Van She – ‘Don’t Fear the Reaper’ (Radio Rip) (mp3)
So I’ve never posted a radio rip before, but I found this track on Hype Machine this morning and it seems to be the only version around. I’d wait until an actual recording landed in our inbox, but then this post would be much less temporally appropriate.
I’m not much of a classic rock fan – nor even much of a Van She fan for that matter. Still, this is a pretty nifty take on Blue Oyster Cult’s ’70s hit and should make a splash on many a Halloween playlist tonight.
That’s me, though – Bruce Dickinson/Christopher Walker would likely be quite disappointed with this version.
Thanks, obviously, goes to Triple J. Happy Halloween to anyone else absorbing American culture today.
Guns N’ Roses; oh, how the mighty have fallen. Who could’ve predicted the biggest rock band in the world would become a glorified karaoke act fronted by a fat ranga with cornrows?
Luckily, Melbourne singer-songwriter Georgia Fields has re-interpreted ther Gunners classic “Sweet Child O’ Mine” with a sweetness and killer xylophone riff replacing the glam and sleaze of the original.
Title track taken from the new album by Sydney’s organic techno master – Jamie Lloyd. ‘Beware of the Light’ begins with a swinging electro feel, highly prone to induce dancing/ head nodding, while he casually introduces more layers to keep things interesting. Jamie’s vocal delivery is multi-layered in itself, with harmonies throughout which give a really cool and unique vocal quality, reminiscent of D’Angelo and Jamie Lidell. But just when u think you’ve got the track figured out, he switches back into a straight beat to finish the track with some wonky ass bass. Check it owt if ya dig left field disko, or just like to nod in a rhythmic fashion. Launch party for ‘Beware of the Light’ – 30th Oct @ The Civic in Sydney.
This song was pitched to us in our SoundCloud account as something you can sing in a “high-pitched kinda annoying way.” Which is sort of accurate, especially if you’ve been unfortunate enough to hear my falsetto. But it also undersells the track because the melodies are multi-tracked with both hammy head voices and lower talk-sing voices. The melody rules here, with the song basically resting on Guineafowl’s playful delivery on top of some simple acoustic guitar, handclaps and a sequenced beat. Some great quirky and catchy “indietronic” (his phrase, not mine) out of Sydney.