You Go Your Way, I’ll Go Mine is the debut album by Melbourne singer/songwriter Ainslie Wills (released on 4 March). Delivering on the promise of the 2010 EP, Somebody For Everyone, and recent appetisers such as Lemon Japan and Fighting Kind, You Go Your Way, I’ll Go Mine is just as charming as we hoped it to be: a 12-track album full of textured, atmospheric storytelling.

Lost At E Minor is currently hooked on Weighing the Promises, the single to promote the release. So we decided to speak with Ainslie via email. She is currently preparing for a lengthy tour of Australia, but we managed to get hold of her just before she departed.

LAEM: Ainslie, first of all, congratulations on a great first album! You Go Your Way, I’ll Go Mine is a pretty impressive piece: ‘arresting, melodic, and full of charm’, just as it says in your press pack. I must say, I really admire it for the fact that you’ve already managed to establish some sort of signature style, without limiting yourself too much in your creative expression, performance and songwriting.

AW: Hello there! Thanks for the congrats on the album. It’s been a long time coming so it feels good to get the music out there and to be talking about it to Lost At E Minor!

How would you describe an Ainslie Wills song to someone who has just woken up from a coma or a lengthy jail term and never heard your stuff before? Is there any element or sound that would NEVER, EVER appear in an Ainslie Wills song?

AW: Ok, so, if someone had indeed just woken up from a coma, not having heard my music before, and a genre title is what they needed, I would say Neo Folk Rock. But most people don’t really have any idea of genres and there is so much crossover anyway. I would then proceed with: ‘have you heard of Fiona Apple? Or Feist? Do you like melodies? Atmospheric music? I would also probably accentuate the fact that lyrics are somewhat secondary to my music and that I prefer to tell the moods through sonic textures. I would absolutely never have flute in a song. Flutey-toot = NO!

Your love of music: were you born with it or raised into it? Can you tell us a bit more about your musical background?
AW: I was fortunate to grow up in a house filled with music – my parents’ records, tapes and CDs that my brothers and sisters would play. Also, having an acoustic piano in the house meant that I would spend hours figuring out the chords to songs that I liked, mostly trying to sound like Tori Amos. One of my earliest memories of playing piano was when my aunty was visiting one time and she taught me how to play Memory from Cats. I didn’t read music at that stage, but would watch and learn by ear. My grandfather on my mother’s side, Cecil B. Luckman, was musical. He used to write songs and play piano music during the silent movies of the 1920s. I think my appreciation or ‘ear’ for music is in the genes, but it is something that has been nurtured via my upbringing thanks to my amazing parents.

Do you have a patented Ainslie Wills songwriting process, and if so, how does it go? Do you have any methods for breaking out of the mold?

AW: Hmm, my songwriting process changes all the time but I generally start the process with a bass line or a chord progression that evokes the kind of mood I’m trying to express. Sometimes I’m just searching for sounds that I like. I usually try to finish the basic form of the piece in one go, as starting and stopping can mean lots of unfinished ideas. Once I am happy with the sonic landscape and have recorded the skeleton of the idea, I then ‘jam’ lyrics over the top. At the start, unless I have something very specific to say, I just wing it.

So sometimes the phrases come out like ‘eeeyeo notsofa at alloc’ – complete and utter nonsense but this way I can figure out what sounds fit over the chords and then sometimes stumble across lines that do make sense. I then work an rework the idea, always recording every step of the process.

What role do collaborations play in your songwriting?

AW: Writing for my album was the first time I was able to collude with another creative being, Lawrence Folvig, in the songwriting process. Lawrence guided the sonic landscape and textures and I would dictate the melody. It was good for both of us to learn to work together but most of the time we stuck to our own creative processes and then put our ideas together.

Speaking of fruitful and inspiring collaborations, I noticed your music videos were all directed by Jem Selig Freeman. How come?

Jem is a close friend of both Lawrence and myself, so I would have to say the main reason that we have worked together on more than one occasion is because it is utterly enjoyable for both parties. At least, I hope it is. I think that to delve into unchartered creative territories with other people requires trust and that is exactly what we have. That, and a mutual respect for each other’s artistry. When we have broached ideas for video projects, it has always felt very organic. We may have loose ideas at the beginning that, when workshopped over time, end up exceeding our expectations.

How important are visuals to what you do?

AW: Visuals are very important in what I do, but more so in the way in which I use visuals to centre myself in a live performance setting. Each song has a very specific scene that I revisit in my head each time I sing the song. That way I feel I am able to channel a certain type of energy.

With the album being out on March 4, an extensive tour throughout Australia is already scheduled. Are there any plans for coming over to Europe or the US? If you could choose a city/destination in which to perform at least once in your life, where would that be and why?

AW: I have only travelled overseas once and that was in 2009 for a leisurely trip to Europe. I never got to Germany, so I would love to tick that off. I have always wanted to go back over to play some shows. Lawrence and I are hoping to travel later in the year. But nothing is set in concrete yet. I would absolutely love to perform in Paris at the Olympia, purely because of the breadth of artists it has housed: Edith Piaf, Jeff Buckley, the Doors, Led Zeppelin and PJ Harvey, to name a few.

I’ve recently stumbled across your covers of other songs: Terence Trent D’Arby, Grizzly Bear, Johnny Cash, Radiohead – the list of artists is quite eclectic. If given the chance to reverse the situation, who would you love to hear covering your songs and why?

AW: Good question. Hmm, I would love to hear what Radiohead would do to my songs. They have such a unique signature style, borrowing elements from so many different musical cultures yet maintaining a focused sound. It would also be good to hear my songs done in a simplified way, melodically and instrumentally. I tend to lean towards sweeping melodies and harmonies with lots of layers, so it’d be interesting to see what a band like the xx would do.

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Hailing from France, Nephyla’s sassy comic style cannot fail to charm. Bums, boobs, feisty ladies, brooding gents, all lovingly drawn with a wink and a smile. She is the author of the Geek and Girly comic, has worked on numerous kids books, and has illustrated for Blizzard’s World of Warcraft.

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My new favorite Friday morning ritual is watching always-glam Bitchbuzz editor-in-chief Cate Sevilla break down the best of the week’s pop culture highlights in a feisty, female-centric slant. Along with news and commentary, the weekly online show also features interviews with new female talent like DJ duo Broken Hearts and comedian Vicki Stone.

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Hooray! They’re back. Those furry, fluffy, feisty bastions of cultural integrity. The Muppets are hitting the big screen once again, and life may never quite be the same again. [watch The Muppets perform Stand By Me]

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If your quest for the perfect Mexican pit-stop seems like seeking the lost city of gold, then you’ll feel like a proud explorer when you discover Dorado Tacos and Cemitas in Brookline, Massachusetts, just outside of Boston.

In this festive eatery, Chef Doug Organ’s fantastic fish tacos are heavy hitters. These palm-sized delicacies feature improbably fresh-tasting fish nestled on a bed of crispy green cabbage wrapped in a warm and flavorful corn tortilla. Try the namesake, a spicy dorado taco, battered, lightly fried, and topped with a pico-style salsa, chipotle crema and cheerful, peppery radish slices.

The cemitas — a Poblano street food sandwich — are a hit: spicy and saturated with layers of black beans, creamy avocado, feisty cilantro, chewy Oaxaca cheese, and your choice of chorizo, marinated steak, chicken, or portabella on a soft, egg-washed roll. Wet your whistle with a fruity agua de jamaica (hibiscus-ade) or an HFCS-free South American Coca-Cola (featuring actual sugar!).

With lively sides like charred jalapenos, vegetarian rice and black beans, and sweet-and-spicy Mexican-style pickles, no one – herbivore or carnivore – leaves hungry.

Just to seal the deal, Dorado features compostable packaging, low-flow water systems, and energy efficient lighting. Unlike that jive turkey Pizarro, you can walk away with a clean conscience.

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Much like the beautiful, thumb-sized songbird from which the band derives its name, the music of Ortolan possesses the kind of startling beauty that reintroduces wonder to the weary. With playful lyrical themes ranging from sandcastles to buckets of light to fanciful creatures following you home, it s music with sass and spunk, born from fierce imaginations and young hearts just as enamored with the classic sounds of The Ronnettes, The Shirelles, The Beatles and Motown, as with modern songwriters Regina Spektor, Feist, and Joanna Newsom.
[audio:http://aolradio.podcast.aol.com/aolmusic/mp3s/Ortolan_Sticky_Situation_128.mp3]

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Australian rock band, Fiasco Burning, play melodic, soulful music infused with off beat lyrical hooks and bursting with singalong choruses. Their debut album, Place, is a feisty, summery sound, described by their engineer as ‘chocolate rock’. We checked in with drummer Anthony Brookman and asked him what the hell that refers to: ‘It’s flavoursome, smooth, fruity, occasionally funky and occasionally sexy. At the end of the day, it rocks, but its not one-dimensional; it has colour and groove. The term evolved from a moment we were all listening to a particular take of a song, and Russ, the engineer, said, “Aah, there it is, there’s the sexual chocolate”. We all cracked up. It kinda went from there’.

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Now, this will be fun. Swedish-Japanese singer Maia Hirasawa’s album, Though, I’m Just Me, is set for release on February 17 on Thrive Records. She gets a lot of comparisons to Regina Spektor and Lykke Li, and Bust recently compared her to Feist and a ‘less-angsty Bjork’. And, watching the video for her single, And I Found This Boy, it’s not hard to see why.

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Summertime at McCarren Park in Williamsburg is picturesque. It’s often filled with a mix of people, old and young, picnicking or sitting in the shade, running along the track or playing soccer (or football, depending on where you’re from). It’s also connected to a now defunct McCarren (swimming) pool which transforms into an outdoor concert space on Sundays during the summer. In the past, performers such as Leslie Feist, M.I.A., The Yeah Yeah Yeahs, and Broken Social Scene have performed. Diagonally across from the park is Enids, a simple diner and a popular brunch spot on Sundays. Grab a bite there before heading to the park. Brunch at Enid’s has become somewhat of a right of passage for many who live in Brooklyn. Oftentimes sitting outside to wait for a seat becomes an almost mandatory, but pleasantly interesting gadabout prior to eating. Serve yourself a complimentary cup of coffee that is located at the entranceway, and then people-watch until the host is ready to seat you.

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Things are happening almost too quickly for Sally Seltmann, the bashful Melbourne balladeer who plays under the guise of New Buffalo and who wrote Feist’s 2007 hit single, 1,2,3,4. Congratulations on being in the top 10 for the Australian Music Prize and for winning the Myspace Public Vote award. How did you celebrate winning $50,000 worth of promotional support from this social networking juggernaut?
‘Aw, thanks! We celebrated by going to the pub and having lunch. I didn’t do much after that. [laughs] You know, I was surprised about the win, but I knew that for that sort of prize, my music was more suited to having a chance than having a chance at the ARIAs [Australian Record Industry Awards]’. Are you an ‘online social networker’ yourself? [laughs] ‘I am a fan of it for work stuff. I like how I can just go ‘oh, whose this band I’ve been thinking of’, and Google, or I mean, MySpace thingy it and read about it. I like, too that your fans can kind of look each other up and hook up with people who like the same sort of music. I don’t spend that much time on it though and I’m not really into Facebook or anything. I kind of feel like I already spend so much time emailing, I like to get out and about and have real face to face conversations with people.’ How did you get to meeting musical comrades, Feist, Beth Orton and Broken Social Scene? ‘I met Beth Orton when I played shows with her here in Australia. I’m on the same label as Feist and Broken Social Scene in North America, so I went over and played some shows, toured with Feist and Broken Social Scene. So its got a bit of a family kind of vibe. They were all really kind to me, and its nice to have that international network as well.’ Having written the track 1,2,3,4, do you ever regret having given it to Feist to perform, since she’s had so much success with it? ‘Not at all. I love writing songs and I feel really happy that she’s had heaps of success as well because I really like her. In a way, it’s kind of nice because I don’t have to deal with all the crazy hard work she’s been doing, but still get credit for being the songwriter. It’s opened up some great doors for me. I love writing and I’d like to write songs for other artists too.’

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Like a breath of fresh air, Thao Nguyen is a totally independent voice from San Francisco. With a dash of Modest Mouse, a splash of Feist and an eye for the quirkier side of life. Managed by the former president of the Kill Rock Stars label, Slim Moon, Thao sent her track — Like the Linen — to Laura Veirs, who connected her to her drummer, Tucker Martine, famed producer for The Decemberists and Sufjan Stevens. In August of 2006, her group — Thao with the Get Down Stay Down — began recording with Martine in Seattle and released the album We Brave Bee Stings And All in January of 2008 — an album that has since caught the attention of the iTunes generation. Yup, just wait for it to hit the next Apple Mac ad.

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Syracuse group Ra Ra Riot call their sound ‘healing’ and ‘easy listening’. Others have labeled them as Nu Wave. Whatever. We spoke with Alexandra from the band to get the lowdown: ‘Whenever we are asked by strangers, like the security people at airports, we always say we’re ‘rock n’ roll’. We might even throw in a ‘baby!’ at the end of that. But really, I would think that it is rock. Who knows? All those approaches to music are so blended and you can really justify any one of them to fit your band. How about post-booyeah rock?’ The album artwork is beautiful. Yet very dark. It might scare the kiddies, no? ‘Kids love kitty cats. They appeal to little girls, and what little boy doesn’t think a panther is cool?’ Create a bill from any acts past and present and insert yourself into it. Where are you playing, who is it with, and which act would have the most demanding rider? ‘Ok. We are playing at Iceland Airwaves with Tokyo Police Club and Radiohead; Feist too. How about instead of most demanding I say that all of us have cute fuzzy animals to play with after the show’.

Listen to the Ra Ra Riot song, Dying Is Fine.

[audio:http://www.box.net/shared/static/2ng681k61z.mp3]

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What is it about a full moon that scatters the collective, latent neurosis of a million broken hearts into a whirlpool of dogged urban mayhem? I don’t know. Maybe Feist has the answer. Soothe. Soothe. Soothe.

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Gonzales’ gentle piano reworking of the beautiful Feist soliloquy, One Evening, trickles through my headphones like the sweetest sprinkle of mid-winter sunshine.

[audio:One_Evening.mp3]

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My summer officially ended on August 29 this year when Feist came to Greenpoint, Brooklyn to perform at McCarren Pool. It was a perfect evening — the weather was fine, the sky was clear, everyone was in good spirits, and the music was easy. There were no pretenses about the show; no spectacular lights or pyrotechnics; no outward professions of love from Feist to the crowd. It was more conversational, more intimate, as if each of us (I think there were just under 6000 audience members) individually met up with her at some coffee shop to hang out. [read more about Feist and watch a clip of her performing at McCarren Pool]

Listen to the Van She remix of 1, 2, 3, 4.

[audio:http://chriscary.free.fr/ESC/Feist%20-%201234%20(VanShe%20Technologic%20Remix).mp3]

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This is week two of our big subscriber drive. As we noted in our earlier post, we really want more people to check into the site and sign up to the newsletter, and to encourage you to spread the word, we have a stack of CDs to give away. And when I say a stack, I mean a wobbling, teetering stack. The grand prize, which will be dished out to one lucky, randomly selected winner, comes courtesy of our good friends at Universal Music [check the list of albums at the bottom of this post]. On top of this, for the next two weeks, we’ll also be giving away new Basement Digs / Stones Throw releases thanks to our good friends at Creative Vibes to randomly selected people who help to spread the good word. Let’s face it … sharing really is caring. To be in with a chance of winning, please forward any post on the Lost At E Minor site onto a group of your friends with a suggestion that they check in to see more content like it and then leave a comment under that post with an indication of how many people you sent it to. It can be any post on the site. The message you leave under the post can be as simple as: ‘Chris – 18′. The more the merrier! And just know … sniff … that you will always have a warm and fuzzy place in our hearts for supporting us. Sweet.

Grand prize: new Universal album releases from Patrick Wolf [The Magic Position]; Klaxons [Myths of the Near Future]; Bumblebeez [Prince Umberto and the Sister of Ill]; New Young Pony Club [Fantastic Playroom]; Blaqk Audio [CexCells]; Feist [The Reminder]; and Amy Winehouse [Back to Black], all courtesy of Universal Music.

Spot prizes: new Basement Digs / Stones Throw releases, including Chrome Children 2, Bumps, YNQ’s Yesterdays Universe, Now Again (Re)Sounds, Oh No Instrumental, Percee P, and Madlib’s Beat Konducta.

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We’ve gushed over Feist plenty of times before, but it’s time to talk about Feist’s ’1234′ music video entered by Patrick Daughters in this year’s Portable Film Festival (oh by the way, the festival is now open). ‘Shot in one take, it has been cleverly choreographed to create a quirky stream of colour and movement’. We love it.

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This week kicks off a big subscriber drive on Lost At E Minor. We really want more people to check into the site and sign up to the newsletter, and we’re prepared to pay you to help us get there. Well, in CDs anyway. And only one of you. Chosen at random. But it’s a bumper of a prize featuring a stack of albums from our good friends at Universal Music. To be in with a chance of winning, please forward any post on the Lost At E Minor site onto a group of your friends with a suggestion that they check in to see more content like it and then leave a comment under that post with an indication of how many people you sent it to. So it could be as simple as: Chris – 18. The more the merrier. But anyone who leaves a comment will be in with a shot at the CDs and will always have a warm and fuzzy place in our hearts for supporting us in this subscriber drive. Next Monday we’ll be sweetening the prize pot again offering spot prizes to randomly selected people who have forwarded a post on and left a comment on our site during the course of the week. Sweet.

Grand prize: new album releases from Patrick Wolf [The Magic Position]; Klaxons [Myths of the Near Future]; Bumblebeez [Prince Umberto and the Sister of Ill]; New Young Pony Club [Fantastic Playroom]; Blaqk Audio [CexCells]; Feist [The Reminder]; and Amy Winehouse [Back to Black], all courtesy of Universal Music.

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It’s the fourth of July here in New York, a day of patriotism, fireworks and hotdogs; sleep-ins, strong coffees, and rooftop barbies. Yup, god bless America and this damn pleasant national holiday. [illustration by Marcos Chin]

Listen to the Feist song, My Moon My Man.

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If you haven’t heard the Peter Bjorn and John song Young Folks you’ve been under a rock. Or at least somewhere far away from the radio, which is lucky for you because I’m well over it. However, I do like this cover. Kentucky-born New York performer and sound engineer Dawn Landes has recorded a version with a genuine bluegrass band from Austin and the results have been floating around the internet for the last few weeks. Don’t be scared by some intense banjo in the beginning though. [see also Feist takes the bus]

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