The year was 2010, Sydney-born Simon Chainsaw had been living in Brazil for about 10 years.
His local band S.C.H.K. (Simon Chainsaw & the Hippy Killers) had recently broken up. Now a free agent, he could take up opportunities to play in different territories.
He’d recently toured Brazil, Europe and Argentina and released “Fuck The Neighbours!” (cover versions of ‘70s Aussie Punk) and a proposal came in to play back in his home turf of Australia to promote the new disc.
He hooked up with three original ‘70s Aussie punks for the shows: Chris Masuak (Radio Birdman, Hitmen, Screaming Tribesmen) on guitar, Murray Shepherd (Fun Things,Screaming Tribesmen, Hitmen and The Monarchs) on drums and Bob Short (from arguably Sydney’s first punk band Filth and later Dead Rabids) switching from customary guitar to bass.
Excuse this blatant plug but we're proud to announce that “Love is Calling” - the debut album for Brisbane duo Mick Medew and Ursula and one of the special records to emerge from the fog of COVID, has fnally been released in physical form (CD) on our own I-94 Bar Records.
"Love Is Calling" has already been featured as 4ZZZ's Album of the Week in Brisbane. Mick Medew and Ursula is rock and roll legend Mick Medew (Screaming Tribesmen) and musical and life partner Ursula, formerly of underground Brisbane synth pop band Ironing Music.
“Love Is Calling” was conceived from a series of live Sunday afternoon lockdown streaming shows the duo delivered from their northern Brisbane suburbs home at the height of the pandemic. You can hear the tracks on our label Bandcamp
and the Brisbane launch is at Platform 5 Cafe & Bar, on Junction Road in Lutwyche, Brisbane, at 2pm on July 9.
Let me tell you, I'm excited. Expatriate Australian guitarist and singer-songwriter Michael Plater is making a welcome return to Adelaide since leaving to pursue twin careers in the UK in 2019. If I can see this guy live, I don't need to see Dark Mofo.
Now, I rate Michael Plater's songs and music so highly that I've seen him play in three states and if I were able to, I'd go see all his gigs while he's here. For the last three years he's been writing and recording like a demon, his new work eclipsing his brilliant, powerful debut, “Mythologies”..
So, Michael, you returned to the Mother Country. You didn't exactly head for the smoke and smother of London, I gather...
No, my partner, Fawnia, and I ended up living in Cornwall, way down west, right in pirate country. When we visited the Witchcraft Museum in Boscastle and, for someone like me, who’s drawn to folklore, occult history, and anything vaguely supernatural, Cornwall made perfect sense.
It’s a land of moors, standing stones, castles, and smugglers dens, with a healthy dose of mermaids, ghosts, and piskies. All the old girls in the shops call you either ‘my treasure’, ‘my lovely,’ or, even better, ‘my lover.’ The further west you go, the more impenetrable the accent gets. By the time you hit Penzance it’s like talking to some barnacled old sea dog from the 17thcentury.
It’s a place that is torn between tourism and poverty, like a lot of the U.K. Most of the beautiful old fishermen’s cottages are unfortunately second homes for ultra-rich Londoners who descend on the area en-masse in summer, which means that it’s getting harder and harder for locals to afford to live there. Or me, for that matter. But all these influences and atmospheres have definitely seeped into the music I’ve been writing and recording. I’ve also been working on a book and/or series of essays about the history of Cornish witchcraft, which I’m hoping to finish next year.
Michael is no stranger to writing books, either, with the EU Publishing website describing him thus: