Kylie Minogue and fellow countryman Nick Cave were deadly serious in the 1995 duet Where the Wild Roses Grow. It may well be the most beautiful moment in Australian pop music.
Ten years later, Melbourne band Architecture in Helsinki charmed concert audiences all across the Western world with shows based on the records Fingers Crossed and In Case We Die.
The huge island on the other side of the world has probably had more to offer than two admittedly very fond memories, but the Australian pop music landscape has always been a desert to me. I do not have a relationship with Australia's probably most acclaimed band The Lucksmiths, and it is telling that I only like the songs Camera-Shy and T-Shirt Weather when their recordings include eleven albums. I have never been particularly interested in Australian music, and it is perfectly
logical that I did not bother to really investigate it. If I
were to try to describe the Australian pop music scene, I would probably say "talented, but boring"
It is therefore so incredibly liberating to hear Sydney quartet The Jezabels invert my view of the world with disco-like piano pop which breaks my prejudices. The Jezabels make music to live to. Disco Biscuit Love appears on the band's first record The Man Is Dead EP which is absolutely brilliant all the way.
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