About a fortnight ago, I posted this to my Facebook page:

“The bravery of the modern photojournalist – Danfung Dennis shoots in the thick of Afghanistan battle on his 5D MkII”

There was a link to a 24-minute rough cut of Dennis’s photographic and videographic account of life with Echo Company, 2nd Battalion, 8th US Marine Company, with whom he was embedded as it was dropped 18km behind enemy lines in Afghanistan to seize a key bridge. Within a few hours of landing, fierce fighting erupted and continued for three arduous and no doubt terrifying days. Lance Corporal Charles Sharp, from Adairsville, Georgia, was was shot and killed by a Taliban fighter.

The account and the images are as spectacular as they are frightening. You can see much more of his work on his website – much of which is spectacular.

The official trailer for Dennis’s documentary “Battle For Hearts And Minds” was released this week (watch above), and it’s a hard-hitting taste of a film that is bound to have an effect on anyone that watches it. It will get an online release, and I’ll let you know as soon as it’s up an away. It is guaranteed to be an emotional journey well worth watching.

Incidentally, a former colleague of mine posted a comment on my Facebook post after she was deeply moved by the 24-minute clip. She’d just welcomed her son home from the war in Afghanistan, alive and, mercifully, unharmed. Many mothers don’t get that privilege, and Dennis’s story is one we should all be across because of that.

There are young men dying all too often in far away, hostile environments fighting to help those less fortunate than ourselves to live peaceful lives free of terror, and the sort of harsh, unreasonable and unjustified regimes like that of the Taliban. The US Army’s tactic of winning hearts and minds is a noble one, but it is constantly hampered by the need to use force to weed out the defiant Taliban, which uses home ground advantage to force its opponent to make mistakes, causing the type of collateral damage that breeds mistrust and a reluctance to add their weight to the fight against the enemy.

Anyway, Dennis’s pictures speak far louder than my words, so take some time to look over them, and please post your comments and thoughts if you feel the need. War reporting is something I find fascinating, because I think the skill of holding a camera and documenting the history of conflict is an incredibly brave thing to do when all around you are fighting to survive. Dennis talks about how he manages and the tools of his trade here, if you’re interested.

The WAR exhibition that opened this week at the Australian Centre for Photography, featuring photos from the °SOUTH, is on of the strongest I’ve seen not only in Sydney, but anywhere.

For those that don’t know, °SOUTH is a collective for Australian photojournalists. The website labels the group as “a new collective of Australian photographers based throughout the Asia Pacific region, all of them working independently, all of them owning their archive of 20 years or more, all of them award winning, all of them photojournalists and all passionate about what they do.”

A young Viet Cong suspect cries after hearing a rifle shot. His captors, Chinese Nung tribesmen in the service of the U.S. Special Forces, pretended to shoot his father, a ruse designed to make the boy reveal information about Communist guerrillas. (Sean Flynn - SOUTH)

A young Viet Cong suspect cries after hearing a rifle shot. His captors, Chinese Nung tribesmen in the service of the U.S. Special Forces, pretended to shoot his father, a ruse designed to make the boy reveal information about Communist guerrillas. (Sean Flynn - SOUTH)

Sounds like a heavyweight group, and it is. It includes Stephen Dupont, who has been snapping conflicts for around two decades, and became a relative household name when he survived a suicide blast in Afghanistan, a place he shoots often and loves dearly. You can watch his story, produced by Journeyman Pictures, on YouTube. I recommend watching it – it’s a fascinating insight into the moral dilemmas all journalists in warzones have to battle every day.

Also part of °SOUTH was Sean Flynn. You may not have heard of him, but his father, Errol, you undoubtedly know about. Sean, in an attempt to escape the shadow of his actor father, fled Australia – Tasmania to be precise – to become a wonderful photojournalist, shooting in Vietnam during the war there. The Clash knew who he was, though, and even wrote a song about him on the 1984 album Combat Rock.

Flynn’s images are among my favourites in the exhibition, perhaps because the Vietnam War is one I’m fascinated by, especially having visited the country, where they call it the American War, and spoken to men and women who were there at the time, and seen the harsh environments that were the stage for so many brutal and, ultimately, meaningless fire fights.

Flynn went missing on assignment in Cambodia in 1970, according to his profile on the °SOUTH website. He’s listed there as an “absent friend”, but looking at his images, it’s clear he’s a loss to more than just his colleagues.

Do yourself and favour and check out his work at the exhibition if you’re in Sydney. His work, and that of his °SOUTH peers, is breathtaking, heartbreaking, eye-opening and incredibly humbling. It’s also inspirational, if you harbour dreams of taking up the role of a photojournalist in an capacity. Moments are all around us, but capturing the right one to tell your story is a skill that’s tough to develop.

“War is hell,” as they say, but remember, if these guys didn’t document it, and display incredible bravery in doing so, we’d never know.

As a local musician, constantly struggling to get airplay on Sydney’s radio stations and gigs in its ever-dwindling live music venues, I found this excellent essay by Ben Eltham both interesting, sometimes alarming, but overall very enlightening.

Thanks for putting in the effort, Ben. Good job.

I read an interesting interview with football Lothario Dwight Yorke by Paul Kimmage in The Times this morning. He’s doing the rounds after releasing his autobiography, aptly titled Born To Score.

I’ve pasted it below to spare you the pain of the newspaper’s appalling online pagination strategy, which split this across 13 pages without the option of reading it on a single one. (If anyone working there is reading this, please add that functionality. Cheap page impressions impress nobody.)

Anyway, I hope you enjoy the interview. Bottom line – Dwight is a bit of a knob, really. Mind you, he appears to think with his, so it makes sense.

“I had no complaints about his body: he had a fantastic six-pack, gorgeous muscular legs . . . but the chemistry between us wasn’t that strong. Our relationship was superficial. I was used to getting totally involved in my boyfriends’ lives, meeting their family and friends and really getting to know them. Dwight wasn’t like that at all. I just couldn’t get close to him.” — Katie Price, Being Jordan

Dwight Yorke likes to score; close his book and the conclusion is undeniable. He has scored in the back of a Glasgow taxi, on the banks of the Manchester

Dwight Yorke ... football's Lothario.

Dwight Yorke ... football's Lothario.

canal, a hat-trick in just 90 minutes once in Barcelona and four times in 24 hours during his time at Aston Villa. Wham bam thank you ma’am . . . And you ma’am . . . And you ma’am . . . And you.

He has done other stuff as well — cricket with Brian Lara, golf with Seve Ballesteros, a World Cup with Trinidad and Tobago, a League Cup with Villa, a treble with Manchester United — but it’s that old James Brown in him that keeps you turning the pages: “Get up, get on up. Get up, get on up. Stay on the scene, like a sex machine.”

We meet at his favourite hotel in London. He’s wearing a white baseball cap, some impressive bling and a shirt at least two sizes too small for him. Like Jordan, I have no complaints about his body: he has fantastic pecs, clearly muscular legs but I just couldn’t get close to him. Every time I reminded him of something he said in his book he seemed to back away.

The depiction of his father as an abusive, skirt-chasing, wife-beater? It was the nature of Tobagonian culture. The suggestion that his dalliance with Jordan was all about the headlines? He is appalled. And his assessment of Roy Keane’s failings at Sunderland have been misconstrued. “Roy Keane will make an exceptional manager,” he insists, but just not at club level.

Yorke, who is 37, is affable and clearly no fool but surprisingly guarded for a man with a penchant for al fresco love. He won’t do the interview without his personal assistant and repels any attempt to delve beneath his choirboy smile. Maybe there’s nothing there, but I’m not sure.

He clearly has commitment issues — and not just to his opinions. When his son Harvey was born he ran from the delivery room and created more headlines than anything he had achieved in his football career. But it is the birth of his second son, Orlando, that truly fascinates . . .

“I was listening to an interview you gave to Talksport yesterday and you mentioned you had seen Sir Alex Ferguson two days ago? Where was that?”

“At Old Trafford.”

“What were you doing there?”

“I went to see him as normal. I pop in occasionally just for a chat and to give him a book. The first book.”

“Your autobiography?”

“Yes.”

“Had he read the extracts in the News of the World?”

“I’m sure he was prompted . . . whether he read all of it, I don’t know.”

“Did he say anything about it?”

“No, he was quite . . . he left a message on my answering service [the night before] saying, ‘Mr Yorke, I’ve got my lawyers in place. You are banned from Old Trafford. You are banned from Tobago’. So I went to see him.”

“Did he say anything about Roy Keane?”

“No, it wasn’t mentioned.”

“Not at all?”

“No, we haven’t spoken about Roy.”

“Roy didn’t send you a text?”

“I certainly haven’t got a text from Roy this time round, no.”

“Well, it probably wouldn’t be too dissimilar to the last one ['Go f*ck yourself'] you got.”

“Or it might be worse,” he smiles.

“Have you read many books?” I ask.

“The last book I read was Bill Clinton’s, believe it or not.”

“Really?”

“Yeah, I was fascinated at the insight into the most powerful man in the world at the time.”

“That’s interesting, I wouldn’t have picked that one.”

“There you go.”

“What did you learn about him?”

“What goes on in a president’s mind, how he has to work on a day-to-day basis and all the razzmatazz of his little . . .” He pauses and tries to find the word.

“Problem,” I suggest.

“Yeah.”

“His woman problem?”

“Yeah,” he smiles. “I find that fascinating.”

“So you have one thing in common,” I suggest.

“Do we?” he smiles.

“A woman problem.” He laughs.

“In the book, you write about your father’s problem, ‘I would later learn that most men on the island were what you would call womanisers and I’m sure my dad was no different’.”

“Yeah, well, that’s probably about right.”

“Would you class yourself as a womaniser?”

“I class myself as a man who enjoys women’s company, yeah.”

“Is that the same thing?”

“I don’t know, that’s for you to decide.”

“You lost your virginity at age 12 on a beach with an older girl.”

He starts laughing. “Why are you laughing?”

“I’m just a smiley type of guy.”

“Twelve is pretty young, isn’t it?”

“Yeah, very young. Don’t ask me how all that happened but even at that age I had a name in and around the village because of my football and stuff, so whether that attracted an older woman to a younger boy, I don’t know. I didn’t know what was happening at the time but it did happen.”

“There was a great American basketball player once called Wilt Chamberlain. Ever heard of him?”

“I’ve heard the name.”

“He reckoned that he had slept with 20,000 women during the course of his career.”

“I know who you are talking about now.”

“What about you?”

“I have no idea.”

“You don’t count?”

“I don’t count.”

“Four in 24 hours . . . Is that not counting?”

“That was a one-off.”

“What about love?” He chuckles. “Do you believe in true love?”

“I would like to think so but I haven’t experienced it, hence I am still single.”

“Is the reason you haven’t experienced it because you made a decision that when you meet a girl it’s for one night and that’s it?”

“No, it’s not like that at all.”

“That’s what you say in the book.”

“What! That it’s a one-off?”

“You say that girls knew when they went to bed with you that there was no commitment or, to quote you precisely, ‘No awkward I’ll-call-you moment’.”

“Well, no commitment doesn’t mean I won’t see them anymore. I’ve seen people [women] for months and it got to the stage where either they want more or it just hasn’t worked out. That’s what I meant. It’s not just a one-night stand.”

“Is love not commitment?”

“Yes, love is clearly commitment.”

“But you weren’t prepared to go that far?”

“Well, why go there if it’s not right? And it wasn’t right, not just from my point of view but often from the other person’s point of view.”

“So you’ve been smitten but not to the extent that you wanted to settle down?”

“Well, I was smitten by a few people.”

“Okay, let’s talk about one of them. We’re here in the Sanderson Hotel and you stayed here the first time you met Jordan [in December, 2000]. You had just drawn at Charlton and had been given Sunday off and were ready to hit the town. You meet at a club, buy her a drink, dance, find a McDonald’s and she surprises you by not wanting to have sex. Is that a fair representation of what happened?”

Yorke with Jordan ... she wanted what he couldn't give her.

Yorke with Jordan ... she wanted what he couldn't give her.

“Pretty much.”

“In the book you write, ‘All I got was a bag of chicken nuggets and the definite sense of anti-climax. We’ll see, I thought, we’ll see’.”

“What did ‘We’ll see’ mean? That you would see her again?”

“Correct.”

“Why did you pursue it? What was the attraction of Jordan?”

“She’s an attractive girl, without a doubt. I enjoyed her company, the drinks and the little smooch we had. It was a good night and I felt comfortable . . . itwas nothing to do with [her] celebrity because I was playing for United so . . .”

“You describe going into training [on Monday] and saying, ‘Lads, you’re not going to believe who I was out with on Saturday.’ Was that part of the attraction? The bragging rights?”

“It wasn’t bragging rights. My team-mates knew I was out in London so it was like, ‘What’s happening?’ And I said, ‘You wouldn’t believe who I met’. It certainly wasn’t bragging rights.”

“In another passage you describe it as ‘the old Caribbean thing, the need to be the top man with the top girl’.”

“Is that a bad thing?” he asks.

“Is there not a certain insecurity in that?”

“I certainly didn’t feel insecure, not at all.”

“You say there are two sides to Jordan and that you liked the Katie Price side but were repelled by the monster — my description — Jordan. But you weren’t attracted to Katie, it was Jordan you pursued?”

“But that’s all I knew of her, I didn’t know her as Katie.”

“Okay, so you pursue her and you get together and you sleep together and the next day you go looking in the papers to, and I quote, ‘assess the interest’. Isn’t the bottom line here that you were as big a media whore as she was?”

“I don’t remember making that quote.”

“Would you like me to show it to you?”

“I take your word for it but I can’t remember saying that I actually went out the next day to look at the papers . . . anybody who knows me knows that’s not my style.”

Yorke’s brief and tempestuous relationship with Jordan marked the tipping point of his career. Tabloid fodder, he was dubbed “The King of Pornography” by the fanzines and shown the door by Ferguson. This is how he describes it in the book: “The news was crushing. Those were the lowest days of my career and now the determined bachelor at Old Trafford was paying for his single life. There was nobody around to find comfort with. Just a big empty house packed with possessions and material wealth.” The penny had finally dropped. Or had it?

“You describe that period of your life as extremely lonely. Was the need for sex a compensation for that?”

“At that time I think I used drink more.”

“Yes, but on other occasions . . . You had to have sex, were crazy for sex.”

“Yeah.”

“But you make several references to being lonely?”

“Yes.”

“Was sex a compensation for that?”

“It wasn’t just a need to have sex but a need to be with a woman. I didn’t sleep with every woman I met straight away. It may come across as that but it’s not.”

“Okay, well try and explain it to me, ‘The determined bachelor at Old Trafford was paying for his single life’.”

“I think at those times you probably need somebody you are in love with, or can find that comfort with; somebody you can be intimate with and share your life and talk to about different things.”

“But that’s an investment, isn’t it?”

“Of course.”

“Was it a regret?”

“There’s times in your career when you sit in your house and think, ‘I wish I gave this one [relationship] a better go and tried to make the situation work’.”

“But it didn’t change you?”

“No, not at all.”

“Why not?”

“Because I clearly didn’t feel comfortable committing myself at that time to whoever that person was. I enjoy my bachelor life. I’ve seen the hurtfulness when players divorce — and I’m not using that as an excuse. I didn’t meet the right person to make that one commitment.”

“Okay, well let’s talk about meeting the right person. You leave United for Blackburn and then Birmingham and meet Naomi. She doesn’t want anything to do with you at first but you pursue her and start a relationship. Then you get an offer to play in Sydney — ‘One of the most exciting capitals in the world packed with beautiful women. Could I commit to asking Naomi to join me with those thoughts in my head? I don’t think so.’ So you went to Sydney without her?”

“I went there without her, yeah.”

“Did you keep in touch?”

“She visited.”

“But it’s fair to say you weren’t celibate down there?”

“I had a good time.”

“You return to Manchester to prepare for the World Cup and resume your relationship with Naomi?”

“Yeah.”

“And then you meet a TV presenter, Charlotte Jackson, and begin a relationship with her.”

“It was a progressive thing with Charlotte — what is your point?”

“My point is that you were seeing both of them at the same time?”

“Yeah.”

“Okay, this is the bit I don’t understand. You ask Naomi if she would like to have a baby?”

“Correct.”

“At a time when you are seeing Charlotte Jackson?”

“Yes.”

“Okay, now the reason that you give in the book for asking Jordan to have an abortion is because your relationship was going nowhere, and there’s a certain logic to that. What was the logic in asking Naomi to have your child at a time when you are seeing Charlotte Jackson? You won’t make a commitment to her but you want her to have your child.”

“How do you know what Naomi wants?”

“I don’t know. I’m presuming you asked her because that’s how you present it in the book.”

“Yes, I asked her to have a kid. Naomi was the one person in my life that I came close to really loving but I was smitten by Miss Jackson and I enjoyed my time with her and I was very much torn between them but I knew Naomi would have this kid and that’s how it panned out.”

“Given how strongly you felt for Naomi, why didn’t you make a commitment and give it a shot.”

“I knew you would ask that question,” he says.

“Is it not a fair question?”

“I think it is.”

“The issue again is commitment and this step you won’t make.”

“Yeah, but there was no particular reason behind it; I don’t think I’m afraid of commitment.”

“That’s how it appears.”

“Okay, but I think I am so used to a certain way of living and knowing I don’t have to answer to anybody at the end of the day. Maybe that’s what it all comes down to.”

“Naomi gave birth to your son, Orlando, in 2007. What’s the state of your relationship now?”

“Great, absolutely fantastic.”

“What does that mean?”

“It means great. I hook up with her when we can and we share each other’s company with the kid, share time that way, and that’s fantastic. I couldn’t ask for anything better at this stage.”

“But you don’t actually live together?”

“No.”

“She is still in Birmingham?”

“Yeah.”

“And she is okay with that?”

“I dunno . . . as far as I know she is very okay with it, yeah. We have a very good understanding.”

The interview is drawing to a close. I ask how it felt, standing in front of the camera and making the ad for the News of the World. His commitment was a surprise.

“I wasn’t 100 per cent comfortable with it but it was all part and parcel of trying to get the story and the book out there. Sometimes you have to do the ugly side of things. You don’t really want to but it comes with the territory.”

“But you have a choice in that,” I suggest.

“I suppose so but if you want to get your book out there and your story across then there are certain things that you have to do.”

“Not have to, choose to do,” I interject.

“Okay, choose to do,” he concurs.

We have reached the bottom line.

- Born To Score by Dwight Yorke, Macmillan, £17.99
- This story appeared originally in The Times

Last month I started what will become a regular monthly post about the latest music I’ve gorged on. That doesn’t always mean it’s new music, it’s just new to me, and some of it I’m sure you’l have never heard either, so we’re all winners in this game.

I highlight five records to check out. This is September’s list, the month of my birthday, and there are some strong markers in the collection – and naturally I had to include a bonus for my birthday. Enjoy, comment, and let me know if you agree or disagree with my somewhat weird assessments.

Words And Music – Aqualung
Sounds like: The Feeling, chilled
Listen to when … you want to sit quietly and sway with a smile.
Score: 8/10
Why? Everybody needs a little lyrical pop in their life.

Natasha Khan the voice of Bat For Lashes ... listen and learn.

Natasha Khan the voice of Bat For Lashes ... listen and learn.

Two Suns – Bat For Lashes
Sounds like: A dramatic dreamscape
Listen to when … it’s all too much.
Score: 9/10
Why? Natasha Khan – who is very cute – has one of the most haunting voices I’ve ever heard. You can’t say you’ve lived until you’ve heard it.

Thieves – British India
Sounds like: The Kooks minus the sellout
Listen to when … you want to go out drinking and kicking bins over
Score: 8/10
Why? Remember how good it feels when you leap around the living room, shaking your head, eyes closed, completely escaped? Yeh, this is like that.

The Holy Pictures – David Holmes
Sounds like: A movie soundtrack so good you ignore the movie
Listen to when … you want to stroll around a foggy cityscape, furrow-browed, pretending you’re the moody lead in a twisted romantic drama
Score: 9/10
Why? Because everybody wants to be a movie star.

Manners – Passion Pit
Sounds like: Phoenix, with a little Le Tigre on the side
Listen to when … you need to boogie the stress of the day right out of your system
Score: 10/10 (love it <3)
Why? It’s got fun written all over it, and it wants to write it all over you.

Bonus
Colour The Small One – Sia
Sounds like: Zero 7, because she sang most of their tunes
Listen to when … you open your new cafe in the Eastern suburbs of Sydney
Score: 7/10
Why? Background music is allowed to be cool too, you know.

I just thought I’d add to yesterday’s post about the Sydney dust storm by posting this extraordinary video of the storm as it was seen further out from the city. It’s kind of terrifying.

more about “Broken Hill Dust Storm Australia“, posted with vodpod

Today I awoke to one of the weirdest things I’ve ever seen – a dust storm in Sydney. I opened my balcony doors, and was presented with an eerie orange world, the likes of which I’d never seen.

Sydney suffered heavy rain the previous evening, but that was followed up overnight as much of the city slept by strong winds that blew dust came from two flooded rivers in western Queensland south and across the city. The result was astonishing.

There was a think layer of dust on everything – cars, decks, road signs. I cycled to work, relatively safely, and wasn’t coughing too badly after the 12km trip. I just wanted to experience it in the open, and not bailed up on what would have been a packed and ugly train ride.

I’ve seen dust storms in the Middle East, where you kind of expect them. There is always a layer of sand on things in that part of the world, but I’d never seen it this colour before. It was something to behold, and another day to remember.

I whipped up a quick gallery on flickr of other people’s pictures. There were thousands of them, so it wasn’t easy to narrow them down, but I’m pretty happy with what I got.

Thanks to my RSS reader (we’re best friends), I stumbled across a terrific post in the Reuters Photography blog by staff White House photographer Jason Reed today.

Jason reveals in the post he’d been on a basic video editing course, and came away from it with a goal, which, in his words, was “to capture a sense of everyday life at 1600 Pennsylvania Ave”.

I don’t know about you, but I think he did exactly that simply by thinking about his content in an irreverent way.

Posted with vodpod

I’m currently halfway through a photojournalism course, and professionally also trying to hammer home the concept that presentation of content is so important in terms of audience retention and loyalty, so this post struck me as important for three reasons:

  1. How cool is it? It’s something you want to forward to your mates – or blog about, as I’m doing here. You want to share it – important for the content creator, because he wants to put it in front of as many eyeballs as possible. Jason’s inclusion of the stills he filed for news from the day also tips the hat to his core craft, which is a great way to put more meaning into it and demonstrate the power of still images.
  2. It shows photojournalism is not dead, nor stills photography as a form of news presentation. Anyone that tells you otherwise hasn’t thought it through, or lacks the imagination to prove the myth wrong. Stills photography is just evolving, as it always has, into something that best suits the current news environment.
    Personally, a dramatic still image will always have far more power and emotion than a video of the same scenario. The silence in a still holds far more volume. That’s not to say moving pictures can’t be dramatic or emotive – of course they can. I’ve seen enough eye-moistening documentaries and movies to know that. But stills can say so much without saying anything at all. If that’s not power, I don’t know what is.
  3. The technique that Jason demonstrates here is something I see as fundamental to online content presentation now and into the future. Video needn’t be seen as king in the online space, or “the only way” to forge ahead. Video is important, but real ground can be made by providing content that your rivals haven’t thought of yet. Stop motion is nothing new, but presenting content in more meaningful ways online is, in my view.

There are so many other options for online journalists and producers in terms of content presentation, but so many of them are routinely ignored. Conventions still rule, yet we know from our own experience that users today are more willing to see things differently. They’ve been surfing the World Wide Web for long enough to understand how things work – a link is a link, no matter where you place it each day. The important thing now is to make that user believe the link is worth clicking on, not because it’s in the same place that something you liked was in yesterday, but because the content is too hard to ignore.

Just think for a moment about the stories covered in Reed’s little clip – all of them in isolation are mundane, dull, worthy of a couple of inches in the local paper at best, or buried deep in the political section. What Reed’s done here is prove that the way you present and package a piece of content can completely influence not only the way it is consumed, but whether it’s consumed at all. It’s simple, but enormously effective.

Had the day at the White House been a video, you might have watched a bit of it, but not all of it. The stop-motion technique here was perfect. Essentially, it made an otherwise ordinary day at the White House extraordinary enough to sit through from go to whoa.

So photojournalism is not struggling or dying – it’s thriving – and the more we embrace it, the better it will become as photojournalists push the boundaries and open up not only their own imaginations, but those of the people that consume the efforts of their labour.

In essence what I’m saying here is that all it takes to improve a piece of content – and your product – is a little imagination in its presentation. So next time you’ve got 100 images from an event, don’t think “photo gallery”, think multimedia. And it’s not just pictures. Next time you’ve got 50 stories, don’t just list them all and say to your user “you figure it out”. Help them see the best of it, and pay them the respect they deserve to delve deeper if they want to.

Give your users the best possible experience with your content possible. It’s the very least you should do.

I wrote a story today on celebrity Twitter users reacting to England’s Ashes triumph. We’ve won them back, and I’m as delighted as most of the people in this yarn. I wore my England shirt to work today, ribbed everyone I could, and nabbed $50 off a colleague because I bet him England would win. I never doubted it. Brilliant.

Riceboy Sleeps - Jonsi and Alex

Riceboy Sleeps by Jonsi and Alex :: Beautiful soundscapes

I had one of those “search for new music Sundays” today, sitting on my sun-drenched balcony enjoying an Indian summer in Sydney. I also found a song called Indian Summer by Jonsi and Alex, from their haunting record Riceboy Sleeps. Here’s a top five, including that, of stuff I stumbled across today.

Riceboy Sleeps – Jonsi and Alex
Sounds like: Sigur Ros, not surprisingly (Jonsi is the lead singer of Sigur Ros).
Listen to when … you’re thoughtful. Or if you’re not, it will make you so.
Score: 9/10
Why? Because it’s some of the most beautiful soundscapes I’ve ever heard.

They Blind the Stars, and the Wild Team – Decoder Ring
Sounds like: A factory full of sound
Listen to when … you feel triumphant, or in need of an emotional jolt.
Score: 8/10
Why? Because these Aussie dudes know what they’re doing, and can have you tapping your foot one minute, and weeping in melancholic joy the next (and yes, I’m well aware of the oxymoron. Just listen and you’ll know what I mean). And they use the same rehearsal pace as my band.

Laser Graffiti – Galvatrons
Sounds like: A Rocky soundtrack
Listen to when … you wanna jump around the living room dancing like in that scene from The Breakfast Club.
Score: 6/10
Why? Because it’s a lot of fun, but you probably won’t put it on high rotation (there is finger-tapping, for God’s sake).

Moondagger – Deastro
Sounds like: M83 meets New Order.
Listen to when … you want to reminisce about how cool stuff was in the early 90s, without actually going there.
Score: 7/10
Why? Because if a stranger hears it and asks, “Who’s that?” you’ll sound cool saying: “Deastro, dude.”

Miike Snow – Miike Snow
Sounds like: Nothing else. It’s pretty unique. Benjamin Diamond, maybe? Nah, it’s all its own.
Listen to when … you wanna tap your feet, smile and drink beer in the sun.
Score: 9/10
Why? Because it’s a frikkin’ cool record. That is all.

Foraggio Fotographic

Hamilton Island, Queensland

More Photos

Finding Foraggio

Foraggio On Twitter

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