New Electric Sea Spider dropped this week which is punctual in the same way that the Jurassic era “punctually” followed the Triassic era. Sort it out Spidey. The guy is lucky that he’s one of Melbourne’s (and indeed the nation’s) pre-eminent producers because I’d almost never show this level of patience in any other aspect of my whirlwind existence. The last we checked in he’d just dropped one of the records of the year and that was over two years ago now so it was a very, very pleasant surprise when these new tracks surfaced.
I plugged the gap a little by dragging him up to Bigsound for a rather special little soiree where he proved his live sets could suitably compliment his recorded dynamite (as well as demonstrating that he’s a fairly lovely chap, too) . Here and now we pave the way for his triumphal return with ‘Ten Hunters’ and its corresponding B-Side Magic Jaw. The both of them lift and swell with climatic flourish but it’s that manic insanity at the conclusion of Ten Hunters that speaks the most to Jim’s craft. He introduces, interweaves and combines a startlingly diverse and seemingly disparate set of sounds with incredible dexterity while never once losing hold of the reins.
Extreme bonus points for including Shakleton in this mix.
You read right! That says REMIXES from home rather than the usual POSTCARDS and those of you familiar with the #musicindustry will know what’s coming next. Lots of indie folk converted into four to the floor bangers. Heck yes! I figured I might put into the field a very special, one off Postcards Mixtape that exclusively featured Australian artists being reworked or doing the reworking. Thirteen versions of existing songs made or made better by Australian artists, released in 2014. Lots of really, really lovely and excellent new versions of songs you might already know as well as hopefully, a few you don’t.
Gobble this into your ear gullets.
Rob Masterton is a fella you might know by virtue of his work under the name Super Magic Hats while Tim Fitz’s work under the name Tim Fitz has been a source of excellent left of centre indie-pop over the past, oh I dunno, four or five years or so. Today, the two names are in the one title. It’s with some amount of discipline that we’ve kept it to just the two names because, despite typically vocalizing his own songs, Fitz enlisted the vocal talents of Valar‘s James Blackwood and Husain. The track is a weirdly timed, strangely produced and startlingly earnest anthem of yearning. Then Super Magic Hats got ahold of the thing and stripped all those weird time parts out and shelled the song down to the pleading core in its vocal. A new beat and ever rising synth parts alienate that sentiment and the resulting thing is a little uncomfortable and plenty interesting. You can get the Kumori EP from Super Magic Hats here or Fitz’s most recent Goodhearts EP here or you can say to hell with them both and save your pennies for the forthcoming Strain Of Origin IV remix record that will contain this remix as well as glorious Lower Spectrum remix of Naps that you can hear below. That’s before I mention the involvement of Setec, Electric Sea Spider, Power Moves and a bucket of other cool young types – out December 1.
If you’re super keen you can even watch Tim Fitz perform on one of Sound Doctrine’s securely copyrighted Show & Tell sessions.
This Lonelyspeck EP was a very pleasant surprise after it had been threatened over twitter for nigh on infinity now. The reverb skies have opened up on this release and the vocals are truly drenched to the skin but the vocals aren’t really the centerpiece to the track any more than the twinkling synth loops are. The vocal parts work on an instrumental level and contribute to a warm tableau of sound that’s enriched through a different set of sonic tones on each track. If you can imagine it, and readership, I know you can, it’s as if I’lls and Youth Lagoon collaborated and then asked Oscar to guest vocal on a few tracks and then they filtered his vocals into oblivion. End result is gorge town, which is a region not defined by its great valleys but its textural gorgeousness.
The EP is out right this very second and you can cop it for whatever price you please.
After crafting one of the records of the damn year, the newly minted trio of Yon Yonson went and produced the beat for Simo Soo’s ‘Stoned In The Supermarket’ which features three separate MCs across it’s length, likely an attempt to maintain the every important producer / vocalist binary. Way to keep it future fellas. The beat is bouncier than a bag of popcorn incorrectly placed upsidedown in a microwave which also happens to be on the moon where there isn’t that much gravity. There are a few presumably lifted horn samples chopped into the chorus while sparkling synth sounds lift off a rolling bassline. The lyrical sections are seemingly nonsensical but only until you realise that the song is fundamentally based around the concept of – CORRECT – being Stoned In The Supermarket. Something about Taylor Henderson or Taylor Hanson and a Katy Perry necklace or something. The Marky Vaw verse is a little more abstract but by the time the Boobjob section comes back around we’re rolling into a stream of consciousness that makes about as much sense as it should considering the trajectory of the track. The song is lifted from Simo Soo’s fourth-ish EP Sootopia which is the most cohesive release I’ve heard from the the prolific son of a gun to date. There’s a couple of LP’s and remix records for you to get into too, for those that are really feeling this.
