The old adage goes, “when it rains, it pours” and as of this week we’re neck deep in the deluge. The influx of incredibly exciting Oscar Key Sung related content that’s landed online is quite simply too much for all those who have waited patiently this past year. His Holograms EP was a titanic but hold tight because bigger things lie ahead. He’s this week dropped three different audio offerings on us, the first and most important of which is the lead single from his newly announced and forthcoming Altruism EP. It’s called Skip and in our time apart, he’s obviously next levelled his song writing. That’n below. Premonition was the initial teaser track that he shortly thereafter reedited and put online anew so you’ve got both the original and the secondary cut underneath this too. If this reads more like a press release than my usual posts it’s because I have working relationship with Oscar so if you can no longer trust the honesty of my words then do no under any circumstances hit play below. If however, you’re aware that I have a character of cast iron then play on my son for you have earned these jams.

*edit* this has been sitting here in my drafts for a while now so you’re gonna have to excuse the temporal inconsistencies in it. Think about this though, it only took 66 years for humanity to progress from taking flight to landing on the moon so maybe my slow rate of posting is actually no big deal? Think about it. #science.

As far as I’m concerned, the weirder that Collarbones go, the better. Their 2011 record Iconography was laden with out there beats and chopped and sampled vocals and didn’t sound a whole lot like anything else at that time and evening seemingly at this time. They’ve since dropped a lot of the instrumental sections from their recordings and it’s become largely about Marcus’ voice (which can be a great thing) but producer R&B outfits aren’t a rarity at the moment and I want to hear Collarbones being the rarity they were. To keep on with that phrase, I reckon this new Collarbones track is rarer than some of their more recent recordings have been and I think all the better for it. It’d be easy for me to focus on that Oscar section but Marcus’ first half and conclusion both ride the beat gloriously, almost closer to his work with Black Vanilla than other Collarbones songs.

Just when we thought that the Key Sung content cycle must surely have neared completion, we’re hit with a downtempo ‘sad man amateur piano version’ of 2013′s biggest song ‘All I Could Do’. I don’t know too much about Rockstones Sessions is and I’m not likely to investigate because I completed Carmen Sandiego multiple times and I don’t need to prove nothing to nobody but believe me when I say they did a damn good job in getting this version of this song out of this guy. For me it establishes the strength of songwriting in that even in the absence of all production the song still holds up like the truest monolith. Anywho, you know how I feel, this isn’t the first time I’ve expressed it and it certainly won’t be the last. Big fella’s touring now too, if you wanna get up close and personal, playing GoodGod on Thursday 24th April.

This is everything you’d hoped it would be, then doubled, then doubled again because you’ve got depressingly low standards for Australian music. Oscar Key Sung here drops what is the perfect counterpoint to the four ito the floor anthemic pleading that was October’s ‘All I Could Do‘. It’s Alyosha to the Ivan, Seachange to his Odelay, ‘Take Care’ to his ‘Started From The Bottom’. He’s had this one in the arsenal a long time, deploying it live with with less affect than ‘All I Could Do’ or ‘It’s Coming’ but to an audience not yet acclimatised to the newness. The man himself is so far past this track that he’s been spinning remixes of it in his sets before the original had yet flavoured the public palette. The news in tandem is that the long (LONG) awaited Oscar Key Sung EP is upon us. Maybe set a date with your girl, go to the pharmacy to collect the relevant supplies because come March three, when you put this on in your Corolla there’s going to be some back street freestyle a la sixteen year old Kendrick. I’m saying you’re gonna get laid. Way to make me spell it out, good grief. Taste the future below, even Pitchfork know what’s going on.

I’ve listened to this song so many times now that it feels like a word repeated and repeated to the point where it’s lost its meaning, sitting weirdly in your mouth like a mint leaf. Seriously mint leaves, how can you be so furry and also a food? Sort it out. The word is now just a sound and the sound seems foreign because all one can here are the individual phonemes, syllables and all those other pretty words that represents units of sound and so on. And so it is with this song. I’ve listened to it so many times now so as to drain it of its unifying liquids. It’s not just a song now, it’s a collection of stems layered over each other and I can’t help but hear them all individually. This is on me though, let no blame land on this here tune which you’ll soon note is one of the finest things released in recent (and not so recent) memory. Every one of said stems is meticulously crafted and aligned and so it seems, at least so far, that you can’t actually listen to this song too many times.

That voice though… That voice is what’s going to elevate Oscar Key Sung from tastemaker’s wetdream producer to international pitch-hitter. It’s a voice that’s surprisingly malleable too as demonstrated on Charles Murdoch’s Dekire where his usual heat is replaced by cold ice.

The track itself is more upbeat than anything he’s done under the Key Sung moniker and even his work in Oscar + Martin. For those of who have had the joy to see the live set in action you’ll know that this number is the heart of the performances by virtue of the four on the floor beat, resurgent dance section at the death and what’s likely the closest thing to a drop that you’ll ever hear on an Oscar Key Sung production. The future is nigh and it lives in Melbourne.