Three years ago, family tragedy thrust Sonny Vincent from being a cult New York punk legend into the role of full-time carer. 

Based in Europe for two decades from where he prolifically recorded and toured, he was suddenly pulled back to the USA by a home gas explosion and fire that left his son, daughter-in-law and grandson on life support in a North Carolina hospital.

Sonny’s family has survived but his music is on indefinite hold. Day-to-day life now revolves around his 12-year-old grandson Cayden, still undergoing skin grafts while trying to live the life of a schoolboy. Sonny hasn’t picked up a guitar since that fateful night and has been existing on donations.

Geof Holmes is a name you should know, but the reality is that he’s unfamiliar to anyone outside a tight circle of Sydney musicians and followers of a certain vintage.

Holmes was one of the guitarists with Evil Roomers, the 1977 precursor to seminal Australian band X. With his close mate Ian Krahe on guitar, Steve Lucas on vocals and Ed Fisher on drums, they were in rehearsals when joined by bassist Ian Rilen, already on his way out of Rose Tattoo.

For various reasons, that line-up of Evil Roomers never got out of the practice room. Rilen, Krahe and Lucas would hook up with ex-cop Steve Cafeiro on drums to form the first line-up of X. Holmes went on to join Lucas, Rilen and Fisher in a potent 21st Century line-up of X. Last year, he sat in with the Lucas-only version of the band in Sydney for one song.

This is an intruiging and charmingly all-over-the-shop album on which this Sydney five-piece sheds its alt.country label and heads for a garage in a swamp. There's more variety in this Licourice than a pallet-load of Darrel Lea Allsorts. 

The Ramalamas have been around for a decade or so, led by Chris Nielsen (vocals-guitar) and subsisting in their city’s fragmented live circuit while putting out a string of albums, of which this is their fourth. Nielsen name-checks the usual ‘60s references (Kinks, Stones) with a nod to the US West Coast’s psychedelic folk-pop scene. 

As well as owning a serviceable pop voice and playing nifty guitar, Nielsen is an award-wininng illustrator and his work adorns the CD cover and inlay. 

If you’re going to raid the garage for inspiration, make sure you’re taking your cues from the best.

Rod Hamdallah grew up in Atlanta, Georgia, and was playing gin joints and trashy dive bars before he was old enough to legally drink, steeping himself in blues, '50s and '60s rock and switchblade punk sounds from the get-go.

This 10-inch vinyl EP is a re-issue of Hamdallah’s self-issued debut CD from 2014 and reverberates with rebellious righteousness.

2019 is shaping up to be a real terror of a year. Parts of Australia are in the middle of a housing, job and health support crisis and the shit has well and truly hit the fan.

Heads of police are on trial for brutality, while politicians are dragging their feet on whether or not trans people have a right to exist.  Bodybuilders are shooting up strip clubs and a massive methamphetamine epidemic is destroying the lives of vulnerable young people.

Young men with schizophrenia are firebombing punk squats while teaching staff and metro workers are routinely striking, grinding workplaces and services to a halt.  On the street, there are hundreds of young people facing homelessness, violence, unemployment and lack of future prospects.  To them, the future is bleak. 

Despite all this, there are dozens of vibrant young artists creating challenging and unique works that directly tackle the horrendous and wretched world we find ourselves in.  One of those bands is Fern Tree, Tasmania, iconoclasts All The Weathers.

We all know that band that was “born out of time”. The one that was on the cusp of success and that would/should have become household names given a modicum of luck and better timing. The Godfathers certainly qualify. 

Arising in the UK 10 years after punk’s initial rush and playing a brutal but hook-laden fast R & B, they had a degree of chart success in the US with “Birth, School, Work, Death” and “More Songs About Love & Hate” before leaving their major label for a German indie, peetering out in the 2000’s before a late decade reformation.