Rino's favourite tracks of 2011

A little while ago I put a call out for anyone who wanted to post their favourite music of 2011 on the blog (see sidebar for details - it's not too late). Fortunately, Rino answered the call with a hectic and eclectic list of old and new. Rino is an excellent writer who evades Skynet bots by publishing a blog composed on a typewriter and has released a brilliant book of music criticism called Song Logic which can be bought here. I'll let Rino explain the rest:

What’s an annual top ten list? It’s a list of music discovered (or rediscovered) in a year. I don’t go for too much cool new music, I just don’t get excited by most of it. I get kicks out of the old stuff

White Noise – Mogwai.
The strongest album opener I’ve heard in a long time. And also pure good Mogwai feel and power.

I Am Not Willing – Moby Grape
It’s a solid stoner cut, but I just love the power of the piano chords and drums and the lilting self-pity of the song.

The Bottle – Gil Scott-Heron
Social conscience was never so danceable. Step step step.

Lay All Your Love on Me – Abba
This is Abba at the pinnacle of their power. Secret of longevity: strong song chorus and dance beats. The melodic hook will stay but the beats mean future remixability. This song could go forever for me, especially with that mock-baroque synth line at the end.

All Night Long – Lionel Richie
Such a laid-back dance track. Killer chorus, fudged Caribbean accent, total 80s hit. He never got this good again, but he’s still big in the Middle East.

Chemtrails – Beck
Modern Guilt is such a neat & contained album, and this is the best on it. Great drumming and mood.

Video Games – Lana Del Rey
Because there haven’t been enough torch pop songs since Goldfrapp stopped doing ‘em. [That’s a big hint, Alison]. But here’s a hip new kind of song that sounds old and familiar (without too much kitsch). She’s only 25... a new take on Mazzy Star.

Only Living Boy in New York – Simon & Garfunkel
I blogged about this one – one of the best and feelingest songs about friendship. Ever. And the harmonies in the echo chamber – and the sweet bass – and the sheer love of it.

Walking Papers – Booker T Jones
Add ?uesto drums to the Booker Hammond and you’ve got funk in a bottle.

Cry Tough – Alton Ellis
This and the next cut came via Bob’s Theme Time Radio show. Such a great (Duke Reid) production – the way it references Dub but doesn’t cut in on a great song. Oh wait, that’s on the longer version of this song.

I Drink – Mary Gauthier
A small song that packs a huge emotional punch. So dry, knowing and hurting. The saddest laugh is at one’s own life.

Here’s the complete playlist at GrooveShark http://grooveshark.com/playlist/Rino+Does+2011/64957872
(except the Moby Grape cut – that’s here: http://www.youtube.com/watch?v=_9QwZBQz7XY)

cheers,
rino

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Got a list, submit that shit to metal.only.no.rubbish (at) gmail (dot) com

A song a day: Mogwai: I Know You Are But What Am I?

Hidden towards the end of Happy Songs, could this be Mogwai's simplest and most moving song? Revolving around a plaintive and simple piano motif, this songs aches and speaks in a way that only the best music can. That it is an instrumental track speaks volumes of the genius of Mogwai who can use either distorted brute force or a single piano to the same effect - an emotive force that sweeps the listener into their own introspective space. Whenever I hear those opening notes my heartbeat slows, a chill goes up my spine and my gaze turns inward. I can't explain it but this song just moves me in ways that haunts my dreams. Remember to play this one at my funeral.

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Love you live...

Inspired by Matt’s recent posts about Hammerbox and Everclear, I started thinking about the best live shows I’ve seen. A great show can be a magical thing and it’s often a combination of elements that coalesce into a cocktail of awesomeness. For me, that list may include:

a) Any band being ‘on’ and playing a devastating show

b) Being at the height of your fandom when you see a gig

c) Seeing a band/artist you’ve loved for years but haven’t had the opportunity to see before (a common occurrence for fans in Australia)

d) Never heard the band/artist before but having that feeling that your life has just being changed.

e) Something special happens that night either on stage or with the venue

f) It ties in with a memorable moment in your life.

For example, my number one gig is Queens on the Songs for the Deaf tour. I don’t think there’s anything as special as standing second row watching your favourite band at the height of their powers play your favourite album while PJ Harvey dances at the side of the stage. Sometimes a show just clicks and it transcends the ages. Anyhow, these are the shows that live large in my memory:

1. Queens of the Stone Age – Metro Theatre, Sydney, 2003

2. Bob Mould – The Zoo, Brisbane, 2002

3. Sleater Kinney - Gaelic Club, Sydney 2002

4. Mogwai – Newtown RSL, Sydney 1999

5. PJ Harvey – Enmore Theatre, Sydney 2001

6. Superchunk – Livid Festival, Brisbane 1994

7. You Am I – Livid Festival, Brisbane 1992

8. Built to Spill – Petersham Bowling Club, Sydney 2008

9. Jesus Lizard – The Globe, Sydney 1998

10. Dirty Three – The Metro, Sydney 1999

All are memorable for different reasons ranging from Superchunk having a terrible gig technically but being all the more entertaining for it to seeing the Dirty Three on a combination of flu tablets and beer and starting to hallucinate to the music. Shows that just miss out are Faith No More (1995), Jawbreaker (1995), Fugazi (1997), Shihad (about 20 times), Mark Eitzel (2008) and Metallica (2010, such a good time). The one thing about all those shows, they all sounded amazing (except Superchunk) so tip your sound woman/man at the door.

Then there are the disappointments such as Radiohead, Ryan Adams, Iron and Wine, Stereolab and Sigur Ros – the main crime being that they were boring or bad. Oh and those fucking gigs I was dragged to being assured me a good time – Steve Malkmus and the oh so pretentious Tortoise. If I wanted to spend the night watching an aloof dude twiddle on his guitar while ignoring the relentless screams for Gold Soundz, I’m sure I could have arranged that at home. Tortoise’s ploy of refusing to play until the room went silent seemed like bullshit to me and then they played their monotonous post-rock to the Wire (magazine) set who were having orgasms at every xylophone solo – dull, dull, dull…

Anyhow, just thinking on it. I don’t get out to shows too often at the moment but of the hundreds of shows I’ve seen, it makes me think of all the enjoyment, nourishment and positivity music has brought to my life. I think we can all agree, music rocks. But also here's hoping my favourite concert event is yet to come...

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In defence of Mogwai...

Do Mogwai need defending? Probably not. I'm sure these Scottish lads would take on all comers if it got down to a fight but I feel I need to defend them. The reason for this is that I read a lot of music press and as time goes on, it seems that Mogwai are often maligned for existing longer than some people would have hoped - releasing albums that are perceived as not as revolutionary as their early works. I think that's crap and here's why.

I remember the first time I saw Mogwai was at Newtown RSL in 1999. It was one of those occasions where I didn’t really know too much about the band but my friend said I really, really had to go and see them. I’m glad I really, really went because this was one of the most memorable gigs I’ve ever seen. This was just before the release of Come On Die Young and they were playing songs from that album and the ep called ep (later re-named ep+6). The most enduring memory I have of the night is them playing an epic elongated version of Rage: Man. As the waves of distortion heaved and swayed around the anchoring piano line, it seemed as if the band were levitating as the music became more and more intense. I still get chills thinking about this.

At the time, I’d heard a bit of this kind of music before (I shudder to say Post-Rock) – mainly Tortoise who I confess did little for me. However, Mogwai had this visceral edge that trod the line between mournful beauty and unrelenting brutality which made me a convert instantly. I purchsed their back catalogue and eagerly awaited each new release. However, I started to notice after the release of the My Father, My King ep that people started to get a bit dismissive of them. I remember spouting off the joys of Happy Songs For Happy People to be met with ‘it sounds like Mogwai by numbers’ as well as reading some pretty average reviews. Anyone revisiting that album might be surprised to find that some of Mogwai’s most moving and beautiful music is on that record but you wouldn’t know it from most fans of the band. They keep blathering on about Young Team and Like Herod. Don’t get me wrong, both are amazing but my question is just how exactly can Mogwai not be a disappointment to these people? As perfect as some people may think these albums are, musicians (or humans for that matter) cannot stand still in time (unless they're AC/DC).

Mogwai mine and explore a definite sonic landscape and while their palette is pretty broad, you can always pick a Mogwai song. As such, their sound is defined while constantly evolving within this template but that doesn’t seem to be enough. When Young Team came out it was probably pretty revolutionary (10 minute songs! No vocals!) and no matter what they do they/the fans will never be able to replicate that first rush of discovery. The music on the later albums is not groundbreaking the way the early stuff was because it’s already been done – BY Mogwai. However, that doesn’t make those albums any less beautiful or worse than the early ones – it just makes them NOT the early ones. Seriously, do you want them to release a barbershop album or something?

The reason I bring this up is because I’ve been reading some pretty begrudging reviews of their latest album Hardcore Will Never Die But You Will (one of the greatest album titles of all time I would contend). A lot of the reviews mention how lame the last few albums are but I think that’s bullshit and I’m calling it as such. In the eyes of the reviewer, they are lame because they didn’t re-write Like Herod five times. To be honest, some of my favourite Mogwai songs are from the latter albums and even though I have a special space in my heart for the first albums (and especially the ep), my taste has moved on (as has Mogwai’s music). In fact, my favourite Mogwai song is from the much maligned The Hawk is Howling (4.5 Pitchfork? Fuck off you wanker!).

The first song off this record, I’m Jim Morrison, I’m Dead encapsulates everything I love about the band in a single song. Plaintive piano, waves of distortion that lead to the an ecstatic and moving release. Seriously, at 3:06 the song starts to build for almost a minute until it breaks at 3:56. Every time I listen to it I get chills - essentially, they have created the perfect Mogwai moment in that 1 minute of space for me. The release is so heart breakingly beautiful that I can’t fathom why these albums are derided as they are. I listen to Mogwai often and I can’t say that any of their records sounds like they’re phoning it in. Music by numbers does not seem to be an option for this band, everything bleeds with exploration, graft and beauty.

Anyhow, without being too much a blabbering fan boy, my eventual point is that when I hear these songs I still get the giddy rush I always did when listening to Mogwai and I can't quite understand why the later albums are not embraced as much as the earlier ones. The music is good (if not great), is that not enough?

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I'm still digesting Hardcore but here's my favourite later Mogwai songs:

I Know You Are But What Am I?
Ratts of the Capital
Auto Rock
Emergency Trap
Friend of the night
Batcat
I Love You, I’m Going To Blow Up Your School
Terrific Speech
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