They're Back! Meow To Yo Muthaf*ckin' Ass
It’s impossible to overstate our affection for Run The Jewels. Not content with unleashing this monster on us last time out - The boys (El-P & Killer Mike) are coming back at us soon with a crowd funded joint. But it’s not the usual “we’ll feature your name on the album sleeve” bullshit. Instead for RTJ#2 the boys offer unlikely combinations such as spending the weekend with them, acetates of the album and a version of the albums featuring cat voices called “meow the jewels”. And for anyone prepared to stump up $10M the boys will permanently retire from music, producing just one tune for the buyer each year in perpetuity! And in case you are worried ““Run the Jewels reserves the right to take your money and not fulfill any of its obligations as outlined in any package priced at 35k or more,” If this joint leaked on their Soundcloud is anything to go by, let’s hope the Kickstarter campaign goes well. And happens fast.
I Like Cemeteries and New Order
thisishangingrockcomics: nylso’s work from tunes: a comic history of rock and roll (my own scans) didn’t much care for the book as a whole but i love his pages in it. so apt for the bands he chose, makes me feels pangs of nostalgia for being 17 and loitering around crown hill. wish i could find more of his stuff online
Surf 4eva.
Yiew! Surf’s up Pokémon style!Perth producer and self-proclaimed Pokémon junkie Sable has fired up the vocaloid and whipped up a couple of beach themed jams that are as insanely cute as they are just straight up insane. Wavey sunshine infused trap bangers F.T.W. Gotta catch ‘em all!
Wax Volcanic x Anthony Fantano
ANTHONY FANTANO - MUSIC REVIEWER. A REVIEW. There’s somebody in the mid-left flank of Anthony Fantano’s audience that is assailing the stage, one half-sentence at a time. From somewhere in the thick grove of bodies covering the Toff in Town’s floorspace, pearls of wisdom like “depressing!” “Yeah!” “Like me!” and “Don’t break my heart again Anthony!” sail overhead and fill any conceivable silence. Everyone, it seems, is a critic. And in a way (a far more valuable and articulate way) Fantano had a similar start. He launched his blog ‘The Needle Drop in 2007 (videos started in 2009) and simply started saying what he felt about music he liked in a place where people could hear it. ‘Music he like[s]’ being the operative phrase. Personal preference is the axiomatic tenet around which Fantano’s reviews (and the contents of tonight’s presentation) are threaded. Fantano stalks the length of the stage, occasionally arching himself into the audience so the room can hear the front row’s nervous huffing, or so he can kiss a lucky spectator on the top of the skull. As I’m shuffling in, stopping slightly south of a sort of hobby-pirate (top-hatted, flowing-locked, moustache-waxed), Fantano’s pacing is gaining velocity. He’s moving rapidly into a semi-heated rant about the most recent and obvious aberration of his most sacred tenet of personal preference—the Apple/U2 collusion of bad taste. Apple’s (almost unbelievable) transgression of personal boundaries (and taste) generates the kind of nerd-rage that you’d expect from Fantano. It’s a definite highlight. Even better than the full 1:12 of internet songsmith Matt Farley singing “poop” (from the song of the same name), or when Fantano’s front-row roving amplifies a cry of “death metal” and then a smashing beer, or Jake Cleland’s (the Vine/Pitchfork/etc) steely-eyed pre-question wrath before returning to public joviality and shouting “Welcome to the Thunderdome motherfucker!” [Author’s Note: The Fantano/Cleland thing was a about Fantano saying Cleland didn’t like the DMA’s because they weren’t cool. Not so, according to Cleland, who used words like “derivative” and “ripoffs” to alert the audience to his true feelings about the band . Fantano was later rumoured to have smoothed over the situation using his usual method—a tender kiss upon the skull] Fantano’s fidelity to personal preference continues to be the central pillar of his presentation/performance. It shapes the way he shrugs off ADIDAS’ necrophilic relationship with Death Grips (“are we in any position to make moral judgements”), and informs the ‘it’s really up to you’ type of advice he bestows upon the audience’s musicians (“you could hop on a trend”, “I would consider anonymity”). Given that the appeal of Fantano rests almost solely on this merciless doctrine of personal preference, the following may sound strange, but here goes: I’m not convinced that Fantano’s unswerving conviction in areas of personal taste is actually doing his role of ‘reviewer’ any good. Daniel Mendelsohn, acclaimed critic, essayist and author says it better than me. In an article for the New Yorker, Mendelsohn writes that a critic “loves his subject above anything else, he will review, either negatively or positively, those works of literature or dance or music—high and low, rarefied and popular, celebrated and neglected—that he finds worthy of examination, analysis, and interpretation”. What should matter most is music, not as personal playlist, but as cultural experience. Fantano’s exclusive reviewing of the music he likes (and ridiculing of the music he doesn’t via the Rick Moranis/Felix Ungar-ish character of Cal Chuchesta) qualifies him as a music lover, but basically disqualifies him as a critic. He’s simply not serving his subject. The Cal Chuchesta persona is the most poignant illustration of this, where anything Fantano thinks isn’t worth his time is ridiculed, things like Lana Del Rey and Rebecca Black. Both of which are extremely (if terribly) culturally vital. Rebecca Black’s ‘Friday’ or Lana Del Rey’s ‘Born to Die’ (or Psy’s ‘Gangnam Style etc etc etc) communicate more about modern music culture than the new Wolves in the Throne Room or Alter of Plagues records (sonic appeal aside). In reality my music taste generally aligns with Fantano’s, but it’s a specific taste, where bands like Swans, Death Grips and Ratking (ie-serious and non-mainstream acts) make up the bulk of music discussion. Fantano’s reviews provide an invaluable service— they highlight material that mainstream music organs won’t. But this is a music appreciation service. By ignoring (except in ridicule) albums he doesn’t like, he’s robbing them of their true cultural merit and disregarding a fundamental precept of criticism— That discussing an artform’s trash is just as culturally/critically valuable as discussing its treasure. [Author’s Note: I’m aware that writing all this on a blog bankrolled by Warner Music Australia makes for a very dubious case indeed. The best defense I can offer is the rest of this article, which will give you a pretty good indication of my non-existent editorial guidelines] By this time the guy in the mid-left flank is taking every opportunity to stuff his words into lingering breaks in Fantano’s speech and his front-row counterpart (of the “Death Metal!” yelling, beer-wearing variety) is speaking so loud that he has to be affectionately bullied back into silence with another kiss to the skull. But here’s where things start to get interesting [Author’s Note: Interesting for me at very least] Fantano, during the ‘advice-to-bands’ quotient of the presentation spends a large chunk of time talking about the positive application of “mythology” and “aura” in securing a band’s long-term popularity. “The thing about figures and icons is that they don’t age” Fantano reasons slowly while meandering the length of the stage, pointing out that at this point, Daft Punk are, despite their impossibly shiny visage, two ageing Frenchmen. But iconography doesn’t necessarily mean becoming a facially invisible robot DJ. Fantano prowls through his monologues wearing a bright orange t-shirt with the Virgin Mary’s holy features spread over it. The image seems kind of apt. Through the specificity and ferocity of his music preferences, Fantano is creating a sort of ‘Church of Good Taste’, with himself as the altar. In exactly the same way that DJs become personalities from standing in the reflected limelight of their music choices, Fantano (who, in addition to public speaker was also toured as a DJ) has sculpted an online personality out of his music taste. And kudos to him. But turning himself into a ‘personality’, a sort of ‘icon of taste’ is, again, a threat to the veracity of his criticism. Let me explain. Personalities are belligerent creatures. Where the credible critic wholly serves their content, personalities modify/tailor their content so it feeds their personality. It’s rife in the v-blogger world, where success is dictated by personality. You have to stand out, you have to be a brand, you have to possess a clearly defined audience. Now I’m not cynically suggesting that Fantano is deliberately and knowingly picking albums based on them fitting the ‘Needle Drop’ style of underground/cult album. But I think Fantano’s personal taste has in a way blinded him to the fact that this is indeed what is happening. And it’s bad for critique. When the reviewer becomes a ‘personality’ defined not just by their format but their taste, everything, in varying degrees of subtlety, becomes about the reviewer, rather than the subject. And the nature of this relationship becomes most clear during the small video part of the presentation, when Cal Chuchesta is shown on screen amid the whistles and cheers of the audience. The video interplay between the broadcasted Fantano and his character of Cal Chuchesta is the most lively and well-received portion of the presentation. It sounds strange, but maybe isn’t that odd when you think about it through the prism of personality. At first it just seems like a horrific display of internet-age simulacra, where the virtual is more present than the real. But then it makes sense. The online, onscreen environment is where Fantano’s personality exists, so strange as it may seem, this is where the audience can finally revel in the full effect of the personality they paid money to see. Host Nick Clarke even thanks Fantano for “materialising” after the video for the Q and A that follows. [Author’s Note: First year philosophy students would’ve had a goddamn field day with this whole evening] The Q and A further highlights the power of the personality. All questions, regardless of subject are bent inwards, towards the reviewer, rather than the subject(s) of his reviews. Questions on Death Grips are fashioned in a ‘clarifying your thoughts on’ sort of way. There’s a question about how much he ‘benches’. The resulting data makes no sense to me. It’s just numbers, like measuring a city’s total mass in grapefruits. The altar at the Church of Good Taste is then consulted about the role of women in music. A worthy (if misdirected?) question, and most revealing in showing how Fantano is viewed, less as a music critic and more—as (over)stated above—an icon. My questions are softly phrased and shakily-delivered versions of the above contentions about music taste and personality and how they affected the reliability of reviewing etc. These—true to the ‘personality over subject’ quandary in which Fantano iss increasingly, visibly engaged— are all bent inwards. He interpretes/mutates the questions to mean: “do you really like everything you review?” To which his reply is an elongated, unsatisfactory ‘Yes’. I am excited early on, directly after my first question, when he stops talking and paces the stage, saying slowly: “Let me unpack this…” But he never really does. He does however make his whole presentation completely free from the crippling boredom usually experienced when hear people talking about music. People are various colours of drunk, laughing, and with their attention completely held. Even off-screen Fantano’s a convincing performer and has an absolutely fervent love of music. Regardless of my doubts towards the nature of his criticism, there’s no questioning Fantano’s obsession with new music. It’s undeniable. It seems to electrify his entire body. I want to get swept up by it, to cheer at the end with everyone else, to congratulate him on being the champion of good taste he surely is. But I still have too many unanswered questions. I don’t know. Maybe I just need a firm kiss upon the skull. 3.5/5  
One For The Cities with Illy
On Illy’s latest single One For The City, the Australian emcee waxes lyrical and tips his flat brim snapback to the big smoke while Rudimental vocalist Thomas Jules hits you with an absolute earworm of a hook. We’re guessing the inspiration behind the track was provided by Illy’s hometown and the most liveable city in the world, Melbourne. When it came time to shoot a video for the track however, Illy took things up a notch, traveled to the birthplace of hip hop and literally flipped NYC on its head for this slice of Cinematic (SWWDT) magic.   It ain’t a Friday on Cool Accidents without a playlist, so we hit up Illy Al and asked him to sort us out with some tunes. Not only did he come through, he went to the trouble of putting together a special ‘One For The Cities’ themed selection of other raps and tracks that take their cues from heavily populated areas the world over. Featuring tracks from Jay Z, N.W.A, M83, Kendrick Lamar, Nas, 2Pac, The Hoods and even a little Bon Iver, The Amity Affliction & Lynyrd Skynyrd! You can stream it below and if you haven’t already checked for Illy’s hit filled Cinematic you can do so now where all good records are sold | streamed.
One We Missed - Keaton Henson
We’re not sure if this is more of a Tuesday afternoon album or a Friday morning joint, but if you are full of turmoil or in a contemplative zone the new record by Keaton Henson might calm your spirit and soothe your soul. Henson usually writes quite good songs with a bit of a Bon Iver type vocal style and titles like Josh T Pearson (check out Sweetheart What Have You Done For Us) but for this album he’s taken those writing techniques to produce pseudo-classical tone poems that, artfully mixed with ambient noise, are rather lovely miniatures like this one Elevator Song -  It comes out as very artful music that might sound OK in a very tasteful lift. And the guest cello of Ren Ford makes them very rich in texture. Henson looks like a serious dude and it may well be that he is. This music is certainly a bit more serious than most of the rest of things that are around and about. Maybe that’s why people don’t play his music much and why we didn’t notice it had come out this year. It sort of falls between … But it isn’t daunting or challenging, just raw and beautiful and we’re glad we didn’t miss out on it totally and caught up – even if we were a bit late. -TH Keaton’s Romantic Works is out now where all good records are sold | streamed
Hopium - The Dreamixes
If we were dishing out an award for our favourite Australian tune of 2014 so far, Dreamers by mysterious Melbourne electronic duo Hopium featuring the mega talented/babe-n Phoebe Lou of Snakadaktal fame would be the track written down inside our envelope and engraved onto some kind of pointy thing. If you’re yet to account for one (or in our case 857) of the 437,583 plays across their Soundcloud channel or the MESMERISING official video below… (Sorry, what’s that Hopium? You want us to watch a 5 minute and 23 second video of Phoebe looking all kinds of cute and hittin’ us with dem dreamy bedroom eyes? Well… OK, Only if we HAVE to) we strongly recommend that you do so NOW.    Nowwww personally we don’t think you can improve on perfection BUT being that everyone is a producer these days Hopium decided to make the stems to Dreamers available via their Soundcloud a little while back and now a bunch of reworks have popped up from all corners of the world. Now they’ve had a good chance to listen to peoples interpretations, we caught up with the guys and asked them to hit us with their 5 faves - 1. TORIKU REMIX Love the arpeggiators on this one. It’s keeping the pace of the original but with way more sparkles. I can also tell that musically he knows what’s going on. Synth at 1:22 is boss. 2. LANKS EDIT We have a no guitar rule so it was cool to hear the song with them. Getting so many Postal Service flashbacks, awesome. Massive guitargasm at the end. 3. PANTHA REMIX Wooooo. 2-step summer times. Pinging layers of synths, verbs. His Soundcloud says he’s from London so they must’ve been in the middle of a heatwave or something. 4. MOGUSA REMIX Usually don’t like anything drum and bassy but this wins me over at 2:08. And at 2:47 when the cheering sample and techno build up comes in I’m not even mad. 5. FH REMIX Can just imagine this guy with his HP laptop on the couch: “bah, why go to all that effort when i can just get the song, speed it up, Google image some space pictures and call it a remix…. muhahahahahahaaaaa” You can hook yourself up with a copy of the original Dreamers HERE and stay tuned to Cool Accidents for more on Hopium as the mystery unfolds or at the very least they treat us to new tunes.
Pool Jams
Whether you’re prepping for warmer weather in the southern hemisphere or clinging onto the last rays of sunshine up north, it’s that rare time of year that no matter where you are in the world* you could end up finding yourself poolside. So slip, slop, slap, fix yourself a cocktail with an umbrella in it and take a dip into our perfect pool jams playlist that features over an hour of heat from people like The Knocks, Clean Bandit, GROUPLOVE, Jungle, Sable, RÜFÜS, Foreign/National, La Roux, ODESZA, Blonde & a bunch more. *OK so if you’re in the South Pole you might have to cheat the system by running a hot bath and closing your eyes. Bonus visuals - Watch the brand new Sims inspired video for Classic by The Knocks
Royal Blood Cover Lana Del Ray
UK rockers Royal Blood roughed up Lana Del Ray’s West Coast live on German radio recently with their double stubble and heavy drum & distorted bass stylings.Check it out below and if you haven’t already made yourself familiar with their self-titled debut album… Shame on you.
Choice Cuts
Feature track
No Sleep 'Til Wednesday
Feature video
Craft with Kit (Ep 1) starring GROUPLOVE