Top 10 Music Videos 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.

First, music videos. A dead medium. Who even the fuck watches this shit? It’s just a band wearing enough hair gel to freeze over hell, and badly lip-syncing to a song no one liked much in the first place. OR it’s a place where blood and gore thrives, and creativity is king. Here are the Top 10 Music Videos of the 2014, but first, some honourable mentions: White Hex (‘Paradise’), DZ Deathrays (‘Gina Works At Hearts’), SMILE (‘BLVD’), and Jack Ladder & The Dreamlanders (‘Come On Back This Way’).

BONUS: Girl Talk & Freeway feat. Waka Flocka Flame

It seems strange to include a Girl Talk track in this blog, especially one that features human shitstain Waka Flocka Flame. I’ve never been a fan of kitschy rap that glorifies bullshit. But the visual ridiculousness of seeing a man like Waka sitting on a throne gesticulating with a recently dismembered arm, as Girl Talk beats up people on the street, is something so gloriously gonzo that it has to be included as one of the greatest audio-visual experiences of 2014.

10. King Gizzard & the Lizard Wizard – Cellophane

King Gizzard are the Spoon of garage rock – they just release really consistent, good records. Their two records of 2014, ‘Oddments’ and ‘I’m In Your Mind Fuzz’ were pretty great, but the videos are what remained spectacular. “Hot Wax” was a solid contender, but it was “Cellophane” and its 3D video, that captured the cartoon-ish, Hanna-Barbera lunacy that they portray onstage. And if any song was going to act as the perfect vehicle for such a mindfuck, “Cellophane” would be it.

9. The Peep Tempel – Big Fish

The Peep Tempel are great at pumping out bloodthirsty tunes mopped straight from the floor of the seediest pub in town. They’re the kind of hard-working, sweaty band that plays loud, growling with menace. That’s probably why their clip for “Big Fish” is so great – it shows what the morning after a night out at a Peep Tempel is really like. Stumbling, trying to lit half of a cigarette, and raising eyebrows from every passerby.

8. Broadway Sounds – Something Sensual

Broadway Sounds came from nowhere, and released a fantastic EP of tangy and elastic synth jams. Then they released the video clip for “Something Sensual”, a Tim and Eric-esque sketch that just scrapes under the classification of porn. Strange burlesque folks in masks, Melbournite gymnastics and the ultimate ode to the constellations, “Something Sensual” manages to give you the weirdest boner of all time.

7. Blank Realm – Reach You on the Phone

Not only did Blank Realm unveil a 10/10 perfect album, and bring the keytar back from the furthest point of remembrance, but they also managed to release this fantastic video. The video easily re-creates all the billowing emotion and whirlwind romanticism, via a hued pastiche of purples, greens, pinks and yellows, and an abundance of fans (both the kind that blows air into your face, and the array of colourful characters who appear). There’s also the fantastic claymation that recalls the work of Adam Elliot (Harvey Krumpet). If you’re not sobbing at the end of this, you’re malfunctioning.

6. Bistro – DR NO feat Simo Soo

Straight outta Sydney, some of the best hip-hop you’ll hear all year – not only can Bistro provide music that doesn’t sound like something a lad from the North Shore spat onto a napkin, it also isn’t obviously inspired by American hip-hop either. Instead, it sounds thoroughly of its own time and place.

What’s more, he’s got a film clip that accurately depicts the kind of fucked up pace, flow and themes presented in DR NO. It’s frightening and acidic, worse than anything Walt Disney could come up with, a blend of schizophrenic gonzo-ism. When it hits Simo Soo’s rapid fire verse, your hands should be just blistering, white knuckled stubs of flesh.

5. Liam Finn – Burn Up The Road

One of the more feel-good clips of the year is Liam Finn’s “Burn Up the Road”. Yes, he is the kid of Neil Finn, but his style is defiantly his own. That comes through in the alternate (and infinitely cooler) future in which Liam Finn and Kirin J Callinan are best mates, then enemies on a autobahn motorbike ride to hell and back. It’s Talladega Nights: The Ballad of Ricky Bobby with more hockey pads and a liquid cool guitar riff.

4. Multiple Man – Persuasion

A lot of bands adopt the VHS approach these days, and it’s becoming a tad painful to see. It started out cool, but when everyone’s doing it, it sort of fucks up the novelty and greatness of it all. But with Multiple Man, they’ve cannibalised and evolved that CHS concept into something that’s both alluring and scary as hell. I imagine watching the bleached colours burrowing themselves into your eyes as the Campion twins purr along to squelchy beats and trickling synths is the same way sensation people felt after watching The Matrix for the first time. When New Order is getting swallowed by The Soft Moon like that to the fuzzy, white-noise head fuck of the “Persuasion” video, something inside of you says “Hey, probably not going to see some shit like that for a while”

3. Client Liaison – Free of Fear

Client Liaison toe a line that can easily cross into self-parody. They’re fantastic, but when you sound like a Prince and Michael Jackson-crossbreed being fed through a fax machine, and interpreted by Olivia Newton-John, there’s a large chance that there could be a mis-translation. However, these guys just write damn fine pop songs, and their videos are works of art. “Feed the Rhythm” borders on being one of the videos of the year, but it’s the grand randomness revealed with straight faces for the comic ages (try patting an alligator in the desert, and not cracking a smile), that ensures that the elaborate “Free of Fear” clip excels at being the No. 1 lavish homage and extension to the greatest pop era in history.

 2. Zanzibar Chanel – Mustn’t Evolve feat. Dungeon Posse

This video was released only mere weeks ago, but when it opens like a soap opera taking place in gangland warfare, and a brutal, eye-popping murder takes place before any music starts, then things look to be pretty amazing. “Mustn’t Evolve” is a torture-cry laden, synth delight, soaked in evil vocals and a cell playground for Melbourne’s finest to rap-squat and jiggle their way into infamy. It’s about as close to a Hunter S. Thompson wet dream as things go.

1. Collarbones – Turning

Not only is “Turning” the motherfucking JAM of 2014, an electronica glitch in the binary code that turns 0’s into Destiny’s Child and 1’s into Aphex Twin, but it has the best video of 2014 as well, for a plethora of reasons. Firstly, it’s got a celebrity cast, including Marcus and Travis of Collarbones, Doug and Russell of FISHING, FBi legend Frances Barrett, Marcus of Siberia Records, and Romi and Matt Banham, the greatest Internet sensations Australia has seen since Steve Irwin. Secondly, it’s directed by SPOD, a name that causes amateur filmmakers to quake in intimidated passion. Obviously, that means the clip is loaded with all sorts of crazy Internet craziness, like Brown Cardigan and Deep Internet Reddit made passionate love on a green screen. And thirdly, it has outfits that make like The Devil Wears Prada moved into a Health Goth store, andn has teh choreography of a ferocious mythological creature being taught to twerk to R Kelly, (I imagine SPOD was the one who taught said beast, via a My Fair Lady “The Rain in Spain” musical number).

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New: Los Tones – Psychotropic

There’s been a hell of a lot of garage-psych in the past few months, and Los Tones are in the thick of it. All though the genre is becoming a tad played out, Los Tones still stick themselves in, and “Pyschotropic” shows that the group aren’t going to lose their edge any time soon. The track is sticky and sickly, contorting at all angles for that circus freak chique. Raised in a swamp and unleashed via a blooming guitar solo, “Psychotropic” remains to be a good bit of fun to chuck on in for the prelude to your mushroom trip.

Gig Review: King Gizzard & the Lizard Wizard

Thursday 10th April @ The Roller Den

Fuck man. King Gizzard & the Lizard Wizard amirite? Four albums in 18 months? That’s like me completing a university assignment on time-fucking impossible! Hell, you’d be better off getting me to hold a conversation with someone who doesn’t know who the Black Lips are than stopping King Gizzard from pumping out new, consistently mind-blowing material. That’s why everyone who wanted to get bits of their highest expectations exploded out of their skull attended the Gizz’s show in Erskineville that Thursday night.

The night opened with local psychers Raindrop. A damn good performance, but nothing to write home about. Worth chucking a text or a sneaky e-mail to your mate who digs on Tame Impala and POND though. The guys were pretty stereotypical psych lords, long haired dudes with cool shirts, busting out long, droning solos and wrapping the audiences’ head in a hefty sheet of reverb. Overall, everyone who was on drugs (90% of the crowd) loved Raindrop, and the others wore a smile of content.

Next up though, were garage punk kings The Living Eyes. The singer/guitarist Billy runs Anti-Fade records, one of the finest churners of garage and punk in the Southern Hemisphere, so no doubt his own band are going to be fucking sick. The guy with the balls to press records from The Gooch Palms, Wet Blankets and Ausmuteants is obviously a guy with the balls to blitz the fuck out of a show.

And blitz they did, raining down a storm of riffs and fuzz fury on an unsuspecting crowd that quickly turned into a mosh of Slayer proportions. Seriously, it was like a bukkake of guttural guitar and howling,wretched garage rock. The crowd couldn’t get enough of the ferocity on stage; even when a string broke and the band awkwardly waited for a replacement onstage, they had no trouble rolling back into oblivion-mode when a new guitar began it’s thrashing induction. ‘Ways to Make A Living’ and ‘Eat It Up’ packed particularly intense Mike-Tyson ear-chewing punches. There was a do-or-die vibe, like the B-52’s meeting Bass Drum of Death competing in a fiery go-kart race where everyone dies in an explosion of tyre and garage fuzz at the end.

Finally, the Gizz got onstage, and the only conceivable problem was how they were going to fit all seven members on stage. They managed, a lot better than on the considerably smaller stage at FBi Social on the Saturday night, and the show got into full swing quicker than an episode of Game of Thrones kills off a major character. Immediately, ear drums were blown, and a roiling mass of bodies began. The Gizz played with passion and perseverance, eliciting the kind of vibrancy that you’d rarely see at a gig.

The material mainly stuck to the previous two album releases-this year’s ‘Oddments’ and last year’s ‘Float Along-Fill Your Lungs’. Basically, that meant that the songs could range anywhere between three minutes and ‘Head On/Pill’ sixteen minute-plus extravaganza. But all the material showed off a new-side of the band that allowed the audience to revel and indulge in carnal dancing and excitement, like a seven-pieced psychedelic Dungeons & Dragons die.

For example, ‘Sleepwalker’ was entrancing like the best Animal Collective material, whilst ‘Hot Wax’, was a primal seeper, divulging in a mud-caked, bass-driven firecracker that is best set off after a batch of bad acid acid in the swamps of Perth. And the fact that ‘Head On/Pill’ has upwards of five muscular, pile-driving sections where all the audience is allowed to do is headbang and thrash is a testament to what kind of insane beast King Gizzard are in the live format.

Seeing this band live is a 100% must. They’re like a version of the Planeteers that were obssessed with the Nuggets compilations instead of hanging out with a guy with a green mullet that painted himself blue-apart, they’re just a bunch of long-haired minstrels. But together, and attached to their various instruments-a harmonica, a guitar, a theremin, a drum kit, whatever- their powers combine to form a loud, real and impossibly addictive show that will fuck up your ears and make every nerve ending in your body resemble a fried composition of total happiness.

Album Review: King Gizzard & the Lizard Wizard-Oddments

King Gizzard are the equivalent of Mad Max-you can never kill them. They will always be there, and they will always be loud. In your face, grappling and gnawing at your primal instincts until you have no choice but to succumb to your carnal desires and dance the night away, one hand holding a bottle of red wine from the Caribbean, and one hand placed firmly on the topless companion you found somewhere in the Sahara Desert. You have no idea where you found this person or how you got to a tribe in a desert of Africa, but really who cares? You’re listening to the new King Gizzard record, and that’s more than enough to make anyone melt with excitement and do a bunch of crazy shit they normally wouldn’t do.

On their fourth record in approximately two years, the Jizz Masters of the Universe evolve themselves again into a psych-pop convent. Whilst Attempt at Awesomeness III, 2013’s ‘Float Along-Fill Your Lungs’ went hard and heavy into the murky waters of psych, often emerging from the black lake with a tasty riff bared in its teeth, ‘Oddments’ takes the San Francisco route through psychedelica. Whilst there are moments of danger and disparity, the feel and rigour of the album is one of irreverence. King Gizz wanna have fun! They’ve fought their fair share of battles, and bed more than their fair share of women, and now its time to regale those tales for the plebs. We’re all entertained by the simplest of things, and King Gizz twist and contort those simplicities in a hotbox of psych until we’re on our knees begging for more ticklish delights.

If you’re confused, then just check out the single ‘Vegemite’. That song pretty much holds the key to understanding ‘Oddments’. Childish squeals about Australia’s favourite tar-flavoured toast accoutrement, spread haphazardly over some kinky fuzz and brain-fucked finger plucking. It’s this kind of simplicity that the Gizz revel in, at least for now. And they do it with refreshing originality. They’re unafraid, they don’t care whether you’ll look down on them for whittling back on the complexity or ferocity of previous albums. For now, it’s time to take a breather, and by Santa Claus’ Victoria Secret catalogue do they make that entertaining.

Like all King Gizz records, ‘Oddments’ is suitably all over the place. There’s sonic freakouts like ‘Alluda Majaka’ (complete with ‘Knights of Cydonia horse cries), placid, shut-eyed exploration through ‘Work This Time’, and groovy, anthemic psych like ‘Hot Wax’ that would make Frank Zappa want to come back from the dead just to smoke a joint to this track.

But, as iterated before, its the rooting in a relative calm and peeled back King Gizz that gives ‘Oddments’ its flavour and identity. It allows for some solid soul to shine through-with the fuzz skinned off, the gruff beard gives way to a handsome leading man. That was a Zach Galifianakis metaphor. If you didn’t understand that, then we can’t be friends.

Pick up this brilliant record from King Gizzard’s Bandcamp. And do the right thing and go see them play at either The Roller Den on April 10, or at FBi Social on the 12th. Schweeeet!

New Australian Music: The Preatures + POND + King Gizzard & The Lizard Wizard + Pirates Alive + Horror My Friend

In celebration of ‘Straya Day, where everyone in the nation gets drunk and berates the Hottest 100, I compiled a bunch of awesome new tracks by some of this nation’s finest. And then I delayed the shit out of posting it. ‘STRAYA!

The Preatures-Better Than It Ever Could Be

In my own opinion, The Preatures released the best pop song of last year, with their single ‘Is This How You Feel?’ coming in at #9 on the Hottest 100. That’s just one of the many accolades that particular song has received, but because they are by no means a one hit wonder, The Preatures have gone ahead and released another song entitled ‘Better Than It Ever Could Be’.

I feel like this is kind of a reaction to the band’s year in 2013. It was basically the best year a blossoming young band could hope for. And to celebrate, they penned a song that showcases what they do best: a shimmering, loud and happy pop track. It reminds you of a Cocoa Cola advert done by Blondie or something. A giant bottle of coke explodes like a volcano, and Debbie Harry rocks sunglasses and the sun shines, and everyone is impossibly happy. Because ‘Better Than It Ever Could Be’ brings that image to mind, it gets a 10/10.

POND-Colouring the Streets

Motherfucking POND. Is there any other band quite like them. The short answer is no, because they are a shapeshifting group of wizard musicians, and you’d be a fool to fuck with whatever powerful elixir pumps through their veins.

Even though they released a record last year, the jizz-inducing ‘Hobo Rocket’, they’ve released a brand new track for a compilation, the song being ‘Colouring the Streets’. This track tends towards the softer psych side of POND, the Slowdive-counterpart to the balls out Bowie that the band are more well-known for.

Don’t worry, the reverb drenches this bad boy like a squirting porn star, and the jizz-levels are still at an all-time high. So, really, there’s nothing more but to let yourself drop into that coma in the only way a band like POND can.

King Gizzard & The Lizard Wizard-Vegemite

How fucking ‘Strayan is this!? It’s a song that’s chorus goes ‘I liiiiiiiikkkkeeeeee Vege-miiiiiite!’ over a thunderous, psychedelic platter of instruments. And its executed by one of the finest bands this side of Sabbath.

That’s right, the eight-piece monolith King Jizz are at it again, having announced a new record and pushing ‘Vegemite’ into the world to be the first taste of said record.

Despite the ‘Annoying Orange’ set up of the video clip, ‘Vegemite’ rules harder than Uncle Chopper riding a Chopper (motorbike) into a Chopper (helicopter) whilst T-rexes clap politely in the background.

Pirates Alive-Love Drunk

Whilst King Gizz alternate between a whole bunch of styles, Pirates Alive are a go-to garage band for me. If ever I want to hear some back to basics, super-simple surf rock, Pirates Alive are one of my first ports of call. See what I did there? Hueh, hueh, hueh.

Anyway, ‘Love Drunk’ reminds me a fuckload of ScotDrakula, Step-Panther and Dune Rats. There’s  just casual riffing, an emboldened bass line and an Aussie slacker accent tying it together. The chorus of ‘Ah’s is a technique that’s used in pretty much every garage song, but when something remains as fun as it did since the 60’s, why the fuck would you change it?

Basically, ‘Love Drunk’ is the summer garage track that’s missing from your life right now.

Horror My Friend-Nothing

And now, for some spidery but striding post-punk from Radelaide. Horror My Friend sound a bit like Die! Die! Die!, which is another way of saying they sound absolutely fucking rad.  It’s also a little bit back-in-the-day emo, circa Taking Back Sunday, without all the cutting yourself imagery.

Their new single ‘Nothing’ combines toe-tapping high-hats with a sludgy bass and climbing guitar riffs. And then that chorus hits, and you have an intuitive feeling that if you’re not moshing, even by yourself on the toilet, then you’re wasting your time, and you should be listening to a Greatest Hits by Michael Buble instead.

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!

New: The Amphibious Man-Split Gobs EP

So, I finally learned how to embed Bandcamp links, aren’t I just zany? Well, actually, if you want to hear some zany shit, listen to The Amphibious Man from Connecticut. I’m going to go ahead and assume that the name was inspired by the 1928 Soviet science fiction novel, because the shit these dudes play is weirder than walking in on two aliens ejaculating on each other.

Three tracks long, each song is more fucked up than a night out with Gary Busey. The opener ‘Lurkin’ is exactly as creepy as the name would suggest, a full-frontal assault of swamp rock mayhem. The riffs are dirtier than a 3 week old used condom, and the vocals on this track are beautifully atrocious. ‘Lurkin’ is basically like fucking The Creature from The Black Lagoon.

Next track, ‘R.L. Stine’ is about as grimy as songs come, which is what one would expect with a song named after the famed ‘Goosebumps’ author. Some serious ghoulish shit goes down on this track, and you can’t help but feel like Lux Interior is breathing down your neck the entire time. Awesome.

Finally, ‘Mrs. Gulch’ rounds out the EP, sounding a cross between rock n roll fun times and apocalyptic mayhem. It would be the most accessible song on the EP, but that’s not to say that it isn’t one of the filthiest, shit-stained jewels of swamp rock that I’ve heard in recent history.

Overall, ‘Split Gobs’ is the EP that King Gizzard and the Lizard Wizard would have made if they’d continued on the train of thought from ‘Dead Beat’, and lived in a perpetual state of Halloween. To write that short-hand, ‘Split Gobs’ is fucking killer.

Album Review: King Gizzard & The Lizard Wizard-Float Along-Fill Your Lungs

ImageHoly. Fucking. Shit. This album. This fucking album…goes beyond words of how fucking amazing an album is capable of being. Think Metallica’s ‘Black Album’ banging The Rolling Stones’ ‘Exile On Main Street’ in a shitty motel room, and then an hour later, Nirvana’s ‘In Utero’ and Radiohead’s ‘In Rainbows’ score some mean smack off The Flaming Lips’ ‘The Soft Bulletin’, and shoot up in the exact same room. The blood and semen mix, Stu Mackenzie happened to catch some in a vial, went back to the lab, and created this fucking masterpiece. Yep, ‘Float Along-Fill Your Lungs’ is as classic an album as they come, and that is no mean feat. You, as a member of the human race, need to buy a dozen copies of this album, and bathe yourself in it, because that is the only way you’ll be able to immerse yourself in the true power of this record, and this band.

To step back a bit, King Gizzard & The Lizard Wizard (henceforth known as King Jizz) is a septet (that’s seven people!) from Melbourne that have created some of the most fried sounds to penetrate the human existence since Neanderthals learned to speak. However, the greatest thin about King Jizz, besides how fucking great they sound all the time, is how they’ve managed to re-invent themselves. When I was but a wee 16 year old, I first fell in love with their raucous garage rock n roll from their ‘Willoughby’s Beach’ EP. Now, whilst they’ve always maintained that strong, unhinged sound, their debut album went to elongate those ideas, whilst the second album went to the opposite end of the spectrum and came out as an epic spaghetti western. Now there’s a third album, and it sees King Jizz re-inventing themselves again as pysch-ward shoegaze superstars Oh, and did I  mention, this is their third album in 18 months? They’ve accomplished more in a year and a half than Keanu Reeves has since in the years following ‘Point Break’. And they’ve done it by constantly re-inventing themselves and never sending the same bullshit out into the world twice! Normally, a re-invention spells foreboding doom-Muse, Red Hot Chilli Peppers, Yeah Yeah Yeahs are just a few of the artists in recent years to ‘mix shit up’, and have come out with confusing and bland results. BUT KING JIZZ HAVE PREVAILED! Because ‘Float Along-Fill Your Lungs’ never misses a mark, not even fucking once.

Starting with the obvious point of reference would be 16 minute orgasm ‘Head On/Pill’. I haven’t been able to get enough of this song, and I first heard it about a month and a half ago. Considering it has a time-limit longer than most student short films, things that seem to go on forever, ‘Head On/Pill’ feels  like it could go on forever and never get boring. The constant shifts in tempo, from gruelling guitar dribbling, to afro-eclectrocution levels of hair-raising awesome, the song never fails to satisfy, no matter what point it’s at. There’s all the traditional signs of a great King Jizz song, from the John Dwyer-like yelps of ecstasy, to the kookaburra-laugh guitar screeches that the band have got down so well. But the addition of Middle Eastern sounds and a sitar to the experiment takes shit to a whole other level-if you haven’t fallen in love with this song after your first listen to this song, then you may as well sell all your 13th Floor Elevators records, because you are officially an enemy to psychedelic music.

If the 16 minute jam sesh through heavenly sounds isn’t really your style, but you’re still a fan of the weird, then the rest of the album should provide some comfort. King Jizz don’t let up on the wackness, unloading the lite-n-easy glamour of ‘I Am Not A Man Unless I Have A Woman’, and then piling on the lo-fi acoustic Ty Segallian ‘God Is Calling Me Back Home’, a fucking brilliant song that thankfully transforms into a sprawling mess of guitar tendrils and smoky reverb. From here, the album takes a darker sonic turn with songs like ‘Mystery Jack’ and ’30 Past 7′ bringing the acid-doom back to psychedelic music. Wafting and swaying, soaked in the spirits of fucked-up-ness, the rest of the album is a deep, congested examination of ‘real pyschedelic music’. It’s stuff that’s been to the other side and back, harrowed and forlorn, but somehow alive, and ready to spin a tale. Just a listen to the mind-expanding sounds of title track and closer ‘Float Along-Fill Your Lungs’ should be enough the convince you that this is a band that are in way too deep. But they’ve made this album, and it’s the closest thing to gaining a spiritual awakening from psychedelica since…well, ever.

That’s right, in my humble opinion, King Jizz have crafted the perfect pyschedelic album. Sure, it ticks off the full, mind-altering sound that is required of good pysch albums (The Flaming Lips), and it completes the quest of thematic genius that is required of great psych albums (Tame Impala). But King Jizz take it a step further, putting themselves in a viewpoint of world-wearied evil, then collided it with their slack-jawed, dilated-pupil garage and come up with something that, dare I say it, is completely original. ‘Float Along-Fill Your Lungs’ does not just entertain the listener, but challenges and  compels them, freaks them out, comforts them, and then disappears on them having taught them everything they know. Fuck, that’s some poetic justice right there.

You can buy ‘Float Along-Fill Your Lungs’ right now at King Gizzard & the Lizard Wizard’s Bandcamp, or head to Itunes. To see the band, (I’m not even going to come up with some bullshit metaphorical comparison, you need to see this band), they’ll be playing at The Standard on Saturday, November 2nd. Go. If you don’t, God will weep for humanity.

New: King Gizzard & The Lizard Wizard-I’m Not A Man Unless I Have A Woman

I’m almost entirely sure that there is nothing better in the entire world than a sitar/flange combo. That’s exactly whats in store in the new single from King Gizz’s third album. The first taste was a sixteen minute odyssey to freaking out, and now we get the second offering which takes things to a more fun and far-fetched sci-fi posterior. The Nick Allbrook-ian vocals are underplayed against the grain of a swagalicious 60’s bass/garage guitar rock that harkens to the Brady Bunch meets hallucinatory drugs. In fact, you could probably apply that to the entire concept that is King Gizzard & The Lizard Wizard. But let it not be said, that that is not the most badass description that can be bestowed upon a band.

Video: King Gizzard & the Lizard Wizard-30 Past 7

The first official single from King Jizz’s upcoming 3rd album. Par the course for a King Gizzard song, it’s excellent. It sees the band take on shoegaze, and boy do they kill it. Singular notes that drip and smolder over a basin of beautiful dreary fuzz. It’s reminiscent of the 90’s British shoegaze bands like Ride, Swervedriver, or Slowdive. To put it in layman’s terms, ’30 Past 7′ is fucking sick.