Yolanda Be Cool & DCUP – ‘We No Speak Americano’ (Dr. Don-Don remix) (mp3)
When it comes to dance music and remixes, I’m not the Who the Hell blogger you should be looking at to get your stuff on the site. With that in mind, I post this track with a caveat; I enjoyed it with the full ignorance of someone who listens to a lot of nu metal.
New band Jinja Safari debuted their impressive first live show in Sydney last month. Self describing their sound as ‘forest rock’ and ‘dancing music’, in a year when Vampire Weekend, Animal Collective and many other experimental indie bands shoned and found their place in blogging and mainstream circles, this band arrived with the right sound at the right time.
Brisbane music-scene do-gooders Brisbane Sounds and Starving Kids have teamed up to run a monthly licenced all ages club night in the Valley, with very young bands on the line-up. The result isYoung Bloods, held at the Legions Club – a hole-in-the-wall RSL with a war museum in the basement and incredibly cheap bar prices. Of the four bands on the line-up, I caught sets by Bixby Canyon and Dirty Bird. Both bands were solid, but Dirty Bird were really something else – they brought the biggest crowd and said crowd was up and fight-dancing throughout the band’s entire excellent but weird set.
All in all, good times were had. There are a few hush-hush all-ages BYO venues in Brissy, but ideally it would be easier for venues to get a liquor licence so they didn’t have to sneak around risking fines. Thank goodness for RSLs and their loophole-strewn section in Queensland’s liquor licencing legislation.
Sydney’s Pockets are tight. Their songs are short, punchy and well-produced – there’s not an ounce of sonic fat left to be trimmed. There’s a lot about this track that reminds me of Silversun Pickups – the tightly edited drums, breathy singing alternated with muted screams – but the aforementioned tightness saves them from the wank and effects pedal abuse rife in post-rock.
They’re playing in Sydney on Saturday at Jira Books with Japanese band Nim, Brisbane’s In Sepia and Hira Hira.
PVT is the new name of Sydney’s Pivot, so forced into changing because a horrible prog-metal act from the US registered the name ‘Pivot’ as a trademark, despite the band formerly known as Pivot having previously released music under that name in that terrtiory. Yeah, makes sense. Rather than pursue legal hassles (despite a pretty strong case), PVT just decided to change their name. I think PVT suits them better anyway. It’s more experimental, leaving out vowels and subverting capital letter conventions and such as.
Anyway, PVT are still the only Australian band signed to Warp, the famous UK electronic label that was home to almost every IDM band in the 90s/00s (Aphex Twin, Boards of Canada, Squarepusher, LFO). PVT didn’t exactly mine similar territory, but there was definitely a sonic lineage between their post-rock/ambient/laptop styles and that label’s more famous signees.
Their new album Church With No Magic is out soon (distributed locally via Inertia) and it sees a slight change in direction for the band. Perhaps ‘change in direction’ isn’t the right description – it’s more a tightening of their previous sonic preoccupations into more of a pop framework. No doubt, tracks like ‘Window’ (video below) will see them get more radio play, higher festival billing etc, which I’m cool with. Even though I loved PVT back when they were Pivot, I still really like the pop cut ‘Window.’ Their approach to production is still quite out there, but they’re just applying that approach to more conventionally structured tunes. On a blogging scale from 1 – Animal Collective, ‘Window’ could very well be there ‘My Girls.’
But Church With No Magic isn’t an entirely under-3-mins affair. There’s some deeper album cuts that totally rule. Check out ‘Timeless’ above for proof that these guys can still wig out like almost no one else in this country. The whole album is pretty boss and I recommend you check it out when it’s released next month.
I’ve been diggin’ on Black Cab for a while, but they’re one of those bands I’ve never really posted about because they seemed “too Mess + Noise.” You know what I mean? But I couldn’t not post this track. This shit is the balls.
You know how it often sucks when yr fav band goes mainstream? Well, this time it doesn’t suck. It’s still dense and gloomy and atmospheric, but it’s got a surging synth line and a fast tempo and an understated but memorable chorus hook (“oh, you sexy polizei”). It’s pretty amazing how they’ve married their old sound with the dancefloor tropes on display here. I think the best remixes sound like the song isn’t actually remixed at all. And I think that’s what this song sounds like. Like a remix that doesn’t sound like a remix. Because it isn’t a remix. But if someone had told me it was a remixed Black Cab b-side, I would believe them. But it’s not, it’s their latest single and it’s groin-grabbingly good.