Gig Review: The Goon Sax

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Saturday, April 2nd @ Newtown Social Club

I was a loser in high school, a big time dork. I look back on those days, and hang my head in shame. Every morning I wake up and check the Internet to make sure that some regrettable photo from that period hasn’t surfaced in a mission to ruin my life. I live with caution, certain that it’s only a matter of time before people realise that, at 15 years old, I was the biggest Red Hot Chili Peppers fan and argued with my parents over getting the lyrics to “Dani California” permanently inked to my skin.

Which is why, when I look at The Goon Sax, a bunch of 17 and 18 year olds from Brisbane, I instantly become consumed with jealousy. They’re playing after FLOWERTRUCK, who are essentially Sydney’s gatekeepers of guitar pop, an Edwyn Collins/David Byrne amalgamation from heaven. FLOWERTRUCK have just put on a hell of a show, not exactly something you’d jump at the chance to follow. But before The Goon Sax have played a note, before they’ve even made a gesture, I know that they are the coolest people I’ve ever seen in my life, and that they’re about to play something very memorable. There’s a casual but inviting way to how they stand on stage that speaks of nervous anticipation. I’ve seen so many bands get up at the NSC looking bored or dismissive, and the novelty of The Goon Sax’s quiet excitement doesn’t just make them interesting, it makes them far cooler than they already are. And that’s all before they’ve even started strumming.

Musically, The Goon Sax have taken jangle-pop, and applied a level of self-awareness, self-deprecation and affable charm that has evolved the genre. There’s no obvious allusions to their forebearers, nor the modern champions of the genre like Twerps, Dick Diver and The Ocean Party. They stand apart, spinning seemingly mundane topics into compulsive stories, which spill from the stage and directly into your gaping mouth. These yarns – simple, scratchy and flawed – are wrought directly from the teenage experience; but the real sucker punch is that these songs speak to any age, without relying on some sense of nostalgia in the lyrics or music. It just speaks to the fact that The Goon Sax are really fucking amazing songwriters, who actually get pop music, far more than I ever will. It’s only when frontmen Louis Forster and James Harrison switch instruments that you’re pulled out of the spell, and it once again dawns on you that, holy shit, I will never be as cool as the people I am watching right now.

Although an hour set might have been a bit ambitious (maybe that’s just me – I love a good short and sweet set), the performance never felt like it dragged. There were lulls, sure, but The Goon Sax have a talent for always being able to reset the audience’s interest, whether it be through one of their instant-classic singles, such as “Boyfriend” and “Sometimes Accidentally”, or hidden gems from their debut album, like the closer “Ice Cream (On My Own)”. Or maybe it was their attitude that made them so loveable; the fact that, whenever you zoned in on the band, you could see a real love for what they were doing, with none of the ego or cynicism that usually coats other guitar pop bands onstage. That kind of genuine and unpretentious behaviour is infectious, and gives all the more reason to become completely and utterly infatuated with this band.

As soon as The Goon Sax left the stage, there was nothing left to do but swear a blood oath to them. The Goon Sax have gone from being yet another fantastic Brisbane band, to one of my favourites in the country. I may be consumed by jealousy at their monstrous coolness, but the music and show is too good to bite a thumb at. Folks, here’s some sound advice: see the show, buy the record, and learn a thing or two from these bloody geniuses.

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Video: The Goon Sax – Boyfriend

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The best thing about The Goon Sax is their wit – it ain’t just razor sharp, it’s like Freddie Kreuger’s claws have picked up a typewriter and started banging out an acidic essay on the tired tropes of love. That’s the general motif behind “Boyfriend”, a song with lyrics as sinister as Glenn Close in Dangerous Liaisons. But instead of a barrelling onslaught of viciousness, The Goon Sax coat their barbs in cottoned pop, meagre acoustic strumming, quiet duets, and the occasional tock of a cowbell. It’s this subdued way that they approach love songs – intelligent, literary lyrics, gentle music – that raises them up as one of the best new bands of 2015, and why their forthcoming debut on Chapter Music is gonna be pretty much the best thing ever.

If you need any more evidence of how great they are, check out the accompanying video for “Boyfriend”, and look beyond the obvious greatness of gold-microphone fawning and the goon-sack appropriation of Warhol’s Silver Clouds. Check for the nervous glances between bands member, the occasional peeps to make sure their fingers are hitting the right notes, almost as if to say, “Can you guys believe this?”. It’s just another mark of their swift rise to being one of the most beloved bands in Australia, and those nerves are sure to disappear as soon as they hit the lofty heights they’re bound for.

 

Best New Australian Bands of 2015

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Occasionally, I run into people that say shit like, “Man, music was so much better in the 80’s”. Well, guess what you miserable old bastard? wasn’t alive in the 80’s, so your argument means jack shit to me. Just because a lot of great bands like Dinosaur Jr, The Stooges and Slayer, happen to come from bygone eras, that doesn’t mean that new music sucks. In fact, modern music is actually pretty alright, especially in the barren wasteland that bred Mad Max and kangaroos. Fuck the rose-tinted glasses of nostalgia, these are the best bands I found out about this year:

NB: These are bands and artists that I found out about in 2015 – if I wrote about them last year, I don’t reckon they count, which is why there are a few notable exclusions like FLOWERTRUCK, Gordi, Roland Tings, Chook Race etc.

10. Tiny Little Houses

At a time when indie rock was becoming far too predictable, Tiny Little Houses broke the trend, with enthusiastic results. There’s a dreamy, surreal quality to their music that manages to pack in heartbreak, loss, desire, and unwavering commitment into the same song. Every bar makes you want to sink in deeper, find out more, plunge head first into the drama they’re writing.

They traverse great lengths of musical territory, from swirling, cloudy choruses, to naked, addictive introspection, to full blown shredding, that places them solidly amongst the likes of Girls, Death Cab for Cutie and Neutral Milk Hotel. Tiny Little Houses are a group that don’t just smash genre expectations, but build them back into something that makes you think, “Maybe the next indie rock song I hear won’t make me want to kill myself!”

9. Alex Lahey

Alex Lahey ain’t no spring chicken – she’s been leading the charge for Melbourne poppers Animaux for a few years now. But in case there was still some confusion as to whether this wonderful lady may or may not be an actual, literal chicken that may or may not have been born in the spring, then the chorus of her debut single “Air Mail” makes it quite clear.

“I’ve got 24 ribs, 32 teeth, two hands, ten fingers….and air mail envelopes are all I’ve bought this week”. Even if some sort of mutant chicken did manage to breed itself into having those specific physical attributes, there’s no fucking way it’d have the social awareness and complexity necessary to line up at the post office to buy air mail envelopes.

Philosophical musings aside, “Air Mail” was one of the best debut singles I heard this year, packed with an affability and charm that made me fall head over heels in love with Alex Lahey. There’s massive things in store for her next year, I’m sure of it.

8. Death Bells

My mate sent me a message earlier this year, merely saying, “Oi dude, reckon you’d like this” and a Youtube link. It was Death Bells’ debut single, “You, Me & Everyone In Between”, a swirling, morbidly affected dream-pop tune that felt like the next Captured Tracks signing.

A few months down the track, and I’m still all over Death Bells. They’re just a bunch of recklessly emotion-laden teenagers channeling their energy into pop music, but they do it so well that I can’t help but adore them. Their live show takes a bombastic turn as well, the five-piece pumping steroids into their songs, strangling them into concentrated, tidal wave eruptions of sound.

7. NULL

Obviously, electronic music isn’t my forte. I try to stay on top of it, but I tend to get swept up in the rawk side of things, and some of the greatest stuff just floats me by. That being said, Aussie electronic did have a great year – Chunyin, Corin, Nutrition, Anatole, I’lls, Black Vanilla, Air Max ’97 and Tennis Boys were all pretty stellar for 365 days straight.

But in terms of producers who tore me apart at the seams, ripped my mind to shreds, and stood above the shattered remnants, hands on hips and laughing with sadistic glee, the award goes to NULL. There’s something so calculated to the way he produces music, from the individual single artworks and music videos, to the strain of pulsating menace that intertwines his whole debut mini-LP/EP. If there’s one new artist twisting knobs and smashing synths to check out, its NULL.

6. Low Lux

Low Lux’s first proper show, a headline spot at the Newtown Social Club, shouldn’t have been one of the best shows of the year. But it was. And my love for them accelerated like a goddamn Shakespearean romance. I don’t think anything this year has come so close to whatever Low Lux’s set was – both intimate and epic, just so bloody impressive in every capacity pf the word.

There’s just an ethereal capacity to what Low Lux do, a lushness that’s like velvet and silk had a kid that would grow up to be lord of the fabrics. The two singles they’ve released so far, “Rivers Roll” and “Ruin” are dense, well-thought out and intriguing pop, and they’re indicative of even more cinematic smash hits from Low Lux.

5. DEAFCULT

I never fully got into shoegaze music – I can enjoy it, and there’s some great bands out there, but I’ve never run full-tilt to chuck on a My Bloody Valentine album before.

That all changed with DEAFCULT – their debut EP is such an intense, beautiful listen that spins dizzily between yawning caverns and crunching waves. They’ve got four guitars. FOUR! Let that sink in. Do you know how much guitar that is? THAT’S A LOT OF FUCKING GUITAR!

When DEAFCULT hit their peak, they’re an unstoppable, mesmerizing and deafening force, a swelling splatter of musical bombast that topples you over. They bring an excitement and thrill to shoegaze that has been sorely missing in Australian circles.

4. The Goon Sax

I’m absolutely smitten with The Goon Sax – in taking just a few chords and a smudge of self-deprecation, they made one of the best songs of 2015, and it sounds like they wrote it in a free period.

There’s a charm to The Goon Sax that makes me want to be their best friends. I can’t tell if it’s the effortless that they create their songs with, the inward, affected keel of their lyrics, or the fact that they’re so clearly bound for the top, but there’s a quality in this band that raises them miles above their peers. Although Melbourne has commanded the jangle-pop bands of the last few years, The Goon Sax stand to bring it back to its rightful home in Brisbane.

3. Orion

I had no expectation of Orion before they had played Nag Nag Nag Festival in January this year. The name had popped up on a few lineups, and some mates had floated the words “Best band ever!” over my way, but for some reason, I never check ‘em out. Too busy with all that electro pop, I guess.

It was right around the time that Sydney’s favourite son Nathan Roche was thrown to the floor that I decided that I loved this band. Their live show was too intoxicating to do justice with mere words – an attempt would read something like: violent, passionate, debilitating, compulsory.

Meanwhile, on record, Orion push that live propulsion, into a record so encased with self-derision and desperation that it makes your lips bleed from chewing them so much. The four songs that Orion have recorded are so perfect and harrowing, it actually pains me to think of the months that I refused to check them out. If you’re in a similar position as I was, please don’t hesitate any more.

2. YEEVS

The music of YEEVS feels like a vibrant crossover from the best loud indie rock bands of the past two decades decade: Spoon vs. Archers of Loaf, The Walkmen vs. Nada Surf, Wolf Parade vs. Dinosaur Jr. The battle lines are drawn, the indie rock icons lock horns, and when the dust has settled, the bloody result of the slaughter is three heaving blokes from Sydney, who just want to stomp drums, pound out some riffs and lambast a microphone. YEEVS haven’t just got a penchant for writing spot-on indie rock thumpers, they can only write songs that feel like Andre the Giant giving you the Heimlich Maneuver.

1.WHITE DOG

The reason why WHITE DOG are my favourite new band this year is because since finding out about them, they’ve been my go to group to yell in people’s face when they ask what they should listen to. “Oi Saarzy, you fucking knob, what’s good?” “WHITE DOG, mate, and go fuck yourself, that was bloody rude”.

Seconds into hearing their first demo, “No Good”, with its thick guitar riff that sounded like a chainsaw being thrown into a concrete mixer, I decided that WHITE DOG were one of the best bands this year. There are approximately 16 days for something better to pop up, so it’s un-bloody-likely anything is going to change my mind. From the brutal, Rottweiler vocal snarl, to the lyrical bluntness, to the general sledgehammer of their songs, WHITE DOG are unmatched. They made me fall back in love with punk music.

Furthermore, WHITE DOG’s live show is one of the most ferocious I’ve seen. They bring a danger to a stage that’s like the early 80’s versions of Henry Rollins and Steve Albini are having a fight within frontman Sam White’s body to see who will get the right of demonic possession. And the writhing limbs of White isn’t the only thing that your eyes bore into when WHITE DOG play – instruments are smashed into walls and punters are thrown into a frenzy like an Old Testament God has decided the show will be his plaything. Every show is like this, and every show makes me more confident that WHITE DOG are the best new thing this shitty harbour town has.

Video: The Goon Sax – Sometimes Accidentally

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Oi blogs! Yeah, I’m talking to you, the taste making denizens of the Internet! Fuck is wrong with you? Why haven’t you picked up The Goon Sax yet? You’ve really dropped the ball on this one, y’know. These guys are pure talent, hit city, the superstars of tomorrow, and you’re just letting them slip through your keyboard-glued fingers. Poor form, poor bloody form.

There is absolutely no reason that The Goon Sax should be ignored, by anyone, because they are the best thing since Lowes had a 90% off sale. They’ve only got this track “Sometimes Accidentally” to their names, but its a song that accentuates all there is to love about the guitar pop genre. Although they’re in a class that can occasionally stale itself with too often repeated meanderings on mundanity that has now almost bordered on cliche, The Goon Sax keep things straightforward. Relishing in a delightful low- key riff, The Goon Sax examine their personal faults and flaws in such a charming way that its impossible not to fall head over heels in love with them.

“Sometimes Accidentally” has been stuck in the heads of all pop lovers for a few months, but now there’s a video, and goddamn, doesn’t it just cement all the stuff there is to love about these guys? They’ve filmed with an unashamed homemade aesthetic, complete with drawn on moustaches, supermarket munchies and giggling when they sing their lyrics. They’ve even opted out of the big budget, and decided to film themselves playing in a park, as opposed to the blockbuster, explosion-laden, Michael Bay directed film clip set in the Amazon that Chapter Music would have probably paid all expenses for.  As iterated before, there’s nothing false about The Goon Sax – it’s authentic and likeable, devoid of any irony or inside-joke pats-on-the-back. Fucking hell, blogs, can you get off your arses and start #hastagging about this band?

Top 10 Bands of Laneway Festival 2016

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Laneway Festival just announced their lineup for 2016, and fuck me, I’ve shit the bed…twice. Whilst I clean the sheets, old mate WordPress came calling, and now you’ve got a list, ANOTHER BLOODY LIST, telling YOU who to go and begrudgingly see after you inevitably figure out that those caps you bought off the lad in Camperdown Park are duds.

10. Violent Soho

It seems real weird that Violent Soho were booked for Laneway Festival. The festival has always prided itself on booking acts either on the cusp of popularity, or who have only recently tasted that sweet, sweet music career success. Violent Soho easily sell out some of the biggest venues in the country, and already played the festival in 2011. It’s not really a complaint, as the band always put on a hell of a show, but it begs the question as to why the festival didn’t book someone more emerging as opposed to a band so established? Still, if ya feel like showering in other people’s sweat (read: my sweat) in a mosh, your best bet is to head to wherever Soho are playing.

9. Silicon

Kody Nielsen’s got a resume worth having a gag over: The Mint Chicks, Opossum, Unknown Mortal Orchestra, and now Silicon. Old mate’s been signed to Domino Records (via Weird World), home to Sebadoh, Jon Hopkins and Dan Deacon. He’s got a record coming out which features the bloody tops “Burning Sugar”, and in a few weeks he’s going to be touring with Tame Impala Only one of those achievements is boring.

8. Majical Cloudz

Jesus Christ, Majical Cloudz are pretty good at making you feel like you’ve accomplished nothing with your life. The voice of Devon Welsh is like a mixture of your parents’ telling you that they’re disappointed in you and being left at the altar. There’s a whole lot of pain there, and it’s shaping up to be that watching Majical Cloudz in the flesh is going to feel like Frosty the Snowman is reaching into our chest cavities and strangling our hearts.

7. HEALTH

These guys are fucked, in the best way possible. Think of the danceable noise of Holy Fuck, but trodden with paranoia and an addiction to unpredictability. Their ‘Get Colour’ record is an incredible experience that, if listened to correctly, should blow out your ear drums. Their new record ‘Death Magic’ is equally visceral, a dark, violent affair well-worth your time. Allegedly, HEALTH’s live shows are surreal events that warrant ear plugs and a clean smock.

6. Thundercat

Look, I’ll be honest, my heart fluttered for a second when I thought that the cult 80’s kids cartoon I watched re-runs of when my parents were asleep was going to make a live-action comeback. I would bite the dick off a gargoyle if that opportunity presented itself. Unfortunately, we’ll have to settle for the other Thundercat, a Flying Lotus collaborator, bass god and master of neo-soul who will make us all want to be better people. #realtalk though, how sick would it be to abuse a pimply kid in a Snarf costume between craft beers and Grimes?

5. The Goon Sax

Let’s be real: it was definitely my article on the best bands of BIGSOUND that got this one over the line. You can be one of the best emerging acts to put jangle-pop on its head, you can pull off an incredibly heartfelt and original set in a packed out bar in Brisbane, and you can warrant a whole lot of tongue wagging with the announcement that you’re joining Chapter Music off the back of a few demos. But you can’t underestimate the power of #localblogs.

In all seriousness, it’ll be interesting to see how The Goon Sax pull off a set at a festival like Laneway. In a pub, they’re on home turf, playing to small, packed crowds of people that adore the music they make; their charm arises from their faults and humbleness displayed on the homely  pub stage. Who knows what might go down in front of gum-chewing punters hanging for Hudson Mohawke. Fingers crossed the rest of Australia gets to see the magic that I saw at Ric’s a few weeks back.

4. METZ

Their second album was a bit of an uneven affair, lacking the succinct and determined power of their debut, but there’s little doubt that METZ have lost the strength of their live show. Their show at GoodGod two years ago remains one of my favourites, and not just because they were joined by TV Colours and Batpiss. There’s an ungodly amount of bite in METZ’s music which is hurled at anyone within a fortunate distance. The Laneway organisers should put these guys and HEALTH together and ensure that NOBODY CAN HEAR ANYTHING EVER AGAIN!

3. Vince Staples

Rap is not my strong game. Shit, it’s not even my game. I don’t know the rules, I don’t own the proper paraphernalia, and sometimes I get scared when I listen to an N.W.A song. But Vince Staples swooped in and plastered his ‘Summertime ’06’ record everywhere, and shit, I ain’t even mad. This album is thrilling, a thuggish, brutal hip-hop record that floats between expert production and terrifying lyrics. Live, his exuberance and savagery will produce gulps of fear in the squares of Australia.

2. Blank Realm

The Australian contingent is pretty solid this year, relying less on proven success stories of yore (e.g Dune Rats and Courtney Barnett last year) and more on instinct and intuition. It explains why artists like Ali Barter and High Tension found their way on the lineup. But Blank Realm!?? I assumed this band was doomed to a fate of being adored after their time, like fellow Brisbanites The Saints. But Laneway have made the right choice and picked up the best band in Australia for performance duties. Good. Fucking. Option. Mates.

Seriously, the shunning of mainstream popularity for Blank Realm is criminal. How many masterpieces have you got to release before the floodgates of mass devotion open? The answer is three. Blank Realm have three masterpieces. They just released their latest opus, and fuck me, if you still haven’t checked it out, then do yourself a favour and press repeat until your fingers bleed.

1. SPOD (TBA)

Some dickhead graphic designer completely forgot to put SPOD’s name on the lineup again! Jesus Christ! Two years in a row! That’s a stab in the back, isn’t it! Maybe the contracts still have yet to go through, but c’mon! Pull yourself together! He’s a national icon!

10 Best Bands of BIGSOUND

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Brisbane – you go alright. Sydney folk have given you a bit of a rough ride throughout the years: “It’s too hot…full of bogans…fucking Maroon wankers” are all pretty common complaints. But after offering up so many fantastic bands over the years, it was awesome to finally experience the whirlwind of your uncomfortably warm embrace. And BIGSOUND! What a treat! Despite an abundance of blokes (always blokes) with incredibly overinflated egos (shoutouts to the guy that threw his pass in a security guard’s face, throwing his arm at the 30 second queue and exclaiming “But I’m a delegate! That’s a punter’s line…THIS IS BULLSHIT!”) BIGSOUND is an opportunity.

Y’see, there’s over 150 bands playingsome incredible, some lame as shit, but all there to hopefully further their careers and find success, whatever that definition might be. And I’m really happy about that – there’s not nearly enough cash being thrown back to the musicians who make our punter lives such a joy. So, even though don’t like it, who gives a shit? I’m happy for any artist, of any genre, to achieve their goal, particularly through a process like BIGSOUND, which is a great way to connect with folks who can help you. For every guy that can’t stop mentioning the fact that he works in the “music industry”, there are a dozen people who genuinely care about checking out as many of the good things on offer. So here’s my two cents on the best bands up at BIGSOUND – and by the way, if you ever fucking make me wait in a queue again, I will sue you.

10. Rainbow Chan

The electronic contingent at BIGSOUND was pretty disappointing this year. Maybe it’s coming from a really ill-informed “band bro” point of view, but watching someone overanalyse a set of decks just really doesn’t seem like that exciting of a thing to watch. It was the acts that went left of centre and made the most of their sets that performed best: Sui Zhen and NULL both pulled off impressive and visually engaging sets that are worth checking out. But it was Rainbow Chan that proved to be the most energetic and lively; she’s criminally underrated, and doesn’t play shows nearly enough. Any chance to catch her bop, groove and twirl onstage is a treat that should be taken advantage of immediately.

9. Tired Lion

If I wasn’t guzzling booze and schmoozing up to the heads of the major labels with all the gusto of Gary Busey on a coke binge, then I probably would’ve made it into the sold-out Gang of Youths gig, and they would’ve been on this list. Unfortunately, that didn’t happen (didn’t even get a fucking corporate sponsorship out of all that sucking up either). However, it did mean that I caught Tired Lion, Perth shredders that feature an absolute powerhouse of a front woman, the unstoppable Sophie Hopes. She latched onto every figure in the packed out room with the ferocity of the band’s namesake tearing open the throat of the slowest gazelle in the Savannah. We are all that gazelle, and all we could do was stare in awe of the show that Tired Lion supplied as they stewed upon our entrails.

8. Cosmic Psychos

Their new album leaves a lot to be desired, as much of a disappointment as my results at uni. But it would be plain ignorant to call Cosmic Psychos as anything less than a heritage act, an influential band that spits in the face of legacy because they’re too busy riding tractors and slamming into dead roos. Their reputation as one of the best pub rockers remains undisputed when it comes to a live show. Sweaty, blood-spurting and beer-soaked faces caked the grey-haired but perpetually young-at-heart performance, as classics “Nice Day to Go the Pub”, “Lost Cause” and “David Lee Roth” all saw air time, both from the stage and the bevy of crowd-surfers.

7. DARTS

DARTS played two sets, and both proved to be overwhelming punches of spectacle. Straight ahead, teeth-bared rock that presents itself as a slew snarling anthems, but is plagued with cutting self-analysis and anguish, which explodes in the live arena. DARTS work well in confined spaces, barrelling through track after track on the stages of Brisbane with loaded sets of staunch, lip-curling grunge.

6. WAAX

On a bill packed with rock acts, WAAX feel like the band destined to inspire more than fair few teenagers to pick up the guitar and thrash around in their bedroom. This band deserves every loud-loving punters full attention, and catching them live should shoot to the top of the list. Ask anyone who was there, and you’re likely to get the same gushing response as entailed here. Front woman Marie De Vita is particularly worthy of praise, an irrepressible emerald-doused firework who dominates the crowd like she’s Joan of Arc and we’re all a bunch of bloody Brits ready for rock slaughter.

5. Tiny Little Houses

This show was absolutely fucking packed. A full 24 hours later, and my lungs still haven’t decompressed themselves. But mate, wasn’t it bloody worth it? I’d kinda given up on folk bands, what with the realisation that Boy & Bear and The Paper Kites both suck…but man, Tiny Little Houses – swoon! They’re lo-fi recordings shine on a stage, and the inclusion of a fair bit of shredding helps bolster their performances into quite the mesmerising spectacle.

4. The Ocean Party

The Ocean Party are easily the hardest working band in Australia, with more live gigs notched under their belts than Ron Jeremy’s got STD’s. Not only that, but they’ve got a fifth record due out in a month AND all seven members deal with their own stellar recording projects in what mythical spare time they have. With all that practice and constant skill-honing, it’s no wonder that The Ocean Party are one of the most charming bands to watch in Aus. Their gigs will suck you in like a bloody typhoon, and you’ll have their incredible brand of guitar-pop stuck in your head for days, weeks, months, years. Truly, this band is the herpes of music…but delightful instead of burning.

3. Dorsal Fins

There’s a fuck-off amount of members in Dorsal Fins, so many that it’s all too easy to lose count. Watching them is like watching that classic gorilla selective attention experiment video – your eyes are bouncing between so many members that a giant ape could walk through the middle and you wouldn’t notice. Not that King Kong antics are a problem here – you’re having way too much fun! Dorsal Fins do pop to its logical, exuberant climax, and the unstoppable Ella Thompson not only possesses one hell of a voice, but the most enthusiastic dance moves that BIGSOUND had to offer. On a bill filled with bright pop musicians, Dorsal Fins were far and away the most brilliant and enticing.

2. The Goon Sax

One song and a handful of demos is apparently enough to fill up a room to a dangerous capacity. If someone coughed, the whole audience would’ve come down with pneumonia the next day. But of course, everyone was excited to check out the new Chapter Music signing. After 20 years, one of the most prestigious and continuously enigmatic labels in Australia went out on a limb and signed their first band based on unsolicited demos. Holy shit did they make the right decision: three high school kids, loaded with shy charm and a love for bands that I wish I could’ve claimed to be into in Year 12 (The Apartments, Go-Betweens, and The Bats) deserved every cheer and clap they got during their slot. I don’t even give a shit if I’ve got whooping cough now – seeing The Goon Sax will be worth every second of my impending plague.

1. DEAFCULT

I am so okay with a band with four guitars. Yeah, you read that right – four. This band has the same amount of guitars as the core cast of Seinfeld has members. And they use these guitars in their entire brutal capacity – nobody was leaving this room without bleeding eardrums and grin planted on their cranium. Fuck, there is so much to love about this band: from the name, to the incredible musicianship on display, to the simple awe generated by the sheer volume of it all. This band is epic, but with all the pretension removed. Watching DEAFCULT is an experience that anyone with even a passing interest in what guitars can do should participate in. Fuck…I think I’ve shit myself just from thinking back to it.

New: The Goon Sax – Sometimes Accidentally

11742874_947032518676703_2395032928037337627_nWow. Yeah, shit, didn’t see that coming. When someone names their band The Goon Sax, there’s a pretty solid expectation that some crass pop-punk will explode out of your speakers and summon your soul to the depths of dyed fringe and choker chain hell. That isn’t a fate I would wish upon my worst enemy.

But this – wow, this is amazing! The Goon Sax are incredible! Fuck the golf clap – a standing ovation is in order, a full-blown bravo for subverting expectations to a 180 degree and proving that being a pretentious wanker has probably cost me the opportunity to check out some fantastic acts.

Instead of pure dread, “Sometimes Accidentally” rustles up disarming plucky guitar pop that puts the Creation Records formula into 80’s Australiana. The Goon Sax somehow turn a song that could so easily be mundane – a mere love song that relies on blushing adoration and a quaint little hook – into a near perfect pop number that demands repetition. It mirrors what makes fellow Chapter label mates The Stevens such a fun, immediate listen.  Trust us, an accidental click on play will result in this song taking over your life.