perhaps explain A Million Years' sound as the fusing of the sonic elements of electronic music and guitar led indie-rock, frontman Keith Madden takes a slightly more abstract angle. "I would describe it as Godzilla and Mothra go shopping for records and skinny jeans. New York City is left in ruins. No man, woman or child is spared."

Produced by Longwave's Shannon Ferguson, not only is the self-released Mischief Maker a collection of sometimes snappy and gutsy, sometimes experimental songs that are sure to get you moving, but, Madden suggests, purchasing it is also a guaranteed way of improving the quality of one's life in general. "Your number of friends will double. Complete strangers will smile at you. Bar tenders will buy you drinks. Police officers will turn a blind eye to your speeding habits. You will finally be able to tell your boss you are quite sick of him referring to you as 'Bro,' and he will oblige."

And so, while the rest of us are testing out whether buying the long-player will actually stop our boss from being quite such a knob, the quartet will be busy touring the US to support its release. "Touring is always a learning experience," Madden says. "Lesson one: go grocery shopping before you leave home. Road food and its glossy trans-fat sheen will only cripple you in the end. Lesson two: Daily showering is not always possible, but a daily change of clothing is. Do it. Lesson three: Highway Patrol mean business. Do not give them an excuse to want to talk to you and if they do, try and figure out what kind of music they like. Are they a Lynyrd Skynyrd kind of guy or a Metallica kind of guy? Randy Newman or Boz Scaggs? Whatever it is, that's the kind of music you play."

When the four guys that make up A Million Years aren't on the road, they live in Brooklyn. A Brooklyn band that is actually from Brooklyn is a rarity in itself, but Madden suggests that, while people might think it is the place to be (and the place to say you're from if you want to appear cooler than you are), it's image is slightly misleading. "Brooklyn is much bigger than most people think it is and probably not as cool as most people think it is. Or maybe it is as cool. I don't know anymore. Being Brooklyn natives we tend to have a love-hate relationship with it. I know I take it for granted a lot and that's something I'm working on calling myself out on."

Regardless of where they live, whether their album has magical life-improving powers and how often they get to shower on the road, the important thing is that A Million Years' music is pretty damn good. However, clearly wise to the current climate of the music industry, and without the clout of a major label behind the band, Madden's knows that (while the long-term future holds ambitions of creating film scores and collaborating with musicians they admire), in the short term, it's about being able to simply survive doing the thing they love. "We hope to put out one or two releases a year, and to make enough money doing this to keep ourselves going. We just want to keep making things, keep the train moving forward."

To hear some of A Million Years' songs, and for more information about their album, visit the band's Myspace page.

Sia - We Are Born

Sia Furler’s fifth studio album sees her continuing the steady move away from the blissed-out space ballads she has become renowned for ever since her Zero 7 days. In fact, more so than ever, We Are Born sees her instead grabbing upbeat electro-pop by the scruff of the neck. In its creation, she has enlisted the help of some experienced hit-makers, including Dan Carey, who has worked with the likes of Franz Ferdinand and La Roux. Meanwhile, Greg Kurstin, who has sprinkled his magic over the songs of Lily Allen and Ke$ha, was the producer.

We Are Born heralds its intentions from the get go. After a Roisin Murphy-esque opener, the next three tracks positively bounce their way out of the speakers. Clap Your Hands has such infectious effervescence that it’s pretty hard not to be carried along with its euphoria, and Stop Trying combines a perky bass-line with the kind of life-affirming lyrics that are all over this record. “We like you,” Sia beams. “This is a game already won.”

Her cover of Madonna’s Oh Father is great, and Be Good To Me really shows off her powerful vocal. While pensive moments like these offer a pace change, for the most part, the Adelaide-born singer is in an irrepressible mood. Probably her best solo record to date, the slickly produced and downright fun We Are Born is the sound of Sia really letting loose. Stand-out track, the disco-pop You’ve Changed, sums up the vivacity of the album as a whole. On it, Sia sings, “You’ve changed/For the better.” Indeed.

Review by Rob Townsend.

Getting To Know... Colin Delaney

Colin Delaney is a Canadian-born Australian living in Amsterdam. As well as being an international man of mystery, he is also a music critic, blogger and all-round talented writer. Here, he takes some time out of his hectic schedule to discuss words, gigs, albums and the big differences between Sydney and Amsterdam.

Writing is for people who want to talk to themselves but are too sane and realise that's only what the crazies do. It's also the best way to earn a living. You shut up and write what you want... then the editor hates it so you stick it on your blog and watch the Google analytics drop.

I’d love to interview Charles Darwin - what a mover and a shaker. And for a similar reason, The Clash's Joe Strummer. But for serious, Magic Johnson, all Oprah-like with tears and highlight reels. And maybe Dan Auerbach from the Black Keys on his front porch with his record collection. A lot of people think they'd be great friends with Dave Grohl but I think I'd be better friends with Dan.

Amsterdam has opened my eyes to how a city should be creatively. I grew up in the country and moved to Sydney (after a few years in Brisbane and overseas) in 2004 and it felt like a thriving metropolis with so much to offer. And it does. But creatively the potential is not being tapped. There could be so many more opportunities. High rent is the biggest problem. I interviewed Pia Jane Bijkerk, a fellow Sydneysider living in Amsterdam. She's a photographer/stylist/author with clients like Saatchi and Saatchi, Vogue Entertainment & Living and Tommy Hilfiger but used to own a boutique in Sydney until it wasn't viable anymore - as she said, "City council and real estate agents need to 'cut some slack' to Sydney artisans as shop rents are so high."

However, in Amsterdam - and the Dutch being the hippy pragmatists that they are -they have started opening up old abandoned warehouses and temporarily empty buildings in the centre of the city to small creatives start-ups because they know it's only going to get squatted in if they don't. My office is in a heritage listed old bank with subsidised rent and seven storeys of the most exciting creative companies in Holland, whether it's collaborative shoe designers, film makers or a company that builds social media for the dead - we even have a bar on the roof overlooking the city. Shit's tight. This is what should have happened to that large building on Crown Street that stood empty for so long. Instead you got a swanky wine bar and so on. That said, the small bar licensing is a step in the right direction. When I was back in Sydney in January, it was a great, pokie-less atmosphere.

I've seen so many amazing gigs at so many at different times and places in my life. Faith No More at Lowlands last year was pretty amazing. My friend and I went nuts, my serotonin levy must have burst because I felt unnaturally ecstatic. Only a few months before that, Blur played in Hyde Park. Among others, to hear Parklife performed in the park it was written about on probably London's most perfect day of the year was a gig to remember. Not to brag, but I see Prince in two weeks, that should be pretty amazing.

If I could only listen to three albums for the rest of my life, they would be:
London Calling by The Clash,
OK Computer by Radiohead,
Ill Communication by Beastie Boys.

Arguably each band's biggest record, but the diversity on each disc is so that if I haven't got tired of flogging them over all these years I see no reason why I ever will.

Aside from writing, I love to travel which finds its way into my writing and in little movies. My girlfriend and I just bought a VW campervan named Bumblebeast to which we'll take around Europe from here to Latvia, down to Turkey and around the Med to Morocco. But before that we're off to France tomorrow to see Jay Z, Missy Elliott, LCD Soundsystem and a shitload more. Which reminds me, I gotta go pack.

Check out Colin (once, twice, three times) Delaney's awesome blog.

Toy Story 3

It has been a good year for animation. Up took it to a new emotional level with its fable about friendship, love, living-for-the-moment and helping/relying on others. Anyone who didn’t cry in the first 15 minutes has a heart made of granite. Then came Cloudy With a Chance of Meatballs - a wittily scripted and truly madcap comedy about raining hamburgers. The latter was, in fact, winning the race to be film of the year at Bobby Six headquarters (not just animated film of the year, film film of the year), until, one rainy afternoon in early July, Pixar dropped their latest bomb. And not just any bomb. Toy Story 3.

Because Toy Story 2 was so close to perfection, it was always going to be tough for this third instalment to live up to expectations. And it has been a really long time coming too… surely it wouldn’t be worth the wait. Well, gloriously, the toys are back in town and their adventures are every bit as good as the two films that came before. In fact, Toy Story 3 might just be the best of the bunch.

Seeing the likes of Woody and Buzz on screen again offers the warmth and familiarity of delving into your own childhood toy box, and there are also new characters to enjoy, not least a vacuous Ken doll voiced, brilliantly, by Michael Keaton. Visually, the movie is stunning (at times you have to remind yourself that Andy is not a real boy, so lifelike are his skin tones and the way he moves). The story whizzes along at pace, with moments of humour punctuating exciting and inventive set pieces. There is laugh-out-loud hilarity (and not the tiresome in-gags that have littered other animated movies, but, rather, well-crafted and perfectly-delivered jokes) and, importantly, there are tear-inducing moments too.

Like the aforementioned Up and Cloudy…, Toy Story 3 has clearly been crafted with genuine loving care, rather than having its dots joined by accountants and marketing executives. It is a work of art, and as perfect an example of storytelling with a heart as you are likely to find.



As an aside, because I chose to see the film in 2D, I found myself having to attend an afternoon showing as there were no evening screenings on that or any other day, whereupon I was herded to a tiny room at the very far corner of the multiplex. The screen was the size of a postage stamp and the audio seemed to coming through speakers with the same power as a pair of ipod headphones. I’m sure those who paid double to see the film in 3D watched it on a massive screen and with beautifully clear surround sound, but, if cinemas are going to charge exorbitant prices for 3D movies, then surely they have a duty to provide as good an experience as is possible for those who can’t afford it. Am I wrong?

BBC 6 Music saved

In news that will have music fans waving their cardigans above their bespectacled heads in delight, the BBC Trust has rejected the BBC's plan to close its station, 6 Music.

BBC Trust chairman Sir Michael Lyons - in a move that is sure to have lovers of indie music rushing to hug him like an especially emotional Morrissey fan - said that the case for the closure of 6 Music hadn't been made.

The initial decision in March to cut 6 Music - a station that plays alternative tunes and offers presenters such as Jarvis Cocker, Lauren Laverne, Andrew Collins, Richard Herring and Adam & Joe - was greeted with fury by marginalised music enthusiasts and led to a high-profile and well-organised protest campaign involving several bands, industry people and thousands of like-minded listeners. In announcing the decision to deny the closure of 6 music, Lyons admitted that, "There is no doubt there was a strong public response."

Today, Lauren Laverne posted on her Twitter, "6Music has been saved. Hooooorrrayyyyy!" Steve Lamacq's rather flamboyant use of exclamation marks ("Top work everyone!!!") suggested he was excited too, and Stuart Maconie was also keen to exclaim his happiness, "You did it kids!!"

Bobby Six headquarters is soundtracked by 6 music, so I would like to add my congratulations to all at the station, and add a big pat on the back to everyone involved in protesting. This is a victory for people who say no to being force-fed the latest auto-tuned, shiny and soulless dross that the commercial stations and the big labels constantly rotate. Simply, it is a victory for common sense and for good taste.

A year in film...

A Year In Film is the debut solo photographic exhibition by Christos Christou and features double exposures, film swaps and cross processing.

Christos is an Eastbourne-based photographer who uses 35mm film and a range of classic and new analogue cameras. His first exhibition showcases some of the techniques he has been employing, such as taking a picture of an everyday image like a telephone kiosk, then rotating the camera 180 degrees and taking another shot before winding on the film. What is created is abstract and until the film is processed there is no way of knowing how whether it has worked. Another technique is film-swapping. Christos invites Flickr users to shoot a roll of 35mm film, then rewind without processing and send it to him. He then, without knowing what is on the film, shoots the entire roll again.

Christos' exhibition takes place at Okto in Eastbourne, East Sussex, England from Thursday 8th July until 8th August.

To see more of Christos' work, check his Flickr stream.

Arcade Fire - Ready To Start

After what seems like an age, Arcade Fire are set to release their new album next month. A few tracks have been doing the rounds of late, including Ready To Start. While there is a lovely melody to this new single, it does feel slightly restrained and ends up falling a little flat. Sure, it builds and builds in the way Arcade Fire do so well, but, just when you think you are going to be smashed around the face with one of those huge, rousing choruses, it never materialises.

Still, although it's more in the vein of Keep The Car Running than the steamrollering magnificence of No Cars Go, it does enough to whet the appetite for the upcoming LP.