Bobbysix.com's End of Year Review 2011 - The final results!

Over the past few days we've brought you a whole bunch of 'best of' lists from 2011. In that time, the number crunchers in Bobbysix Towers have been busy totalling everything up in an attempt to draw some conclusions. As well as our knowledgeable writers giving their opinion and our industry buddies telling us what's on their stereo, for the first time ever we've invited the general public to contribute. So, if you don't agree with the winners of our End of Year Poll, don't blame Bobbysix.com, blame stupid democracy. Here goes:

________________________________________________________________________________

Album of the Year: RADIOHEAD - THE KING OF LIMBS

Of all of the categories in our end of year poll, Album Of The Year offered the broadest spectrum of nominees, as voted for by the readers and writers of Bobbysix.com. Varying degrees of folk were represented by strong showings for Laura Marling, Bon Iver and Caitlin Park, while chunky guitar riffs won lots of votes in the form of Foo Fighters and The Black Keys. Meanwhile, Veronica Falls and The Jezabels waved the flag for melodic indie. However, in the end, it was the ever-inventive, ever-relevant Radiohead (pictured, above) that were victorious, with their album The King of Limbs. Not only was it a quality record but, delightfully, it was given away for free on the band's website. On 18th February, with little fanfare and, indeed, a day ahead of schedule, guitarist Ed O'Brien posted online: "It's Friday... It's almost the weekend...It's a full moon....You can download The King of Limbs now if you so wish!"

________________________________________________________________________________ 

Song of the Year: CAMERAS - DEFEATIST

Husky's History's Door was popular, Kimbra was well-represented for Cameo Lover and for her collaboration with Gotye and Bon Iver received the biggest number of collective votes (but for different songs). But it was Sydney trio Cameras who received the most love for the fantastic Defeatist. Great song and a great video, in which The Preachers' Isabella looks simply beautiful. Bravo.

________________________________________________________________________________

Gig of the Year: THE GRATES - The Metro, Sydney, 12th November

This was a three-way race between The Grates, Seeker Lover Keeper and Florence + The Machine. The Brisbane band eventually won it by a single vote. Here's our review the show in question:

In Patience Hodgson, The Grates boast one of the most appealing lead-singers in the business. She announced her arrival on stage by bouncing up and down on the spot like an over-excited kid at Christmas and was crowd-surfing by the conclusion of the second song. Looking splendiferous in a sheer blue blouse and red skirt, the front-woman constantly engaged the audience in banter, accepted roses from besotted fans, handed out glow-stick bracelets and got members of the crowd to make out. It was impossible to take your eyes off her. During songs, she bounded around the stage and danced like the biggest dork in the world, her limbs flailing in every direction. It is very apparent that Hodgson just wants to have fun, without caring a jot about being cool. And that, of course, makes her cooler than most. As Young Pricks brought the set to a frenzied end, the band's performance demanded an encore, which closed with the giant sweary singalong of Inside, Outside. With the beguiling combination of infectious pop, meaty post-grunge and a singer that owns the room with her utter lust for life, tonight once again proved that to see The Grates live is to best understand them (read the full review here).
 
"Oh wow," Patience tweeted having read our review of the night. "Perceptive review, I AM A DORK. It's undeniable, it's who I am. I drink Sugar Free Caffeine Free Coke = DORK." Not just any old dork either, Patience, but our favourite dork. And we can't think of a bigger compliment than that.

________________________________________________________________________________

Film of the Year - DRIVE

This was a close battle between Submarine and Drive, with the latter just edging it in the end. Two very different films - one sweet, charming and funny, the other edgy and violent. Both had good soundtracks though.

_________________________________________________________________________________

So, that's it. Another year over. Thanks for reading in 2011. The site has gone from strength to strength over the past 12 months and it's because of you. Well, actually, it's down to a small gang of people spending a lot of hours in front of the laptop, on the phone and in sweaty music venues, for no money, but simply for a love of doing what we do. But if you didn't read our words, then there would be no point in any of this. As the song goes, everything we do, we do it for you. In 2012, we're relaunching the site with a new name, more writers and a prettier, user-friendly look. We hope you'll join us.

Cameras interview

“I'm more excited than nervous. I just want to get it out there.”

For keyboardist/vocalist Eleanor Dunlop, Camera's debut album has been a long time coming. Over the past three years, the Sydney alt-indie trio has wowed crowds on the local scene, released an acclaimed EP and also just recently toured America. Now, finally, the public can get their hands on In Your Room, the band's first long-player, and Dunlop is happy to unleash it on the world. “Some of the songs were on the EP, but I'm excited for people to hear the new ones,” she enthuses.

The record sees Cameras fuse the dichotomous styles of their two vocalists. Dunlop comes across all atmospheric and ethereal on keys, while guitarist Fraser Harvey's compositions are more direct and urgent. It is a fine combination and one which has garnered interest from far afield. Hence the recent trip to the US. “We've had really good feedback and support from over there, so it was always going to be a given that we'd go. We'll also be going to the UK early next year as well. So that will be another expedition.”

It's clear from talking to Dunlop that Cameras are an ambitious bunch and that they have always been keen to take their music to Europe and America. “It's interested us from the very beginning,” she admits. “Relatively speaking, we've had a lot more support from overseas. We were first signed to a US label, then we were signed here. We've always felt an affinity to the US. You normally crack the UK and then go to America, but the US has always seemed to be quite receptive to our music.”

So, when the opportunity arose to test the water overseas, they didn't need to be asked twice. Like many Australian bands, relocation to Europe or America is something Cameras are seriously considering. “Going [to the US and the UK] will give us the chance to see if it will work for us and to find out where we feel most comfortable. Fraser has always spoken about Berlin and we've always loved the idea of New York. It's good to travel first and find out where you feel most comfortable and then see what happens.”

That's not to say the Sydney band are forgetting their roots. Their album launched with a show in Sydney on Friday (above) and more will follow across the country. While they are officially a three-piece (Dunlop and Harvey are joined by drummer Ben Mason), when they play live, they bolster their numbers to create a fittingly epic, huge sound. On stage, three becomes six. “That was mainly due to how we were recording the songs,” Dunlop explains. “We record heaps of different layers - Fraser does at least three or four layers of guitar on each song - and it just lent itself to broaden the sound. When we first started the band we didn't even have a bass player. So we've gone from having no bass player to having six people on stage. The music just needs it.”

While they are clearly ambitious, talented and ready to take on the world, it's never been about shifting units. This is a group that has been very patient, paid their dues on the local scene and at no stage compromised their original vision. “We've just tried to believe in what we've been doing from the very beginning and stuck to it. When Fraser and I started writing we knew it would take time for people to catch on and for us to develop our sound. It's taken a while but I think we are finally getting through to people. There's no real master-plan though. We'll just see where it all takes us.”

Interview by Bobby Townsend. It first appeared in Sydney's Drum Media.

Cameras - In Your Room

After spending three years building a reputation on the live scene, Sydney's Cameras release their debut album and it is a deeply impressive affair. The trio's alt-indie songs are based around layered sounds and the duelling vocals of keyboardist Eleanor Dunlop and guitarist Fraser Harvey. Dunlop really uses her voice as an instrument, elongating words and syllables to create a woozy, ethereal atmosphere, while Harvey at times comes across like Bowie and Byrne's bastard love child.

One or other vocalist takes the reigns on each song, all of which are intelligently structured and remain constantly interesting, like the false ending of Kreuzberg, which allows for an exhilarating moment when the instruments and vocals power back in as one. As the song climaxes with Dunlop perfectly filling the space behind Harvey's urgent delivery with some heavenly aah-ing, it is absolutely epic.

The most refreshing thing about In Your Room is that, rather than front-loading the big singles, as so many albums do nowadays, it ebbs and flows like a set-list and feels very much like a musical journey. Dunlop's piano-led songs weave between Harvey's angular guitar offerings to create a fine balance and, as with a live show, there is something special kept back. Just before End Of This Line brings things to a suitably grand close, the record reaches its peak with the magnificent Defeatist. With jangly guitars, insistent drums, duelling vocals and and catchy lyrics, there won't have been many more exciting singles released this year.

Simply, In Your Room is a fine debut and announces the arrival of a band that are surely on their way to big things. You would do well to get on board now.

Review by Bobby Townsend. It first appeared in Sydney's Drum Media.

Owl Eyes and Cameras at the Beach Road Hotel, Bondi

OWL EYES
CAMERAS
SPLIT SECONDS
Beach Road Hotel, 24/08/11

Split Seconds, an unassuming looking bunch of blokes from WA, got the ball rolling with their pedestrian brand of indie-pop. Their songs offered no real edge but were pleasant enough if you like your music to be inoffensive and safe.

Cameras make an epic sound when performing as a three-piece, so with six members on stage the result is incredible. Atop interestingly structured songs, resplendent singer/keyboardist Eleanor Dunlop gazed alluringly out from under her fringe and provided an ethereal vocal which complimented guitarist Fraser Harvey's more direct delivery. In a set comprised of oldies and newies, the woozy atmosphere of the Dunlop-led Polarise and June contrasted with an angular urgency when Harvey took the lead. In final song, Defeatist, Cameras have created an absolute stormer which rocked the life out of the venue. Building slowly under Dunlop's heavenly oohs and aahs into a frenzy of noise as Harvey cried, “I've got a favour to ask, but you've already done so much,” it was an utterly thrilling way to end a superb set. Cameras are certainly one of the Sydney's best bands and, on this evidence, their star will continue to ascend at pace.

“I'm sick,” glitter-faced Brooke Addamo, better known as Owl Eyes (pictured, top), announced. Not as in “fully sick” either – this wasn't a boastful start to her show – but rather the Melbourne artist was actually unwell. Still, backed by a four-piece band, she battled her way through her headline slot which included songs from her new EP, Raiders, while teenage girls in the front row gleefully mimicked her playful dance-moves. With songs like 1+1 and a fairly straightforward cover of Foster The People's Pumped Up Kicks going down well with a busy room, it was a shame that Addamo was ill to the point that she had to draw the set to an abrupt early close. “I'll come back, I promise,” she told her disappointed fans. So, we'll have to wait until next time to see what she can deliver when firing on all cylinders, but there was enough in this shortened cameo to suggest that her daydreamy synthy-disco-alt-pop has legs.

Review By Bobby Townsend. It originally appeared in Sydney's Drum Media