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The Little Stevies do some inventive marketing…

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Unlike the birds vs humans hype of yesterweek, this is a marketing ploy that shows effort and intelligence from a small band and is actually related to music. Melbourne band The Little Stevies have made a short film/skit about their band cycling around the entire world, inspired by the lyrics of their own song ‘Dink You’ – for which this clip is ostensibly a promotional tool. It’s sa bit different to the usual film clip and so it gets attention, while incidentally exposing viewers to their music without feeling force fed. It’s a tad cheesy, yes, but there are some funny moments and it’s generally a good idea.

Below is the abridged version, which is probably all you need as a first time listener and not-yet-fan. I’m told they’ll be launching a full video next Tuesday for those keen to experience the full fruits of their labour.

Dink You (Abridged) {Pre-release Preview} from The Little Stevies on Vimeo.

Sia ‘kind-of-exclusive’ & new Aria nomination


Some People Have Real Problems July 2007

Sia - ‘Bring It To Me’

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Firstly, commiserations to C W Stoneking, whose nomination in the ‘Breakthrough Artist (Album)’ category was bumped after a calculations error. (Update: word from the man himself is that he was ineligible since his last album was already nominated for an Aria). Secondly, congratulations to Sia, who has is now a contender in said category for her album Some People Have Real Problems alongside her previously-announced nomination for ‘Best Music DVD.’

To commemorate her new nomination, I’ve been sent what is ostensibly an Australian-exclusive. ‘Bring It To Me’ is an outtake from the Some People Have Real Problems sessions, which is largely unreleased except “maybe as a b-side on one of the formats somewhere internationally.” Regardless, I’d not heard it and I’m fairly sure anyone outside of the Sia fanclub won’t have heard it either.

So is it worth hearing? It’s an odd track that mixes Sia’s twee-pop tendencies with a Spaghetti Western backdrop and a chorus that shoots for Santigold. ‘Bring It To Me’ not as good as ‘Buttons’ for sure, but I actually think they should’ve made room for this cut on the album. What do you think?

The Snowdroppers

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The Snowdroppers - “Rosemary” (mp3)

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Definition: Noun
1. a person who steals women’s underwear off clothes lines and masturbates into them.
2. 1920’s slang for cocaine addicts.

With as much swagger as white men can muster, The Snowdroppers have developed some serious blues with a modern edged sound and energy. The boys have recently signed to label Difrnt Music (Cog, Regular John) to release their 1st album ‘Too Late To Pray’, so it looks like these lounge lizards are ready to bring the debauchery and depravity of the roaring 1920’s out of your local juice joint and onto the radio.

The single ‘Rosemary’ is short, catchy and makes you strut from the start with its infectious rhythm, and Johnny Wishbone’s narrative about Rosemary and her secret video tape.. Wishbone’s powerful voice and unruly persona gives an edge that is definitely matched by the intensity of the music. They’re the bee’s knees baby.
Also check out – Juke Baritone, Chase The Sun.

The Bon Scotts – ‘ The Kids Are Coming’

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The Bon Scotts – ‘The Kids Are Coming’

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It’s not the worst name in the world, but it’s up there with ‘Primal Scream’ as the most misleading. I initially ignored these guys because I figured that one AC/DC was already one too many in my life. But, as it turns out, these guys aren’t pub rock aficionados at all and I’ve been foolishly dismissing them for god knows how long. This is what I get for judging a book by its cover. This is also what a book gets for having a misleading cover.

Streaming above for your pleasure is a song that you definitely won’t hear blasted at any sports/Irish bars. It’s far too quirky and acoustic for that, and what it lacks in shirtless, hairy machismo it makes up for with contagious feeling of child-like joy. If the kids are coming, it’s because this song sounds a bit like The Middle East if The Middle East were happy and loud.

Aria Award Nominations


The 23rd Aria Award Nominations were announced today. It has a lot of usual suspects in there, but thankfully there’s also some new talent getting the attention they deserve. Empire of the Sun don’t necessarily count as new talent since both members have been around for a while, but they’ve basically re-colonised the globe and I’m especially happy about their nomination since they’re likely to stop AC/DC from winning any of the big awards.

Also, Ladyhawke curiously made the list – curiously since she’s from New Zealand. Not that she doesn’t deserve the plaudits, but surely that means Flight of the Conchords should be nominated/hands down walking away with the ‘Best Comedy Album’ award.

Nominations after the jump.





Kasha – ‘Let A Storm’

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Canberra – aka the ‘scream-o’ capital of Australia from what I’m told – doesn’t get a lot of attention from the music world, probably because the aforementioned rep it has. Also because it’s kinda small. But don’t forget it’s also from whence Young & Restless (RIP) hailed. Now they’ve also produced Kasah, a four-piece on the verge of releasing their debut EP after becoming the lucky recipients of the Australian Council’s ‘Soundclash’ funding program, which is awarded to music that’s “innovative within a pop music context” (that’s a paraphrase).

By ‘lucky,’ I didn’t mean to suggest that Kasha were undeserving. The above track is off said EP and it’s definitely a promising start. I hear shades of My Disco in there, and their playful attitude towards the time signature hints to a love of Battles. ‘Let A Storm’ sounds like someone took a pop song and then just played another song over the top, and the CD started skipping in the bridge. It’s energetic and raw and is a good example of why brain and braun aren’t mutually exclusive.

The Kritzlers


Band Photo - Fire

The Kitzlers – ‘Scarlett Sometimes’

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I love this song, not only because its title is a play on a great song by The Cure but because it actually sounds like it was released around the same time ie. early 80s without sounding like a superficial genre exploration. The synth strings and chiming guitars set a effective, shiny backdrop, but the song really picks up momentum whenever the bass and hi-hats come come back into the mix. The potentially-annoying vocoder and flanger feed perfectly into the glorious washed out arrangement draped over the repetitive refrain.

I really, really like this track. This is what I’ve wanted Air’s last two albums to sound like. I’ll definitely be posting more on these guys in the future.