Cool Accidents Goes…

Well that sounds a lot saucier than it actually is…

We’ve just put together a playlist of cover versions that we’ve discovered on our many Soundcloud explorations… So still a good time!

Tame Impala doing MJ, Django Django taking on The Monkees, Miguel having a go at Elton John, MØ doing The Spice Girls & Janelle Monáe having a crack at David Bowie are just a handful of the treats we’ve compiled.

Have a listen below and be sure to chuck us a follow on Soundcloud as we’re constantly creating playlists, uploading mixes and sharing quality tunes.

Trying Oh So Hard To Keep The Edge… #throwbackthursdays

Does it seem amazing that its 12 years since LCD Soundsystem premiered their style icon piece “Losing My Edge” with its iconic slap me in the face video?

Since then the band have been through an entire career, broken up, put out a retrospective DVD and now (as if to FULL STOP everything) are completing it with a 5 disc vinyl set of their last live show like the best of all Prog Rock bands.

At the time though, the tune was dope - rocking along with its electro bass throb stolen from Killing Joke “Change” - and calling out hipsters everywhere with this challenge -

And we all dug it lots. And laughed at the archness of it all. Every bar in Newtown changed its playlist.

Reflecting back on it however we are even 10+ years further way from James Murphy’s list of essential hipness, and that’s 10 more years of obscurity for most of these acts. So we decided to honour the process of passing the baton we should set up a #throwbackthursday feature working our way through his way and (re)introducing some of the acts James’ was raving on about. That will let you make that famous compilation of every great song ever, by everybody.

All together now …  “I heard you and your band all sold your  guitars and bought turntables, I heard you sold your turntable and bought guitars” ..

Be sure to check back next Thursday for the first installment!

Now Touring

Now Touring

The Endangered Song


We admit it, we have a soft spot for Portugal. The Man

One of many reasons is the social conscience they bring to their music, a social conscience that has most recently been brought to bear to raise awareness for the endangered Sumatran Tiger, of which only 400 remain in the wild.

The band has created the world’s first song that is made to go extinct, unless it is reproduced. With only 400 copies of the record produced on vinyl that will breakdown after a certain number of listens, the band have put the onus on us, the music community, to help keep the song alive.

The rips are popping up left right and centre, with this soundcloud link the best we have heard yet.

So listen to the track, learn more about the project here and keep the endangered song alive.

 And Portugal. The Man, don’t ever change your stripes

Learn To Learn Yourself Through Rap. Ratking’s So It Goes – A Review.

When anyone asks what I do for a living, I don’t tell them I basically convert government money into black coffee, or at least not right away. I also neglect to tell them I work in a bookshop, or that I’m a freelance writer. Most of the time I say: “I interview bands for a living”, which is mostly a lie, both professionally and financially. But I continue to say this for the same reason anyone else in my ‘position’ says this – because it sounds cool (and is a better conversation starter than the yawning abyss of unemployment that my career has solemnly promised me). There’s always been – especially from a distance – a kind of cool that music confers upon the music writer, something radiated and then captured by sheer proximity. It’s bullshit of course, but that’s beside the point. The point is this: whatever reflected cool can be caught as it bounces off the surface of modern music, it all stops at hip hop. At least it does for music writers who are slightly older, middle class and white. Which is a lot of us. Outside of the ubane alt-country scene, there’s almost nothing that plumbs the depths of uncool like an overeducated, sycophantic white guy dissecting hip hop. Take Pitchfork’s Jayson Greene giving Mobb Deep a perfect 10 recently (much to the groups chagrin) as an example, or Anthony ‘the Internet’s busiest music nerd’ Fantano from the Needle Drop, discharging rabid torrents of praise over Death Grips, A$AP Ferg, School Boy Q or Ratking. At best it’s irritating and irrelevant, at worst, vaguely insulting.

The only true point of difference between me and the guys I mentioned above is that I’m, if anything, even more ignorant. Before I’d even listened to Ratking’s So It Goes, I was assured that it was the most ‘Real New York’ hip-hop album since Nas’ 1994 record Illmatic. Yup, okay. I’m sure this comparison has produced a small amount of nodding and/or chin-stroking amongst those more familiar with the intricacies of golden age hip-hop. It means exactly nothing to me. So instead, I’m just going to offer you a cluster of intentionally uneducated impressions about Ratking’s So It Goes unstrung in strict chronological order. Make of it what you will.

-      So It Goes employs a Kurt Vonnegut quote as the record title. Or more precisely, it employs a Kurt Vonnegut quote that appears no less than 106 times in Vonnegut’s cult classic Slaughterhouse 5 and is used to change the subject after talking about death, dying and questions of mortality. So before the first syllable has been uttered, my mind’s already on death and whatever follows. Is this what Ratking want to be? Disconnected from all previous rap culture, or a symbol of its rebirth, a weed spilling from the soil of a freshly filled grave?

-      The first track, entitled ‘*’ Rewards any curiosity about the album’s title with conversational slurring about how generational differences in rap make generational comparison impossible, drawling: “You ain’t got no point of reference really, you gotta stick with the here and now…so it goes…”

-      ‘Canal’ is pure adrenaline, a howling sample looped underneath Wiki and Hak’s dueling voices, every word creaking with disaffection. With the borrowed phrase ‘New York Rap Album’ spilling like a cloud of dye through my brain, I can’t help but hear the snare as feet slapping cement, or a snow-stricken New York street in their vocal hiss and gale of instrumentation. There is something inescapably New York about gritty hip-hop production coupled with a snarling anti-authoritarianism. But still, I wonder how inevitable these relationships would feel if the seed of Ratking as ‘Quintessential New York Hip-Hop’ wasn’t already pre-sown in my brain. 

-      Archy Marshall from King Krule casts a dolorous East Dulwich gloam over the already darkening New York soundscape in ‘So Sick Stories’. But it’s an inviting kind of grey-blue - wintery, percussive and languorous.

-      The anti-police squall of ‘Remove Ya’ which starts with Wiki spitting “I’m a mutt, you a mutt, yeah we some mutts” finishes with a singular voice singing soft, mournful and tuneless, like something buried at the end of a forgotten Lomax spool.

-      By the time ‘So It Goes’ (the track) drops in, the staggering half sung, half spoken style Wiki and Hak lean into occasionally is opening up, creating tonally satisfying flows, flecked all over with Spanish Harlem. Wavy Spice’s guest vocals on ‘Puerto Rican Judo’ pushes this sound even further forward in the mix.       

-      By the final track I’m still trying to guess at how genuine Ratking are. Are they truly the maladjusted pack of strays they so convincingly sound like? I analyse and re-analyse, trying to triangulate the social conditions which may have produced Ratking by examining their lyrical content, their production quality and the tangible self-awareness of the whole arrangement. Luckily I manage to stop myself. Thisis it. The exactly point where white, privileged music writers most often overstep their critical jurisdiction. I have no idea how genuine Ratking are — how the fuck could I possible know? And from my position as a listener in a Brunswick studio 17,000 kilometers away, it barely matters. What matters is not that they’re genuine, but that they’re genuinely interesting – something which I decided comfortably by the fourth track. Ratking are genuinely interesting. Noise-rap doesn’t cover the breadth of their range, DIY Hip-hop doesn’t account for their dense, complex arrangements. From an outsider’s perspective Ratking seem anomalous in the hip-hop landscape in that they seem to roundly reject the current fascination with excess and abandon. Contemporaries A$AP Mob, Danny Brown, Flatbush Zombies (et al) all seem pretty happy to lurch around mostly paralysed, making loosely rhyming lists of their liquid assets - as well as what they’ve been drinking, what they’re huffing and the ways in which ways they’d like to threaten any female orifice within reach. Ratking, not so. I mean ‘Puerto Rican Judo’ is an actual love song, of the distinctly non-flesh-crawling kind.

So by now you’ve all realized that this ‘review’ has run just the way it was always going to run: where the slightly older, white reviewer — incapable of writing about hip-hop without analyzing his own experience of discomfort while writing about hip-hop — has created a review comprised almost solely of naivety and guilt (in relatively equal parts). But maybe that’s just the point. Writing about music sort of should be self-analysis. After they were awarded a perfect score on Pitchfork, Prodigy from New York rap duo Mobb Deep, in true Hardcore East-Coast Hip-Hop style, tweeted viciously at writer Jayson Greene: “If u don’t come from our blood stream how can u make a proper assessment of our music [sic]?” I’ll be the first to raise my pallid right hand and say: “I can’t”. My windowless house and student loan aren’t really in the same realm of human experience as Mobb Deep, or even Ratking. I understand hip-hop the only way I know how to understand it, as well, me. I’m not really young, and certainly not underprivileged, both of which seem tantamount, most of all in rap culture, to creative vitality. And as I finished listening to So It Goes and switched to looking at Ratking’s two videos ‘So Sick Stories’ and ‘Canal’, this unspoken balance between youth and cultural veracity became all the more apparent.

The visual accompaniment to Ratking fills in a lot of gaps except, (importantly) Wiki’s triumphantly broken smile, which is missing about three teeth. These kids are young, which whether by accident or design, acts as the engine that drives their creative vitality, and by extension, their appeal. But before I go any further, I just wanna be clear: I’m definitely not saying Ratking’s success is hinged from their image, these guys are, even to my thoroughly untrained ears, very fucking good. However, what they are is certainly playing a very active role in the success of what they do. The ‘So Sick Stories’ video shows members of Ratking and King Krule with their bodies slackened against concrete dividers and miles of chain link fence, huffing smoke and wandering the streets of seemingly abandoned industry. And here’s where I found at least some of Ratking’s cool. Especially in King Krule’s Archy Marshall and Ratking’s Wiki, both of whom are conspicuously young, there is the distinct impression of willfully lost kids. Coupled with the thoroughly dystopic backdrop of abandoned industry, an almost Lord of the Flies atmosphere is evoked. To see kids, (the vessels wherein parents hoard their hope and unspent love) wandering the streets of failed industry alone and hopeless is pure horror for the old; simultaneously the symbol of a world without promise or hope, and a mumbled accusation: “You made this”. And therein lies the allure. The sublime opportunity for the young to say: “Fuck you. I ain’t your hope, I ain’t your future. You created this. Deal with it”

Ratking’s ‘So It Goes’ gets 4 out of 5 Boroughs.

For Cool Accidents

King Of The Party Shirts

King Krule doesn’t make party music… he makes great music but it’s not really what you’d program on the iPod if the parents are out of town and you’re sipping spiked fruit punch out of a red party cup is it?

BUT it turns out what he does do well is make party shirts for you to rock at the aforementioned soirees.

You can check out the Set Adrift collection of long and short sleeve beauties in full over at his WEBSITE all of which are designed by Archie and get this for maximum awww factor, his Mum Rachel hand sews them!

Here are our picks of the bunch, we’ll take one of each in a size Large pls.

Metronomy’s Top 5 Michel Gondry Clips


via Faster Louder

Michel Gondry is the maverick French director behind Foo Fighters’ ‘Everlong’, The White Stripes’ ‘Hardest Button to Button’, Radiohead’s ‘Knives Out’, The Vines’ ‘Ride’ and Björk’s ‘Joga’ – but he came out of retirement to direct the new Metronomy clip.

‘Love Letters’ is Gondry’s first music video since Björk’s ‘Crystalline’ in 2011. It’s shot in one take and features the band clad in matching khakis, burgundy blazers and black turtlenecks. To commemorate the iconic film-maker’s return to music videos and the release of their fourth album Love Letters, Metronomy band leader Joseph Mount has listed his five favourite Gondry clips. The band are strongly rumoured to be playing at Splendour In The Grass this year.

1. Beck – Cellphone’s Dead

I didn’t realise this was a Gondry video when I first saw it. I remember thinking how has anyone actually had this idea? It’s mad, great mad.

2. Bjork – Bachelorette

The kind of thing you can only do in a music video. It’s really quite a detailed story within a story within a story, etc.

3. Daft Punk – Around The World

Such a simple idea, deceptively simple though. This is probably one the all time great music videos.

4. Stardust – Music Sounds Better With You

I love this song and the music video contains about seven music videos within it. Lots of beautiful American scenery too.

5. The Chemical Brothers – Let Forever Be

This is my favourite Michel Gondry video, it has such an incredible urgency to it, it just does not let up.

Metronomy’s Love Letters is available now where all good records are sold | streamed | downloaded.



Let’s be honest, Outkast’s Coachella set was proper LACK. LUSTER especially given all the hype surrounding it. Seriously though, the 3 piece dining set deserves more props (pardon the pun) than Big Boi & André, and yeah Chance The Rapper was cool but did we really need the Justin Bieber cameo?

So outside of the Knowles siblings workin’ it out to Losing You, if you ask us it was Chromeo who stole the show as they served up 46 minutes of full blown FUNK with a side of… well… FUNK.

And the best part of it all? Thanks to the video below we can relive it whenever we damn well like… which we’ll be doing all the way up until the duo’s new album White Women drops on May 9.


New Favourite Jam? It’s Automatic

What do you get when you combine 7 cups of Eagle and the Worm, a pinch of Primal Scream, a dash of Danger Mouse’s Gorillaz production and a bit of Beck’s ‘Odelay’ vibe?


Yep. Eagle and the Worm are BACK and aside from releasing one of our favourite tunes of 2014 above, there’s plenty else going on in their world.

New website? Check.

Cool teaser video for Automatic? Check.

Live in store performance for Record Store Day? Check.

East coast tour? Why not!

30/5 Shebeen Bandroom, Melb,Vic

6/6 Black Bear Lodge, Bris, Qld

7/6 Brighton Up Bar, Syd, NSW

8/6 Tiki Bar @ The Great Northern, Newcastle, NSW

Stay tuned to Cool Accidents for more EATW business as it comes to hand!

‘Boogie! Presents Silver Roads – Australian Country-Rock & Singer-Songwriters Of The 70s’


Following on from yesterday’s piece, to celebrate the limited edition release for Record Store Day of five recent Festival Records compilations, Festival/WMA’s own Dave Laing offers up his fave tracks and some thoughts on the collection of country-rock - ‘Boogie! Presents Silver Roads – Australian Country-Rock & Singer-Songwriters of the ‘70s’.

And while you’re here enjoy the cover art by iconic Australian album cover and poster artist of the ‘70s , Ian McCausland.

‘Silver Roads’ is a collection of Australian country-rock that I compiled with Clinton Walker. Clinton came up with the idea originally of an Australian country-rock collection spanning a few decades – having just done ‘Boogie!’ at the time I thought it would work better just focussed on the same era as that, so that’s what we went with. Clinton came up with the initial list of tracks and we both added to it and tweaked it. It was a fun job, and a revelatory one for me – so much great music to discover, and so many preconceived notions about and biases against certain artists to be thrown out. Having long been a fan of American country rock and singer-songwriter stuff (and even English stuff like Brinsley Schwarz and Iain Matthews) and knowing only some of this stuff,  it was a thrill to discover the range and quality of what was created here as well.  Here’s a half-dozen of my favourites.

Johnny Chester ‘Glory Glory’

I guess I’d always had Johnny pegged as a typical Australian ‘70s conservative country artist, but I’d clearly never listened. Not only has the man a great voice but he can nail the cover of his choice (check out the great version of John D Loudermilk’s ‘Midnite Bus’ we also included on the 2CD version – I wanted that on there as a nod to Betty McQuade’s early 60s hit version, which turned the obscure Loudermilk b-side into an Aussie icon of a tune; later also covered to great effect by Sydney rockdogs X). He’s also capable of writing  a song. And ‘Glory Glory’ is a GREAT song. As Clinton states in the cd  liner notes, it works as something of a precursor to Paul Kelly’s ‘From St Kilda to King’s Cross’ – I’d add that it’s every bit the equal of that as a song and a record. Brisbane should adopt this as some sort of official anthem.

Lee Conway ‘I Just Didn’t Hear’

Another big name on the ‘70s Aussie country scene, Lee was always known for being an uncanny Johnny Cash sound-alike. I only recently discovered that he was hip to Lee Hazelwood too – he released a version of ‘Sand’ as a single. And this track, with its amazingly spooky production effects, obviously shows a Hazelwood influence too. It’s a very cool record, and at the core of it is a great great song, written by Lee himself… Lee’s still playing up on the Gold Coast - someone could make a great new record with this guy.


Anne Kirkpatrick ‘Feel A Whole Lot Better’

*There’s nothing on YouTube for this but above is a great video from ’78

Slim Dusty’s daughter – Australian Country Royalty. Unfairly typecast, in my mind at least, as mainstream Australian country because of that. But Anne covered Gram Parsons and Gene Clark on her first album in ’74 – she was every bit Australia’s Emmylou Harris or Linda Ronstadt. That was a mindblowing revelation to me. This Gene Clark Byrds cover from ‘76, featuring Kerryn Tolhurst of Country Radio & the Dingoes, is fantastic, and correctly contextualises her as Australian COUNTRY-ROCK royalty. Check out her recent 2CD set ‘Annethology’ for more great stuff, and her ’93 album ‘Game of Love’ for her perfect reading of Paul Kelly’s ‘Cradle of Love’.


Country Radio ‘Gypsy Queen’

Greg Quill was one of the founders of Australian country-rock, and his song ‘Gypsy Queen’ (co-written by Country Radio bandmate Kerry Tolhurst, who later formed the Dingoes) opens our compilation, as it should. I remembered the song dimly from my childhood – one heard it’s not easily forgotten - and I remain bewildered as to why it’s not one of those ubiquitous and iconic Australian songs like ‘Friday On My Mind’ or ‘Because I Love’. Anyway, I had the great pleasure of making contact with Greg as this compilation was originally coming together, and was gratified that he was excited by the idea of it, and we began talking about a compilation of his ‘70s recordings, with and without his legendary band Country Radio. Sadly Greg passed away unexpectedly as our work on this compilation was nearing its end, which have the original release of it on CD great poignancy for a lot of people. And yes, that compilation of Greg’s work is still coming.

The Flying Circus ‘Silvertown Girl’

Another track not on YouTube, but above is another good one from these guys.

One of Australia’s famous pop bands of the late ‘60s and early 70s, Flying Circus are best known for a couple of odd bubblegummy hit singles, but their first album contained a couple of faithful Byrds covers and they followed that EP up with a collection of hardcore country covers. The Byrds and country influences continued forth across their next 3 albums, all of which are strong. ‘Silvertown Girl’ nails a great Byrds-like sound. Brain Cadd reckons these guys led the way here when it came to country-rock.

The Autodrifters ‘ The Birth of The Ute’

Again, not on YouTube unfortunately, but above is another track from these guys

The Autodrifters were the brainchild of Peter Lillie, long-forgotten and only recently deceased icon of the Melbourne inner city counter-cultural theatre and roots music underground, and formative figure of the so-called ‘Carlton’ scene, which itself will be the subject of another compilation soon. Lillie had come out of the Pelaco Brothers – the band from which the Sports and Jo Jo Zep & the Falcons also both came – and pursued his warped and amusing vision of subversive truck-driving music with the Autodrifters. ‘The Birth of the Ute’ was later recorded by Daddy Cool and, rumour has it Slim Dusty (Slim’s version was never released), but here we present the original in all its boxy lo-fi glory.    

And a Peter Lillie tribute page can be found HERE

-Dave Laing

Be sure to get along to your favourite record store this Saturday (April 19) for your chance to score a copy of both Boogie! compilations (The original and Silver Roads) on super high quality 180 gram vinyl as well as other essential listening in the shape of A Different Kind Of Blues, Cosmic Country & Heavy Soul on the same high quality double LP wax… Don’t snooze!