Video: Alex Cameron-Taking Care of Business

Alex Cameron, the frontman of Seekae and a stunner of a solo musician in his own right, is the saviour of music. Piracy is ruining the industry, most bands can’t get paid, but it’s cool: Alex Cameron is taking care of business. TCB baby, TCB.

‘Taking Care of Business’ was one of the highlights from Alex Cameron’s solo debut, that was released late last year. In a record of 80’s synth tunes, packed with brilliant nods to a man in the midst of his undoing, ‘Taking Care of Business’ shined as a soul-wrenching song that would tear your heart out if mp3’s had the physical capacity to reach into one’s ribcage.

The video for said song is no-less gut-wrenching. Beautifully filmed, coming off like those karaoke scenes from that ‘Only God Forgives’ movie, Alex Cameron dances like he’s a stand-in for Jamie Lee Curtis in ‘True Lies’, only instead dressed in a Miami Vice extra outfit. His moves and vocal pain are so much, they cause him to stare down the barrell of a gun, and yet he keeps building and building, jerking his body like Ian Curtis in the throes of soul-crushing depression.

Seriously, one of the best songs to be released out of Sydney now has a clip that does it complete and arresting justice.

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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?

Top 10 Things That Happened in 2013

Okay, just to clarify, this isn’t a list about the best shit that happened in 2013 for music. Although most of it is about some of the really, really great shit that happened, some of it is about some of the bad shit that happened in 2013. That is to be expected, so chin up buddy, dry those tears, and think about the sunny day that Violent Soho brought out their sophomore record, and forget about the time that Miley fucked a teddy bear. 

10. Chapter Music and I Oh You Records (tied)

This has just been such a fantastic year for both these top-notch Aussie record labels. Albeit on opposite ends of the music spectrum, and drastically varying in age (Chapter celebrating their 21st Birthday this year, and I Oh You celebrating their 4th), they have both released some of the best tunes this year, and rightfully won their place in the music community. Chapter Music released a stunning 15 or so records this year alone, with records ranging from the ‘dole-wave’ world-conquerers Dick Diver and The Stevens, to the long-awaited debut album from Primitive Calculators and another new one from The Cannanes. Meanwhile, I Oh You was out there putting on tours for the likes of Earlwolf, Foals (DJ’s) and getting the one and only Neon Love together for a reunion show. If that wasn’t enough, I Oh You also put out another one of my favourite records of the year, Violent Soho’s ‘Hungry Ghost’, and Snakadaktal’s debut record. They also managed to be a bunch of cockteasers and put out tantalising singles for City Calm Down and DZ Deathrays. If these labels can keep the pressure, there’s no telling how 2014 will end up.

9. New Shit From Bands That Haven’t Released Shit In A While

Beware, I’m not talking about bands that reformed, or broke their hiatus. I’m talking about bands that have never broken up, but have been ‘illin on the fringes of musical society, just waiting to return to form with strident singles. The aforementioned DZ Deathrays, Straight Arrows, HTRK, The Avalanches, Royal Headache, Seekae-just a few of the bands that blew us away with stand alone releases that said, “Fuck you, we’ve still got it.” If you haven’t checked out any of these singles…do it, you unintelligible ape!

8. Shitty Albums That People Thought Would Be Way Better Than They Actually Were

Ooooh, the first hot topic! I’m not just talking about Daft Punk here, there were so many built up albums this year that fell flatter than an ad campaign for Vaginal Warts. Arctic Monkeys, Sebadoh, No Age…just a short list of albums I listened to that I wish I hadn’t had, so I could dedicate more time to wistfully thinking about making sweet love to Robert Pollard. But that’s not even scratching the surface of bands like Cloud Control, Cults, Weekend, Soft Metals, Obits and Franz Ferdinand. A lot of bands that I was expecting to deliver stunning results returned with meagre offerings that either cruised along on the strength of predecessors, or worse, fucking sucked.

7. Solo Projects

For me, the term ‘solo project’ is a bit of a dirty word. Most of the time, they’re warning stories for the over-eager frontmen and women. Just ask Johnny Borrell, Johnny Marr or Noel Gallagher…if your album isn’t awesome, you kind of lose all credibility,and come off looking like a wanker. But luckily, there was a whole swag of Australian artists that went out on their own and wandered out as deadset legends. Nathan Roche, Angie, Kirin J Callinan, Geoffrey O’Connor, and Alex Cameron are just a couple names that released some stellar records this year that only get better with repeat listens. No point getting too much into it, just go fucking listen to them yourself. Trust me, these records are more on the Bob Dylan side of the solo spectrum, in terms of awesomeness.

6. Boutique Festivals

In a year where shit is getting fucked up ALL over the place for major music festivals, whether it be the gargantuan amount of drug related arrests, Blur cancelling on Big Day Out, or AJ Maddah telling people that their favourite bands suck tremendous amounts of horseshit, major festivals are becoming more and more fucked. I can’t tell you how pissed I was when I missed the chance to see Massive Attack, Superchunk, Black Rebel Motorcycle Club and Neutral Milk Hotel all in the same place for Harvest festival, only to see it collapse before my very eyes. And lets not even touch on hip-hop festivals this year, with Rap City, Supafest, Movement all being cancelled.

However, with the absence of ya boiz 50 Cent and T.I, boutique festivals have continually outshone their counterparts. The ‘original’ boutique festival, Laneway, has gone international, and their 2013 edition was fucking awesome. Japandroids, Divine Fits and POND all left massive dents in my brain, right were the pleasure centre is located. Other festivals like OutsideIn, Strawberry Fields and the upcoming, sold-out Secret Garden festival (which frankly has the most amazing lineup I’ve ever seen) continue to dominate. Oh, and Sound Summit was one of the most pleasurable and unique experiences of my entire life, a smorgasbord of musical delights that will probably never be collected in the same period again. Fuck me, if boutique festivals become a thing, how the fuck will yadda yadda capitalism, Soundwave, Nova 969, joke, haha.

5. Reformations-the fucking shit and the not-so-shit

Firstly, let’s talk about Black Flag. Maaaaan, did they fuck that one up. One of the all time greatest punk bands became a petty squablling bitch fit of the highest order, and at the end of it all, once-stoked fans where left with an album called ‘What The…’, which compromised of a bunch of piss-take ‘punk’ songs and an album cover that looked like ClipArt threw up. They fucking fired Ron Reyes onstage! Black Flag aside, bands that also wanted money to buy that brand-new toaster and reformed included Boyzone, The Backstreet Boys and Girls vs. Boys. It reads like a list of who-gives-a-shit.

However, on the plus-side, Jurassic 5, Philadelphia Grand Jury, and Powder Monkeys all put aside differences and got stuck into some gigs. And by some miracle, the mother fucking Replacements got together again! What! That’s amazing! I nearly blew a load when I heard that!

4. Electronic Music???

Electronic music has had a confusing year in 2013. On the one hand, there has been some absolutely froth-worthy local shit that has gotten tails wagging and genitals exploding. Touch Sensitive, Wave Racer, Cosmo’s Midnight and Hayden James have had stellar years, and underrated labels like Future Classic, Silo Arts, and Yes, Please have all shot to national attention, like synth induced erections. And let’s not even bother to touch on Flume-that guy gets enough deserved praise.

But in terms of mainstream music, the result has been mixed like a cocktail served by a squirrel with Parkinsons. Of course, Disclosure released that pretty killer album. But the likes of hardstyle trap from the likes of Baauer and DJ Snake, and the legions of mindless DJ’s that trample our radio waves that release forgettable single after another dilutes a lot of the mainstream appeal of electronic music. Not even new albums from Jon Hopkins, and Boards of Canada, or the embracing of the genre from indie rock icons like Arcade Fire and David Bowie, could distract from the likes of Knife Party destroying decent music. Although it is undeniable that electronica had a killer year on the local front, its better to forget that other shit happened outside of our shores.

3. Debuts

Face it, a lot of debuts came out in 2013, and they all rock me better than a hurricane. International props to the likes of Savages, FIDLAR, Eagulls, HAIM, Jackson Scott, SQURL, HUNTERS and Atoms For Peace. But that doesn’t even come close to the amount of talent that pooped out shining nuggets of debut gold this year in Australia. TV Colours, Gooch Palms, Bad//Dreems, Food Court, Bed Wettin’ Bad Boys, Zeahorse, Bloods…the list goes on…and on….and on. Batpiss, Clowns, Amateur Drunks, Reckless Vagina! Unity Floors, Day Ravies, The Stevens, SMILE! These are just a couple of my favourites, but you get the idea. There was a fuckload of bands that popped their cherry and the collective music community lost their shit. Blood was everywhere.

2. Miley Cyrus and the Death of the Child Star

Look, I actually don’t hate Miley Cyrus. I think her music sucks, her taste is awful, she acts and sounds like a spoiled brat and is a living cumstain, but she’s actually the perfect pop star that this generation needs. She’s like The Dark Knight of shitty, over-produced music. And good for her for completely shaking off the goodie Hannah Montana image.

But therein lies my point. The Jonas Brothers broke up this year, the Biebs has conveniently spray-painted, prostituted and retired (?) his way into a ‘bad boy’ image, and we all saw Miley nearly fuck Robin Thicke onstage at the VMA’s. Right now, there isn’t really a glistening child-star to sell t-shirts. Even Lorde, the youngest pop star of the moment is more grown up than the majority of twenty year old hipsters that infect her concerts just to say they saw ‘Royals’. She hung out with fucking David Bowie and Tilda Swinton for her birthday party!

Regardless, 2013 saw the Death of the Child Star, a feat that should both cause us to all be thankful, and astonished.

1. Local Garage Rock Hit a Fucking Peak

Garage rock, my favourite genre, has well and truly hit its peak at the moment, and shows no signs of declining. Seriously, attend any bar in any capital city in Australia, and there’s a 1-in-3 chance that there’s a garage rock band giving it 100% and blowing minds.

Not only is the live scene of garage rock well and truly at a high point, but the albums these bands are making are astoundingly good. Palms and The Gooch Palms released underdog debuts that blew everything out of the fucking water like a land mine in a kiddy pool. TV Colours took the usual formula and added dashing synths and samples to create a tale of fucked-up-ness that’ll have you massacring penguins just to get your hands on some more. And Bad//Dreems single handedly resurrected the sound that was left behind where GOD put it.

Outside of debuts, garage bands that have already established themselves continued to push shit further into the realm of amazeballs. King Gizzard & The Lizard Wizard, Witch Hats, Ooga Boogas and fuckloads of others continued to do what they do best-ensure that we, the shitstains of musical society, are enjoying their output more than humanly possible.

As if that isn’t enough, there’s new garage bands springing up all over the place, and the sound still hasn’t been tired out. Bands like Doctopus, The Living Eyes, Tiny Migrants and Adults are just a very small handful of the concoction of rock n roll music that is permeating our ears on a local level. If you haven’t done so, check out all of these bands and more.

We are living in a renaissance of the greatest form of amatuer music in all its forms, and the least you can do is contribute in some small way. 2013 was one of the best years for Australian music, garage and rock n roll specifically, because finally, all the years of hard work that these bands have done has started to pay off exponentially in fantastic records and performances. Get along to a show, buy a record, and ensure that 2014 means that local music is better than the last shitstain of a year.

Album Review: Alex Cameron-Jumping the Shark

There are heaps of ways I could introduce Alex Cameron’s debut album. One way would be to go on and on and on about his lucrative career as the frontman for electronic project Seekae. Another way would be to describe what the term, and subsequent album title, ‘Jumping the Shark’ means (idiom meaning that a project’s creative ideas are getting desperate for attention, derived from an episode from Happy Days when Fonzi literally jumps over a shark on waterskis). Even another way would be to talk about the fucking amazing website that Cameron set up for the project! Viagra ads and creepy face close-ups have never looked so appealing. But I feel as though the best representation for my introduction would be to talk about how this record was apparently rejected by ‘at least eight’ record labels. Taking even the quickest of listens to this album, that will come as a shock and a half to anyone who’s ever applied to the School of Good Tunes.

Reading through the website, you’d be forgiven for thinking Alex Cameron’s shambolic musings on the state of the Internet, e-mail and free downloads would at least filter into the album a little bit. Instead, the music listening public are left with a fucking fantastic album that manages to wallow in the mire and shine like the brightest fucking star in the galaxy.

The songs of ‘Jumping the Shark’ are a weird brand of electro-pop, jumping around with a strange energy, but held back from being Passion Pit-levels of exuberant by Alex Cameron’s voice. And what a fucking voice that is! It takes me by complete surprise that the guy held back this fucking gem from Seekae until just recently. His voice is hopeful, but there’s also a level of experience and wisdom in there that warns to shy away from being too optimistic. Think I’m reading into this too much? Well, fuck you, because the lyrics back me up in my hypothesis, such as in ‘She’s Mine’, when Cameron introduces the song with ‘Lovers having short careers, I wonder if they are but fears, of quickly gaining way too much, but slowly, slowly losing touch’. Put this in Cameron’s seductive, instructional tones and add a glittery synth line, and you’ve got a recipe for one of the best things you’ve heard all year.

‘She’s Mine’ is just the tip of the ice berg. Opener ‘The Comeback’ is the ultimate new-wave Rocky theme, even holding a chorus of ‘We’re gonna get my show back!’ over triumphant chords. ‘Real Bad Lookin’ holds a demented merry-go-round rhythm, whilst Cameron waxes poetic about ugliness, both on the inside and outside. And ‘Take Care of Business’ hits rock bottom, long pauses and subtle electronica, whilst Cameron basically cries out ‘she’s…takin’ care of business’ in the most heartbreaking inflection you’ve ever heard.

Alex Cameron’s debut effort ‘Jumping the Shark’ is memorable like watching dinosaur’s duel to the death. You can’t peel your eyes away from such a rare sight, and every fibre of your body is telling you that this is something that probably won’t occur ever again. ‘Jumping the Shark’ feels like a spiritual sequel to Rowland S Howard’s ‘Pop Crimes’, depressed but addictive music that feels like pop but could never be played on Top 40 radio.

‘Jumping the Shark’ is a hell of a fucking album, and its too majestic to go unnoticed. I’m actually going to be upset if this record doesn’t go multi-double-super-ultra platinum. Its too good to not be noticed by, at the least, the King of Nicaragua, if that position exists. However, because Alex Cameron is a super nice guy, for an undisclosed, limited amount of time, you can grab the album for free off his awesome, awesome website (I can’t get over how fucking great this website is). Get on it, because only Alex Cameron knows when the Alex Cameron record will become not-free!

HSC Study Playlist

As we draw closer to existential despair and nihilistic oblivion in the form of a month long series of quizzes known as the HSC, the stress and pain reach immeasurably high levels. Hence, with the English exams on Monday and Tuesday, I have prepared thee a playlist to chill you the fuck out for Hamlet. Dude was a whiny prince with daddy issues. I would much rather jam to Jon Hopkins than that. And Emily Dickinson? Fuck her and her spinster ways, go for some Touch Sensitive and Washed Out. That shit’s way better! Anyway, here’s a playlist of slow, bubbling electronica and chillwave to cool ya nerves. If this doesn’t do it for you, then chuck on some James Blake. Sorry I couldn’t meet your needs.

I’d say good luck, but I’m secretly wishing you all fail, and I come first in NSW, and laugh in all your sorry faces. HAHA!

1. Seekae-Another

2. Hayden James-Embrace

3. MT Warning-Burn Again

4. DJ Koze-Nices Wolkchen featuring Apparat (thanks for this one Jahra)

5. Bon Chat Bon Rat-Cerberus

6. Jon Hopkins-Open Eye Signal

7. Oisima-Glow feat. Adam Page

8. Oliver Tank-Sound of Silence feat. Fawn Myers

9. Toro Y Moi-So Many Details

10. Washed Out-Soft

11. Movement-Us

12. Rainbow Chan-Haircut

13. Planete-Ciel

14. cLn-Lose Control

15. SBTRKT-Gloss

16. Touch Sensitive-Body Stop

17. Fractures-Cadence

18. FKA twigs-Papi Pacify (thank you Clancy)

19. Thundercat-Heartbreaks + Setbacks

20. Black Vanilla-Call Your Husband

Hand Games Mixtape #15 October (free download)

Hand Games Mixtape #15 October (free download)

Holy shit, new Hangames mixtape, today just went from being misery incarnate to possibly the best day of your life. Yeah, the new one is an absolute doozy. There’s no mucking around or filler on this one, the ‘Cute-Confused Tiger’ mixtape, just straightforward glorious new Australian tunes. The opener is Seekae’s absolutely fucking brilliant new single ‘Another’. You know, one of the best Australian songs of the year, the song that is physically impossible not to love. Well, Hand Games open up with that, then move onto the new Peak Twins track, and then into Major Napier. So far, the organ that produces the chemical of lust is working in overdrive, as these three songs jet you into head over heels addiction for the goodness of this playlist.

Moving on, there’s sultry stuff from Matin King, (one half of Oscar + Martin), and then a triple threat of slacker rock royalty from Yard Duty, The Ocean Party and Scott & Charlene’s Wedding. This triple treat of acts should be enough to warrant downloading this mix alone, but then we move into the feel-good production of acts like Jonti (with help from his mates Big Scary), Movement and MKO. The playlist goes out strong on the garage rock throne of the sullen ‘Drove Down’ by Full Ugly, and the sprightly title track from The Gooch Palms ‘Novo’s’.

Luckily for you, and everyone else out there, this mixtape is completely free, so there is literally no excuse for not nabbing it right now, for 0 dollar$. You’d have to be completely insane not to. Even Charles Manson would shank a prison guard to get his hands on this amazing, amazing mixtape.

Video: Seekae-Another

Stunning clip for Seekae’s newest track ‘Another’. It goes without saying that one of the best songs of the year needs to have a damn good video, and this clip delivers enthusiastically. The stop-start, slowed-down/sped-up pace of the video fits perfectly with the loud/soft dynamics of the track, and the solemn foreboding in the vocals are matched with the saddening narrative of the video. If the sadness of Schindler’s List could be balled up and concentrated into a four minute music video set in Bolivia, then you wouldn’t be able to go past this.

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.

September Playlist

September is here! And with it comes Spring…and my birthday. I’m gonna be fucking 18, and better yet I’ll be able to go see Fuck Buttons, live and in the flesh. I reckon I’ll kidnap one of them. Anyway, enough of my longing for abrasive electronica. This is the playlist of songs that have inserted their roots of addictiveness in my soul. From Aussie acts like Violent Soho, The Gooch Palms and Seekae, who are constantly popping up on this website, to newcomers like The Ocean Party and Clowns. There’s also heaps more electronic, production based music on this playlist, from Shigeto, to Charles Murdoch, and SBTRKT. All round, this playlist is full of diverse and amazing music that you should consider buying.

P.S The new Royal Headache song is fucking awesome.

1. Violent Soho-Dope Calypso

2. The Gooch Palms-We Get By (free download here)

3. The Ocean Party-Split

4. Shigeto- Perfect Crime

5. Hayden James-Permission to Land (Charlees Murdoch Remix) (free download)

6. Dispatj-Kuiper Belt (free download)

7. JaysWays-Mirror

8. Astronomical Bird-Feel Me Up (free download)

9. Royal Headache-Stand and Stare

10. Clowns-I’m Not Right

11. Big Ups-Goes Black (free download)

13. Amateur Drunks- My Favourite Stories

14. Lightning Bolt-Barbarian Boy

15. Joanna Gruesome-Sugarcrush

16. TV On the Radio-Mercy

17. Shinies-Taste

18. Seekae-Another

19. PIXL-Crazy feat. Nicole Millar

20. SBTRKT-Gloss

New: Seekae-Another

If you had, or are having a shit day, well rest assured, it’s about to get better. There’s no way it couldn’t. You could have won the lottery, gotten married, and cured AIDS all in a single day, and this new Seekae track would still be the best thing to happen to you. Fuck it’s so good.

Seekae are mixing it up a little bit for this song. Seeake haven’t really done vocals with their previous tracks that often, and when they do, they usually distort the fuck out of them (See: Blood Bank). In ‘Another’, they’re introducing some full on soul R&B vocals. There’s vibes of Chet Faker and James Blake in there. But there  is definitely Seekae’s  independent and unique stamp of chilled, awesome pulsing electro on it as well. All over, sounds fucking fantastic.

Seekae are playing FBI’s 10th Celebrations at the Carriageworks on September 8, along with a fuckload of other bands, like Hermitude, Bleeding Knees Club, and Straight Arrows. Fucking. Go. To. That.