The cover - taken by Lydia Lunch - shows the ruins of an ancient desert city. Could be Jericho. Whether Jericho is in the Mid-East or the West of the USA makes little difference. We’re dealing with perennial humanity in a perilous place with a mythological backdrop. But, you know, the Israelis and the Palestinians are still killing each other, and as I say, it’s a big thing on a big, operatic stage with no solution and no apparent beginning, never mind end…
… and there are plenty of abandoned towns in Australia… it doesn’t take much, just a bit of intolerance and a bit of ignorance, and idealism for a hopeless, not very sensible cause…
If one of those great, booze-soaked rock and roll weekends like Garage Shock or the Las Vegas Shakedown were still a going concern (correct me if I'm wrong and one of them still is ) the Bloody Hollies would have been one of those bands that came in unheralded, blew everyone away and sold a ton at the merch table. And anyone who picked this album up would have been plenty satisfied 'cos it's 30 minutes of fire-breathin' punk fury.
There was a time when everybody wanted to be in the Cramps and Voodoobilly was a thing. As is the nature of trends, some excelled and many bands were terrible at it. Generally speaking, harking back to rock and roll’s earliest roots (which is all the Cramps were doing in their own extreme way) was a good thing to do because it opened up so many ears.
It’s all in the beat and although Papa Pilko and The Binrats want to bury themselves deep in a swamp they sound like they’ve washed up on the shores of Lake Michigan, somewhere near the Windy City. Not that this is a bad thing. Chicago Blues is cool to revel in and this Sydney six-piece immerse themselves deep. Remember, it’s all just labels anyway and there’s even a lashing of outlaw country stirred into the musical mix.
Here’s a record that’s as unassuming as an undercover cop with agoraphobia in a grand final football crowd. You’ll only find a bare bones mention of it on the Internet because it buries rather than hides its bushel under a tree, but it’s superbly played and overflowing with easy rocking charm.
Anytime James is led by Michael Gibbons, once a member of Asteroid B612’s guitar arsenal in the early ‘90s and now living on the New South Wales Far North Coast. That’s about as far removed as you can get from the hard rocking pubs of Sydney’s northern beaches of 15 years ago, but then Gibbons is drawing inspiration from a wellspring that runs deeper than just Sydney via Detroit.
"This album is dedicated to a small club: the squatters of Campbell Buildings in 1979/80. Every year our numbers get fewer but the story lives on," writes Bob Short on the LP cover.
Yeah. Just like the 100 Club and the Sex Pistols, occupants of the Campbell Buildings in London now number in their mythological thousands.
Yeah right. Some pasts attract wanna-be’s like flying bugs to apricot jam, others … well, let’s just say you’d give some pasts a wide berth.
Much of the fun of listening to music that most of the world doesn’t get is imagining where it could be be transplanted to. Fuzz-faced Melbourne quartet Spacejunk would sound perfect on a scuzzy Southern European garage punk festival bill under a June or July sun with cheap beer in front of wild-eyed speed freaks who know the words to every song. Europeans love this stuff even if half their own bands can’t play it.
Spacejunk rejoices in hot-wired, fuzzy punk rock and roll that’s barely anchored to the floor. Short, sharp songs tumble after each other in an onslaught. It’s crudely recorded with sound leaking all over the place. Fast and frantic, they sound like a cross between the (speedcore) Hard-Ons, the late Jed Whitey and The Meanies. What’s not to love?