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Rock the week: Django Django throw the kitchen sink at it

There's a distinct whiff of psychedelia about music at the moment. From Perth, Australia, we have Kevin Parker stretching sonic boundaries with Tame Impala, whose recent second album Lonerism is a modern psych-pop classic, and adding his expertise to Melody's Echo Chamber, whose self-titled debut is released next week and combines smoky, chanteuse-styled vocals over backings which include elements of krautrock, electronica and shimmering dreampop.

Meanwhile, one of the favourites for the 2012 Mercury Prize have been dabbling on the outer fringes of pop with some considerable success.

Django Django formed at art college in Edinburgh three years ago and had been picking up serious interest from their earliest live shows. However, all that went into the stratosphere with the release of their eponymous debut album this January.

Owing a certain lineage to fellow Scots experimentalists The Beta Band, drummer and producer David Maclean's brother was a member, Django Django manage the difficult trick of pushing away at conventional song structures while still retaining a melodic core that's easily accessible. The infectious Default is probably the best example of their approach, boasting a nagging chorus over percussion which seems on the verge of collapse yet chugs along relentlessly.


For much of the album, the percussion is sampled from pots, pans and cutlery, giving Django Django an unusual but weirdly commercial feel. Indeed, those proto British psychonauts Pink Floyd had originally intended to follow up the mega-selling Dark Side of the Moon with an album which would be entirely played on household items, until they made Wish You Were Here instead.

The sense of playfulness Django Django convey is in tune with the innocence of classic psychedelia, a band playing in the true meaning of the word. If you haven't managed to hear the album yet then a real treat awaits you

>George Byrne

Django Django play the Button Factory tonight