New Electronic: NO ZU + World Champion + Movement + XXYYXX

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A bevy of tunes for you to use in your next DJ set to piss off people who just want to hear “Hotline Bling”:

NO ZU – Hi Gloss

NO ZU are going to be returning to Sydney this Saturday for At First Sight Festival, and I’m excited. You should be to, unless you hate fun. Because NO ZU are the definition of fun. They’re more fun that going to Disneyland with a Skip-the-Line pass. They’re more fun than having a wise-cracking talking parrot as your best mate. They’re more fun that travelling back in time to stop the birth of Tony Abbott.

Here, let me prove that fact to you right now, with their new jam “Hi Gloss”, six minutes of exotic, sensual, shoulder-rolling, hip-thrusting, knee-jerking groove. Listening to this makes me want to don a turtleneck/teashade sunnies combo and hop into a convertible on my way to a 1960’s nightclub where the STD’s are flying around like mozzies and no one gives a fuck.

World Champion – Shakes 

Also on the At First Sight bill are relative newcomers World Champion. They’ve been gigging for a fair bit, but “Shakes” is only their second track. Released through Future Classic, World Champion bring the vibes that only a true global winner can wring. With Madchester scrawled all over it, “Shakes” is about as euphoric and uplifting as they come, thudding without being overwhelming, and pop without being plastic. Fuck, it’s just a really fun song, y’know?

MOVEMENT – LACE (Demo)

It has been a long time between drinks for MOVEMENT, Sydney’s future R&B legends who propped up everyone’s ears with their EP last year. BUT IT HAS BEEN TOO LONG! TOO! LONG! To be fair, they’ve been opening up shows all over the world, but COME ON! The lumps in my throat from the last time I listened to “Like Lust” are subsiding!

“LACE” comes just in the knick of time, lightly ruffling those goosebumps that MOVEMENT pressed into our flesh so long ago. They might have left us in the lurch for a little while, but their return is enough to give the drools to anyone within earshot. “LACE” creeps at a depraved pace, as affecting as anything MOVEMENT have done before, breathing heavily until you can feel hot air rustling the hairs on your neck.

Apparently, it’s just a demo, but Jesus Christ, if this is the half-arsed version, I don’t think the world is ready for a fully-fledged reindtion of this. Furthermore, it’s a free download, at least for the time being, so grab it and store it in that iTunes Library playlist entitled “I Am So Lonely, Will Someone Please Touch Me? Please?”. Everyone’s got one of those, right?

xxyyxx – Red

 

The combination of xxyyxx’s age and talent is enough to give every big name producer out there a stroke of doubt followed by a mass existential crisis. If a 19 year old from LA can make beats as dark, brooding and sultry as “Red”, then what fucking hope do we have? Delete that copy of Ableton that you downloaded illegally anyway, push away the decks, and send those half-finished demos to the trash bin. I guess the only consolation prize here is that you can now spend more time listening to xxyyxx, and it’s hard to to find onus with that.

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Album Review: Movement-Movement EP

I hardly ever dance anymore. When I do, it means one of two things: I’m drunk, or I really, really, really like the band playing. I don’t know whether the cynical side of me is winning the internal mind war, or if maybe the robot controlling my emotions broke up with his girlfriend, but the last few bands I danced to were Straight Arrows, Palms and Hunx and His Punx, all of which are impossible to not grow obsessively fond of.

However, with the Sydney group Movement, I’ve had no trouble dancing to their shit, and it’s not even within a live setting. Their music, an R&B dusted with silver electronica, is damn near flawless. If they’re EP were a Game of Thrones trophy, it’d be the Iron Throne-strong and grey, but with an intrinsic beauty attached to it.

The EP starts off with previous single ‘Like Lust’, which you could see as the perfect song to make love to. Not ‘fuck’, or ‘root’, or ‘boink’ or any of that 16 year old shit. No, if Romeo and Juliet were touching gonads today, and Baz Luhrmann were needing the perfect song to accentuate their slow-motion passion, he’d pick ‘Like Lust’. Sure, there’s the irony that the song’s about a booty call. But the way ‘Like Lust’ carries itself with a sheen and glamour, a case of Resch’s says that any figure-man, woman, six-penised alien-would immediately fall to its sensual clutch. It’s so beautiful, even a combination of prolonged eye contact with Brad Pitt and a snuggle in ice cream flavoured happiness couldn’t beat this song to the claim of ‘Most Gorgeous Thing Ever’.

Following ‘Like Lust’ is a slow-burner of the truest sense, ‘Ivory. It starts with vocals that sound like they belong in the higher reaches of an abandoned church (go with me) and there’s these overarching synths that build and whip like those hidden dart traps in Raiders of the Lost Ark. But then these glowing piano droplets come in, and these hand claps are there, and the voices…OH THE VOICES! It’s pure sex recorded to tape, the kind of stuff Drake wished he could record. After that audio-orgasm, ‘5.57’ drops, and I do mean drops. It’s the kind of song that wouldn’t seem out of place connected to a video of two illogically attractive people making out in a Terminator-esque apocalypse. The chorus has these crushing electronic waves, but they’re balanced out by the tranquil ‘ooo’s that smother the piece. Basically, that shit is beauty incarnate.

The EP is finished out with the slow and brooding ‘Control You’, a breathy, harsh track that has all the right amounts of steam and lust to put an episode of True Blood to shame. When you’re commanded to ‘Move your body’, you’ll find that your already grinding whatever object is closest. Doesn’t matter if it’s a lamp post or a grandma, you’ll be grinding away with ‘Control You’, I assure you of that.

Which brings things to a close on this front. Movement made me dance my heart out to every song on their EP, and you’re Satan if you can’t see the value of this group right here. They’re more sexy than Penelope Cruz singing Marvin Gaye, and they have more potential talent and power to unite the 7 kingdoms. Yeah, I’ve only just cottoned onto this Game of Thrones thing. Fuck it’s good. But not as good as Movement.

Movement are gonna be playing Spectrum on Friday 30 May, get amongst it!

March Playlist

Holy shit, this playlist is crazy, a gritty, modern reboot of a mixtape if ever there was one. There’s a whole lot of underground punk, with Gutter Gods and TAX repizentin’ for the genre. And there’s some great new ones from Cloud Nothings, Juan Wauters and Cerebral Ballzy. And then there’s the usual proliferation of older but amazeballs stuff, like the spleen-rupturing Trash Talk and GG Allin, smooth pop of The Holidays, and  the cool college rock of PILE. Enjoy!

1. Touch Sensitive-Slowments

2. Cloud Nothings-Pyschic Trauma

3. TAX-Bent Spear

4. Oozing Wound-Call Your Guy

5. Plastic Plates-Things I Didn’t Know I Loved (Bufi Remix)

6. Trash Talk-F.E.B.N

7. GG Allin-Bite It You Scum

8. PILE-Number One Hit Single

9. Juan Wauters-Sanity Or Not

10. Miles Brown-Electrics

11. Cerebral Ballzy-Speed Wobbles

12. The Holidays-Voices Drifting

13. Liars-Mess On A Mission

14. Adolf Sasquatch-Oxygen Thief

15. Gutter Gods-Virtual Reality

16. Ernest Ellis-Black Wire

17. DZ Deathrays-Gina Works At Hearts

18. Movement-Like Lust

19. Pink Mountaintops-Ambulance City

20. Eagulls-Possessed

New: Movement-Like Lust

I recently watched ‘Boyz N The Hood’, so I’m going to review Movement’s new single the way I feel Ice Cube would review it:

Man, this shit is crazy tight. It’s like…yo Cuba, what’s the motherfucking word? Tight as balls! Yeah, Cuba, you a man of words! Motha-fucka you should meet with my boy Dre…Oh, I’m breaking character? How ’bout I break yo mothafucking face?

*Clears throat*

Anyway, this shit is like, the smoothest jam, it gets my panties wet. Soak-a-licious. Mmm, perfect. Makes me bite my upper lip good. These Movement boys would be tight in the ghetto, despite the fact they exist a full two decades after this significant peice of African American cinema was created. Anachronism’s aside, ‘Like Lust’ is wack!*

*My entire knowledge of how Ice Cube actually sounds is compiled from the aforementioned ‘Boyz N Tha Hood’, various soundbites of ‘Fuck The Police’ and ‘Are We There Yet?’.

Video: Movement-Us

Sydney trio Movement have just released their latest single ‘Us’ and it is totally killer. Now that’s called foreshadowing. In the absolutely stunning clip that plays out like an actual fucking movie (specifically ‘Training Day’ with ma boi Denzel), gang violence is the background for a decided look a friendship, masculinity and loyalty. Fuck, it’s actually heartbreaking and packs a solid punch as a video by itself. Couple that with the raw vocals and tear-inducing, slow burning music of Movement, and there’s a definite combination to blowing out hearts and minds the world over.

Gig Review: FBI Turns 10

Sunday 8th of September @ The Carriageworks, Redfern

FBi Radio has been a stalwart of promoting forward thinking music for approximately the past 10 years. Try to think of another Australian radio station that has it’s finger to the pulse of music more so than FBi. It is impossible. Because FBi is committed to carving out delicious hunks of flesh that the Australian music scene has to offer. If you’re underground and independent, but you have the music that should send you skyrocketing to stardom, FBi can probably help you out. Just ask some of the alumni that have graduated from the grainy speakers of beat up automobiles the country over, to giant stadiums. The Presets, Hermitude, Cloud Control, and Urthboy are just a few of the massive acts that can thank FBi for that helping hand. And on FBi’s 10th Birthday spectacular at the Carriageworks, all of these acts and more were there to give back to the best of their ability. And by fuck-knizzles was it a good show.

A bunch of locals where the first of many amazing musical treasures to be caught that day. Opening with Movement, the recent Future Classic signees, was a pleasure to see. They were warm and receptive of the minimum attention from hungover crowd that had come down early to catch their set. Although not wild in any sense, Movement were still engaging, and their amazeballs cover of ‘Ms Jackson’ by Outkast didn’t just go down a treat…it was a festival highlight. The day then progressed to a bunker, in which some serious noise was gargled forcibly down your throat. Zeahorse played an electrifying set. I didn’t know what to expect from the band, other than that their song ‘Pool’ is badass, but instead I got a truly ferocious feat of punk. The bass lines that this band can muster could go head to head with any Sabbath track, and the unadulterated rage that the band brought to the stage was mind blowing. I came to that show a cautious spectator, and left an undying fan. Straight Arrows had the job of following this belying dumbbell to the kidneys of a show, but they only raised the bar. Owen Penglis proved himself to be the Lux Interior of contemporary society, stalking the stage with retarded glee. He’s both taking the piss of himself and exuding over-the-top enthusiasm for his craft of creating the best garage rock n roll this side of the universe. Not to be outdone, guitarist Alex Grigg was equally captivating, jumping around like a frog on meth. Songs with full on, tidal choruses  like ‘Bad Temper‘ and the new single ‘Never Enough’ went down the best, the crowd frothing to the best of their ability at 2 o clock on a Sunday arvo. Following these two high energy performance was the inimitable Kirin J Callinan. Not about to be overshadowed by a couple punks, watching the weirdo was like a Sydney re-invention of Kraftwerk. Dressed in a zebra meets Doppler Effect jumpsuit, and followed by two similarly robed henchmen, Kirin J Callinan put on a mesmerising and disturbing performace. Guitar feedback, loops and a general fuckery of the senses was the call of duty from the performance. From the get-go, Mr. Callinan indulged the crowd in their most fucked-up desires in only the way a guy that thinks onstage epilepsy is be a good idea could. An overall  electrifying start to the day.

Let it be said that Deep Sea Arcade cannot do a bad show. They are the Australian version of the UK arena rock spectacular bands like Kasabian. They take the crowd into the palm of their hand from the beginning of the show, using the age old tricks of rock n roll (loud guitars, onstage prancing, a sound that allows the crowd to sway with happy detachment from normalcy) to transform their small stage in Bay 20 of the Carriagworks into a full throttle rock show. Showing off songs new and old, Deep Sea Arcade had a thronging, adoring crowd lapping up every second of their performance. ‘Black Cat’, ‘Girls’, and ‘Steam’ were all particularly explosive points of the set, but the band have encapsulated a riotous spirit onstage that would make The Rolling Stones fart storms of dust in jealousy. Unfortunately, Naysayer & Gilsun didn’t make their scheduled appearance. A disappointment permeated my soul like I haven’t felt since earlier that day, when I ran out of drink tokens within half an hour of being at the event. Still, there was a silver lining-I got to catch the end of The Preatures set. After way too much repetitive doof doof in Bay 17, The Preatures afforded some much needed laid-back soul infused rock. ‘Is This How You Feel?’ has warmed up to me exponentially since I first heard it a couple months ago, so hearing it live was like dousing my head in the mythical waters of Babylon.

The festival only got better and better from that point, as we made our way to the barrier for the remaining four acts. Seekae were there almost straight away to prove what it meant to be a main contender for the crown of ‘best producers in the history of ever’. These Sydney post-dubstep, ambient heroes showered an adoring crowd with cult favourites from their previous two albums, as well as a couple selections from their upcoming record. The beautiful new song ‘Another’ opened the set, but the transcendental sounds of ‘Blood Bank’, and the major hit ‘Void’ were so good, it felt like the crowd was moving like a singular piece of jelly in a light wind to Seekae’s music. It’s important to note that this third record sees Seekae experimenting with live vocals, a move that can only be lauded. It sounded fucking amazing. The whizzing beats combined with the immersing tonal melodies of Seekae’s music was amazing enough, and with the vocals layering on top of that, I can only imagine that Seekae will become one of Australia’s next big exports. After defying the logic of goodness with Seekae, Midnight Juggernauts took the stage. Initially, I was pretty pissed, because seeing Midnight Juggernauts meant missing Bleeding Knees Club, who are better than a gallon of cough syrup when your not actually sick (PURP DRANK!). Initially, I was committed to not having a good time, and to send a disapproving message to Midnight Juggernauts that they would leave FBi’s 10th Birthday having had to stare at a frowning ginger in their front row for the entire duration of their set. However, I was the fool in this situation. When three guys rock the stage in tribal robes, and jam so theatrically your ears bleed from the carnivorous carnival of fun on display, then it’s kinda hard to remain a cynical dick about the whole thing. The energy on stage was at an overwhelming extreme, and Midnight Juggernauts bigger hits such as ‘Into the Galaxy’ caused near-riotous levels of ecstasy in the audience. Closing the set with a striptease from their ‘Uncanny Valley’ tour buds Kirin j Callinan and his astronaut-in-training accomplices, set to screeching electronica, mental drumming and a jungle bass like only Midnight Juggernauts can deliver was a fucking insane and grin exuding experience that no one could be capable of shying away from.

Next to hit the main stage was Hermitude, and let me confirm that everything you’ve ever heard about them is true. Yes, they are one of the best production teams in recent history. Yes, they blaze up the stage like a Cypress Hill blunt. And yes, you should skip a loved one’s Bar Mitzvah to go see them live. Hermitude are fucking awesome. There’s not much more to say than that. Until you’ve been swept up into a thronging crowd all jumping in unison to ‘Get in My Life’, watched African animals spiral in duality on six different TV screens to ‘HyperParadise’, or watched in awe as Chaos Emerald dances the fuck out of a stage whilst ‘Speak of the Devil’ booms in fiery agreement, you have not lived. Hermitude are performers like no other, and they were the winners of FBi’s 10th Birthday, by a long fucking way. Now, although they didn’t have the advantage of enthusiasm incarnate like their predecessors Hermitude, The Presets closed the absolute fuck out of this festival. With a battalion of party starters at their finger tips, Kim and Julian laid down the gauntlet with a strong mix of new and old. Although they leaned a little too heavily on the newest album ‘Pacifica’, it provided much needed relief for when perennial crowd favourites such as ‘This Boy’s In Love’,My People’ and festival closer ‘Talk Like That‘ turned a dancing crowd into a moshing frenzy. The neon tunes of The Presets are loved the world over, but in that moment of ‘talk-talk-talk, like-like-like, that-that-that *electronic music sounds*’, Sydney showed their passion for these hometown heros through a sea of sweat and smiles.

To say that FBi’s 10th Birthday was a success is an understatement. There was not a single point in time in which there wasn’t a band on that wasn’t worth seeing. I’m still kicking myself for the fact that I missed Fishing, The Laurels, Sampology and Decoder Ring, a few of the amazing acts that went ungraced by my presence. And if you weren’t down for having your earholes pleasured, then there was always the buffet of Sydney delicacies, the artworks and installations, a spectator controlled boxing match (fucking awesome), or even a quick wander around would reveal some of your favourite artists of the day. To leave Redfern unsmiling that day was to lie to yourself. There’s only hope that this festival tries to repeat the overwhelming success next year.

If you like any or all of the artists, you should really think about becoming a sponsor of FBi. They are probably one of the best things to happen to Australian music since The Scientists formed.