slug

Caveat Emptor - Slug (self released)

Caution: this outfit ain't for the wispy.

I confess I was a bit late coming to “Caveat Emptor” - it's been in my to-do puddle for a few months, so I must apologise. If you wanted a vinyl record, too late, they sold out.

That said, there are four extra songs on the CD and they still have a few of those left.

Now, if these 14 ground-out hunks of dripping beef aren't your idea of rock'n'roll, I can sympathise.

All Things BGP - Black Ghost Party (self released)

It’s fact, not theory, that when Sydney and Brisbane musicians of a certain age and underground persuasion seek a sea change, they head for the New South Wales Far North Coast. And why not? It’s often wet and always humid, but the parts not spoiled by hideous yuppies and mad anti-vaxxers are damned idyllic.

Can’t tell you whether all the members of Black Ghost Party are Lismore born and bred or blow-ins from the Big Smoke, but it’s not  important. They’ve been alternately cajoling and searing local ears since at least 2004 so they're part of the furniture, and this release of 11 songs is available on LP or as a download.

Lovegrinder The Album – Lovegrinder (self released)

There’s a popular theory - perpetuated by a few fans of Junkie Rock from Australia’s southern state's capital city – that the so-called salad days of Sydney underground rock and roll were a farrago based on an overdose of second-rate Radio Birdman copyists. 

Call it a typically defensive Sydney response but while the "Detroit" handle became a tag of convenience, most of the Harbour City’s bands of the 1980s/early ‘90s had tenuous musical links to the Birdmen. There was a handful of short-lived clones, but for the vast majority it was the energy and undeniable fuck-you-we’ll-do-what-we-want attitude of the Radios that were the hand-me-downs, and not their unique, impossible to replicate mutated musical mix.

Which brings us to Lovegrinder, yet another in the long line of Sydney bands that never progressed higher than the lower support rungs of the very crowded local live scene ladder. Not that there’s any great shame in that. For many, headlining the Tivoli or Selina’s wasn’t the goal because they had no interest in being on the rosters of the omnipotent Dirty Pool, Nuclear or Harbour booking agencies. Playing music was more about knocking around with their mates, consuming beers (or something illicit) and having a good time.