New: The Naysayers-Dee Eye Why

The Naysayers are a band down from Melbourne way that fucking rule harder than a wombat smoking meth and riding a surfboard. Their EP is a ramshackle, rickety thing, swinging in the breeze like some sort of rock n roll Tower of Pisa. However, once you get the fuck over yourself and actually listen to The Naysayers, you’ll see that this is a band with more badassery than a baby between Patrick Swayze’s mullet and Robert de Niro’s mole.

‘Dee Eye Why’ opens with ‘Too Oh Too Canning Street’, a makeshift harmonica rocker that has balls of steel and more wallop than The Mystery Salsa at any dodgy taco stand. The spice and fervor gets turned up a notch on the Greaser-punk of ‘I Didn’t Fall In Love Just To Stand In Line’, which kicks around harder than Bruce Lee if his hands were cut off. The slime punk takes a turn for the snotty on ‘Kleptomaniac’, an accusatory ‘I know that you steal!’ motif running next to the shouted ‘Kleptomaniac’ that snaps with crocodile teeth. Far from being a one-trick pony repetition, the proteges of Lars Ulrich, manage to bust out a badass solo in the middle of the track which saves it from monotony.

The second half of the EP is where shit gets to really start kicking up, in case you weren’t totally out of breath from the first half. ‘They Ain’t Swallowing Melodies’ has the sort of swampy pub-rock of country boys stirring up trouble that made Dukes of Hazard and Parquet Courts awesome. Next one, ‘Nothing But Change’ puts rockabilly into warp drive, a headlong descent into loose rock charisma. However, it’s the finale of ‘Groovin’ Sub Atomic Beach Party’ (posted above) that takesThe Naysayers ‘Dee Eye Why’ from legendary badassery to madder than mad cow disease. It plays like a lost track from a Quentin Tarantino, brilliantly old school in style, but very fucking dangerous as well. The haunted Old West atmosphere is just plain fucking awesome, and the move into the call-to-arms riff is more badass than John Wayne cooking you a steak. You can’t help but fall steadily in love with this song, it is just so, so, so fucking great.

Overall, the album is a fucking brilliant piece of rough garage rock n roll. The Naysayers have got the whole scruffy sound down to a fucking T. Who gives a shit if you lost all your money making this EP? It sounds fucking mental, and you can take that all the way to your financial woe-ridden graves. So, instead of seeing this dope fucking band flail in economic hell, go see one of their many shows happening down in Melbourne, or buy a copy of the EP. If you’re struck for cash as well, you can grab the EP for free download at their Bandcamp, right here. Either way, you definetely need this EP in your collection, filed under ‘badass’.


New: Ausmuteants-Hate This Town

Mad, rad and totally bad…ass, it’s the brand new track from Melbourne punks Ausmuteants. Fuck, their old album and EP’s have previously got my gonads so morbidly twisted, I’m pretty sure this new LP is going to castrate me. Oh well, there are worse ways to lose your dick than jamming to sexcellent avante-gardeness that sounds like the bastard child of Chrome. Anyway, the first portion of the Frankenstein monster that will inevitably be ‘Amusements’ is ‘Hate This Town’, a song that surprisingly hangs onto the minimalist, and shies away from being too in your face. Another surprise is the upbeat synth melody, however everything is in balance with the sullen-grey nihilist lyrics that Ausmuteants do best.

If you want more Ausmuteants, you can visit their Triple J Unearthed page, and grab a couple tracks for free, including the excellent ‘All Talk’.

New: Nathan Roche-You Are What You Are (free download)

Sydney based goose and Camperdown & Out member Nathan Roche, has just released a single from his upcoming debut solo record. Usually, solo record means ‘I had ‘creative differences’ with my other band members (read: I fucked one/all of their girlfriends) and now I’m just letting the creative juices flow’. Solo records have led to musical landmark albums from the likes of Patrick Stump (Fall Out Boy), Johnny Borrell (Razorlight) and Slash (Guns n Roses-before you get all up in arms, have you heard a Slash album? They fucking suck). However, instead of releasing his inner poetic douchebag, Nathan Roche just sings about funny bullshit, and he does it the only way he knows how: awesome slacker-pop. Apparently, ‘You Are What You Are’ was inspired by being refused entry to Finger Wharf because he was wasted (Camperdown & Out’s words, not mine). Anyway, this song rules, and Slash sucks, that was the point of this post.

Video: I Know Leopard-She

The beautiful single ‘She’ by Sydney based stunner-deal I Know Leopard, starts with the lyrical motif of ‘She is a lion’, which seems…kinda contradicting the band’s name is I Know Leopard. Jesus Christ, how many big cats is this band involved with? Jokes aside, this dreamy affair is gorgeous. The video perfectly matches the hazy romanticism of the song, the soaring vocals with the nodding-head drumming. A deep hue of ocean blue resonates through this track (hands down the most pretentious thing I’ve ever written, but something that needs to be said for such a great track), and the soothing, calm vibes on ‘She’ will most likely flatten the listener.

‘I Know Leopard’ will be launching the single at OAF on the 15th of November.

New: The Persian Leaps-Praise Elephants

When you name your EP ‘Praise Elephants’, either you are really into Hinduism, or you’ve just got a big, bad sound that’s comparable to the wide girth of an elephant. The Persian Leaps, a noise pop band from Minnesota (land of the Vikings), go with the latter, featuring a college rock sound that tightens up the slack of greats like Guided By Voices and Teenage Fanclub, with a little bit of that romantic Replacements thrown in there as well. It makes for a very nice mix, as the opening track ‘Hard Feelings’ (posted above) will attest to. Layered fuzz and ragamuffin rhythms make way for a clean verse, that transforms again into a riff that claws at your system. ‘Not That Brave’ follows on with Pavement-esque bass rocking right up the front, whilst a sing-along narrative hangs around in the back. ‘Silent Treatment’ brings the thunder like a mid 80’s high school basketball movie, only the action is focused on the stoners hanging out on the bleachers. The hypothetical metaphorical movie is directed by John Hughes and stars a young Sean Penn, for those wondering at home. The catchiness only gains a flavour, like a really good steak, when the EP moves into a college rock version of The Cure’s introspection, on ‘Eternally Devoted’ (it’s even got a Cure sort of title). The EP is finished out with the brilliant shoegaze of ‘Sleepless’, a song that sounds like a lost work of Kevin Shields if he went through an R.E.M phase (it’s really fucking good).

Overall, The Persian Leaps aren’t just a band to ‘check out’….they’re an awesome band that you need to champion, like Rudy or Ferris Bueller. Do it.

You can buy the EP for $5, right here at The Persian Leaps Bandcamp.

Gig Review: Listen Out Festival

Saturday 28th September @ Centennial Parklands


If you ever get the chance to go to Centennial Park for a concert/festival, do it. It is one of the most beautiful places to witness live music. That’s where I found myself on Saturday, a wooded glen in the middle of the parklands. To my right was a forest of fake tan, to my left shirtless, tattooed masqueraders shelving pills like no tomorrow, and in front of me was eight hours of EDM. Walking in with mixed feelings, the Listen Out’s debut year managed to be a pleasant surprise.

As the sweltering sun burned my skin to a crisp amber, Yahtzel opened up the day on the 909 stage. The man is insane-2:30 in the afternoon, with only a small contingent gathered to witness him, and yet, he’s playing like he’s headlining Tomorrowland. Yahtzel threw everything he had into the crowd, stunning the contingent with deep bass grooves, and hyping like he was the white Sydney-based twin of Kanye West. A thoroughly impressive start to the day, the greatness of Yahtzel is a mixture of fantastic music (check out ‘High With Me’ here) and over-the-top enthusiasm.

The next to hit the stage was local wunderkid Hayden James, one of the more recent signings to (one of the best labels in Australia) Future Classic. On a label that’s home to Flume and Jagwar Ma, Hayden James stands out like a person with taste at a Riff Raff concert. Of course, you would’ve heard ‘Permission to Love’, a song that gets under your skin and thumps around your skull like an Alien made out of electronic awesomeness, however his whole debut EP is sexy goodness, ready to permeate every inch of your soul with greatness. Whilst the crowd was strong for the beginning of the set, after ‘Permission to Love’ set the crowd alight in a frenzy of electro groove, most dissipated to score a good spot for Triple J stalwarts RUFUS. After ten more minutes of continued sweetness, only the hardcore fans (read: me) were there to witness one of the greatest producers going around right now absolutely kill it on that small stage. Even though there weren’t that many people there, those that got to check Hayden James do his thing bore witness to Stephen-Hawking levels of genius.

Since I’m a conformist with no sense of individuality, I also went along to the RUFUS gig, after Hayden James packed his shit up. RUFUS are a band in the more conventional sense of the word, so it was uncertain how they would perform in a festival dedicated to EDM. However, with a completely sold-out album tour under their belt, and Triple J love pouring in from evry direction, RUFUS had no problem with putting on a gorgeous performance. The three piece engaged a set that had every one in the crowd jiving and twisting, with set highlights coming from massive hits like ‘Take Me’, ‘Desert Night’ and the older but still potent ‘Paris Collides’. When the dreamy ‘Nulla boys  finished their set, it was off to Touch Sensitive, another staple of the Future Classic stable. Most will know the young Ron Jeremy doppelganger for his fucking awesome song/clip ‘Pizza Guy’, but witnessing this dude in action is something else. A laptop, touch pad and an assortment of knobs were at his disposal, but Touch Sensitive also slung a bass guitar over his purple tye-dye shirt. And man did he rock that thing-Touch Sensitive brought more funk with that bass than Stevie Wonder on steroids. It was a pleasure to see a guy so engrossed with his craft, and so good at it too, colliding a live element with samples, and delivering above and beyond expectations. Unfortunately, the crowd seemed more into taking selfies and chatting, but those that paid even the slightest of attention became totally entranced with this moustachioed legend.

As the sun began to set, and a purple hue blossomed over the sky, AlunaGeorge took to the stage. Although the whole R&B thing isn’t something I would usually go out of my way to see, AlunaGeorge put on a killer set….killer. Aluna was on fire, working the crowd with sexy magic, a leather-clad R&B wizardess. Whilst on the main stage Azealia Banks threw a hissy fit (for those who remember Azealia’s previous Australian performances, you’ll see a theme emerging…maybe it’s time to accept the fact that she really is a fucking average one hit wonder princess, who should be given the same level of attention as snail intestines?), AlunaGeorge was gaining universal love, twisting the crowd with songs that the internet loves more than cat videos. Major hits came from ‘You Know You Like It’ and ‘Your Drums, Your Love’, with a smorgasbord of a crowd singing back to the band with total love and adoration.

To finish out the night was the much hyped TNGHT and Disclosure. The former were a major, major disapointment-the duo of Hudson Mohawke and Lunice, two incredibly proficent and well respected DJ/Producers, turned into a show of flashing lights and nothing more. Although the duo aren’t to be totally blamed for the horrific set, as their sound levels was majorly reduced to cope with high decibel demands, and a strong wind manipulated their noise level to a middle-aged-dinner-party-background-music level. Still, there was almost no energy coming from the stage, and the blinding lights did acted more of a distraction than as accompaniment. Most people in the audience were chewing their gums in anticipation for Disclosure’s set, and just sort of milling around and chatting with each other…the exact opposite effect that a group, considered to be one of the most explosive and jaw-dropping electronic music acts of today, should have. However, Disclosure made up for what had been lost by TNGHT. As there was no contender on any other stage, every single person still at the festival was in the audience for the Mercury-Prize nominated Disclosure, bringing the overblown festival vibe to an extraordinary high. The crowd pulsated with electricity as hit singles, such as ‘Latch’, ‘White Noise’ and (a personal favourite) ‘When A Fire Starts To Burn’, exploded on stage. The visuals that accompanied the show were intense, and the throbbing crowd screamed for the brothers. When the set finished, a set that felt like the world’s most intense party, if there was a participator not covered in sweat, then they had been watching something else entirely.

Overall, Listen Out’s debut year was a fine start. The music choices were solid and firm, and for the most part the artist delivered amazing sets. Future Classic were the winners of the day, and TNGHT were, without a doubt, the losers. Hopefully the sound kinks will be worked out next year, but Listen Out is a festival that is guaranteed to keep on growing for the years to come.

New: The Primitive Calculators-Dead

Better late than never right? Primitive Calculators are one of Australia’s best kept secrets, the reason being they’ve been around for 30 plus years, and never released a fucking album. Well, that’s going to change later this year, and the first taste of it is this audible personification of the Grim Reaper coming to take your soul, otherwise known as ‘Dead’. It starts with a synth beat that makes out like a sample of a dying man’s final breath, followed by distorted bass ramblings and vocals that give a new name to stark-raving insanity. It is terrifying to hear the repeated shouts of ‘Dead!’Dead!Dead!’ thrown into your face like dirt over a grave. This song is dark and horrifying, intrusive and disturbing, a bogan’s version of avante-garde, a concept which is all the more mortifying. Think Cosmic Psycho’s meets Shellac in the middle of a Satanic ritual. ‘Dead’ both makes me want to crawl into a foetal position and cry, all the while waiting in nervous phsycosis for the debut Prim Calcs album….whatever they come up with, it’s going to be fucking amazing.

New: The Stevens-Hindsight

Chapter Music have had a better year than the cast of FRIENDS after Season 3: they’ve released albums by Dick Diver, Pikelet and The Cannanes. But hands down, hands fucking down, this new song from The Stevens is the best thing to come all year. Don’t think that I’m saying that lightly either-I love Standish/Carlyon’s album just as much as the next darkwave obsessor. But ‘Hindsight’ is more catchy than a baseball made out of candy floss hit by Babe Ruth. This song is something that you need to own. It encapsulates the whole Melbourne dreary-pop sound so fucking well, with the beautiful jangle, the down-and-out vocals/lyrics and the general Charlie Brown post-getting-punched-in-the-nuts vibes. This song will make tears well in your eyes, a smile splatter across your ugly mug, and your face will roll around in its neck socket like a bobblehead figure. ‘Hindsight’ is….beyond words good.

‘Hindsight’ is the first single from The Stevens’ debut record ‘A History of Hygiene’, coming out on Chapter Music on November 1st. You need to get that record, but you should also definitely buy their EP that they put out earlier this year. It’s got the Mikey Young seal, and it sounds stunners.


New: Grass House-And Now For The Wild

Nick Cave meets Clint Eastwood in the dust-blown mountain range of a song from the London four-piece Grass House. The morbid vocals sing a solemn song, like being at Johnny Cash’s funeral, and the shuttering percussion creates a ghostly effect that would make Stagger Lee shit himself. The repeated outro of ‘And now for the wild!’ seems to hold an unknown potency, like walking into a room full of radiation and not figuring it out until it’s too late, 1970’s B-Grade Horror Movie style. Brilliant song.

Video: Filthy Boy-Waiting On the Doorstep

Strange but alluring sounds from this London based band. Filthy Boy have the whole narrative song structure down pat, with lovely Franz Ferdinand-y vocals wafting through. However, they have replaced the bombastic sound of their Scottish superheroes, in preference of utilising a sleaze unseen since the average 8th grade Physical Education teacher. There’s a great marriage of cobblestone baritone and jangly guitar that makes this song ascend past the heights of your usual Arctic Monkeys copycat, and there is a definitive nod of approval for the song’s tale of introducing a ladyfriend to a mate in ass-less chaps.