It’s taken forever to compile this list, but it was really fun to do. Discuss away and enjoy.

So, here it is:

100. The Bedlam In Goliath – The Mars Volta – 2008
99. Black Fingernails, Red Wine – Eskimo Joe – 2006
98. Dystopia – Midnight Juggernauts – 2007
97. Chimneys Afire – Josh Pyke – 2008
96. Solar Gambling – Omar Rodriguez-Lopez
95. No Balance Palace – Kashmir – 2005
94. Lungs – Florence + The Machine – 2009
93. Apocalypso – The Presets – 2008
92. Get Born – JET – 2003
91. A Crow Left of The Murder… – Incubus – 2003
90. Tea & Sympathy – Bernard Fanning – 2006
89. In The Future – Black Mountain – 2008
88. A Grand Don’t Come For Free – The Streets – 2004
87. Aha Shake Heartbreak – Kings of Leon – 2005
86. Is This It – The Strokes – 2001
85. Themata – Karnivool – 2005
84. Tonight Alright – Spiderbait – 2004
83. Transatlanticism – Death Cab For Cutie – 2003
82. Dig, Lazarus, Dig!!! – Nick Cave & The Bad Seeds – 2008
81. thickfreakness – The Black Keys – 2003
80. Gravity Won’t Get You High – The Grates – 2006
79. Them Crooked Vultures – Them Crooked Vultures – 2009
78. Manners – Passion Pit – 2009
77. Fever To Tell – Yeah Yeah Yeahs – 2003
76. Wolfgang Amadeus Phoenix – Phoenix – 2009
75. We Were Dead Before The Ship Even Sank – Modest Mouse – 2007
74. Show Your Bones – Yeah Yeah Yeahs – 2006
73. Humbug – Arctic Monkeys – 2009
72. Modern Guilt – Beck – 2008
71. Imago – The Butterfly Effect – 2006
70. A Rush of Blood To The Head – Coldplay – 2003
69. Day One – Bird of Tokyo – 2004
68. Devils Elbow – The Mess Hall – 2007
67. Get Behind Me Satan – The White Stripes – 2005
66. Neon Bible – Arcade Fire – 2007
65. De-Loused In The Comatorium – The Mars Volta – 2003
64. Black Market Music – Placebo – 2000
63. Sam’s Town – The Killers – 2006
62. Myths of The Near Future – Klaxons – 2007
61. Howl – Black Rebel Motorcycle Club – 2005
60. Black Rebel Motorcycle Club – Black Rebel Motorcycle Club – 2000
59. 10,000 Days – Tool – 2007
58. Havilah – The Drones – 2008
57. White Blood Cells – The White Stripes – 2001
56. Tonight: Franz Ferdinand – Franz Ferdinand – 2009
55. Oracular Spectacular – MGMT – 2008
54. Welcome To Monkey House – The Dandy Warhols – 2003
53. A Smile – Dapple Cities – 2004
52. Vespertine – Björk – 2001
51. Fleet Foxes – Fleet Foxes – 2008
50. Sound of Silver – LCD Soundsystem – 2007
49. Mirrored – Battles – 2007
48. Lateralus – Tool – 2001
47. Paradise – My Disco – 2008
46. Post-Nothing – Japandroids – 2009
45. Robbers & Cowards – Cold War Kids – 2006
44. Echolalia – Something For Kate – 2001
43. By The Way – Red Hot Chili Peppers – 2002
42. Elephant – The White Stripes – 2003
41. Primary Colours – Eddy Current Suppression Ring – 2008
40. Toxicity – System of a Down – 2001
39. We Are Beautiful, We Are Doomed – Los Campesinos! – 2008
38. Hospice – The Antlers – 2009
37. Vulture Street – Powderfinger – 2003
36. Franz Ferdinand – Franz Ferdinand – 2004
35. () – Sigur Ros – 2002
34. Gimme Fiction – Spoon – 2004
33. The Overture & The Underscore – Sarah Blasko – 2004
32. Because of the Times – Kings of Leon – 2007
31. Hot Fuss – The Killers – 2004
30. Whatever People Say I Am, That’s What I’m Not – Arctic Monkeys – 2006
29. Origin of Symmetry – Muse – 2001
28. A Book Like This – Angus & Julia Stone – 2007
27. The Good, The Bad & The Queen – The Good The Bad & The Queen – 2007
26. Year Zero – Nine In Nails – 2005 ________________________________________________________________________________

25. In Case We Die – Architecture In Helsinki – 2005

It’s dark indie-pop and it’s my kind of music. Despite it’s dark nature it’s actually quite bouncy and really feels like the bands having fun. It’s simplicity is commendable and I feel that this band has not gotten the recognition it deserves hear in Australia. It’s another band that should be on commercial radio and really shows where the public has skimmed over a great band. In Case We Die is the band’s second album and my favourite.

24. Kasabian – Kasabian – 2004

Combining electronica, psychedelia and rock, Kasabian’s self-titled debut album sets itself apart because it combines genres to create music that can be heard (and liked) by anyone. Starting off with the pounding Club Foot, Kasabian made and album that is relentless and is a must listen for anyone who hasn’t heard them before (unlikely I know). Another great debut album and is one that has a special quality to it.

23. Highly Evolved – The Vines – 2002

ah… The namesake of this blog. It’s probably the album that got Australian rock back onto the airwaves (in particular commercial radio) and has really set off a new wave of Australian rock bands. They are great live and have a great amount of energy in there music. Mastering the slower songs as well as the faster songs, The Vines are a complete rock band and are a credit to Australian music. Highly Evolved was their first and best album.

22. Sunrise Over Sea – John Butler Trio – 2004

While John Butlers second album, Three, is good. Sunrise Over Sea is his best work, and will probably never reproduce it. The album caught the attention of commercial stations in Australia and for a band like this to do that, you have to have some seriously good songs. But he not only made some great songs, he made a great album. Songs like What You Want and Bound To Ramble really set this apart from other albums and are what make this album become a really great Australian album.

21. Demon Days – Gorillaz – 2005

Demon Days is dark and that’s really rare in a album that was so intrenched in the pop market. Damon Albarn was the reason why Gorillaz was so successful, he made brilliantly catchy alternative songs that transcended genres and music scenes. While some may think Gorillaz is inferior to Blur, I believe that Gorillaz is a more complete and diverse piece of music and although in may not reach the heights that Blur did, Damon Albarn has made some amazingly written songs.

20. Wolfmother – Wolfmother – 2005

Okay, so it rips off Led Zepplin, Deep Purple, Black Sabbath and The White Stripes. Who cares! It’ s just that good. Wolfmother made an album that recreates rock music from the past 30 years, the songs are great and there isn’t a bad song on the album. White Unicorn is stunning but what really gets me is Mind’s Eye. The togetherness of the band is great and I’m still not tired of it after 5 years of listening intently to it.

19. Stories From The City, Stories From The Sea – PJ Harvey – 2000

It’s not all about her ability to sing, the album shows her songwriting skills along side her beautiful voice. Stories From The City, Stories From The Sea is a great album for those two reasons, it also includes a duet with Thom Yorke which is quite amazing. The thing about her voice is that it is unique and not always Disney perfect, it has personality and emotion in it and that is something few people can do.

18. Relationship of Command – At The Drive-In – 2000

Omar Rodriguez-Lopez made his name in this band and although I don’t think it has the musical prowess of The Mars Volta, it has something different. I like to say it’s Paramore with talent but really it goes beyond that genre and in the end you can’t really compare the two. Nonetheless it’s a good album that is brimming with energy and should be listened to. It also features Iggy Pop, which gives the album another reason for people to listen to it.

17. Return To Cookie Mountain – TV On The Radio – 2006

An excellent album that has some great songs. Wolf Like Me makes the album sound as good as it does and although different to the other TV On The Radio albums it sounds like a TVOTR album. The name deserves an award and so does the album, it is a must listen and anyone who hasn’t listened to it is most definitely missing out. When I saw them live the songs from this album stood out and I really do believe that they are best listened to live as it gives the songs energy.

16. Sea Change – Beck – 2002

A breakup album that is quite amazing when you listen to it. Beck was known for making some extremely weird and wacky music but seemingly out of nowhere he writes an album like this. It’s one of the best albums of the decade and while I don’t believe its his best album, some people would and this makes this album remarkable. The bass lines are great and ranging, also, the standout track in my opinion is Lonesome Tears.

15. New Detention – Grinspoon – 2002

Along with The Vines, Grinspoon got me into rock music. This album was a large reason why I have the music taste I have today. It’s a rock album but it has a lot of pop sensibility and with out it sounding like a pop album it gets that effect. Chemical Heart is amazing and one of my favourite songs of all time. If you’re not in Australia then you may not have heard of this band. If that is the case then you have got to listen to these guys.

14. Mr. Beast – Mogwai – 2006

Mr. Beast is instrumental but that doesn’t mean it’s all classical and ambient. It’s one of the heaviest albums I’ve heard and it proves that a song doesn’t need screaming for it to be heavy. Just listen to Glasgow Metal Snake and you’ll know what I mean. When you listen to the album, you get lost in the music and this is partly because all that you’re concentrating on is the music and not the lyrics. Folk Death 95 is my favourite track from the album and is a must listen.

13. Songs For The Deaf – Queens of the Stone Age – 2002

Hard rock doesn’t get better than Songs For The Deaf. It’s unrelenting and never really drops in quality or energy. It begins with the Desert Sessions song, Millionaire and then goes straight to the song with the best riff of the decade, No One Knows. For anyone who enjoys rock, this is beyond being a must listen, if you haven’t heard this album then you’re not a rock fan.

12. Amnesiac – Radiohead – 2001

Amnesiac is like one of those blank canvas paintings, they test what can be called art and how far they can manipulate peoples perceptions of it. Amnesiac was toying with what people called pop music. It’s not a blank canvas though, it has brilliant songs that some people would call Radiohead’s best work. Pyramid Song is one of these songs, it’s emotional and has a feeling of melancholy.

11. Like Drawing Blood – Gotye – 2006

Like Drawing Blood is an example of great songwriting, the fact that he uses samples doesn’t take away form the music at all. The Only Way and Hearts A Mess are the two standout tracks, The Only Way was covered by metal band Karnivool and this proved that the song had great compatibility with most genres of music. The second Australian band in this list and he thoroughly deserves a spot this high.

10. The Moon & Antarctica – Modest Mouse – 2000

The Moon & Antarctica is a great album start to finish, which is extremely rare with albums with as many track as The Moon & Antarctica has. It has a childlike quality, but it is definitely not childlike (kind of like “Where the Wild Things Are” in a sense). Lyrically it’s amazing (like all Modest Mouse albums) and it really forces you to listen intently to the lyrics, which has the effect of immersing you into the music fully.

9. Travels With Myself And Another – Future of the Left – 2009

It’s edgy, political and hard hitting. It was my favourite album in 2009, basically for it’s mix of clever lyrics and simple instrumentation. The members of this band have made a brilliant piece of music that should be remembered for years and or decades to come. I really love this album and I think it deserves a place in popular music, despite the fact that it probably never will.

8. Wait Long By the River and the Bodies of Your Enemies Will Float By – The Drones – 2005

The first Australian album in my top 100. It’s amazing both in it’s lyrics and in it’s music. Gareth Liddiard is the genius behind this album and lyrically, I would call him a genius. Shark Fin Blues is one of, if not the best Australian song ever written and it’s an album that should be listened to around the globe as well. Despite this though, the album has never really been played on commercial radio and seem destined to be eternally stuck in Triple J land.

7. Dear Science – TV On The Radio – 2008

Dear Science is brilliant in it’s seemingly simple writing. It sounds very simplified, but when you really listen to it it’s beautifully produced and has many complicated and intricate segments that are hiding under the song-writing. Dave Sitek is the man behind it, but its the band’s togetherness of the writing and the band that makes TV On The Radio and Dear Science great.

6. For Emma, Forever Ago – Bon Iver – 2008

There is something about For Emma that grounds you. It’s honest, soulful and also deeply personal, it’s recorded in a way that goes beyond lo-fi recording, but has that same amateur feeling. When you’re listening to it you get he feeling that he isn’t writing the music for money, but for a way to relinquish his inner demons and regrets throughout his life.

5. Frances The Mute – The Mars Volta – 2005

This album really sums up The Mars Volta, clocking in at an hour and having 5 songs on the album. But really, the reason I love Frances The Mute is because it shows a band that are pushing the boundaries of what we call modern music. It isn’t exactly new, the album is influenced heavily by 50’s jazz, but it does something that is very unique in this day and age. The 13 minute epic Cygnus… Vismund Cygnus is my favourite track from the album and really sets the pace for the rest of it.

4. Silent Alarm – Bloc Party – 2005

Silent Alarm is another album that is never going to be matched by the band. The follow up wasn’t half as good and it wasn’t really a surprise. With songs like “This Modern Love” and “Helicopter”, Silent Alarm somehow has achieved all songs having their own soul and are also unique and different to all others on the album. Despite this though, they mould together to become a brilliant piece of art.

3. Turn on the Bright Lights – Interpol – 2002

Interpol have yet to replicate the almost ethereal Turn on the Bright Lights. Carlos D provided bass lines that allowed the music to go beyond a single layer, but what really took this album the next level was Paul Banks. His voice gave the music personality and a real sense of emotion. It has an aura that makes this album special and different from all others.

2. Funeral – Arcade Fire – 2004

Funeral is by far the best “emo” album ever released. While some may yell at their computer screens saying I’m crazy, just hear me out first. The genre of “emo” has been taken out of context to the point where today “emo” is another word for pop-punk. “emo” is short for emotion/emotional, Funeral has raw emotion and that what makes the album so touching. While all these teenagers were listening to the “emo” Fallout Boy and Panic At The Disco!, they should have been listening to this.

1. Rated R – Queens of the Stone Age – 2000

Rated R is one of those album that just hits the spot. On top of the fact that it probably sparked the revival in rock music in the early years of the naughties, while The Strokes’ Is This It is often regarded as the said “spark”, I do believe Rated R was more important and was also a better constructed album. It starts with the brilliant Feel Good Hit of the Summer and never really drops in quality from that first riff that is infused in the rest of the album. It’s quirky, yet dark, pop attributes allow the album to “release the weird”.

Before I finish my Top 100 albums for the decade, I’ll take some time out to write about the best albums of 2009. Commercial radio again ignored good Australian music and as usual there were some great new Australian bands.

Well, here it goes, I hope you all enjoy reading…

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Top Albums of 2009

25. To Lose My Life… – White Lies

24. Rain Machine – Rain Machine

23. Julian Plenti Is… Skyscraper – Julian Plenti

22. Kid Sam – Kid Sam

21. Crack The Skye – Mastadon

20. The Sunspot Letters – Leader Cheetah

19. Veckatimest – Grizzly Bear

18. Smoking Gun – Lady of the Sunshine

17. Octahedron – The Mars Volta

16. The xx - The xx

15. It’s Blitz! - Yeah Yeah Yeahs

14. A Woman A Man Walked By – PJ Harvey & John Parish

13. Conditions – The Temper Trap

12. Zounds -Dappled Cities

11. Swoon – Silversun Pickups

10. Humbug – Arctic Monkeys

9. The Peaceful Atom Is A Bomb – Regular John

8. Lungs – Florence + The Machine

7. Them Crooked Vultures – Them Crooked Vultures

6. Manners – Passion Pit

5. Solar Gambling – Omar Rodriguez-Lopez

4. Tonight: Franz Ferdinand – Franz Ferdinand

3. Post-Nothing – Japandroids

2. Hospice – The Antlers

1. Travels With Myself & Another – Future of the Left

Honourable Mentions

The Parallels Amongst Ourselves – Sugar Army

Far – Regina Spektor

Hope Is For Hopers – Philadelphia Grand Jury

Escape From The Sun – Operahouse

Further Complications – Jarvis Cocker

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Top Tracks of 2009

25. While You Wait for the Others – Grizzly Bear

24. My Girls – Animal Collective

23. The Price – Dappled Cities

22. Escape From The Sun – Operahouse

21. Rabbit Heart (Raise It Up) – Florence + The Machine

20. Lucid Dreams – Franz Ferdinand

19. New Moon Rising – Wolfmother

18. Down To The Cemetery – Kid Sam

17. Lapsed Catholics – Future of the Left

16. 11^th Dimension – Julian Casablancas

15. Fire – Kasabian

14. All Is Love – Karen O

13. This Is The End of Everything – Toma

12. I Quit Girls – Japandroids

11. Laughing With – Regina Spektor

10. Tongues In Cheeks – Sugar Army

9. There Are Listed Buildings – Los Campesinos!

8. Carol Brown – Flight of the Conchords

7. Arrow – Tegan & Sara

6. The Royal We – Silversun Pickups

5. Here It Comes – I Heart Hiroshima

4. Cotopaxi –The Mars Volta

3. No One Loves Me & Neither Do I – Them Crooked Vultures

2. Blood – The Middle East

1. Crying Lightning – Arctic Monkeys

Honourable Mentions

Little Lion Man – Mumford & Sons

Exogenesis: Symphony - Muse

Useful Chambers – Dirty Projectors

Magnetic Arrest – Bridezilla

Dominoes – The Big Pink

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Top EP’s of 2009

5. The Food Chain – Dragging Pianos

4. Ayrton Senna – Delorean

3. Art Vs. Science – Art Vs. Science

2. Blood Bank – Bon Iver

1. No One’s First And You’re Next – Modest Mouse

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Best Gig of 2009

Mammal @ Moonee Valley Youth Festival – April 5^th

These music awards are purely personalised – in no way do they, or should they, reflect upon the artist/s. I feel that these albums, tracks and lyrics, are to my own personal-liking. These may challenge my prior opinions of album-ratings within my reviews – but then again, these decisions have been made after much after-study, and devoted listenings.

If you don’t agree, feel free to disagree, you’re entitled to it. But that’s besides the point:

And now, I’m happy to announce my awards:

TOP TEN ALBUMS 2009:

1. Xenophanes – Omar Rodriguez-Lopez

2. The Bavarian Druglords – 205

3. Vib Gyor – We Are Not An Island

4. The XX – XX

5. Passion Pit – Manners

6. The Mars Volta – Octahedron

7. The American Dollar – Ambient One

8. Muse – The Resistance

9. Engineers – Three Fact Fader

10. The Middle East – The Recordings Of The Middle East

TOP TEN TRACKS 2009:

1. Desarraigo – Omar Rodriguez-Lopez [Xenophanes]

2. Wooden Ships – Dappled Cities [Zounds]

3. Sweet Disposition – The Temper Trap [Conditions]

4. Little Secrets – Passion Pit [Manners]

5. Tongues In Cheeks – Sugar Army [The Parallels Amongst Ourselves]

6. 37c Sniper – The Bavarian Druglords [205]

7. Infinity – The XX [XX]

8. Blood – The Middle East [The Recordings Of The Middle East]

9. Escape From The Sun – Operahouse [Escape From The Sun]

10. Vib Gyor – Scanners [We Are Not An Island]

TOP FIVE LYRICS 2009:

1. Russia – Ramona Falls [Intuit]

2. Two Dancers – Wild Beasts [Two Dancers]

3. Obscene Queen Bee – Flashy Python [Skin And Bones]

4. Drunk On Aluminium – Wintersleep [Welcome To The Night Sky]

5. Teflon – The Mars Volta [Octahedron]

WORST LYRICS AWARD 2009:

1. T-Shirts – Still Life Still [Girls Come Too]

Coinciding with my recent purchase of “Xenophanes”, ‘Omar Rodriguez-Lopez’ never ceases to amaze me, with a refined – yet developing – calibre which remains unresolved in certain aspects. It has been some fair-few months since “Xenophanes”, and its awe-inspiring riffs mind-blew everyone within a close radius; still, those beyond its reach have yet to feel the aftershock. At the moment, ‘… Rodriguez-Lopez’ stands on the precipice, as we all hold our breath before the great plunge: I myself – not to mention my partner – have been eagerly awaiting the release of ‘… Rodriguez-Lopez’s’ official third studio-album “Solar Gambling”, and I feel we’ll both have some mixed opinions about its qualities.

Unofficially, ‘Highly Evolved’ has jumped straight back into the reviewing circuit, with “Solar Gambling” as our wind-up for the somewhat-successful Joint Review saga of ‘09. My partner and I share some common musical tastes, as the basic foundation for the blog itself, really; unequivocally necessary for the succession of each and every review. I suppose I proposed the idea to him some while into my arrival, to add some spice to the already growing cocktail of ideas:

“… So, I was thinking the other night; how about we do some Joint Reviews?”

“Uhuh…”

“Yeah, like – we review the same album, so readers have two different opinions to go on: could be good?”

“I suppose – yeah, we can do that.”

And off we went. I’ve reiterated time and time again, how the blog itself, and we as its reviewers and maintainers, have constantly developed over the past year. We have shared some interesting opinions through the Joint Reviews, which I find fascinating; and that’s a real understatement – arguments between us can continue on for days, or even weeks at a time, depending on the album, and our opinion of it. Readers of ‘Highly Evolved’ get a nice, round-edged review, replete with constructive criticism [if any], and commendation. Beyond the two-dimensional screen, and the confines of the published blog and internet-viewer-derision, our responses are usually quite blunt, one-sided, and generally lacking in reason.

‘Jarvis Cocker’ – “Further Complications” - need I say anymore [my friend?]

This album threw a wrench into the clockwork for a solid week – we continue to justify our reasons for liking/disliking its construction, its lyrics, its vocalisation, its composition. We are both firm in our opinion of it. Generally, however, albums have been great, and I’m usually open to anything [as is my partner], as long as it refrains from mainstream-pop, R&B, techno or trance.

Such as it is – nostalgic, directionless, purposeless – I feel that the finish of ’09’s Joint Reviews will leave a bitter aftertaste on my part. Without further distraction, I give you:

"Solar Gambling" - 'Omar Rodriguez-Lopez'

A few months ago, my favourable review of ‘… Rodriguez-Lopez’s’ prior album-release, “Xenophanes“, happened to draw some ‘interesting’ attention from ‘Omar Rodriguez-Lopez Productions” home-site on Twitter. To much surprise, readers seemed satisfied with my five-star rating – of this seemingly side-project-of-an-album [see "Julian Plent Is... Skyscraper" - 'Julian Plenti' for further details on my abhorrence of side-projects] – and my positive remarks on its overall-construction, with track after track of psychedelic fantasy and mind-bending electric guitar.

I don’t believe it’s necessary to go in-depth about ‘Omar Rodriguez-Lopez’ himself, because I would basically be paraphrasing my previous review of “Xenophanes”; suffice to say, newcomers should take note that ‘… Rodriguez-Lopez’s’ main affiliate band is ‘The Mars Volta’ and “Xenophanes” saw his first vocal-debut together with his girlfriend, ‘Ximena Sarinana’. With that said, I think it’s time I divulge my approach towards evaluating “Solar Gambling” – I’m taking it out of context with my previous opinions of “Xenophanes” [suffice to say, I will be using it as an example, however], because – although my partner will strongly disagree with this – I feel that “Solar Gambling” is a notch below what I expected it to be.

It’s not another ‘Jarvis Cocker’ – ladies and gentlemen – but I don’t think it marvels “Xenophanes” by any standard. It’s more appropriate to rate it next to ‘… Rodriguez-Lopez’s’ original debut, “Los Sueños De Un Higado” than “Xenophanes”, because I think I understand what the driving forces were behind “Xenophanes” now, then what I did before. “Los Sueños…“ maintained an elegant-complexity, a fusion of funk, jazz and progressive-rock, that I personally think was wonderfully-exuberant in “Xenophanes”: I’ll use this euphemism again, due to much appeal – it had the Hendrix-happy riffs, and more importantly, dual-vocals, which capped it off and were the icing on the cake, so to speak.

“Solar Gambling”, on the whole, drifts between “Xenophanes” and “Los Sueños…“, and lacks the consistency of “Xenophanes”. Take for example, “Xenophanes’” introductory-track “Azoemia”, pure instrumental genius: a recurring sound throughout the album, reappearing often enough to create this repetitive loop so the album never really ended, it continued from finish to start and finish again. “Solar Gambling” seems to take a heavy influence from “Los Sueños…” in that each track remains a stand-alone song – or at least, that’s how I feel it is – whereas “Xenophanes” remained continuous. In this regard, it is not a criticism, but merely a matter of difference. For whatever reason, also, ‘… Rodriguez-Lopez’ is sadly speechless, with ‘… Sarinana’ purely in his place: in this respect, it is why I have drawn similarities between this and “…Los Sueños“, where she is also dominant.

“Solar Gambling”, on the whole, is a nine-piece album with mixed instrumental and lyrical-vocalisation. Topped off at around the 35-minute mark, it is remarkably short in comparison to its counterparts; tracks average around three-minutes, there are only a handful of fives, mostly twos and threes. Progressive-rock influences are less obvious, although not entirely hidden and its riffs seem distracted with reinforcing vocals or maintaining rhythm instead of leading, or taking a solo. The album has a massive musical shift half-way through, and breaks away from ‘…Volta’ influenced guitar and composition, to progressive-rock-ambience reminiscent of ‘Sigur Ros’. Listeners will notice the predominant use of piano with its arrival, at around “Poincaré“, and following with the smoky, distant haze of “Los Tent áculos De La Libélula”. Instead of lead, we have this multi-layering of string and percussion, or percussion, or synth, and a quickly-fading ‘… Sarinana’. Again, on the whole, very different from “Xenophanes“.

It is a matter of opinion whether this difference is necessary, positive, or in fact negative – but ‘Omar Rodriguez-Lopez’ remains a compositional genius. This album, I believe, represents a willingness to break away from the expected and embrace the unexpected; he is putting out feelers in all directions – tasting the air if you wish – for the best possible quality of music. “Solar Gambling” is a mixed half-breed of ‘… Volta’ influences, ‘Sigur Ros’, “Bladerunner”-reminiscent ‘Vangelis’ and of course, ‘Omar Rodriguez-Lopez’ himself. In this respect, I admire the album, but it doesn’t fully agree with me, and in some aspects, the spark burns a little less brighter in some than in others.

“Locomocion Capilar” is “Solar Gambling’s” opening track, and it’s probably the last “Xenophanes”-sound-alike you’ll here for the rest of the album. It has the classic progressive-rock guitar, and it brings back the best that ‘… Rodriguez-Lopez” has to offer; I suppose I’m just missing ‘Omar’s…’ vocals, that’s all. Again, you already know what to expect, a mix of guitar, percussion, synth, and of course, ‘… Sarinana’. At 3:23, it’s unusually short.

“Las Flores Con Limón“ brings into focus the general intimacy of the album, between listener and “… Sarinana”, and its opening serenade between guitar and ‘… Sarinana’ is very elegant and withdrawn. The track bounces between explosive outbursts of progressive-rock and intimacy, demonstrating the elements to come.

I’ll skip straight to “Poincaré“, because I think it’s one of the strongest tracks on the album. It breaks away from that progressive-rut that the album initially clings to, and involves only ‘… Sarinana’ and a piano throughout the track. With some added distortion between the audio left/right channels, some wavy synth, and far-away echoes, it is hauntingly beautiful. Because of this focus, it is an unexpected delight – however short-lived it might be. “Los Tentáculos De La Libélula” follows, and it’s not at all what I would expect from “Solar Gambling”, or ‘… Rodriguez-Lopez’ himself. It is very dark, very despondent, and being an instrumental, somewhat intimate also. Another poignant track, sadly ephemeral, it is where I’ve made my connections to “Bladerunner” – it’s easy to imagine Rick Deckard flying towards Tyrell Corp; maybe I’m just being overly imaginative today?

I’ll stop right there, and finish by saying that “Solar Gambling” is more like a flaunt of potential than a rival-album between “Xenophanes” and “Los Sueños De Un Higado“. I do enjoy “Solar Gambling”, but I feel it isn’t at the standards of “Xenophanes”, and must be appreciated out of prior-album context, rather to be loved on its own, than with other ‘Omar Rodriguez-Lopez’s’ constructions. I know I cannot rate an album solely on the artist, I know I can only go by what I hear, and this is what I hear, and think, and feel. It is a difficult album to finish with, on the eve of the new year, and the Joint Review finale, but nonetheless, it has been a blast writing it; and that’s the important thing. You can criticise all you like…

Rating: 4/5

Stand-out Tracks: “Locomocion Capilar”, “Las Flores Con Limón“, “Poincaré“, “Los Tentáculos De La Libélula”

Until when,

The Enantiomorphic God

Omar Rodriguez-Lopez has released several albums in 2009, through both solo work and The Mars Volta. Xenophanes is a return to his “louder” work that was left behind with the release of The Mars Volta’s album Octahedron. It is also the first record where he has sung on many of the tracks, the record itself is sung in Mexican and it gives the album a very unique sound, compared to the somewhat generic music being released at the moment.

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"Xenophanes" - 'Omar A. Rodriguez-Lopez'

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His earlier solo work has been somewhat of a lottery, there have been some great albums but also some that were possibly too ambitious, Xenophanes is definitely one of his best works. His latest work Solar Gambling goes one step further and is, in my opinion, his best solo work to date (expect a review in the near future). This resurgence of seriously good and ground-breaking albums in the past few months has cemented in my mind that Omar Rodriguez-Lopez is the most innovative musician of the last ten years.

To Xenophanes itself, it’s edgy, groovy and leaves the listener wanting more. The drum tracks are especially notable, they give the tracks life beyond the guitar and help with the overall feel and balance of these tracks. The remarkable thing is that, compared to his guitar work on The Mars Volta, his playing seems more accurate and precise on Xenophanes, which gives the tracks and album a more focussed feeling and vibe.

Xenophanes is not an album of standout songs, it’s more of a standout album. While some may argue that there’s nothing on the record that catches their interest, you have to view this album as a whole and as a piece of music that is not trying to be a hit song, rather an album that is meant to take the listener on a journey through Omar Rodriguez-Lopez’s musical mind.

This is an album that will grab the attention of Mars Volta fans, as well as people that are looking for a type of music that is based around flow and feel more than expert songwriting, although it could be argued that writing music like that is a sign of brilliance in terms of songwriting.

As for a rating it’s an extremely solid album but I’m going to leave the supremely high rating for his latest work. Keeping that in mind, I think it deserves a extremely commendable 8/10. I really do urge people to grab this album, it will definitely not disappoint.

Standout Tracks: Azoemia, Desarraigo

Rating: 8/10

To put it simply, The xx are an amazing band, they make beautiful and simple songs that have the innocence of Angus & Julia Stone, but with the backing of internet hype like that of Passion Pit. The Angus & Julia Stone comparison I pretty accurate in my opinion and although the two bands styles are different, they have the same innocent “vibe”.

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The xx - "The xx"

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2009 has witnessed a number of new and upcoming bands, The xx are one of, if not the best of this years crop of artists. Their rhythms and beats are hypnotic and almost draw you into the music, it’s something that few bands are able to achieve but The xx seem to achieve it without trying. What separates them from a lot of bands is their two singers who are extremely suited to each other’s voice. Without being over the top they sing with a nimble quality and sing what is required for the song to become something they intend it to be.

The album has no real bad songs and is pretty consistent, but if I had to pinpoint one standout song, it would have to be ‘Crystalised’. It’s simplicity is it’s strength and I found it to be extremely catchy, a sure bet for one of my favourite tracks for the year of 2009.

It’s a very weird album to listen to, because a lot of the time you don’t know whether you should be dancing or not. What this creates though is a intrigue in the album and I for one found it to be far more interesting and captivating for it. It’s different to a lot of albums in that way, while other bands are trying to master a popular genre, these guys (and girl) are trying to write music that suits their presumed personalities.

The xx have made an album that has a maturity to the song-writing that is rare in a band that is so early into their career. Their album is one of the best debuts of the decade let alone the year and I really look forward to hearing what the band release next in their career, that has no end in sight.

In terms of a rating, I am going to give it a 9/10. It’s almost to the standard of the very best modern albums and is sure to spark something on the music scene, if it already hasn’t. Go out and buy this album especially if you’re a fan of electronic music, as it may just open your eyes to another aspect of the genre.

Standout Tracks: Crystalised, VCR

Rating: 9/10

I must admit, it has been a long while since any of my reviews featured on Highly Evolved at all during these past few months. In all honesty, although the blog perseveres on without us, I feel that the initial spark it began with and the unnatural fervour with which we approached it, may be lost in the following months – and years, perhaps [we hope] – to come. Highly Evolved began as one of my best friend’s ideas back on MySpace; mind you, without much publicity, feedback or acknowledgement. And as a result: he moved out here to WordPress, where we have been assured now – at least – that a hundred eyes read our work daily.

For better or worse, we’re now left with the aftermath of the fruits of our labour. All in all, I think it’s been worth it. And my partner would admit that despite the finish of High School life, the time that’s been left on our hands will be put to musical use one way or another; blog or otherwise. We’re in that never ending spiral called adulthood, we’re stuck trying to find something in this near-hell limbo-space between High-School-closure and University/TAFE-invite. And during these weeks, or months [for time remains elusive] I’ve tried to get back in that same head space I was when I began – joyfully looking for albums and artists that deserved some recognition with an open mind and willing ears. My fingers have been eager to tap out some constructive criticism, and although my search for albums has been full of many uneventful tracks, ordinary lyrics, and only mildly tasteful bands, ‘The Phenomenal Handclap Band’ are a group which I’ve been trying to get my hands [no pun intended] on since their release early-to-mid this year. So, without a second more of your time well-spent, wasted:

"The Phenomenal Handclap Band" - 'The Phenomenal Handclap Band'

This self-titled debut brings together luminaries from the growing New York, Brooklyn scene quickly taking shape over in the good-ol’ US-of-A. For those Highly Evolved regulars, you’ll remember a distinctive band called ‘The Bavarian Druglords’, which debuted earlier this year with their smash-hit “205″, hailing from Brooklyn also; among others. So, for review details on those legends, click [here]. Distracted much – for you see, my head is swimming in unnecessary details – I’ll dig a little deeper into ‘… Handclap Band’, and some member-specifics. Centering the band are ‘Daniel Collás’ – also known as ‘The Witch Doctor’ – and ‘Sean Marquand’ – also known as ‘The Medicine Man’ – the original conspirators for the‘… Handclap Band’, who :

“… after years of searching and contemplation, through live performance and the manipulation of recorded music, have finally succeeded in the personification of their holy vision…” – Last.fm Summary

Together with these visionaries, members: ‘Patrick Wood’, ‘Nicholas Movshon’, ‘Luke O’Malley’, ‘Laura Marin’, ‘Quinn Luke’ and ‘Joan Tick’, further aided by the talents of ‘Aurelio Valle‘, ‘Carol C’, ‘Jaleel Bunton’, ‘Bart Davenport’, ‘Jon Spencer‘, and ‘Lady Tigra’, among others. This carefully constructed ensemble of characters, further enhancing the distinct and memorable aspects of the ‘… Handclap Band’, define the lengths and effort that this band includes within their music, compounding its musical qualities into some wierd and wonderful celestial being. Perhaps I’m a little over-exuberant, but it’s like reading a list full of potential crusaders who march under the banner of the almighty and omnipotent Handclap.

At around ninety-minutes in total length, “… Handclap Band” is more like a full-length feature film than an actual album, with tracks averaging out at around the six-to-seven-minute mark, with nothing under five. In this respect, some listeners might find that tracks become mired in overly drawn solos and repetitive choruses, but I was surprised to find that these tracks manage to shake it up enough to keep things interesting. Tracks are fresh, no-one is ever truly alike; all in all, the album shifts between the elements of psychedelica, electronica, rock and I can’t believe I’m writing this, but for some unknown reason, some aspects of “… Handclap Band” are nostalgically disco. I know, I know, what on Earth am I saying?

It’s the truth, I can’t help but feel drawn to this misunderstood genre, still lost somewhere in the underworld. Although occasionally withdrawn, its presence lingers in and out of the shadows. So, if this is a put-off, all I can suggest is: BE PATIENT. There’s enough psychedelica, rock, and electronica to keep that elephant in the room subdued with cattle prods and the likes. By all means:

“DON’T PANIC”

“The Phenomenal Handclap Band” truly exploit each and every aspect of musical composition, instrumentation and vocalisation, to the degree where individual instrument recognition becomes easily blurred in a myriad of bluesy, often jazzy, layers of brass, percussion, or otherwise. Conversely, there can be just as much use of electronic apparatus as there can be acoustic, either solely, or a mixture.  Of course, featuring predominantly in “… Handclap Band” are the consistencies we would expect from any emerging group present in the Naughties: electric guitar, or guitar instrumentation of some kind, and vocal/lyrical tandem. In this regard, you might already know what to expect from ‘… Handclap Band’, but I’ll dash those theories from your mind by saying that vocalisation of any chorus and affiliate lyrics are comfortably shared between multiple singers, with varying degrees of intimacy, strength, appeal, and listener satisfaction. So, expect both male and female vocals, from at least five or more different vocalists.

Although length-wise, I’ve only skimmed the surface of “… Handclap Band’s” tracks, it’s extraordinarily difficult to set some sort of summary-statement that represents them in some overall way. Suffice to say, I will go into a somewhat in-depth discussion on a small handful, but on the whole, leave a majority up to the listener’s discretion.

“The Journey To Serra da Estrel” is the opening legacy for “The Phenomenal Handclap Band”, and overall, it’s some instrumental-stimulus lacking lyrics, vocalisation, and chorus. Nearly eight-minutes of mind-bending material, you’ll find a mixture of typical electronica synth, elec. guitar, acou. percussion, and wavy, ambient-like layers as a wind blows in between the silence. Overall, it’s an interesting introduction to the album. It’s much like the warm-up an orchestra might utilise before the main feature, although this one is much more coordinated than simple tune-checking. Unlike a majority of the album, which predominantly contains lyrics and vocalisation of some kind, “The Journey To Serra da Estrel” is an odd-ball I can’t quite place my finger on. Not to say that I dislike this odd-ball, it is exceptionally strung – in album-context, it becomes fully appreciated: separately, it’s completely useless to interpret. So, accept that this eight-minute journey puts you on the multi-coloured-brick-road, rather, than thrusting you into a time-warping rollercoaster of unexpected bliss.

Following, and onto one of my personal favourites for the album, “All Of The Above”, which really contextualise the opener; here, we have reminiscent composition, backing guitar and percussion, and the all-powerful helicopter-synth – less emphatic, less beat orientated, more like eighties keyboard or disco lead. Complementing top-hat and percussion, together with lead-stealing elec. guitar helps drive the song into its chorus at 1:20, with the very disco-esque vocalisation and lyrics:

“You’ve been through a lot these days, I can tell by the look in your eyes…*”

[Oh, the irony!]

If at all, you’ll remember the sensual, thought-provocative promiscuity of:

“… A… B… C… D…”

Flitting between the stereo channels, left and right; just when you thought the first four letters of the alphabet couldn’t get any sexier – think again! Sesame Street, eat your heart out.

I’ll jump straight to the middle of this delectable album, because I bet all those Australian readers have been wondering who does the backing-track to that lingerie add for Target* [or was it Bonds*?]. Yes, the one with the girls in roller blades and bikinis. No, I’m not the only one who remembers that random, obscure advertisement. I’m sure the lyrics:

“five, ten, to fifteen, twenty, twenty-five, thirty, thirty-five, forty…”

Will spark that memory of yours? Together with an emphatic beat, this has to be the least ‘… Handclap Band’ orientated track to date. Out of album context, this track is definitely – if not already – mainstream making, and as a result, I would have never guessed it to belong to such a band with such a unique and definitive style. Nevertheless, here it is; the world is now smaller as a result.

“The Martyr” is probably the most nostalgic track that ‘The Phenomenal Handclap Band’ can deliver, and that’s because it brings with it the uncanny use of keyboard synth, high-pitched vocals, and laid-back elec. guitar. Somewhat lyric-orientated, despite some crazy – somewhat psychedelic – solos, it’s a fine track nonetheless.

Just like my review, the album’s lengthy – so it deserves a few playthroughs before any final, hasty judgements: it’s not something that will blow you away completely, but you’ll thoroughly enjoy “The Phenomenal Handclap Band” if you put your hands together long enough [pun intended]. It’s a fantastic album for my return to music reviewing on Highly Evolved, and although our Joint Reviews seem to be in a bit of jeopardy, I’m sure this will kick-start some action back into the blog. Just the same, some killer-potential happening here. I know it was a while back, and I apologise for reviewing it so late in the year.

Rating: 4/5

Stand-out Tracks: “The Journey To Serra da Estrel”, “All Of The Above”, “15 to 20″, “The Martyr”, “Baby”

Until when,

The Enantiomorphic God

The internet has been a growing and integral part of society over the past ten years and while many industries have embraced the technology, a large section of the music industry sees the internet as a destructive force. While I somewhat agree that file-sharing is partly detrimental to the music industry, I do not think that the artists involved are losing out because of the illegal sharing of music files.

There is no doubt that the sales of records and CD’s have dropped dramatically over the past three years, but there is another angle to look at. Record companies take most of the money made from the records and only a small portion of the sales actually go to the artists, therefore we have to look at the other aspects of the music industry. Gigs allow some artists to make money and this is further enhanced by merchandise sold at these gigs. Live revenue on the part of the artists has grown over the past 5 years and this shows that in some ways the music industry is thriving in this new age of the internet.

There is a simple explanation for the figures and file-sharing is a big influence on these figures. The sharing of music files allows people to find a lot more bands as there is no restrictions such as price and accessibility, the ease of distribution over the internet (in terms of artists) has become exceptionally easy, with sites such as Last.fm, MySpace and the many music blogs. While people may decide not to buy these new bands’ albums they may go to one of their shows and this is because there is no substitute for live music. It allows for a much more even playing ground for bands and allows bands that aren’t backed by big record labels to be a presence in the music scene.

On the other hand, record labels are an vital part of the music industry and bands like The Dandy Warhols would never have made a name for themselves without the backing of Capitol, there is obviously no way to know whether they would have made a name for themselves, but record companies have the ability to push for their artists to be played on radio and other mediums.

The big question is, “Can the music industry survive without the presence that record labels have at the moment?”, because at the rate at which revenues of these record labels are dropping, the music industry must face the fact that record labels will have a smaller presence and independent artists will be more prevalent in the coming years. It seems that the record labels are unable to find a strategy that will allow them to stay in the state that they were in before file-sharing became a part of life. They have tried the all-in-one record deal that allows them a share of the artists revenue from merchandise and gigs, but this is coming along slowly, another strategy is to stop file-sharing all together and the idea at this moment i to punish people who do it, this will send out a message to other people and it may prove to be a deterrent. But what the record labels are up against is beyond their control. In the UK alone, over 90% of people admit to downloading music illegally, this shows us that it is the way of life to most people in the UK, and possibly around the world and until record labels change the mindset of society, nothing can really be done.

So what does all this mean exactly?

In terms of the structure of the music industry itself there may have to be a restructuring of the way record label operate and make money, to be perfectly honest I don’t care what happens with record labels’ profit margins. What I do care about is the state of music in ten years time. I personally believe that independent artists will be a much larger force on the industry and there will be a larger focus on these bands. There may also be a resurgence in the quality of bands live shows, bands will have to be a presence on the live scene and this may bring about the end of bands that make music specifically designed to be played in the studio. It is unclear whether file-sharing has a positive or negative influence on the music industry, but what is certain is the fact that the way we see and hear music will change dramatically over the next ten years, whether it is for the better or not.

Further information at: http://labs.timesonline.co.uk/blog/2009/11/12/do-music-artists-do-better-in-a-world-with-illegal-file-sharing/

I’ve finally finished exams, and that means I can come back to the beloved ‘Highly Evolved’ and start writing some reviews again. Over the next few weeks I’ll be going over some of my favourite albums of the past few months, as well as sharing the best new albums.

2009 has been somewhat of the year of the supergroup. Bands like Monsters of Folk and The Dead Weather have somewhat shaken the stigma associated with supergroups, in the past these bands have often failed, basically becuase there is always so much expectation on supergroups to combine and make something that is “super”, and usually the chemistry in the band is not there. But finally band has arrived that lives up to all my high expectations.

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Them Crooked Vultures - "Them Crooked Vultures"

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Them Crooked Vultures formed in 2009 and started touring to frenzied audiences around the world, even with the lack of any officially released material. Their self-titled album has finally landed and it definitely lives up to the feverish hype.

Them Crooked Vultures are made up of Dave Grohl (Nirvana, Queens of the Stone Age, Foo Fighters and a modern day King Midas), Josh Homme (Queens of the Stone Age, Kyuss) and the legendary John Paul Jones (Led Zeppelin). What makes this band rock at an abnormal level, is not the personal of the band (it does help though!) but rather the chemistry and togetherness in terms of the writing and recording process. Every member’s style shines through and no-one seems to take over.

It’s similar in style to QOTSA’s “Songs For The Deaf”, but has a classic rock ingredient that just seeps through into the music, this is somewhat expected, but there’s nothing wrong with that. The album itself is not exactly breaking any new ground, but it raises the bar for rock music and is really enjoyable to listen to.

‘Them Crooked Vultures’ is a relatively long album, at around 70 minutes it would be have been a double LP in the past, but really it shows how albums have progressed from the era when LP’s were still the format of choice. The album is split by the interlude (with ludes apparently) and while tongue in cheek it allows the listener to listen to the album in full with a bit of a musical break in the middle.

Like all great albums, there is really no bad song and every song is at a level of brilliance. “No One Loves Me & Neither Do I”, “New Fang”, “Reptiles” all have the ability to be popular songs and also receive commercial radio play time, which is rare, especially those in Australia.

2009 has not really been a year where much good rock has been released, there have been a few good albums and even a few really good albums, but overall they have been sparse. Them Crooked Vultures rises above the rest of the rock albums of 2009 and is surely going to be seen as one of the best supergroups of all time.

Get onto this album, whatever music you prefer, because it is a brilliant album, and may even make my list of 100 best albums of the decade (coming soon…).

Rating: 9.5

Standout Tracks: No One Loves Me & Neither Do I, New Fang, Reptiles, Spinning in Daffodils

The night was cold for September; early-morning drizzle had blanketed the sky in a haze of grey and white, ominously perched high above the cityscape. By then, the sun had set, a distant, glowing orb, whose face was cloaked before in cloud.

Awake, it rises only to sleep again.

Sundays are the laziest of days, where people often sit and lie comatose, white-faced and sober from some reminiscent Saturday-binge. They lie strewn about the place, idle figures of permanence in an impermanent world. Tonight, all is dark and wearisome, week anew.

Heidelberg Station has never felt so empty, even with some company, conversation remains confined to three syllables or less:

“… So, tell me about the party last night?” I wonder.

A distant memory ebbs in and out of focus, albeit uneventful. His face tells all, grey and tired.

“… Everyone was out by eight,” Michael Hodder sighs, hand drawn across his stubble, “but by then, she was already out cold.”

“So much for the birthday girl’s eighteenth, then, eh?”

A glance, a nod.

The train arrives.

The city is strangely alive, the hustle-and-bustle of commuters evident. Flinders Street becomes an immaculate stage full of dancing shadows and their human partners. Students linger here and there, eyes cast above or below. Some stragglers wander aimlessly about, hands buried deep between their pockets. Largely, the station is amiss, traffic of any kind languid, uncongested. Trains pull in and out of platforms; passengers trudge in between each other, single file. By now, the rays of light are bent between the metal pickets of the cityscape, enveloped in the eerie orange-haze of artificiality. Lights blink on and off, the buildings suddenly have eyes.

I feel cold underneath my jacket, the tips of my fingers ache slightly as they nestle themselves comfortably beside my body. We loiter by the sidelines, surrounded by the general hum of mindless banter. A couple complain ahead of us, unsettlingly close and vulgar.

We strike up the usual topics, football and the likes, to kill some time before the next train – but it’s empty, and our hearts are set on The Middle East.

'The Middle East' Live at The Corner Hotel

Some months before, Michael Hodder had mentioned their tour of Melbourne. All the way from Townsville, they were here to play as leads at a shady little joint called The Corner Hotel; evidently sited on a corner, burrowed beside an overpass and a stretch of commercial-buildings with only a few ordinary ones amidst the usual Melbourne-architecture. The gig was set to start at 7:30, with the first of two side-acts. But by then, we were already late by half an hour.

We had imagined a long cue tailing from one side of the street to some distant, half-kilometre-away corner. I’d seen a few before, lined up against the panes of shop windows, up and over the curb, like snakes, making only exceptions for diligent drivers and other followers to join its lengthening tale. That was at Brunswick, though, other side of town.

To our surprise, we arrived to only a few groups huddled by the front, eagerly through the door without a fuss. We cued – but the door itself remained in clear sight.

Nothing like my wild imagination.

A fleeting glimpse from face to ID, and the bouncer – no more the stereotype than expected – thrust the card back into my hands and let me pass. With the gatekeeper satisfied, it was a clumsy movement in between juggling my wallet and getting my wrist stamped before I was immersed in the dark, surrealistic environment that was The Corner Hotel.

The place itself was utterly dead.

“I thought you said the tickets were sold out?”

“… I did, that’s what it said on the site,” Michael Hodder replied.

“Oh, hey Tom.”

By the bar, we met Tom Clare, another fellow whom we had decided to invite along.

“Hey guys.”

A somewhat small, yet unusually acoustic hall-like room, with a stage less than an eighth of its size, barely consisted of the joint. Inside, we found mostly empty walls, a stage with half-prepared instruments, chiefly percussion, with a band-less audience of perhaps twenty or thirty, and half a bar in operation. Speakers two-thirds my size sat mounted at either side of the stage, and quietly, music emanated from the forward region. A few drinks lay about, half-empty: beer, I supposed, not much room for cocktails.

The belly growled – hungry, I suspected. Not a scrap of food in sight, though.

“… But they only just went on sale, didn’t they?” I asked childishly.

“Yeah, all the Big Day Out Tickets have been sold-out in Melbourne,” Tom Clare rushed.

“Already?”

“Yeah – they should have put a lower limit on ticket-sales,” Michael Hodder spoke, somewhat disappointedly, “four was obviously too high.”

By then, Tom Clare’s plans had become apparent: Big Day Out – Adelaide, some side-acts, a few mains perhaps, with hopefully enough money to spare for transportation, the “camp-site”, and some other bare-necessities. Three-hundred-dollars sounded optimistic.

Backs against the side-exit door, we found ourselves comfortably ahead the stage, with the crowd slowly mounting. By eight, a few backstage movements, a couple of member’s finetuning instruments and the likes, acoustic, electric, among others, sounded someone’s imminent arrival. These haphazard, cautionary movements continued for some while, before the first side-act appeared. With the house half-full by now, partners sat cross-legged, childlike in gaze.

Dragging Pianos, the opening act, appeared sluggishly. As was usual, the band proceeded towards their instruments of choice, and four fellows appeared. A tall, lanky man, jeans and a turtle-neck, with a faded complexion, headed out with an acoustic.

Obviously their lead.

'Dragging Pianos' Live at The Corner Hotel

A long, fair-haired woman followed and delicately placed herself in front of a keyboard. I remember quite vividly, the subtle movement of her wrist, the unveiling of four long, nimble fingers sprawl across the keyboard; adroit in these movements, her playing was much the same – elegant and purposeful, yet faraway. All of them, in fact, eyes fixated on their finger movements, rehearsing: the plucking of strings, the tapping of bells, the shifting of notes, or the strumming of chords.

Their bassist moved in and out of the sidelines, and finally assumed a relaxed and half-enthusiastic posture, while the percussionist quickly darted to-and-fro from various electric/acoustic apparatus’. Though unbeknownst to me, these members would intermingle with The Middle East in the following hours to come.

Headlining their self-produced EP, “The Food Chain”, uncannily deceptive with a homey-touch, border-lining on some elements of ‘elegant simplicity’, the music itself was of some strikingly wonderful quality. Five-to-six songs in total, their appearance was an ice breaker. A mix of acoustic and electric, a fresh perspective on relatively overused musical principles.

And a fantastically original set of wine bottles which would feature predominantly in their finale. Crescendos born and bred with a mixture of acoustic/electric instrumentation, with soft-spoken vocals, and deep, heart-felt lyrics. Despite the somewhat overly loud quality of the music itself, it managed to captivate the growing audience for some forty-five minutes or so, mellow in the mists of spirits and likewise. Like kids abated in a sea of expectation, some seemed satisfied, whilst others shrugged them off, pre-occupied with face-munching.

“… Do you do gin-and-tonics?” I had to ask.

“Of course we do gin-and-tonics!” the tender replied happily, a smile on her face, “you ‘round from these parts?”

I looked at her awkwardly, “sure, I’m local.”

“Oh, it’s just the way you say ‘gin’, like, ‘g-g-hin’, very French. You’ve got a really interesting accent.”

I laughed it off and smiled – damn American television, “oh, no, no, I’m local – I’m from Melbourne.”

Dah – idiot…

She blushes behind the faded light, throws her head and hair back as the other tender jokes fondly, and cackles wildly beneath the bar for a moment. My drink is mixed, eyes meet briefly – I walk off, glass in hand, less-so embarrassed, more-so intrigued. The gin is dry, the tonic bitter. The night wears off slowly, I relax a little, chat a bit, and we wait.

It’s now about nine.

Oliver Mann features as the second act, but by now, we’re all unreachable. The drinks make us lighter, bouncier, people flock from side to side, conversation now a must.

'Oliver Mann' Live Soloist at The Corner Hotel

A soloist, Mann himself struggles to maintain the previous raptness his predecessors marvelled in. A quiet, almost unheard voice appears, the titles of some inaudible songs float about the room. I remember he asks for silence, but the innumerable crowd by now is lost in a wave of fantasy brought on by excitement. Much the same, his lyrics are swallowed up in a monstrous cloud of un-enthusiasm.

Quite rudely, the act continues despite any change, mired in a hundred voices. The louder the music, the softer the Mann, the louder the Mann, the louder the voices. By now people are screaming, throats are sore, eyes strain to see anything in the disco-light. I keep my words to myself, but the music is lost forever, and unfortunately, we are left with an empty stage unknowingly as he finishes.

It is now about ten.

The eyes are heavy, my thoughts linger on the Monday following – nothing special, just some study, just some essays, I tell myself. Exams are nearing, but it’s alright. Everything’s going to be fine.

[Ignorance is bliss]

By now, the gin is long gone, we’re finished drinking, and I’m starving. People motion closer towards the stage; we’re caught up in a current of isolated bodies positioned evenly away from one and other. Closer and closer still, towards the speakers which hang just in front, I can see everything and everyone so clearly, now.

We’ve stood most of the night already. It’s only now that we begin to feel the burning in our feet, the warmth so alien to us in the cold and rainy atmosphere outside. We are sheathed in people, we are lost so suddenly, slowly but surely assimilated until only our eyes can see the beaming lights which fix themselves upon the stage.

We stand.

We stand motionless.

We stand so quiet, now.

They have arrived.

It is now half-past-ten. We are eager, so very eager. Seven, perhaps eight band members appear, mostly from the original opening acts, besides Mann. They pile on the cramped and bursting stage, intermingling with wire, with machine, until they too are merely instruments waiting to be played.

A final tune.

Everything appears to be in order, more hush follows, the silence has become deafening. And when the first strum of guitar explodes from just beyond, my ears begin ringing. The sound, so piercingly loud, booms in all directions, and the music itself is lost in an excess of decibels. These songs become unintelligible, all quality, all distinction, lost in the opening minutes as I adjust from sombre, softer sounds to blaringly incessant overtures. Instruments disappear for brief interludes, but residual sounds still layer over wave after wave of musical ambience. Nothing is lost, everything and everyone is trapped inside this perfect bubble of timelessness – it is just you, and the sound, there are no bodies and there are no minds.

We are one.

Empty claps and wolf-whistles sound distantly with the finish of the opening song, and with the arrival of “The Darkest Side”, more follow, the crowd already exceedingly happy. When the opening tickle of acoustic guitar flows on emotionally from wielder to speaker, we are entranced.

'The Middle East' Live at The Corner Hotel

They have us eating out of the palms of their hands.

Stranger still, they know it too!

A few new tracks follow, but they are lost in a daze of confusion.

With the arrival of “Blood”, the band indirectly signals their finale, some gasps exhale loudly, wide-eyed and fearful. The pitter-patter of xylophone is demolished, the voices so emphatic, so hypnotic. We haven’t blinked, either. One hopelessly whistles in the solo, but even then, percussion now reigns supreme. With the approach of the final chorus, all instruments rally together to reach octaves I thought were physically impossible.

People start humming, heads start moving, and when the song comes to an end, we are utterly shattered.

They leave.

The crowd screams, claps, a few disgruntled voices beg for more. Minutes stretch on; we are unsettled, restless, demanding. Now only three members return on stage. Reluctantly, they smile.

Hoo-ray!

We’ve won, we think.

Again, this is their last song.

And as they finish, we demand more.

Two leave.

“… First of all, I’d like to thank all of you, tonight,” he motions, the crowd grins ecstatically, “you’ve all been a really great audience.”

Silence.

He screws up once.

The crowd giggles mawkishly.

He screws up twice.

The crowd giggles playfully.

He screws up thrice.

The crowd giggles persistently.

Finally, we are witness to a fine, adamant solo. It is hauntingly deep; we are lulled to sleep, we are content, we are blissful, and with its end, somewhat sad. The final song is full of soulful lyrics and Bobby-reminiscent harmonica.

We leave in a commotion, people huddle together, bottled by the door. We three fellows sit by the curb; it is now about half-past-eleven. Cabs rock-up idly, people line the sidewalks and the streets.

“Hey guys, how’s it going? How are you?” a brash, young man asks us as we sit patiently.

“Yeah, we’re good.”

“Not too bad.”

“Fine.”

“Fuck it’s cold, it’s really fucking cold in Melbourne,” he points to his chest, “I come from Brisbane, and it’s bloody cold down here.”

We look at each other gleefully, “not really – it’s actually kind of nice. It’s been colder,’ Tom Clare replies.

The young, brash man seems distracted.

“Yeah, and it’s only Spring here, you should have seen it in Winter,” I add jokingly.

His eyes wander helplessly behind us – he comments on another person’s attire acceptingly, curses to himself, and walks by, under the overpass and into a cab.

I notice: it is cold.

[Special thanks to Tom Clare for all the photos - albeit small, they are much appreciated. Michael Hodder, without him I wouldn't have know about the gig itself or come into possession of a ticket. The bands, most especially, for such a great night out. Would have loved to hear more, but such is life!]

Until when,

The Enantiomorphic God