It’s not often I just drop a doozie without getting all verbose up in here but this is one of them days. Hear a new one from a new one, a band called Covers whose name has implications they might not be altogether pleased with if they’ve ambitions for a career rich with creative output. As far as I can tell this is their first song and it goes alright, right? They’re outta Melbourne and that’s as deep as my research has gone. Free download but I won’t be including their press shot as it features a picture of a bottom which I think it actually rather rude and I don’t care how rock and roll you are, I’m pretty sure noone wants to see the bottom of another human. Concluding sentence.

It’s kind of mesmerising following the changing tempo on the light cymbal tapping across this jam. I’ve been giving this spins throughout the week (and on that note, how long until the term spins becomes completely defunct?) and it’s been giving up it’s sweet fruits while I’ve giddily gorged myself. The end bit where the stuff happens and those things go kind of a little bit different is great, right? JOURNALISM!

POWER MOVES is the side project of Austin Buckett who only went and dropped one of the records of the year recently as part of Golden Blonde. He’ll have an EP out under the POWER MOVES moniker released by this time next week which will reportedly have more hip-hop canon samples and delightfully recut fragments of sound. It’ll be called Psycho Shower Scene and is has been mixed/mastered by none other than Sound Doc favourite Thomas William so you knoooooow it’ll be gooooood tiiiiiiimes.

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.