‘East Coaster’ is the first single from a Jordan Ireland’s next musical adventure, titled Jordan Ireland With Purple Orchestra. That’s the name of he and his band and the album both. Jordan’s gone and hired the most industrial strength excavators and probably one of those mining supermachines that are at once super awesome and super horrifying. Then, he’s piloted both these megacreatures into the center of this song and he’s burrowed down. He hits bedrock but it doesn’t stop him. He tears through the earth’s mantle and week’s later he’s found the inner core. “Well, this is as good a spot as any” he exclaims, covered in grime and sweat, hard labour evident in the whites of his eyes. With soft hands and iron will, he buries his vocal, underneath debris, production, organ sounds and earthmatter. Now he must refill the gaping wound. “This is what I must do” he mutters, too quiet for anyone to hear. And why would they? He is alone, alone in his brilliance and his glory.

Got a bit caught up over here but this is a very nice song. There’s a whole record due January 20 which Jordan worked on over a bunch of time with Greg Walker aka Machine Translations.

Megastick Fanfare are a real Triple J Unearthed feature artist right now, provided right now is 2009. The years may have marched forward but somehow the best band of 2016 still seems to Megastick Fanfare. Can that be right? Surely not. They’re on the cusp of another record and I know I’ve already alluded to their valuable history but Megastick truly stand formidable in the recent catalogue of Sydney music. Grit Aglow may have been five years ago now but if new single ‘Mammoth’ is anything to go by, their next record Nighs is going to set down roots in my personal Australian music canon once again. It’s high energy but it never quite swings out of control, warm round vocals punctuated by sharper, forceful bursts that could only be delivered through contorted face and clenched eyelid. Here’s a teaser video for the record that’ll validate everything I’ve said so far.

After this record, Megastick Fanfare will be taking an extended break which is sad but they’ll have earned it so power to them. The album was mixed by Jonathan Boulet and in further Boulet news, his new band Party Dozen will be performing at the album launch on Dec 17. Attendance is mandatory.

Christopher Port. What of him? Well he’s rumored to be the tallest man in Eltham. Additionally, according to his Wikipedia page, he’s one of the best performers of internet electric music since the great Archie Wurlitzer passed away in 2009. He plays the Abletron, the digital synth, the software guitar and the ZPC180X Laptop Sonicboard. He plays all four of those devices despite the absence of any formal instruction and a crippling fear of engaging with any device connected to a network which is why he has eschewed all modern cellular devices in lieu of a cup and string. Wanna get some of that good Port-talk going on? Get yourself another cup and string.

In spite of all these impediments, Christopher Port still manages to generate records of the kind you’ll hear below. If you don’t rate these records at least an 8.5 then prepare yourself to be trolled on facebook for the rest of the week because I don’t easily forgive such foolish opinions. Quite frankly, I love this new Christopher Port two tracker and if you don’t then you probably just voted for Trump and that’s terrible science. Have at these.

I’ve gone back and forth between the two and I can’t quite choose which one is my favourite still – a predicament that’ll surely find it’s way into my familial life when our second child is birthed in January.

Hello reader, welcome to the post about the song called ‘Control’ by the artist called Leftenent. You have arrived here to read some Good Thoughts about this song and I’ve come here to write those Good Thoughts so let’s get mutual on this one shall we? Leftenent is the just-recently adopted mantle worn by Sydney’s Antonia Guaci. She’s getting a bit mantle greedy however since last week she filled out the requisite paperwork and adopted yet ANOTHER mantle. That one was called GAUCI but more on that in a second. Probably worth mentioning here Antonia that mantles aren’t just toys you get given at Christmas and then tire of before giving away in April. If you decide to adopt a mantle then you need to Treat It Right. Back to this Leftenent project though, which is immensely personal on the lyrical end with some deeply vulnerable pondering words that don’t feel like they could be anything other than the honest reaction to a real life hurt. It’s beautifully delivered, especially at the end of the track when the vocal production on ‘Your love is control’ thickens it up so wonderfully. If you know Antonia however, the quality of the recording shouldn’t be any surprise. She’s a much respected studio hand with some lucrative credits to her account. She’s even been working with our favourite boy Anatole on his debut album so you know she’s got all the cosigns for you to commit to this fully.

Now down here, this is the other project I was threatening you with. This is one has double the Gauci with not just Antonia but sibling David in the band alongside excellent Sydney musician Felix Lush. Totally different vibe, equally incredible record.

Truly it must be Adelaide week up in Sound Doctrine right now because I’m going ham sandwich on these South Australian records. Today’s flavour comes courtesy of Allume whose list of shared performative credits includes Oliver White (see my last post) and Tracy Chen (see the one before that) so if you’ve enjoyed the offerings this week then why not make it three from three? Her real name is Elena Nees and she’s one half of another Adelaide outfit called Hummingbird. This however, is the first single to come courtesy of a solo EP that she’s completed and will be releasing through Melbourne label Healthy Tapes. Lo-fi and electronica are the two tags assigned by soundcloud and I’ll absolutely allow them here. Warm, ambient synth sounds drench Nees’ voice. Deep, pitch shifted incarnations of her voice float underneath, sounding like the sub-conscious voice paralleling the conscious. According to Nees’ herself, “it’s about a bit between two relationships, when there’s still a lingering left over bit of one love, and sorta conceding there always will be, the sensation of those two loves residing alongside each other… but also the necessary letting go of one to make room for the newer, present love”