The Music of 2007

That time of the year has come around again, where the calendar reaches it's end and we need to throw it away and buy a new one, where we have an excuse to get drunk and watch fireworks, and where we draw an arbitrary line in the sand as a period of time to reference events. What an eventful year this has been, we've gotten a new Prime Minister here in Australia and buried the coconut, Bush has become a lame duck as all focus is on the potential candidates for next years election (18 month election campaigns are a total waste), England bombed their Euro 2008 campaign while Pakistan was bombed by Islamic radicals, Australia won the world cup for the third time in the most farcical manner, Al Gore won a peace prize for his slideshow presentation (it was a pretty good slideshow, and he was way more deserving than Mother Theresa), and a heap of stuff more that I probably should be aware of.

In the end the year has left me with a sense of cautious optimism for the future. It's great to see the world coming together and working towards a global solution for tackling climate change, there has been a greater focus on the rights of the individual even in countries where Sharia law persists. No, it's not perfect, yes there is a lot of shit going down, Pakistan is extremely volatile right now, Afghanistan is going bad again while Iraq is still a shambles. But there is hope persisting. It will be interesting to see the impact of Blair's convoy to the Middle East, hoping we can see a Palestinian state in the next few years. But all of this is irrelevant to this blog, I just want to focus on the music of the year.

Albums
Top 10

10. Saul Williams - The Inevitable Rise And Liberation Of Niggy Tardust
I've covered the crux of this album in an earlier post. At the risk of repeating myself I'll recap why I believe this is one of the great albums from this year. Saul Williams is at his lyrical best, the production values are amazing, and apart from the Drum and Bass Reznoresque cover of Sunday Bloody Sunday the album really stands out as a classic. Turn it up and listen to how an Industrial god puts most rap producers to shame. Online is the future of album distribution, great to see quality releases like this embrace the format.
Best track: WTF!

9. Electric Wizard - Witchcult Today
A great album to chill the fuck out to. It rivals the sheer crunch that was Melvins - (A) Senile Animal, it's just unbelievably consistent and the album flows seamlessly from beginning to end. Slow grinding riffs are brilliantly layered between fitting drums and solid vocals. It's one of those albums that you can appreciate just as long as you sit down and hear the whole thing.
Best track: Satanic Rites of Drugula

8. The Icarus Line - Black Lives On The Golden Coast
This album took a while to grow on me, in the beginning I was lamenting Aaron North's exit from the band and saying "boo, not as good as Mono", but the more I listened the more I enjoyed the album for what it is. They've done something different and they have done it well. It's more melodic than anything they've released before but that is by no means a bad thing. the album itself is a nice variety, oscillating from intense to laid back compositions, though the only criticism I could muster is sometimes the need for vocals overshadows the rest of the music. Though the lyrics seem quite irrelevant at times and the vocals become another instrument in the bands. Overall a solid release, worth listening to over and over again.
Best track: Slayer

7. Dream Theater - Systematic Chaos
It's always good hearing technically proficient musicians working together, sometimes the precision gets in the way of the music quality, but not on this release. Dream Theater have gotten the balance right. The riff interchange between keyboard and guitar is seamless, reminds me a lot of UK's self-titled album. It's good to see a split track, In The Presence Of Enemies is both a fantastic opener and ender. This is a seminal prog-metal release, 78 minutes of everything that is great about the genre. I look forward to seeing some of these tracks live in a months time.
Best track: Prophets Of War

6. Rosetta - Wake / Lift
No this release is not The Galilean Satellites, the band has progressed their sound into something new. A much more Post-Rock release than their last, though it hasn't stopped this band from sounding as unique as they did 3 years ago. The music is so densely layered and the long winding compositions are so meticulously fine-tuned, it is a delight to sit back and just take in from beginning to end.
Best track: Wake

5. The Dillinger Escape Plan - Ire Works
I was hotly anticipating this album on the back of the quality of Miss Machine. Despite Chris Pennie defecting to C&C and Brian Bennoit taking a break due to a hand injury, they've come back and done something fantastic again. Greg Puciato has taken a much more expansive role with his vocals, there is actual singing on this release. The album itself is technically brilliant, the interplay between drums and guitar is as sublime as we've come to expect from DEP, and the song writing is more mature than ever. There are parts that are going to piss off the die-hard fans of Calculating Infinity but who cares? This is a wonderful album in it's own right, full of aggression, mathematical precision and sublime musicianship.
Best track: Dead As History

4. Dark Tranquillity - Fiction
This is just an incredibly balanced album, Dark Tranquillity have gotten the balance perfect. Melodic Death Metal at it's finest right here. The interlay between the keyboard and guitar as the melodic instrument is done seamlessly, the interlaced piano transforms the album from solid to fantastic, everything has just fallen into place. Even the lyrics are perfectly fitting for the chaos surrounding them, yet never are overbearing on the sound. The metal release of the year for sure, just listen to Icipher and see for yourselves.
Best track: The Mundane And The Magic

3. Battles - Mirrored
This was a very pleasant discovery of 2007, decided to check them out after they were added to next years Big Day Out line-up. While being a perfect example of avant-garde math-rock, most of all this is a fun album to listen to. The almost chipmunk like vocals fit beautifully over the music, elaborate compositions that you just want to dance poorly out of time to.
Best track: Tonto

2. Deerhunter - Cryptograms
A perfect mix of ambiance, post-punk and noise rock, Deerhunter have created an album truly worthy of being called a masterpiece. It captivates from the first few notes of the intro and leaves you wanting more when Heatherwood finishes. The composition is sublime, each track flows so well into the next and the mix of ambient pieces spacing out the more rock style pieces is done just perfectly. Each listen just begs me to start over again.
Best track: Heatherwood

1. Porcupine Tree - Fear Of A Blank Planet
What can I say? It's been a year of excellent prog releases. And Porcupine Tree have made the best of all of them. One thing this album does above all others is the focus on songwriting, the intense tracks come from a perfect balance of lyrics and prog styling in a way only Steve Wilson can deliver. It's one of the best concept albums I've heard in years, it really captures the apathy that is the offshoot of modern technology and culture. Sometimes the music is a thing of beauty, the harmonies hit just convey the meaning so precisely. Since it's release in April, it's had the staying power to be played all year despite the stream of other great music out there. And the subsequent EP Nil Recurring completed and complemented this release so well. The best praise I can give it is it's better than In Absentia. Well done Porcupine Tree.
Best track: Anesthetize


Honourable Mentions
So many good albums came out this year, so this list will be a little longer than normal, but all these deserve mention in some form. No particular order to this.

* Riverside - Rapid Eye Movement
* Puscifer - V Is For Vagina
* Radiohead - In Rainbows
* Coheed & Cambria - No World For Tomorrow
* Alchemist - Tripsis
* Symphony X - Paradise Lost
* Clutch - Frome Beale Street To Oblivion
* Ministry - The Final Sucker
* The Ocean - Precambrian
* Minus The Bear - Planet Of Ice
* Unkle - War Stories
* Strung Out - Blackhawks Over Los Angeles
* Paradise Lost - In Requiem
* Down - Over The Under
* Queens Of The Stone Age - Era Vulgaris
* Rosetta & Balboa - Project Mercury (split)
* Animal Collective - Strawberry Jam
* Nine Inch Nails - Year Zero
* Regurgitator - Love And Paranoia
* Arch Enemy - Rise Of The Tyrant
* Daysend - The Warning
* Skinny Puppy - Mythmaker
* 65daysofstatic - The Destruction Of Small Ideas

Notes
Just wanted to say a few more things. It's sad to see Ministry go out, been consistenly good for almost 2 decades, The Last Sucker was a fitting end to their recording career. Good to see NIN release something different and while it may not have pleased many hardcore fans, it's good to see Trent try something new. A Nick Oliveri-less QOTSA showed it could still rock, while Billy Corgan didn't quite match it for the Smashing Pumpkins reunion record. Baroness tried to copy Leviathan if it were mixed with a little Neurosis while The Ocean did a better job of staying on the forefront of what is great with modern metal. In terms of Australian music, Regurgitator released their most consistent album in a decade while Alchemist and Daysend showed that the metal scene here is alive and kicking. Radiohead captured the media's imagination with it's gimmicky fight against piracy while capturing Pitchfork's love of the band. Punk died a little more on the inside with Bad Religion's new release, though Strung Out did it's best to try something different. Marilyn Manson has faded into obscurity as his shock rock tactics grow weary and all musicians around him work on other material. And still no democracy in china...

Next year sure is shaping up to follow the spectacular. New Meshuggah, Opeth, Nevermore, The Mars Volta and Cog to name just a few I'm excited about, plus there is sure to be countless others and the second half of Year Zero. Something to look forward to in the new year I suppose.

The Gigs Of '07
2007 was my busiest year for live music ever, 12 live shows and 3 music festivals, it's left me worn out and my credit card maxed out. Still a lot of fun though.

Top 10 Sets
1. Nine Inch Nails (Hordern Pavilion, 16/09)
2. Tool (Sydney Entertainment Centre, 24/01)
3. Nine Inch Nails (Luna Park Big Top, 15/09)
4. Muse (Gold Coast Big Day Out, 21/01)
5. Slayer (Thebarton Theatre, 15/04)
6. The Cure (Sydney Entertainment Centre, 10/08)
7. Isis (The Metro, 03/02)
8. Bad Religion (Hordern Pavilion, 07/11)
9. Cog (Greenroom, 27/11)
10. These Arms Are Snakes (The Metro, 03/02)

Honourable mentions
* Kasabian (Gold Coast Big Day Out, 21/01)
* The Killers (Gold Coast Big Day Out, 21/01)
* NoFX (Manning Bar, 17/02)
* The Bronx (Greenroom, 28/02)
* Mastodon (Thebarton Theatre, 15/04)
* Regular John (Come Together Festival, 10/06)
* Mammal (Come Together Festival, 10/06)
* Shihad (Come Together Festival, 10/06)
* Alchemist (Bar Broadway, 17/08)
* New Pants (Greenroom, 05/10)

Next year I already have 6 gigs lined up, including the prize scalps of Rage Against The Machine and Dream Theater. I've been waiting to see RATM since I was 14, so the teenager in me is going into overdrive. The Big Day Out line-up is great though I can foresee many clashes. And with Tool, Dillinger Escape Plan, and Coheed & Cambria all rumoured for tours within the next six months and a Rosetta tour in June (so stoked they are playing Canberra) I'm already excited about the prospects, maybe even a Helmet show to these parts as well. Though finances will keep me away from V Fest unfortunately, though Smashing Pumpkins, QOTSA & Air are tempting me more than an open bottle of fortified wine.


It's been a great few years for music, and there still are plenty of albums I didn't probably check out due to time. I look forward to the next twelve months and can only wait in wonder to see what the music world can offer me*. Happy new year!

*a legal equivalent to Oink

The inevitable rise and liberation of legal MP3s

As us format elitists are seething about Radiohead only releasing their album in 160kbps, two major events have happened recently on this front. OiNK has been shut down, and Trent Reznor has made good on his word by helping Saul Williams release their collaboration on the Internet - in the format of choosing and for only $5 US (or free if you choose)

First off, a quick word about the Radiohead album. Yes I did purchase it, I paid 4 pounds ($10AUD), and I really did enjoy the album. Personally I think its their best since OK Computer. Though I am disappointed in the sense that I "bought" the album in such a low quality. 160kbps might have been okay back on dial-up days, but in the days of Cable and high-speed broadband, I don't get the logic behind it. Especially as the audience they are aiming at are those who can tell the difference and want something more... and this leads me directly to Oink

1. The OiNK Affair
This article sums it all up tbh, its a long but very engaging read, a rant that anyone would be proud of. Oink was great for someone like me, it allowed me to get music I wouldn't normally even dream of hearing at the format of my choosing, there are so many bands that because of OiNK I've gotten into then went and saw them live. Without it, I'm lost when people recommend me new stuff.

Its not that I want to rip artists off, I don't. Though I won't deny the convenience of it all. Every time I buy a CD these days, all I do is rip it and play it through my computer or MP3 device. MP3 may not have the sound quality of CD, but MP3s are far too damn convenient. I have a huge library available at a click of a mouse button. Compared to that CDs seem bulky, archaic devices whose only real purpose anymore seems to be for the car (and even then, MP3 players are fast becoming the standard) and as a collectors item. In a wireless media world, it seems such a waste to take up precious space with CD cases, where a HDD can store thousands upon thousands of albums and be conveniently accessed.

OiNK brought something to the music industry that companies have tried to suppress: choice. It wasn't a collection of overpriced shitty pop discs like most record stores, pretty much anything you wanted was there to grab. Albums that are out of print, rare and esoteric bands that it would cost more in shipping than the album itself to get here. It was all there and at a bitrate that does as much justice as possible to the original release. And the reason all this worked so well is that it was consumer driven - the music fans sharing music with other music fans, who wouldn't want to be a part of that. The product? great music. The currency? sharing with others. But somehow the anti-piracy groups thought people were making a profit out of it and shut it down. But in truth the people who make money out of file sharing are... THE ARTISTS!

That's right, the artists make money out of file sharing. Not directly of course, but as a result of increased concert ticket revenue and merchandise sales. The great thing about filesharing is that it has taken the focus away from creating CDs (then touring in support) back to the performance aspect. While it may not be ideal for the bands themselves, its a huge win for the music loving consumers. This year alone I have seen: Tool, Muse, The Killers, Isis, These Arms Are Snakes, NoFX, Mastodon, Slayer, The Cure, Nine Inch Nails and many more. Most of which I would have never heard if I hadn't had people there to recommend me the music. And there are so many more like me that instead of paying $30 for an artist they haven't heard, they have downloaded the music, then gone and saw the band live and bought the CDs in the end.

Its the corporate entities that have built up their whole business model, the ones who are responsible for frivolous lawsuits against music fans, the ones who populate music stores with that shitty pop and generic metal, they are the ones who lose out. Their whole system is built around the CD. They have the artists tied to insane contracts. Its not about the music for them, its about the profit. And unless they understand the needs of the consumer and the artists and adapt to the global market brought on by the Internet, they will crash and burn... and I'm sure sue a few more music fans for several hundred thousand dollars in the process. Companies suing Youtube and Myspace because they are no longer in control of their product. The reason they aren't in control... CONSUMERS FINALLY HAVE A SAY

Thanks to this global distribution system, us in Australia are realising how much we are being ripped off. Our dollar is good, yet we pay $30 instead of $17 for CDs. We pay $100 instead of $50 for games. TV shows come out here months after they are screened in the US, sometimes put on at ungodly hours or aren't even shown on free-to-air TV. No wonder people in Australia feel cheated by the system. The system expects us to pay more and wait longer for a product thanks to this archaic distribution system. Well fuck that! This is the age of decentralised information. We get the news immediately, newspapers have had to adapt and move to posting articles online. As have magazines, they have become quite irrelevant with most of their content coming out online well before they are published and distributed. The system is moving forward. And now when we are all citizens of a global village, why the regional solutions still stay is beyond me. We didn't even get half of Grindhouse released here before the DVD came out in the US. No Aqua Teen Hunger Force movie period. Location shouldn't be a problem, and the Internet makes it more irrelevant as technology increases.

So bring back Oink. Throw fees on it if need be to help pay the artists who have their music replicated. The consumers now know they can get something better than the shitty pop music that fills record stores, and they can get it so much more conveniently. Adapt or be destroyed.


2. The Inevitable Rise And Liberation Of Niggy Tardust
Normally I'm not a fan of hip-hop, the genre shits me (for lack of a better word), especially the crap on the charts. Saul Williams is an exception to that. And with my all time favourite artist, Trent Reznor, at the helm I was very excited to get my hands on this release.

I've got to say almost everything about this release is great. Saul's lyrics and vocal style are sublime as usual and and the music fits almost perfectly in the background. There are times when the sound drifts towards that of NIN (especially the sounds of Year Zero), but mostly the Reznoreque elements are subtlety interlaced behind the main riffs. A good example is the piano on Convict Colony. There is a big "what the fuck" to the cover of Sunday Bloody Sunday. Not that it sounds terrible, it just doesn't fit with the rest of the album. The first half of the album overall is solid, though a bit unspectacular. Unfortunately some of the time it sounds like Saul is doing an impersonation of Trent when singing, though it's not surprising given the same thing happened on Year Zero. Niggy Tardust has vocals like this, though of the whole album it has my favourite lyrics.

The highlight track for me is WTF! As a song it just fits together so well, great lyrics, fitting music, catchy chorus, and the most complex song structurally on the album. Absolutely love the outro. As the album wears on, the tracks get more and more diverse. Scared Money has a very retro funk feel while Raw is, oddly as the title suggests, stripped back to the bare minimum that constitutes a song. Skin Of A Drum is at times an Industrial Music outcast yet still carries the human touch. The last 30 minutes is a journey through different moods, points and counterpoints, lyrical brilliance coupled with pronounced accompaniment. And it all finishes so strongly with The Ritual.

Its great to see an album that gets better at it goes on, most albums put the best tracks first then descend as more and more filler songs pad out what would have been a killer EP into an average LP. But as it is with almost every single NIN album, the strongest tracks are saved until the end. Albums like this are the reason to listen from start to finish, not to take each track individually but rate it as a whole. There must be a lot of hip hop producers out there right now listening to this and feeling quite green that an Industrial musician has managed to produce a hip hop album of this quality.


In the end, this album has showed the abilities and versatility of both Saul Williams And Trent Reznor. It makes me wonder how good the Zack De La Rocha / Trent Reznor album would have sounded. And like the Tapeworm project, I guess only a few people will ever know, though I have a faint glimmer of hope that NIN leaving Interscope will clear up the contractual problems and we'll see an Internet release. After all, there is a huge legion of fans who have showed they are willing to support Internet downloads... provided its not the terrible crap available on iTunes.