I'm so fucking excited! In late December I wrote a post about the making of Chris Sorbello's "So Lonely" video clip and after 3 long months, the damn thing has finally hit the net. At first I was almost too scared to watch it. I love Chris and really didn't want to test the boundaries of our friendship by trashing her video (if it wasn't any good). It's a huge relief to report that "So Lonely" is utterly fabulous. Which is a little surprising given the simple premise. Basically, Christina performs a series of robotic dance moves in increasingly quirky costumes in an abandoned warehouse with only a strobelight and smoke machine to keep her company. Not exactly "Telephone" then but director James Littlemore does a great job of capturing the song's subtlety and sparse beauty. I love the smoke effects - shadow puppets are so 2010! - and the crazy outfits. Particularly the hot disco tranny look at 1:15 minutes and the amazing knit dress at the end. Chris does a brilliant job with the choreography and holds everything together with her intensity and unique style. It's kind of surreal to see the finished product given that I spent most of the shoot chatting to the diva about September (don't ask) and stealing food from the caterers. Check out the video below and let me know what you think!
See my behind the scenes pics from the video shoot here!
The Chris Sorbello juggernaut has finally taken off. In the most stunning chart development since Dannii's "Touch Me Like That" rocketed all the way to #96 on iTunes, Australia's latest dance sensation makes her ARIA debut this week. At #36 on the Club Chart. Smash! I've been raving about "So Lonely" to anyone who would listen for ages, so I'm ecstatic that it's starting to build some serious momentum. The Hook N Sling mix is absolutely phenomenal and I'm confident the track will continue to win over clubbers in the lead up to its April release date. Listen to the remix on the diva's freshly overhauled Myspace or better yet, score a free download by pre-ordering "So Lonely" here. Chris has been a very busy girl over the past few months but I'm holding off a proper update until her video drops - which I'm told will be any day now. Stay tuned!
Erika Heynatz has finally released her debut single! The former Australia's Next Top Model host and Farscape actress has been threatening to unleash an album since late 2006. I was played a couple of demos way back in 2008 but assumed EMI had scrapped the project when the stunning triple threat dropped off the radar. After listening to "Kingdom", it's pretty clear Erika spent that time overhauling her sound. The demos I heard were all uptempo numbers, while her debut is a gentle guitar driven pop song. As much as I would have loved another mutton-dressed-as-lamb dance diva to add to my stable of favourites, I really like "Kingdom". The lyrics are surprisingly sweet and the subtle production makes the track something of an oddity given the current trend for overproduced pop. Admittedly, Erika still sounds like she's been sucking on Kylie's helium balloon and the song could easily slot into any album Natalie Imbruglia has released since 1997 but it works. My only gripe is the hideous cover. Can EMI please make sure the diva still has a pulse before her next photoshoot? She looks like an extra from Six Feet Under. Thankfully, the video (below) is a much classier affair. In fact, I think "Kingdom" has higher production values than Erika's last movie! It's simple, suitably moody and vaguely reminds me of Kylie's lovely "Some Kind Of Bliss". Colour me impressed.
In the year's most unsurprising development, Amy Pearson has been kicked to the curb by Sony Australia. Rumours have been circulating for a while now but sources close to the singer have confirmed that she has officially "parted ways" with her record company. I'm gutted. Amy's first album was a Delta-lite abomination but I loved her new direction. I know I ridiculed her desperate transformation from girl next door to sleazy dance diva in a post last October but I also hailed "Butterfingers" as the "best song about arse play since Pull Up To The Bumper" and included it in my best of 2009 countdown. Unfortunately, the rest of Australia wasn't as willing to overlook Amy's tragic makeover or her frigid librarian on GHB dance moves. "Butterfingers" ultimately failed to dent the top 100 despite its A List producer and top notch remixes - leaving everyone with egg on their face.
It's a shame because I think Amy was just starting to grow into her new sound. The rest of "Aftershock" (her scrapped album) is much less confronting than "Butterfingers" and contains some killer tunes - especially the title track and "Ten Steps". Either would have made a more appropriate lead single, showcasing the diva's new style but not completely alienating her old fans. Happily, it's not all doom and gloom for Amy. There are rumours that she might release the album "via other means" and I know she recently collaborated with one of Australia's hottest dance outfits on a track to be released later in the year. Until then, I'd like to pay tribute to singer's stint at Sony and wish her all the best for the future. "Butterfingers" might have sank like the Titanic but it made me a fan!
Oh and here's Amy working her fabulous butterfingers in a rare live TV performance of her notorious flop. I actually think this is great. She seems much more at ease with the dance steps and her voice sounds amazing.
The Australian urban pop scene is still pretty much underground. My homegirl Deni and the lovely Jade Macrae have been on the grind for decades but neither woman has bothered the charts in a very long while. The batton has been passed to Jessica Mauboy, who has single handedly carried the torch for the past two years - scoring 6 top 30 hits from her platinum selling "Been Waiting" album. Jessica's success clearly proves there's an audience for catchy urban pop music in this country and it's exactly this gap in the market that newcomer Vera Fernandes is hoping to fill. After first making a name for herself as a model, the 25 year old turned her attention to music and has been making waves in the industry ever since. Vera's debut single"All About You"was a super smooth mid-tempo ballad produced by hitmakers Audius and Leon. Those guys crafted Jessica Mauboy's "Running Back" and were also responsible for one of my favourite tracks of 2009 -Liena's "Go Crazy". Well, the aspiring diva has teamed up with those guys again for her second single and it's another slick urban pop jam with a killer chorus and catchy hook. With "Sometimes We Fall" about to hit iTunes, Vera took some time out to talk to me about her sound, inspirations and future plans. I just can't believe she cited Cheryl Cole as an influence.I'm dying inside!
Vera, you're so exotic. Tell us about your background. I came to Australia from Portugal when I was 6 with my family and have lived here ever since.
Your bio boasts that you're "one of the most recognisable faces in the car enthusiast industry". Are you some kind of famous driver or did you pose on top of sports cars? Haha.. I wish I was a racing car driver! I was involved in the car industry as a promotional model for many years representing major sponsors at all the car shows and from there I was featured in Australian car magazines, so that's where that comes from.
How did you make the move from model to pop star? Have you done it all on your own? I have always been singing and songwriting, that has always been my passion. Throughout school I was performing in bands, groups and solo... basically any opportunity that I had I was there. The modelling work came from friends encouraging me to get involved in that industry, and given it was still apart of the entertainment side of things, it gave me a great insight into the other side of the music business which is all about networking, your image, being business savvy and staying level headed. I am a very ambitious person but I have had a lot of amazing mentors in my life who have guided me along the way.
Who are your musical influences? Lauryn Hill was a huge influence on me musically when she released "The Miseducation of Lauryn Hill" and I've always been surrounded by Hip Hop and R'n'B which I love. I also think that listening to the likes of Nelly Furtado really showed me how artists can evolve and I love the work she did with Timbaland, who is one of my favourite producers. Funnily enough, The Cranberries in the early 90's were also a massive influence on me during high school and that's where I found some of my vocal techniques. And I have to give Mariah some credit because I have always loved her. No matter how much time goes by, her earlier stuff always gives me goosebumps. Right now I'm listening to a lot of Cheryl Cole (OH HELL NO!) and her work with will.i.am - the list goes on! In saying all that, my musical taste is so diverse my friends can never guess what's on my ipod. One day it's Coldplay and the next day it's a Benn Watt minimal house remix. I think that being open to different music broadens your creativity as an artist.
Your first song "All About You" generated a lot of buzz, particularly on the local urban music scene. Were you always interested in that genre? I still can't believe how much this track has grown on people. It really has taken me on a ride! It's been so incredible to have radio stations such as TodayFM play my first single as an unsigned artist. I still get people who hear it for the first time contact me and tell me that they loved it and that they cant get the hook out of their head. I really live for that sort of response to my music... it's amazing. "All About You" was such a fun track to write and produce, it was my first proper studio recording and I always knew exactly what I wanted my "sound" to be. Urban music is what I feel the most passionate about, which is why I sourced the best urban producers in Australia to work with me on my EP. The urban community is full of passion and I love and appreciate all the support I have received from the local scene.
"Sometimes We Fall" (listen to it below) is another killer serve of urban pop. Is it true that Audius and Leon produced it? How did you get involved with those guys? Yes it is true that they worked on "Sometimes We Fall" with me. They also worked on "All About You". I had wanted to work with Audius for a long time before we actually hooked up to do the first track, Myspace played a huge role in us all getting together because that was what everyone was into at the time and it allowed them to see and hear my potential beforehand. After we met we just hit it off creatively, they really got behind me and wanted to be apart of my dream. You can almost hear the amount of dedication that went into both tracks. We are all perfectionists and there is a lot of passion and respect when we are working on music together. I love what those guys are doing for urban music in Australia.
When is the single being released? How will you be promoting it? The 2nd single "Sometimes We Fall" will be available on iTunes within in a few weeks you can keep on top of the release date by checking out my website. There will be a string of performances later this year and possibly a showcase on completion of the album.
So, there is an album on the way? Who are you working with on it? Yes! I'm very excited that I will be in fact continuing to work on my album with Audius and Leon at the Sound Academy as well as sourcing some local producers for the remixes and working on a few one off projects within the dance scene. All very exciting!
Thanks for the chat and good luck with everything! Thank you!
To learn more about this upcoming urban pop sensation, check outher websiteandMyspace.
I know this isn't exactly breaking news but I'm still excited about Sia finally experiencing some much deserved commercial success in Australia. The indie pop icon slowly gained chart moment in 2009 ("Buttons" and "Soon We'll Be Found" scraped into the top 100 at #67 and #89 respectively) but "You've Changed" is her first legitimate crossover hit. The upbeat pop anthem debuted at a lofty #42 and should climb higher this week. Pretty impressive considering the song has been floating around online for over a year and only gets played on one radio station in Sydney! I couldn't be happier for Sia. Australia's second most famous bisexual (after Dannii) has been woefully ignored in her homeland for so long that something had to give and "You've Changed" was just the song to do it. As much as I love the Lauren Flax original, Greg Kurstin's organic disco-tinged overhaul is even better. It's so relentlessly joyous and takes the irresistible chorus to a whole new level. If this is any indication of Sia's forthcoming album, I think we're in for something incredibly special. Make sure you check out the video (above). It's not as epic as some of her previous efforts but I love the bright colours, cute effects and quirky set-up. Sia is on fire at the moment.
I just received the follow up to Vanessa Amorosi's stunning #1 platinum selling smash hit "This Is Who I Am" in the post (above). The thing is - I had no idea it had even been released! I'm not trashing the song (which is amazing) but where is the video clip and promotion? Hell, Vanessa is still busy performing "This Is Who I Am" on radio and television shows. It just seems a little rushed and I'm worried "Hazardous" will get lost in the evil vortex that is Christmas. I hope that doesn't happen because the Machopsycho produced pop-rock anthem is seriously brilliant. Those Swedes really dragged the best out of Ness. I love the catchy chorus and everyone can identify with the lyrics about craving something or, more specifically, someone bad for you. Universal have also put together a rather lovely physical single. The artwork is heaven and the tracklist is interesting. I really don't like the unfortunate dance remix (someone call in Tommy Trash - his overhaul of "Kiss Your Mama" is still a personal fave) but the "string remix" is quite pretty. However, the highlight is definitely a dark and dirty acoustic version of "This Is Who I Am". Ness Ness recently performed the song with a very similar arrangement at the AFI Awards, which you can check out below. The performance is stunning and Vanessa looks amazing but what the fuck is she wearing? The train on that skirt looks like it was dragged straight outta Muriel's Wedding. "Hazardous" is out now. I'll post the video as soon as it drops.
I was lucky enough to crash be invited to the set of Chris Sorbello's "So Lonely" video shoot on Monday night and thought I'd post a couple of happy snaps. After the recent digital release of her taster EP (Hint: I'm told the free download will be taken down at any moment), Australia's latest electro-pop sensation is busy putting the finishing touches to her official debut single. "So Lonely" will be released by Ministry of Sound in February/March and has been given a complete overhaul by the brilliant Sam La More. I love the dreamy new mix. The icy beats come thick and fast without strangling the fragility and vulnerability that made the original leaked version a Myspace favourite. Given the hot line-up of DJs contributing remixes (Van She and Hook N Sling), expect to hear "So Lonely" burning up a dancefloor near you in the not too distant future.
Rehearsals
Ok, back to the video clip. I think it's going to be amazing. The sparse, futuristic look suits the song perfectly and I'm glad the PVC clad backing dancers from the showcase are making a return appearance. Chris looked absolutely stunning and nailed the dance routine take after take. In fact, I saw it so many times I think I know all the moves by heart! The great thing about Chris is the fact that she's not scared of pushing the envelope and some of her outfits will give Roisin Murphy couture envy. I also haven't seen that many pairs of crazy stilettos (below) since The Drag Bag closed down - the gays truly have a new icon! In all seriousness, noone else is making this kind of music in Australia at the moment or paying this much attention to styling and image, so I really hope it all pays off. I can't wait to see the finished product.
If strong winds ruined your hairstyle and blew the washing off the line on Monday morning, never fear. It's not the onset of a hurricane - just music lovers around the world breathing a collective sigh of relief that Dannii's "The 95 Sessions" has finally been released. As most of you are probably aware, the Queen of Club's latest X Factor cash-in compiles material originally recorded for her third album way back in 1994-1995. Unfortunately, the album was scrapped (I blame Kylie's then waning popularity - that thoughtless bitch!) and the songs have spent the past fifteen years gathering dust. Probably in a box under Dannii's bed, next to her vibrators and lesbian porn... but I digress. I've always been hugely intrigued by the so called 'lost years' of Dannii's career and was genuinely excited about this release. So the big question is: Was it worth the wait? The answer is a resounding yes.
I hate to speak ill of Australia's greatest living talent, so I'll get a couple of criticisms out of the way first. Namely, a handful of tracks sound like rejects from "Get Into You". The faux R'n'B ballads will only appeal to Dannii's hardcore fans and the entire album sounds brutally dated. The thing is - I love "Get Into You" and of course the production is rougher than Britney's voice without autotune. After all, this shit is nearly 15 years old! Now for the good news. The majority of the album is a treasure trove of trashy 90s dance anthems. Songs like "Free Your Love", "Crazy (For Your Love)" and the original version of "Everlasting Night" are classics that deserved to be loved and cherished by fans. More importantly, "The 95 Sessions" documents Dannii's transformation from white Janet into the holy patron of gay nightclubs. It was during this period that our beloved icon began to explore club beats in earnest and first worked with long time collaborators Ian Masterson and Terry Ronald. The results are a bit patchy but the potential for pop greatness is palpable. Here is my track by track review:
Free Your Love
Of all the unreleased trash clogging up Nathan's iPod, this is the song I've been most desperate to hear. The prospect of Dannii collaborating with the Rapino Brothers had me salivating and the track took on an almost mystical status among fans after Dannii performed it along with the original "Everlasting Night" at several Pride events in the mid-90s. I'm pleased to say "Free Your Love" more than lives up to the hype. This exquisite dance anthem blends 90s house beats with Eurodance elements to stunning effect. I love Dannii's vocals and the soaring chorus is sublime. It has to be said that "Free Your Love" is better than anything the Rapino Brothers ever produced for Kylie ("Difficult By Design", "Gotta Move On" and the trashtastic "Aston Martin").
Skin Deep
I'm highly amused that the man behind@m8er's "Kill That Bitch"cut his teeth producing cheesy club anthems for Dannii. Ollie J certainly knows how to sniff out unique talent! The first of his two contributions to "The 95 Sessions" is a full blooded blast of 90s club goodness. The cheesy keyboards push all my buttons and the lyrics are typically inane dancefloor fodder. This reminds me of the early output of American divas like Kristine W and Ultra Nate. Not the best thing on the album but definitely worth checking out.
Love & Affection
Now this is cute. "Love & Affection" is a cheerful little pop tune with a catchy chorus and some of the album's crispest beats. It reminds me of an M People remix, which has to be a good thing.
Let Love Into Your Life
I feel like I'm repeating myself but "Let Love Into Your Life" is another unexpectedly accomplished dose of 90s dance music. This time around the sound is distinctly American - think Dannii meets C&C Music Factory - but it works brilliantly. The Queen of Club's unleashes one her strongest vocal performances and the backing vocalists add another layer to the song. The production is a little clumsy but this is a minor triumph.
Everlasting Night (Original Version)
"The 95 Sessions" is worth buying for the original "Everlasting Night" alone. The remake (a #42 smash hit in 1999) is a gay classic in Australia. I still remember the media furore over Dannii's lesbian kissin the videoand the song automatically evokes happy memories of Mardi Gras parties and clubbing adventures. However, as much as I love the 99 version, it pales in comparison to the original. I've had a demo of this (below) for years but hearing the song in high quality underlines its vast superority. I know the Droids will be out for blood when I say this but "Everlasting Night '95" strikes me as being very much a Kylie record. There's a vulnerability to Dannii's vocal delivery that I normally only associate with her sister. The song's melancholy/whimsical undertone - despite the perky lyrics and upbeat nature of the track - is also a Kylie trademark. I can't express how much I love this. It could have been Dannii's "Better The Devil You Know", making it almost as much of a missed opportunity as "Come & Get It".
The demo version of "Everlasting Night '95"
Crazy (For Your Love)
"Crazy (For Your Love)" is another contribution from One World (the producers behind "Everlasting Night") and it's only slightly less fabulous. I love the splashes of disco amongst all the Hi-NRG goodness and even pick up a faint hint of Stock Aitken Waterman. My only complaint is that it sounds unfinished. The verses are a little underdone and the production isn't as tight as it could be. This is a treat nonetheless.
Take My Time Loving You
You can basically copy everything I wrote about "Crazy (For Your Love)" and paste it here. Only "Take My Time Loving You" is slightly more commercial and has an ever so subtle Motown flavour. Good, solid pop.
Love In Me
I was wondering if the Queen of Club's would flaunt her sexy side on this collection and, as it turns out, she does. There's something innately fabulous about Dannii singing sultry lyrics like "Baby, take control" and "I wanna get your love in me tonight". Not exactly subtle! As much as I like sleazy Dannii, I think this is slightly disappointing - particularly given the involvement of the Rapino Brothers. The production is woefully dated and the chorus fails to fire. One of the few tracks I've been skipping.
Exclusively
Ollie J's second contribution to "The 95 Sessions" is a perky urban club jam. I think @m8er should cover "Exclusively" for her album - it's cute and holds up remarkably well. It's a bit of a throwback to "Get Into You" but if you like urban Dannii, this is very much worth checking out.
Love Will Find A Way
Another "Get Into You" type mid-tempo pop song with a smooth R'n'B sheen. I personally love this sound but I know a lot of fans hate it and the song doesn't fit particularly well with the dance anthems. The highlight is definitely the beautiful vocal. Terry Ronald really knows how to bring the best out of Dannii's heavenly pipes.
Don't Wanna Leave You Now
The poor man's "I Don't Wanna Take This Pain". The production is lush and Dannii's voice shines but "Don't Wanna Leave You Now" sounds like it should be blasting from an elevator. Dull and boring.
Coconut (Original Version)
This mess is an insult to the 98 version. Avoid at all costs!
Free Your Love (Extended Mix)
Blissful, even better than the album version. Dig out a lime green t-shirt, polish your glowsticks and dance to this jam like it's 1995.
"The Dance Sessions" was released in the UK on the 7th of December. You can order the CD from Amazon, HMV and Play.
At the other end of the success spectrum is Paulini, who was dropped by her record label and reduced to appearing in tragic gay clubs across the nation. It's a shame because I honestly believe Paulini has the best voice to come out of Australian Idol. She just hasn't had a lot of luck selecting appropriate material or marketing herself as a pop star. Unfortunately, I don't think her latest release is much of an improvement on either front. "Scarless" is a beautifully performed ballad and showcases her glorious pipes but it doesn't exactly scream hit. I know it was released independently to raise money for victims of domestic violence but it would be great to hear Paulini belt out another upbeat pop tune ("Rough Day" or "Last Love") or an urban club banger like the fabulous "So Over You". The proceeds of "Scarless" go to charity, so download it from iTunes. The film clip is a surprisingly classy affair and deserves a look. Fingers crossed that this is the start of a full blown comeback next year.
Last but not least is Ricki-Lee. There was a time when I was completely obsessed with Ricki. I loved her second album and wrote about her every other week on Pop Trash Addicts. However, my interest has really waned this year. Returning to Australian Idol as a host was embarrassing, "Don't Miss You" left me cold and her turn as a Ralph cover girl reeked of desperation. It got so bad that I didn't even bother checking out her latest track until the physical single (above) arrived in the post. Imagine my surprise when I gave it a spin and realised that it was actually a stunning return to form. "Hear No, See No, Speak No" sounds like a cross between Ke$ha and Katy Perry. It's an effortlessly catchy serve of electro dance-pop with lashings of guitar to keep things interesting. The production is top notch and Ricki-Lee tears up the vocal. Disappointingly, the song is shaping up to be the biggest flop of the diva's career - stalling at a lowly #46 thus far. I blame the hilarious dominatrix video (below). Ricki needs to save the leather corset and riding crop for her home movies! "Hear No, See No, Speak No" is a future trash classic. I just wish there were remixes.
Sia Furler is one of those singers I love but never write about for the simple fact that she's too high brow for this joint - or so I thought until she opened last night's show with Olivia Newton John's "Xanadu", before sticking random objects into her underpants. Needless to say, Sia is not your typical critically acclaimed singer-songwriter. She's more than a little eccentric, loves to chat with the audience and is very, very funny. It speaks volumes for her skill as a performer that she can move effortlessly from telling a joke about being ignored at the ARIAs to singing about love, heartbreak and everything inbetween with so much emotion and empathy. I would have liked to hear a few more songs from "Healing Is Difficult" and "Colour The Small One" but Sia was pretty hard to fault. The band was great, she sounded amazing and I got free beer from the lesbians standing next to me. Result.
Anyway, here are my top 10 reasons to see Sia live (in no paprticular order):
1. Her signatureglow in the dark version of "Buttons". 2. "You Have Been Loved" sounds even more beautiful and heartbreaking live than on the album. Which I didn't think possible. 3. The distinctly electronic direction of her new material. 4. She still performs the odd Zero 7 classic. 5. Her description of "I Should Be So Lucky" as awesome when someone (sarcastically) requested it. 6. "Lentil", "Soon We'll Be Found" and "Day Too Soon". 7. The hilarious anecdotes about working on Christina Aguilera's new album. Especially the bit about being too fat to borrow Xtina's stripper bikini. 8. Her cute reminder to stick around for the encore. 9. "Breathe Me" still represents everything Adele, Sarah Blasko and Dido have spent their entire careers trying and failing to write. 10. That voice.
The 2009 Australian tour edition (complete with bonus DVD, behind the scenes footage and video clips) of "Some People Have Real Problems" is now in stores.
"According To You" has been unavoidable on Australian radio for the past month and is currently sitting pretty in the national top 20. My copy of the single finally arrived today, which inspired me to write about Orianthi's amazing ode to bad boyfriends. Chalk this up as another fine example of a local act - see Vanessa Amorosi - jumping on board Katy Perry's pop-rock bandwagon with great success. That might be a little unfair given the diva's rock chick credentials (she was Michael Jackson's lead guitarist on the ill fated "This Is It" tour, jammed with Santana as a teenager and has a guitar solo on Adam Lambert's forthcoming album) but there's no denying that Orianthi has undergone a radical overhaul since 2005's "Violet Journey". Not that it matters. The move towards a more commercial sound was long overdue and "According To You" proves that she definitely has what it takes to mix it with Katy, Avril and Pink. For me, this song is all about the lyrics. I think everyone has felt the same anger and confusion at one time or another. Most of all, I love how Orianthi sums up the universal truth that one man's trash is another man's treasure - a thought I find strangely comforting, particularly when it's expressed via the year's catchiest chorus. And don't even get me started on the ridiculously fabulous guitar solo. It's like Lita Ford never left us! I definitely recommend tracking down the physical single because the B-side ("Find It") is great and doesn't appear on Orianthi's excellent album. While you wait for your copy to arrive, check out the video. I'm not sure about the epilepsy inducing camera work but I seriously want to steal her sequined guitar!
The icy electro beats continued to flow with "Symbiotic". I have to admit the song never really appealed to me in the past but last night's arrangement was brilliant and suited the staging and choreography perfectly. It seemed only fitting that Chris close the show with "Dangerzone". After all, it is the title track of her recently unveiled free promo EP! I still think "Dangerzone" has huge potential and could have been a hit with a bit of polish by the right producer but I'm glad it's finally getting a release - no matter how low key. The song sounded amazing live and allowed Brisbane's finest to show off her voice and hot dance moves. As someone who has followed Chris from the start it was staggering (and more than a little touching) to see how far she's come. I can't wait for the release of her official debut single but make sure you check out "Dangerzone" in the meantime. It's too good to ignore!
Sarah McLeod officially launched her new single "Tell Your Story Walking" down at Woolloomooloo Wharf today and I was lucky enough to be invited. Unlike a lot of these events it was an intimate affair, which allowed everyone to get up close and personal with the ex-Superjesus frontwoman. Sarah kicked off proceedings by talking about the song's inspiration (it's about overcoming her own demons - not a break up anthem as the lyrics would suggest) and her adventures filming the video in New York. I think the final result (below) is simple but very effective and I love the army of hooded divas in the background. After screening the film clip, Sarah performed the song live and proved once and for all that her inner rock chick is still alive and kicking. I actually think the edgier, acoustic version suits the lyrics better but I do love her glamorous new "pop" direction. The highlight for me was watching Ms McLeod pose for snaps on the wharf (above) with joggers and businessmen gawking at her supersexy hotpants! "Tell Your Story Walking" is now available to download for iTunes. Check out my recent interview with Sarah here.
The stars have finally aligned for Ness Ness. She's driving her lesbian fanbase wild with a sexy new look, recently celebrated her first #1 hit and, most importantly, finally delivered the brilliant album she's been threatening to unleash since her debut way back in 2000. "Hazardous" really takes things to the next level. It blends the soulful elements of "Somewhere In The Real World" with a more contemporary pop sensibility (courtesy of Swedish producers MachoPsycho) to stunning effect. To be honest, it's a familiar formula. Dr Luke and Max Martin perfected the power pop/rock genre working with the likes of P!nk, Katy Perry and Kelly Clarkson but this is one of the rare examples of someone jumping on a bandwagon and accidentally finding their true calling. Kind of like when Dannii stopped pretending to be Janet Jackson in the mid 90s and went on to revolutionise popular music as we know it. Despite undeniable similarities with the aforementioned divas, "Hazardous" still sounds fresh and original - largely due to Vanessa's powerhouse vocals, endearing sense of humour and quirky lyrics. After all, this is an album that features songs about masturbation, dating drug addicts and extraterrestrials! Ness Ness takes to her new genre like a slut to cock and the result is my favourite album of 2009 (thus far). Here's my track by track review:
This Is Who I Am - 10/10
I think I've alreadywritten enoughabout the album's cracking lead single. Several hundred listens on and I still not sick of it. Just remember to close your eyes and pretendthe hideous videois bad dream. Vanessa's recent #1 hit is a definite contender for my single of the year.
Mr Mysterious - 8/10
Just between you and me, I think MachoPsycho stole the bassline and crunchy guitars from P!nk but I'm willing to turn a blind eye given the overall quality of their production. I love the vocal layering and subtle hooks, not to mention the electronic flourishes and catchy "woah woahs". This is the perfect sound palette for Vanessa's effortless rock chick twang and she vamps it up for all she's worth. My only criticism is Seany B's (best known forTV ROCK's "Flaunt It") pointless rap. It's desperate and more than a little embarrassing.
Holiday - 8/10
Now, this is an unexpectedly camp delight. Vanessa's Swedish producers show their versatility by concocting a breezy summer party jam. The track automatically makes me think of Dannii sunning her baps in Ibiza but knowing Ness Ness it's probably about spending a weekend at the Coffs Harbour Motor Inn. Anyway, "Holiday" is perfect radio fodder for the warmer months and I get tingles in unexpected places when Vanessa moans "we all have needs". High quality filler.
Hazardous - 10/10
The album's first non-MachoPsycho produced unexpectedly turns out to be one of the highlights. "Hazardous" closely follows the Max Martin/Dr Luke recipe of synth driven pop/rock with a guitar heavy chorus and electro-tinged verses. It's been done before but why fuck with a winning formula? What makes this considerably better than many of the songs it's so clearly modelled on is the strength of the songwriting and Vanessa's amazing vocal delivery. Moving from soft and wistful in the verses to smoky and explosive in the chorus - "Hazardous" showcases one of the best voices in music. Off On My Kiss - 7/10
Ness gets a bit sexy on this one but it's perhaps the album's least appealing moment. The song has an insistent beat and the chorus is cute but "Off On My Kiss" suffers from over-production. Making Vanessa sound computer generated should constitute some kind of crime but it's hard to be annoyed when you're happily humming along with inane lyrics like "I'll get you off on my kiss".
Show Me How To Love - 7/10
If I have one major criticism of "Hazardous" it would be that the second half is considerably stronger than the first. The first time I heard the album I was starting to lose a bit of enthusiasm at this point. Fans of "Somewhere In The Real World" will devour "Show Me How To Love" but I could do without the flashback. Co-written with frequent collaborator Pam Reswick, the track re-visits the soulful ground covered on Vanessa's last album. It's nice to hear a ballad that Ness can get her teeth stuck into after so many uptempo tracks but this is no "Perfect". Pleasant but slightly boring.
Aliens And UFOs - 8/10
Vanessa's ode to the supernatural gives me the giggles. Poor Ness has clearly spent too many nights smoking pot and watching X Files but, really, who hasn't? I like the song's slightly rockier feel and MachoPsycho add their usual polish to the production. The highlight for me is the catchy chorus, with the quirky spoken interlude about Vanessa's super powers coming a close second. This is basically a hot mess but I love that Ness has mixed it up and tried new things. MachoPsycho have really helped absolutely everybody's favourite diva express her more eccentric side.
Summer Nights - 9/10
When I saw "Summer Nights" on the tracklist I secretly hoped it was an Olivia Newton-John cover because I'm really that sad. As it turns out, it's not but Vanessa's nostalgic tour de force is almost as good. I love the breezy mid-tempo production and the naive lyrics, which cover everything from sleepless summer nights to politically incorrect lollies. Speaking of the latter, I still remember buying those chocolate cigarettes from our school canteen! There's just something sweet and quintessentially Australian about this track. "Summer Nights" doesn't scream hit but it's a little gem all the same.
Touch Me - 10/10
This is the dirtiest Australian pop song since Dannii explored the weird and wonderful world of sitting on speakers (*cough*) on "Vibe On"! Needless to say, "Touch Me" is all kinds of fabulous. What did those dodgy Swedes slip our Ness before she sat down to write stunning lyrics about masturbation and getting horny "from the vibrations off the floor"? I demand an inquest. Poetic lyrics aside, "Touch Me" also boasts the kind of slinky beats and throbbing baseline usually only associated with urban pop stars. In fact, this masterpiece reminds me of the filth Prince used to write for Sheena Easton in the 80s. Put "Touch Me" in your sexy times playlist between "Sugar Walls" and La Toya's "Sexual Feeling". I dare Universal to release this as a single.
Baby's On Ice - 10/10
From masturbation to hard drugs, Vanessa is clearly on a roll. The first time I heard this I thought it was just another cheerful love song until I started paying a bit more attention to the lyrics. Lines like "he always comes back with his lips all chewed and cracked" and "if the sun don't shine that day that's even more reason to get hazed" are fairly subtle but Ness makes it clear she's singing about the joys of romancing a junkie with "he's not a bad person, he's just a little messed up". Songs about drugs aren't exactly rare but I can't remember one this chirpy. My favourite part is when the backing singers merrily break into "he's on ice, ice baby"! Wonderfully tasteless and politically incorrect.
Sleep With That - 7/10
You can basically copy and paste everything I wrote about "Off On My Kiss" for this song. It's a fairly appealing fuck you to a cheating boyfriend but the production is overbearing and Vanessa appears to have forgotten to write a chorus. "Sleep With That" isn't bad by any means, it just suffers by comparison with the rest of the album.
Higher Ground - 9/10
Pam Reswick makes a second appearance on the album but unlike "Show Me How To Love", this doesn't sound like a reject from "Somewhere In The Real World". While not reaching the glorious heights of "Shine" or "Perfect", "Higher Ground" still ranks as one of Vanessa's finest ballads and I wouldn't be surprised if it's a (very safe) single somewhere down the track. The song is beautifully constructed and Ness sounds amazing on it. She really lets loose and shows off her full range. "Higher Ground" is a reminder that while Vanessa can take P!nk and Katy Perry on at their own game, neither of them could pull off something like this.
Blow Me Away - 10/10
Co-written by Steve Diamond and Matthew Gerrard (Dulta's "Lost Without You" and Kelly Clarkson's "Breakaway"), "Blow Me Away" is another perfectly crafted power pop anthem. Crunchy guitars blend effortlessly with pounding beats and the odd synth to produce one of the album's standout tracks. I'm a sucker for a catchy chorus and this baby is utterly ruthless. One listen and you're hooked. "Blow Me Away" has hit written all over it but I'd still prefer Universal to go with the title track or "Touch Me" (if they're feeling ballsy) next. The second half of "Hazardous" really is quite outstanding.
Snitch - 7.5/10
What a bizarre way to close the album. This languid jam has a soulful edge that wouldn't sound out of place on "Somewhere In The Real World" but the playful lyrics and experimental production are right at home on "Hazardous". I didn't know what to make of this the first time I heard it - particularly Vince Colosimo's bizarre contribution - but it's strangely catchy and a total grower. "Snitch" is also another example of the winning eccentricity that permeates the album, which is part of what makes it so special.
As far as I'm concerned Young Talent Time is the greatest show in the history of Australian television. Running for 17 years between 1971 and 1988, YTT helped launch the careers of several international superstars and became an integral part of many people's childhood including my own. I've written about the show's biggest stars (the legendary Tina Arena and the Queen of Clubs herself, Dannii Minogue) many times but I've never mentioned my other favourite castmate - the fabulous Natalie Miller. Anyway, I was rummaging through a box of my old CDs recently and was excited to find a copy of the underrated diva's one and only single. Released in 2000, "Gonna Miss Your Love" got some radio play and Natalie performed the song on a couple of TV shows but it didn't exactly set the charts on fire. I blame Max22.
Natalie's voice sounds great and the chorus is addictive but it's hard to shine when you've been teamed with the worst rapper in Australian history (and that's saying something). It's a shame because the song blends Latin and dance elements rather amusingly and Nat looks sexy in her white leather. No comment about that bird's nest on her head though! Despite the fact that Natalie never released another single (to my knowledge), she still maintained a reasonably high profile as a backing vocalist. For many years she was a staple of the live music scene and regularly performed as part of Kylie's band whenever she toured Australia. However, Natalie seems to have dropped off the face of the earth. I really hope she's still out there plugging away, bringing her unique glamour to pubs and clubs across the country. If anyone knows any information about this 80s icon, please let me know. In the meantime, check out the video for her lost Australian pop "classic":
A few weeks ago I met @m8er in the glamorous surrounds of the Stonewall hotel on Oxford Street. The emerging pop sensation had just unveiled her debut single "Kill That Bitch" (which lists the celebrities she'd like to murder) and was in the middle of a public relations shit storm. The usually amiable Auspopdescribed the song as "desperately contrived" and "enough to leave you totally appalled", while Jessica from Defamerwent a step further declaring "any radio station who playlists it should be sent directly into the fiery pits of hell". Personally, I think "Kill That Bitch" is hilarious. It's a good, old fashioned piss take and I couldn't wait to meet the woman responsible for classy lyrics like "Paris Hilton rhymes with Stilton". Given @m8er's outrageous image and flair for controversy, I was also slightly nervous but she turned out to be a total sweetheart with no homicidal tendencies - that I noticed.
I was curious to get to the bottom of the "Kill That Bitch" backlash and started by asking - What is it about those particular bitches? "They are the poster girls for laziness and young wealth gone mad. I spent a lot of time last year crashing on sofas, watching reality TV and found those same girls on every show and in every magazine. I don't actually want them dead, I don't even know them, it's a figure of speech, an everyday expression about how annoying they are but it's not meant to be taken literally." So, how did Delta 'I'll advertise anything for money' Goodrem and Cassie Davis miss the cut? I'd take them out myself! "Well, I'm very patriotic and I draw the line at trashing Aussies, it's not gonna happen."
The elephant in the room was the overwhelming negative response to "Kill That Bitch" but I didn't really know to bring it up without being too offensive. So I just asked how it felt being labelled a talentless publicity whore. @m8er admitted to hearing some of the criticism but seemed quite taken back by the extent of it. "I knew it would upset some people but I am a little surprised by the extent of the vitriol. I don't flash my knickers or stumble out of clubs. I work extremely hard and I'm completely fearless. I write all of my songs and make shit happen. I've just been working my arse off for the past 9 years trying to create my opportunity. My songs are topical. I enjoy telling a story. I love to laugh. I just don't take life that seriously. It is becoming clearer to me just how conservative us Aussies really are." I wonder if she might have got a better reaction in the UK but @m8er was adamant about cracking Australia first. "I was actually offered a record deal in England but I turned it down. I just wanted to start my career here. I've been away for so long. And local pop music is average at best. I really want to make some noise here first. I'm determined to win everyone over but I'm not going to change who I am."
Next on the agenda was the spelling of @m8er's name (it's pronounced Amber). "People are reading far too much into it. I wanted my name to look like an expletive. I wanted something fun. It's really not that deep. 8 is also my lucky number. It's no big deal." I also couldn't resist asking about the "Kill That Bitch" video, which has received almost as much criticism as the song. "I wanted the video to be something completely left of centre. I am not interested in doing a paint by numbers pop video. I had the opportunity to work with the 'Street Monsters' in London who are these mad little animated characters put in real life settings. I had my own characters created and we shot it in Cambridgeshire. It was one of the best days of my life and one that I am very proud of."
So what's next for @m8er? "My second single is called "The 10 Date Commandments" featuring Lil' Kim." My jaw must have dropped when she mentioned Lil' Kim because she goes on to explain how the collaboration came about. "My manager in New York sent it to her and she went ape shit over the song. She recorded her vocals on it and appears in the video clip, which was shot in LA. We've become really good friends. She is real cool. The track was recorded in London's Rollover Studios and produced by Ollie J (Madonna, Leftfield, The Prodigy). It's completely different to "Kill That Bitch". Overseeing the whole album is super producer Dallas Austin. I ask how she hooked up Madonna's ex-right hand man. "I met Dallas after a show in New York. He liked my music and we got talking. I've been working on this album for a long time. I'm no overnight success story but its cool if people make all these assumptions about me. All will be revealed in the end."
I ask her to tell me more about the album. "It's called "Strawberries & Kittens". There's no filler. I believe every song could be a single. I hate it when there are only a few good songs on an album and the rest are pure shit. People don't know me yet or my voice. I have my own production company so no one hands me anything. I work hard and I'm in full creative control of everything I do. I don't have a stylist telling me how to dress. I am not four after all. I make my own t-shirts with my lyrics printed on them. I have no one telling me how to speak or what to say. I like to have fun and push people's buttons. What you see is what you get. So which pop stars do you look up to? "Madonna. I love the cougar video for "Celebration". I'm also a huge fan of Cyndi Lauper and Missy Elliot."
I get the feeling @m8er is completely misunderstood. I can understand why some people think Australia's answer to Lily Allen (Universal's claim - not mine!) is a super-arrogant bogan desperate for fame but I think she's just incredibly focused and driven. If nothing else "Kill That Bitch" has raised her profile and I suspect it was more of a toe in the water than a first single. Hopefully, @m8er's collaboration with Lil' Kim will put some of the haters in check and show off a different side of her personality. I wish her luck.
Sarah McLeod is one of music's great chameleons. In the late 90s she joined the likes of Suze Demarchi (Baby Animals) and Chrissy Amphlett (Divinyls) as one of the very few female singers to make any kind of real impact on the Australian rock scene. Her band, The Superjesus, epitomised the post-grunge movement and their debut album "Sumo" was pretty much unavoidable when I was a teenager. After recording another couple of albums with The Superjesus, Sarah struck out on her own and released her solo debut "Beauty Was A Tiger" in 2005. The project wasn't a huge success - until someone decided to try something different and remixed the third single. "He Doesn't Love You" was a #1 club smash and remained on that chart for over 6 months. I was completely obsessed with the song and included it on my inaugural end of year countdown. At the time I ranted "if only the silly bitch would buy a dress and realise that pop is her calling, the entire world would simultaneously breathe a sigh of relief". A little bit dramatic I know (sorry about the silly bitch comment, Sarah!) but strangely prophetic. Since then Sarah has focused on dance music - scoring a massive US and UK club hit last year with "White Horse" - and has finally returned with the official follow up to "He Doesn't Love You". I was lucky enough to chat with Sarah recently and here's what she had to say about her new single "Tell Your Story Walking":
Sarah, your new single "Tell Your Story Walking" is a great fuck you anthem. Was it written about anyone in particular or inspired by various arseholes? Actually , it masquerades as this type of sentiment but actually it is about a very intense personal struggle within myself. It's actually me talking to myself, trying to eradicate all my negativity to push through to become the best I can be. Everyone wrestles with that little voice in their head that tells them that they can not achieve something if it seems too far fetched or too hard. Without these voices we can achieve anything. I'm just telling mine to hit the road and get out of my way. I think this struggle paves the way for great personal triumph.
What are your favourite break-up songs? You mention "I Will Survive" in the lyrics. I didn't picture you as a disco fan. That's just a classic, you can't escape it, and yeah, I can rock a bit of disco from time to time! I also like "Respect" by Aretha Franklin and I LOVE "Breakin' Dishes" by Rihanna.
The song is another club banger. Since the release of "Beauty Was A Tiger" you've really found a niche on the dance scene - what inspired the move away from rock? It was a perfectly natural progression actually, we had a remix done of "He Doesn't Love You" with Hook N Sling and it took off without us actually doing much at all. The same with "White Horse", we gave it over to the girls and boys in the clubs to decide... and it just happened, I couldn't stop it. When I got into production I discovered that electronic sounds were much more fun to work with from a studio point of view. As I got further and further into the realms of the thudding sub kick, live drums and guitars seemed to create too much trashy top end white noise for me. I couldn't go back, I had seen the other side and I LIKED it! There's so much more you can do with electronic sounds, it's way more fun from a production stand point.
The remixed version of "He Doesn't Love You" was one of my favourite songs of 2006 and spent most of that year on the club charts. Why has it taken so long to follow it up? It was never supposed to be a big release, it's purpose was to fill the gap between albums and have some fun. It's not like that was the first single and then a year later I released the rest. I had to make sure I was confident of my direction before putting out the next song. I do chop and change a lot as I like so many styles of music, so I had to solidify my path and then walk it with confidence. Sometimes this takes time.
I read that NY based producers Questionable Intent worked on your album. Who else has been involved and when is it being released? Most of it was done by myself and the QI boys but there are also a couple of tracks that I did with Jimmy Douglas and ILL Factor in Miami. This was a session I had done prior and I picked the best from that collaboration and fused it with what I had learned in Brooklyn. I also worked with a French rapper named Fredrick Da who is amazing, he is a great friend of mine now who I met through Paul Mac when he was in New York.
Will the album feature "White Horse"? That song is stunning. Why wasn't it an official single? "White Horse" may be on the album, I'm 99% sure it will be but as I write better songs, things start to get bumped. "White Horse" is hanging in there by it's chiny chin chin but I think it will survive!
I hear you're heavily involved with fashion and styling these days. Who inspired your sexy new look? Living in New York City really inspired me. I would see the coolest people walking around my neighbourhood and it was all very eclectic but super cool. I would get ideas for things I could wear and the way I could style myself in general. I started to see the creativity in it. It became less: "I have to go out, I'll throw this on" kinda thing, to a more "Oh how exciting I can try this with this and maybe do that". I got really into the idea of the personal statement that finding your style creates.
Would you ever leave the house dressed in garbage bags or wearing a Kermit the frog jacket a la Lady GaGa? Every artist has their own way of expressing themselves and she really takes it to the extreme, God love her. It's way to over the top for me though.
Do you ever miss being Australia's premiere rock chick? How different is performing on the international club scene to gigging around Australia? Playing in clubs is a pretty different scene, Its less rowdy and raucous than the Aussie pub scene. People are less likely to yell things out to you while your performing, they just keep on dancing with a grin from ear to ear and kinda stare at you!
Speaking of your musical past, I'm pretty sure I vomited to the glorious strains of"Down Again"at a school disco. Do you have a favourite song from The Superjesus catalogue? That's a tough question for me, I like certain songs for different reasons. My life changed so much with record to record and each track means something different to me. Especially as each record had a different guitar player and my role in the band grew more hands on with each record. Probably for me, I was most into the 3rd album "Rock Music" My favourite tracks from that are "Manic" and "Shudder".
"Tell Your Story Walking" hits Australian iTunes tomorrow. The stunning video is currently being streamed exclusively on Nova's website but will probably hit youtube next week. In the meantime, check out this brief "making of" preview:
You know it's November when Dannii releases her annual batch of X Factor cash-in albums. This time around the Queen of Clubs is unveiling deluxe editions of her stunning debut "Love & Kisses" as well as her 1993 #52 UK smash hit "Get Into You". However, the real gem is "The 95 Sessions" - possibly Dannii's most exciting fan release ever! I don't usually have a lot of nice things to say about Nafensays but I think he's done a great job on this. I just hope it doesn't sell out on iTunes like "The Early Years" because Dannii's lost 1995 album is the holy grail of pop music as far as I'm concerned!
After the phenomenal worldwide success of "Get Into You", the prettier Minogue swiftly started work on her third album for MCA Records. Dannii mentioned in interviews that she was experimenting with club beats after revolutionising urban music on her previous two masterpieces and rumours began circulating that she was working with hot 90s dance producers Love To Infinity, Soul II Soul and Motiv 8. Promotion for the album was underway by mid-1995 and the Empress of X Factor even performed the original version of "Everlasting Night" and another new song called "Free Your Love" at various gay pride events. Both of those songs appear on "The 95 Sessions" - along with "Don't Want To Leave You Now", which Dannii performed on her sold out (according to Droid statisticians) 1998 tour. I LOVE the original and vastly superior version of "Everlasting Night", so if the rest of the album even comes close to matching those heights I will be in 7th heaven! The official tracklist is below:
Free Your Love Skin Deep Love And Affection I Got This Feeling Let Love Into Your Life Everlasting Night Crazy For Your Love Love In Me Exclusively Love Will Find A Way Don't Wanna Leave You Now Free Your Love (Remix)
This the first Dannii fan release that doesn't feel like a cheap X Factor cash-in and Nathan deserves a lot of credit for putting it together. I think I'm going to get a spray tan (setting - Kelly Llorenna orange) and wear a plunging V neck t-shit in his honour! "The 95 Sessions" is available to pre-order now from Play. I already know what I want for Christmas.
Bow down to Australia's new Queen of Pop! Tonight Vanessa Amorosi is celebrating the first #1 hit of her decade long career. It's hard to believe that modern classics like "Absolutely Everybody" and "Have A Look" stalled outside the top 5, so this is long overdue. The achievement is all the more impressive when you consider Vanessa's competition. "This Is Who I Am" had to outsell new releases from Britney and Robbie Williams - making it a rare triumph for good taste and talent! I'm so happy for Ness Ness. She's gone from strength to strength since staging her comeback and this cements her spot in the upper echelon of Australian pop. I've already written about my love for "This Is Who I Am" but I still can't get enough of it. There's just something ruthlessly catchy and uplifting about this tune. The lyrics are a raised middle finger to her haters (Ness don't care if she's fat or if you think her clothes are bad), Machopsycho's production steals every trick in Max Martin's book and she looks all kinds of sexy on the single cover! Shame about the tragic video (below) though. At least the scene where she's flying on a cloud is good for comedy value and I guess it's not her fault if CGI hasn't quite made its way to Australia. Anyway, congratulations Vanessa. You've come a long way from dancing around Liverpool Plaza!
I'm so fucking excited! In late December I wrote a post about the making of Chris Sorbello's "So Lonely" video clip and after 3 long months, the damn thing has finally hit the net. At first I was almost too scared to watch it. I love Chris and really didn't want to test the boundaries of our friendship by trashing her video (if it wasn't any good). It's a huge relief to report that "So Lonely" is utterly fabulous. Which is a little surprising given the simple premise. Basically, Christina performs a series of robotic dance moves in increasingly quirky costumes in an abandoned warehouse with only a strobelight and smoke machine to keep her company. Not exactly "Telephone" then but director James Littlemore does a great job of capturing the song's subtlety and sparse beauty. I love the smoke effects - shadow puppets are so 2010! - and the crazy outfits. Particularly the hot disco tranny look at 1:15 minutes and the amazing knit dress at the end. Chris does a brilliant job with the choreography and holds everything together with her intensity and unique style. It's kind of surreal to see the finished product given that I spent most of the shoot chatting to the diva about September (don't ask) and stealing food from the caterers. Check out the video below and let me know what you think!
