Hard Up Down Under

Travel feature for The Skinny

My bags are packed, I’m ready to leave. Australia, I’m done. You’re turning me into a Scottish stereotype. Friends warned me that 23 days here – 10 in Melbourne and Sydney, and 13 backpacking on the east coast above – would be woefully insufficient. It was plenty. Backpacking isn’t really possible here at the moment. Let me clarify – it’s entirely possible to trudge about with an overstuffed backpack on, sleep in fusty dorms of twelve and live off a relentless diet of pasta with tomato sauce every night. But it’s futile. You may be living like a tramp, but you’ll be spending like a king.

“The economy’s too bloody strong,” was the frustrated explanation of Roger, a hostel owner who was taking me and only me to his empty accommodation one night. Well, it was low season, and other hostels were busier, but it’s true to observe that Australia has never been more expensive for a visitor than it is now. A pound used to buy two-and-a-half Australian dollars, now only one-and-a-half. So a low-range hostel dorm bed, $30, used to be a reasonable £12, but is now £20. That’s only the start. If you like to travel with a guidebook, bring one with you and guard it like a second passport: they’re $40 to $75 here. A sandwich, wee bottle of coke and pack of crisps will cost $15 (£10). It’s the same for a pack of cigarettes, and if you can find a pint for less than five quid, you’ve chanced upon happy hour. Prepare to go hungry, sober, or insolvent.

It’s fine if you work here. Many of the travellers I’ve met here have been working, too. The minimum wage is $15 (£10), but bar staff can expect at least $20, and one former barman told me he earned $57 per hour on Easter Sunday. That’s forty bloody quid!

The main attractions on Australia’s east coast are, I should say, free. Beaches are free. Swimming is free. Surfing is free (if you have a board). I saw a lot of beaches. I lay under the sun. The sun is free. Queensland is “The Sunshine State” (disclaimer: sunshine may also be received or distributed in other states). Also free and occasionally available: rain. One tourist brochure gave me inspiration for how to enjoy Queensland’s beaches: “Build an old-fashioned sand castle, creating priceless memories to share with loved ones”. So I’ll build a castle with turrets and a moat, I thought, and take pictures and post them to Facebook or something? But I didn’t want to shell out for a bucket and spade. I wavered, and chose lunch instead.

I spent money to see other beaches. I paid over $300 – that’s the going rate – for two days and a night on Fraser Island (coastline, above), the world’s biggest sand island. It’s a UNESCO World Heritage Site – like the Grand Canyon and Angkor and Stonehenge and central Edinburgh – which means the UN guarantees it’s cool. I won’t disagree with the UN. The main highway on Fraser Island is 75 Mile Highway; it’s also called 75 Mile Beach. It runs the entire length of the island. Depending on the Pacific tide, 75 Mile Beach is up to 100m deep (or “wide”, if you’re driving along it) with another 100m of chaotic, shark-infested surf, and a 20-50m wide mirror in-between, constantly shrinking and being refreshed by the sea, reflecting the sky and clouds above. I called it 75 Mile Mirror. Contrary to bible advice, some wise men have built hotels upon the sand; they’re perfectly stable. Three buffet meals were included in the deal, so my new friends and I stocked up on nutrients, eager to improve our calories-to-dollars ratios. At night, groaning, we trundled back to 75 Mile Beach. Twenty miles away from the nearest settlement, the sky was as clear as I’d ever seen. While on the lookout for wild dingoes, we stood on the highway and watched shooting stars slice the Southern Cross. Stars are free. Meteors are free.

75 Mile Beach is not the best beach on Fraser Island, certainly. For a start, it’s a highway: all the tourist traffic uses it to get anywhere. One destination requiring most of its length is the Champagne Pools, a gathering of smooth rocks which form four or five perfect little swimming pools of frothy sea water, not champagne. While most tourists were distracted by the pools, repeatedly topped-up by the gracious sea, there were two idyllic golden sand beaches just metres away, uninhabited even while tour buses were parked nearby. Inland, a hundred metres high and through miles of rainforest, is Lake McKenzie (below), a freshwater lake of deep blue with immaculately white sand verges. Such a beautiful spot could never be a secret, so there were dozens of other people around, even in low season. But it’s easy to walk a little and find space. We were there for about an hour.

I paid to visit another beach too, for about an hour. Among the Whitsunday Islands, a thousand bus minutes up the coast, is Whitehaven Beach (below), famous for having 99% silica sand. Every travel agent in town referred to it as one of the top five or ten or three beaches in the world. CNN voted it the No.1 eco-friendly beach in the world. OK, let’s disagree with CNN. Every day, dozens of ferries make four-hour round trips shuttling tourists to this beach, bypassing many other lovely-looking and empty beaches on the way. In what way is that eco-friendly? Being a practiced skinflint by now, I bought the cheapest ticket to the island I could find. I paid sixty quid ($89) for a choppy two-hour ferry ride, on which a young boy was thrown against a bannister and lost a tooth, and lots of people vomited, to spend one hour on this beach. It was indeed a very beautiful beach, impossibly fine white sand and gently turquoise waters. I was just dozing, when a boat landed not twenty feet in front of me. “Right guys, everybody off, here it is, the number one beach in the world! I’ve got footies and frisbees, who wants one?" But Whitehaven cannot be the number one, ten or fifty beach in the world, because it is publicised as such. It is immodest. The best beaches don’t gloat about themselves. The best beaches keep mum. And the best beaches don’t eject you back onto a ferry after a quid-a-minute stay. Whitehaven isn’t even the best beach in Queensland – I may, or may not, have already referred to that already; not telling.

Millions of beaches, beaches for free. What else is there to the east coast of Australia? The Great Barrier Reef – which also has the UN’s stamp of approval – is a huge attraction for scuba divers. I can’t dive, so I can’t comment. It’s probably amazing. You can snorkel too, and kayak with dolphins, and skydive. You can eat steak pies or fish and chips or pasta. You can watch the royal wedding in a pub among Union flag-waving oi-boys and tiara’d daddy’s princesses from the home counties. You can watch a bloke with a guitar setting up and predict, correctly, that he’ll kick off with Wonderwall. I am aware which Queen’s land this is and so on; but it’s still a little disappointing to be 10,000 miles from home and have days which could have been had in Margate. Sydney’s exciting. Melbourne’s really cool. I hear the west coast is wonderful.

Best of all? New Zealand is only a thousand miles away.

Trainhopping In Japan

Travel feature for The Skinny

I could wait tables on this train, I thought. I could serve drinks, heavy drinks in tall glasses, on a tray held on one hand, using only one leg, while drunk, I thought. It’s so smooth! Sitting on a British train is like hatching a nest of pneumatic drills, I thought, compared to the flat-bottomed glide of this gleaming white shinkansen. How can I ever go back? And it’s going so fast, according to the blur of scenery in the window. I stood up, holding my water bottle in my left hand, and scouted. No-one was looking: one suit was transfixed by his laptop, a suit in front was concentrating hard on his bento lunchbox, and the suit at the back was asleep. I lifted my left leg off the ground, crouched, and hopped across a river, three kayaks and a houseboat, without spilling a drop. Take that Jonathan Edwards – you, actually, very nice man – take that jump and stick it!

I exaggerate a little: British trains are okay; what really feels like you're hatching a nest of pneumatic drills is when you're sitting on the bog when a massive earthquake strikes 450 miles away. First thought: am I ill? I can’t sit still, my head is spinning; how much did I drink last night? Then: maybe this is what a faraway earthquake feels like. It wasn't my gut or my head, it was exactly what a faraway earthquake feels like.

Although the calamities in the north-eastern part of Honshu have knocked it off any tourist’s schedule for the foreseeable future, most of Japan is continuing with life as normal. The Japanese are legendarily stoic and hard-working – Hiroshima’s tram system was up-and-running just three days after the city was wiped flat by the A-bomb – they’ll bounce back as quickly as is humanly possible. Japan itself is a beautiful country with a singular culture, more resistant to globalisation than most, and so endlessly fascinating to Western eyes. Ordinarily, this is where I'd say, "There's never a bad time to visit Japan", but the Foreign Office might disagree, so check online for the latest advice.

If you want to get the most out of a trip to Japan, you have to get a Japan Rail Pass. It’s a piece of folded card you show to barrier staff to get on any JR train – including most bullet trains and all local trains – whenever you want. So you can wake up anywhere in Japan and go anywhere in Japan that day, on a whim if you prefer, for the duration of your pass. Presently, the pass unfortunately features on its cover a cartoon representation of a tsunami, towering over Mount Fuji – two images iconic of Japan; one with a painful new association.

On my first morning in Tokyo, I handed my JR Pass receipt to Aika at Ueno station, to receive the pass itself. “Oh no!” she said, her face pained with regret. “Your train will be a Kodama, it’s the slow one.” Sadly, I would not be breaking any land speed records on my first day in her country. The sluggish Kodama is the most common shinkansen between Tokyo and Kansai (Kyoto, Osaka and Kobe). It took 50 minutes to carry me 70 miles to Mishima, where I was to base myself at a friend’s for ten days; that’s 19 miles further than the Glasgow-Edinburgh train travels in the same time. The Hikari stops less, so is faster: it takes 44 minutes to cover 70 miles. But even the Hikari is an apathetic snail compared to the Nozomi (32 minutes), or the brand new Hayabusa (30 minutes), neither of which are covered by the JR pass.

But merely rattling off numbers can’t effectively convey the speed at which a shinkansen travels. Only one word bullets to mind to perfectly describe the bulleting speed of the Japanese bullet trains: “projectilish”.

Tokyo is the biggest and quite possibly best city in the world. There are 35 million people in Greater Tokyo: that’s seven times the population of Scotland; about the same population as Canada, the word’s second largest country; and almost half the number of Celtic fans who say they were in Seville. But it suffers none of the problems that too-many-people seems to cause other megacities: it’s incredibly clean, tidy and ordered, there’s no air pollution, it’s shockingly safe, and public transport is efficient and usually comfortable. It could so easily be overwhelming, but it feels less crowded than London, which has a quarter Tokyo’s people. I went to Shinjuku station, the busiest in the world, to catch an evening rush hour train to Tokyo station, expecting to see the famous pusher-oners – employees whose task it is to push as many commuters on to each train as possible – and perhaps be pushed on by a pusher-oner. Instead, I got a seat.

While Tokyo functions impeccably, its character remains eccentric. I took a stroll through Yoyogi Park on a Sunday and saw normal park activities – badminton, frisbee, picnics, couples hand-in-hand – and less expected sights: an old woman practising keepie-uppies; young girls dressed as Manga characters; groups of competitive rock’n’roll dancers, all dressed like Happy Days characters (mostly The Fonz); an old man with live fish in goldfish bowls hanging from each ear; red-favouring goths; apocalyptic preachers; karate bouts. Around every other corner in central Tokyo is a bewildering and delightful variety of bars, shops and blazing nighttime lights, using inscrutable symbols to make unknown promises. All you can do is wander, wide-eyed, and wonder; and wish to be able to sample it all. But you could live in Tokyo all your life and never sample it all.

With a rail pass in hand, you’re discouraged from trying: it’s time to move on. There are plenty of getaways outside of Tokyo, mostly in the surrounding Japanese Alps. Pelting snow greeted me at the mountainous area of Hakone, so I stripped to the nip and walked outside, into an onsen, a hot bath filled with volcanic water. Back inside the traditional B&B, known as a ryokan, I dressed in a yukata gown, drank green tea, ate a pack of delicious convenience store sushi, and slept on a tatami mat. You could say I spent that evening turning Japanese. Further north – but not within range of the tsunami – is Nikko, another wondrous mountain retreat with beautiful lakes and waterfalls, onsens and elaborate old shrines. Some people use a JR pass to cover as much ground in Japan as possible, but I wanted the pass to serve my holiday, not the other way around. I spent ten days in and around Tokyo, never further north than Nikko, before hopping on a shinkansen to Kyoto.

Kyoto is very different from Tokyo: it’s not a ridiculous size, so it’s less intense, unless you’re a serious scholar of Japanese history, in which case you’d have to spend every waking minute exploring its 2,000 (two thousand) temples and shrines. For the rest of us, we fit in what we can: a golden Buddhist temple here, a zen rock garden there, torii gates and geisha girls almost everywhere. Downtown Kyoto is as clean and modern as any Japanese city, but down its side-streets and alleys you can find flashes of old Japan, as evocative of the area’s history as the Old Town is of Edinburgh’s. Osaka, a convenient half-an-hour westward, is conveniently comparable to Glasgow: twice the size of its ancient neighbour, more commercial and industrial, and with better nightlife. This area, Kansai, also boasts the beautiful former capital of Nara, and Kobe, which you can hop between as you please with a JR pass.

In the days following the disaster, I continued trainhopping around Japan as planned. On the ground, nothing was different; it's odd to see life continuing as normal when the television shows such devastation to fellow citizens; but continue it does. Despite what some media outlets portrayed, Japan wasn't on its knees, and it isn't on its knees now. Don't write Japan off: the shinkansen must go on.

Cheerio!

In 90 minutes I'm going to Glasgow Airport to fly to London Heathrow and then on to Hong Kong. I won't be back in Scotland until June.

I'm not doing any more music writing, because I'm travelling the world. In fact, I'm quite looking forward to not feeling the pressure to listen to new music for the next few months.

I will hopefully write a couple of travel articles, probably for The Skinny, probably about Japan and Australia. I also might update this blog with what I'm doing. Maybe might perhaps.

Right, I guess I better start packing...

The Skinny's Favourite LP of 2010: Joanna Newsom - Have One On Me

Top 10 of 2010
No.1 Joanna Newsom - Have One On Me
feature for the skinny

Pay attention: it's hard – when there are photos, graphics, animations, videos and flashing coloured boxes, links to definitions and further reading and green cards and prizes, pages left and right and a billion others nearby, comments to make and songs to hear, hot new bands and unknown cult heroes and trends and friends and not enough time – to focus.

On one thing.

Until its end.

Without jumping away.

We apparently have to hand more information about the last eight years than about the preceding fourteen billion, because every new second spawns gigabytes of data: every sparing thought is a status, comment or tweet, every idea a blog post, every sight a photo, every sound a song, every song a dozen videos and on it goes. It's impossible to keep up with all this... everything, but we try. Multi-tasking is the new relaxing. We’re over-stimulated by unlimited content from an over-populated planet. Nothing sustains; it’s next, next, next, next.

At no point in the history of recorded music has a triple-album been a good idea, but especially not this point in history. It's just too long. Less is more, Joanna. Doubles are already pushing the limits. It just shows you don't know how to edit yourself, Joanna. To an iPod shuffler, filler is the biggest crime of all, and triple albums are serial offenders. To a multi-tasker, patience is an anachronism and subtlety a hindrance. A triple album by Joanna Newsom!? Next!

Have One On Me, astonishingly, wouldn’t be improved by editing. It's truly a first: a triple album that justifies its entire length. With Joanna Newsom, more is more.

After the elaborate fantasia of Ys, Have One On Me is comparatively straight-forward: instead of sinister pacts between runaway animals, here we have songs about the familiar twenty-something concerns of love and relationships, beginning with a blissful announcement of new love and ending with a sorrowful admittance of loves failure. But it's not an easy listen: her voice, modified after a throat injury, is still to newcomers thin and affected; her arrangements are sparse and delicate, her melodies subtle to tease out; her lyrics, more direct than before, are still shrouded by erudite poetry. And – did I mention? – it's more than two hours long. Have One On Me is not casual listening. It pays to pay attention to it.

Joanna Newsom is a dazzling lyricist, in both the positive and negative senses of "dazzling", but now almost wholly in the positive. On her first album, she sang "never get so attached to a poem you forget the truth lacks lyricism" and duly remained so attached. The Milk-Eyed Mender and Ys were full of beautiful lines, but lots of them were impossible to parse; Have One On Me is full of beautiful lines, but few are pure show, and many more lay their truths bare. In Good Intentions Paving Company she develops the story with wonderful phrases like “It had a nice a ring to it, when the old opera house rang, so with a solemn Auld Lang Syne, sealed, delivered I sang"; then she delivers a sucker punch at the end with the plain appeal “I only want for you to pull over and hold me 'til I can’t remember my own name.” Those moments hit right in the gut, because they're a reminder that emotions don't wait for the mind to articulate them. Joanna Newsom is meticulous, but her heart is not.

As carefully as she places each syllable, she places each note. There's not a gramme of fat on Have One On Me. Esme, 81 and On A Good Day are entirely solo, just Newsom and her harp. Baby Birch and Go Long feel just as sparse, every slow string twang allowed to live its full life to create an incredible intimacy. Then jaggedy guitar slaps burst through the former, a heavenly kora rains down in the latter, and they both very gradually build to stirring conclusions. In California, one of the album’s most beautifully frail songs, has 14 credited performers, unbelievably, as does the title track, which develops over its eleven minutes with quite staggering dexterity. Some players shuffle in for a brief flourish and then vanish; it's sufficient. No silence is filled without reason, no solo supported without cause.

Have One On Me stands out in 2010 because it's stimulating art, not just stimulation. Music and technology are moving towards convenience as a common goal, but Have One On Me is not convenient, it’s a challenge. The vast availability of music to the modern listener promotes a box-of-chocolates approach – many flavours, tasted briefly – but Have One On Me defies brief sampling, requiring many listens to reveal all its charms. Scenes and fashions can often be relied upon to flesh out a musician’s image or ideas, but there's no scene or fashion supporting Have One On Me. It’s a unique and uncompromising album, and in the age of tl;dr, that makes it a totem for the independent artistic ideal.

The Skinny's 3rd Favourite LP of 2010: Caribou - Swim

Top 10 of 2010
No.3 Caribou - Swim
interview for the skinny

Canadian Dan Snaith has been making good records for over a decade now, but in 2010 he made a great one. After years of dipping his toes into dance music, for Swim he dived right in. The Skinny met Caribou backstage at Glasgow’s ABC to talk about his greatest album yet and the year that surrounded its release.

“I've been pretty lucky generally. I’ve had some bad reviews but the majority of them have been nice. I actually like reading negative reviews, I have agreed with people who've criticised certain aspects of my music. With Andorra, everyone was like: ‘here's this guy who really likes 60s psychedelia, he's a retro kinda guy’, and I was like: ‘fuck, that wasn't the point!’”

Andorra won the Polaris Prize in 2008 – Canada’s Mercury Prize-equivalent – but Snaith was determined to move on to new things. He’s open about the inspiration for the direction he took: it’s one of the guys sitting in the next room, preparing to play before him tonight.

“The last track on Andorra was me trying to figure out how James [Holden] makes music” he says. “The last track, Niobe, was me trying to figure out how to get that dynamic of his, of something growing and falling apart simultaneously. And even though there was over a year in-between making the records, that was the starting point for this record. I went back to it and thought: ‘there's just so many different ways this track could go.’

“I was so happy with [Swim] when I finished it, but I also thought it might confuse people. It seemed to me that Andorra was a much more straightforward record, it was more concise pop songs. It really stuns me that Swim seems to have captured people's imaginations in some way that previous albums I've made haven't. I’m so happy because this is my favourite one, but I really didn't think it was going to be everybody else’s favourite one.

“Thinking about the situation in which it was made and then fast-forwarding to now, it's totally mind-boggling. I'd love to say I make music because I want to share it with people, but I make music for entirely selfish reasons, I just love doing it so much, and the thrill of when things go right in the studio or at home, that's the most amazing thing. But then this is just... we've always had good shows, but it's never been the party atmosphere it is now.

“Swim feels like the beginning of something rather than the end, even though the end of Andorra was kinda the beginning of this one, it was also the end of making psychedelic poppy records, I feel like I've done what I wanted to do with that. I don’t want to make the same record again, but it feels like there's lots of points I can shoot off from on Swim.”

The Skinny's 6th Favourite LP of 2010: Beach House - Teen Dream

Top 10 of 2010:
No. 6 Beach House - Teen Dream
interview for the skinny

Beach House were fully aware of the majesty of third album Teen Dream as they were preparing it this time last year. “At one point I was more excited about every single song [on Teen Dream] that I had ever been before,” guitarist Alex Scally tells The Skinny, “even songs where I don’t really do anything, like Real Love. There was a recording of that we made and I was trying to figure out how to make this thing hold and I probably listened to it fifty times, every time enjoying every single second of it.”

Teen Dream has been a breakthrough for Beach House, who are now touring with some of the biggest bands in indie music, but they say nothing’s changed since their self-titled debut and its acclaimed follow-up Devotion. “Every record is a different world,” singer Victoria Legrand says, “but the attention on us now I feel is the result of our steady and persistent working. It doesn’t feel that different from what we were doing before but people are now noticing more.”

It’s not glamorous, they insist, and work it certainly is: “I think we’re at the 150 [shows] mark right now for the year, which is pretty crazy”, Alex says. But now that they’ve got here, he doesn’t see the band getting any bigger.

“We make music that’s all about intimacy, I don’t think that would translate to an arena. We played at a 1,500 person place and that blew our mind, it felt great, but I think that might be the limit. We just did a tour with Vampire Weekend and 14,000 people were at the Hollywood Bowl, I think it really taught us where we think the upper extent of our music is. Even if we could sell a show of 2,000 people, it might not work.” Such music-over-money ideals are admirable, and they’re surely about to be tested.

Caribou @ ABC, Glasgow

Caribou, Four Tet, James Holden @ ABC, Glasgow, November 21
live review for the skinny

With a line-up of James Holden, Rocketnumbernine, Nathan Fake, Holden again and Four Tet before Caribou, Sunday evening’s ABC lineup has a mini-festival feel to it. James Holden's mercurial dinner time techno slot tricks this sell-out crowd into thinking it’s 2am Saturday night, partly because we've been dancing for a couple hours already. He slides between bass-heavy bangers, slivery grooves and laser-driven mechanical shuffles until we’re all just about ready to spill out home to bed.

But it’s still only 10:15, and time for Four Tet to take over. Despite his albums’ more delicate style, now is definitely not the time for Kieran Hebden to slow down. So Holden's huge 4/4 kick drum remains, but louder now, so that its low frequencies grind all over the more fragile sounds of his new album. Everyone keeps dancing, of course, but there’s a feeling that Hebden might’ve been able to exercise a little more subtlety had he played earlier in the night.

After five hours of continuous beats, the 15 minute break for Caribou to set up as a four-piece band is a bit of a mood-killer. For their first few songs the crowd seems tired, and faced with Caribou’s more complex rhythms it takes some cajoling to get everyone moving again. That we would could never have been in doubt: a spectacular Niobe, propelled by clattering cymbal fills on every eighth bar, sets it up; more terrific drumming and scintillating noise for Melody Day ratchets the energy levels up again, and we’re not even on to the Swim stand-outs yet.

Jamelia, sung well by an unwell bass player in the absence of Born Ruffians’ singer Luke, swings cutely over a clickety woodblock rhythm before exploding in shimmering squall; Odessa's deep parping bassline and clattering rhythms sound profoundly weird and utterly compelling on this huge scale; and trippy encore Sun is stretched and pulled and pressed and dropped and revived til it’s mesmerised us all three times over. It’s a huge end to a night that seemed to have peaked too early, before Caribou proved it had never peaked at all.