Pix by Joanna Kwa
Pix by Joanna Kwa

Esplanade Theatre, 10th February 2009.

Ani DiFranco’s first performance in Singapore was almost perfection itself. Displaying a mastery of guitar technique that blew all who witnessed it, boasting lyrical concerns that were diverse as they were direct and most of all, radiating the love and passion that held it all together and kept a rapt audience enthralled for just under two hours.

Delivering 20 songs (including two new unreleased tracks), drawn mainly from 2008’s Red Letter Year, Knuckle Down and Little Plastic Castle, Ani herself described her set list as schizophrenic – alternating between love and hate songs/up and down songs. Thus, you had Present Infant – Ani’s memoir on motherhood next to Nicotine, a harsh look at addictive relationships, then on to Atom – Ani’s protest anthem agasint nuclear energy next to Albacore, that new song celebrating her recent marriage.

But the audience was not too bothered, they were too busy being awed by Ani’s ability to express emotional and intellectual moments with equal gusto, with the basic building blocks of voice and acoustic guitar. And there were many many guitars, as a seemingly endless supply of cool looking axes were brought out (almost ritual-like) by Ani’s guitar technician.


Pix by Joanna Kwa
Pix by Joanna Kwa

Not that the role of the band viz. Todd Sickafoose (upright bass), Allison Miller (drums) and Mike Dillon (vibes, percussion) should be diminished. And when Ani and the band cut loose, it didn’t matter that there were no humongous pedal boards on the floor as everyone in the arena could attest to the sheer power that emanated from the stage. All of which certainly affirmed the relevance of folk music even in this modern day and age. Inspiring.

To top it all off, Ani debuted a new song called November 4th, 2008. Yes, a song celebrating Barack Obama’s historic election as the 44th President of the USA. To hear an American protest singer singing the praises of her President was well, shocking (!) and certainly pleasing. A great song, any way you look at it. 

An unforgettable virtuoso performance (with the venue sound crystal clear, no less!) from an artist in her prime.


Singapore Indoor Stadium, 10th February 2009.

Pete Wentz it seemed needed a hug last night. During Fall Out Boy’s appearance at the National Indoor Stadium he seemed at odds with the other members of the band, or them with him. It was odd to see a band so well known for their tongue in cheek attitude appear to be so solemn. I have seen Fall Out Boy before on the tour for their first major album From Under the Cork Tree and the band that greeted me last night was a very different one to back then. The wide eyed and youthful playfulness was replaced with a much more serious and focused act. Not that this detracted from their performance at all, Fall Out Boy were as tight and solid as ever, displaying the arsenal of songs that has taken them from underground Emo/Punk clubs to the Stadium tours that they fill today. 

Starting with Thnks Fr Th Mmrs from 2007’s Infinity on High album, the band ripped through a set of both old and new material and worked the crowd when it was needed, calling for the audience to join in on the obvious sing along parts and playing each song with vigor. Patrick Stump’s guitar playing and vocals never fail to impress, and he was in fine form last night. Picking through This ain’t a Scene, It’s an Arms Race and Nobody puts Baby in the Corner, the singer faltered rarely and delivered his vocals superbly. At one point there was rare interaction with the crowd from Stump when he thanked them for helping him remember some lyrics when his guitar dropped out of tune and he forgot the words. Stump usually leaves talking to the crowd to Wentz and it was nice to hear him speak, despite Wentz’s snide comments to the front man when this occurred. 

The crowd was treated to a cover of Kanye West’s American Boy before bursting into Sugar Going Down and also played Michael Jackson’s Beat It. One thing of note was the amount of material the band played from their previous albums; this outweighed the songs from their new one Folie a Deux. They did play the lead single from the album, I Don’t Care, this saw the lights on the stage dropped and LED effects appear on the bands instruments which was both fun and entertaining to watch. Disloyal Order of Water Buffaloes made an appearance, a song the band admitted they had not played many times live, and also American Suitehearts which is one of the more melodic songs from their latest album.

Fall Out Boy closed with Saturday from their 2003 debut album Take This to Your Grave. It brought to a close a very good set that certainly had many sections of the crowd pleased with what they had witnessed. It was at this point that Wentz handed his bass over to the guitar player from support group Hey Monday and decided to fling himself into the crowd for that much needed hug. Despite the best efforts of security, and even a stage hand who literally tried to rugby tackle him, Wentz dived into the sea of hands and took a good five minutes to find his way back out again, knowing that at least Singapore loves him dearly.      

(Adam Gregory)



Drummer Jake Krohn does the PoP10.  

1. Why play music?

There are many reasons people play music.  First of all if you say it’s not ego driven you’re kidding yourself.  Second of all if you think you’re not in it to meet girls you’re kidding yourself.  It all starts off as something that people that you look up to do, people that as a kid you think are way cooler than you, and in trying to define yourself at that age you emulate those you look up to.  Then of course there is a certain amount of creative outlet and emotional release in it and even an intellectual stimulus.  But the key reason for me is that playing music to an audience is an incredible feeling.  There’s an energy exchange that happens with a body of people that is super interesting.  If they’re not feeding you back it’s very difficult to provide enough energy all by yourself to put on a fantastic show, but when the feedback loop starts the show can go to incredible levels.  You feel energy levels passing through you that you truly never thought possible as trite as that sounds.  Those nights are why I play music.

2. Who are your influences?

My number one influence is my Dad.  He’s the one who started it all.  I grew up sleeping in his guitar case backstage.  My Mom and Dad and whole familiy have been ridiculously influential and supportive in my music career.  Other influences of mine are my friends who are enormously talented and who inspire me to keep it together and forge ahead when it gets bleak.

3. What is success?

Success is doing what you love every day you can.  It really depends on the person you are, what your goals are and where you feel comfortable in life.  Shuteye Unison has remarkably different goals as individuals, but we are all successful people.  I personally feel successful just in the fact that I’ve been playing music with my best friends for 20 years and still to this day I love it and spend the vast majority of my time doing it.

4. Why should people buy your music?

Our music is heartfelt and true to the group of people creating it.  If it’s interesting to someone else maybe that person should buy it.  Honestly I love this band because our music is exactly the culmination of a group of friends in a room making noise together until a series of things work together and turn into a song or 5, nothing more, nothing less.  It just is what it is and we hope you like it.

5. Who do you love?

I love bands that create something.  Bands that create a sound or even a genre and aren’t those that end up simply helping to define it by mimicking the originators with this tunnel vision.  The Melvins are a perfect example.  That sludgy, mathy, enormous thing they do that changes so much from record to record but always ends up sounding exactly like the Melvins. Other include: Refused, Mars Volta, Radiohead, De La Soul, Bad Brains, Drive Like Jehu, Pixies, Stereolab…

6. What do you hope to achieve with your music?

Whirled Peas?  I would love to just get to play music as much as I do right now for the rest of my life.

7. Who comes to your gigs?

An array of fantastic souls who love to fill the silences between songs with sarcasm and drunk berating comments.  They are truly part of the performance.

8. What is your favorite album?

That is a really weird question.  What’s my favorite record today?  Beatles – Revolver.  What’s my favorite record by a certain band?  RFTC – Hot Charity, Melvins – Stoner Witch (although Nude with Boots and Gluey Porch Treatments/Ozma are close), Little Feat – Sailin’ Shoes.. we could do this all day.  Favorite jazz record?  Pat Metheny – Bright Size Life (w/ Jaco… so good, and Bob Moses on drums… damn).  You get the point, there are tons of favorite records.

9. What is your favorite song?

Strikingly similar to last question.  Today I’m going with Something by George Harrison.  Listen to the version with Paul McCartney on Uke on the Concert for George dvd.

10. How did you get here?

Woke up out of my dad’s guitar case, set up a bunch of cardboard boxes and pots and pans around me, met these guys in high school and never looked back.

Shuteye Unison’s self-titled Ep is out now.



Doubt is director/writer John Patrick Shanley’s big screen take of his own award winning play set in Bronx 1964 in the period of the Vatican II reforms and civil rights movement.  

Doubt stars Meryl Street in an Academy Award nominated performance as Sister Aloysius Beauvier, a strict disciplinarian and no-nonsense principal of St Nicholas who instils fear in the school children.  

Sister Aloysius suspects the charismatic and well-liked parish priest Father Brendan Flynn played by Philip Seymour Hoffman of inappropriate behaviour with the school’s first Negro student Donald Miller over the concerns raised by an innocent and simple Sister James (Amy Adams).  As such, Sister Aloysius starts a crusade against Father Flynn to prove his guilt and remove him. 

The movie explores themes that are still relevant today.  Self – righteousness, morals, truth and dogma/tradition versus love, compassion and progression.  Sister Aloysius represents the former while Father Flynn, the latter sometimes still seen in the views of some Catholics today.  The film questions the price one has to pay in the pursuit of what one thinks is right to the extent of sacrificing a few morals along the way, or whether love and compassion should rule.  

Doubt is equally compelling with the issues of sexual abuse that have rocked the Catholic Church and the Church’s attempts to hush up the scandals.  It also explores the issues of hierarchy within the Catholic Church and whether one should step out of the line to fight for the truth.  

Is Father Flynn guilty?  A shirt being stuffed in the locker.  The longing gaze in Donald Miller’s eyes at Father Flynn.  The embrace in the corridor.  There are other suggestions of Father Flynn’s guilt.  However the film doesn’t offer any definitive answers of Father Flynn’s guilt.  That is the power of the doubt reflected in the film title.  It allows the audience to believe what they want to believe.  

Streep delivers a performance far more chilling than her previously nominated performance in The Devil Wear Prada.  Cloaked behind a black habit and rimmed glasses, Streep is every inch as electrifying and terrifying as a black angel in her persecution of Father Flynn.  Hoffman though a little subdued next to Streep, still acquits himself well against Streep, and is able to match her one to one.  It’s a clash of acting chops and theatrics as the two acclaimed thespians go up against each other. 

Viola Davis is all pathos and effective as the boy’s mother wanting the best for the child despite being caught in a sort of dilemma.  Davis steals the scene from Streep in those short moments she appears.  Adams is all sweet in the role of Sister James.

Doubt is more of an actor’s piece.  It was without a doubt an engaging and entertaining movie that gets you thinking.  Although it rates high on acting, it suffers from long bits of dialogue stemming from its roots of a play which probably suits the stage better.  

(Darren Boon)



JEREMY JAY Slow Dance (K)

There’s nostalgia, there’s referencing, and then there’s full out anachronism-baiting. Jeremy Jay’s sophomore album, Slow Dance, left me in a bit of a shock from the get-go. Swirling synthesizers and echoing drums…I did a spot of bewildered googling to make sure Kevin hadn’t pulled a fast one on me and sent me an obscure retro album. His promotional pictures didn’t do much to clear matters up: the fella dresses like he stole his dad’s chuck-away clothes and teenaged hair. The 70s pop stylings even extends to the font used on his album cover. I think it’s quite safe to say that Jeremy Jay isn’t exactly the most suitable frontman for Generation Y. 

Jay might have possibly upped the record’s accessibility factor if he could have married the quirkiness of the era with modern-style pop melodies, but unfortunately he seems to have inherited the fashion and none of the innovative, elegant spirit that characterized that time. Jay’s apparently received rave reviews, but listening through the half-hour long record, I found little to sustain my interest and change my initial opinion of him as a retro revivalist throwback act. For all its nostalgia, Slow Dance lacks the wit and invention that characterized the groundbreaking times of the 50s, 60s and 70s. 

To be fair to Jay, the record picks up towards the end with a few moments that worked for me, such as the soft piano breakdowns and high-school prom grooves of Will You Dance With Me, and the disco-inspired riffing on Breaking The Ice. But moments of magic alone do not the good record make; there is a certain discipline that is lacking amongst the self-indulgent retro wallowing of Slow Dance. 

My biggest complaint, apart from the secondhand Cure riffs and juvenile rhymes, would be the production sound on this record. Jeremy Jay really does himself no favors with today’s music-listening audience with the Martin Hannett and Joy Division aping. In 1979, the spaciousness was revolutionary and groundbreaking. In 2009, Jeremy Jay just sounds hopelessly dated.

Slow Dance sounds too much like a disparate combination of elements from the past few musical eras, but crucially ignores the most important era of all: the present. Strictly for fans only.

(Samuel C Wee)
Check out Jeremy Jay’s Myspace page.



ORPHAN SONGS Self-titled (Self released)

There’s a certain plaintive brilliance to the way that these Scandinavian singer-songwriter types curl around the words of the English language. Just listen to this line taken off the debut album of Orphan Songs, the vehicle of Swedish musician Carl Otto-Johansson: “There were dragons there, of course/ and a million dollar horse/and a girl with pretty hair/and an endless flower bed.”  Maybe it’s the fact that English is not their first language, but there is a certain brevity and genius of juxtaposition to these words that feel alien yet familiar at the same time.

Otto-Johansson himself is the ex-frontman of Swedish band Eyedrop, and Orphan Songs is the introspective, introverted aftermath of their break-up as reflected upon by Otto-Johansson. One would expect an album written and subsequently developed under such consequences to be melancholic, mid-tempo and pensive. You’d be half-right with that assumption, but then again you’ll miss out far too much of the subtleties on this record. It’s much more wonderfully diverse than one would expect.

The record consists mainly of acoustic-guitar based pop melodies, with the occasional piano or harmonica colors bleeding in. Second track Dream On is one such perfect example, low-key and dreamy with a whiff of Americana. The Land Of The Free itself is mentioned on America, a depiction of America as the liberty fable it is for children in a Morrison meets-Rattle And Hum Era U2 number. 

Track six on the listing finds Black and White, all pearls and falsetto chorus with a tinge of blackness and spiritual depth. There are a few fillers here that feel more monotone than mesmerizing, such as Accidentally and Rosemary. The moments of magic that occur, though, do brilliantly to lift the album.  Standout track here, The Young and the Brave, is one such example. It isn’t so much streams of his consciousness as yours, and you’ll find yourself murmuring along presciently without looking at the lyrics sheet as the song builds towards a driving crescendo of shimmering, stirring goodness. 

It has to be said that Orphan Songs is not so much a collection of paintings as it is sketches. Otto-Johansson’s lyrics are evocative and impressionistic instead, and one is more likely to call to mind moods, colors and emotions that lush soundscapes while listening to this record. That’s okay. It’s a record that at times meanders and would probably have been better for a bit more discipline and a shorter track listing, but that’s okay too. This is a record made for those rainy nights and afternoons when everyone is out and you settle down with a warm cuppa. 

(Samuel C Wee)
Check out Orphan Songs’ Myspace page.



Jon Sebastian (far right) provides the answers…

1. Why play music? 

Writing a song is very satisfying. It gives you a chance to show people a side of yourself that they would otherwise never know about, and to bring them into your world a little bit. Performing music just feels good. I always feel a sort of satisfied exhaustion afterward that is unique to playing shows.

2. Who are your influences?

Guided by Voices, Paul Simon, Failure, Nirvana, Cat Power, Throwing Muses, The Beatles, The Promise Ring, Spoon, Low and Smashing Pumpkins to name a few. 

3. What is success?

For me, as it pertains to music, there are two types of success: artistic and financial. I feel like I’ve had a lot of artistic success, in the sense that I have a pretty nice-sized body of work that I’m happy with. When it comes to financial success, I’ve done extremely shitty. I want to quit my day job.

4. Why should people buy your music?

Because I know they’ll like it. 

5. Who do you love?

My wife, my family, my friends.

6. What do you hope to achieve with your music?

I don’t have an agenda with my music, as far as trying to relay a certain message or change people’s minds. I’m more interested in having people connect with it on a personal level, wherever they’re at in their lives. I think music should be interpreted on an individual basis. As a listener, a song should mean whatever you want it to mean at any given moment. This is what most people do anyway, regardless of how direct or indirect a song’s message may be. As long as they can connect with it somehow, I’m happy.

7. Who comes to your gigs?

Our friends, and people with nothing better to do. 

8. What is your favorite album?

Tough to say. Probably Limbo by Throwing Muses. It changed the way I look at rock music completely. It’s simultaneously pretty & ugly, mellow & manic, soft & hard, dreamy & nightmarish. Kristin Hersh actually wrote the last song on it in a dream. The production is phenomenal, and every song on it is amazing.

9. What is your favorite song?

Impossible to say. 

10. How did you get here?


Paper the Operator’s Solemn Boyz EP is out now.



“My name is Benjamin Button, and I was born under unusual circumstances.  While everyone else was aging, I was getting younger, all alone.”

This is the premise that underscores The Curious Case of Benjamin Button, clocking a few minutes shy under three hours.  It is a third time lucky for director David Fincher and Brad Pitt reteaming after Se7en and The Fight Club with Pitt as the title character. 

The film has been nominated for 13 awards at the upcoming Oscars including nods for Best Picture, Best Achievement in Directing for Fincher and Best Actor for Pitt.  It was adapted by Eric Roth from a short story by F Scott Fitzgerald.   Coincidentally Roth was also the screenwriter of Forrest Gump to which some similarities between both movies exist.    

The film tells the story of Benjamin Button who was born in New Orleans around 1918.  Although an infant, Benjamin bears the looks and health of an 80 year old.  Abandoned at the step of an old folk’s home by his biological father, he is adopted by Queenie, a Negro woman played by Taraji P Henson.  As time passes by, Benjamin starts to age physically backwards and embarks on a journey which involves an affair with a wife of a British Diplomat played by Tilda Swinton, and fighting in World War II.       

The core of the story however rests of the love between Benjamin and Daisy that spans over decades from the time they met at the old folk’s home when they were children with Benjamin all wrinkly in appearance.  The lives of Benjamin and Daisy intersect from time to time over the years.  There were lost opportunities in love due to their physical differences, but they would finally meet at the mid-point of their loves.  It is at the love between Benjamin and Daisy that provides the film’s most heart-tugging moments over the adventures that Benjamin has.

The film relies on CG effects mostly for the first part of the movie where Pitt’s head is superimposed on other performers and slowly shed as Benjamin ages backwards.  Pitt delivers a credible performance but yet fails to let the audience into the heart of Benjamin.

Henson is effective as Benjamin’s mother, though the role seems to be rather archetypical.  The best performance of the film would have to go Cate Blanchett’s role of Daisy.  Blanchett successfully fleshes her character’s inner turmoil and turns in a heartfelt performance that gives the movie its soul that at times it lacks at times, especially in the first half of the film where the film feels like a slow ride.

The Curious Case of Benjamin Button is an ordinary story about an ordinary person with an extraordinary circumstance.  It is about life as much it is about death.  It is about what Benjamin states as “our lives are defined by opportunities, even the ones we miss” and indeed there are some lost opportunities in film.   

(Darren Boon)


I honestly did not think that that excellent debut episode could be topped so quickly but episode two sure did kick arse! Credit must definitely go to Vertical Rush and A Vacant Affair for delivering blistering sets that had the in-studio audience tearing the place apart. VR certainly looked like they were up to the challenge of opening this week’s fun-filled segment. Marcus, in particular, was simply hyper-kinetic and the band was mesmerizing and enthralled the crowd. There is something about a live recording that pumps up band and audience alike – it is something special that has to be experienced first hand.

AVA closed the program with a bang as the moshing and body-surfing began in earnest. As Matt held court, adoring fans lapped up every word, every syllable as the band behind him pummeled us into abject submission. For the uniniated, it must seem slightly mystifying to witness Singaporean kids behaving in this manner. Flaying limbs, running in circles, bodies heaved into the air, even presenter Utt got into the act stage-diving into the audience as AVA launched into We Are Not the Same! All of which got me a little misty-eyed, considering that an activity that was previously banned altogether was now being played out on national TV! Even after the show went off-air and the PA was cut, AVA continued to rock! Totally punk! 

In-between, Jack and Rai provided melody and energy with The Falala Song and a glorious Fiona, giving an alternative bent to the alternative rock that was imploding around us. At times, it seemed that the duo and band were trying too hard to match the intensity levels permeating the studio. They certainly gave as good as they got!

As usual, the program also showcased three other “Exposed” bands viz. For This Cycle – an acoustic duo that, to these ears, possessed the best sound of the night; Eden’s State – formerly Ivy’s Vendetta I believe, were rather lacklustre and unimaginative (and even played to a phantom drummer – sorry, but performing to a tape is not on if you’re a rock band!) and Shigga Shay  – a rapper (I’m sorry but to me all rappers come across as the same). Also featuring, this week’s Sonic Youth, a band from my alma mater ACS, Finding Michelle, covering Mr Brightside and sounding exactly as a band in their teens would.

Overall, the established bands thrilled us all whilst the others were mixed affairs, with work still to be done. Personally, I hope that the show will be able to cover deserving bands in the eight weeks remaining and whilst I am all for showcasing raw talent, I just wish that the selection could be a little more discerning. I’m hoping to see Leeson, Etc, Rachael Teo, Nick Tan, Indus Gendi, Allura, You and Whose Army!, Fire Fight, Lunarin, Karl Maka, Force Vomit, Stoned Revivals, the Pinholes, Astro Ninja, King Kong Jane, Peep Show, West Grand Boulevard, Shirlyn Tan, Ngak, Retro Groove, Bhelliom, MUON, I Am David Sparkle, Typewriter, Padres… *hint*!!!!

Next – Plainsunset! Marchtwelve! Kate of Kale! 

…and there’s more…



Wesley Chung by Erin Pearce
Wesley Chung by Erin Pearce

Wesley Chung is the frontman of folk-pop collective Boris Smile, out of Long Beach, California. 

1. Why play music?

Two reasons:

-We were made to create
-Music is such a gift that it would be a shame not to play

2. Who are your influences?
Sufjan Stevens, David Bazan, Fielding, Aaron Copland, Beatles, Jon Brion

3. What is success?

Creating music that enriches life.

4. Why should people buy your music?

(Hopefully) because they love it.  But it has its utilitarian value too.  When people buy our music it enables us to keep putting out new releases (buyers become patrons of the arts [i.e. Boris Smile]… and its just part of being in a market economy).

5. Who do you love?
Sufjan Stevens and Aaron Copland
6. What do you hope to achieve with your music?

hmm… not sure.  At this point I just want to keep writing.

7. Who comes to your gigs?

Friends, sometimes family, and occasionally fans.

8. What is your favorite album?

“Pink Moon” by Nick Drake (first artist I really fell in love with) 

9. What is your favorite song?

“Appalachian Spring” by Aaron Copland (the whole thing)

10. How did you get here?

Perseverence, patience, hardwork, and connections.

Boris Smile’s Ep, Beartooth, is out now.


Yup, that's me in the lower left corner. Really.

Yes, its the 2nd episode at 8.30pm on Channel 5 tonight.

Line up tonight – Vertical Rush, A Vacant Affair, Jack & Rai, Finding Michelle, For This Cycle, Eden State and Shigga Shay.

I will be there to soak it all in, as long as I don’t get kicked in the face from being in the wrong place, wrong time when AVA perform…

If you are keen on Live N Loaded continuing behind its slated ten episodes, make your opinions known to 

See you there or on the telly!


LUNAR NODE Exploring Unknown Territory Ep (Wallwork)

Instrumental rock music escapes me somewhat, especially if there’s no properly discernible melody line. Alright, so who says, any music needs to have a melody line, in the first place? Granted, you could have a collage of sounds and call it experimental music, if you like.

But that’s not what new S-ROCK band, Lunar Node, are about. Taking its cues from Mogwai, Explosions in the Sky et al, Lunar Node, similar to other S-ROCK instrumental bands like I Am David Sparkle and Amateur Takes Control, strives to create mood, atmosphere and an emotional connection sans lyrics.

Consisting of Daniaal, Asyral and Gerald, Lunar Node formed a year ago to – in their own words – “create music that would connect people through eclectic and emotive sounds”. Well, listening to their debut Ep – Exploring Unknown Territory – I’m not quite sure if the band has achieved its stated goal, right off the bat, but by all accounts, it has certainly tried its best to.

As with any music composed mainly of guitar effects and smashing cymbals, the five songs here tend to bleed into a indistinguishable whole and thus, eclecticism may be hard to attain. Sounding very much like 60s psych rock (Syd-era Floyd), 70s space rock (Gilmour-era Floyd) and 90s shoegaze (Ride, Chapterhouse), the songs on this Ep never stray too far from that template to produce fairly engaging music. My personal favorite is the closing Voiding the Negative, with its cascading guitar appregios and explosive percussions which build up to a satisfying sonic crescendo and ultimate climax.

Not the finished product, by any means, but it should be interesting to observe where Lunar Node move on from here. 

Check out Lunar Node’s Myspace page.

If you’re interested to know more, come down to the launch of Lunar Node’s Ep on 7th Feb (this Saturday) at 8pm at the Arts House.


It’s tempting to view this match as a game Spurs lost in the last 5 minutes but really it’s a game Spurs lost due to a pathetic display for 85 minutes. Yes, apart from a thrilling 5 minute period where, inspired by substitute Pascal Chimbonda, Spurs came back from two goals down thanks to substitute Darren Bent’s 13th and 14th goals of the season, Spurs had done nothing over the course of the 90 minutes to deserve three points or even one.

It’s also tempting to attribute Spurs’ toothless performance to the absence of the injured Jermain Defoe, when the fact is that despite the presence of TWO holding midfielders, Bolton still managed to run the centre of the park and despite our documented failure to play well with 4-4-1-1 formation, Harry Redknapp chose not to revert to 4-4-2 till the start of the 2nd half and already 0-1 down.

By and large, shoddy shocking defending by all concerned led to our downfall. We seemed to lack numbers when defending and really our two centre backs were not given any protection at all by the full backs or the midfielders. Looking back at the Bolton goals, its obvious that Spurs are simply awful at defending set plays and the teams around us in this relegation dogfight will certainly be aware of how to exploit this glaring weakness.

Positives? Chimbonda’s attacking contributions and Bent’s goals. With Defoe out, it’s certainly time for Bent to step up to the plate. However, with the rumors intensifying that Robbie Keane is returning to White Hart Lane, Bent’s revival might be moot. Still, looking at Pavlyuchenko’s abject failure to win the ball in the air, what Spurs really need now is an effective target man – like Roque Santa Cruz – rather than Keane (who’s style will clash with Bent, Defoe and even Modric).

As I have said since the end of the close of the August transfer window, Spurs fans are in for a long hard slog of a season and there’s still no reason for me to change that opinion. Next up, the gooners at home! What a wonderful time it would be to finally get that league victory over our bitter rivals.


MARYKATE O’NEIL Underground (71 Recordings Collective)

Last year’s mkULTRA Ep was a tasty appertiser for the main course, Underground, and by all accounts, its a sumptous feast! Underground (MK’s third album) encapsulates all that is wonderful and delightful about pop music. And when I use the term “pop”, I am talking in the classic sense, as in the kind of music that the world lapped up from Bob Dylan, the Beatles, the Beach Boys, the Byrds, Carol King, Laura Nyro et al, all those years ago. 

Thus, the eleven songs on Underground bear testimony to MK’s grasp of melody, reverential pop sense and literate lyricism. Whether intentional or not, Underground can be split into two halves. The first five songs are sophisticated, smart pop that combine technical brilliance and instinctive coolness. Tracks like the smooth Green Street (last heard on mkULTRA with the line “And I lived back in the village/Where there’s no more any sign of Dylan” prominent), the melancholy Easy to Believe At First, the countrified Nashville (resplendent with its Harrisonesque slide guitar), the provocative Saved (where MK protests against being judged), the Nyro-Rundgren channeling Mr. Friedman (and perhaps my favorite of the lot) and song #10, the Honeys produced by Brian Wilson influenced One Thousand Times A Day.

The rest of Underground tends to a little more folky, with MK’s acoutic guitar high in the mix, whilst MK either tugs at your heart strings or challenges your thinking processes. The wistful Me, the Bee and the Miner, the strident title track (“I don’t wanna leave the underground” the declaratory statement of intent), the pleading Attention, the twangy Joe Jackson cover – Different For Girls and the closing So Long, a loving tribute to the late great George Harrison – “I have found religion/I follow the sun/I don’t care a smidgeon what you are/Or who you have done”.

Simply magnificient! An essential for 2009.

Check out Marykate O’Neil’s Myspace page.

Here’s the music video for Nashville. Enjoy!


Various online sources are claiming that Jermain Defoe was badly injured in training on Friday and will be sidelined for a considerable period of time.

The Independent reports that Defoe has broken a metatarsal bone in his foot and will be out for 10 weeks. The report states that Defoe had been carrying this injury before he re-signed for Spurs and calls into question the medical that Defoe had undergone at Spurs.

BBC online claims that Defoe will be sidelined for only a month.

The Sun describes the injury in the worst possible terms, stating that Defoe would be out for the rest of the season!

This news comes at the worst possible time for Spurs. Defoe has been scoring goals since his return and he has been effective in partnering Pavlyuchenko up front. And with Spurs still in the market for a striker, all the available targets would have increased in value significantly. Hopefully, the injury is not as bad as it seems but definitely Defoe will not be ready for the Bolton game today, which leaves Harry Redknapp with a selection problem. Who to replace Defoe? The seriously out-of-sorts Darren Bent or the inexperienced Frazier Campbell? At least, we’ve got Palacios and Chimbonda to come in to give us the steel but will there be a cutting edge in yet another must-win six-pointer?

Never a dull moment with Tottenham Hotspur.


LADY GAGA The Fame (Universal)

In the CD sleeve, new dance pop sensation Lady GaGa thanks Andy Warhol, David Bowie, Prince, Madonna and Chanel. And listening to her hit debut album, The Fame, its the influence of Madonna that comes across strongly. Yes, you can’t mistake the 80s vibe that permeates this highly commercial effort. 

This former Interscope staff songwriter has taken a bold step into the limelight and is credited with co-writing every single song on The Fame. Nothing exceptional, I might add, the music is a typical modern mix-up of hip-hop R&B, electro-dance-pop with emphasis on the groove and hooky choruses, notably on Poker Face, Eh Eh (Nothing Else I Can Say) and Just Dance.

The lyrical concepts are also typically aimed at the groin primarily. Here’s a sample – 

“I wanna take a ride on your disco stick” (Lovegame)

“Need a man who likes it rough” (I Like It Rough)

“Let’s go see the Killers and make out in the bleachers” (Boys Boys Boys)

Disposable teen fare? No doubt. 

The Singapore edition includes Disco Heaven as a bonus track.

Check out Lady GaGa’s Myspace page.


Took a while for Charlotte to be properly introduced but here she is – 

A keen writer honing her craft while diplomatically trying to subdue urges to conform to the socially acceptable views of the masses. Music has always played a major role in her life and so has writing as a form of expression, communication and presentation.

A self proclaimed idealist with a penchant for intense experiences sprinkled with humour and a dash of melody (preferably from a guitar). An amateur singer/songwriter whose chosen weapon is a six string and her material based on anything from a floating feather from her pet parrot, to the solitude of a clinically depressed genius whose only companion are the words flowing from the tip of his pen and the empty syringe tossed aside.

It’s no surprise then that she loves and enjoys – Jeff Buckley, Joy Division, The Cure, The Smiths, The Ramones, Tool, Waits and the likes…

Always eager to reach out and connect with a chosen few.. –  So echoes the whispers of a fallen angel: Victims Aren’t We All…

Seriously though, love being able to listen to and review the artistes showcased on this site!


HERE WE GO MAGIC Here We Go Magic (Western Vinyl)

To call Here We Go Magic a band is a pretty loose term, yes they consist of three members and appear under one name, but the real driving force and creativity behind Here We Go Magic is Luke Temple and this band and album are pretty much him just under another name. Brooklyn born Temple is joined by Baptiste Ibar on bass and Peter Hale on drums but this appears to be purely for touring and live purposes, there is no doubt that this is Luke Temple’s ideas and creation.  

Originally trained as a painter and mural artist, Temple soon took a transitional stumble into music and found his true calling. Releasing his debut solo album, Hold a Match for a Gasoline World, in 2005 he showcased his undoubtable talent as a songwriter and musician. This followed with more success on his 2007 album Snowbeast, which gained awareness from a wider audience when Make Right with You featured on Grey’s Anatomy (the show responsible for Snow Patrol being EVERYWHERE during 2006).

Starting with Pieces, Here We Go Magic instantly brings to mind comparisons with Paul Simon, it has a very tribal, looping beat that repeats, layered with simple vocals that sing nothing more than a single sentence. Much of the album is like this and it works very well, creating a structured clutter of instruments for the listener, just enough that it doesn’t become too crowded or claustrophobic. Temple produces a truly interesting and unique sound, parts of the album did remind me of the whole psychedelic rock/folk sound of MGMT but you don’t get the impression that he is trying to jump on that band wagon. Fangala, the most instantly striking song melodically on the album, breezes along like a daydream, making it impossible for you not to tap to the beat and drift off beyond the walls of your room. Ahab starts with a bluesy and gritty riff mixed with softly sung, haunting vocals, truly demonstrating how varied Temple’s sound is. He is not content with staying on one particular track and delights in deviating from it. 

If I had one criticism of Here We Go Magic it would be that it does lull after the first four songs of the album. The beautiful Tunnelvision is followed by Ghost List which is an atmospheric and haunting song containing no words or beat, just sound effects and distortion. This much slower pace continues right up until the concluding track and I felt it could have been broken up with the bouncier tracks at that start. When the album does come to conclusion though with Everything’s Big you are not left disappointed from the experience, the song feels my head with images of Paris and a misty morning walk along the Seine for some reason, it is a very stripped down song compared to the rest of the album and more simplistic in it’s structure and could almost be from another artist. This is Luke Temple’s gift though and what makes Here We Go Magic work, the fact that his influences and creativity is so wide and varied. 

(Adam Gregory)

Check out Here We Go Magic’s Myspace page.



Barry Mielke & Darryl Silvestri
Barry Mielke & Darryl Silvestri

Thought-provoking answers from Darryl Silvestri of Driving on City Sidewalks.

1. Why play music?

I’ve never thought about it.  I suppose because I was created to create. 

2. Who are your influences?

Jesus Christ. Thrice. Further Seems Forever. Explosions in the Sky.  Appleseed Cast.  Mineral. UnderOath. Brand New. David Bazan. Emery. Brandtson. Jimmy Eat World. 

3. What is success?

Hearing someone say, “Thank You”

4. Why should people buy your music?

If they feel its something worth supporting 

5. Who do you love?

Laura, my wife.  My family. My friends.

6. What do you hope to achieve with your music?

Connections with other human beings 

 7. Who comes to your gigs?

No one. haha.  We have yet to do gigs.  

8. What is your favorite album?

The Moon Is Down – Further Seems Forever

9. What is your favorite song?

Probably Nothing – Brandtson, OR

Some Seek Forgiveness Others Escape – Underoath, OR

Open Water – Thrice 

10. How did you get here?

I got here while i was trying to find my way home.

Driving on City Sidewalks’ new EP, Where Angels Crowd to Listen, is out now.


For 45 spell-binding minutes, Spurs made a mockery of their lowly position at the foot of the Premier League and played like a team chasing for a Champions League spot. Within 25 minutes, goals from Aaron Lennon, Jermain Defoe and Michael Dawson had placed Spurs into an unassailable lead.

Naturally, Spurs took their foot off the pedal somewhat and gifted Stoke’s James Beattie a goal but for once, Spurs were not in any real danger of losing a substantial lead. This time, anyway. 

Considering the attack-minded midfield – Bentley, Modric & Lennon all started – the combative Stoke midfielders could not take control in the middle of the park especially with Modric pulling the strings brilliantly. This game was also notable for being the debut of new goalie Carlo Cuducini and although Stoke never really tested him, Cuducini looked composed throughout. 

With Palacios and Chimbonda stil to come on board, Spurs are beginning to look like they will have the steel to match the flair as the crucial run-in begins with a tough game away to Bolton this Saturday.



BORIS SMILE Beartooth EP (Count Your Lucky Stars)

Fronted by the vocals and guitar of A. Wesley Chung, Boris Smile are a collection of musicians (eight in total) and a whole community of friends who make guest appearances on their work. Based in California, their Beartooth EP offers a short but sweet sample of their music and what they have to offer. 

Opening track Beartooth (Spooky Version) is a mix of acoustic base, driven bass and machine gun drumming building to a conclusion of spooky backing harmonies. The real issue I have with this track is the vocals, there is no doubt that singer Chung has ability but the chorus is just so off key it is to the point of distracting. He repeats the words Bear Tooth and it is almost painful how Chung wanders and struggles to deliver the line. I am not one to criticize singing, I have not got the most angelic and powerful voice myself, and I can understand how in the slacker folk rock genre this is seen as appealing, but it is just not for me. 

Later tracks however do not suffer so badly from this problem. Hour of the Wolf is a melancholic and soulful song with emotional vocals and excellent female backing that really compliments the main hook of the song, Everybody loves you but yourself. It is bordering on Emo but my eyes refrained from rolling because despite this it is a very good song. 

Tut Tut is definitely the one song on the EP that made me sit up and really listen. It is a beautiful song full of melody and a cacophony of sound and instruments that draw the listener in. I had images of a Friday evening when listening to this song, knowing that the working week is done and your mind can finally concentrate on meaningless and stress free thoughts, with the troubles of the world sliding away at least for a couple of days. 

The last track on the EP, Books with Blank Pages, is quite an ironic title because the song almost feels like a non-event. It passes by without any real significance. It is a difficult song to listen to though after the previous song Program Me to Love which is an amusing robot love song about a synthetic being wishing for the emotion of love, the song skirts on the side of being too cheesy for it’s own good but just manages to save itself from disappearing over the edge.  

Beartooth EP is certainly an interesting collection of songs and shows a lot of potential. I am not completely convinced that Boris Smile will be a permanent fixture in my record collection but I am sure that there will be days that I will revisit this EP and perhaps find more to like about it, despite Chung’s vocal style and sometimes more cringe worthy moments. Will I await a full length album with bated breath? Not likely, but I certainly will give it a passing glance to see what this band is capable of with a larger scope of material to showcase. 

(Adam Gregory)

Check out Boris Smile’s Myspace page.


Photo by Denis Kleiman


It’s been a while since we had a PoP10, so thanks to singer-songwriter Jessie Kilguss, we have a spanking new one…

1. Why play music?

Because it makes me happy.

2. Who are your influences? 

Nina Simone, Marianne Faithfull, Leonard Cohen, Bob Dylan, David Bowie, Tom Waits, Nick Drake,Aretha Franklin, Nick Cave, Lou Reed, Edith Piaf, Miriam Mekeba, Mahalia Jackson…the list goes on and on

3. What is success? 

For me it is happiness, balance, health, love, artistic fullfillment and getting joy out of what you are doing as often as possible…it is attainable and yet always changing slightly…

4. Why should people buy your music? 

Because they like it and also cause I have a dog to support.

5. Who do you love?


6. What do you hope to achieve with your music? 

I’d like to take people on journeys that are familiar and new at the same time and also to engage people on an emotional level….hard to answer this question without feeling like a self-involved douche…can I use the word douche here?

7. Who comes to your gigs?

Friends and fans

8. What is your favorite album?

Oh come on!   Just one!  Today it is Pink Moon.

9. What is your favorite song?

Seriously!  I can’t chose just one.  Today’s favorite;  Karen Dalton’s “Something on your Mind” off of “In My Own Time.”

10. How did you get here? 

A series of bad decisions.  

Jessie’s new album – Nocturnal Drifter – is out now.


The Great Spy Experiment by Fir

History in the making? Okay, so maybe that’s pouring the hyperbole a little thick but then again, it’s not that far off from the truth. What am I talking about? Obama’s election? Nope, something much closer to home.

Fourteen years ago, I appeared on Live on 5, the last time we had a TV programme featuring S-ROCK bands live and last night I was thrilled to be at the world premiere of Live N Loaded. As Rachael and I shuffled into the near-empty studio, with A Vacant Affair blaring over the PA, I was struck by how compact the venue was, especially with the two performing stages across each other. I looked for somewhere I could lean on and ended up in front of one stage and before you know it, Saiful, Mag, Khai, Song and Fandy walked on! 

The crowd went apeshit and for the next hour or so were unrelentless in shouting and screaming themselves hoarse in adoration and approval of our S-ROCK bands. GSE kicked it off with a fiery Siti in the City and Ling (looking and sounding great) followed up with a jaunty Suburbia. Three “exposed” bands and one “Sonic Youth” strutted their stuff viz. Kay Swisher featuring the Supreme One, Fatskunks, Sea Bed Sound and Lamp Post Shadows. Though to be honest, I could not quite get into the music but to their credit they obviously gave it 100%. 



Ling Kai by Thomas Tan
Ling Kai by Thomas Tan

With GSE upping the ante, Electrico had to be on their game and how. Oozing class from every pore, the band was augmented by the Horndogs – trumpet and sax – and delivered a rockin’ We Satellites, with William and Desmond an awesomely tight rhythm section. Before you know it, GSE was playing Class ‘A’ Love Affair (see vid below), the final song and it was over. Well, not really, as the Live N Loaded team and GSE gifted us new song The Lights as a wonderful bonus. 

Overall, the debut show was a cracking success. The give and take between bands and audience as one pushed the other to greater heights was a sight to behold. I’ve always believe that a rock audience will only get as good as they give and with the crowd giving their all, it was obvious that their energy and excitement was rubbing off on the bands and their heightened levels of performance was clear to all. The buzz around the studio was incredieble. Electrifying. Towards the end, the kids were moshing and bodysurfing, and I was thinking to myself that an activity that was used by the authorities to shut down indie gigs in the past was now being televised live on the goverment-controlled TV network. And who says things don’t change. 

One down, nine episodes to go, I intend to go to as many as I humanly can. Next – Vertical Rush, A Vacant Affair, Jack and Rai and more. Can hardly wait. Kudos to Sebas and the Live N Loaded team for a well produced show. 

… and there’s more …


JESSIE KILGUSS Nocturnal Drifter (Self released)

“I consider all of the arts to be interconnected and think there is fluidity in the boundaries between them. Many of my favourite singers started out in some other artistic discipline; Joni Mitchell with painting, Leonard Cohen as a scholar/poet, David Bowie as an actor…” – Jessie Kilguss

Classically trained actress turned singer, songwriter – Jessie Kilguss’ Nocturnal Drifter is the second album, following Exotic Bird.

This Brooklyn singer’s sultry, husky, intoxicating vocals command the tone on each track.  Collaborating with production team Super Buddha, this feast of echoes, question-like harmonies, emphasize her vocal and lyrical foray into the likes of one of her idols – Mitchell.

The first track Gristmill captures you with the easy, cabaret-like atmosphere as Kilguss laments about life in a densely populated city with savvy, lyrical flair. This is then followed by the post-rock beats of Americana, again beautifully weighed by the soulful plea of Kilguss’ vocals.

Almost all of the ten tracks on this album showcase a different character being channelled to tell a story and to Kilguss’ credit – done seamlessly and without a hitch in the flow of the desired plot. A testament to tapping into the creativity of being in character with her training as an actor and painting the desired backdrop and tapestry of each piece with her talent as a songwriter and her unique voice.

You’ll be able to find at least one track, if not three, that you’ll relate to, just because it’s been delivered to you in a manner you can’t resist nor deny. Mine would be 31.

A tidbit that made me smile: She lives with her canine companion: Mr Walter Peanuts.

(Charlotte Lourdes)

Free Download: A Little Place Behind My Eyes

Check out Jessis Kilguss’ Myspace page.


DRIVING ON CITY SIDEWALKS Where Angels Crowd to Listen (Red Plane/Count Your Lucky Stars)

“Driving on City Sidewalks was formed out of a genuine love for music…” according to Barry Mielke of this two piece Ontario band.

Their EP, courtesy of Red Plane Records and Count Your Lucky Stars is titled Where Angels Crowd to Listen and it is an emotion-driven album with a heavy emphasis on psychedelic post rock-infused guitars and raw vocals on some of the five tracks.

For someone who started recording music in his basement about a year and a half ago, the journey of the band seems to be a story out of a fairytale. Actively promoting their music on MySpace and being discovered by a French Label – Red Plane Records, both Barry and Darryl have set their sights on moving ahead with their brand music.

The track that stands out on the EP in my opinion would be Farewell to knowing it all. A 9 minute offering that leads with dreamscape-like soft guitar notes and kicks up the intensity by more than a couple notches with a steady flowing rhythm of crash cymbals and cranking it out in the final two minutes with brazen, heavy guitars.

This is definitely one not for the masses but the beauty of it is held in the originality of its offering and in the quiet stirrings of the story being told. 

An interview featuring Barry is featured on Stereosubversion.

(Charlotte Lourdes)

Check out Driving on City Sidewalks Myspace page.