New: DZ Deathrays-Gina Works At Hearts

Believe it or not, some people got pretty shitty about the release of ‘Northern Lights’, the first single off DZ Deathrays upcoming debut. Personally, I thought it showed some great growth for the band, but hey, that’s just my shitty opinion.

So basically, ‘Gina Works At Hearts’ goes out to all those that were ever doubting that the band couldn’t pull off another high-octane punch to the gonads. ‘Gina Works At Hearts’ goes harder and faster than that new Need for Speed movie, and it will pulverise you like accidentally slipping your hand in a blender.

However, there’s also pop elements to the track. DZ have always had that element of chorus-rocking to them, but ‘Gina’ is less subtle about it. But when you slam a shredding melody, and a chorus of overblown cynicism like  ‘Gina works at hearts/But she doesn’t know/ Why she does it though/ She just loves the attention’, then it’s hard to find any faults. You’re better off just sinking into a mindset of one-track minded moshing, and leaving the complicated shit to people that like Chopin and Puff Daddy.

Video(s): HAIM + The Horrors + Real Numbers

Gather ye round, minstrels of good music!  It’s time to watch some videos that are bad for your brain cells!

HAIM-If I Could Change Your Mind

As of Laneway, I’m a super-dedicated HAIM fan, and will defend them to the death, unless they start releasing shitty music, in which case I’ll pretend I’ve never heard of them. As it is, HAIM are at the music video point in the album cycle, with the most recent piece being for the excellent cut ‘If I Could Change Your Mind’. What is already a glorious pop number gets shifted into Michael Jackson levels of stardom, albeit with a strong sheen of Runaways spunk. That Las Vegas sign sealed the deal for me: I’m semi-thinking of becoming a stalker of this group.

 

The Horrors-I See You

Although technically a lyric video, the psychedelic water splashes make this video invigorating. And it’s new stuff from The Horrors, so of course I was going to talk about it to the Internet.

‘I See You’ is having mixed reactions for me, causing an inner turmoil not felt since a good friend of mine said they liked the Star Wars prequels. On the one hand, ‘I See You’ is undeniably amazing. It’s epic, but not pretentious, lush, but not confusing, and full of emotion and zest. It sounds like a mix of POND with City Calm Down, and that’s gut-wrenchingly, stomach-churningly beautiful. ‘I See You’ is great, and because of its length, the song continues to unfold and expand. Just when you think it couldn’t get any better, plot twist, it does.

However, that last point is also the problem. The song shifts so dramatically from start to finish, but there isn’t really any logic behind the movements. It’s like The Horrors are trying to be Radiohead, but its not really working with the same consistency as they probably would’ve liked. Whereas you could listen to ‘Paranoid Android’ a couple million times, ‘I See You’ probably won’t have the same effect.

 

Real Numbers-Ordeal

And now for something completely different: Minneapolis’ Real Numbers. These guys were fucking fantastic when they came down for Sound Summit late last year, so seeing that they have a clip for their amazeballs track ‘Ordeal’ is nice. Basically, it’s a Psychedelic Furs album cover that’s come to life with the help of some simple garage rock ‘n’ roll. Gorgeous, like an Alaskan sunset, or a 2-for-1 deal at the local kebab shop.

New: Ciggie Witch-Long Weekend

You don’t need me to tell you that there’s been a shitload of amazing Melbourne jangle music happening in the past couple years. It seems like every dickhead (me) with a blog (me) has written something about “dole-wave” or some other derivative of the awesomeness occurring in our cultural capital of Melbourne (BLASPHEMY!)

That trend continues in the form of one of the leaders of the scene, Ciggie Witch. They’ve been kicking it for a couple years, since late 2012, making music of the sighing jizz-worthy variety. Now, after two years of kicking it Beastie Boys style, they’re getting around to releasing their debut record.  Why so long to make a record? Well, if you look at the members of Ciggie Witch, their contributions to other projects reads like a who’s-who of Melbourne’s entire music scene. Jangle or no jangle, the members of Ciggie Witch do not give a fuck-they just want to make music!

So, it comes with great excitement that Ciggie Witch announce their debut long-player, of which the single ‘Long Weekend’ is the first single. As expected, it’s fucking beautiful. I seriously considered taking the profanity out of that description, but then I decided that it wouldn’t do justice to what is a gem in the jangle crown. The way the music caresses you like Grandma’s chocolate-chip cookies, and the lyrics manage to describe the shit out of a quarter life crisis and all the difference of having a long weekend with mates can make. 10/10 would jangle-pop (That’s a euphamism for bang. What I’m saying is that I would bang the shit out of Ciggie Witch)

New: Lurch & Chief + Heads of Charm + Morning Harvey + Odyssey

Ooooft, new tunes from our sunburnt country. If you put down your goonie for just a second, you’ll see that these tracks are worth stopping your cheap wine bender for.

Lurch & Chief- Mother/Father

You! Yes, you! The fat turd with Cheethoh stained fingers, listening to the latest nu-metal release! Quit being such a fucking wanker, and listen to the new Lurch & Chief single! It’s a slice of garage pop specifically aimed at turning the peice-of-shit you, that posted a photo on Facebook of your new Insane Clown Posse makeup,  into something mildly attractive. ‘Mother/Father’ features a chorus of orgasmic heights, and every time those ‘Woo’s sound, chills harness themselves around my spine, and give me a mini-seizure. Enjoy!

Heads of Charm-Spain on A Roll/Check Check Check

And for those who weren’t drained of all energy in that previous track from Lurch & Chief, well here’s one that’ll send shocks of Pikachu-levels of energy down your entire body, smouldering you to a small pile of ash. Heads of Charm are like a mini-supergroup, that harness over-the-top propulsion with math-rock precison. You think you’ve heard good diversity between the louds and quiets of a song? Fuck off, you haven’t heard shit til your brain has been pulverised by “Spain on a Roll’. If you liked At the Drive-In, but always wanted them to re-locate to Melbourne, well here’s your chance.

Morning Harvey-Girl Euphoria

And now, since your mental, physical and, dare I say it, sexual state should be confined to utter exhaustion, there’s a new one from Morning Harvey to lull you into a sense of security. ‘Girl Euphoria’ could’ve been a B-side from The Stone Roses second record, and it’s obvious that Morning Harvey are disciples of the 90’s British movement. Those slides of psychedelica, those sharp melodies…Morning Harvey are well on their way to Britpop fame, despite the fact that movement kind of ended fifteen years ago. Regardless, Morning Harvey can write a damn good single, and if they can continue that, maybe they can revitalise the genre. God knows Blur and the Gallaghers are having trouble doing that.

Odyssey-Future Space Dead Sound

OK, so when you’ve got an album title that sounds like it combines the graphic, spine-ripping gore of Mortal Kombat with a Chemical Brothers song, then you’ve got me (and everyone else who’s hypothetically into good music) hooked.

Odyssey is the project from Velociraptor/Tiger Beams member Jesse Hawkins. And because Brisbane is such an incestual scene, he got some of his buddies to contribute as well.  There’s Shane Parsons from DZ Deathrays, Julien James from Tiny Migrants, and even old mate Kylie Minoque makes an appearance. Whether Kylie’s appearance, or indeed, any of the guest spots, were solicited, is completely up for debate.

Regardless, Odyssey are in the business of creating insane, loopy, thumping post-punk rooted electronic music, which is more of a pretentious mouthful than even I thought I was capable of. Start with ‘ODYSS’, and then make your way through the rest of the album with the fumbling, blind enthusiasm of every woman ever in the presence of Ryan Gosling.

Album Review: Solids-Blame Confusion

Because Montreal based two piece fuzz outfits can’t get enough of Kevin Smith’s 1995 slacker ode ‘Mall Rats’, Solids gave the cover of their debut album over to a Magic Eye painting. Can you see the picture? Just squint!

Or maybe you’re like me, and sees through the bullshit that is a Magic Eye painting. That shit isn’t real! It’s an elaborate ruse, a distraction from the  freakin’ media, to ensure we’re a bunch of confused, cross-eyed idiots! Did you even realise that we elected Tony Abbot Prime Minister of Australia? What the shit? How fucking enthralled were we in Magic Eye paintings that the people elected that idiot?

Solids, like me, see through the bullshit. They don’t have time to sit down and talk about feelings with an acoustic guitar in hand, and there’s two reasons for that. 1. Folk singers never accomplish shit (even Bob Dylan agrees) and because going faster than the vomit escaping one’s mouth upon hearing ‘Achy Breaky Heart 2’, is badass.

Solids never withhold their blistering pace from the audience, ensuring that your ears are in tatters by the end of a single song. There’s a disgruntled howling guitar monkey that went to the studio with Xavier Germain-Poitras and Louis Guillemette the day they started ‘Blame Confusion’, and he didn’t leave the entire time. Instead, any time either tried to play an instrument, the beast would open its mouth and bellow unruly fuzz-isms into the microphone. Eventually, the pair were resigned to letting Mr. Monkey fuck shit up, and record drums and vocals behind whatever glorious cacophony the ape could muster.

Even though they are armed with a sonic ball-buster capable of summoning Cthulu, a significant reason as to why Solids sound so great on ‘Blame Confusion’, is because they muster some intensely genuine melodies on their songs. Opener ‘Over Sirens’ pummels, but it does so with fists like the ones Rocky would throw at Apollo Creed when they were training buddies. The viciousness is done in good humour, not with the intent to harm, but to build. It is also done with incredible technique, showcasing Solids’ ability to be your mate, slowing down where absolutely necessary, and speeding up to ensure you don’t become a little bitch about it. Same is the case for the melody-injected ‘Cold Hands’ and ‘Traces’. The ability to throw in as much energy as Solids do, and still have a thrusting, towering riff at the centre of the piece, like some sort of charismatic Eye of the Storm…well, that’s just a little bit breathtaking.

However, sometimes Solids don’t connect with that strong point of that full propulsion as with aforementioned songs, and this can cause these tracks to drag a little bit. Instead of nail-biting, attention-hogging, nuclear-fuelled garage explosions, we’re dealt with reverb that whizzes by, but doesn’t force you to choke on the sonic boom it leaves in its wake. Unlike fellow country-men and ambitious sources of pure energy, Japandroids, Solids lack some depth in a few songs that don’t hinder the album, but blur the edges a little bit of it being a sharp, focused peice.

So, although you could never accuse Solids of never putting in 150%, sometimes they hit, sometimes they don’t. For a debut album to take on a challenging noise-pop concept that’s really only been perfected by No Age and Lightning Bolt, and succeed for the most part, is a nod in the right direction. ‘Blame Confusion’ has all the signs of being a strong building block for future successes, and a band like Solids is going to be on the rise.

Pick up ya copy of ‘Blame Confusion’ here.

Video(s): Cut Copy + Lune + Cheatahs + Pony Time + Bleeding Rainbow

Fuck you man, I don’t need to give you an introduction. What’s an introduction anyway? A bunch of meaningless paragraphs that somehow seamlessly move the reader from watching pornography into becoming concerned and intrigued with the continued article. Nah, I won’t waste your time with such a pathetic epithet.

Cut Copy-We Are Explorers

It’s becoming an expected thing that Cut Copy will unveil some crazy cool shit every time they do something, and all music fans loins grow in longing. In this Internet age, when even our dear Clive Palmer is susceptible to bullshit fads like twerking, and the majority of music festivals will grab any act with over a million views on Youtube (case in point: almost the entire Soundwave and Big Day Out lineups, which are either nostalgia or bullshit based), you can always trust Cut Copy to do something progressive and heartwarmingly zany. This time, it’s in the form of an animated 3D printed music video, whatever the fuck that means. It kinda looks like ET’s jizz became sentient, but hey, no judgement when its Cut Copy.

 

Lune-Made of Steel

This video came out ages ago, but its just getting its Australian premier now. The singer on the inescapable track of 2010 aka ‘Teenage Crime’ has gone out on her own, spreading those good ol’ Swedish vibes to wider audiences for the benefit of everyone alive and dead. The video is bascially a pissed off lady that thought it was going to be really cold outside, and then stepped into a heaps warm room. You’ll understand what I mean when you see those cardigans begin to shed.

 

Cheatahs-Get Tight

I love Cheatahs, especially their song ‘The Swan’, so it was a mad dolla bill shame when their debut record kinda remained placid and unmoving. However, in small and particular doses, the record can be really entertaining. Case in point: ‘Get Tight’. Shoegaze meets sonic punk for a cataclysmic explosion of fuzz and Jesus and Mary Chain fanboy orgasms. The video further accentuates the point by collapsing a bunch of ball-tripping images, overloading the acid factor and regurgitating as much hazy, bright colours as a machine is capable of producing. Whatever you do, don’t watch this whilst under the influence of anything. Or do, I’m not your mum.

 

Pony Time-Hippy Shit

How fucking great is a title like ‘Hippy Shit’? Growing your hair long, smoking way too many bongs, dreamily arguing about bullshit politics and contributing absolutely nothing to a social situation…man, it’s good to be a hippie. None of that occurs in the video for the new-ish Pony Time single, which is basically a Super 8 tour diary set to dirty nu-grunge.

 

Bleeding Rainbow-So You Know

Bleeding Rainbow are like A Place to Bury Strangers crossed with Speedy Ortiz, and mastered by Kim Deal. Sweet, barbershop garage music that’s constantly propelled by furious guitars. The video is kind of cool, but the song is way better. I mean, what would you prefer: artsy, vintage materials being filmed in close-up or something that gives your adrenaline a hard on?

New: Miles Brown-Electrics

Miles Brown seems like the name of an up-n-coming jazz musician, with stars in his eyes and a contract from Mo-Town in his hand. My insta-sumption of someone named Miles=jazz was instantly dashed by the fact that Miles Brown is actually a Melbourne electro musician that makes weirdly erotic music to glare at neon signs to.

And guess what, his music rules harder than the laws of gravity. And I don’t say that without knowing the full consequences of such an allusion. The Issac Newtown of electronica? Bullshit, right? Fuck you, because Miles Brown manages to combine darkness, non-conformity, and being revolutionary all into a logical, compressed and easy-to-follow guide known as his new 7″.

There’s lush layers, daintily tripping synths, weird jaws of snapping samples, and best of all, a voice that is all to akin to Kirin J Callinan. Make no mistake about it, Miles Brown is going to be right up there in Australian darkwave, with the likes of Pitchfork approved HTRK and Standish/Carlyon.

After you’ve cleaned up the drool, make sure you go about buying these songs.

Video(s): Royal Chant + Twin Beasts + Cull + aheadphonehome + East Brunswick All Girls Choir + Waza

‘Straya’s got some great bands, who make some great music videos. Check ’em out, or I’ll do nothing, because this is the Internet, and no-one’s listening to my rants. But I’d recommend checking them out, because your life will be better from it.

Royal Chant-Shake, Shake

Deadset, Royal Chant are the shit. They’ve got the pop tendencies of Bluejuice, with the underground credibility of Guided By Voices, and the ability to harrow into my brain like early Metallica. If you’re any sort of fan of Australian slacker/guitar music, like Dollar Bar, The Stevens, or The Cannanes, then get behind Royal Chant.

And if you’re still in some freakish mindset that declines my way-ward descriptions, then look at the video. Sorry, masterpiece. The thing is like a kindergartener took acid at finger-painting, and then went to the beach. It’s fucking crazy to look at, and even crazier to listen to.

Twin Beasts-Sweet Marie

Twin Beasts (formerly The Toot Toot Toots) have a lead singer that looks like Donny Benet’s cousin that just got way into Bob Dylan and Tex Perkins instead of the lushest, sexiest music of the 80’s. But the lyrics are still there. Donny Benet Jr. croons, ‘Ohhh, Sweet Marie, you had me begging on my knees!”, arms outstretched and Hawaiian shirt slightly untucked and revealing some glorious chest hair.

But its the Satanic depiction of Cleopatra that brings this clip to a joyously absurd conclusion. After watching some bug-eyed begging, the clip turns into a blood-bath of temptation, equal parts disturbing, alluring and hilarious. It’s almost too perfect…

Cull-The Sacred Burial Urn

Cull are one of the most perfect Sydney bands, and they haven’t really got their dues yet. Whilst Vance Joy can release a mediocre pop song and get accolades, Cull released a whole EP’s worth of genius, and didn’t score a single Triple J Hottest 100 vote! Politics, right?

Anyway, they’ve just released their new clip for the warped ‘Sacred Burial Urn’. Musically, it’s like Kevin Parker doing the soundtrack to the bit right before the lady gets the shit stabbed out of her in ‘Psycho’. Visually, it’s a trip through old sci-fi movies and main man Alex Watts being a mega god, spliced between all the colours of the rainbow. Is your bong-smoke-laden jaw hitting the floor yet?

aheadphonehome-Think Music

If you couldn’t get enough of Cull, and wanted to continue the freak flag flying, then get amongst Brisbane’s aheadphonehome. I think it’s an E.T reference, but once I started hearing those disconcerting chords of Addam’s Family-meets-POND, I didn’t give a shit any more. And when you add the visual element of people being way too nice to each other, like Soundgarden’s ‘Black Hole Sun’ video, then it becomes even more inherently creepy/awesome. If you want all this and more, for the price of nothing, go to aheadphonehome’s Bandcamp here. 

East Brunswick All Girls Choir-Mon Repos

EBAGC recently ran into a bit of trouble. Just minutes before they were to take off to New Zealand, playing the final Camp A Low Hum (RIP), they got kicked off the flight for having gastro. Personally, I put it down to jealousy. The pilot simply couldn’t handle the ‘Rowland S Howard/Nick Drake combo that’s been thrown down a dusty well in South Australia, and then dragged to a random alley in Melbourne and had the shit kicked out of it’ vibe that EBAGC throw out. It’s a specific niche, but they do it damn well. At least Vietnam could handle their crazy attitudes, so that we lucky consumers gained access to this simple and beautiful clip of people walking (not being a sarcastic dick here, I genuinely love this video).

Waza-Act 2

Plot twist: I’m in love with the most excellent ‘Act 2’ from Sydney beat-man Waza. Holy shit did the Avalanches drop the ball by not signing this guy up to their team. Not only is the song an eclectic mix of old-timey samples mixed in with simple beats, but the music video makes you want to drop everything and try and make a video that is half as good as this. The blue filter, the TV-theme, the chalk-drawn piano…makes you almost think that you could live without more Avalanches material.

New: Guided By Voices + Pink Mountaintops + Bent Denim + Earl Boykins + Jack the Bear + Coast Redwood

To quote the illusive Avalanches, ‘Since I left you, I found the world so blue’. It has been way too long since I did some unearthing of people that hit shit to make noise come out. So, here’s a small round up of bands that you should listen to, or you can get bent.

 

Guided By Voices-Planet Score

Holy shit, is this not the greatest thing ever? Badger from Breaking Bad keeps missing at basketball, and Rob Corddry wears his all-too-creepy smile. Oh yeah, and there’s a hot dog costume. Watching people fail has never been so boosted by high-profile celebrities (?) and soundtracked by such kick-ass new jams from one of the greatest bands on Earth (!). All praise GBV!

 

Pink Mountaintops-Ambulance City

Pink Mountaintops released one of those albums that you listen to few and far between, but will always consistently love. That album is ‘Axis of Evol’. Now, the band are back to release a new record, the first single of which is ‘Ambulance City’. To say it does not disapoint would be an understatement. Everywhere, Black Mountian fan boys are getting no-reason boners, as they’re indie rock poster boy turns in the mediocre for a turn at being fucking awesome. Dark, VHS mist-trails accompany what is basically a punk band consisting of Station from Bill & Ted 2 and David Bowie. Hot damn!

 

Bent Denim-Fuel

With the exception of This Is Fake DIY, reading the reviews for the new Bent Denim single is almost enough to make you want to shove your head up your ass just to see where these wankers pull their superfluous words from. I had a good mind to just ditch Bent Denim based on the *jerk-off motion* reviews of the track.

But ‘Fuel’ is too good for that. It’s a stunning track, like something that would play over the part of the movie where Bambi is still hanging out with his mum. It takes what was good about Youth Lagoon’s first album, and gives it more grit. Basically, this is Christopher Nolan’s Trevor Powers feat. Christian Bale. Good shit!

 

Earl Boykins-Doves

Early Boykins? Doves? This can only mean a steaming pile of horse shit right? Utterly wrong, as a torrential outpour of Dirty Nil meets FIDLAR fuzz erupts forth from Earl Boykins. ‘Doves’ is less about being all peaceful and shit, and more about releasing a bunch of birds to cause as much chaos as possible. This is ruckus-worthy shenanigans at their best: shreddery, cymbals and hoarse cry’s dominate this track like I dominated that pepperoni pizza on Friday night. By myself *sob*.

 

Jack the Bear-Free Rider

As far as band names go, Jack the Bear is around the Girls benchmark: doesn’t really excite you in the same way like a band called Cerebral Ballzy or Venom P. Stinger. But hey, at least they’ve got killer tunes that would make Christopher Owens and Dan Boekcner want to form a super-group (called Wolf Parade Girls, of course), just so that they could have a chance at reclaiming the downer indie rock title back from Jack the Bear. It’s well worth the time to also check out some of their previous material, fantastic stuff.

Actually, their name is perfect, because their e-mail name is jackthebearoffical….Take out a couple letters, and its jack the bear off. HA! COMEDY! LAUGHTER! BESTIALITY! Together at last! You’re all right, Jack the Bear, you’re all right.

 

Coast Redwood-Spirit

This is an album from self-confessed ‘spooky indie rock bangers’, which means that either we’re about to witness the coming of the next National, or literally the worst thing since I couldn’t find a matching pair of socks. Shove your genocide up your ass, that was a turning point in my life.

Anyway, luckily for humanity, Coast Redwood lean towards being the former of our two ultimatum’s. There’s the smoothness and gentle rollicking of The National there, but there’s also a jaunt-ness and dark aloofness that reckons with Blitzen Trapper. And then there’s also some peroxide blonde Miley Cyrus fun thrown in there. What, what, what!

So, you can expect dirty solos, smart ‘n’ taught lyrics, and one of the tightest indie rock bands you’ve heard. 10/10 would-stand-at-the-back-of-the-venue-with-arms-crossed-and-head-ever-so-slightly-nodding.

Album Review: Roku Music-Collider

How fucking great is shoegaze music? In all seriousness, wouldn’t you give up all the modern conveniences of life to just go and live on an island that heaved drawn out breaths of guitar rambling? Metaphors aside, shoegaze is one of the greatest musical experiences one can sit through. Ever since My Bloody Valentine popularised the genre back in the early 90’s with their jaw-dropping, nut-busting, expectation-decapitating records ‘Isn’t Anything’ and ‘Loveless’, shoegaze has been one revolutionary album after another, knocking pop’s hard-on for bubblegum and autotune into an abyss of terrible, and replacing the charts with nothing but reverb-soaked genius.

Or at least, that’s the way history should’ve panned out. If I had my way, The X Factor would consist of nothing but Slowdive and Swervedriver covers. Instead, we get some Ke$ha farts and the Killers latest verbal diarrhoea. Meanwhile, shoegaze resigned itself to being another 90’s pocket genre, like grunge or good emo.

However, every now and then, by some fantastic miracle, a band emerges that says, ‘Hey, remember Ride? Well, we tickled their loins and played their records, and now we’re better than them.’ That band in question is Roku Music, from Brisbane. What the fuck is a Roku and why does it have its own genre of music? Who knows (my bet is on a forgotten Dragon Ball Z character) and who cares. All you should focus on is their fantastic debut record, which will be dropping soon via Sonic Masala Records.

The Brisbanauts, well, they take their cues from all the greats. Opener and title track ‘Collider’ is like The Jesus and Mary Chain’s Reid brothers grabbing Beth Gibbons from Portishead, and forcing her to take that drug from the new Dredd movie. What results is an ultimately epic jam, that builds on furiously high guitar notes that bleed through waves of pedal fuzz-the perfect soundtrack to Karl Urban blowing people’s heads off.

It doesn’t stop there. Oh no, Roku bring on some sludgy oblivion on ‘Gold’, Kim Deal-esque un-hindered fun times on ‘Reflector‘ and ‘Come Untrue’, and they cheekily steal a couple of Kevin Shields’ signature pedals on the closer of ‘You’. Fuck time machines-why screw with the space-time continuum when there’s something like ‘Collider’ that can literally (not metaphorically) transport you to a place where flannel was worn by nearly everyone and no-one knew who The Stooges were.

Wait, fuck that! Why would you want to live in the 90’s again? They didn’t even have the Internet remember? How do you think you’d survive shitting on bands in real life as opposed to a comments section? No, 2014 is a much better time and place, where you can recline in your synthetic masturbation chamber, put on your #retro vinyl collection, and kick to the likes of Roku Music, who have somehow channelled all the greats into a perfect encapsulation of what makes shoegaze such an enticing genre to drool over. So curl up, kick back, and let yourself get sucked  into the perfect, politely unafraid vortex of Roku Music’ ‘Collider’.

Roku Music are bringing a strain of unrefined shoegaze mayhem to Sydney on March 21st at The Square, and March 23rd at Black Wire.