New Electronic: NO ZU + Alba + Urtekk + Arthur Wimble

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A few vids and a couple new jams from the best knob-tweakers in the country:

NO ZU – Ui Yia Uia

As if this song wasn’t incredible enough, the video for the new NO ZU track “Ui Yia Uia” unleashes itself, presenting the world to the fever dream of the cast from Priscilla, Queen of the Desert. Saxophones blare triumphantly and bongos are tapped enthusiastically as bodybuilders flex next to muscular kangaroos and the occasional fern. All is bathed in goopy green and pink neon and Jesus Christ, this is one of the best videos of the year.

Alba – Operator 

<p><a href=”https://vimeo.com/139918911″>Alba – Operator</a> from <a href=”https://vimeo.com/eugeneward”>Eugene Ward</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

Jostling, acidic visuals queued up by Dro Carey are paired with Alba’s new jam that comes two years after their stunning track “Knokke”. It’s dark, minimal and feels like it was concocted out of a basement laboratory in the seediest corner of Berlin. It’s another huge win for Plastic World, who have put out releases from the likes of Thomas William, GL and Retiree…actually, this track is just a huge win for Sydney music in general.

Urtekk – Pockets

Urtekk are from Adelaide, and my computer keeps auto-correcting their name to Utrecht. Despite these two facts, they’ve shown, over the course of a few singles and EP’s, that they’re a group you’ve gotta get onto. Long, washed out synth build ups, tantalising tendrils of sound, minimal and dangerous…that’s how Urtekk roll. It’s so great, I don’t even mind the constant stress of having to undo my computer’s insistence that I’m spelling the wrong word.

Arthur Wimble – I Love My Love

Arthur Wimble – sounds like a character that got shelved from a shitty Jane Austen novel, right? A real proper gentleman that ruled Downton Abbey with an iron fist, gently wrapped in silk gloves.

Well, that’s not far from his musical truth. It’s just motion after motion of affection from Wimble’s debut, set to feathered, velvety production. It’s got that same sort of light, fluttering feel that has made Rainbow Chan’s music so essential.

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Video: Urtekk – DM3 pt. 3 Pareidolia

I have no idea what is occurring in this video. Nor do I understand this music. But it makes me excited, a warbling, belly-lurching type of excitement. It’s disturbing, fill-you-up, bloated electronic music that dashes and glints with alluring menace. C’mon, go have a jab at the ol’ dance floor, Urtekk will help you out.

New: Urtekk – Freedom

Urtekk open their latest single with a bass line as funky as Rick James’ hairdo. It seems like a weird departure for them, moving from pop disturbia to straight up funk. However, that swiftly flits into a Mogwai-esque synth alarm, alert tones ringing out with an urgency not felt since Liam Neeson had his daughter kidnapped.

This kind of dense, layered track is exactly what you want to hear when your hopped up on more speed, zooming through the futuristic cities of 2045 in your personal hovercraft. Or, you know, on the bus. Whatever works.

Album Review: Ride Into the Sun-Ride Into the Sun

ImageDo you not love it when you hear a piece of music that simultaneously makes your eyes pop out, your tongue loll back in your mouth, and your nose bleed, all through sheer musical prowess? You may think that’s a rhetorical question, but after listening to Ride Into the Sun, you will know the true feeling of wilting under the power of pyschedlica. Sound intimidating? You ain’t heard nothing yet. (Please, for the sake of the review, read that last sentence in Clint Eastwood’s voice)

Anyway, it’s pretty obvious that Ride Into The Sun, the Radelaide (I refuse to refer to Radelaide by it’s proper geographical name) four piece are borrowing heavily from their fellow psch masters The Black Angels and Black Rebel Motorcycle Club. Get over it, they both have the word Black as a prefix. AH! Satanic Rockers! AH! Shut up and just listen to Ride Into the Sun’s awesome music. Droning riffs-powerful, sludgy, mucky; just the way any pysch man/woman worth their salt likes it. Organ sounds fondle with equal kindness and piercing masochism. The bass lines and gypsy tambourine intertwine in such a seductive way, it’s like the snaking rhythms of the world’s most psychedelic temptress. Sure, the band might borrow, but doesn’t that apply to most bands? At least they’re taking something established, pushing it to its limits, and richly enduring the sound, bathing it in a genuine love and presenting it with cinematic power. DAMN! This shit just gives me shivers thinking about how great Ride Into the Sun are. No wonder they were handpicked by The Black Angels to go to Texas (YEEHAW!) and play on their personally curated festival ‘Austin Pysch Fest’. Personally, I think the band have more or less reached the pinnacle of what can be considered genius. Once you got The Black Angels respect, where can you go from there?

The opening to this self-titled mini-LP might just be the best thing the band has written and produced. ‘Hunt Like Wolves’ is a prickly, furtive and paranoid track, steadily jamming along at a mild pace, before zooming into lopsided explosions of fuzzy freakout. The band show off their complex skill, constantly pulling back before pushing forward, holding their cards to their chest for nearly the whole track, before flipping off everyone at the poker table and letting loose with ear splitting squeals of guitar. Also, the bass on this track was drudged up from the bottom of a black lagoon. It’s fucking horrifying.

Now, although the rest of the mini-LP never reaches the gargantuan heights set by ‘Hunt Like Wolves’, the rest of that shit is skin-shreddinly good. There’s the jangle lust of ‘Lost At Sea (A Love Song)’, followed by Native American guitar clashing, ‘These Are the Ones Who Shoot’. Following the theme of the Wild West, it’s ‘Gun Song’, which starts surprisingly safe and quaint. But ho, behold, Ride Into the Sun are devilish tricksters they are. Boom, a mind-melting bullet of wavering treble haze is fired once, twice,  three times…you’re dead. Onto ‘Hero’, the only song on this album with commercial as fuck lyrics. Don’t take that to be insulting though; the chorus of ‘I’ll be your hero’ delivered between intermittent stomp riffs and tom smacks, is a heavy injection of Flinstones pysch. Despite being something Miley Cyrus or Taylor Swift would fart out, when Ride Into the Sun take it, they mould it into a damn cool thing to witness. Finally, the Brian Jonestown Massacre make an appearance as an an influence on the psych-pop of ‘Too Cold’. Sun pokes through the stormy clouds the rest of the album have gathered, and burst through with unrepentant energy. Newcombe 4eva sistah!

Listening to this album, I feel like the squirrel  in this video, standing on the side line as the bear raps some dope as shit. I’m just sitting there, saying shit like ‘Class, straight classic’, ‘AHHHHH, blazin’, and ‘Dog, that was the tightest thing ever’. You haven’t seen that video? Watch it here, it’s fucking hilarious and better than ‘Yeezus’. Anyway, that was a pretty fucked tangent. Really I was just looking for an excuse to post that (thanks Clancy). But what I’m trying to say is that you should really go buy, support, love/make love to Ride Into the Sun. God knows they don’t need your support cos ‘they da next big thing’ and ‘they sent a demo to Diddy’, but still…be the squirrel.

You can be the squirrel by joining me in buying their shit. If you need more convincing, three of their tracks are on Triple J Unearthed right here; two of them are from the mini-LP, and one is an earlier thang. Apparently Ride Into the Sun are also a blazin’ live band. The bad news is, they just finished up a tour with USA’s Bardo Pond (HOLY SHIT!). The good news is, they’re playing September 14th at Sydney Psych Fest with Dreamtime, Dead China Doll and Day Ravies amongst others. I am more there than a horny kid at a porn convention.

Album Review: Oisima-Goddess EP

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Adelaide’s Oisima is one of, if not the most, promising producers in Australian music right now. But Ryan you ginger shit-filth, I hear you cry, Oisima has been dominating the scene for, I don’t know, forever! Yes, I’m late to the party, but with a new single to flaunt (available for free right here), I thought I’d do a review of his second EP, ‘Goddess’. Its mindblowingly austounding how fucking good hip-hop beats with Middle Eastern flavour and a little trickling of talent can take things. The answer is to: to Alderaan and back.

Compromised of mostly instrumental beats that gloriously slide and overlap each other, the ‘Goddess EP’ is a sample namesake, something that should make DJ Shadow fans wet their fingers and clear out their ear canals in surprise. If DJ Shadow as Muhammed Ali, then Oisima is his Joe Frazier. Whilst DJ Shadow is uncompromising in his audio assualt, Oisima takes a more spindly route, wining and dining the listener, seducing them with various lush tracks until bam! You’re his number one fan.

At least, that’s the process of the first half of the EP. ‘Where the Light Is’ is a super small and tight-knit thing, forgoing extravagance in favour of touching all the right bits and bobs. After establishing himself, the listener is treated to some more left-of centre stuff on ‘Glow (feat. Adam Page)’. It certainly is a glowing track, that emanates a strange otherworldly warmth from the centre, and it would be as amiss as a bull without horns not to mention to smooth sultry saxaphone on the track. It’s goddamn sex. I feel like something non-consentual has taken place after hearing ‘Glow’, but the Motown meets minimalism electronica is too good to complain. Then comes the boom, bang, bop! the exclamation that frightens and entices, with ‘That Lovin’ Thing’. It starts bubbly, but slowly and assuredly gains the confidence to break into a Shlowmo mix, that eventually morphs into a drone-y accusation. If being yelled at by a girlfriend was minimalist Australian techno, it would be this.

Remember, the last few songs I’ve described are only the first half of the EP. There is still more of the same shuffling, voyeuristic and slanted stuff to be found on the remaining EP. That’s not to say that the rest of the stuff sucks, or is even bad. In fact, it’s the exact opposite-Oisima continues his brilliance throughout the EP, a swarming, buzzy energy that adamantly persists regardless of what song it is. Whatever song is playing, you’ll feel an unnatural sense of calm wash over you, and a supernatural love for the music of Oisima.

I’ll say it right now: Oisima is going to be the next big thing, not just in the Australian scene, but internationally. I can see him headlining shit with the likes of Nosaj Thing, Cashmere Cat, XXYYXX and all those other dudes. His brand is unmistakable, sexy and flowing like the dress of a Greek Goddess. Never mind the fact that sounds pretentious as all fuck, but if your any sort of chilled person that enjoys a little electronica here and there….get this EP. GET IT NAOW!

You can stream the ‘Goddess EP’ of which I just described right here, as well capture his brand new single in the Pokeball that is iTunes, from his Bandcamp right here. You can catch him at Tatler’s, Kings Cross on August 15th, or Outside In Festival on September 21st.