New York City-based band Phantom Fifth (pictured right) has announced that Chris “Klondike” Masuak will be joining them for shows in California and New York in July.
Phantom Fifth is from New York City and is comprised of expatriate Australian bassist Greg Delves (ex-Inner Sleeves, Radio Luxembourg), Irishman Colin McCarthy (drums) and US-born Paul Stinson (guitar, vocals.)
Formed in 2015, the band bio says it "embraces the sonic sound and dark energy of Nick Cave, Joy Division, The Strokes and The Stooges. The Phantoms' sound is built around dark melodies, shimmering guitars, and propulsive bass lines, with lyrics about wolves, ghosts, murderous paramours, Italian discos, and other manifestations of love and madness".
Originally from California, where he co-founded the "punk Americana" band The Stripminers with members of X and The Donnas, Paul Stinson moved to Brooklyn in 2014 and quickly met up with power pop guru Delves and McCarthy (formerly of Amsterdam-based Belsonic Sound).
The trio immediately began writing, recording and performing in and around NYC and have plans in the works for tours of both the UK and Australia. The band's debut EP is due out in the US Summer of 2016.
July 20 – Brick & Mortar Music Hall, San Francisco, CA July 22 – The Uptown Nightclub, Oakland, CA July 24 – The Viper Room, Hollywood, CA July 29 – The Bowery Electric, NYC
Hello from the Dimboola farmhouse folks and has it been rocking here! The reason is that Chris “Klondike” Masuak and the Viveiro Wave Riders have released a rocking good album. Their second long player, “Address to the Nation”, is the follow-up to 2016’s “Brujita” and is pure guitar driven tracks from start to finish.
Myself, I think it’s a lot stronger than the first album - there is less pop and more grunt.
Well, let’s start with any folks who are not savy to Klondike’s cv: RADIO BIRDMAN, HITMEN , THE NEW CHRISTS, JUKE SAVAGES, NORTH 40 and the wonderful SCREAMING TRIBESMEN. To name a few.
This year was returning to my childhood and gromit years - teenage times as well as inner-city music, alternative and garage rock, beer-soaked pubs and the alternative. Namely the Beatles, Midnight Oil and Patti Smith.
Patti Smith and Paul McCartney get the guernsey for the best gigs of the year. And for the same reasons. Both artists are incredible live and these final tours were a massive thank you to the fans…
1 Macca at Suncorp Brisbane Sir Paul delivered on all fronts. With the most thoughtful visual show and a hit every minute over those three hours and ten minutes, it ranged from pure, four-on-the-floor garage rock with guitars sonically attacking to more mellow stuff.
From “I Want To Be Your Lover” which would have made the Stones sound like a get-together at a nursing home to “Helter Skelter”, to the bombastic, “Live And Let Die” which inflamed the stadium, the cheesy “Mull of Kintyre” with a 25-piece pipe band, to the solo acoustic moments with “Blackbird”, this was gold. Macca’s voice, his insights, wit and humility, and his guitar playing were magnificent; 42 songs played. I won’t forget it a hurry.
1 Patti Smith at the State Theatre and spoken word at Sydney Opera House Another pair of gigs where Patti gave 300 percent. Patti engaged us with insights, stories and, as with Macca, showed a great deal of humility. The band, led by Lenny Kaye, at times still had the intensity of 1975 CBGBs Patti, yet with overtones of a grandmother and an earth mother.
I suppose my prevailing sentiment has been one of simmering frustration and anger at a world more out of control and stupid than I can remember. Perhaps it’s always been this way and I’m only noticing it in my dotage.
Whatever the reason, I’m noticing that personal selfishness and cultural callousness are the new black and that I just haven’t been able to continue being my usual conciliatory self.
It’s difficult to believe that Chris Masuak is only in the second half of his 50’s when you examine his output. It’s been a diverse and solid career, spanning almost four decades.
He was in his late teens when he joined Radio Birdman. He was half of the sound of the “twin-guitar attack” that assaulted Sydney with its array of proto-punk influences, to forever stake Birdman a claim as one of the most influential bands the city has produced.
Then there were the post-Birdman bands. The Hitmen never had the songs, in my opinion, but they always delivered as a live act. Masuak’s guitar playing was the stand-out. Chris was still in his early 20’s and still forging his own style. It lay somewhere between the technical brilliance of Mountain and the pop-rock sensibility of The Dictators.
Chris Masuak (Radio Birdman, Hitmen, Screaming Tribesmen) has a new music video live and it's a taster for a forthcoming album, currently in production with his Spanish band, The Viveiro Wave Riders Associaiton. Here it is in all its stark glory, showcasing the "dead centre" of Klondike's adopted home town of Viveiro, in northern Spain.
Catch Chris Masuak (ex-Radio Birdman, Hitmen, Screaming Tribesmen and the New Christs among others) on Monday Evening Gunk at 7:30pm Sydney time on November 2 on the MoshPit Facebook. Klondike will be interviewed by Bob Short (Filth, Dead Rabids) and Tiffany Palmer (Sydney Rock and Roll Markets) before ripping into a live set with his band The Viveiro Wave Riders.
Mighty little French label Pitshark continues to punch above its weight. Not content with issuing exclusive vinyl releases from the likes of the Stooges, Radio Birdman and the New Christs, it’s about to launch a Singles Club with a year’s worth of 7” records in bi-monthly waves.
What did your Sydney sound like in 1978? The Professors did their best to define it for their own tight coterie of followers after Radio Birdman left for Europe to seek world domination, by sounding like this.
Graduates of the infamous Oxford Funhouse, they took their lead from its most notable tenants bysetting up their own venue at The Royal Oak pub in Chippendale, They adopted their name from Chris Bailey's nickname for their singer - and the Saints repaid them with some namedropping in "KNow Your Product." The rest is history aka some photos and a caption in a Clinton Walker book
These two songs are from a demo tape that was exhumed by singer Stephen Vineberg and spruced up by engineer Barry McGuirk just a year ago. It’s been packaged in a gatefold cover by the folks at Buttercup and issued in a range of colours. Just as you’d expect.
Chris Masuak is back on the road with his Anglo-French-Spanish band The Outside in France in February.
The Outside features Gregory J Bowen, expat Australian, on guitar, Juan Martinez El Kara on drums and French bassist Bruno Mondo. As the tour billing says, this will be the last time. Watch chrismasuak.netfor updates.
FEB 13 - L'Armony, Montreuil 14 - Piano Bleu Saint Brieuc 15 - Le Galion, Lorient 17 - Mondo Bizarro, Rennes (with Supersuckers) 18 - - Nantes, La Cour
Our favourite Canadian-born guitarist, Chris Masuak of Radio Birdman/Screaming Tribesmen/Hitmen fame, has a cheap and cheerful film clip doing the rounds online for the B side of his "Another Lost Weekend" single on Spanish label New H. Here's "Animal".
Chris Masuak has a new film clip to accompany his brand new CD album, “Brujita” and you’re watching its world debut. Produced by Jonathan Sequiera of Cheap Music Videos, “Niagara” is an ode to the Detroit diva, artist and singer of Destroy All Monsters and Dark Carnival fame, Niagara Detroit.
If you’re in Australia you can score a copy of the album at Redeye Records and Utopia in Sydney or Off The Hip in Melbourne. You can buy a physical copy and/or a download at Bandcamp. Don't be a Birdbrain. Do it now!
The new album from Chris Masuak and the Viveiro Wave Riders is out in early August on I-94 Bar Records and we’ve opened pre-orders. The lead-off track "1776" is embedded above. Place an order here.
“Address to the Nation” is full of trademark Masuak melodies and power with harmonies, a wide-ranging record where powerpop gems rub shoulders with bristling, muscular rock and roll, and punk. It’s in a similar vein to its predecessor, “Brujita”, but a touch harder-edged and more pointed, with lyrical insights about life, love and the sorry state of geopolitics, all powered by Klondike's ace Spanish band There’s also a healthy dose of satire, lurking deep in its grooves.
If you pre-order, your copy of the CD will be sent the day the album arrives back from the pressing plant. You’ll also receive a full digital copy, with bonuses, shortly before. If you're in the market for vinyl, we'll keep yuou posted.
January 27, 2008 - If the impending (2008) return to live performance by premier Detroit art-punk chanteuse Niagara isn't enough to get you excited, you're browsing the wrong website or you're a cadaver.
Copies of these four songs have been circulating for years and two have surfaced on compilations. The balance were re-recorded by members’ subsequent bands. But don’t kid yourself that you don’t need this vinyl only 12-inch EP.
The 31st started when future members of Died Pretty (Ron Peno and Chris Welsh), the Screaming Tribesmen (MIck Medew) and the Hitmen/New Christs/Screaming Tribesmen (Tony Robertson) started playing shows in a strip club and anywhere else that would have them. Evidently, they played no one style of music - which must have been confusing for the Brisbane punks, boogie-heads and blues fans to pin a tail on.
The 31st were a future supergroup before those things were called that in Australia. They kicked around the undergrowth of Brisbane’s downtrodden music scene in the early 1980s, and fell to pieces before anyone outside of it saw or heard them.
Future Hoodoo Guru Brad Shepherd was to briefly become a member although he's not on these recordings.
Canadian-expat Aussie Chris “Klondike” Masuak’s the kind of guy who likes to put pictures of his guitars (Strat! Robin! Perspex Dan Armstrong! Firebird!) on his records (like his pal Deniz Tek did on his back-from-the-Navy career restarter “Take It to the Vertical:). One gets the sense that Klondike’s the kind of cat who just purely loves to play, and is as much of a fan as a muso.
Lovegrinder The Album – Lovegrinder (self released)
There’s a popular theory - perpetuated by a few fans of Junkie Rock from Australia’s southern state's capital city – that the so-called salad days of Sydney underground rock and roll were a farrago based on an overdose of second-rate Radio Birdman copyists.
Call it a typically defensive Sydney response but while the "Detroit" handle became a tag of convenience, most of the Harbour City’s bands of the 1980s/early ‘90s had tenuous musical links to the Birdmen. There was a handful of short-lived clones, but for the vast majority it was the energy and undeniable fuck-you-we’ll-do-what-we-want attitude of the Radios that were the hand-me-downs, and not their unique, impossible to replicate mutated musical mix.
Which brings us to Lovegrinder, yet another in the long line of Sydney bands that never progressed higher than the lower support rungs of the very crowded local live scene ladder. Not that there’s any great shame in that. For many, headlining the Tivoli or Selina’s wasn’t the goal because they had no interest in being on the rosters of the omnipotent Dirty Pool, Nuclear or Harbour booking agencies. Playing music was more about knocking around with their mates, consuming beers (or something illicit) and having a good time.