Yup, it's the arse-end of the decade meaning that music-peddlers are going Top-Ten crazy. Every man and his blog feels it his/her responsibility to set down for all to see, the absolute and unequivocal list of musical moments that defined the decade. Pitchfork got a cheeky head-start by announcing back in July their Top 500 Songs of the Noughties - though it's disappointing they didn't drill down further to the top 1000 choruses or top 5000 chords. Other blogs have since started following suit, all happily spruiking their own tastes (though perhaps none so much as this one). Those silly enough to allow comments get blasted for not including some lo-fi band that was a phenomenon in some exclusive suburb of New York, while others get rubbished for daring to put a non-Radiohead album at number one.

6/11/09 @ The Excelsior - supported by Pirate

With a global music scene drowning in indie, it's pretty easy to forget what real musicians sound like. As much as I can listen to Kings of Convenience records all day (and I can), jangly 4/4 and single-note guitar solos can only be so satisfying. Slotting Falsimilies From The Factsmachine into the CD player some weeks ago was the punch in the skinny jeans I'd been yearning for. It's the third EP from Sydney progfreaks Captain Kickarse and the Awesomes and it's choc full of chops, time signature changeups and drumming intensity. Last night saw them throw down an official release of the EP at the Excelsior (the spiritual home of the distortion pedal) to a crammed house.

I had this idea a few months back for a Youtube video clip. I was going to line up hundreds of beer bottles. All would be meticulously filled to appropriate levels, such that when I sprinted passed them with a stick they would sound out The Flight Of The Bumblebee. I was stoked at the idea. I'd even thought of particular circular configurations for the bottles, which would allow me to jump from one section to the next and back again. I'd sorted out the venue for the shoot, started hoarding some bottles etc etc... So you could imagine I was pretty deflated when a friend suggested I watch this.

After waiting more than two months for an album launch, I braved the miserable and wet Sydney night to see the wonderfully talented and beautiful Sarah Blasko launch her new album. Produced by Bjorn Yttling of Peter Bjorn & John, As Day Follows Night has a brighter, rockier and more voluptuous sound than its two predecessors. Recently nominated for 5 ARIA awards in 2009 (Album of the Year, Best Female Artist, Best Pop Release, Best Cover Art and Best Video) it was easy to see why Blasko received these nominations after seeing her spectacular live show.