
- Details
- By Robert Brokenmouth
- Hits: 1411
Customs & Rituals Of... - The Taps of the Holy Trinity (Fenny Compton)
To me, the world is full of folks who think the letter of the law is more important than why the law was conceived, and why the letter of the law can and should be turfed if it's obvious, the reason for the law is being distorted. Same goes for guitar nerds and also those people who seem to think that dexterity and cleverness makes a great song. It fucking doesn't. Nor do all those sound alike bands on streaming networks.
Just because I love The New York Dolls no, it does not mean I love Aerosmith. Or the local pub equivalent. Because I love a particular band does not mean I will love the cover version.
I recently paid for, and saw, 17 minutes of Lydia Lunch's Suicide tribute - and left because I really wasn't enjoying it. In fact, I found the whole thing trite, lite, and boring. The actual band, at any point in its lopsided trajectory, wasvsimply a force of nature but this was like watching The Wiggles do a Suicide matinee (and, to be completely honest, as I was walking out I realised I probably would have enjoyed a Wiggles concert).
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- By Robert Brokenmouth
- Hits: 1717
To The Bone – Copulaters (self released)
If you gave it any thought at all, you might guess that I love music. For me, it's somewhere between everyday blessing and salvation, this vast, extraordinary tapestry which occurs all around us and will never end (whether we humans are here to appreciate it or not).
The flipside of this are supermarkets, shops and eateries, all of whom seem to think that what we really want is to be bludgeoned with their usually-shitty taste in music.
“Oh, pooh” is often the response to my helpless wail. “What's your taste in music like?” Which ain't the point: if I was running a business which depended on foot-traffic I wouldn't be shovelling my musical taste at them, and certainly not at a volume which forces people to have their brain bludgeoned.
- Details
- By The Barman
- Hits: 1060
Sawdust Memories – Joeys Coop (self released)
Comes a time when bands of a certain vintage struggle to pull big numbers of people regardless of their pedigree. Sydney-via-the-Far-North-Coast quartet Joeys Coop are a prime example when they dive back into the patchy live music circuit.
You’d think a musical unit comprising guitarist Brett Myers (The End, Died Pretty), Mark Roxburgh (ME-262, The Decline of The Reptiles) on vocals, bassist Mark Lynch (Glide) and Lloyd Gyi (more bands and sessions than you can poke a drum stick at) would pack punters in like canned pilchards, but the demographic has shifted. Distractions and complications abound today and, yes, those were different times.
- Details
- By The Barman
- Hits: 1287
Double Negative – The Strike Outs (Evil Tone Records/Farmer and The Owl)
If you’ve seen Sydney duo The Strike-Outs in the flesh, you’ll know they do not fuck around. The way they open their second album, “Double Negative”, is proof positive.
“Johnny” is a Chuck Berry-inspired instrumental (one of two on the album) that steamrollers out of the speakers, driven by Adam Vines’ industrial-strength backbeat and brother Simon’s squawling, Thunders-without-the-slop, guitar attack.
It goes for the throat and does not let up – and that’s the story of the album in a nutshell. The band sneers and soars through another 10 songs (including a killer cover of “Motherfucking Motherfucker” by Bored!) that launch, one after each other, like Exocet missiles.
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- By Robert Brokenmouth
- Hits: 1875
Blistersticks - Harry Howard and David McClymont (self released)
It’s an odd thing, creativity. You might recognise David McClymont’s name as the bass guitarist in Orange Juice, who had several bright, accessible pop hits in the late 1970s, initially with the Scottish label Postcard. Orange Juice played frequently with friends like Josef K and The Go-Betweens. The Scottish expats found common ground with the then-plentiful Australian ex-pats such as The Moodists and The Birthday Party.
Orange Juice weren’t an easy fit with the skinheads of the day; theyd walk onstage to cries of “poofs” from the skins. Their retort? “Hare Krishna!”
Coming within a whisker of serious UK pop stardom (including two appearances on “Top of The Pops”, David left in late 1983, and the recordings for his own outfit, the brilliantly-named Ape the Scientific, which recorded for Polydor.
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- By Edwin Garland & The Barman
- Hits: 3601
Fowl Weather Vein – Fowl Weather Vein (Vi-Nil Records)
The years 1978-82 produced the greatest explosion of music in the last century. Only the mid to late 1960s rivals it. Some called it New Wave, others came up with Post-Punk.
Record companies were opening cheque books as fast as new labels arrived and there was the buzz of a DIY ethos. More importantly though, the period produced an artistic tidal wave surfed by one-hit wonders and more enduring artists whose music careers have continued for decades.
Consider the massive diversity of a crop that included Wire, Echo and The Bunnymen, Pere Ubu, The Fall, The Pop Group, XTC, The Cure, The Jam, Siouxie and The Banshees, Joy Division, Talking Heads, Blondie, Psychedelic Furs, Gang of Four. There was also the rise of Ska. There were was no single blueprint or style, just an explosion of creativity.
- Details
- By JD Misfortune
- Hits: 2006
Dinner At Mr Billy’s – Blue Ash (Peppermint Records)
Summa the magical, mystical Blue Ash powerpop just feels so ‘60s, like some lost tracks from the "Beyond The Valley Of The Dolls" or "Easy Rider" soundtracks, or the incidental music from "Love American Style" or some kinda hippie exploitation marketing hoax.
Remember when 7-Up was selling themselves as flower child psychedelic? Blue Ash was around then and woulda been perfect to write their far out, hey man, garage punk jingles. So Good! The guitar playing feels like Strawberry Alarm Clock or 13th Floor Elevators sometimes, and the singer coulda been in "Hair".
- Details
- By The Barman
- Hits: 1694
Luminary – The On and Ons (Jem Records)
Just when you think it’s safe to go back in the ring, The On and Ons deliver a triple combination of power-pop punches to open their new album and leave your critical faculties flat on the canvas.
“White Ships”, “Constance” and the stunning single “Speck of Smiling Faces” are the opening tracks and as good as anything the Sydney band has recorded. Even better news is that it doesn’t end there and The On and Ons’ sixth full album, “Luminary”, is their best to date.
- Details
- By Steve Lorkin
- Hits: 2074

Fun House (High Fidelity Edition) - Rhino Records (Rhino Records)
Loaded (High Fidelity Edition) - The Velvet Underground (Rhino Records)
Theoretically, an album pressed in 2026 should sound a lot better than an album pressed in the 1970s. I mean, haven't there been vast technological advances in the sound world? Or for that matter, just about anything and everything since the 1970s?
Judging by the majority of LP reissues these days it seems not. Quite often those pre-digital era 1960s/1970s pressings sound a whole lot better than today's "$95 at JBHiFi 180 gram remastered by some genius" reissues.
- Ex-Trash Brat Troy Toma leaves Detroit and lets his Americana juices flow
- Sydney's The Jane Does make a name for themselves on debut LP
- They've Come So Far so Would this "Zeno Beach" re-issue Be Enough?
- Let Flippin' Kick Outs steer you through the Sonic Maze
- Young Charlatans' legacy laid bare in a stunning time capsule
- Harem Scarem founder Charlie Marshall (and Louie's) Family Affair
Subcategories
Behind the fridge
Artifacts and reviews from days gone by.
