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Minuit (pronounced Minwee, as helpfully pointed out on the album cover) are a New Zealand-made threesome consisting of the lovely Ruth Carr and fellow knob-twiddlers Paul Dodge and Ryan Beehre. The band’s success in places like London and the Czech Republic have placed them high on the list of New Zealand’s musical talent, and their energetic live acts are loved by midnight youths across the country.

Find Me… reflects Minuit’s ability to grow, shift and change – manic enthusiasm in songs like Yeah Yeah sit comfortably alongside darker songs like Queen Of The Flies and I Hate You; something unexplored on previous albums The 88 and The Guards Themselves. The diverse array of musical elements in Find Me…, from pub sing-along Vampires to the industrial Wayho, detract from the fact that Find Me… is an electro-pop album. What sets Minuit apart is how effortlessly contrasted their third offering is: it can be played on the dance floor or while lying on the couch and not sound out of place. Ruth Carr’s cutesy vocals work as well as ever on some of the nuttier lyrics Minuit are known for – Ruth has the unique gift to make singing about knee-capping your legs and chopping you in two sound like a fun night out as heard on 25 Bucks, the albums stand out tune.

Overall, the diversity of the band’s third offering is what sets them apart. Expect the unexpected from an album that is careful to not sound like an experimental jam – Minuit know how to please, and their ability to spread their musical talents across a field of different sounds can only encourage more people to jump on the Minuit bandwagon.

Minuit – 25 Bucks
Minuit – Run Run
Minuit – Yeah Yeah

And just in the spirit of the Twilight: New Moon release:

Minuit – Vampires

Then it occurred to me that this has happened all too often: I’ve listened and listened to a band the critics would trade their kidney to be friends with, and not been convinced. I’ve had the ‘Why do I know you?’ look from friends who worship the stage a band plays on, but I don’t understand the hype. I’ve bought albums, I’ve gone to gigs, and I’ve been prepared to adjust my standards when the naivety is set to fade… but it never comes. So, for the sake of martyrdom, here are the Top 3 Bands I Just Can’t Get Into:

U2 – While I tend to avoid saying this out loud near for fear of sharp pointy objects becoming embedded in my skin, when a band are constantly referred to as ‘the best band on the planet’ it grinds me. It’s a matter of opinion you marketing morons, regardless of the amount of sales. No, I didn’t like The Joshua Tree, Achtung Baby, or How To Dismantle An Atomic Bomb, and I borrowed all three albums from a friend for over a month in an attempt to try. I find U2 too self-indulgent and over-hyped. In the end, I am just not a fan.

Wilco – With Wilco, I tried. And I mean, I really tried. Yankee Hotel Foxtrot found its way into my iTunes off the back of some glowing reviews, and I did listen to it… as background music to put me to sleep. I thank Wilco for treating my underlying insomnia, but that’s about as much praise as I can muster. Then A Ghost Is Born came out, and I tried again. Nada. Nothing. I still didn’t get it. I feel like the slow indie rock thing Wilco has going on had been tried, tested, and accomplished to a much more successful degree before. Jeff Tweedy’s voice reminds me of someone swaying on stage in one of those late-night seedy bars, with a karaoke microphone in hand and a glass of beer in the other. Not a good image.

La Roux – There is a La Roux song on the radio every five minutes. My flat mate loves them, and they seem catchy enough, but the overwhelming synths that dominate every song are too much of a put-off for me. I’ve said it all before here.

So, let the judgements against my character commence. For those of you who found your way here searching for a taste of your favourite artist, I feel a little bad. So here are some MP3s. On the flipside though, tell me your thoughts: Got any bands to add to the list? Or if you want to try and convince me otherwise, please try! Seriously.

U2 – With or Without You
U2 – Sunday Bloody Sunday
Wilco – Jesus, Etc.
Wilco – I Am Trying To Break Your Heart
La Roux – I’m Not Your Toy
La Roux – Bulletproof

Openers Moron Says What?!?! didn’t leave much to be desired. The set bordered on laziness, and the general mishmash of sounds from the teenaged band was on the wrong side of the line that defines good noise from bad. Lead singer Alessandra’s crowd banter went nowhere, and when snide references to local band Popstrangers were made, a few frowns appeared on faces in the crowd, which should never be the noted achievement of a band’s live act. But despite making the eager beavers in the crowd sweat waiting, for what seemed closer to an hour than it really should have been after Moron Says What?!?! made their departure, Metronomy soon got the anticipating crowd wriggling and squealing with excitement. The four piece outfit fronted by Joseph Mount launched into horde favourites My Heart Rate Rapid, Heartbreaker, and Holiday that had the packed Montecristo room in Auckland surging with energy. The addition of new-ish members Gbenga Adelekan and Anna Prior really strengthened the group’s live show. With a band whose songs are eclectically strong on synths and computer-generated sounds, Anna’s frantic live drumming and the general coolness of Gbenga’s bass added an element of energy similar electronic bands could never compare to. Songs like On The Motorway tied in the live drums well while Metronomy’s synchronised chest-bulb’s seemed to particularly flash to the surge of the crowd during Radio Ladio.

The antics of several roof climbers had Metronomy’s eyes raised skyward as cheeky lads scaled the crowd for a better view, resulting a well-deserved dedication of the last song to “those guys that got up there.” While a friend described the gig as “the shortest concert ever” at little over an hour, the smiles were well plastered upon the faces of the Metronomy faithful. A good gig and a great time was had by all.

Metronomy – Radio Ladio
Metronomy – The End Of You Too
Metronomy – My Heart Rate Rapid

Amongst the crowd of thousands who had turned out for this musical legend, I lost all self control and self respect and, at the top of my lungs and with the worst timing ever in one of those awkward silences between songs that you only ever see at concerts in the movies, screamed “I LOVE YOU NEIL!” A few giggles, a couple of cheers, and Neil Young looked me in the eye for all of two seconds before wowing the Big Day Out crowd of ’09 in Auckland, New Zealand with such revered musical numbers such as Cortez the Killer, Like a Hurricane, and Needle and The Damage Done.

Ever since, I have a been a Big Day Out (BDO) fanatic. The BDO is the highlight of my musical life, literally. For those Northern Hemisphere-ans not in the know, the BDO is a musical festival that takes place at the beginning of every year in both Australia and New Zealand. Previous acts include the likes of Metallica (BDO ’04), then-newly reformed Rage Against The Machine (’08), Bjork (’08), Iggy Pop and The Stooges (’06), Nirvana (’92), and so many, many more.

Rumours for 2010 were rampant: Blink 182, Eminem, and David Bowie had bloggists around the world creaming themselves. In the first announcement made just last week, Muse were confirmed as the headlining act, along with Mastodon, Lily Allen, Karnivool, Grinspoon, Powderfinger, Kasabian, The Decemberists, Peaches, Girl Talk, Dizzee Rascal, Calvin Harris, and others (see the full line-up here). BDO naysayers are already bitching and moaning about the confirmed appearance of ‘regular’ acts such as Muse, Lily Allen, Dizzee Rascal, and Kasabian.

Screw them, I say. BDO is, and always has been, about having a great day with great acts. While not the biggest Muse fan, I have no doubt they will knock their New Zealand punters off their feet. Most of the bands announced have recently released a new album, so you know fresh material is going to dominate, which is never a bad thing. I’m little bit disappointed that the Bowie rumour never eventuated, but there are still two more announcements to come. I can continue to dream. Until then, I’ll be eagerly anticipating what will the stand-out Summer festival for 2010. Live on, BDO. If you will be in either Australia or New Zealand January 15th 2010, make sure you book yourself a ticket. I guarantee you won’t regret it.

Muse – Knights of Cydonia
Kasabian – Where Did All The Love Go?
Dizzee Rascal – Bonkers
Mastodon – Oblivion

So far, La Roux have emerged unscathed from comparisons to Lady Gaga and Little Boots, and their meteoric rise in Europe is well blogged about. I hear fans are digging her Tildon Swinton-ish resemblance, with Elly Jackson’s flaming quiff and androgynous voice and stature.

After having the radio stuff Bulletproof down my throat like it was some E-fueled message from God, I had a listen to the album to see if my cynicism of pop had clouded my judgment. It hadn’t. When a musical group are overhyped to the point where they are more or less revered, that’s when alarm bells start ringing in my head. And those trusty bells have done it again: for me, La Roux are no exception to the dominance of synthesized chart pop. NME described the album as a “no mere 80’s revivalism,” and I agree – instead, it’s almost a complete rip-off.

Every song on the album sounds like a rehashed version of the one before it, only with different lyrics. The synthesisers used unmercifully throughout the entire album give it an overall tinny sound, and Elly Jackson’s voice is just as unforgiving, which may be the whole drawing card of the musical coupling, I don’t know. But when a song with a hint of delicateness in its lyrics, like I’m Not Your Toy, loses its element of difference with Jackson’s screeching wail over the top, it’s as if La Roux just don’t care. The repetition is inherent throughout, and borders on laziness. The bass is scant, which I thought was part of the whole point of pop music. It’s an album just waiting to be remixed (you only have to look at Hype Machine to see I’m right), which is the last thing you would think you’d want people to think of your debut album.

I was really hoping to be proven wrong with this album. But I wasn’t. If you can convince me otherwise, I’ll send you a chocolate bar.

La Roux – I’m Not Your Toy
La Roux – Bulletproof
La Roux – Quicksand

The ten piece troupe of folk/hippie madness, fronted by Alex Ebert of Ima Robot, has burst onto the scene with overflowing joy and cheerfulness in all its bearded, bohemian-clothed glory.

While drawing comparisons to Arcade Fire, songs like Home and 40 Day Dream are unparalleled with their use of xylophones, pianos, percussion and whistles. I haven’t been able to get Home out of my head for days. A love ballad that you can relate to, Ebert’s romantic falsetto keeps you humming and whistling along long after the song is over .

The 60’s feel to the album by any other band would feel pretentious, but Edward Sharpe & co. pull it off by sheer talent and musical genius. Already my nominee for album of the year.

Edward Sharpe & The Magnetic Zeros – Home
Edward Sharpe & The Magnetic Zeros – 40 Day Dream

Their self-titled EP released just last week has captured the essence of what they’re all about, echoing the vigour of their live set meticulously to the point. Their raw and frantic energy comes from drummer Elliot Rawson’s convulsive banging while singer Joel Flyger’s contradictive soft voice floats over the top of both Elliot and bassist Adam Page. Their EP introduces new listeners and reacquaints the faithful with their erratic sound that transports you to the grimy underground club scene on a Saturday night, where the girls are dressed in black with red lips, smoking and surveying the scene of chaos in front of them as the boys in skinny jeans and ripped t-shirts jump around and crash into each other.

Have no doubt in mind, these guys are growing band and like most new ones will surely focus on polishing their skills as both musicians and writers. But as a faithful and regular member of the Sunday/Monday gossip session I introduce to you, dear reader, the Popstrangers. May grow on you as a band to watch for.

Popstrangers – Kill The Voice
Popstrangers – Humidity
Popstrangers – Painted Colours

As I continue in my quest to bring you the best in music Aotearoa has to offer, I introduce to you to one of my favourite soulsters: Ladi6.

Ladi6 (real name Karoline Tamati) has spent ten years or more touring with and backing up NZ artists like Fat Freddy’s Drop, Shapeshifter, Scribe, and Opensouls, but finally, and thankfully, she came out with a debut album of her own, Time Is Not Much.

The album, three years in the making, doesn’t read as a who’s-who of NZ music collaboration list, which is something that easily could have happened considering Ladi6’s musical connections. While breaking out on your own can be a daunting task, Ladi6 has done it well, and you can only give the woman props for doing it her own way.

Opener Give Me The Light launches into a classic funky beat that compliments her soul diva voice, chopping and changing with a hip hop chic that few female artists can achieve.

Question? and Down And Out, two of the more forlorn tracks off the album showcase Ladi6’s talent, emotion, and song writing skill as she serenades the listener. The album, dedicated to her late ten year old cousin, could have easily played the sympathy card, but the songs have a quiet confidence that resonate throughout, and the type of take-it-on-the-chin mentality that most New Zealander’s relate to.

While paying her respects, Ladi6 is quick to move on to a slinkier latter half of the album. Dark Brown and Believe Me’s striking bass works well with its electro-esque beat that continues into middle-finger gesturing Jacknife, brimming with attitude.

It’s refreshing to have a debut album that mixes all the musician’s strongest elements together without getting repetitive. As an artist who can’t escape the “cousin-of-Scribe” tag, Ladi6 threads her hip hop roots with the dub, soul, and reggae that have come to define her sound. Her ability to switch between powerful, soulful croons to rhythmetic raps are the basis of her success and the components that cement her place at the top of the NZ music scene. 9/10 for an album that does all the right things.

You can check out her entire album here, and/or purchase it here.

Ladi6 – Give Me The Light
Ladi6 – Question?
Ladi6 – Jacknife

Do you like Sting? I’m not his biggest fan, but if you have any kind of Police prejudice, I suggest you stop reading, for Coco Sumner, singer for I Blame Coco, is the sunshine of his life; his daughter. She even sounds like him, a little.

Her husky voice is something different, and her ability to string a song together is up there, but the LYRICS! I have never been much of a lyrics listener, but when I listened to I Blame Coco, I instantly updated my Facebook page status with some great one-liners. Never Be begins as one of those catchy songs that produce images of white sand, gentle waves and Coronas in my head, and then BAM: Are we in love?/Maybe in my mind/Are we in love?/We can compromise. That line, along with a few of the others throughout the track, pretty much sum up my entire teenage years lusting after a boy that never really loved me back. There is no teenage girl out there who hasn’t experienced that in their life. And this is what I Blame Coco are about – for a girl of 18, Sumner writes from the heart of experiences, that wishful thinking, that are true to her, but real to you and me at the same time.

Could I be overreacting? Sure – I did find I Blame Coco around halfway through my overnight shift last night at around three in the morning, and I am still a little tired, so my judgement could be a bit off. But even if I can’t sell you on the lyrics, subject yourself to the quiet piano and distant strumming of Sumner’s electric on Never Be; the simple drum beat and relaxed picking of Bohemian Love; and the bouncy horns of Silencio, and tell me you don’t find I Blame Coco’s music easy to listen to. Go on. Just try.

I Blame Coco haven’t released an EP yet, but I wanted to introduce you to a little bit of English goodness anyway. Their Myspace tracks are by far better, in my opinion, than the sounds I’ve treated you to. The singles they have released are a good indication of things to come, and have convinced me at least to keep one eye peeled on their comings-and-goings. One to watch for sure.

I Blame Coco – Never Be
I Blame Coco – Bohemian Love
I Blame Coco – Silencio

CNN has confirmed with the Los Angeles coroner that the superstar, aged 50, was rushed to an L.A.-area hospital suffering from a cardiac arrest and was pronounced dead at 2.26pm LA time.

He is survived by his three children, Prince Michael I, Paris and Prince Michael II.

While I could go into detail about the plastic surgeries, the bizarre behaviour, and the molestation charges, what is the point? The King of Pop will not be mourned worldwide for his eccentricity. The reason hundreds of crying people have flocked to the hospital where Jackson is is not because of his unconventional behaviour: it is because he is one of only a few musicians who can claim that his music has moved and reached out to billions of people. He was, and will continue to be, a true musical legend.

Jackson’s rise to stardom, and later his fall from grace, is among one of the most well known musical stories. As the lead singer of the late 1960s band Jackson 5, Michael’s rise to fame went from strength to strength as he topped the musical charts of the 1970s as a solo artist, with hits like “Rock With You” and “Don’t Stop ‘Til You Get Enough.”

Jackson cemented his position on the throne as The King of Pop with the 1982 release of “Thriller,” the most successful musical record of all time, which produced seven hit singles and continues to sell over 50 million records worldwide, while 1987’s “Bad” album did almost just as well. As several media sources have put it, Michael Jackson became the biggest star in the country, an icon, and a new Jackson album or appearance was often deemed a pop culture event.

With the rise of grunge rock in the 1990s, Jackson’s next release in 1991, “Dangerous” was replaced from the top spot by Nirvana’s “Nevermind,” a sign of the changing times in music. A 2001 album, “Invincible,” didn’t fare any better.

In the years to follow, people began to remember Michael Jackson for his personal life rather than for his music as he had numerous amounts of plastic surgery, children, and failed marriages, and faced child molestation charges in 2005, of which he was acquitted.

While one could be forgiven for thinking his career was over, his announcement in 2008 of a series of concerts in London only reminded people of the power of Michael Jackson, as 75,000 tickets sold in less than four hours in March of the same year, while the news of the concerts became headline stories around the globe.

Interest in The Gloved One never faded, and never will. Those shiny jackets, the outrageous stage performance, those dance moves, will continue to inspire generations of musicians and live on in the hearts of many.

Rest in Peace Michael Jackson. I hope you have a great time moon-walking in the Heavens above us.

Michael Jackson – Smooth Criminal
Michael Jackson – Thriller
Michael Jackson – Billie Jean