EAGULLS - “Ullages” LP (Partisan Records) Second album from these lads from Leeds. It’s bleak, it’s dark but you would expect that from a Leeds band. Think – The Cure, Cocteau Twins
THE GOON SAX - “Up To Anything” LP (Chapter Music) Brisbane kids. Pop music played as it should be. A familiar last name amongst the members. The apple doesn’t fall far from the tree. Think – The Go-Betweens, Beat Happening
DAVID BOWIE - “Black Star” LP (Columbia Records) The artist of our generation? I’d say so. He changed my perspective of music when I was young. His finest work since the 70’s. Respect. Think – David Bowie
Soaked in beer, sweat and sex, Melbourne’s Grindhouse delivers a loud ’n’ fast album dripping with guitar riffs. This is their second offering.
It sure sounds like Ricky “Pony Club” Audsley (lead guitar), Mick “Two Fingers’ Simpson (vocals-guitar), Adrian’”The Father” Cummings (bass) and Liam “Sticky Wicket” Chuffley are having a blast playing these tunes.
Kicking off this assault on the ears is “I Just Want To Drink At The Tote” (a song about a great little hotel in Melbourne’s Collingwood) is a good, old fashioned party song. “Throbbing Eye” and “Why” keep the album moving along. These are drinking songs…pub songs…fuck Facebook songs. “Old Ship” and “Casual Sex” are more flat-out rock ’n’ rollers - and they do rock, baby. LAMF!
It’s been brow-beaten, down-trodden, emasculated and generally forced underground but hard ’n’ heavy rock and roll has never been fully wiped out these last 20 years.
Purists will tell you that it still exists in the cracks and crevices of grimy back-streets in a select number of cities. They’ll go on to say that the so-called power trio format is its most genuine manifestation because it allows each element to stand out in the sharpest of relief.
Erm, Barman..? Five Rolling Rocks in your review for this which follows below? I beg to differ. Seven bottles.
The Barman made the rules up, and he’s scrupulous about playing by them. Reflects well on him. Me, I don’t have the time or inclination to give shit reviews to shit music; if “Friday Night Heroes” didn’t cut it, I wouldn’t review it. A 3 or 4 means the LP is either interesting and promising at the very least, 4 means its very good. Five bottles means that this a damn fine LP.
Today, Leadfinger merit a much greater score because first, these songs are songs which will last, and which will become like old friends, and therefore go higher in our esteem, and second, well, truth is I can’t stop playing the bloody thing. The other rather remarkable thing is that, in context with the rest of the band’s output, “Friday Night Heroes” stands out.
One of Australia's most soulful rock and roll bands, Leadfinger, is unleashing its new album “Friday Night Heroes”. The Sydney leg of the launch tour is at The Factory Floor in Marrickville on July 15...which, fittingly, is a Friday night.
Leadfinger's fifth album was recorded in mid to late 2015 at Sydney’s Linear Recording with Wade Keighran (Wolf & Cub, Steve Smyth Band) behind the controls. It is out now on vinyl, CD and digital through Conquest of Noise Records.
Supports for the Sydney launch will be Melbourne band Powerline Sneakers making their first trip to the Harbour City and Newcastle’s Rangers of the Universe.
Powerline Sneakers feature Sly Faulkner (Splatterheads) on vocals and John Nolan (ex-Powder Monkeys) on guitar, Katie Dixon (ex-Ripe) and Mark Hurst (Guttersnipes/Yes Men) on drums.
Rangers of the Universe is a new band featuring Scott Nash (ex Asteroid B-612/Carrie Phillis & the Downtown 3) and Jason Maljers (ex-Jim Cobain) on guitar.
Adelaide has a history of swaggering, scrunching rock and roll bands who manage to spit out one single or EP and vanish into the backwater. Acid Drops and Die Dancing Bears, for example. Few are lucky enough to release an LP and get away with it like, say, The Primevils and the Exploding White Mice.
LIsten up, revheads and rock dogs. The exclusive world debut of the video clip for Melbourne punks Grindhouse’s latest song is upon us. “SLR 5000” is from Grindhouse’s second album, “Crazy Pussy”, which was recorded with Red Kross and Off! legend Steve McDonald at his Los Angeles studio, The Whiskey Kitchen.
If you can't work out the narrative, here's how Grindhouse describes their video: "In a high stakes, high octane duel to the finish line Two Fingers and Dick Rider battle it out for the title of the Grindhouse 1000. But who will win? Created by the legendary mind of Mike Foxall at Art Of The Fox, it’s a drive back to a simpler, more dangerous time". Works for us.
“Crazy Pussy” is billed as “12 tracks of blazing idiocy”. It's the second album for Grindhouse and it’s being launched this Saturday at Melbourne’s Cherry Bar from 2pm with an all-star line-up that includes Meatbeaters, Killerbirds, Kit Convict & The Terrible Two, Sheriff Don Fernando, Birdcage and My Left Boot.
You can grab a copy of “Crazy Pussy” on limited edition red vinyl or CD from Conquest Of Noise now. Go here for the red platter and herefor the shiny silver thing.
Italy’s best kept secret since the Bellini cocktail with Peroni chaser has an Australian record label. In an age of Fake News, this is significant Good News. It means there’s one fewer reason (like overseas postage) for Aussies not to pay attention.
So let's catch up with the rest of the world: Giuda play irresistible songs that marry all the best parts of glam rock to punk. That’s the simple story. Handclaps mixed with hooks… nasty, gravel rash chords…rifferama that’s sharper than a Rome pickpocket’s reflexes.
Even if writing about music really is like dancing about architecture, applying descriptors is still a necessary evil. You could probably tag Brisbane’s Prog Psych. Americans would probably call them a Jam Band. Both would be correct.
Dreamtime hails from the depths of Brisbane’s underground scene and its music is as exploratory as it gets these days. Both feet are planted firmly in the late-‘60s scene of the US West Coast with a bit of Syd’s Floyd thrown in for good measure. These are meandering, weighty jams built on guitars and a nimble but minimalist engine room. “Sun” pulls in influences like Eastern ragas and percussive touches like chimes.
In Kärrgruvan, Sweden, where Rattens Krater apparently come from, they call it “terrorpop”. You might coin a different name. Go ahead, knock yourself out…
Stylistically speaking, “Urrah!” is a game of Musical Twister: One limb is anchored on the hard rock colour, another is on electronic-punk. A third is planted on grunge-pop and the other is flailing about, threatening to land somewhere else, depending on what you’re second-guessing them to be doing.
This record is so smart it should have lifetime membership of Mensa, but its a cleverness that's never snobbish or intellectual. Mr Flabio sits back, tongue in cheek and pen at the ready, and takes aim at the directionless, the Interwebs generation and yes, you and me, with withering accuracy. This is melodic fuzz guitars played at stun volume and Mr Flabio’s sardonic barbs are meted out with sugar hits embedded in their pop hooks.
Let’s get this out of the way up front: “We Will Riot” is a grunge record. It’s just gone 2015 and someone is actually making a grunge record? What the fuck’s grunge anyway? You expected Silverchair with short hair? Nirvana wearing nursing home pyjamas?
Mudhoney says Kim Salmon invented it and who are we to argue? When you got down to it, grunge was really just a bunch of tuned-down metallised guitars and anguished punk rock vocals with shithouse dress sense. It got the major labels a little too excited and wiped the musical landscape clean for any other form of rock and roll – and not necessarily in a good way.