Playground Weekender @ Wiseman’s Ferry, Feb 18-21 2010

I had a retarded weekend at this random festival that I only went to because I got free tickets, but for whatever reason words won’t come out of my fingers in any decent way about it, despite 2 weeks of trying. So here’s a scatty summary:

Camping in a beautiful spot at Wiseman’s Ferry
Sun
Free drugs
Manchoir
Gui Buratto
English people
OK Go
Prins Thomas (fantastic)
Pool
River
Hot
Free ice cream
Steve Lawler
Awesome dress up
Expensive Southern Comfort drinks
Crazy Irish folk
Frisbee
Live art
Tantric Turtle Café

Basically, a lot of the acts weren’t great and there wasn’t much to do in the day apart from get drunk and go in the pool, but the setting was great, it was decorated brilliantly, everyone was happy, the sound was good, the vibe was wicked and everyone had a good time. Go.

Haddock

Bleeding Ears Sick Playlists # 1 - Summer

So its pretty hot in Sydney right now. Not crazy hot, thanks to a week of very welcome rain, but hovering nicely around 30 degrees in that pleasant way that makes you smile when you walk out of the house.


I’m not Australian, so this is novel for me. I’m used to two snatched weeks’ worth of moderate warmth scattered amongst three months of dreary overcast days. This change in situations makes me happy.


Happy summer feelings need happy summer music, so here’s the first of Bleeding Ears’ Sick Playlists, a series of suggested songs organised into a fucking shit-hot order. Yeah you have to make it up yourself in iTunes (other music-playing software is available) but we’ve done all the leg work so stop being so lazy. Anyway, they’re well worth the effort - and this one’s for Summer.


(Also, I just watched (500) Days of Summer and now am even more totally and utterly in love with Zooey Deschanel, even when she’s being a douche. So this one really is for Summer.)


Summer


1. Seaside - Kooks
2. Colorful Life - Cajun Dance Party
3. La Breeze - Simian
4. I Chase the Devil - Max Romeo
5. Country House - Blur
6. Sunny Afternoon - Kinks
7. Spandex Man - Mr Scruff
8. Surfin’ USA - the Beach Boys
9. Bohemian Like You - the Dandy Warhols
10. Against All Odds (feat. Kano) - Chase & Status
11. Play That Funky Music - Wild Cherry
12. Peaches (feat Rodney P and Terry Hall) - Dub Pistols
13. Kicking Pigeons - [spunge]
14. Island in the Sun - Weezer
15. Middle of Nowhere - Hot Hot Heat
16. Connected - Stereo MCs
17. Just One Second (Apex Remix) - London Elektricity
18. Summer in the City - Butthole Surfers
19. Little Yellow Spider - Devendra Banhart
20. Mr E’s Beautiful Blues - Eels


Enjoy!
Haddock

It’s Not Easy Being Steve

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Field Day @ the Domain, Sydney, Jan 1 2010

Sydney does one thing unbelievably well: New Year’s Eve.


They’re sort of like a typecast actor in that way; everyone knows them for it, so they’re slightly bitter about it. They don’t stop playing up to it though, because that might mean they lose their identity. They just try to be famous for other things instead. They try to be famous for festivals.


Field Day is a day-long festival (which doesn’t actually constitute a festival if you ask me, but you didn’t) held in the heart of Sydney on a day when anyone in their right mind is at home nursing a bad head over a plate of fried eggs and self-loathing. We’re not in our right minds though, so we’re at Field Day.


We’re not in our right minds because we have just spent the most retarded New Year’s Eve possible, and almost missed what Sydney is so famous for altogether. It seemed a good idea at the time, but doing acid at 2pm and pills half an hour later, then drinking for 8 hours and having more than a small amount of weed apparently doesn’t result in a clear head and a willingness to climb an abandoned building to watch the fireworks like we hoped. Instead, it results in thinking you’re stuck to the living room floor, freaking out some visitors, a bit of crying, random but very persistent horniness, a house that won’t stop moving, sitting in kitchen cupboards, admiring a painting for several hours and not wanting to move from either your bed or the back yard ever again.


I started to come round a bit at 10.30, at which point my clean friends had disappeared to Observatory Hill and my fellow fucked-up idiots were either trying to cast shadows on each other whilst sitting amongst a throne of empty beer bottles, or trying to have ‘a quiet moment’ in their room. I suddenly felt the cold hand of the comedown monster grip my spine: I was going to miss the fireworks on my first and possibly only New Year’s Eve in Sydney. I would forever regret this night. Fuck it, I was going.


Bed Friend decided I couldn’t go alone, and with a badly hidden reluctance but genuine concern for my safety decided to come with. We attempted to explain to Back Yard Boys that we were leaving our keys with them in case they wanted to leave, then gave up and left them with some drum and bass and their own heaving realities. We got 2 minutes down the road and they called us, sounding afraid; they were leaving too.


We managed to go back, get them, convince them to come with us across the city rather than wander around on their own, and then I piled my three cohorts onto a train, gathering them from almost crying at the ticket machine and making out with strangers on the platform. Unfortunately a rather large lady on some of her own drugs sat near us, and the Back Yard Boys both stared silently in a terrified manner at her while she emitted an air of social degradation and quiet aggression. It occurred to me that bringing people tripping on acid across Sydney on the busiest night of the year to watch explosions and many colours might not have been my best idea, especially when they were somewhat unwilling to start with.


I realize now that this has turned into a review of my new year’s eve rather than my new year’s day, but bear with me; all will be explained.


Amazingly Bed Friend remembered her way from Wynyard to Observatory Hill, despite me not believing so until we joined the thousands of others at the top at 11.30pm. I’d had to create a ‘safe bubble’ and ‘Team Salmon’ in order to keep everyone from the freak outs that were stalking us all so stealthily, but when we nestled in amongst the empty beer bottles and scary kids at such a great vantage point, it was all worthwhile.


I don’t need to tell you how good the fireworks were, you know that already. I probably do need to tell you that an hour and a half’s walk home and a facemelter of a joint later, two angry, drunk and previously lost-for-three-hours-in-the-city-friends turned up, one of whom went to sleep in my bed, threatening quite seriously to kill me if I attempted to stop her.


At 4 am I laid down with funny things still going on behind my eyes. 5 hours later Bed Friend wandered into my room with someone on the phone and a reminder that we were meant to go to Field Day and do it all again.


So here we find ourselves, tired, overwhelmed and tripping again from the giant coffees that we’ve just had to straighten ourselves out. We wander in to the Domain just as I am re-sweating and feeling like I’d have to sit down. I am ready for the Presets and 2manyDJs, some sick veggie food and probably some sunburn.


What I get is distinctly different. It seems that the Domain is entirely populated by cunts.


These are specific cunts, however. Anyone who lives or has lived in Australia is au fait with their inexplicably awful fashions. 99% of the people at Field Day appear to live their lives according to these rules. A couple of years ago it was neon shorts and singlets; this year it seems to be jeans cut off exactly at the knee and singlets with oversize neck holes for guys, miniscule demin shorts over ugly and intensely unflattering swimsuits or just plain lingerie for girls. For some of the most attractive people on the planet they sure do try their best to look repulsive.


Of course, all the girls have the uniform long and partly pinned up, backcombed hair in the “this is my bed hair but in fact this takes me 3 hours to do every morning and costs $100 in products” style that fools fucking no one.


Every single attendee appears to be on pills, but they aren’t the huggy, lovey, “oh my god you look so good in that top let’s be best friends and touch each other and talk about the world” pill heads that I love. Oh no. They are all, without a doubt (through my cynical, scared eyes) obnoxious fashionistas, all in their cruel little gang, trying desperately to have a good time against the pathetic reality of their sad little existences. I feel like my mum.


We try to eat (in fact, we succeed). We try to watch the movie on the big screen, which may or may not be about a variety of mental subjects from genitals to mutilation (words that should never be that close to meeting), depending on whether you trust my senses at this point. We even try to join in, resulting in the most despondent dancing you’ve ever seen. I have never in my life felt so out of place, so aggravated, so depressed to be amongst people my own age. My buddy feels the same. The potential brilliance of the music is being severely overshadowed by those trying to listen to it.


We end up at the furthest possible point from anyone, sat on a bench at the edge of the site facing away from the action, trying to decide with brains that won’t work at all whether or not to leave. We paid $100 for the tickets. We want to see the Presets, We’re just paranoid and it’ll probably go in an hour. We can’t leave with a passback til 5; its only 3 now, and leaving means not getting back in. We would have to wait 4 hours for the Presets. It’s all or nothing.


Suddenly a clear thought stabs through my foggy headspace. Are we having a good time? No. Then let’s fucking leave.


We meander out of that hellish place, leaving the worst people in Sydney behind us. We buy some more food, slowly trudge back home, and curl up quietly watching a movie. And we couldn’t be happier.


I apologise that this review is not what you expected. That’s life.


Haddock

Introducing…..Steve

Dizzee Rascal – Tongue N’ Cheek

dizze-rascal-tongue-n-cheek
Dizzee Rascal’s detractors, and those who claim to be hardcore fans, will no doubt peg this album as the last nail in his the coffin of his credibility, citing the Calvin Harris collaboration and his spiraling fame as evidence.


In doing this they’ll be missing the point entirely, as people often do when they’re caught up in hatred, or love for that matter. Dizzee Rascal has always been what they might call a ‘sell out’. What’s Fix Up Look Sharp is not a pop hit at heart? In fact, grime in general is about 2 things: exploiting a London upbringing and escaping that same thing. Dizzee’s doing that.


At 24, the man born Dylan Mills is without a doubt grime’s biggest star. A tutelage and subsequent spat with Godfather of Grime Wiley set him on the parallel roads of success and stardom, and a Mercury Prize-winning debut album set him apart from the pack. 4 studio releases later and Dizzee Rascal is enjoying success like he could never have imagined: not only is he one of the few UK hip hop artists to achieve real crossover success (being embraced by both the electro and indie-rock circles, admittedly at the expense of some of his street cred) but he’s become something of an unlikely national treasure, even being asked to appear on the BBC’s flagship political show Newsnight.


Beyond the hilarity of the phrase “Mr Rascal”, some ‘is-he-joking-or-is-he-stupid” comments and Jeremy Paxman’s evident bemusement at the whole scenario, this appearance showed a positive, likable guy; a far cry from the cocksure cuntishness of comparable US stars.


It’s this abundance of personality that keeps Dizzee’s music so brilliant. I’ll be the first to admit that I only started listening to Boy In Da Corner for the comedy value, but slowly the genius of the Bow boy started to permeate my prejudice, and catching one of his incendiary Leeds Festival sets placed me firmly in the fan camp.


It’s not that his stuff is perfect. It’s very much flawed, especially the new album. Dance Wiv Me is a fucking nightmare on paper, and the ill-considered 2 bars of discordant duet in Bonkers just proves beyond doubt what we’ve known since the horror of Dream: the dude can’t sing for shit. It’s the snippet of studio chatter in that very song (“How am I gonna pull this off? This is too sensible for me man”), that shows the root of Dizzee’s genius: he doesn’t take himself too seriously.


The very title of Tongue N Cheek hammers home this point, and this excuses the album’s ills, the worst of which is the fact that Road Rage is just a substandard version of Pussyole. It’s also this that helps him dodge the usual bullet of third and fourth albums, namely that by the time an artist gets to this point in their career they have no real relatable problems any more, and not many of their poor listeners want to hear about an overabundance of guns, bitches and bling. Their lives are too comfortable for them to make the serious music they want to make (case in point: Oasis).


Dizzee recognizes this and instead of pretending (like Akon) or flaunting (50 Cent) he’s either hilarious or humble. In Bonkers he claims that “all [he cares] about is sex and violence”, and Dance Wiv Me spells out a situation in which he has to coax a girl away from her boyfriend to grind with him, which is the complete opposite of the ‘dripping in bitches’ attitude we’re so used to.


On Tongue N Cheek Dizzee is just enjoying himself, and it shows. Can’t Tek No More is fucking brilliant, poking fun at the British culture of complaint by listing minor everyday annoyances (“It’s a crowded house and you can’t have fun ‘cos when you have sex they can hear when you come”), Chillin Wiv Da Man Dem and Bad Behaviour belie the pure joy of performing that was so evident on his last Jools Holland appearance.


It’s so, so obvious that since hitting his mid-twenties Dizzee’s become more comfortable financially, musically and personally, and instead of producing a trite album of bullshit he’s somehow managed to pull out 12 tracks of fun.


Fuck man, the guy’s just enjoying himself. Don’t we need more of that in music?

Bleeding Ears’ Alternative 106 Top Female Songs

So last week we told you about Hummingbird’s declaration of war against women; the spectacularly shocking “100 Hottest Female Songs” list. In short, it was bullshit.


Here’s the remedy to that stack of arse:


Bleeding Ears’ Alternative 106 Top Female Songs
(we couldn’t decide)


This list celebrates the most inspiring, innovative and creative music created by or featuring women in the last few decades. We’re not saying its comprehensive, and we’re not saying it perfect…its just pretty damn awesome.


The genres of amazing music differ so greatly that trying to place these songs in any competitive order would be like trying to judge between slippers or a sweater…just plain stupid.


1. 4 Non-BlondesWhat’s Up
2. 5.6.7.8’sWoo Hoo
3. Annie Lennox – Walking on Broken Glass
4. Amy WinehouseBack to Black
5. Amy Winehouse – Tears Dry on their Own
6. Aretha FranklinRespect
7. Bat For LashesWhat’s a Girl To Do?
8. Big Brother and the Holding CompanyPiece of my Heart
9. Bikini KillFalse Start
10. BjorkInnocence

The insatiable Bjork

The insatiable Bjork


11. Bjork – Declare Independence
12. Bjork – Play Dead
13. BlondieCall Me
14. Blondie – Heart of Glass
15. Blondie – Rapture
16. Candi Staton feat. The Source – You Got The Love
17. CSSMusic is my Hot Hot Sex
18. CardigansErase / Rewind
19. The CranberriesZombie
20. Christina AguileraCandyman

One of the few voices that gives even women hard-ons - Christina

One of the few voices that gives even women hard-ons - Christina


21. Christina Aguilera – Slow Down Baby
22. Courtney LoveMono
23. Crystal CastlesCourtship Date
24. The Detroit CobrasHey Sailor
25. The DistillersCity of Angels
26. The Distillers – Coral Fang
27. DivinylsI Touch Myself
28. Dolly Parton9-5
29. Dolly Parton – Jolene
30. Dresden DollsGirl Anachronism

Dresden Dolls - never ones for conventionalism

Dresden Dolls - never ones for conventionalism


31. Dusty SpringfieldAnyone Who Had a Heart
32. Dusty Springfield – Son of a Preacher Man
33. ElasticaConnection
34. Eva CassidySomewhere Over The Rainbow
35. FaithlessReverence
36. Fleetwood MacOh Well Part 1
37. Fleetwood Mac – Black Magic Woman
38. Florence and the MachineDog Days Are Over
39. Florence and the Machine – Kiss With a Fist
40. GarbageSex is Not the Enemy

Power to the Scots! Garbage

Power to the Scots! Garbage


41. Garbage – My Lover’s Box
42. Girls Aloud - Something Kinda Ooh (shut it, it’s brilliant)
43. Gloria JonesTainted Love
44. GoldfrappStrict Machine
45. The GossipStanding in the Way of Control
46. HoleBoys on the Radio
47. Hole – Celebrity Skin
48. Ike and Tina TurnerNutbush City Limits
49. Janis JoplinMaybe
50. Joan Jett and the BlackheartsI Hate Myself For Loving You

The ageless Joan Jett

The ageless Joan Jett


51. Joni MitchellMy Old Man
52. Kate BushRunning Up That Hill
53. Kate Bush – Under Ice
54. Kate Bush – Wuthering Heights
55. Kidney ThievesBefore I’m Dead
56. L7Shit List
57. LadyhawkeMagic
58. Ladyhawke – Paris is Burning
59. LadytronSeventeen
60. Ladytron – Sugar

Sexy synth sounds with Ladytron

Sexy synth sounds with Ladytron


61. Le TigreLet’s Run
62. Lykke LiMy
63. Madeleine PeyrouxDon’t Wait Too Long
64. Madeleine Peyroux – J’ai Deux Amours
65. MadonnaLike A Prayer
66. Madonna – Ray of Light
67. Martha Reeves and the VandellasHeatwave
68. Melissa auf der MaurTaste You
69. MetricMonster Hospital
70. Nancy SinatraBang Bang (My Baby Shot Me Down)

The better of the Sinatras....Nancy

The better of the Sinatras....Nancy


71. Nina SimoneDon’t Let Me Be Misunderstood
72. Nina Simone – To Be Young, Gifted and Black
73. No DoubtSunday morning
74. NoisettesDon’t Give Up
75. PeachesFuck The Pain Away
76. Peaches – Talk To Me
77. The Pipettes Pull Shapes
78. PixiesCactus
79. Pixies – Velouria
80. PJ HarveyBig Exit

Ms Harvey...no introduction needed

Ms Harvey...no introduction needed


81. The Pogues with Kirsty MacCollFairytale of New York
82. PortisheadGlory Box
83. Portishead – Roads
84. Portishead – Seven Months
85. The RaincoatsNo One’s Little Girl
86. Regina SpektorEet
87. Regina Spektor – On the Radio
88. Roxy SaintFirecracker
89. SantigoldL.E.S. Artistes
90. School of Seven BellsWired for Light

School Of Seven Bells

School Of Seven Bells


91. Shonen KnifeButterfly Boy
92. Sister BlissSister Sister
93. Skunk AnansieIntellectualise My Blackness
94. Skunk Anansie – Weak
95. Sleater-KinneyGod Is A Number
96. Sneaker Pimps6 Underground
97. Sonic YouthSugar Kane
98. The SoundsTony the Beat
99. The SubwaysI Want To Hear What You Have Got To Say
100. The Subways – Rock N Roll Queen

Explosive garage rock from the Subways

Explosive garage rock from the Subways


101. Tegan and Sara Back In Your Head
102. Tidy Girls: Anne SavageI Need A Man
103. The Velvet Underground and NicoAll Tomorrow’s Parties
104. The WhipTrash
105. Yeah Yeah YeahsBlack Tongue
106. The ZutonsConfusion


Agree? Disagree?
Rant away my friends!

Homebake @ Domain, Sydney, Dec 5

Homebake is apparently a bit of a Sydney institution, or so I’m lead to believe by the numbers of people wearing home-made “15 YEARS OF GETTING BAKED” shirts. It took me a couple of hours to realize they weren’t just bragging about weed consumption.


It’s a pretty sweet deal on paper; beginning of summer, middle of the gorgeous city, tons of people just heading out under the sun to watch their favourite Aussie bands. However, therein lies the problem; its just Aussie bands. Do they really have enough bands to fill a whole day when the Presets aren’t playing and AC/DC are long gone?


Well, as it turns out, they kind of do. It’s not the kind of quality line up you’d expect from bigger festivals like Leeds or Sziget, but the mood of the day and the beauty of the setting more than makes up for that.


The sniffer dogs going for your crotch as soon as you enter the gate are a little disconcerting, but I spy a Hare Krishna food stall and I am as happy as a pig who’s not being eaten.


Once my stomach is happily full, we head over to one of the smaller stages to see Sydney boys Dappled Cities. I’m not holding out much hope as they are on so early in the day but they surprise me with an excellent mix of melody and punchy, harder bass. The same can’t be said of Short Stack. In fact, my mum taught me that if I had nothing nice to say I should say nothing at all, but then again I’ve never really listened to her so I will say this: not only did the singer actually use the phrase “rock out with your cock out” (which scores a spectacular 11 on the cunt-o-meter), the band have crap hair, the singer can’t sing and has one of the most annoying faux-American accents I’ve ever heard.


Going from the most staid of clichés to the most random of acts, I wandered to the tent and came across a band I knew literally nothing about; the Bumblebeez. My train of thought upon entering the tent went like this: Is that a rabbit’s head on that stand? Is that the rabbit’s head from Donnie Darko? Are those guys wearing rabbit heads? What the fuck is this music?


Do I like it?


I think I like it.


It’s an unfathomable sort of mesh of funky electro and just plain noise. I could spend an hour writing this paragraph and not really convey what’s going on. There is a cute girl singer and three rabbit-headed humans on stage, spinning, singing and dancing. It’s meaningless but somehow addictive electro babble, an exercise in pushing the limits of musical tolerance…and its all the better for it. The best I could do for you is to name drop the Beastie Boys and Crystal Castles, but then that conjures up images that detract from the real deal. It was like a fucking hallucination.


Bridezilla are trying to be a hallucination, and I kind of wish they were. These four women with a guy drummer could not move about the stage any less if they were glued to it with guilt. I can tell that they’re trying to create some sort of ethereal substance to their show, but it isn’t quite working; they need to being some warmth, or at the very least, a sense of band unity, to their icy show to take the edge of their performance.


Paul Dempsey of Something For Kate fame draws a fairly hefty crowd but, much to the chagrin of the audience, plays a lackluster set that belies his former glory. Eskimo Joe on the other hand do not disappoint, even for someone like me who’s only had a passing acquaintance with them. Powerful vocals and a great balance of sound excuses the fact that they throw in a few random lines of Roxanne (yes, the Roxanne by the Police), and the fact that the guitarist has a ‘percussion-off’ with the drummer is more than entertaining.


Another Aussie fave who’s lost to the rest of the world is Sia, the talks-like-a-bogan-but-sings-like-a-bird Adelaide chick with the amazing giggle. I’m not usually down with female solo artists as such, but its hard not to be drawn in by her endearing personality. She pledges to wear anything thrown on stage, and ends up wearing a lanyard, a visor, a pair of socks and with a stuffed pig stuffed under her dress. It’s easy to see that everyone loves her; she even gets an invite to breakfast thrown on stage in a bottle, bringing on another one of those brilliant laughs. It makes me want to have breakfast with her.


Then comes one of the most stereotypical Australian experiences I could ever wish to have. Tim Finn, from Crowded House, strides onto one of the smaller stages, tucked away in a little niche where everyone seems a little older but none the wiser, and precedes to play a song with one of the worst hooks ever: “Can I have another piece of chocolate cake…like Obama’s got a lot on his plate.” WTF Tim, WTF?


But quite frankly I don’t care, because this follows: I look up from my place on the grass and see that the sun is going down. I look straight up above my head and see bats taking flight from the trees and filling the purple sky. I look to my right and see the skyscrapers of the Sydney skyline, and all the while Aussies are singing along with me to superhit ‘Weather With You’. It seems a bit too Aussie to be true.


This is ruined slightly by the subsequent old man crotch thrusting along to ‘6 Months in a Leaky Boat’, but what are you going to do?


Nothing going to top that – not the great instrumentational layering of Sarah Blasko’s musicians, not the fact that one of her violinists looks like Eric Clapton, and certainly not the bland dickishness of headliners Powderfinger. How these guys got so famous is beyond me; there’s nothing distinguishing them from a dozen other mediocre, insipid bands just looking for kudos, and the singer has the voice of Robbie Williams.


That doesn’t matter though – nothing really does after such a wicked day. I sang along to Crowded House today Mum - are you proud?

Hummingbird Hates Women

Now, I’m no expert on feminism, but Hummingbird’s “100 Hottest Female Songs” list has to be a slap in the face for all musical women, or even just fans of music, the world over.


I doubt any ‘top 100 male songs’ list would consist mainly of Boyz II Men or Will Young tunes, so the fact that the likes of Lady Gaga have floated to the top of this one is somewhat patronizing; more so than the Triple J Hottest 100 of All Time list which, despite excluding all female artists, is a pretty damn good list. Hummingbird have successfully represented female music as poppy, inane and devoid of any real substance; it might as well be entitled ‘top 100 songs for those with no taste’.


Here’s my main gripe: Bjork, who must surely stand as the most innovative, exciting and intelligent female artist of the last twenty years (as well as the most thrilling live performer still regularly doing the rounds) does not even feature. Not once. No Play Dead, no Innocence, not even Its Oh So Quiet. Nothing.


You will also struggle to find Janis Joplin. Annie Lennox is not there. Neither is Courtney Love, or Joan Jett. Not even Nina Simone, the epitome of the talented, tortured female vocalist, features on this most diabolical of inventories. Nina fucking Simone!


You know who does feature? Media manipulator Lady Gaga, talent-free-zone Lily Allen and Katy fake lesbian for fame Perry. Beyonce Knowles features in this list SEVEN times all in, as a solo artist or with Destiny’s Child. Now, I don’t want to go on about my feelings regarding her, so let me just put it this way: a woman who’s music makes up 14% of the ‘top 100 female songs’ used the line “if you like it then you should have put a ring on it” in one of her recent songs. That’s either a big old kick in the tits for every single, independent woman, or the best reference to the use of cock rings in a pop song ever.


I suppose its not all bad though. At least Blondie make three appearances, and the spectacular voice of Christina Aguilera matched that. So what if Regina Spektor couldn’t climb above #90, and Amy Winehouse, the best, most fucked-up blues voice of our generation, only snuck in near the bottom? So what if Portishead and Kate Bush only got one look in, and even Dolly Parton nearly missed out altogether? That’s just the way it goes, isn’t it?


Well no, quite frankly, it’s not.


Any woman with a sense of self-respect won’t take this diss lying down. It seems obvious to me that one of three things is happening here:


1) Women are shit at music
2) Women have voted for this and made a mockery of themselves
3) The music industry is still a huge patriarchy, forcing women into set roles in order to achieve success, and ignoring those that don’t.


Perhaps its all three at work, but considering the number of talented females I know (see Chicks with Picks) I think its much more likely to be a combination of the last two.


We’ll be posting the Bleeding Ears ‘Alternative Hot 100 Female Songs’ list soon, so keep ‘em peeled kids.


In the mean time, come on ladies, show some dignity. Get angry, and show the music world what you’ve got.

Bird Automatic @ Oxford Art Factory, Friday 27 Nov 09

Over the course of my post-pubescent life I’ve used the phrase “and I fell a little bit in love with him / her / it” way too much; a Canadian on a bus in Thailand, my friend’s cupcakes, Sub Focus’s debut album – I’m pledging myself to all of them at the drop of a hat. It comes as no surprise to me, then, that as soon as I step foot inside the Art Factory for the first time I’m head over heels.


It’s stylish and a bit quirky without being overly pretentious. The glass cube separating the two rooms is a touch of class, and the lack of stage just makes gig nights feel all the more homely and intimate. Tonight, Bird Automatic’s five members are huddled in the back corner of the room, looking like a shy gang pushing their singer Chris to face the harsh outside world. Their music pokes a hole in my bubble of reverie and as the membrane pops, I am dragged into a dream-like atmosphere, strangely reminiscent of a sonic version of Pan’s Labyrinth; there’s an exquisite fragility to the melodies despite the enveloping but sometimes aggressive backdrop. It might be their close proximity to each other coupled with the curiousness of the sound, but the members of the band seem to form a gestalt entity, almost physically as well as musically, separated from the rest of us and creating the sound entirely for themselves. It makes them very enigmatic.


The whole evening, actually, is very ‘different’. While everyone shimmies contentedly in their own space, one chick dances happily away in front of the band, seemingly off in her own little world. It feels a little bit like Warhol’s factory, expect that nobody’s having sex (that I can see) and nobody’s having their artistic talents vastly overrated. Oh, and there aren’t that many transvestites. But you get my point.


It’s a good job that Bird Automatic have honed their sound because I can’t imagine that many people are actually looking at the band while they play. The artsy porn being projected on the wall behind them for the entirety of their set is somewhat distracting to all, not least for the amount of questions it posited in everyone’s minds; is that Madonna? How can she wear those gold lame shorts without getting camel toe? Why the fuck doesn’t that guy want her mouth round his cock?


The band’s music forms a soundtrack to this most bewildering of sex movies, but drags everyone’s attention but to the main event as they launch into their cacophonous crescendo. Taking their cue from Japanese noise bands, they round off their show by pushing their instruments to the edge of their capabilities and their amps to the edge of their sanity. The sound guy next to me twiddles dials and I sort of want to punch him, but I don’t. It’s just becoming too much as it ends, and the band say their thanks and leave us all a bit stunned and slightly more deaf.


They leave us to enjoy the space for the rest of the evening, and everyone does. How can you not love a place that has the bare-faced audacity to play the Family Guy theme tune in the midst of Wham! and B52 tunes, while a blonde sits in the bathtub with her tits gently riding the surface of the water on the wall? Everything about The Arts Factory screams cool; there are even silver balloons behind the bar spelling out the legend “SMILE DUDE.” Fantastic.


Haddock