Eddy Current Suppression Ring - All in Good Time Nine years is a long time between drinks, but this was well worth the wait. For my money the most important Melbourne band of the last 20 years returns with an LP up there with their first two albums. In true Eddy Current style this LP just all of a sudden dropped out of nowhere, with no shows and little media presence to promote it. Garage rock the way it should be, messy but tight, loose and fast and songs ending whenever it feels like that’s enough.
Hexdebt- Rule of Four Punk meets shoegazing with social’political messages that come straight in your face. The long awaited debut LP of Hexdebt backs up their reputation as a killer live outfit
Cereal Killer – The Beginning and End of Cereal Killer The first and last long player of this Geelong supergroup. I saw ‘em live a few years back with feedtime and was blown away, so was keen to hear the LP as I wanted to see how that stage show was put on record. The LP has plenty of the power of the live show, combining elements of garage, punk and electro, one of the most fresh and finest releases of 2019.
Plastic Section - Trouble is Our Business Sun City meets John Spencer. Killer '50s guitar and vocals, two ripper instrumental tracks and only one song cracks the three minute mark. Its sounds old but in a new way, powerful but not flashy guitar. Singer-guitarist Ben Edwards sounds like he could ave played with the Killer himself.
Mick Trouble- Here’s the Mick Trouble LP Thanks to Ritchie Ramone at Strangeworld for putting me onto this. Was amazed this came out this year as I thought it was a lost Television Personalities recording. One of those gems I would only discover via the man behind the record store counter. Buzzcocks style harmonies meets the storytelling of Wreckless Eric.
Imperial Wax - Gastwerk Saboteurs Pete Greenway, Dave Spurr and Keiron Melling had been the core of the Fall for the last decade of the band's existence until the passing of Mark E Smith. The three lads hooked up with Sam Curran to make an LP their old taskmaster would ave been proud of. It’s not the Fall, but without MES how could it? Theres certainly elements of the Fall in there but the lads ave their own approach and ideas, much like the Fall, taking a simple idea and expanding, taking rock music to new places.
Wild Billy Childish & CTMF - Last Punk Standing With the exception of Mark E Smith no one has given me more joy then Billy Childish. Pretty much every year theres an LP with the name Childish that appears in the top 10 list. The mans a hero of mine. On top of the massive discography of amazing albums, what I love about him is the fact the man just gets on with it. Bangs out two LPs a year, with just two, if that, chords and bangs out a record in one take. No overdubs no time for being precious, just doing it and doing it well. I wish I had this talent and discipline.
When you shut your eyes and listen, support act Workhorse sound very good, kind of soothing but slightly disturbing.
Several of us did just that. Watching them was interesting - their violinist was exceptional (most violinists seem to think that furiously sawing away will earn them some sort of Scout or Brownie badge), the vocals haunting and rather beautiful, and a rather lovely Vox bass throbbed effectively.
It may be early days for this outfit (I'm told that a couple, including the lead vocalist/ guitarist, were/ are in the Wireheads) and there's a certain amount of shyness - common to a large number of young bands these days - which I don't think suits the material. I'll make a point of seeing them again as I enjoy noticing how bands develop.
It's been over two years since I've seen Harry Howard and the NDE live and I feel a bit like a kid with too much red cordial and wedding cake sloshing around inside. So I'm on the lemonade tonight.
Arriving at the Metro a little late (it's Friday night and we've been home to feed, listen to the band do a sterling four songs and interview on local radio 3D, guzzle red cordial and cake, change and dash back out) I catch a few songs of the St Morris Sinners ripping up a rug and am dragged just outside to breathe the same air as half the smokers in Adelaide.
Brian Henry Hooper being attended to by his angels, his nurses. Carbie Warbie photo.
Four weeks ago Brian Hooper lay in intensive care, surrounded by family and his closest friends. The tumour doctors had found on Hooper’s lung just before Christmas was preventing Hooper from breathing without medical and mechanical assistance. Specialists suggested the even Hooper’s short-term survival was in the realm of miracles.
It wasn’t the first time Brian Henry Hooper had been told to fear the worst. Just over 14 years ago Hooper was told by specialists he may never walk again, after the balcony he was standing on at a gathering in Victoria’s Mornington Peninsula collapsed, sending Hooper crashing to the ground, his back mangled from the fall.
Over the next 12 months, Hooper pulled himself back from the edge of permanent paralysis. Hooper’s resilience and psychological strength astounded all around him. In late 2004 Hooper limped back on stage with the Beasts of Bourbon for a gig at the Greyhound Hotel. Towards the end of the set, his battered spine unable to withstand the trauma of standing any longer, Hooper lay on the ground. His bandmates, save for Tony Pola on drums, followed suit, three battle-hardened rockers lying prostrate on the stage in sympathy for their comrade-in-arms.
The Melbourne music scene is world-renowned for being a bubbling volcano of rock 'n' roll fire and creativity that throws up rare diamonds and musical gems. The Leaps and Bounds Music Festival honours its stars each year with its Living Legends series.
Beginning in 2014, the Living Legends feted that year were rock gods Spencer Jones, Kim Salmon and Charlie Owen. This year the honour is bestowed on another trio who are fully legendary in the eyes of their peers and music lovers.
Don’t call it cabaret. Dave Graney makes reference to the tag on one of these tracks, pointing that he and his band, the mystLY, would be on a higher pay-scale, and no doubt playing in a different class of gin joints, if that’s what they were.
In longevity terms, Graney is an “elder statesman” of the Australian music scene. He was a punk. He existed as expatriate dirt amid critical acclaim in London. He came home, entered the major label lifestyle for a time, became our King of Pop and decided that he could get along just fine on his own terms, playing music that didn’t fit radio programing templates.
This one gets seven bottles. Seven. Harry Howard and Ed Preston have excelled themselves in the most extraordinary way.
Right, I’ll calm down and try and explain. First, both HHNDE records have been natural progressions, with damn fine songs, and plenty to bounce around the room to. Memorable in every sense.
In 2016, it seems that times have changed. Time was when the “third album” was perceived as “difficult’; that a band found it difficult to develop onwards from their initial impetus and squirt to stardom. The Ramones’ third LP was written at the same time as their first, so no problem there. I suspect much the same could be said of the Stranglers, whose live sets in 1977 featured 90 minutes of ugly hits. However, these are exceptions.
If the '90s and early '00s were the era of young folk aping the look of punk junkies (see Buffy the Vampire Slayer), the Twenteens will be remembered as the era of OI! BEARDFACE! YOU! FACE THE FUCKING AUDIENCE! You are PERFORMING! YOUR BACK DOES NOT PERFORM! YOU FUCKING TWAT!
Kid Congo and the NDE Curtin Hotel, Melbourne Wednesday, November 13, 2019 Alex Lianeris photo
It's said John Curtin (whose name was taken by tonight's venue) used to get on the sauce a lot, back before he became Australian Prime Minister and took on the mantle of one the Labor Party-endorsed accolade of "Australia’s greatest ever wartime Prime Minister".
In truth, there’s not much competition: Bob Menzies was only PM long enough for his Country Party colleagues to politically knife him, and back in the heady days of World War I, Billy Hughes’ leadership style made him less friends than a Metwurst merchant in downtown Paris.
Anyway, I digress. Curtin cleaned up his act, got the PM gig in 1941 and dropped off the twig four years later, two months after Russian tanks had barrelled through Berlin, and a month before the Enola Gay put a brutal end to the war in the Pacific.
Kid Congo used to do a lot of shit, a lot of bad shit that probably should’ve killed him a few times over. His band mates and friends haven’t fared so well; some years back Kid realised his own habits were suffocating his love of music, and his punk rock attitude, so he quit the juice, the sauce, the gear, the candy, the rock, the powder, the stuff and the snuff.
Harry Howard had his own near-death scare; indeed, his health was so dire his doctor still reminds him how close he came to mortality (the scare provided the inspiration for the title of Howard’s band – NDE (Near Death Experience). Indeed, one of Howard’s NDE members, Dave Graney, got his own rude awakening some years back when he coughed up blood on the Paris Metro.
Kid is back in Australia for the fourth time in under five years, coinciding with the launch of his old friend Kim Salmon’s new biography. The Pink Monkey Birds have stayed home, so Kid’s picked up a local backing band in the form of Harry Howard and the NDE. It’s a neat synergy – back in the day Kid Congo moved in common circles with Howard in Crime and the City Solution and These Immortal Souls, and with Dave Graney and NDE drummer Clare Moore during The Moodists’ UK tenure.
Tonight is Kid’s only headline gig at the (John) Curtin Hotel. It’s a packed crowd, squeezed in the Curtin’s sometimes sub-optimal confines.
Kid is as iconoclastic as ever. He’s wearing a middle-age man’s wig that probably deserves its own flammability warning, his face contorts into a myriad of deranged expressions last seen on the 11.34pm train to Hurstbridge and his arms flail around like a psychedelic praying mantis. When Kid tells a story, it rambles like your eccentric uncle telling a story about his latest entrepreneurial plot, seems like it’s getting to a notional conclusion than ambles out to pasture. But no-one cares.
Dave Graney is as sartorially impressive as ever, the combination of brown bowler hat and pencil moustache suggesting a devious banker on the sidelines of ‘Peaky Blinders’ (and special mention of Dave’s periodic bass guitar swipe across the front of the crowd – that man knows moves). Harry Howard churns out those chunky post-punk chords that makes his band so good, and Edwina Preston could be playing the phone book and it’d still make the band even better. Every band Clare Moore has ever played in has been shit hot – and that’s more than simple coincidence.
|The set starts in Pink Monkey Birds territory ("LSDC", "I Found a Peanut", "Black Santa"), then slides into some NDE ("The Only One") and back in time to The Shangri-Las ("Sophisticated Boom Boom"). The band sounds just like you might think it should – dirty and garage but in a post-punk sort of way. "New Kind of Kick" is intense without intimidating, and the cover of Suicide’s "Diamonds, Fur Coat, Champagne" provokes shit-eating grins across the crowd.
Then it’s back to NDE territory and a call and response between Kid and Ed Preston on "She Doesn’t Like It", before rounding out the first bracket with The Gun Club’s "Sex Beat".
The encore starts with a Bowiefied cover of Spencer P Jones’ "When He Finds Out", and we remember that Spencer’s last ever appearance on stage was alongside Kid, 18 months earlier. Age shall weary Spencer no longer, tragically for all who knew and loved him. Then we get The Cramps’ "Garbageman", the ultimate trash song in more ways than one. We’re all garbage in a sense, waiting to be put out when the time comes. But until that happens we’ve got Kid Congo to remind us why life is worth living.
Blowers – “Blowers” In the tradition of Jay Reatard and the Oblivions, Blowersare a band that proves less is more. Killer bare basics, as well as plenty of humour. One take, if there’s a mistake, fuck it, that’s the take. This LP is prime example of garage rock at its purists and best.
Civic – “Future Forecast” After a few brilliant EPs it’s great to finally get a full Civicrelease. Combining elements of ‘90s Melbourne rock and US 2000s gunk rock, this stayed on the turntable for a good fortnight.
Cutters – “Australian War Crimes” Six tracks clocking in at 10 minutes, including a diss on Rye, a suburb I don’t care for, and the title track, a reaction to revelations of Australian SAS soldiers’ behaviour in Afghanistan. Brutal and superb.
Merry Christmas and a Happy New Year to you all and thank for your support throughout another year. Things right across the board have been slower and less frequent although there are still many good things to report.
1. In March Ursula and I began recording out first full length album together. It is due for release early March 2022 on I-94 Bar Records.
2. April 25 – Died Pretty Mick Medew and Ursula supported The Died Pretty at The Triffid. Ron was in wonderful form as was the band and I continue to find The Triffid one of my favourite venues in Australia to play or have a night out. 3. May 9 - Dave Graney and Clare Moore at The Junk Bar, Ashgrove.
Hi all. This is my first Top Ten. Happy 2022 to you all.
1.In May this year I married my partner in life, and now in music, Mick Medew.Taking the self-appointed term “Brisbane power couple” to the next level was a most fun and loving day and to be surrounded by our families and friends was truly lucky, considering these times.
2.In April Mick Medew and Ursula (the Meduo) were invited to support two shows with Died Pretty at The Triffid in Brisbane. I wanted to look my best, so an online acquisition from Spotlight, meant fringing kept me busy sewing. But I still had time to practise with Mick and the whole night was amazing! Plus I got to see Died Pretty perform twice in one night. It was lovely spending time with the blokes backstage too...
Let's get one thing straight: Musicians do work. It may not be work as we know it, Jim, but it is a form of employment, and it requires a well-defined skillset.
Talent is important but so is patience. Professional musicians do more waiting around than almost any other occupation on Earth. Other than midwives - and at least they receive universal praise.
Solo artist, ex-Moodist and leadr of the White Buffalos, Coral Snakes and more, Dave Graney, knows this about his trade and much more. He conveys much wisdom in "Workshy". It is the ideal read for anyone thinking about sending their offspring into rock and roll. Which is where Dave hides. Pun intended.
"Workshy" is Dave's second autobiography. I know what you're thinking: He might have been crowned King of Australian Pop but where does Graney get off writing TWO books about himself? Well, Billy Thorpe managed to do it. And more of Dave's books might be true. Both men have bodies of work with parts that are wryly funny. I could be referring here to The Aztecs' "The Hoax Is Over". "Workshy" is considerably more focussed than that mess.
There are more musical and cultural references in the latest Dave Graney album than a shelf-full of fourth year undergraduate sociology theses. Over a baker’s dozen songs, “ZIPPA DEEDOO WHAT IS/WAS THAT/THIS?” - we’ll call it “ZIPPA” for short - is a wander through the backblocks of Graney’s singular musical mind.
It’s self-described “classic rock” but don’t expect Journey or Van Halen to spring out of the speakers. “ZIPPA” is in-the-pocket, pop-rock played by a well-drilled ensemble. Drumming national treasure Clare Moore, consummate bassist Stu Thomas and jazzy guitarist Stuart Perera have been in more trenches together than the cast of “Hogan’s Heroes” and Graney’s respect for stylistic boundaries is on a par with Nancy Pelosi’s affection for Donald’s pipe-dream Wall.
Opener “Baby I Wish I Could Have been a Better Pop Star” is classic Graney: There’s more piss being taken here than in the bathroom of a highly-paid Macquarie Street urologist, and you don’t have to wait for the results from the lab to know who Dave’s talking about.