Album Review: AUSTRALIA – Portraits of Places, People and Movies

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1983. Australia. Fuck yeah. According to Wikipedia, some real crazy shit went down ’round this time: Jonathan Thurston was born, Parramatta romped the Eagles in the finals, and Bob Hawke went on national television and told everyone to get drunk after we won a boat race. Also, some of the all-time singles this country has ever produced were birthed during this period. “Rain”, “Reckless”, “I Hear Motion”, and this absolute national treasure. The kind of songs that you’ll scoff at from your hip share house, until it’s 3am, the pub’s run dry, old mate’s kicking you out and you’ve got your arm around someone you met thirty seconds ago screaming, “THROW DOWWWN YOOUUUURRR GUUUU-UUUNS”. 1983. Australia. Fuck yeah.

It’s this precise time period that AUSTRALIA (the band) are attempting to encapsulate, that golden era of pub rock when this country really struck a musical identity. It’s a brave move – right now, most bands in this country are either making plaintive guitar pop, or garagey punk. No one has thought to hark back to a phase that is often ridiculed, unless it’s during the aforementioned gloriously drunken hour of 3am. But AUSTRALIA succeed because they don’t just emulate the music that they likely grew up with, but actually understand its simple pleasure: to get people to dance, instead of mosh, to guitars.

Sure, their debut still carries the trademarks of their forbearers: Aussie Crawl, Midnight Oil, The Models, and Goanna all pop up as obvious soundchecks in AUSTRALIA’s music. Shit, the record even evolves in the same way you would expect an 80’s No.1 Album would: Hit, Hit, Mega Hit, Introspective Ballad, Fodder, Fodder, Absolute Belter, And A Big Sweeping Gesture to Close.

But when you hear a song like “Wake In Fright”, or “Breathe In”, there’s that something there where you know it ain’t mere replication. It’s the sharp stabs of guitar, the warm, encompassing buzz of synths, the baritone bellow that stirs you equally in the heartcage as it does the feet. It’s the anthems paired right next to the songs you’d love to listen to roaring down the highway, alone after a breakup. It’s the way that if you close your eyes, AUSTRALIA catapult you decades before you were born, to the seat leaning against the Lansdowne bar, stuffing spilling from the soiled seat cushion, jukebox blaring the soon-to-be classic “Who R U?”. The place stinks of piss, someone’s chucking up in the alley outside, and the pub is heaving with dancing bodies.  Fuck, it feels good.

Portraits of People, Places and Movies has its weaker moments, but as a whole package, its a record that delivers something that shouldn’t be feasible in 2016. Why the fuck would the kids want to listen to the music their parents forced on them? Because AUSTRALIA’s making that music, goddmit, and it sounds good. Who knows? Maybe thirty years from now, someone’s gonna come stumbling out of the bowlo, air guitar in hand, barking, “LOVE! IS BETTER! COME TAKE ME UNDER THIS WATER!”.

Portraits of People, Places and Movies is out now, grab it here. They’ll be playing the ‘Gong on April 1st and Brighton Up Bar in Sydney on the 2nd, both shows with YEEVS (!) and Phantastic Ferniture (!).

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New Aus Punk: Destiny 3000 + Cereal Killer + Woollen Kits + Nailhouse

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Destiny 3000 – Destiny 3000 7″

This record has been on the burner since the second best Fast and Furious movie was released (Furious 6, for those keeping score at home). Destiny 3000 haven’t played all that many shows either in recent history, which is a shame, because they will make your ears bleed and your heart swoon. But putting all of that aside, they have finally released a record, and it is worth all the droning Vin Diesel monologues about family in the world.

This 7″ is just so fantastic in every aspect. Coated in grime, guitars battling for supremacy, and an overall disaffected garage pop aesthetic that puts Destiny 3000 next to Australia’s premiere shredders like Angie, Miss Destiny, and The Friendsters. Although only four songs long, and attached with a mild uncertainty as to if Destiny 3000 will stick around to record anything more (knock on wood), this 7″ will, at the very least, form some sort of legacy for a deserving band.

Cereal Killer – Track 1

Barely nudging past one minute, Cereal Killer put a whole lot of other punk bands to shame in a deft swoop of snotty, thumb-biting vocals and flailing guitars. It’s dine and dash punk, a flurry of distraction action that gets you all exhilarated…”What’s happening?”, “This is great!”, “I hope this song goes on forever!”…before finishing in the same amount of time as a the life cycle of a mayfly with a heroin problem.

Woollen Kits – Girl With Heart 7″

Not really a punk band, but you’re too far through the “article” (and I do mean that in the loosest definition possible) to stop now. C’mon, I believe in you. Besides, you’ll like Woollen Kits, I guarantee it. They’re easily the most underrated band in their genre of strummed guitar pop…how the fuck can a band release two perfect albums and still not be gracing the cover of the New Musical Express with fancy haircuts and a hyperbolic headline*? How are Woollen Kits not best mates with Johnny Depp?

The time will come when Woollen Kits are rubbing shoulders with Hollywood’s sharpest dressed, and botox treatments are referred to as “Lazy Tuesdays with Alan Rickman”. Until then, feel free to crash into some more-of-the-blessed-same pop via the brief but welcome Girl With Heart 7″.

*The irony of me calling out someone on irony is registered.

Nailhouse – Nailhouse

Straight outta Newcastle is some punk of the demonic variety. Nailhouse share a lot in common with FANG and Flipper, preferring to indulge in feedback-laden drones of nihilism than any sort of accessibility scheme. Built from steely glares and throat-crunching cries, Nailhouse climb on top of their own precarious lodgings of noise, only to fling themselves off. It’s music that could only come from a forgotten town like Newcastle, where the cultural cringe is worn on the sleeve. Frayed and loaded with loathing, Nailhouse’s “March” stands out strongly as a despairing track on a despairing tape from a despairing band in a pretty alright city.

Video: AUSTRALIA – Who R U?

Lads, amirite? Can’t live with ’em, can’t live without them. With their token shard-infused walk that manages to be both focused and lopsided at the same time, ever-prescent TN’s and a ciggie neatly tucked away behind their ears at all times, lads have become as much a part of our landscape as 1am lockouts and 1:03am kebabs.

For their video for their soaring new single, “Who R U?”, Oz’s most patriotic band AUSTRALIA have taken the central theme of baritone existentialism, and applied it to the guy who swears he loves Kerser. But does he really? Or is it all an act, a conformity that even the most hard-edged and oppressed persons of ‘Straya’s society are susceptible to? Or am I reading into it faaaar too much?

ALL THIS AND MORE WILL BE UNCOVERED THIS SATURDAY WHEN AUSTRALIA LAUNCH “WHO R U?” AT THE VIC

Top 10 Australian Albums of 2014

It’s that time of year, when I sell my soul, and conform to the expectation that all blogs, no matter how small and shitty (of which Soundly Sounds is both) needs to compile an end of year list, summarising all the great things that have been accomplished by the fair artists of the year. Now, if you’ve ever been on this blog, or heard words out of my mouth, it becomes apparent that I have a habit of hyperbole, and describing everything as “my favourite” or “the best thing ever”. Well, now it’s time to pay up, and show what I, King Deadshit, reckon is the best of the best this year.

Albums are probably the most important listicle for me, personally, because they are the full form of creative expression for the artist. A single song, video clip or show can take certain things out of context, bolster aspects for the strongest appeal, and add new factors that increase the credibility. But with the album format, the artist has the range and capability to express themselves to their full extent. Sometimes, that leaves bands boring and stuggling for things to say and at other times there are plenty of gems to be found that represent the artist more fully than the ‘singles’ can convey.

If you haven’t heard any of the following albums, I beg you to go forth and purchase a copy. These artists deserve your attention.

Honourable Mentions: Jack Ladder & The Dreamlanders (‘Playmates’), Ciggie Witch (‘Rock And Roll Juice’), Ernest Ellis (‘Cold Desire’), Pronto (‘When You’re Gone’) Andras & Oscar (‘Cafe Romantica’) Jonathan Boulet (‘Gubba’) Bloods (‘Work It Out’), Nun (‘Nun’), SPOD (‘Taste the Sadness’) Donny Benet (‘Weekend At Donny’s’) Collarbones (‘Return’).

10. Lowtide – Lowtide

Both heartbreaking and riveting, Lowtide unveiled a shoegaze masterpiece with their debut record. Flawless reverb was achieved, a statement that is almost never uttered. What’s more, the band interjected excitable gems like “Wedding Ring” and “Held” to prove they could do more than poignant and mouth-watering dream-pop shudders. (Review Here)

9. Straight Arrows – Rising

There’s something rising alright, and its not just the pulse of this record. A 60’s bonanza of loose Nuggets nods with the breakneck pace that we’ve come to adore from Owen Penglis. “Petrified” will never lose its cooler-than-Kim-Deal aura, “Never Enough” will never not be accompanied by headbanging, and “Make Up Your Mind’ will never make you not sweat like a guy who just popped pills in a rave in the Sahara. (Review Here)

8. Yes, I’m Leaving – Slow Release

Four albums in, and YIL have fully embraced their aggressive and blisteringly amazing potential. The way that three dudes from Sydney managed to make music that completely replicated THAT scene from Total Recall is mindblowing (pun intended, motherfucker). Strangling brutality ensues at an unbelievable rate, and the result is must-hear. Yes, I’m Leaving have made punk exciting again. (Review Here)

7. Scotdrakula – Scotdrakula

Melbourne’s Scotdrakula released an album so heart-stoppingly fun and eccentric, you would swear you’re at a theme park run by Tim & Eric. The record was a singles-fest, from the h8r-proof “O’Clock”, to “Shazon” impractically kicking more ass than a buddy cop film from the 1970’s. The yelps, riffs and good times of this album are as addicting as crack, and 10x more fun. (Review Here)

6. Bearhug – So Gone

Bearhug impressed beyond belief with their sophomore effort, lush pools of guitar gliding gently but effectively. For the duration of their second record, Bearhug never failed to impress, creating deep wells of greatness. What’s more, the songs were so packed that every listen brought on a new subtle technique or riff to bubble with joy over. (Review Here)

5. Ausmuteants – Order of Operation

Hilarious, snarky and brutally underrated, Ausmuteants released their third, and best record, this year. Attacking a variety of subjects, from porn, to unoriginality, to just being angry at fucking everything, like if Devo made ‘Sorry Ma, Forgot to Take Out The Trash’. Beautifully loud obnoxious, like a Geelong-ised Cartman that loves The Monks, Ausmuteants are the punk band that Australia doesn’t need, but the one it deserves. (Review Here)

4. Step-Panther – Strange, But Nice

Going from a band of shredders that liked to make songs about fat kids getting abducted and teenage romance to something that people wanted to take seriously was always going to be hard, but Step-Panther achieved that with their stupefyingly good second record. As naked as open-heart surgery, Step-Panther laid things bare for a mind-numbingly good album, in the truest sense of the word. There’s a journey here, a quest guided by back-breaking guitar solos, bloody doom riffs and stories as wholesome as The Goonies. (Review Here)

3. The Ocean Party – Soft Focus

The Ocean Party have always been consistent, but on their fourth album, they’ve wrought an album of genius. ‘Soft Focus’ is packed with songs that tug on the ol’ heart, yearning lyrics pushing through walls of sound that recall The Triffids at their best. If you’ve ever wanted to immerse yourself in a record, “Soft Focus” is the easiest, and most likeable, of your options, a straight-up pop album masked in woefully gorgeous jangle. (Review Here)

2. Weak Boys – Weekdays/Weekends

Weak Boys, a Sydney supergroup made of Internet Sensations™, Dollar Bar contributors and Craig Lyons, quietly released an Australian classic this year on par with The Castle and Tony Abbott’s budgie smugglers. A diverse smorgasbord of guitar-pop and mope-rock, “Weekdays/Weekends” is fuelled by self-deprecation, glistening humour and a catchiness that rivals Taylor Swift. It is fantastic in so many indescribable ways, an encapsulation of the Australian, or at least Sydney, lifestyle in much the same way The Go-Betweens probably did back before Y2K. From the ode to Rice Is Nice’s Julia Wilson, to the plight of the hungover, Diane Keaton-pining miser (read: everyone), “Weekdays/Weekends” was both the most underrated release of 2014, and one of the best. (Review Here)

1. Blank Realm – Grassed Inn

‘Grassed Inn’ was released in January of 2014, a time when most records are easily forgotten about by the time Year-End Lists roll around. At here we are, December, and Blank Realm still reign supreme. Topping a list on some shitty blog is nowhere near the recognition this album deserves – it is a masterpiece. Off-kilter pop that hurts and burns, burrowing into the emotional conscious with such an ease, you’d think it was a Nicholas Sparks novel. From the droning weirdness of a Spiritualized/New Order hybrid to the embracement of hurt that a Johhny Cash/Robert Smith duet would reveal, a pool of influences are on display, embraced to create something magnificently unique. Wrapped in the keytar-adoring hands of Blank Realm, music is a malleable, smudged and sincerely uplifting creature that restores faith. Superb in every word, ‘Grassed Inn’ is essential for everyone. (Review Here)

Top 20 Australian Songs of 2014

It’s that time of year, when I sell my soul, and conform to the expectation that all blogs, no matter how small and shitty (of which Soundly Sounds is both) needs to compile an end of year list, summarising all the great things that have been accomplished by the fair artists of the year. Now, if you’ve ever been on this blog, or heard words out of my mouth, it becomes apparent that I have a habit of hyperbole, and describing everything as “my favourite” or “the best thing ever”. Well, now it’s time to pay up, and show what I, King Deadshit, reckons is the best of the best this year.

Fuck, this shit is really hard. One of the hardest things I’ve had to do. As opposed to the Best Videos of the Year, and the Best International Records,  this list has taken me days to put together, as I’ve been more indecisive than a newspaper editor trying to decided the front page between a story in which David Beckham and Ryan Gosling have constructed the world’s most beautiful baby, or an exclusive interview with Clive Palmer’s fourth chin. A toughie, that’s for sure.

Anyway, here are the picks of the year – Aussie songs that have made people turn their heads, jaws drop in astonishment, and allow for spines to be frozen over in fascinated horror. The list was torturing me, so it’s been lengthened to 20. Also, songs that were just released as singles got preference over stuff that was on albums, simply because those are coming in the next list! OH FUCK, CAN YOU EVEN WAIT THAT LONG, OR ARE YOU GOING TO CRYOGENICALLY FREEZE YOURSELF UNTIL IT COMES OUT, WALT DISNEY STYLE?

Honourable Mentions: Step-Panther (Parallel) Solid Dad (Kewl December), Jack Ladder (Her Hands), Andras & Oscar (Looking Back), Babaganouj (Bluff), Disgusting People (I Wanna Ctrl Alt Delete My Life), The Stevens (Thirsty Eye), GL (Won’t You See), Wives (Buried), Day Ravies (Hickford Whiz) Dead Set Ledger (Buddy’s Kickin’ Screwies on the SCG).

20. Miss Destiny – The One

A lambasting surge of sound from Melbourne’s Miss Destiny, this song is like Courtney Love being thrown in a blender whilst The Donnas and The Darkness throw down.

19. White Hex – Paradise

White Hex released a badass synth record earlier this year, ‘Gold Nights’. Dangerous seduction was the game, the kind that Michael Douglas would engage in, and White Hex won. Jimi Kritzler, former Slug Guts member, also released a fantastic book this year, “Noise In My Head”, but “Paradise” makes a case for being Kritzler’s no. 1 achievement of 2014.

18. Bachelor Pad – Fried

Bachelor Pad’s garage rock enthusiasm is irrepressible – it is actually impossible to stop them. Sounding like the bratty, cone-smoking kid of Ty Segall, “Fried” is as infectious as those warts that have started collecting themselves between your legs.

17. Postblue – Ugly

Poison City Records had a fuckn’ year didn’t they? Between the release of The Smith Street Band, The Bennies and re-releasing old Screamfeeder records, they found time for Postblue’s “Ugly”. On a record that’s full of affable, catchy rock tunes, Postblue especially stuck out on “Ugly”, an early Jebediah track that went through the digestive system of Steve Albini.

16. Total Giovanni – Human Animal

“Human Animal” makes me do weird things with my arms, but I like it.The bastard child between Daft Punk and LCD Soundsystem, Total Giovanni have a feverish cult of personality surrounding their music. It’s alluring, funky-as-swinging-leather-pants music that PT Anderson wished was around for the soundtrack of ‘Boogie Nights’.

15. Nun – Evoke the Sleep

Easily the most ferocious synth-punk released this year, Melbourne’s Nun provided a storming debut LP earlier this year. “Evoke the Sleep” makes the case for these guys to be considered amongst the likes of DEVO and Depeche Mode.

14. Old Mate – Requesting Permission

On the more heart-breaking end of the scale, there’s Old Mate. A member of Bitch Prefect, Pat Telfer’s “Requesting Permission” will make you start jabbering about all the random dust that’s flown in within the last 30 seconds.

13. Hockey Dad – I Need A Woman

South Coast-muzzas Hockey Dad provide a slab of feel-good surf rock that’s lathered affectionately in pop and fuzz, drives school-girls crazy, and is really fucking great. Hockey Dad just need to stop wearing their damn trousers so low, and they’ll be well on their way to success.

12. Dorsal Fins – Monday Tuesday

Pop music so good Madonna would want to rip it off. Beginning with urgent piano and stomping bass, Dorsal Fins turn things into up a dramatic notch for an 80’s singalong straight from the stolen brain of Debbie Harry.

11. Bad//Dreems – Dumb Ideas 

When the opening notes of “Dumb Ideas” ring out, it becomes fairly obvious that Bad//Dreems are going to provide another stomper of a track. A flippant flipping off, “Dumb Ideas” is a confident, surly piece of rock that Angus Young would want to call his own.

10. Liam Kenny – I’m The Ocean 

Fairs fair, when you’re covering Neil Young, you’re headed straight to the top of a best-of list. But when Liam Kenny (Peak Twins, Bitch Prefect, The Friendsters, Roamin’ Catholics) does it, it turns into a squalling guitars, and heart-clutched vocals.

9. Tempura Nights – R.I.P Chix

Brisbane’s on a roll right now, with Velociraptor, DZ Deathrays, Babaganouj and Major Leagues all kicking major goals this year with releases and singles. But Tempura Nights, a lil’ suprgroup, kicked the most amount of ass with “R.I.P Chix” a sweet garage sprinkled with Deal sister guitar and the kind of head noddin’ you’d expect from a Brissy pop band.

8. Peter Bibby – Hates My Boozin’

Peter Bibby is a moper amongst mopers, a bloke who paints his own portrait with a bottle constantly in one hand and an impossibly perfect rolled cigarette in the other, carefree and full of whimsy on the outside, but burning up within.

7. King Single – Restart Newstart Allowance

A certain Bare Grillz/Lenin Lennon member changed things up by providing gorgeous guitar-pop and glassy drum sounds that create only one reaction in all within earshot: *SWOON*.

6. Richard In Your Mind – Hammered

Richard In Your Mind say it best when they swing drunkenly upon the line “Me and my baby get hammered in the daytime”. From their latest record ‘Ponderosa’, it’s a honeyed trip into the tastily warped senses of Richard In Your Mind.

5. The Harpoons – Unforgettable

As far as breaking up goes, no one seems to have hit it on the head harder than The Harpoons. What a bunch of sultry crooners! It’s a jam that’s part Caribou, part TLC, and part doe-eyed wistfulness that feeds upon your heart like a piranha of romantic longing.

4. FLOWERTRUCK – I Wanna Be With You

Speaking of romantic longing, the best band that seemingly came out of nowhere was FLOWERTRUCK. Bursting forth from the same scene that’s brought Big White, High-tails, and New Lovers, FLOWERTRUCK make the descriptor ‘infectious’ cower in fear. They’re Sydney’s own version of Blank Realm. If David Byrne and Bryan Ferry exploded into fit of joyous crooning, amid slashing puffs of synth and guitar, it’d be about as great as this.

3. Donny Benet – The Edge. Feat Kirin J Callinan

Donny Benet. The man. The legend. The myth. There ain’t nobody like this feller in the universe, mainly because there can only be one moustache-weilding, impressively groomed prince of seduction in the world. It’s a Highlander thing. On, “The Edge” Kirin J Callinan and the Don do battle over five minutes of exhausting sexual healing.

2. Weak Boys – Hangovers

“Hangovers” sort of set the staple for what my 2014 was, along with many other budding attendees of whatever Inner West domain Weak Boys have been fortunately dominating. I’ve listened to this song more times than I’ve asked for a jug of Resch’s at the Lansdowne. My intimidatingly large beer belly nods in agreement.

1. Constant Mongrel – New Shapes

In 2014, no single came close to the grisly terror imagined on Constant Mongrel’s “New Shapes”. Melbourne’s most ferocious unleash a bass-driven hellscape that indulges primal and carnal desires. As far as finale’s go, Constant Mongrel went for an ending more taut, nail-biting and mentally draining than the conclusion of ‘Heat’. A blood-caked knuckle-duster ride into a starved post-punk oblivion, “New Shapes” is the kind of thing post-apocalyptic hero would throttle in their car as they ravaged a scorned landscape in survival mode.

New: Terrible Truths-Lift Weights

I wanted to post this a couple days ago, but my Internet’s been fucked, so my yearning to hear the revamped Terrible Truths track went unacquainted. UNTIL NOW! Worth the wait? You fuckin’ betcha!

Terrible Truths have got members all over Australia, so its a wonder that they’ve managed to get together and record an upcoming LP, to be released through the always reliable Bedroom Suck Records. Some keener peeps might even recognise that ‘Lift Weights’ has actually already been released on a 7″ a while back, but this is a re-vamped version. A little more frantic, a little more purpose and stride, ‘Lift Weights’ showcases that one of ‘Straya’s finest purveyors of indie-rock/post-punk are gearing up to release what’s guaranteed to be one hell of an album.

New Electronica Music: Jensen Interceptor + Seekae + Milwaukee Banks + Fat Ronaldo

Doof doof…

Jensen Interceptor-System Addict

System Addict is an EP’s worth of material that sounds like the Devil got himself some decks. The title track is some seriously twisted shit that curves around a simmering boil of synthetic stabs into a looming corpse of a vocal. It’s the kind of thing you’d want to listen to at 2am exactly when the drugs kick in. SInister, wicked and overtly in your face, Jensen Interceptor makes the kind of music that you wouldn’t show your Mum, but would listen to non-stop. After hearing this EP, all I want to do is go to a club. I have never uttered that sentence before now.

Seekae-Test & Recognise

Seekae sure have shifted direction since their last release. Whilst their previous albums stunned with their transcendent but mostly similar glitch-ridden electronica, Seekae are warbling between two different paths on their upcoming third record. There was the heart-shredder ‘Another’, and they’ve followed it up with a new one called ‘Test & Recognise’. This track is like having a sunset stroll with the guys from Tron, glacial synths zooming horizontally by as Alex Cameron’s voice unveils itself.

Milwaukee Banks-Sweater Made of Gold

‘Sweater Made of Gold’ is like if MF Doom teamed up with an angel with a velvet voice, and they made a Riff-Raff song. The lyrics are semi-ridiculous/all about love, and comes off like Melbourne’s answer to FISHING. However, it’s the production that stands out here, these big, clipping beats crawling beneath these shrill, quaking synths. Good shit here, good shit.

Fat Ronaldo-Goldeneye

The last couple days have been very, very good to the Soundcloud community, as a brand new Sydney entity (who also happens to be behind the amazeballs No Good Festival happening tomorrow feat. Rainbow Chan!) has been releasing a shit tonne of new and amazing tracks. My personal favourite of Fat Ronaldo aka the smiling, portly dude coloured like The Hulk with a tan, is ‘Goldeneye’ a paranoid…nay, schizophrenic electronic track that sits on constant edge whilst a single  sci-fi note (The X-Files?) pierces the underbelly of the track. It’s fucked up in al the right ways, and seems like a soundtrack to a hellish nightmare taking place inside the head of an ex-KGB agent. Fuckin’ PTSD amirite?

New: Dune Rats-Funny Guy

It seems like fucking forever since Dunies have released new material. Seriously, since they released the ‘Smile’ EP, I’ve graduated from high school, gotten a job, and basically failed university. Not to say they’ve just been ripping cones, which they undoubtedly have been. There’s been countless tours around the world, a trip to SXSW to try out the Texan weed, and the trio have just finished their debut album, which’ll be out soon apparently.

‘Funny Guy’ is the first single off said album, and it’s a rip snorter of a track, fun and bleached like a topless girl at the beach (Hey! Rhyming!) It carries along with the usual Dunies spirit of reckless fun, debauchery and being more carefree than a bender with, well, the boys from Dune Rats. Yewww!

Dunies are gonna be ripping shit up at Oxford Arts on the 21st of June, yewww!

New: Pairs-Brief Lesbian

Pairs-Brief Lesbian

Some people are going to look at that thirteen minute running time, and think, nup, no way sir, not for me. I’ll stick to my two/three minute slabs of pop confectionary, and enjoy my middling, mindless existence. For the rest, here’s the new one from Pairs that will put your body through so much emotional turmoil, you could be Kurt Russell and still shed a tear. There is so much congratulations for this track. Featuring Tom Lyngcoln from Harmony and Marcus Hobbs from East Brunswick All Girls Choir, there’s no way your heart strings won’t be in tatters harder than a Clockwork Orange-style repeat viewings of ‘Puppies Dying Horrible Deaths Vol. 3’. The amount of carnage and muddy despair packed into ‘Brief Lesbian’ is astounding, and really, a feat for the legends behind this song.

 

Album Review: Ernest Ellis-Cold Desire

Ernest Ellis is, like, crazy cool. Like, if you implanted the genes of Beck into a cool dude made up of body parts from Kurt Vile, Real Estate and Woods, you’d have the Frankenstein of Ernest Ellis. He’d be a fucking mess obviously-there’d be way too much hair in the way. The shaggy manes of Beck and Kurt Vile? Dream on, mate, try shoving a hot poker in your eyes, it’d be less blinding.

But our young protagonist sees his way around this (pun intended) by cutting those luscious locks. Now, he can see, and the things he sees make him sad. Instead of being a mopey loser and making Cure/Enrique Iglesias mashups like the rest of us mere mortals, the Sydney-sider has decided to use his scientific given talents. Harnessing the haunting majesty of ‘Sea Change’, Ernest Ellis adds just enough melancholy-pop that seems to be all the rage right now (see: King Krule, Bon Iver) to the mixture, and the end product is something that’ll be fondly remembered as ‘Cold Desire’.

There’s no doubt that ‘Cold Desire’ is a strong record. It pumps with an unusual energy, tapping into the cold winters that Sydney has never really had, the bitterness of a sour relationship, and a vain hopelessness that is completely genuine. There’s a lot of heartbreak on this album, and the way it churns up your stomach into a thousand pieces, like a cement truck of melancholy, is something that voices don’t tend to do all that often anymore.

Seriously though, the strength of the songs that Ernest Ellis have the craftsmanship and care of fucking Gepetto. Except they don’t waver around the bullshit alive-puppet phase, but head straight to real-boy territory right quick. Their full, fleshed-out realised ideas that link together through a daisy chain of being bummed out.

On, ‘Black Wire’, the most deadset gut-wrenching indie rock anthem since  The Jesus & Mary Chain’s ‘Just Like Honey’, you feel as though you’ve just gone and punched Steve Irwin’s corpse and are dealing with the regret all in one four minute rush. The forehead-creasing anguish that roars quietly in ‘Black Wire’ are, at times, too much, and makes for the next perfect break-up song. When Mr. Ellis mourns, “There’s too much love, there’s too much love, Honey in my head” you want to reach into the song, give him a big hug, and scream, “DUDE, ME TOO! I FEEL YOU DAWG!”.

Although it doesn’t quite reach the same emotional connection and heart-breaking heights of ‘Black Wire’, the rest of the album remains to equally caress and create those hurt feelings. ‘Way Down’ and ‘Shine Like Me’ also hold a ghostly indie-rcok poignancy similar to that of Aussie comrades Pony Face or, for a more popular but less accurate example, Augie March. Not to say the other tracks don’t rain on the heart’s parade-all songs on ‘Cold Desire’ don’t just tug on the emotive strings, but aim to actively replace them with industrial steel replicants that are factory guaranteed to withstand the pressure of melting indie ballads.

For all those who thought it began and ended with Kurt Vile, or are disappointed with the new Beck album, this one’s for you. For those that haven’t been able to get over that breakup from seven years ago, this one’s for you. For those that really dig on indie rock that manages to be intriguing and utterly unpretentious, this one’s for you. For the rest, I hear there’s a new Korn album, or something.

To see me frothing over the new Ernest Ellis album in the flesh, head to Red Eye Records this Friday for a free in-store performance around 5.