Gig Review: Brian Jonestown Massacre w/ The KVB

Thursday 19th December @ The Hi-Fi Bar

The motherfucking Brian Jonestown Massacre. A portmanteau of a Rolling Stones guitarist that went too early, and a mass suicide from a cult. So, basically you’re just asking for a night of sarcastic, slightly deranged neo-psych.

Packed onto the balcony, I watched as The KVB opened up the night. Fuck, I was so stoked to see these guys do their thing. Having been a massive fan since the ‘Beko_73’ EP, Their brand of Jesus & Mary Chain-on-speed-whilst-being-run-through-a-tree-shredder is unique to say the best. But would it be a case of sounding really fucking good on record?

For the most part, yes. Although their sound is weird and wonderful and unique and disturbingly beautiful, it doesn’t hold its Black Swan-level of magnificence onstage. Golden Globe-level tunes, but not an Oscar-worthy performance. #needsmoreNataliePortman. Anyway, enough of this bullshit, The KVB are a sick band, but that night they didn’t bring it. Maybe it was the support slot in a country very fucking far away from London, maybe it was the sparse crowd that was more than content to simply nod along, or maybe the mashed guitar noise and thundering drum machine wasn’t connecting. Whatever happened, The KVB looked a bit bored on stage, and their songs didn’t mesh with the audience.

Although The KVB didn’t permit the frothing reaction that the band had perhaps hoped for, The Brian Jonestown Massacre sure elicited a fine response. A completely packed out Hi-Fi Bar went absolutely fucking nuts as Anton and Co. hit the stage, all eight musicians hunkering down on the stage to play through a breezy set of new and old stuff.

The songs on the night were above and beyond spectacular. There was no point in which someone in the audience wasn’t jumping up and down in deranged excitement at their personal favourite Jonestown track. That’s the thing with this band-they’re so diverse and always offer such a smorgasbord of delights, that its damn near impossible to hunker down and find two fans with exactly the same favourite BJM song. My personal favourites from the band (which sadly weren’t played that night) are ‘Let’s Go Fucking Mental’ and ‘Free and Easy, Take 2’. Nonetheless, I was more than stoked to be able to bop along next to a middle aged mother on my left and acid tweaker on my right.

Another thing, is that the band, especially Newcombe, have moved very far away from their portrayal in ‘Dig!’, the fantastic documentary that they featured in, along with The Dandy Warhols. Yes, I realise that most of the original members have moved on from the band, but the volatile, anything-can-happen vibe that the band so pungently threw out in their 90’s heyday is long gone. Instead, a total, meditative relaxation shrouds the concert, allowing the music to freely intertwine between audience and band. Whilst the documentary shows Newcombe trying to do whatever he can to sustain the high of live performing, in 2013, he and the band are easy to just let it come to them.

As for crowd interaction, well the constant amount of joints that were lit throughout the night were a testament to what kind of band The Brian Jonestown Massacre. Their hippie rock n roll (generally speaking of course) attracts a certain crowd, and the constant orange glows in the dark, cavernous Hi-Fi Bar showed that people were more than willing to join the ‘I Got High At A BJM show’ club. Seriously, I’m not kidding, the audience hot-boxed the fucking Hi-Fi Bar, that’s an accomplishment and a half.

Overall, the Brian Jonestown Massacre killed it onstage. Cool without trying at all, super spaced out and beautiful songs, and a set closer of ‘Oh Lord’ that had the crowd up in arms of where their lives could go now that they had experienced such a glorious high. Can’t ask for much more than that. Oh yeah, did I mention that there’s a guy (Joel Gion) who’s sole job is to play the tambourine in the world’s coolest band? Sounds like a Brian Jonestown Massacre show to me.

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Video(s): Scott & Charlene’s Wedding + Oscar Key Sung + Jon Hopkins + World’s End Press + Ariel Pink & Sky Ferreira + Kramies

Videos. Joke about MTV. Slight snicker, or at the very least, you breathe more air out of your nose than usual. With the introduction done, a small segue is used to seamlessly transition into the article, the reader satisfied by the author’s air of originality.

Scott & Charlene’s Wedding-Charlie’s In the Gutter

By now, you’d know Scott & Charlene’s Wedding as that super awesome dole-wave band that’s part Melbourne, part New York City. On ‘Charlie’s In the Gutter’, there’s that traditional slacker vibe of rejecting bullshit that Craig Dermody does so well, but there’s also a little more electricity in the guitar. Meanwhile, scenes from the life you wish you had flash by in the video.

Oscar Key Sung-All I Could Do

The rhythmic wizard that is Oscar Key Sung proves why he’s one of the most enchanting producers in Australia right now with ‘All I Could Do’.A little bit xxyyxx, a little bit Jon Hopkins, it swishes around on those little stilts of synth magic. But Key Sung’s own voice of melted chocolate and his compatriot on the ‘hmm’ sample make this song more delicious than an explosion at the cotton candy factory.

However, the video really takes centre stage here. Its like an exploration into African tribalism and unused Hollywood sets. Starting out with 80’s glitch leftovers and moving into a cloud-covered Coliseum, this video is both trippy and alluring.

Jon Hopkins-Collider

Speaking of Jon Hopkins, its Jon motherfuckin’ Hopkins. In the spiritual video sequel to The Prodigy’s ‘Smack My Bitch Up’, ‘Collider’ shows the dark underbelly to all that trancey stuff your kids are listening to. Look, there’s a party going on here, but its so violent and diluted by other forces, you wouldn’t know if you’d actually go there. The music just accelerates the unease, Hopkins’ signature shuffling minimalism that comes off screaming harder than any Bring Me The Horizon track.

World’s End Press-Drag Me Home

Aaaand, we’re back in Australia, by way of Melbournites World’s End Press. These cool fucking cats released their debut self-titled earlier this year, and although I haven’t had a chance to check out the entire thing, what I have heard has been pretty mindblowingly great. ‘Drag Me Home’ is that case closed. Like their contemporaries Jagwar Ma, World’s End Press fully embrace the style of Madchester  love, bringing the half-rave, half-cheesy love song format that made Happy Mondays so famous.

As is par for the course of a World’s End Press video clip, a whole bunch of interesting shit happens. There are scantily clad women, nerds, fingernails and unnaturally stretchy spines, all bathed in sleazy neon lights.

Ariel Pink & Sky Ferreira-My Molly

Man, this is a team-up that makes one question why the fuck it didn’t happen sooner. If Sky Ferreira wasn’t going out with the main dude from DIIV, she should have totally hooked up with Ariel Pink aka the greatest, weirdest musician this planet has right now (slightly above Dan Deacon)  because this energy is what the world needed after Sonic Youth stopped being cool weird, and got French weird.

The New York chic sheen that covers this track pokes through the grime, and the drug-fuelled, fuck-you charged ‘My Molly’ becomes a little jail cell for Pink and Ferreira to jump around in and do their best Courtney Love impersonations. The video is pretty akin to that description, lots of lazing around, staring into the camera seductively and acting like Runaways-era Joan Jett.

Kramies feat Jason Lytle-Sea Otter Cottage

And finally, ‘Sea Otter Cottage’. This one is a tad quieter and less vibrant than the previous entries, but no less amazing. Kramies bring the melancholy poetry hard and fast on their drooping miser ‘Sea Otter Cottage’. Every time you think the track’s about to fall, it is suddenly picked up by some new instrument, like macabre organ chords or vaudevillian guitar. Perhaps its the influence of Jason Lytle of Grandaddy fame that muddles and murkies their sound, but it comes off fantastically.

New: Black Lips + Gazar Strips + Casual Sex + Jugu + Tincture + Chalk And Numbers

Okay, a fuckload of new songs, all of them good. Its like Christmas. Lucky you.

Black Lips-Boys In the Wood

If John Travolta from Grease combined with John Travolta from Pulp Fiction, you’d have an idea of the swag overloads on this new Black Lips track. This song is so urban cowboy, its like a Clint Eastwood/John Wayne combination, a thought so impossibly awesome, if you dwell on it for more than a couple second, your brain will explode. The Black Lips tried, and only through the power of their sheer amazing could they pull through. From their experiences, they formed the new track ‘Boys in the Wood’. Supernatural avoidance of brain explosions are pretty fucking awesome, as is this song. It just makes sense.

Gazar Strips- Oversight

Okay, so this is how shit went down. Imagine if you were some shit little Padawan, then all of a sudden, fucking Chewbacca rocks up and gives you mad props on your lightsabre skills and offers to personally teach you how to use a Wookie crossbow? Well, that’s a great allegory for that time my favourite Aussie music website, Sonic Masala, asked me to check out their debut single on the record label the guys just launched.

At by fuck, is it not just the greatest thing you’ve heard in a while. Gazar Strips from Brisbane play a fudgey, slick combination of Joy Division, The Jesus and Mary Chain with, wait for it, Primus-like bass riffs. Those things just jump and strut like they’re coming straight out of ‘Wynona’s Big Brown Beaver’.

The song soon descends into this Sisters of Mercy goth thing, scraping up the barrels of blackness off the Brisbane band room floor and throws them down in a terrific show of angst. Man, this song is fucking killer!

Casual Sex-Then Again

Oh man, oh man, oh man! This shit is like eating a fuckload of chilli, having the entire rim of your mouth completely seared to a deathly pain, and somehow, Casual Sex turn that into an enjoyable feeling. Their sound is a kindly of sickly, oozing, vampiric take on The Horrors. If that band’s early stuff was molested by the likes of The Cramps, then you’d have something along the lines of what happens in the spine-tingling lies of ‘Then Again’. Both seducing and horribly terrifying at the same time, you’ll never view one night flings in the same way again.

Jugu-All the Girls

Something a little less dark, but by no means outside of the territory, this holds a little bit of pixie Amanda Palmer to it. Everything’s still doused in black, but now there’s a mystic sheen running all over it. Its incredibly attractive, but in the back of your mind, you just fucking know there’s a catch. Good luck trying to find it in the textually dense track. There’s those sprite-like vocals, dancing xylophones, and clarinet-or something weezing. Those constant, circular keys that wrap themselves around you, those are the final killers though, ensnaring you like a she-devil python. Jugu proves herself to be the anti-matter version of Sia, and I prefer it that way.

I’lls-Outright (Tincture Remix)

Holy fuck, now things are about to slow down to zanily over-the-top pace.We need to get Jim Carey or Adam Sandler in for this or something, because after the relatively breakneck darkness, there’s a remix of I’lls that I’ve in no way prepared you for. Off their sophomore EP from earlier this year, ‘Outright’ turns into a freezing, glacial monolith, albeit one that starts to get scaled by millions of climbers all searching for some holy shrine, right about 2:08 mark. As specific as that description is, I think its fitting, and I’m the one who’s writing this shit, so deal with it.

That one was by Tincture, the Brisbane maestro who shocked and awed with his track ‘Tryst’. You can grab it for free at I’lls Bandcamp, along with remixes by Rat & Co, Naysayer & Gilsun, Ktsche and Wabz.

Chalk And Numbers-Jump Up

And now for something really, really, really, exploitatively different. This is a track from the band Chalk And Numbers. They sound good, they’re critically acclaimed, they’re underground, yep, they’re from New York. Anyway, this is their contribution to a compilation coming out really soon based around Fraggle Rock songs. There’s only two people that watch Fraggle Rock, and that’s kids under 5, and stoners/trippers out of their fucking minds.

Anyway, the song is a sunshine-splashed, old school garage pop gem. Very girl-group, like The Mama’s & The Papa’s, but minus The Papa’s.

Hand Games Mixtape #17: BEST OF 2013 (free download)

Oh shit, another best of 2013 thing from this pile of excrement. You see, you’re wrong there, because this is a best of 2013 thing from Hand Games, a service that actually knows how shit went down on 2013, and has a bit more of a broader reach than, say, Soundly Sounds.

There is not a single track on the best of mix that shouldn’t be there. From the internationally conquering Jagwar Ma, Courtney Barnett and Fascinator, to local heros like You Beauty and The Preatures. There’s a strong contingent of electronic wonder courtesy of D.D Dumbo, Oisima, Oscar Key Sung and Major Napier, whilst the tribal element is taken care of through Willow Beats and Savoir.

On the wild and loose front, there’s The Growl, Bad//Dreems and Peter Bibby, all bands with that desert spirit running through their veins. But for number 1, in agreement with this own shitty writer’s opinion, TV Colours gets the spot for best song of the year through the monstrous tune of ‘Beverly’.

Man, what a fucking great list right? Pity you can’t download all of that…oh wait, you can, holy shit, send me a link. ^….it’s up the top there, thank me later.

Top 10 Australian Albums of 2013

Whoomp, there it is! Or, to be more grammatically correct, here it is. Because, y’know, you’re reading this off some sort of screen, which is on front of you, and not somewhere else, which is what the preposition of there implies.

Look, I was trying to make a reference to Tag Team’s 1993 smash hit, and smoothly initiate an article about the best Australian albums of 2013, but it failed in a brutal showing of grammatical error. Anyway, as I clumsily try to regain my poise, let me say that 2013 has been a killer year for Australian records. On the International scene, there haven’t been absolutely tonnes of records that have held people’s gaze for the full year, but in Aussie-land, home of snuggies and the ‘ocker’ stereotype, there have been leaps and bounds in every genre available. Its cruel to pick just ten, but here we are, in a state of despair. Woe is I, for we art doomed to live in a state of existential pit of despair wrought by picking just ten albums for lists. Please….empathise.

Super Dooper Special (as in all tied Equal 11th) mentions go to Scott & Charlene’s Wedding, The Ocean Party, Day Ravies, Unity Floors, and Ooga Boogas.

Special Mentions go to Clowns, Amateur Drunks, Standish/Carlyon, Pikelet, The Living Eyes, Golden Blonde, Ausmuteants, The Drones and The Native Cats.

Super Duper Ultra Special Metal Album: Zeahorse-Pools

The sludge! The intensity! The gruel! Its like Jack Black once said in Tenacious D’s ‘The Metal’, ‘…you can’t kill the metal, the metal will live on’. As it does on Zeahorse’s debut record ‘Pools’. Stagnant marshes of filthy reverb and disgusting bass-lines make this a riveting listen, plunging you head first into a swirling world full of blackness and awesome sludgery.

10. Yes, I’m Leaving-Mission Bulb

Not since Fugazi has a punk band come so blindingly close to marrying the intense anti-establishment message of punk with blindingly good melodies. For Yes, I’m Leaving, a band with both an excellent name, a fantastic live show and even greater songs, its just another day making great fucking songs. Yes, I’m Leaving don’t really make a misstep on ‘Mission Bulb’, just chugging out those razor sharp punk songs like they’re a supergroup made from Patti Smith, Ian McKaye, Keith Morris, and Jello Biafra, and the old guy with a sledge hammer on the cover is replaced by Henry Rollins. Perfection!

9. Primitive Calculators-The World Is Fucked

Never have you heard something as vicious and in-your-face until you’ve witnessed the sheer terror of a Prim Calcs track. Finally, after all this time…the band have gotten around to releasing a debut studio album. Its not like Australia’s been waiting over thirty years for this thing! Thankfully, the album paid off like robbing a bank vault Die Hard 3 style, both a physical and emotional pay-off. Not for a moment do the band let up, blasting our brain cells one super charged synth-punk anthem after another.

8. Bed Wettin’ Bad Boys-Ready For Boredom

Another debut record, another awesome band name. You could say its a combination of the previous two entries, but you’d be wrong because the Bad Boys sound fuck all like the other two bands. Instead, they pick up where The Replacements left off on ‘Pleased to Meet Me’-emotionally charged everyman’s rock n roll. It belongs in a pub, three-schooners-down, with one eye on the rugby game in the corner and one eye on its uncertain future. However, if the band can keep churning out the hit factory and overall nice package that is ‘Ready For Boredom’, they should be sorted for a very long time.

7. King Gizzard & the Lizard Wizard-Float Along-Fill Your Lungs

I’ve said it once, I’ve said it a million times-King Jizz are the Darwin Evolution theory in practice. Starting out with bare-bones ramshackle rock n roll and slowly developing into the psych rock band we now see a year and a half later. However, they never lost any of the zeal and flavour they had on the ‘Willoughby’s Beach EP’ way back when, and can still manage to excite and boner-ise with their longer stuff as they can with any two minute electric shock.

6. POND-Hobo Rocket

Its a mini-album, deal with it. It was still too awesome to leave off the list. Its over-the-top glam rock, but not as you know it. If David Bowie was gobbled by some sort of psychedelic monster, and laid to waste by a plethora of Wayne Coyne clones, then you might get something as fun, frantic and off the fucking hook as ‘Hobo Rocket’. It dodges, dips, dives, ducks and dodges between all different sorts of vibes and frequencies, a restless creature if you’ve ever heard one. And boy, does it fucking sound amazing.

5. Cut Copy-Free Your Mind

‘Free Your Mind’ can’t really be defined as a return to form because Cut Copy never lost their form (go listen to ‘Zonoscope’ again, and try to feel any inkling of disappointment). Instead, ‘Free Your Mind’ continues the Cut Copy legacy, leaping and bounding into acid-house territory. The Madchester warehouse vibes are certainly there, mingling with the indie pop sensibility that Cut Copy own so hard like I own a massive Sonic Youth poster so hard. You’ll dance, you’ll think, you’ll cry and you’ll dance again, all within the confines of ‘Meet Me in a House of Love’. Isn’t Cut Copy just the greatest invention?

4. Violent Soho-Hungry Ghost

The cover-a skeleton engulfed in flames. Now that’s how you garner some fucking attention. Or, you could just stir up some of the most heart-pounding, adrenaline-inducing, mouth-watering rock songs this side of ‘Smells Like Teen Spirit’. Most of the songs on ‘Hungry Ghost’ are anthems, no doubt about it. Try to listen to a chorus of ‘Hell FUCK YEAH!’ without forming some sort of death circle in whatever location you happen to be in. In completely unrelated news, death by moshpits have gone up 215% in nursing homes that play Triple J. But that’s not all there is to ‘Hungry Ghost’, as the team manage to cook up a couple of heart-warming surprises throughout. More delicious than an angel made of bacon.

3. Palms-Step-Brothers

I guess the reason why Palms are such a great band is because they’re doing something that’s been done so many times before, but putting such an original stamp on it, that you can’t help but do a quintuple take. That’s right, your head will spin a minimum of five times as you try to reconsider your life without Palms in it. There’s so much to swallow when listening to ‘Step Brothers’, but not in a bad way. No, going through this, you’ll be gulping through as much musical content as possible to get all that Palm-y goodness in your spirit ASAP.

2. The Gooch Palms-Novo’s

Speaking of Palms, The Gooch Palms came in with one of the strongest musical entities of the year. However, whilst Palms channel Springsteen, Goochies are all about The Ramones. Bratty, snotty punk, farted out into the willing ears of all lucky enough to listen. However, The Gooch Palms show a surprising diversity, and with the mixture of shameless pop ballads, rain-soaked bummer ear-catchers and leather-jacket FUCK YEWWW’s, you can’t feel bored, even for a second. Rock n Roll runs in the veins of Kat and Leroy and to deny them of that would mean to say that this album doesn’t make you immediately want to strip off all your clothes, run down a highway and spread the word of the Almighty Gooch.

P.S The Gooch Palms and Palms are teaming up for a tour called Palmarama, and they’re playing Oxford Arts Factory on Friday, 28th February. Miss this and perish in a pit of regret.

1. TV Colours-Purple Skies, Toxic River

Surprise, fucking surprise. The album that I can never stop blabbering about comes in at No. 1 on my list of the top Australian records of 2013. Bias aside, if you don’t like this album, then seriously, nothing can be done for you. You are a lost cause. A total travesty of a human being. This album is perfection, a lulling, mesmerising concoction of deadly riffs, lo-fi production, cheesy synths and samples, rolled into a bundle of delights that the world has never seen before. Even though Bobby Kill took two years to make this record, it was worth every minute of waiting for this fucking masterpiece. God Bless TV Colours!

Gig Review: Mac DeMarco w/ Twerps

After this photo was taken, we made sweet love in a villa in Eastern Jamaica*

Thursday, 12th December @ The Standard

May as well start this bleary review by saying that Mac DeMarco put on a gig worthy of the almighty Top 10 of the year. That’s right, some no-name numbskull, that every blog from Pitchfork to Polaroids of Androids seems to adore, was one of my favourite things to see with my own eyes that was musically related. Put it somewhere between a repeat viewing of Spinal Tap and The Stooges. Yeah, it was pretty fucking great. Here’s why:

FOISTLY, Twerps one of my all-time favourite recent Australian bands (thoroughly confused yet?) were opening the bill for our lovely Canadian compatriot Mac. Actually, Destiny 3000 (one of the best up-n-coming Sydney bands of 2013, check ’em out here) opened up the whole show, but because I live a demised life, I missed their set. By all accounts, they played really great, which is no surprise, because they are better than sex followed by pancakes.

Anyway, back to Twerps.  They don’t come up to Sydney all that often, which is a total bummer and a money-saver, because I would see them every time they came. It seemed that not a whole lot of people in the audience knew who Twerps were, or at least the punters I was surrounded by, but by the end of the set, everyone in the crowd was fucking enthralled.

I say fucking enthralled because Twerps put on just the greatest of sets. The set was mostly leaning on new material, a whole slew of stuff coming from their upcoming sophomore record making appearances. Judging by the mixed expressions of awe, shock and the sudden realisation that the only way to spiritual one-ness is to follow this band to the ends of the earth that adorned most attendees’ faces, the new material worked a charm.

Not that the established stuff didn’t hit the mark either, far from it. Opener ‘Dreamin’ captured everyone’s attention immediately and set the performance at a cracking pace (a paradox because of the songs’ silkier-than-a-waterborne-sealion nature, but you get the point). And newer hits off their triple A-side single that came out last year, ‘Work It Out’ and ‘He’s In Stock’ were so thoroughly charming, you’d swear Marty was a goddamn Disney prince.

So, Twerps have walked off stage, and I’m at a crossroads, because in my mind, in absolutely no way have they played long enough. No, my body craves Twerps like teenage pop idols crave tabloid attention. Mac DeMarco could have bailed on the show right then, and I would’ve gone home happy. But no! He had to rock up with his band, ALLLL the way from fucking Canada and make sure I had one of the best nights of my year.

DeMarco gets on stage with the band and starts acting like he’s been in the country for his entire life, with the quick ease and intimacy that would put any comedian to shame. Did I mention this guy’s fucking funny? Throughout the night, he spat beer into the audience (in good humour), spouted about Einstein and how ‘…everything’s relative…’, and there was kind of an extended part about fucking various band members’ mums. Oh yeah, and he has the greatest radio voice of our generation. Someone get Alan Jones to fuck off and replace him with Mac DeMarco.

If it had just been the comedy and word jousting, I probably would’ve left a very happy man. But these dudes added music on top of it! And it was really, really good music! Like, really, really good! Think an amalgamation of The Idiot/Lust for Life-era Iggy Pop crossed with The Rolling Stones in their drug fucked Exile On Main Street days, and then sprinkle some Screamadelica-level Primal Scream over that already mouth-watering delicacy. You do realise I’ve just rattled off three prominent artists at their artist peaks, and this fucking dude goes and combines all that shit into an orgasm inducing bender? You do realise I’ve just done that, right?

Anyway, you may have heard a couple of his tracks getting bounced around, stuff like ‘Ode to Viceroy’, ‘My Kind of Woman’, and of course, ‘Freaking Out the Neighbourhood’. All of these were above and beyond good, making the crowd shake and our lungs work overtime to try and reciprocate the lust vibes emanating from DeMarco.

However, the most interesting aspect of the music was how it became so alive on stage. When listening to it on record, you sort of get this weirdly awesome haze hanging over it, but in the flesh, the haze is replaced with a full-blown sleaze rock accent. Everything becomes a little more corrupted and amazing to witness. People even were moshing and crowd surfing, to music that sounds as though it was made as bong smoke filled every corner of the recording studio. Thats an amazing sort of reaction to garner, and DeMarco responded thusly, even stage diving into the crowd during ‘I’m A Man’, and inviting Marty from Twerps to do the same.

But DeMarco sure know how to save the best for last, a medley of unrelated by stunning covers. There was ‘Taking Care of Business’, ‘Rollercoaster of Lover’, ‘Enter Sandman’, and a back to back of Back in Black’ and ‘Thunderstruck’, all played with the shambolic and fun attitude that made Mac DeMarco a unique and fucking invigorating thing to watch.

So, to summarise, Twerps were awesome and Mac DeMarco waas really awesome. There was simply just too much awesome in a single room for a night. It was not good, I had awesome in my clothes, I smelled of it for days after. I fucking hate awesome stuff. Goddamit Mac DeMarco and Twerps, why you gotta ruin my pessimistic existence?

*This sentence is in absolutely no way, shape or form a representation of anything resembling truth 😦

Video: SKATERS-Deadbolt

SKATERS are a punk band from New York City that don’t give a fuck about spelling things gramamtically. If they want to caps lock shit, they’re gonna caps lock shit.

On their single ‘Deadbolt’, there’s really two distinct sides: the Billy Idol ‘Rebel Yell’-like verses that show a band creeping towards something explosive, and then the chorus’, which pay out that explosive cock tease. Overall, some pretty awesome Saturday night rock n roll.

New: Alternative Music from The Native Cats + House of Laurence + The Good Sports + Shiny Joe Ryan + Stephen Malkmus & The Jicks

More new shit! Wowee, its like Christmas only better! Wow Yeah!

The Native Cats-51

Boom! Bet you didn’t fucking expect that right off the bat! Boom! New Native Cats, what are you even going to do about it? Huh? What? You scared? You scared by the greatness?

Man, ’51’ is an offcut from ‘Dallas’, the album The Native Cats released earlier this year, but listening to it begs the question of why the fuck they left it off!? This song is amazing! There’s so much shit happening!

The track starts out like a 1980’s platform gamer, only you control the character of Ian McKaye as he smashes barrels for coins, to fund his label Dischord Records and ensure that he doesn’t have to ever take money from The Man. However, the track then evolves into the sinister monologuing that was found on ‘I Remember Everyone’, a malicious combination of Gareth Liddiard and Kirin J Callinan. And then all of a sudden we’re floating in space to this programmed drum beat and drawn out keyboard soundscapes. Weird shit, but so good you’ll curse The Native Cats for not releasing this to the public sooner.

House of Laurence-Just Don’t Move Me

And bang, more good shit, straight from our backyard. This time, we’re south of the border in Melbourne, with indie rock band House of Laurence. I feel as though the clip for this song is basically a retelling of the band’s journey trying to find a place after Laurence kicked them out of his House for starting a fucking band in his flat. Regardless, at least House of Laurence can write a pretty cool indie rock track in the form of ‘Just Don’t Move Me’.

The Good Sports- Out of the Way

The Good Sports are a great band from Brisbane. Its kind of King Gizzard/Thee Oh Sees, but instead of going for the bat out of hell slaughter that those bands usually get up to, The Good Sports seem content to just wallow in their murky garage-psych jams for a while. ‘Out of the Way’ manages to be both incredibly chill and invigorating at the same time, kind of like if Unknown Mortal Orchestra were dragged out of a swamp.

Shiny Joe Ryan-The Cosmic Microwave Background Pt.1

In case you couldn’t figure it out already from the title, Shiny Joe Ryan is another offshoot of the Perth psych scene, this time from POND member, Joe Ryan. This one has a definitive Tame Impala feel to it, twangy space guitar littering a slowly escalating holy high note, a sound that’s like being raised into heaven whilst the Beatles go through their Indian phase around you. Its a weird amalgamation of sounds, but its pretty fucking cool.

Stephen Malkmus & The Jicks-Cinnamon and Lesbians

Isn’t that just the greatest title for a song? ‘Cinnamon and Lesbians’? And wouldn’t you fucking know, this song has the most delightful video clip since Winnie the Pooh made rap videos. Yep, this song pairs those usual Pavement riffs with Malkmus’ wry observations (…’I’ve been tripping my face off since breakfast…’) make for a fun fucking listen. And when the video can reflect the lyrics as accurately as a truth serum, well then its time to shut up, and watch a fucking video.

 

New: Electronica Music from Cosmo’s Midnight + City Calm Down + Sable + CEO (free downloads)

So there’s been a bunch of new tunes of the knob-tweaking variety, almost all from Australia, and all very, very gewd. Fuck introductions, let’s hear some music.

Cosmo’s Midnight-Goodnight feat. Polographi

That’s right, a new track from Sydney wunderkids Cosmo’s Midnight. These guys are becoming so buzzworthy right now, its like someone strapped a rocket to their backs and sent them shooting through the blogosphere, smashing taste making website’s expectations left and right.

Their new double A-side is actually abysmally great. I say abysmal, because its doubtful you’ll hear something as good as this for the rest of the year. ‘Goodnight’ is just an onslaught of sounds, moving between a party in zero-gravity and a orgy of sensationalism.

City Calm Down-Speak to No End (Groundislava Remix)

So, by now, you’ve no doubt heard the most excellent new City Calm Down track. Yeah, it rules, we’ve been over this, fast-forward to the present. Groundislava, aka Jasper Patterson, has done a remix, and it adds squelch over some twinkly production. Its a refreshingly hands off approach, and the man from LA (city of broken dreams and shitty actors) shows that you don’t have to add forty layers of production to a track to take it in a slightly different direction.

Sable-Feels So Good

Well, for a debut release, Pilerats sure haven’t held anything back. You probably know Pilerats as the online magazine, but they’ve literally just started up as a label, and their first birthing is the producer Sable with the track ‘Feels So Good’. The track flutters along at butterfly wing pace, and looks just as good. If Passion Pit were turned into a small furry, forest-bound creature and let loose on a Scarface amount of cocaine, and then allowed to play a bizarrely large amount of synths, you’d get something like ‘Feels So Good’. Awesome stuff Pilerats!

CEO-My Liquor

That Kanye West feller had a pretty popular song called ‘Hold My Liquor’ from his recent ‘Yeezus’ album. That much I know. Anyway, some people have decided that they want to have a crack at covering it. Amongst those people are Lorde (you might know about her) and a producer called CEO, which is the moniker for one of the guy’s from Sweden’s The Tough Alliance . Now, damn, the CEO cover is glorious. Its like a gospel choir was funnelled into DJ mixing equipment for a syrupy Spiritualized meets Underworld meets New York indie rock in a single song originally created by an angry rapper.

New: HTRK-Give It Up (free download)

Oh shit muffins, there’s some official new HTRK. Fans of the disturbingly dark rejoice!

‘Give It Up’ is the first single off HTRK’s third record ‘Psychic 9-5 Club’, which is going to be released in April next year (It’s going through Ghostly International in the USA! That’s the same label as Shigeto and Gold Panda!). Now, HTRK were always ones to experiment with new sounds and cover new musical ground, but whereas you’d be used to soaring guitar loops and occasional squal in their previous two releases, ‘Give It Up’ rids itself of that. Instead, there’s a more defined, limber approach, like Portishead.

If you imagine a sea mammal just slowly drifting through the ocean, not really alive, not really dead, unmoving and caked in sorrow…that’s the picture you get from the sadness that resonates on this track.When Jonnine Standish says ‘This time…I’m gonna love you much better’, you can actually feel your emotional glands working overtime. Very beautiful, but more heartbreaking than repeat viewings of Schindlers List.