Shonen Knife New South Wales Art Gallery, Sydney Wednesday, November 7, 2019
In which we discuss the topic "can art be fun?".
Most young New South Welsh men and women encounter the Art Gallery of New South Wales but once on school excursion. Packed off in buses to pay respect the big historical back drops and listen as the dead beat teacher saw the modern stuff and hear them proclaim they could have done that.
Of course they didn't. They wouldn't be teaching mongrels like us if they could.
Gang of Four God God Dammit Dammit Lion Arts Centre, Adelaide November 5, 2019
Gang of Four are touring Australia and New Zealand and played Adelaide earlier this week. They were fucking brilliant. Exciting. Brutal. Gigantic. Fun, too. But ... pointed and magnificent.
It's a no-brainer. Go see them while you can.
Right, well. A little context. When I was asking a few friends if they were going, one said, 'they sound like every other band' ... well, no they don't. See, the thing is, over the last 40 years a lot of other bands have picked up on their style, which is now familiar.
Walter Lure plays LAMF 100 Club, London August 10, 2019
Walter Lure has had a storied career, duelling with Johnny Thunders in the Heartbreakers, recording with The Ramones, burning up stages with his own Waldos and in working in the markts on Wall Street.
Of the Heartbreakers, Lure is the last man standing after the passing of Thunders and Jerry Nolan in the '90s and the departure of Billy Rath in 2013, and he has done gigs showcasing the Heartbreakers debut "LAMF", most notably in New York City with a fairly stellar cast including Wayne Kramer and Clem Burke.
Brian James De Rellas 100 Club, London Friday, August 23, 2019
While the Damned are busy touring Oz, Brian James, the band's co-founder and architect of their "Damned, Damned, Damned" album, is playing a solo band show at the 100 Club.
Now there’s too much academic analysis over who invented punk. Some people refer to The Sonics from mid ‘60s America as the first punks, or The Ramones; some (well from Australia. anyway) will plump for Birdman or The Saints. Who issued the first single is beyond debate. The Damned's “New Rose” was the first punk single.
Cradle of Filth + Hybrid Nightmares The Gov, Adelaide September 4, 2019
It's fair to say that most people who rock up to these shows won't be bumpkins like me, who completely missed all the advances and shifts in the metal throughout the 1990s and onward.
Almost certainly there were few folk attending who didn't know the latest LP backward. The friend I'm going with, Azhurn, knows the bloody lyrics. Now, we ain't talking Ramones here. We're talking pieces which don't repeat phrases, no choruses except musical ones, and a narrative series closer to a somewhat demented storyteller. Dani's voice is simply astonishing, shifting several times within a single phrase, and occasionally it appears he's singing two notes at once.
Here's some of the press release (slightly amended):
"When you talk about classic albums shaping genres 'Cruelty and the Beast' by Cradle of Filth sits proudly and menacingly at the top of the tree for extreme music. In 1998 'Cruelty and the Beast' showcased the band's hybrid of brutality and macabre romanticism, crafting a concept album based on the life of Hungarian mass murderer Countess Elizabeth Bathory, who tortured and murdered hundreds of young women in the 16th and 17th centuries.
“'Cruelty and the Beast' was both bombastic and grandiose, inflected with gothic touches, yet unquestionably rooted in black metal. In addition to the feral bludgeoning and the slower, more melodic keyboard passages, 'Cruelty and the Beast', featured three haunting, elegiac instrumentals filled with chiming organs, horrified screams and synthesised orchestra parts that enhanced the drama and split the presentation into three acts. No other band would have been capable of creating such an opus. As a concept album, it is executed with perfection … creative, intelligent, shocking, written brilliantly and played expertly."
Ed Kuepper leads his Aints! through their final show for a while.
Sedition 2019 The Aints! The Flaming Hands Shy Impostors The Professors Paddington RSL, Sydney Saturday, August 31 2019
It could have been an exercise in nostalgia for its own sake. It was anything but.
On paper, a bunch of bands digging into their own back pages is a fraught exercise. Things can never be what they once were; voices age and players who were at one time singularly focused on the musical here and now inevitably drift on or find new interests. Some pass on. Others fall out with each other.
Each of these bands come from a special time and a place that can’t be re-captured. Each was leaning, to some degree, on their back catalogues tonight. All were doing their best to be true to their own legacy without getting hung up on it.
The Dammed The Factory Theatre, Marrickville Thursday, August 20 2019 Photos: Monique Simmons
Culturally, Britain was so different to the USA in so many ways in the ‘70s, and that had much to do with distance. The US is a vast place with all sorts of cultures and entrainment influences. The south was different to the west coast and out was again different to the east. And that really showed in the disparate pockets of music that sprang up everywhere.
On the other hand, England was more centralised. Long before the ‘70s dawned, it had the ingrained tradtiion of music halls as its historical DNA.
Music halls were everywhere. At one time there were more than 200 theatres in London alone. They hosted events running for four hours and ranging from comedy, clowning, horror to seriousdrama. For more than a century, popular theatre was a staple for the working man and middle class alike.
Well, you may ask, what has this got to do with The Damned appearing live in Sydney on a Thursday night? I say, everything.A Dammed gig is like a trip through classic British pantomime and theatre, full of drama and packed with wit and slapstick.
Sarah telling Hermann from Fear and Loathing not to swear.
Fear and Loathing The Filthy Gypsies Lucy the band Swamp Kitteh The Federal Hotel, Semaphore, Adelaide August 24, 2019 Photos: Wayne Ridley
What a pack of bastards. The folk in the bands, I mean. I wasn't going to review this gig, partly because the sound wasn't as good as it could have been, I missed most of the first act's set (and they were damn good and deserve a better review), one of the bands was using a stand-in bass and extra guitar player and... well, I hadn't gone with the intention of reviewing anyone, just a couple of brews and some friends. And the bastards have asked me to review the thing.
If I could claim to have been too drunk, I would.
Oh, yeah, "full disclosure" as the Barman says on occasion, I know a lot of these folks. But you, I-94 Bar reader, may rest assured that I would never review a band unless I thought them worthy of your attention. All I will add is that I wore my latest and current favourite Chickenstones T-shirt.
Rob Younger at The Factory Theatre. Shona Ross photo.
Radio Birdman + Mick Medew & The Mesmerisers + East Coast Low Cambridge Hotel, Newcastle, NSW Friday, June 21, 2019
Radio Birdman + Mick Medew & The Mesmerisers + The Dark Clouds Factory Theatre, Marrickville, NSW Saturday, June 22, 2019
The Aints! + Colonel Kramer & The Eamon Dilworth One Man Brass Ensemble Factory Theatre, Marrickville, NSW Friday, June 28, 2019
Your own legacy is a hard act to follow. This is a tale of two bands.
On one hand you have Radio Birdman, a thoroughly re-tooled and different beast to its previous incarnations and still carrying a substantial reputation. They’re a prime reason why The I-94 Bar exists.
On the other, you have The Aints!, who are led by foundation Saints member Ed Kuepper and armed with a setlist partly planted in that band’s past, with the balance comprising songs that were written for the old band but never recorded.
Craig Norman photo. 
John 'Gaoler' Sterry. Rick de Pizzol photo.
Cradle of Filth
Ed Kuepper leads his Aints! through their final show for a while. 
