Bros and ladies, I can’t rightly contain myself, I’ve got a new track for you that’s a rework of one of my favourite Australian artists by one of my favourite Australian artists. You see the situation now? Mathematically speaking that’s TWO of my favourite Australian artists which is at least (and indeed at most) twice as many Australian artists as normally featured in my posts! Thomas William Smith nee Thomas William elevates the bpm, drops in some woodblock Tom (not an actual thing, probably) and drops about a hundred extra of those pitch shifted Banoffee ‘oh’s (you heard it first) across the course of the new mix. The two are no stranger to… Each other… and they’ve collaborated in the past with Oscar remixing William on his Deccan Technicolour Remixes record. Worth every cent if you’ve not purchased it yet and no less exceptional if you have.

This one’s a free download.

How about old mate wailing away on that guitar around 2.30. It’s not 80s wanky though, just enough to warrant a steady bounce of the head and the raised eyebrows of any colleagues who happen to stride by my cubicle. Jokes, I have my own office. How many times must I remind you that I’m a bigwig now and I demand you’re respect. A good way to earn that might be to use the correct form of ‘your’ but failing that I’ll just keep plying you with jams and hope for results. Hopefully you’ve already listened through canker up above though if you’re a fast reader it may still be playing and you’ll realise that I was violently reductive in pointing out the merits of a few guitar licks with so much else going on. Even the way vocals switch from left to ride at the twenty second mark or the excellent quavering vocal that run the course of the track – the both need notice.

Now though, let some of the new tune into your ear holes and you’ll thank me. This one’s called ‘World Inside Your Head’ and it’s a slower, woozier thing that’s actually a bit of an earworm. I’ve been singing that damn chorus phrase all day. It lives in the same world inside your head as Porcelain Raft or Tropical Strength, a world of meticulous production choices applied to the sound of a full band which, if reports are true, is made up of a pretty talented set of music types. Also, how about that descending bassline? Legitimate question waiting for answer here, how about it?

And here’s one more for the road, the flipside to ‘Canker’, this one is ‘If It Works’ and in answer to what clearly isn’t a question, “yep, it sure does”. Excellent.

Guys ive got a real good one for us here. You already know bored nothing you say? Well sorry for trying guy, I don’t know if you’ve noticed but ive been busy with themesongs and bigsounds and playlists so if you’ll forgive me my diminished blog game you’d be doing me a real solid. This is a goodie though, even if the horse bolted back in April. Listen to the record several times over the next week, that’s your mandate as my recently elected listenership and isn’t a tall order for even the worst of records. I’ve listened to it sporadically via streaming services these past few months but I don’t want to overplay my previous affections for this outfit since they’re only now growing to any sort of substance. Fergus Miller and his band of cool guys played a sadly under attended showcase at BIGSOUND this week and I was completely and utterly drawn in. Then I relistened to the record with great pleasure and suddenly I knew that this would be a contender for ‘record that I really like the most from the year 2013′ and that POA hadn’t been wrongo this whole time. Hell, even pitchfork gave it a 7.0 which seems to bump up against their glass ceiling reserved for Australian artists with few exceptions.

I love the sonics on this record. I love the guitar tone, I like the shuttered, shallow drum parts and I like the reverb heavy vocals. Those features in tandem are enough to draw me in to an artist but it’s the songs themselves that actually keep me involved. Highlights of this record include ‘Shit For Brains’, ‘I Wish You Were Dead’, ‘Echo Room’, ‘Let Down’, ‘Popcorn’ & ‘Get Out Of Here’ and those are just the ones that are immediately worthy of singeldom. There’s plenty more on the record that similarly but less memorably slays. So with no further wordwang, here is what I refer to as the Bored Nothing smorgasbord: Two originals, a video, a live video session and a cover of that FKA Twigs song that has the tripped out pendulum video.

Friends, I bring you news bigger than Clive Palmers next nautical project / general girth; Sound Doctrine now has an official anthem of power / theme song. This will very likely move Sound Doctrine into the top 20 music blogs in Australia and will hopefully answer burning questions such as ‘what is the meaning of life?’ or ‘what is the best consecutive series of sounds that can occur within a fifty second period?’

The track was recorded by super secret Australian musicians that can’t be named for legal and emotional reasons in a super secret Australian place that similarly can’t be revealed. This is what happens when you never stop believe in yourself all the time to the absolute max. Kingsmill sent me an early email asking for an exclusive on his 2013 program in exchange for a guaranteed top 10 spot in this year’s Hottest 100 but I had to politely decline in the name of internet ethics.

We’ve already seen the track used for medicinal purposes, making short work of most fungal infections and getting water out of one’s ear without having to jump up and down with your head on its side for a little while after you go swimming. Please see the attached image to better understand where this moment sits within greater music history. Tell your kids you were there when it all went down.

IN my mind, which is largely where this blog resides, Golden Blonde are what would happen if Parades dropped a few tabs of acid and really made a week out of a day. Everything across their debut record is elongated like a fruit roll up unrolled and drawn tight between the sweaty paws of youth. It’s like that, save that this is a work of maturity, not sustenance for the listening toddler.I really need to make a decision on whether I’m committing to this metaphor or not. I’m in and out like a shuttle right now. Ther ewas a point in April when I wrote half a piece on their then single ‘Joan’ but somewhere along that journey I lost my way and it never came to be. Today I right the wrongs you never knew existed and, as you should have been able via Sound Doc in April, you can now hear Joan below. Surely it was worth the wait.

Joan has this unnerving, whispy wind sound which sits behind a prolonged, sung note which is in turn behind the frotline vocals. Then, likely because the band thought you were too at ease with what was going on they harmonise that middle prolonged note and punctuate it with what is one of the more discordant guitar tones I’ve heard this year and I own a record called ‘The Best of Discordant Guitar’ so don’t tell me this isn’t a serious situation. It’s deadly serious.

We Begin is probably my favourite from the record. Why? Because I damn well say it is, ok? Don’t be fooled by that first paragraph, this isn’t journalism and I’m not in the business of writing up PR spiels. What I do get to do round here is lob choice musical cuts at you without justification. It’s a Friday afternoon and I’m listening to a record that doesn’t push you to make logical decisions so I might just leave this here.