Here be my 10 favourite albums of the year:
1. My Beautiful Dark Twisted Fantasy by Kanye West
All those crazy, musically-diverse layers - beats, lyrics, themes, ego and doubts - through the album.
watch: the trailer (or "moving portrait" as Kanye called it) for the video for 'Power' (which is rumoured to be 40+ minutes long), my favourite song along with 'Monster' (but I love Monster more for Nicki Minaj's verse - she steals the song out from everyone)
2. The Suburbs by Arcade Fire
The album did not grab me on first listen, but it was definitely a grower - just like previous album Neon Bible - and by the end of the year I had completely fallen in love with the storytelling, the atmosphere. The music is lighter, but the claustrophobia of the Suburbs is clear still within, the dark heart under the beautiful, peaceful surface.
Listen: 'The Suburbs' / 'Month of May'
3. All Days are Night: Songs for Lulu by Rufus Wainwright.
I love that Rufus Wainwright's idea of“stripped back”still includes gorgeously lush piano-driven heartbreaking paens to grief and love.
Download: 'Who are you, New York?'
4. Everything Under the Sun by Jukebox the Ghost
So many fine, catchy pop songs, so much intelligent thought behind it. Great follow-up album.
Watch: the band being interviewed at the 'Bean' in Chicago, where they talk about Ben Folds Five comparisons and why they have such a weird band name.
5. Mines by Menomena
I love the musical layers in the songs, from the different qualities of the voices to the fuzzy bass to the beat to those great horns.
Download: 'TAOS'
6. Danger Days by My Chemical Romance
Anthemic and built to be played loud - it's not rocket science, but it is damn catchy and fun.
Watch: Art is the Weapon - a trailer of sorts for the first single, the intro for the thru-story and palette and concept for their whole album.
7. Life is Sweet! Pleased to Meet You by Lightspeed Champion
Great songs that are more complex than they seem at first, with lush orchestral arrangements, clever lyrics, and diverse musical styles.
8. Steel Train by Steel Train
Sweet, fun indie pop that I've had on repeat constantly this year.
Listen: 'Turnpike Ghost'
9. The Age of Adz by Sufjan Stevens
I'm still not sure I entirely like this album end-to-end though that might be my reflex reaction to at times deliberately harsh electronica mix through his trademark his beautiful, floaty music. But the album does have some absolutely terrific moments, such as I Walked and the 25 minute standout, Impossible Soul.
Download: 'I Walked'
10. The ArchAndroid by Janelle Monae
I love her voice, and the ambitious mishmash of genres and styles all through her music, while remaining catchy as hell.
Watch: the video for 'Tightrope' - great song, great storytelling, creepy video with some mesmerising footwork. What's not to like?
Honourable Mentions
Bad Books – Bad Books
Belle and Sebastian - Belle and Sebastian Write About Love
Annuals – Sweet Sister EP
Boy & Bear – With Emperor Antarctic EP
Looking forward to new releases in 2011 from:
Patrick Wolf (Lupercalia)
Panic! at the Disco (Vices and Virtues)
The Decemberists (The King is Dead is out now)
Bright Eyes (The People's Key)
Okkervil River (I am Very Far)
Manchester Orchestra (Simple Math)
Taking Back Sunday
also rumoured to release new albums are:
fun.
Radiohead
Blink-182
It's looking to be an exciting new year of music! And hopefully some of these guys tour, which brings me to...
live music from 2010!
I saw a total of 19 bands at 16 shows. This included seeing Kevin Devine 3 times and Brand New twice in the space of five days and I don't regret any of that at all (as you will see from the list of best shows below).
Nine Favourite Performances
1. Kevin Devine @ East Brunswick Club, 29 Mar
2. Brand New @ Enmore Theatre, 25 Mar
3. The Decemberists @ The Metro, 19 Jan
4. The Pixies @ Hordern Pavilion, 14 Mar
5. Delta Spirit @ Factory Theatre, 3 Oct
6. Band of Horses @ Enmore Theatre, 29 July
7. Spoon @ The Forum, 7 May
8. Sunny Day Real Estate @ UNSW Roundhouse, 23 Feb
9. Neko Case @ City Recital Hall, 12 Jan
Upcoming Shows:
Sufjan Stevens, Menomena, Andrew McMahon, Belle and Sebastian
Showing posts with label rufus wainwright. Show all posts
Showing posts with label rufus wainwright. Show all posts
Sunday, January 16, 2011
Wednesday, January 30, 2008
Rufus Wainwright - 29 Jan 2008 - State Theatre
This was a fabulous show, musically beautiful, and really fun because Rufus Wainwright’s personality really shone through the performance. It didn’t hurt that he played a great long show (2+ hours), mostly of songs from his latest album Release the Stars, but with wonderful dips into the repertoire from all over his career, from old favourites to an Irish folk song taught to him by his mother to a couple of songs from his acclaimed Judy Garland show.
He started out the night in a multicoloured striped suit dotted with more sparkly brooches (and matched nicely by his band in *slightly* more subdued costume), singing the title track from Release the Stars, followed by a stint at the piano for Going to a Town, then strapping on a guitar for the song after that. He, and most members of his seven piece band, were skilled multi-instrumentalists, playing everything from recorder to banjo. Apart from the fantastic musicianship, the show was a lively affair with costume changes – Rufus performed the second set in lederhosen, then returned for the encore in a fluffy white bathrobe which concealed the surprise in store for the finale; fan participation; deprecating humour and arch little asides, and a fair bit of off-the-cuff banter that drew the audience into his confidence and under his spell.
Highlights for me were The Art Teacher, which was just fantastic live: the piano bass ominous and dark, and yet sounding so so lovely and warm in regret with the French horn accompaniment; and Do I Disappoint You, an Eastern toned song full of major-to-minor chords that give it this weird shifting feel, and live it opens up into this amazing piece, baroque in its instrumentation, giving it a wild sound. It starts off with just the guitar and the electric guitar, an almost harsh strict intro, and after the massive build up of the song, it ends with just a flute at the end, a balance of sweet leavening the bitter.
Rufus’ lovely, chocolate-rich voice was showcased so well in so many different ways; apart from his own songs, he performed two numbers from his Judy Garland at the Carnegie Hall 1961 show - a Gershwin (A Foggy Day) and a Noel Coward piece (If Love Were All) - accompanied only by a piano; and after he remarked admiringly on the decor of the State Theatre again and wondering whether it had any history as a vaudeville theatre, he stepped away from the microphone into an actual vaudeville-like performance of an Irish folk song his mother, singer Kate McGarrigle, taught him, I was pleasantly surprised by how well his voice carried in the theatre without amplification, even over the diminished acoustic band accompanying him.
It seemed the finale would be a rousing finale of 14th Street, ending with an extended jam after Rufus left the stage, as each musician took their turn showcasing their skill on their instrument, then bowing out until only the banjo/guitar player was left to do a solo. However, there was an encore, and oh, what an encore. Rufus came back on stage in a white fluffy bathrobe, and proceeded as if nothing was amiss.
After two older songs, both well received (Poses, with Rufus solo on the piano, was just as lovely as I could’ve ever hoped for), the stage darkened, and he moved to the front of the stage and sat down on a chair there. He then put on some more shiny jewellery, holding up each piece to the light for the audience to see; then carefully applied bright red lipstick; then cheekily held up a pair of black heels to applause before putting them on; and as he moved back onto the dim stage, a band member dove out to stand behind him to protect his modesty while he removed the bathrobe to reveal Rufus channelling Judy Garland in no more than a black fedora, a tailored black suit jacket, and shapely legs in opaque stockings and heels. The ensuing performance of Get Happy was awesome – yes, happy, and so so much fun, with band members diving all over the stage in enthusiastic choreography around Rufus as he danced and strutted and performed his divalicious heart out – with the audience obviously, audibly appreciative of the theatrics and joy of the act.
And then to round out the night, a nice performance of Gay Messiah; though overshadowed by the immensely enjoyable piece before it, it served as a good summary of the Rufus Wainwright experience – full of the good sly humour he’d shown all night long, the subversiveness of words and song, the wonderful music.
Release the Stars
Going to a Town
Sans Souci
Rules and Regulations
Matinee Idol
The Art Teacher
Tiergarten
Leaving for Paris
Between My Legs
-
The Consort
Do I Disappoint You
A Foggy Day
If Love Were All
Beautiful Child
Not Ready for Love
Slideshow
Macushlah
14th Street
-
I Don’t Know What It Is
Poses
Get Happy
Gay Messiah
He started out the night in a multicoloured striped suit dotted with more sparkly brooches (and matched nicely by his band in *slightly* more subdued costume), singing the title track from Release the Stars, followed by a stint at the piano for Going to a Town, then strapping on a guitar for the song after that. He, and most members of his seven piece band, were skilled multi-instrumentalists, playing everything from recorder to banjo. Apart from the fantastic musicianship, the show was a lively affair with costume changes – Rufus performed the second set in lederhosen, then returned for the encore in a fluffy white bathrobe which concealed the surprise in store for the finale; fan participation; deprecating humour and arch little asides, and a fair bit of off-the-cuff banter that drew the audience into his confidence and under his spell.
Highlights for me were The Art Teacher, which was just fantastic live: the piano bass ominous and dark, and yet sounding so so lovely and warm in regret with the French horn accompaniment; and Do I Disappoint You, an Eastern toned song full of major-to-minor chords that give it this weird shifting feel, and live it opens up into this amazing piece, baroque in its instrumentation, giving it a wild sound. It starts off with just the guitar and the electric guitar, an almost harsh strict intro, and after the massive build up of the song, it ends with just a flute at the end, a balance of sweet leavening the bitter.
Rufus’ lovely, chocolate-rich voice was showcased so well in so many different ways; apart from his own songs, he performed two numbers from his Judy Garland at the Carnegie Hall 1961 show - a Gershwin (A Foggy Day) and a Noel Coward piece (If Love Were All) - accompanied only by a piano; and after he remarked admiringly on the decor of the State Theatre again and wondering whether it had any history as a vaudeville theatre, he stepped away from the microphone into an actual vaudeville-like performance of an Irish folk song his mother, singer Kate McGarrigle, taught him, I was pleasantly surprised by how well his voice carried in the theatre without amplification, even over the diminished acoustic band accompanying him.
It seemed the finale would be a rousing finale of 14th Street, ending with an extended jam after Rufus left the stage, as each musician took their turn showcasing their skill on their instrument, then bowing out until only the banjo/guitar player was left to do a solo. However, there was an encore, and oh, what an encore. Rufus came back on stage in a white fluffy bathrobe, and proceeded as if nothing was amiss.
After two older songs, both well received (Poses, with Rufus solo on the piano, was just as lovely as I could’ve ever hoped for), the stage darkened, and he moved to the front of the stage and sat down on a chair there. He then put on some more shiny jewellery, holding up each piece to the light for the audience to see; then carefully applied bright red lipstick; then cheekily held up a pair of black heels to applause before putting them on; and as he moved back onto the dim stage, a band member dove out to stand behind him to protect his modesty while he removed the bathrobe to reveal Rufus channelling Judy Garland in no more than a black fedora, a tailored black suit jacket, and shapely legs in opaque stockings and heels. The ensuing performance of Get Happy was awesome – yes, happy, and so so much fun, with band members diving all over the stage in enthusiastic choreography around Rufus as he danced and strutted and performed his divalicious heart out – with the audience obviously, audibly appreciative of the theatrics and joy of the act.
And then to round out the night, a nice performance of Gay Messiah; though overshadowed by the immensely enjoyable piece before it, it served as a good summary of the Rufus Wainwright experience – full of the good sly humour he’d shown all night long, the subversiveness of words and song, the wonderful music.
Release the Stars
Going to a Town
Sans Souci
Rules and Regulations
Matinee Idol
The Art Teacher
Tiergarten
Leaving for Paris
Between My Legs
-
The Consort
Do I Disappoint You
A Foggy Day
If Love Were All
Beautiful Child
Not Ready for Love
Slideshow
Macushlah
14th Street
-
I Don’t Know What It Is
Poses
Get Happy
Gay Messiah
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