
- Details
- By Robert Brokenmouth
- Hits: 3017
Under the World - Harry Howard with David McClymont (Monorail Music)
Like many break-up albums, “Under The World” mirrors our fears and losses. Unlike most albums in this genre, “Under The World”effortlessly avoids mopey me-me-me whining. Its lack of self-pity raises the bar of such experiences to the magisterial, touching on aspects of memory and forgiveness. Simple, powerful stuff which you can instantly relate to.
No, I'm sorry, but this is one break-up albums which doesn't reference the bombastic and horribly overblown likes of Ronnie James Dio or Tina Arena. Because “Under The World” is like that David Lynch close-up of the white picket fence and the ideal home that you shudder at as soon as you see it.
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- By The Barman
- Hits: 2366
Out In The Street – Angel Face (Slovenly Recordings)
Catchier than the Tokyo subway, “Out In The Street” is the second album for Tokyo’s Angel Face, and any fan of Real Kids or The Boys needs a copy – pronto. It’s 10 songs of no-nonsense, melodic street punk that the world deserves to hear.
I caught these guys in the flesh at the Tokyo Halloween Ball a couple of years ago and they were impressive over a weekend that delivered an embarrassment of riches. That may have been one of their earliest gigs because Angel Face have only been around a few years.
They’ve already put another long-player, a European festival date and a short US tour under their belts. Hercules (vocals), Fink (guitar), Toyozo (bass) and Rayco (drums) have the Japanese work ethic and their productivity would put most of their overseas contemporaries in a cardiac ward.
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- By The Barman
- Hits: 2370
All The Covers (And More) – Streetwalkin’ Cheetahs (Heavy Medication/Ghost Highway/Take The City)
Cover songs may be the realm of both the rogue exploiting the stupid and the jobbing musician. They're not one and the same and sometimes you can’t begrudge someone for making a dollar. But covers also serve a practical purpose - especially for bands starting out.
Covers give players and their audiences something familiar to cut their teeth on before original compositions take over. They're a reference point that indicates where a band is coming from. And in the olden (pre-Internet) days, they educated the unitiated about music they may not have heard.
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- By The Barman
- Hits: 4137
Death Crossed The Street – Reverend Beat-Man & Milan Slick (Voodoo Rhythm)
In a world content with the cute and besotted with the bland, Reverend Beat-Man is the ultimate trashman. Whether he’s in one-man band guise or fronting the four-headed fuzz-fest that is The Monsters, this intense Swiss eccentric has been touring the garages and licensed shitholes of this world since 1992 peddling primal rock and roll, both live and via his own Voodoo Rhythm label.
The label’s slogan is “Records to ruin any party” and it’s home to some of the most esoteric, trashy and weird music that rock and roll’s hatched. “Death Crossed The Street” is no exception.
This time out, it’s Beat-Man on vocals, guitar and drums and a younger collaborator, Milan Slick, on vocals, guitar and keys. Of course, they met while soundtracking a vampire film. What else do you do in Switzerland during a pandemic?
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- By Ed Garland & The Barman
- Hits: 10778
Trauma Magnet – Van Ruin (Crankinhaus Records)
It has been an explosive 12 months for Van Ruin, a band formed in Sydney only a year ago that almost immediately began recording their first mini album. Band leader Phil Van Rooyen had a batch of deeply personal songs he had written about his years of counselling substance abuse in the underbelly of the city's Northern Beaches.
Phil threw himself into a flurry of writing and recording, working with his decades-long mate and Al Creed, of local legendary bands like Dr Fruitworld and Panadolls, as well as the New Christs.
Enter Stuart Wilson (Lime Spiders, New Christs, Chris Masuak’s Dog Soldier and The Crisps) on drums. There were a couple of the raggedy, under-rehearsed gigs that were hanging by a thread at times, and as thrilling as they were they did not capture the brutal darkness and brilliance of what would the debut EP, “Jails, Death and Institutions”.
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- By The Barman
- Hits: 7296
Calling From Nowhere Land: Live in Vancouver 1994 – Pillbox (Vicious Kitten)
Pillbox wasn’t a household name in the 1990s – unless you lived in what was left of New York City’s Lower East Side tenements and had a big jones for swaggering sleaze rock.
The band’s solitary long-player, “Jimbo’s Clown Room”, came out on CD way back in ’93 and despite being re-released on vinyl, their output remains so far from the mainstream of modern popular music to qualify Pillbox for lifetime outsider status. Just like you.
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- By The Barman
- Hits: 10413
Badlanding – East Coast Low (Crankinhaus Records)
It’s been a decade since they formed and four years since East Coast Low hit their straps on the “Seas on Fire” album, and “Badlanding” shows a band that’s even more self-assured and in control.
Is it coincidence that some of the best Australian albums of the last few years have come from satellite cities of Sydney? “Badlanding” proves that East Coast Low are as good as anything to have emerged from the grit-flecked city of Newcastle in the last 30 years.
“Badlanding” rocks hard but has an unmistakable swagger. With Rob Younger at the production helm, its varied collection of songs sounds powerful and coherent and there’s an array of sonic exclamation points apparent. Rick O’Neill’s mastering widens the soundscape nicely with no loss of edge.
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- By The Barman
- Hits: 11798
Shout It On The Mountain – Neverland Ranch Davidians (Heavy Medication Records)
Any band with a name that fucks with the memories of cult leaders Michael Jackson and David Koresh in equal measures has to have something going for it. Snappy nomenclature is one thing, but this Los Angeles outfit also has substance to back it up.
Neverland Ranch Davidians trade in scuzzy punk rock intertwined with funk and greasy R ‘n’ B. “Shout It On The Mountain” is their second long-player and it’s on Polish label Heavy Medication, a refuge for acts like The Primevals, Streetwalkin' Cheetahs, The Meatbeaters and Pat Todd.
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- By Ed Garland
- Hits: 10916
Keep Moving – Xani (Live At Fight Night Records)
It’s been a month since I saw Xani at The Recital Hall in Sydney, in support of John Cale. Those in attendance that I’ve spoken to were blown away by the lone figure on stage with her Irish jig footwork and extraordinary violin playing.
That night Xani produced a vast array of sounds from that tiny instrument. Of course, in a studio with multi-track recording, an artist doesn’t need the same level of complexity, timing and, in Xani’s case, looping. I suspect the songs in a studio setting came first and looping is a means of reproducing a wild tapestry of sounds when playing live.
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Behind the fridge
Artifacts and reviews from days gone by.
