Interloper - Ed Clayton-Jones (Golden Robot Records)

The past is a mystic portal. You know? Maybe not so much if you're under 24 years; but, if you survive long enough, you draw on the past more than the present, simply because 1) there's a lot more of it, 2) there's a lot you missed the first time, 3) you're finally beginning to put the pieces of your youth together and 4) your thirties and forties will just have to remain unexamined.

Not all of us ponder our beginnings, but we should, because it's how we got here. And some of that getting here was pure luck as much as anything. Anyone who thinks that they were predestined or that their life was written by god ... sorry, chum, you think you're way more important than you actually are. Remember that last roast lamb? Could've grown up and had a happy life, but guess what..?

Break Out - PocketWatch (self-released)

Pocketwatch burst onto the Sydney scene about two years ago.  With the two youngest members just turning 16, they put on infectious live shows and had attitude. With a range of influences (Power-pop, Britpop and Grunge), these kids were no shoe gazers. The band’s rise has been meteoric on the street-level live circuit and they are now packing out the likes of Marrickville Bowlo.

It's less than year since their debut release, the “It’s Time” EP.  It captured their live sound, pointing to a raw punk ethos served with a side dish of meat and potatoes, no frills production. And it was the right record at the time.

Young bands need to spread their wings and find an empathetic producer who can bring to the table their decades of skills and create a shared vision. Enter Wayne Connolly.

Demolition – Rob Griffiths (Swerve Records)
The Girl Belongs To Yesterday Rob Griffiths (digital single through Swerve Records)

As long as I've been a music fan, I've regularly become obsessed with particular songs. At age 10, it was “Devil Gate Drive” by Suzie Quatro. It was “Department of Youth” by Alice Cooper at 12. It would be “London Calling” by The Clash and “Another Girl, Another Planet” by The Only Ones in my late teens.

I'd buy a single and replay a song again and again. The tune would stay my head for weeks and I would wear out that seven- inch single until it was a crackling mess.

I came across “The Girl Belongs To Yesterday“ by Rob Griffiths a few weeks ago on Facebook and like all the classic three-minute singles, I replayed it again and again. Just like that kid bringing home a seven-inch vinyl by Suzi Quatro or Alice Cooper. Except this one’s a download.

Brando Rising – Brando Rising (self-released)

Hello I-94 Barflies. Well folks, The Farmhouse has been rocking this last few days with Melbourne band Brando Rising’s self-titled album. It’s bloody good, folks, and some mighty fine musicians make up this band.

I’m talking about a lineage spanning Hitmen, Lime Spiders and Glen and The Peanut Butter Men, to name a few. Kelly Hewson is on guitar, Tony “The Kid” Robertson plays bass, Steve Whan is on the drums and it’s Ripley Hood on vocals and charisma.

Indie Sounds from Newy and The Hunter – Various Artists (Vi-Nil Records)

He’s never been seen in anything other than a T-shirt and one of his own label’s trucker caps, but it’s easy to picture Vi-Nil Records label boss Mark Fraser as the Pied Piper of the New South Wales Central Coast and Newcastle music scenes.

The analogy has to stick like baby shit to a blanket after the release of his second collection in the Indie Sounds series. Fraser is batting 2-0.

Picking a bunch of local bands and presenting two songs each on CD and vinyl is some brave/crazy idea in these days of diminishing economic returns.

Brut - Gentle Ben and his Shimmering Hands (Beast Records/Spooky Records)

You dug Six Foot Hick? Of course you did. Gentle Ben and his Sensitive Side? Sure. 

But it's 2024. And “Brut'” is here. 

The Shimmering Hands are Jhindu Pedro-Lawrie on drums, Dan Baebler on bass, and Tony Giacca on guitars. Ben Corbett handles the vocals... 

The Bandcamp blurb explains; “The themes of BRUT range from a fraught, taught exploration of the broken bodies, hearts and minds of our capitalist hellscape (‘Spices’) to wailing rock and roll eulogies (‘De Bliksem’, ‘No Encore’), a drifting death-country ode to colonialism (‘Five Stars’) to bloody kitchen sink drama (‘Tactical Empathy’).”