The Red Coats- Red Light Revolver

Straight n narrow rock. This song has a formula and sticks with it to the death. Basic bass line, basic riff, basic vocals, tied all together to come up with a pretty decent song. It’s quite haggard and thick, but has a dirty-disco edge to it. The video clip reflects a quite clean cut version of grunge, like their copying a cross between Foo Fighters and Bush, but it’s simplistic and cheap, which scores the band DIY points.

Black Lips-Family Tree

Containing elements of ghost-punk, country and western, roots, garage, bluegrass, and straight old rock n roll, Black Lips are anything but normal. This clip proves their virtuosity as a band and their crazy antics. This video is incredibly offensive to the eyes, and strays quite a bit into the mentally deranged territory. Good music though.

Album Review: Portugal. The Man-In The Mountain, In The Cloud

Prepare your mind for a psychedelic-pop experience. A warped, horrifically good step in Portugal. The Man’s solid music making skills, the major label debut from the band (although it was album number six) is no exception of brilliance. The band takes an ethereal and airy approach, although don’t confuse this with half-heartedness. There is so much layering and depth, it is actually an ocean of music.

The album starts off with the quaint and simple ‘So American’. It shimmers and frollicks, completely oblivious of it’s brilliance, with it’s gushing displays of clashing cymbals and rolling horn/cello section. The section then envelopes into the jovial ‘Floating (Time Isn’t Working On My Side)’. It’s quite a simple song, with straight up strummed chords, a chanted chorus and dashing verses. However, it possess unparalleled charm to any other song on the album.

The string section is the most brilliant part of next song ‘Got It All (This Can’t Be Living Now)’ which slots perfectly with the theme of losing passion as we grow older. It keeps the nostalgia strong and resonates. At this point, I need to just say that the falsetto has been amazing up to the next point, like, flawlessly good and integral to the entire nature of the record. However, the band embraces some fuzz and piano overtones on the next tune ‘Senseless’, giving a more lossless and directionless feel. They find their feet again with the gentle, psych ballad ‘Head Is A Flame’, and continue the good vibes with ‘You Carried Us (With the Sun)’. It starts to get a tad more jungle and expansive, with Portugal. The Man using more guitar effects and echoing effects, to great success. It was a good change of tempo in the record as well, to stop the mix from going bland, as it could have quite easily done.

A trumpet announces the arrival of darker territory on ‘Everything You See (Kids Count Hallelujahs)’. Although Portugal. The Man push on with a brave face, and maintain a cheery smile, it’s clear to see that the band are removing themselves from the all smiles and sunshine of the earlier songs. Their is still a magical void to the songs, but it takes on a more morbid and creepy tone (think TIm Burton). The record is always popping and relaxing as usual, but you can’t help but feel as if the singer is trying to relate a desperate warning message, as the album becomes more basic and less expansive. The record stays within this mostly black comedy style of music for the rest of it’s entirety, and makes sure that it is a diverse spectrum of emotion.

Like the squiggly, looped and textured watercolour painting that adorns the album artwork, this record is incredibly confusing and crystal clear at the same time. It is washed out, unclear, and could be described as a thinking man’s stoner pop. On par with some of The Flaming Lips work, and better than Miike Snow and The Big Pink, Portugal. The Man deliver quite a fantastic effort on their sixth attempt. High-pitched, low strung and exceeding high expectations.

Die! Die! Die!-Sideways, Here We Come

Intriguing noise out of New Zealand. Die! Die! Die! strain to infuse post-punk with noise rock mentality on their second record, which was released a few years ago, and they capture both a melancholy and baroque atmosphere. It holds a Charles Dickens-esque feel to it, grey and sullen, but with a glimmer of hope at the end of the tunnel. The video is equally compelling, featuring the band and various figures interspersed amongst a traditional smog-ridden city. Did I mention they use only paper and puppets?

The Top 10 Best Guitar Riffs

The guitar riff is perhaps one of the most important factors in any song. It’s crucial in that it makes or breaks a songs theme and structure. With a riff, you want to get to the heart of what the song is about, and convey it to the audience in a short n sweet way, that doesn’t get annoying for an audience to hear. A riff can be played on any instrument, but the one that sticks out the most, and is most commonly discussed is the guitar riff. Guitars have always been central to the ideology of rock music, and sometimes the guitar player is more famous than the frontman ( see Kasabian, Rolling Stones). Anyway, here are the best of the best, where the riff takes centre stage over the song itself.

10. Violent Femmes-Blister in The Sun: This song is so bohemian it makes my brain hurt. The riff in this song instantly conjures the image of some dude walking in flip flops, hair trailing down to his shoulders, talking about all-bran, as some random 80’s band plays on his portable Walkman player, probably Violent Femmes. The great thing about this riff, is that it is rambunctious, happy and random, but still kind of has a sombre tone to it, something unfortunate is teeming at the surface. If Trainspotting could be summarised in a song, it would be the bittersweet ‘Blister in the Sun’.

9. The Who-The Seeker: Chock full of bravado, and faux arrogance, the riff to ‘The Seeker’ capitalises on the spirit of this song, about an insatiable lust for….fame. It’s a very groovy and sonic riff, but still has it’s roots firmly in rock n roll territory. It never bounces, it never tries to be flamboyant, it simply rocks out and straddles around being the biggest and roughest riff in The Who’s category. Small town riff, with an epic twist.

8. Dandy Warhols- Bohemian Like You: A slow, jungle buildup is the only way to introduce The Dandy Warhols wild party riff in ‘Bohemian Like You’. Although the riff is incredibly simple, compromises of only a few chords, and has probably been done by countless other bands, The Dandy’s made it their own. It totally fits with the songs coming of age, self-confident strides. A 20-something song made by 20-something musicians with a 20-something riff.

7. Beck-Loser: Beck is so weird. So a sloppy riff, distinctly made with a sliding chord style, and a sitar playing the same thing is the perfect choice for Beck’s single to introduce him to the world. It gave off just the greatest stoner/slacker vibe and hinted, nay pointed at the nonsense lyrics and absolute nothingness  of the songs meaning. The lack of power in the lyrics, and the sheer randomness played off the riff so well, and provided one of the greatest and funnest songs of the 90’s.

6. Franz Ferdinand-Take Me Out: This is perhaps the most stomping riff I have ever heard, straight out of the gate. Every single note makes the earth quake. It announces the arrival of Franz Ferdinand to the scene, perpetuating anger, annoyance, wackiness, and perhaps a tinge of lust. It is just oozing with glamour and flair, and begging for someone to start hating, just so it can bitch slap them in the face, and keep going with it’s enormous stride. I like to call this song ‘The Pimp’s Riff’.

5. Blur-Song 2: Blur have always been a diverse band, liking to stray away from their safe Brit-pop sound in return for a storming single. ‘Song 2’ is a great example of Blur reaping the rewards of deviating from the path. ‘Song 2’ is unique and stand alone in that it creates a furious, buzzing atmosphere, and even during the quiet verses, every listener is just itching in anticipation for the fuzz pedal to get switched on, and be able to belt out a primal “WOOHOO!” over some of the sludgiest playing to be heard from Damon Albarn and Co.

4. Nirvana-Rape Me: A lot of people think this song is reflective of Kurt Cobain’s mental image of himself towards the end of his life. Not true. Rape Me was a staple in Nirvana’s live set for quite some time before they ever got around to recording it. It instead reflects Kurt’s view of the music industry and how fake he saw it, and how brutalised the musicians had become. Produced by Steve Albini (the guy behind Shellac), it has a quiet and snarling anger to it (the riff that is). Simple and drenched in feedback, it is the perfect partner to such a vile and sneering song.

3. Black Sabbath-Paranoid: There is not a single person alive that can resist playing air guitar along to ‘Paranoid’. This is a song made for being blasted out of speakers at full volume. It’s completely ruthless and unforgiving. If the apocalypse ever became a thing, ‘Paranoid’ would be the backing vocals. It is simply thunderous. Side note: it was really, really really hard trying to pick my favourite Black Sabbath riff. Like, chocolate ice cream or cookies and cream ice cream hard.

2. The Bronx-Heart Attack American: Starts off loud; gets even louder. At first, it seems like the rage is just barely being contained, and that if the song got any wilder, someone in the proximity would explode. Then it does. Head explosions due to ‘Heart Attack American’ are the 34th biggest killer known to man  today. This song embodies the spirit of hardcore punk: melodic enough to not be trashy noise, punk enough to piss of any government officials, and tough enough to punch a tiger in the throat (tigers are awesome, don’t ever punch them). There is just too much muscle to contain this song.

1. Refused-Summerholidays vs. Punkroutine: One of the greatest bands of all time, put off before they could reach they’re peak. Or not, as evidenced by ‘Summerholidays vs. Punkroutine. Straight into the first bar, and the riff has already broken down the gates, killed everyone in sight and has the enemy leader lying in a pool of their own blood. ‘Summerholidays vs. Punkroutine’ is not just a song; it’s a cry to arms. Are you soft? Do you want to lay down and die in this regime? Or do you want to be a punk? The riff questions everyone’s core morals and cuts the bone of human nature. Besides being a moral compass, it’s just pretty cool with it’s call-answer style, chord progression and shifting time signature.

Album Review: Chicks Who Love Guns-Moon Eater EP

Picture any 70’s or 80’s B-movie. An action flick, full of gratuitous nudity, blazing guns and muscle cars. Stereotypes running rampant in the no holds barred Wild West. Mustaches adorn every male character. Every girl has breasts at bursting point. The protagonist, a quiet, steely gunslinger faces off against a greasy villain. A tumbleweed rolls between them. Their hands quiver at their sides, poised for action, eyes locked in combat. Suddenly, the protagonist draws and the scene becomes a flrurry of smoke, haze and gunfire. The soundtrack? Sydney five piece Chicks Who Love Guns brand spanking new EP, Moon Eater, of course!

Bullshit-proof, and very old school, Chicks Who Love Guns combine garage rock with an injection of heroin infused, uncaring punk. The atmosphere derived from any single song brings to mind a couple of stoned guys with long hair, howling into a microphone in a basement, and thrashing on guitars and bashing drums. Essentially, that’s exactly what they are. Perfect. That could actually not get any better. That is, personally, my favourite kind of band. Bass heavy, like they are calling up the demons from the bowels of hell, and infused with punk, muddy riffs, the band calls to mind grunge punk heavyweights like Mudhoney and The Melvins. Not a bad comparison for a band that’s been out for only a couple of years.

4 songs. 14 minutes and 9 seconds. Pure, unabashed fury. Unconfined and unleashed upon the unsuspecting world. A snotty, no holds barred fuck you to the music industry, this is Chicks Who Love Guns at their best. The cover gives a pretty good indication of whats to come. It portrays a jubilant girl looking up, with a moon etched into her head. A pink filter goes over the photo. It’s the kind of photo that screams “at heart, we’re pretty. But we’re also very very fucked up, and there’s a very good chance you’re about to be offended”. There is only one choice, but to play the record.

The current single, and opening track is ‘Shin-Okubu’. The track doesn’t really find it’s pacing, but once it does, it knocks the wind out of you. Angry and relentless, it screams the question of how come no-one gets taken seriously any more. The chorus feels like someone is nailing music into your head. Pretty straightforward for a song with such a weird title. The track flows pretty easily into title track ‘Moon Eater’. Once again, very teenage, very dumb, very awesome. These guys seem to parody the stadium rock sound, and satirise it well, producing a dirty, sarcastic, and indie version. There is so much grit, and intensity. The boys question their insanity, however it’s pretty clear they are insane.

The record doesn’t take it’s foot off the pedal for the remaining tracks. ‘Quicksand’ is just as fast and bellowing as it’s predecessors, and there is good contrast between the verses and chorus. The bass really takes its toll in this song, and makes it just that little bit more mentally deranged and loose, and just that bit more exciting. The bass is the real unsung hero in the songs, giving a unconditional driving force and power unseen by Chicks Who Love Guns contemporaries.

The closer ‘Leech.’ is prime example of a reason to listen to Chicks Who Love Guns all the time. Although initially pretty simple, after a few listens, you actually begin to realise the song is a bit more complex and intricate than how it first appears. Chicks Who Love Guns aren’t some hipsters who like Nirvana. They’re dirty, drugged out, garage rockstars, and they belong in the top tier of their category. That category of course, is people that should be gods.

Triple J Unearthed Page: http://www.triplejunearthed.com/ChicksWhoLoveGuns

Sunday Punk Fix: The Pixies

The Pixies are perhaps one of the greatest success stories in music of all time. Formed in 1986 in Boston, the band were relatively successful, but never really hit it big. The world just wasn’t ready for the stream of fantastic albums that The Pixies spewed forth. Inter-band pressures increased, and the band broke up in  1993. That is a giant euphemism. Black Francis (singer, guitar) and Kim Deal (bass) absolutely hate each other. You can’t blame her though; Black Francis notified her of the bands breakup by fax. Even though they’ve reunited, it states in The Pixies’ contract that Kim Deal and Black Francis have different green rooms. All the hate aside, The Pixies didn’t really become one of the biggest bands in punk music until after their breakup, and the explosion of the alternative rock scene. Only then was their music truly appreciated. Any band who has made it in the past 20 years will cite The Pixies as an influence, from Nirvana to Pavement, from David Bowie to The Strokes. Even Thom Yorke from Radiohead, one of the most shy men in music, came out of his shell to say that The Pixies changed his life. This is can probably be attributed to The Pixies style: strange, shouted uncaring lyrics, about a variety of topics from an acid trip to aliens, over poppy guitar riffs. The Pixies weren’t trying to be punk, but they came out that way. They wanted to blend a whole mix of styles, but in the end, they will remain one of the greatest punk bands of all time.

10. Bone Machine: The heavy handed, scale approach to the song seems like a step ladder that goes up, down and all around. It’s hard to focus on a particular aspect of the song, and it seems so haphazard and random. Then , almost reassuringly, Kim Deal and Black Francis chorus “Your bones got a little machine” over complete silence and pause, before the song returns to it’s rambling ways. Pretty classic Pixies.

9. Debaser: A cry for revolution! Very pop, as the separate riffs all fold into each other and form a cohesive head bopping single riff. Even Black Francis’ heavy handed and rough voice can’t cut through the sheer infectiousness of the song. The song has a very surf rock tone to it, as if it was being played in a garage in Venice Beach.

7. Dig For Fire: The song seems to be a little less focused, and more produced. It’s like they were trying to reach a more mainstream appeal and audience. This is probably due to the intense relationships the band had during the recording of Bossanova. Although seemingly constructed for radio, Dig For Fire holds an innocent and naive feel to it, like the Pixies just churned it out without a whole lot of effort, and it has a wholesome vibe.

6. Gigantic: Big and lustrous would be the two words to describe this song. It’s also a really nice departure from the usual hoarse ramblings of Black Francis to Kim Deal’s clean and accessible voice. Opening with a solid, stoic bass line from Ms. Deal, it then kicks into a quiet verse, and then explodes with untamed ferocity. Repetitive, but not annoying, it is so catchy and in such good humour. Probably the happiest Pixie’s song they have in their catalogue.

5. Monkey Gone To Heaven: Sliding guitars and crescendos are the main attributes of Monkey Gone To Heaven. Also, it’s general weirdness. It holds a lot of Black Francis’ fascination with sci-fi, and Kim Deal’s fascination with gentle, backing vocals….I guess? Either way, this song holds a soft spot in my Pixies favourites because of how childish and good-natured it is.

4. Is She Weird: If your ever in confusion about a relationship, just give this song a listen. It’s almost like as if the chorus is asking the listener if they can check off a bunch of personality traits for Black Francis’ perfect woman. Namely, is she weird? Is she white? Is she promised to the night? And her head has no room? It’s an absolutely furious song, but not in the way you’d think, in that it’s got a pounding bass, ghoulish vocals and a whispering riff.

3. Here Comes Your Man: One of those songs that everyone knows, but can’t name the artist. Well, now you know it’s by The Pixies. Very surf, probably one of the most original, yet cliched surf rock riffs in music history, and teenage to it’s core. This song is so fun and is all about chance encounters and love. It’s hard to keep a smile off your face when the snare rolls over into the chorus, which Kim Deal absolutely nails. Perfect for a car trip, or singing along with someone your really close with.

2. Where Is My Mind?: A classic Pixies’ song, that every single strung out junkie can tell you they’ve listened to while high. It’s about an acid trip gone wrong, dealing with the emotions and confusion of the drug. It also features one of the greatest introductions to a song of all time, with it’s crescendo drumming and to-and-fro riff. The ghostly backup vocals give the eeriest of effects, and an it’s-too-late feel to it. The song has been used quite a bit outside of  Pixies’ fan clubs, being the only non Dust Brothers song in the cult classic Fight Club, and it was covered by Placebo, back when they were popular, and they weren’t referred to as ‘those emo douche bags’.

1. Hey: The wailing in ‘Hey’ is nearly as famous as the song itself. A man’s lament of lost love, calling out to her, trying to break free of his struggles and establish himself and the one he loves. But he can’t. ‘Hey’ is so gut-wrenchingly sad, it brings a tear to my eye every time I listen to it, which by iTunes account is 232 times. It’s gritty, soulful and desperate. It’s cringe-worthy, hopeless and unashamed. It’s absolutely beautiful, and is the greatest song in The Pixies catalogue, a catalogue which is bursting with some of the greatest songs in rock history.

The 10 Most Overrated Bands

Let’s face it. The press is manipulative, bloodsucking siren, that’ll call you like a mother then spit out your bone marrow an hour later. She’s a cold, bitter beast, full of hate and twisted lies. So many, many artists have fallen to prey of being overhyped and blown out of proportion of their talents, only to be cruelly reminded that they’re just another cog in an endless machine. So many, many artist will release an EP or debut to critical acclaim, only to have their carcasses served to them on a platter from a backlash on their consecutive album or release. The following artists aren’t necessarily bad, they’ve just been blown out of proportion, and the fall from grace after their 15 minutes has been just that bit harder. Also, don’t be offended. These are just bands that are media frenzies, but I don’t personally see the hype surrounding them. Just because they’re the press’ wet dream doesn’t make them good.

10. Guns N Roses: The Gunners had a really, really good album on their hands. That album was Appetite for Destruction, and it single handedly changed rock music. There was no way Guns N Roses could screw up. Unless they started to suck. Which they did. Ok, well at least Slash is still in the band? He’s cool right? Oh wait, he got kicked out? Shit. Well, they were a good band. Now it’s just a fat dude with dreads, bludgeoning his overpriced place in history a little closer to death with every rant he does. And Slash? The word guitar legend gets tossed around a lot these days…

9. Pearl Jam: Grunge music was a really fun period in music. Just kidding, it was so fucking depressing. White kids whinging about white problems with brutal, slowed down, punk inspired guitar in the back ground. For a band that wanted to just about make love to their DIY roots, Pearl Jam became pretty media friendly, pretty quickly. Vs, Ten and Vitalogy aside, Pearl Jam are more or less like every other band that ‘made it’ in Seattle at the time. Take a look at any of their recent albums, then listen to an older song. They’re like Siamese Twins! Except whiter and more annoying.

8. KISS: AWWW YEAH ROCK N ROLL! The only people who listen to KISS are cool grandparents and douche frat boys. Any band that stylises their name in capitals equals an instant hatred on my part. Any band that has more than one song about partying equals instant hatred on the part of people with good taste (Andrew W.K, I’m looking at you). Any band that dresses up like lesbians and shoot out their tongues in front of fire, and they don’t play psychedelic music equals the instant hatred of any sane person. And to think this band were considered gods of rock.

7. Coldplay: Gotta love those miscreants in the Coldplay camp. They like to play Pearl Jam music, but softer, and with higher vocals, so maybe one day, that girl over there, the one called Gwyneth, might look over. Coldplay exist for one reason and one reason only: breakup albums. However this all went to Chris Martin’s head and Viva La Vida was one of the most self-endorsed bullshit to scrape the musical sphere.

6. Lady Gaga: She’s controversial, and very good at articulating feminist points of views. She’s also insane and self-obssessed, and thinks her shit don’t smell. She probably thinks her shit is encrusted with rubies and Big Bird’s fur balls. Wearing a dress made of meat, or Kermit the Frog? Media whore. Producing probably one of the worst albums of the decade, that also features the worst Transformer? Inexcusable. Having it hyped by rabid fans, and blinding critics to it’s shitness? Apocalyptic.

5. Take That: There are three facts of life: Veggies make you strong, karma’s a bitch, and all boy bands suck. Any boy band could fit onto this list, as there seems to be a new one every few months, shitted out by the latest season of X Factor. But let’s take it back to the original steaming turd: Take That. Take That were a bunch of super hot dudes, one of which was Robbie Williams, who took a hit of the magic dust called fame, and then never came down. They figured the only way to feed their junkie habit was produce more terrible music. So that’s what they did, much the the detriment of everyone’s ears.

4. Green Day: Green Day used to be awesome. They weren’t exactly hardcore in any way, not even edgy really, but they had traces of punk like how certain foods might have traces of nuts. ‘Dookie’ remains one of the most solid releases of the 90’s. Then Green Day met the whore they call ‘popularity’ and exploded into a shit storm of arrogance and pride. What followed has neither been pretty or good. Just pure, commercialised crack for ears. And they’re hailed as bringing punk back to the mainstream. A trip to Definiton.com could fix that. Green Day are not punk, let alone the saviours.

3. Eminem: Once again, white boys rule, good music drools is the message that the media is sending to us. Eminem is the highest selling rapper of all time. Thats like Kernel Sanders being given McDonalds Employee of the Month. Eminem has also gone through his pitfalls. He raps about the same things over and over again, namely drug abuse, mummy issues and how tough it was growing up, and then waits for the cash to flow in. The man has lost all credibility, let alone the smidgen of talent he pissed away after the ‘Marshall Mathers LP’. And yet he still cracks the Top 40 every year!

2. Ed Sheeran: Ed Sheeran does what Jack Johnson has been doing for years, only redder. And with a weird accent. He combines his weird style of rap/sing song into a ginger slop of talentless goop. Acoustic pop is all the same. Angus Stone was only good because he was obviously ridiculously high the entire time. Ed Sheeran gets too much credit for such an unoriginal concept of something he can barely pull off, something so easy that I’m surprised it hasn’t become a pyramid scheme. Step 1. strum acoustic guitar. Step 2. Don’t be ugly, don’t be good looking. Step 3. Sing in an ok voice about first world problems or a broken heart. Step 4. Buy a mansion and pet dolphin with all the money you make.

1. Lana Del Ray: I’d like to get something off my chest. I hate Lana Del Ray. Some would call it a sick passion, others would describe it as a murderous trait. The majority of the woman’s appeal is based on her image. An image that is slowly crumbling around her. Her dad bankrolled her album, so she’s not indie or DIY. She changed her name and style for popularity’s sake. She’s a massive tool, and she’s full of herself. And her singing might be fake, after that abysmal Saturday Night Performance. Fuck you Lana Del Ray, you fake. Your about as real as my boob job. No wonder the press loves you.

New Artist: The Voltaire Twins

Western Australia has a reputation for being an absolute shit hole. It’s a fly infested, sand ridden wasteland devoid of happiness and incapable of human pleasure. The only people that apparently live in Western Australia are miners, the older generation and people who play AFL. However in recent times, Western Australia have been pumping out quite a few brilliant musical acts. Astonishing, I know. The Western Australian repertoire includes San Cisco, Eskimo Joe, Pond, and the latest band on my radar, electro-pop darlings The Voltaire Twins.

The Voltaire Twins are absolutely glamorous, in a vintage, 60’s kind of way. They strike an image of Marilyn Monroe puffing on a long cigarette, fur draped over her shoulders. Musically wise, think of The xx or M83,with more up-tempo and catchier songs. They provide the casual listener with relaxing, feminine beats to drift along to, but there is so much more, as long as your willing to really listen to them carefully.

The magic of The Voltaire Twins can be split into two factors: the synths and the vocals. Everything else is pretty rudimentary, and plays second fiddle to the rest of their music. Firstly, the synths. Behind trawling electric drum beats that attune to simple pleasures and rhythmic beat, the straightforwardness is sure to keep you head is bopping. Then, the synths show their colours and provide the majority of listening pleasure. They are so clean cut and sparkling, both bass heavy and sprinkled, jumping to and fro from a high key to a low key. They are transcendent, and echo throughout every song, resonating perfectly with her voice.

The ‘her’ in question is Tegan. Not sure of her last name. She combines haunting melody with comforting charm, and builds every word to the tip of her tongue. She is the perfect voice for the band, as their groovy synth pop delightfully compliments her voice and vice versa. She crows, and inflects so quietly, but she annunciates and pronounces every word, and you can understand every phrase she says. You have to understand, I’ve been listening to punk for a long time, and you’d be lucky to entangle an intelligible grunt from any of those bands. The Voltaire Twins are such a brilliant change of pace, and provide smooth, crisp pop for any type of listener.

If you need any more proof, simply watch the video for Young Adult. It completely summarises the vibe. Young and quirky, The Voltaire Twins want to celebrate and expand their outlandishness, and in fact, find comfort in it. They celebrate their diversity and difference, instead of holding it back. Everything in the video and song is highly technically proficient and has flair. Basic in structure, but when put together, flawlessly complicated and brilliant.

I wouldn’t be surprised if there are a lot of people who will instantly hate The Voltaire Twins after a few bars. But give them a chance. They’ll grow on you.

Triple J Unearthed Page: http://www.triplejunearthed.com/Artists/View.aspx?artistid=15500

The Cast of Cheers-Human Elevator

You may not know The Cast of Cheers, but just watch the video. Imagine The Killers on crack. The following video is so warped and random, but hits the sweet spot between absurd and interesting. Nothing happens, but it does feature some interesting visuals, like a man-kini clad Asian, a creepy bunch of dressed up kids, and a chainsaw wielding religious zealot.

The songs pretty good as well