Video: POND – Elvis’ Flaming Star

POND have always been a band with a penchant for the theatrical song titles. “Betty Davis (Will Come Down From the Heavens to Save Us” anyone? But this time round, “Elvis’ Flaming Star” is a succinct and powerful name, in the exact same way the song in question is.

Once again POND are stretching themselves into another gooey form, a psychedelic shapeshifter, and this time round, they’re like Saturn’s version of David Bowie. That’s not just because of the alien goggles and barrage of coloured slime in the video either. They’re euphoric and funky, breaking the rules in a glammy and extraordinary way the same way Bowie did way back when. And they’re doing it in this completely alien fashion, dissolved and freaky sounding from the core. Chuck that “Bohemian Rhapsody”-like roller coaster theatrics next to a video of VHS madness consisting of nature beating the shit out of man, and POND’s galavanting return is a welcome one. They make psych music not boring, and that’s a feat a lot harder than it sounds like.

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New: GUM-Growin’ Up (free download)

GUM is one of the many, many projects associated with Tame Impala, that small band from Perth that fucking blew the world away. This time around, the project is from Jay Watson, who does keys/vocals in Tame, and has kicked a bunch of fucking goals with POND.

Just like the name would suggest, GUM’s music swirls around and around in your mouth, penetrating you with flavour, and making you slightly more kissable. GUM is sticky, tangy and you can never get enough of it. Also, smokers (the ‘herb’ kind) love GUM.

‘Growin’ Up’ is not all that different to the other songs that Jay has put out under the GUM name; sighing, mouldy psychedelica that hits all the right nerves. And because it hasn’t changed all that much, there’s no reason to not like it. Thanks for the free download!

New: The Flaming Lips-Elephant (Tame Impala Cover)

It has been a while since Wayne Coyne and his band of merry freaks released something as great as this. Usually The Flaming Lips are content to wallow in the weird, but not really doing anything that great. However, since becoming best buds with Kevin Parker, it seems that some of that Australian genius has reinvigorated the Lips, as they’ve gone and released this stellar and dark cover of 2012’s ‘Lonerism’s best track.

The Flaming Lips’ version of ‘Elephant’ opens with Coyne saying ‘…this is the one that goes ba-boom-ba-chum…’ before launching into a distorted and slightly warbled mimicry. However, the space and sci-fi that The Flaming Lips bring to the earthy track can’t go unnoticed. Whereas ‘Elephant’ used to trod and stomp, the track floats and glides with alien prowess, just chilling above our heads along with Wayne Coyne’s fucked up mind.

Its shit like this that brings back hope for The Flaming Lips, and reminds us why they’re such a great band.

The Difference Between Indie & Interesting-An Essay

There is a facet of music that has annoyed me, and countless bands, for as long as popular music has existed: being pigeonholed. There is nothing worse than slaving over a piece of music, crafting a melody or a rhythm, re-imagining a sample, toiling on lyrics until you wake up in a pile of your own vomit from how amazing your poetry is (not speaking from personal experience), and proudly releasing your gift of musical beauty into the world…only to have it thrown back in your face as a categorised, labelled misconstruction, to be tossed up on a shelf with a bunch of bands that everyone will associate you with from now until when the Titans inevitably rule the Earth. Take the case of The Preset’s ‘My People’, a dance thumper about, I shit you not, boat people. However the political nature of the song was misinterpreted as a party anthem, and was shat out in all the clubs across the country. Or The Clash’s ‘Rock the Casbah’, a highly satirical song that viciously tore into the government, that has been reduced to being the song your parents awkwardly shuffle to in the living room. No, pigeonholing sucks balls. I’ll admit, that occasionally in reviews, I take a creative license and compare a band to something that might not spring to everyone’s mind when they here the song, such as when I recently compared X-Ray Charles to Beat Happening and The Modern Lovers. However, this is my website and my opinion….soooo, yeah fuck you  if you take personal offence to my comparisons between bands that I find have musical similarities for broader identification.

However, this is not simply about subtext or great bands past their heyday; this is about the highly negative effects of pigeonholing, namely throwing in bands of actual worth with the dreaded pseudonym of indie, or hipster depending on your cultural geography. It’s a brand that has a certain sting to it, one that recalls pasty kids in buttoned up floral shirts and way too tight pants, spouting how they ‘knew about this band before anyone else’, typing a post-romantic dramedy novella on a Macbook pro in a delicatessen on Broadway whilst sipping a flat-white cappuccino. Click here to visually comprehend if Lucifer was more of a douchebag. Although, for me personally, that doesn’t look like an astoundingly fun person, and they come off as rather cynical and two-dimensional, these indie scum do exist. They are the ones who scan Pitchfuck daily for bands they can worship before actually hearing anything, who single handedly keep Pabst Blue Ribbon in vogue, and made ridiculous clothing ‘cool’ (who the fuck likes fedoras?). But by far, their worst crime is the diluting of the indie genre.

Now before I continue, I would like to point out two things. Firstly, the inspiration for this essay was ‘How Did Indie Get So Safe’ on Fasterlouder by Edward Sharp-Paul; it’s a great, short essay (shorter than this one anyway) and it’s better than the majority of things you’ll read, besides Fear and Loathing in Las Vegas. Secondly, I’m about to insult a whole heap of indie bands that I find personally shitty. I understand that music is subjective, and this is not an argument about your personal music tastes. However, if you are one that enjoys the superfluously repulsive sounds of Edward Sharpe and the Magnetic Zeros, Two Door Cinema Club, or Last Dinosaurs, I suggest you stop reading. Or not, you might find your new favourite band amongst those I find incestuous. Isn’t critiquing wonderful?

Anyway, there is a major problem with Indie music: it is too broad and too bland. When someone screams ‘OMG THIS BAND IS SAH INDIE’, it’s hard to know what they actually mean. Are they talking about Animal Collective, with their rich, multi-textured palettes of soundscapes, or the statistically terrible The Apples in Stereo? Did they mean Midnight Juggernauts’ pandering new album or Fugazi’s furious 1988 debut EP? It’s hard to know anymore. Then, there are so many sub-categories and niches, all with the title of indie slammed onto the front like an awkward boner sticking out of an 8th Grader’s pants: indie-rock, indie-pop, indie-electronica, indie-punk, indie-folk,indie-hip hop, indie-chill, indie-kill, indie-shank, indie-wank…the list goes on, and only about half of those are made up. Personally, you can chuck Phoenix, Passion Pit and Peter, Bjorn and John anywhere you want in there, it won’t change the fact that they’re shit. Most of these bands, despite declaring themselves indie, pander to a mainstream demographic. They play the dress up game and Domino Record Contract card, but the statistics speak for themselves. Vampire Weekend debuted their third album at no. 1 on the US Billboard Charts. Mumford and Sons won The Grammy for Album of the Year for ‘Babel’. Boy & Bear picked up 5 ARIA awards for their debut album, and will probably destroy the charts again this year, when they release their second album. Please, please do not misinterpret this as me saying that because these artists are ‘mainstream’ that they are shit. I’m merely pointing out that they have incredibly derivative music that in no way challenges the listener like independent music should. 

This brings me to my actual point, and I’m kind of sorry that it took so long to reach this statement. There are a fuckload of good bands out there that are getting thrown in with that indie tag. Just because a band is independent does not make them indie anymore. No, the cohesiveness of that identification got thrown out a long time ago, as soon as Interpol and The Strokes started getting popular. Both these bands are pretty good in their own way, however once they started and the indie ‘genre’ got picked up, about a million different bands started mimicking a sound and aesthetic similar to theirs that was in no way original, but was regardlessly hailed as being the next big thing. How many times can you open an NME or Rolling Stone and find them hailing ‘The Next Big Indie Thing’? Sure, it’s lovely for the band, but it has ruined all traction for the term indie. Initially, when the ‘indie scene’ popped up in America and Europe in the 1980’s, there was a certain amount of respect that came with the title. As Michael Azzerad’s biography of the 80’s indie scene, ‘Our Band Could Be Your Life’ describes, it was fucking hard to be indie. Bands like Black Flag and Dinosaur Jr. had to fight tooth and nail to get any exposure. Now, when the word indie pops up, all I can imagine is some Grizzly Bear sound-alike that will inspire absolutely no regard from anyone but the NME. Not that it matters too much to the band anyway, because they’re probably slathered in cocaine and bitches. Some bands, like San Cisco or Grouplove even come like pre-pacakged indie goods, ready made for the ‘indie addict’. However, it does matter to the independent bands that get slapped with the title of indie and hauled into a case of anonymity. There are now so many bands nowadays that consciously pander to the indie Triple J masses, that when a genuine band that comes around that happens to be independent and good, they are promptly blasted with ‘indie cred’, frothed over for approximately a week by hipsters, and then dropped by their ‘diehard new fans’ and left abandoned and disenchanted by their old ones.

There are a whole crop of new Australian acts that are legitimately interesting that I am fearful will get manhandled by indie-ness. Aussie Bands like Beaches, Dick Diver, Bleeding Knees Club, Royal Headache and Bored Nothing are all in close proximity to being swept in viva la indie, and promptly tossed into oblivion. Likewise, there’s international bands such as DIIV, Beach Fossils, King Tuff, and Savages who could suffer the same fate. For others, such as the cases of Flume, CHVRCHES, Tame Impala and Jagwar Ma, it’s probably too late, and it’ll only be a couple years before a ‘throwback’ reunion tour. This is fucked. Totally fucked. Firstly, because all of the bands mentioned above are bright young talents. It’s too early for them to go. It’s before their time. Secondly, these bands are not indie, and could be easily defined by other genres, if at all. Finally, it’s not fair to compare them to a band like Jinja Safari or Ball Park Music, each leaning strongly on obvious influences or mediocrity. The bands at the beginning of the paragraph are all highly interesting, highly capable acts worthy of a different attention that eschews Arcade Fire and Death Cab for Cutie Fans. Save your Augie March for when you’re bored on the bus. If you want something of captivating interest, check out Holy Balm, an electronica act that breaks all the rules of electronica. Or Ausmuteants, a band that could simply not give less of a shit. Or even Kirin J Callinan, the previous guitarist for Mercy Arms, Jack Ladder and Lost Animal, who recently tried to make a guy have a live seizure on stage at Sugar Mountain Festival earlier this year, all for the sake of art. These bands are all independent, Australian, and most importantly, interesting. They are not a bunch of acts to be randomly lumped in on an ‘indie playlist’ with the likes of Swim Deep or Father John Misty.

It’s 4 am on a Friday, and I don’t even really know what I’m saying anymore. Perhaps when I review and edit this tomorrow, it will make more sense. Perhaps it won’t. What I’m trying to say is this: I’m not going out of my way to insult the music taste of all the hipsters out there, I’m sure Snakadaktal’s debut album will be awesome. What I want to prove, like the Fasterlouder article, is that indie music has gotten quite safe and uninteresting, and I think that it has to do with the wide variety of ‘indie’ music, and the sea of music that most won’t bother to uncover. Indie isn’t indie anymore, that’s the problem. And if you try to make something not indie into indie, it will most probably get totally buried. Instead of hash tagging #indie to every band you hear on Triple J, perhaps take a listen first, and then figure out if they actually sound like The Postal Service and Modest Mouse, rather than just being new. And instead of buying the new Foster the People, spend your money on the new POND and King Gizzard and the Lizard Wizard albums. It’ll pay off in the long run.

Video: Melody’s Echo Chamber-Some Time Alone, Alone

In keeping with the whole Tame Impala video theme, this is from Melody’s Echo Chamber. Her debut album last year was fucking beautiful, a hazy spiralled trip through delicate and lush pysch territory. The Kevin Parker connection (I have a feeling that sentence is going to start being used a lot more) is that he produced the album. This is the latest single and video from her, and it’s a doozy (thanks for the phrase Lara). Real nice, and laidback, like the track. She just sort of waids around, like Grimes for her ‘Oblivion’ video. Both solid female artists right now, keen to see both of them sooner rather than later.

Video: Pond-Giant Tortoise

BOOOM! The brand spanking new clip from Perth garage pyschers Pond. If you like Tame Impala, but feel they could use a little more, I don’t know, balls, then check out Pond. In fact, Tame Impala’s touring band is made up of member from Pond, including the manic, and probably insane Pond frontman Jay Watson. Anyway, in the first taste of their upcoming 5th LP ‘Hobo Rocket’ we get a taste of frenzied and crazed psych, busting out in bursts of fucked up riffery amidst shakey gig footage and explosions. YEAH! EXPLOSIONS! YEAH!

Gig Review: Groovin’ the Moo, Maitland

Why the fuck would a city slicker, who thrives off polluted air and skyscrapers, want to spend a day in the country? Why on earth would I want to go to Maitland? Because of the opening day of the famous regional festival Groovin the Moo, that’s fucking why. It featured some standout sets, some surprising energy and a massive disappointment….ooo, suspense.

After a 2 and a half hour bus ride up to Maitland, population 69, 646, I needed some live music to rest my grumpiness. Luckily, first up for the day was Sydney’s own Fishing. As usual, the offered up a delicacy of live soft electro, like the Aussie SBTRKT, but less serious. The two kids on stage were bopping like Tweedledee and Tweedledum on stage, offering the surprisingly big crowd (for that early a set) a great soothing start to the festival. Some of the highlights, were ‘Choy Lin’ and ‘OOOO’, however, the whole set was a mix of earthy electro goodness, not too intimidating, but not too lowly and boring either.

Following Fishing, was Tuka and Ellesquire, of which I sat through about a minute before faced with the decision to either throw up or leave. So I took my ass to the Udder Stage, where Triple J favourites Last Dinosaurs were about to start their set. After an excellent EP and last year’s ‘In A Million Years’, the band had garnered quite an audience, with frontman Sean Caskey doting ‘it was the biggest audience they’d played since…ever!’. Alas, that quote was perhaps the most excited the band came throughout the entire set. They were stiff and neurotic, the audience lapping up the music with puppy dog excitement, moreover from their Triple J airplay recognition rather than any effort on stage from the band. They were about as exciting as watching someone grate cheese, and their songs lacked emotion and fervour. For an indie-pop band, they were devoid of any pop-ness. In comparison, Hungry Kids of Hungary were a festival highlight. They played rather the exact same sort of music as Last Dinosaurs, and were Triple J favourites, but played it with the expansive joy and energy that their genre warranted. Their set was a tambourine-clad mushy love pit, like a jungle party. It would be fair to say that recent single ‘Sharp Shooter’,  or old favourites ‘Scattered Diamonds’ and ‘Coming Around’ were more indulgent and exciting individually than Last Dinosaurs entire set. Hungry Kids played fantastically, and there wasn’t a fault in their set, definite crowd pleasers. Even when two overt fans climbed one of the supports in the Moolin Rouge tent, and the band were forced to stop their set until they got down, not a moment of pleasure was wasted.

After Hungry Kids of Hungary finished their stellar set, I pushed my way to the front for my personal standout band on the lineup, hardcore punk kings The Bronx. That show involved a lot of firsts for me. I’ve never split (not to be confused with shit) my pants at a show before. I’ve never caressed a lead singers bald, sweaty head with my open palm before. And I’ve never sounded like a 60 year old smoker after a gig before. In other words, it was a fantastically violent gig. Everything about The Bronx is no-bullshit, from the way lead man Matt Caughthran stomped around stage, and his terrifying screams. They blasted through a set of crowd favourites, storming each with a ferocity that is incomparable. ‘Shitty Future’, ‘Knifeman’ and recent hit ‘Ribcage’ were all blasts of pure energy, blowing minds and necks with their headbanging goodness. ‘White Guilt’ was the only point in the set in which things weren’t pushed to the absolute maximum, and that’s because it’s a ‘slow song’, the closest The Bronx have ever come to making a ballad. Finally, ‘Heart Attack American’ was a whole other story, unleashing a hellish nightmare fury that hadn’t been seen since Black Flag fucked shit up in ’81. It was pants splittingly good. Like the bread  sandwiching the beef on a really good burger, DZ Deathrays DJ’d 90’s alternative rock hits side of stage before and after The Bronx’s set, featuring songs from greats like Refused and The Offspring (before they got shit), and not one, but two, Beastie Boys tracks! They also spun a remix of their awesome track ‘Cops Capacity’. Clad in 80’s mullets and sleeveless shirts, the DZ boys were the picture of perfection, and you could see they loved it. Good stuff DZ!

Next up was indie wonders Alpine. Like Last Dinosaurs, they had only released an EP and last years ‘A is for Alpine’, and graced the same left hand side of the Udder Stage, however they kicked absolute ass. They twirled through delicate pieces of masterful pieces of indie, placing slightly more on the folkie side, but still maintaining exuberance and a bold form. ‘Gasoline‘ had the crowd enchanted, and ‘Hands’ was a class act of chanting goddesses, executed by lead singer Phoebe Baker. It was a fantastic set of twinkling delight, Alpine have cemented themselves as masters of live indie music, a genre that is harder to pull off in a live setting than pants when you’re drunk. Definitely recommend getting their EP and LP, both are beautiful and stunning. Next, were Scottish lads Frightened Rabbit, and although they didn’t play to an enormous crowd, they played damn well. Unfortunately, their sound cut off for a few moments twice, but the band persevered and showed to be a well worn. ‘Old Old Fashioned’ is a nice little, Mumford and Sons country crooner, and ‘Swim Until You Can’t See Land’ can only be described as gorgeous. It was an absolute joy to see this band in action, and I only wish I could have been front and centre for the set closer of ‘The Loneliness’. What a bunch of perfect gentlemen. Alas, I had to keep my front row spot for Regurgitator. The Mighty ‘Gurge absolutely killed, with a best -of set spanning their entire career. From the soaring heights of game changing debut ‘Tu-Plang’ and sophomore ‘Unit’, to the highly underrated ‘…Art’, the unashamed rap-rock of their 2000’s mainstay, and finally their latest album and return to form of ‘SuperHappyFuntimesFriends’. You want ‘Bong in My Eye’? No worries. ‘I Wanna Be A Nudist’? ‘I Will Like Your Arsehole’? No dramas. How about the 30 second Bill-Paxton fury ode of ‘Game Over Dude’? Sure. All this was peppered with their biggest self deprecating singles, like ‘Black Bugs’, ‘Kong Foo Sing’, ‘Fat Cop’ (hilariously introduced by ‘Ladies and Gentleman, Val Kilmer’ followed by slow motion shots of Val Kilmer getting shot and Al Pacino running, from ‘Heat’), ‘Blubber Boy’, ‘Polyster Girl’ and of course, ‘! (The Song Formerly Known As) (which was done with live instrumentation, rather than the electronica on the album). Although Regurgitator where almost the perfect live band, energetic, thrilling and electrifying, screaming every lyric into the audience’s face, the front row didn’t seem to be as into it as the small clan of followers in the mosh. It was disappointing that such a great and fundamental Australian band like Regurgitator could only pry such a small following. Imagine if the same thing happened to The Scientists. Fucking blasphemy. ‘All Fake Everything‘ should be this country’s fucking national anthem.

Anyway, the next band I watched was Tame Impala. Their fame is a double edged sword. On one hand, it’s great that such a fantastic band, that have rekindled psych music is getting recognised the world over. However, as GTM proved, their music is perhaps not suited to the absolutely enormous crowd that flocked to see them. I feel sorry for Midnight Juggernauts, who played at the same time as Tame. It seemed as if the whole festival was packed in to see Tame Impala rock out. Regardless of the squished atmosphere, Tame Impala blew off everyone’s chops. It was a great, smooth show. Not as great as their past Enmore shows, but it certainly had vibrancy and seemed fuller and compact, in a good way. ‘Apocalypse Dreams’, ‘Solitude is Bliss’ and ‘Elephant’ were all balls out amazing, masterpieces of the highest class, and sent the crowd into a dancing frenzy. It was a pleasure to be able to experience their live show. Even if Kevin Parker’s voice wasn’t up to it, his ‘impromptu’ idea of getting the crowd to sing the over-the-top falsetto of ‘It Feels Like We Only Go Backwards’ was blissful. And of course, it wouldn’t be a Tame concert without ‘Half Full Glass of Wine’ as the closer. Everyone in attendance (quite a few had jumped ship to get a better seat at Flume)  where stunned by the obviously amazing jam that has made it’s way as a stable of the Tame Impala set. Extending for a good 10 or so minutes, it was shorter but seemed just as full as when they played it at the Enmore. Very great stuff.

Likewise to Tame Impala, Flume was the other act on everyone’s to see list. Tegan and Sara must’ve played to an audience of about ten people. The entire enormous Moolin Rouge tent was completely packed out, and people were easily spilling out into the grass section at the back of the tent. Armed with his armada of tunes from his self-titled debut and his new, very impressive live show, Flume shocked and awed for the better half of an hour. He skilfully swam through a whole shit load of tunes, blowing minds throughout. I can’t imagine what it would have been like in the sweaty mosh of that tent, but I thoroughly enjoyed myself at the back end, with room to dance (if it could be called that) and express yaself (ya ya Diplo, muthafuckas). Although the Laneway show was more intimate, and I probably enjoyed it more, the GTM show was still fantastic, and everything that his sound relied on, from the subtle but extensive bass, and his warping, spaced out synths, everything was awesome. ‘Insane’, ‘On Top’, and ‘Holdin On’ were all bombastic talents in his near flawless and well received show.

Now, for the next band, I need to clarify something. I fucking hate The Kooks. I hate them. They are awful. Everything they put down on record is disgraceful. I would rather chew off a finger than listen to a whole Kooks record. That being said…great live band. Damn good. They had the crowd in the palms of their hand, and Luke Pritchard was, dare I say it, a rock god. They played the show in tiny Maitland, rural NSW as if it were a stadium, flashing lights and mesmerising backgrounds a backdrop for their relentless energy. Last Dinosaurs could take a few tips from The Kooks. Although their music is da-da-da-derivative as hell (‘Always Where I Need to Be’), The Kooks were a fun band to see, no use lying about it. They played their set well, and set highlights like ‘Seaside’ and ‘Sway’ were sung back to the band by the crowd with overwhelming enthusiams. No wonder they keep coming back to Australia, they have rabid fucking fans, and the destroyed it up there.

To close out the night were Australian favourites The Temper Trap, and by fuck, they were a rapturous bunch. Again, not being a huge fan, and thinking of their music as a little bit ‘soppy’, I didn’t know what to expect. I was completely taken aback, as my neighbours will attest to, with my constant exclamations of ‘fuck man, this is good shit’, and ‘fuck, this is a great band’. Starting the set with the four most well known songs ‘Love Lost‘, ‘Fader’, ‘This Isn’t Happiness’ and ‘Rabbit Hole’ they sealed the crowd, but I was left wondering if they could keep the momentum. The sure fucking could, and followed with some lesser-known but equally boggling tracks, and ‘Science of Fear’. Soulful, endearing and permeated, they were a holy other being, elevating themselves to something godly. Their records are quite amazing bodies of work, but the live show takes it to another level, something I didn’t think would translate at all. They also proved their instrumental chops, busting out a psychedelic 15 minute jam, with Dougy Mandagi, the lead vocalist and guitarist, absolutely smashing the shit out a tom tom, whilst bassist Jonathane Aherne pirouetted on stage, probably oblivious to the fact he was playing to a crowd. It was a mesmerising and electrifying performance, complete with dazzling lights and blinding displays. The Temper Trap proved that they are one of Australia’s favourite bands and exports, with a deafening finisher of everyone favourite breakup anthem ‘Sweet Disposition’. God bless them.

This has been over two thousand words, and still has barely covered the sights, sounds and glory of Groovin The Moo. It was a great festival, jam packed with local favourites and international acts that would otherwise never tour the rural district. In summary: The Bronx and Regurgitator rocked, Tame Impala and Flume continue their streak, Hungry Kids of Hungary, The Kooks and Temper Trap pleasantly surprised and Last Dinosaurs need to get their shit together.

Groovin’ The Moo Playlist

What y’all muthafucka’s know bout cows!? Crack open a VB and hit up the ute and some birds, it’s gunna be a fuckin’ Straya sorta day tumura. That’s what I expect myself to say at tomorrow’s Groovin the Moo festival in Maitland. Long live bogans, and their tendencies towards fearless stupidity and inbreeding! As well as GTM’s fantastic taste in festival lineups.

1. Flume- Holdin’ On

2. The Bronx- Heart Attack American

3. Tame Impala- Alter Ego

4. Seth Sentry- Dear Science

5. The Kooks- Ooh La

6. DZ Deathrays- No Sleep

7. Fishing- Choy Lin

8. Alpine- Gasoline

9. Frightened Rabbit- Swim Until You Can’t See Land

10. Last Dinosaurs- Zoom

11. Hungry Kids of Hungary- Sharp Shooter

12. Midnight Juggernauts- Into the Galaxy

13. Regurgitator- All Fake Everything

14. The Temper Trap- Is This Happiness?

15. They Might Be Giants- Istanbul (Not Constantinople) 

16. Urthboy- Knee Length Socks

17. Tegan and Sara- Closer

18. Yolanda Be Cool- We No Speak Americano (I will definetely not be seeing these people)

19. Yacht- Le Goudron

20. Matt and Kim- Daylight 

Jazz-Rat’s Playlist

Contrary to the name, Jazz-Rat does not like Jazz. If you told him to play some Louis Armstrong, he’d put on the Tour De France. What an idiot! What a fool! What a buffoon! That’s enough insulting of the Jazz-Rat’s musical naivety. Despite not living up to his name, Jazz-Rat is a DJ, which he will take any opportunity to remind you of, and he is also a keen Michael Buble impersonator. Not fucking bad, I’d dare say Buble’s got some competition. The Voice has a new contender for Good Charlotte’s Joel Madden and Delta Good-head to slobber over. Because I love his lanky personality more than Darth Vader likes to choke his own soldiers, I compiled a compilation. At his request, there’s ‘a little bit of everything, cos I’m into everything, y’know, like not just electronic, but like, rock music as well’. So from the confines of The Mess Hall’s Aussie-bloke swagger, to Tame Impala’s (again, at his specific request) bombastic personification. There’s even the new Flume remix by Ta-ku and some Diplo and the Glitch Mob, because, you know, he’s a DJ (ladiezzzzzzz ;). Apologies in advance for the Pitchfork-y vibe halfway through.

1. Flume feat Chet Faker-Left Alone (Ta-ku Remix) (Available for Download)

2. Tame Impala-Elephant

3. The Mess Hall- Keep Walking

4. Peking Duk- The Way You Are

5. Totally Enormous Extinct Dinosaurs-Household Goods

6. Fishing-OOOO

7. Pretty Lights-Sunday School

8. Melt Yourself Down-We Are Enough (Free Download Available, this band will be huge)

9. Diplo-Express Yourself

10. Digitalism-The Pulse

11. SBTRKT-Nervous feat. Jessie Ware

12. The Glitch Mob-Beyond Monday

13. The Gooch Palms-Cucaracha

14. Yeasayer- Reagan’s Skeleton

15. Hot Chip-Over and Over

16. Interpol-PDA

17. Jaill-The Stroller

18. Jagwar Ma-The Throw

19. Melody’s Echo Chamber- Crystallized

20. Washed Out- New Theory