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February 26, 2009


2008 was a pretty bad year for hip-hop I’m sure you’ll agree. It was all pretty much Little Wayne, a new wave Kanye album and Young Jeezy and T.I. doing their best to turn trap-rap into diva-pop. But 2009 is shaping up to be pretty big. The triumphant return of MF Doom, the Chinese Democracy of rap, Only Built 4 Cuban Linx 2, finally seeing release, and of course a new Clipse album. Now today comes the news that Clipse have completed a track with Rick Rubin producing and are expecting to do a couple more. My brain, ladies and gentleman, is melting. This post also claims that they are expecting half the new album to be Neptunes beats, something I wasn’t expecting after they left Star Trak/am completely stoked about after that “Fast Life” embarrassment. They are releasing a single featuring Kanye next week called “Kinda Like A Big Deal” which is pretty cool for people who liked to drop Ron Burgundy quotes two years ago I guess.

clipse -mr me too (z.a.k. remix)


And Blur My Vision

February 23, 2009


I went to see El Guincho at his farewell Australia gig at The Tote last Monday. He was really good etcetera, etcetera. I also finally got to see Mark Barrage, a local lo-fi electronics guy who was supporting and who I had been interested in hearing for a while. It turned out to be one of the most awkward/intriguingly bad sets I have ever seen. Dude fiddled around with his little table of gear a bit or stood weirdly beside it to sing, dancing oddly. His vox were pretty low and lazy/slightly off key, which isn’t a bad thing but definitely contributed to the stilted vibe. The big Tote banner behind him, with its gritty/bourbon typeface, wasn’t wasn’t working for him either. The sound was okay I guess for a local act in a dingy bar but wasn’t doing the loose electronics any favours, taking them from haphazard/confused to confusing. Then halfway through one of his early songs he brought in a completely wrong beat playing at a completely wrong BPM. He somehow regained his composure and started up something else. Two songs later he put his microphone down his jeans and thrusted around to little reaction. I don’t know if it was meant to funny or make noise or both. When he started up his next song he started singing with a second microphone but every time he bought it to his face it would start to feedback. It took him half the track to realise it was because he still had the other microphone in his pants. For his last number he started up an annoying, lurching, tweeting noise and refused to stop it unless someone got up and MCed a few rhymes. Suffice to say he hadn’t really won the Monday night crowd over with his show so far and people just stood there sort of uncomfortable. “Come on,” he said, “isn’t anyone out there black?” After at least seven minutes of this shit some guy in what looked like a home-made Neckface shirt and who I half suspected was Neckface got on the mic, Barrage dropped a hip-hop beat and dude railed off “Fuck The Police” with a few Tote/Melbourne references thrown in for good measure, to put us out of our misery.

Later the main El Guincho dude asked the crowd if they liked the support to a tepid response. He said that he thought Barrage’s music was awesome and really sexy and that it was important for music to be sexy and that he dedicated “Palmitos Park” to him. Anyway, the performance was intriguing enough to me to go to his website and download a song off his last album called Delays. The song is called “Hindsight” and it’s actually really good, 8-bit pop with very Malkmus vox. I might even get dude’s CD and just never admit it to anyone who I was there with.

Mark Barrage – Hindsight

Blanket Campaign

February 18, 2009


Everyone is talking about Wavves at the moment hey? You know how you keep hearing (reading) a band’s name and go from sort of ignoring it/subconciously taking it in for a while, to remembering the name and noticing all the little mentions, to getting a little curious, to actually reading something on the band, to going to Hype Machine and getting really overly excited? No? Well Wavves are more scuzzy lo-fi punk stuff along the lines of No Age and Times New Viking but with a more pronounced California, sun drenched pop/surf rock vibe. Main dude Nathan Daniel William records everything in his bedroom using an old four-track so he’s got a pretty bloggable/sounds-cool-telling-your-friends blurb as well. Maybe a bit too fuzzy and rough for some but here are a couple of tracks that I am all about at the moment:

wavves – beach demon
wavves – so bored

His new album is out on itunes now or coming out this week on CD/vinyl or something. it is called Wavvves (yes with one more extra V). His blog is pretty cool too.

They Hatin’ On Me/They Wanna Diss, Diss

February 17, 2009


Hudson Mohawke is shaping up to be this year’s Flying Lotus, ie: off-kilter instrumental hip-hop signed to Warp; although Hudson’s stuff is is a bit more block rocking, a bit more wonky than dubstep and a bit sharper/cleaner. Don’t know if his album, coming some time soon, will standout as much as Los Angeles but it is hard to argue with the preview EP Polyfolk Dance, especially “Overnight”, and it’s brash, hyperactive swagger:


Like FLying Lotus he is not the smoothest mixer in the world but this oldish BBC mix is pretty huge. I guess when the tracks you are trying to mesh are already out of sync with themselves it complicates things. Anyway, the mix features heaps of earlier and unreleased Hudson Mo tracks as well as tunes from associates such as Rustie and Joker, a James Pants song about life, love, time and blowjobs and an evil remix of America’s most wanted, Chris Brown.

Getting Up

February 11, 2009


No one likes street art anymore but somehow Brisbane dude Anthony Lister is still the man (along with Neckface, of course). His more-betterness as a painter is a given but did you know he brought vlog sickness as well?

His YouTube channel findmrlister is pretty sweet if you like Captain America based performance art, Mark Chopper Read collabos and “experimental context conditioning videos” . Despite all the afore mentioned ridiculous however, the following is still the most WTF moment:

The image up top is the portrait he promised her.

(I basically stole all this from sweet Australian magazine/website Monster Children because I am a hack. Cheers.)

Party & Bullshit

February 10, 2009

We started drinking at around eleven, with good intentions to leave an hour later after a few beers and catch Beaches and maybe Kes Band. But typically no one took any initiative and we were still drinking at two, the girls cracking into the Pink, putting pegs in their hair, cavorting with randoms on the tram we eventually got into the city and some old men on the sidewalk also. We stumbled through the Chinese New Year Festival that was happening a few blocks over and into Laneway to hear Spiral Stairs playing “Two States”. Instead of heading into the crowd to witness the closest thing I will probably ever get to seeing Pavement live, it was more important to go get beers from the bar. It is always amazing how much money we will pay to go see a whole heap of bands then end up spending most of the day wasting time by going to the bar, waiting in line then standing around talking and drinking the overpriced beers that we normally wouldn’t sniff at, not listening to the music and/or standing so far away so as to be redundant. When we are probably already drunk enough anyway. We did that for a while then headed across Swanston for No Age. It seemed like most of the crowd were just hype curious, with only a few getting into what was a killer, thick set. It felt like quite some time since I had listened to Nouns but this set reminded me of how good it is. The tracks I assume were off Weirdo Rippers were also killing me. Felt a bit weird getting really excited at like four in the afternoon while everyone around me had their arms crossed or where too busy talking and drinking beers to listen. Oh well.


We then wandered around for a while without much to do but drink more beer, watch all the mel-bohos walk around in their Wayfarers and straw fedoras and bump into more sober acquaintances and ear-bash them. A few of us decided to lineup to get over to the Red Bull/Lounge area to see My Disco then Four Tet then El Guincho. The Temper Trap were playing behind us and they were quite good. Half an hour passed, we had barely moved and everyone decided to give up and head over to the Little Lonsdale stage to watch the Drones and wait for Architecture In Helsinki and Girl Talk. Danielle and I decided to try an alternative route and wandered down to Little Bourke, eventually finding the back stage entrance for the Red Bull Stage. We chatted to the security guard there but got nowhere so just stood peering over the fence as Four Tet opened with “Ringer”. The sound was not too bad I guess but the situation was not exactly ideal.

I spotted the dude from El Guincho sitting on the concrete by himself and in my drunken state yelled, “Hey El Guincho. You are the fucking man.” He smiled and waved and said something then went back to sitting on the concrete by himself. Meanwhile a steady parade of people with artist or whatever passes came and went, including some fat ranga in a Dead Meadow shirt of all things, talking to whoever would listen about how he had scammed his artist pass. Despite the fact that I came to be at Laneway for free and through slightly devious means that I will not disclose here, I found myself drunkenly vowing to wreak some sort of obtuse revenge, that I would be back next year having fulfilled some sort of wanky scene blogger destiny, waving around a press pass and an obnoxious SLR, swanning about from backstage gate to backstage gate.

El Guincho hanging out in the gutter

El Guincho wandered off, Four Tet was working through some ambience and we got sick of hanging on the back fence so we decided to head back to the Little Lonsdale stage for Architecture In Helsinki and Girl Talk. The line to get in was now as bad as the one for the Red Bull/Lounge area. It seemed that the only area no-one was interested in was the main, Lonsdale Street etcetera area. I put this down to the fact that I have never, in all my days, met a Hold Steady fan, or even anyone mention their name, while everyone in the whole world likes Girl Talk. Just because they are a rock band doesn’t automatically make them more popular and just because Pitchfork covers their every move doesn’t mean people are interested. But I digress. We decided to try another entrance that we had used earlier in the day, from inside the QV building. But it was closed and the four security guards blocking the way were having an argument with some guy demanding entry. Danielle did an easy squeeze through the security guards as some people exited and so I tried a similar tactic. Security seemed like they were only trying to appear to do their job and being pretty lax with the actual execution. I slowly edged my way around one as the argument raged on until all of a sudden I was just on the other side of the guards and walking down the stairs without any trouble. I wished I had tried a similar manoeuvre to get into the Red Bull stage.

We then found ourselves in some ridiculous press of way too many people for the area, people swaying around in unison, in familiar mosh fashion but with the added fun of trying to not trip over the gutter and avoiding parking meters and street signs. The Drones were playing and I’m pretty sure they were good but I was mostly waiting for them to stop so some people would move away. Eventually we found our crew again but I was starting to sober up, still pissed at missing Four Tet and El Guincho and not yet acknowledging our good fortune in scamming our way back into Little Lonsdale Street.

Then Architecture In Helsinki came on and, as was much the case at Meredith, they pretty much saved the festival. I don’t care which album is supposed to be better, I just want to hear the hits. And if you want to do them thicker and more synthy all the better. Bright pop hooks, yacht-rock vibes, big electronic beats and bass, shambolics and casual ugliness had me forgetting my complaints. Triple J quirk and ska/jazz/funk band signifiers probably appeal to a good portion of the crowd as well and despite the stress and the cramp everyone was soon singing along and throwing their hands in the air. Festival Organisers: Please appoint AIH as “requisite Australian band that everyone thinks are good live who always get a mid-afternoon slot”. The Living End are now officially handed over to Triple M.

So they finished and we waited for a while, some guy got on stage and gave us a bit of a pep talk/health and safety lecture. There was not much chance of moving if you needed to leave, the bar wasn’t open anyway, whether you wanted beer or needed water, and if you needed to piss you had to leave the area and would not be able to get in/piss in a bottle or against the fence so I fail to see why we were the ones being lectured. Slowly the crowd thinned a bit as people left; no one else was being allowed in.

Security working hard

Meanwhile, I was looking forward to Girl Talk, although my feelings on the guy were mixed at this point. Night Ripper was pitch perfect and brilliantly tapped into that pink and purple infused era of pop and trap rap of 2004-2006 and combined it with a few undeniable classics, a bit of eighties cheese and forgotten 90’s alt hits. Feed The Animals came out in a pathetic year for pop and with the zeitgeist mostly ignoring trap rap altogether then decided to combine it with dad-rock, mum-pop and novelty hits. Not to say it is bad or unenjoyable or not technically amazing, it just doesn’t compare to Night Ripper. I also preferred it when he was a geeky, dumpy white dude getting embarrassingly carried away with his laptop, not some alt-celeb with an obnoxious beard and long hair and bandana. And, of course, it is getting to that point where the snobbier of us are looking to jump ship, too popular, too accessible, getting play on Nova of all things etcetera.

But he came on, minus the beard and hair and bandana and started with the C.R.E.A.M vox over the first bit on Night Ripper, giving it the recontext it deserved and making me forget how it was pretty much wasted on that Argent song and also all those Dexy’s Midnight Runners/Police/Tag team drops on Feed The Animals. The sound was huge and he ploughed through a whole heap of hyped up, nicely reconfigured, good bits from both albums as well as a few new ones. The “Paper Planes”, “Windowlicker” and “Single Ladies” drops where all pretty amazing. As his set started to lag with the constant barrage of hooks losing their impact some guy climbed up on the ledge of the QV building and started dancing around. People cheered and yelled and soon a few more people joined him and they danced around some more. Greg had to stop playing and tell them to get down, then off he went again in the same fashion but with attention spans revitalised after the distraction. So yeah, a solid hour of hits, impossible not to enjoy and a more promising representation of his skills/taste as well.

After it finished we made our way back to Northern Inner-City Suburbs then parted ways, Danielle going to bed while I stayed up eating hokkein noodles and a Monaco Bar, already hungover, watching Australia go down to New Zealand in the cricket on the very last ball then Roger Federer bawl his eyes out after losing the Open final.

You’re Not Ulysses

February 9, 2009


Remixes of Franz Ferdinand’s “Ulysses” should be perfect dj bro fodder. It is a single from a popular but still credible indie band and whether you actually like the song or not, you probably know most of the words by now and will love yelling along with it while drunk/wasted off your ass at a house party/bar/club. Plus they held a remix competition late last year on Beatportal so there are over 300 takes on it out there all using proper stems rather than dodgy filtered parts. However, the many changes in “feel” as the track moves from part to part and the odd rhythms are causing remixers some trouble. The official one by Beyond The Wizard’s Sleeve (aka Erol Alkan and some other dude in authentic disco mode) opted out, creating a serviceable dance track with the “come on let’s get high” vox pitched down into deep house territory being the main familiar element. Kid Freakout, Disco Bloodbath and a few others take a similar route and they are all quite nice but they aren’t going to satisfy the discerning tastes of drunk people on a dancefloor who want to hear something they know. More recognisable attempts like ones by Overwrite and Amplid and so on can’t quite work the vocals or riffs into new grooves; there is a tendency to try and set them a beat late but no one really gets away with it.

So leave it to Max Tundra, he of the much accomplished OCD/ADD/signature switching electronica/pop, to navigate it with ease and show up dudes who downloaded ableton last week and superstar djs alike. As dude mostly works on an old Atari or Amiga or something it comes across a bit midi in parts/isn’t perfectly party orientated but it’s still pretty electro so you could give it a go. His thicker, Van Halen’s “Jump” jocking remix of the now ancient “Do You Want To?” was better/easier to mix but you probably can’t play that anymore.


This one is pretty good too, skinny guitars and disco freakouts and etcetera, but it complicated my whole argument up there so whatever:


Most of the remixes mentioned above and a few added others are all here on the quite good PopWreck(oning) if you are keen.