“Pull your head in ya flamin’ galah” are the first words you hear on this new track from Sydney band 100. The first release on the new label Endless Recordings, founded by Bad Dreems guitarist Alex Cameron, it rips and snarls like an inner-city delinquent. Part belligerence, part studied sneer. It reminds us a bit of much missed bands like The Scare, and Witch Hats with its sonic swerves and guitar racket that’s as much alt-rock and punk as it is informed by the noisy, dissonant end of shoegaze.
“It is a sort of open letter towards the anti-social behaviour that we’ve seen on the rise in Sydney over the past 10 years” explains Jaryd Lee. He and fellow frontman Rowen Tucker moved to Sydney’s inner west after growing up in Gosford, where they met at high school.
‘Manifesto’ is the second Sprints track we’ve posted in the last few months and much like ‘Drones’, this one hits in all the right places. Wild guitar noise, mantra-like vocals and a rhythm section that knows its Krautrock and post-punk – taut and unrelenting, funky and tough. This is the title-track from the Dublin quartet’s new EP coming in 2021.
Of the song, singer and songwriter Karla Chubb says:
“Manifesto is all about control, and the seeming lack of it we have sometimes – control over our own lives, our own bodies, our own societies. Written during the time of the Repeal the 8th referendum in Ireland, it’s a call for equality.
Life can feel like it’s unravelling around you. We see our countries fall in and out of economic crisis, we see the homeless crisis worsen by the day, we see the rapid rise of addiction and drug problems, and nothing is being done about, yet when it comes to telling women what they can do with their own bodies, that’s when people (the bigots) step in and show up? It baffled me.
Manifesto is about turning your cheek to the critics and bigots and those who judge and doubt, to try shake the shackles of everyday existence and mundanity and go carve your own path. “
This new track from Brighton UK-based Public Body jerks and twists, shudders and pivots in all the right places. Conjuring up a fractured collection of frantic post-punk rhythms that somehow all come together in a head-nodding, nerve twitching song that digs in deep, both sonically and in its subject matter – capitalism and government hierarchy.
‘Table Manners’ is the fifth in a run of singles the band has released in 2019/2020. Last week the band announced they’ve recorded a new EP which is great news after such a strong bunch of tunes so far.
There hasn’t been a lot of heavy music this year that has moved us and it was a refreshing surprise when we came across this track from instrumental Irish group A Burial At Sea. It’s post rock at the metallic end of the spectrum where changes happen in an instant amid the guitar crunch and clever drumming.
What makes these guys standout from many other exponents of the same kind of thing is that they have a two-piece horn section. When they enter for a defining mid-song interlude, the pummelling metropolitan chug is replaced with desert vistas under wide open skies, like Calexico jamming with Isis. It all collides in the final third where the sound billows and blossoms in an eruptive, cascading coterie of guitar notes.
The track comes from A Burial At Sea’s sea-titled album that came out last month. Check it out on Bandcamp.
The first thing that struck me about Danish band Leizure is how much they remind me of some Australian bands, in particular the much-missed The Scare as well as Melbourne group Witch Hats who have been pretty quiet for a few years now. Given the sound and influences those bands no doubt share, a line can be drawn through Iceage, Ought, Viagra Boys, Birthday Party, Gun Club and other gloriously nihilistic-sounding acts.
In all of these bands there’s the howl and intellectual angst of slashing guitars and primal vocals over post-punk rhythm sections and Leizure do it damn well. ‘Nightmare‘, complete with it’s skronkin’ horns, comes from the band’s excellent new album Primal Hymns which came out at the end of October on Five Foot One Records. It looks to be their debut LP after an EP and a string of singles and it stands tall as a gripping, sonically hedonistic and wild swinging post-punk/art rock record.
The EP, featuring covers of iconic songs by Wire, XTC, The Comsat Angels, The Korgis and The Passions is out now via Basketcase Records/Redeye Worldwide
Australia’s favourite jangly guitar/paisley popsters Ups and Downs return with this five track EP of covers of much-loved new wave and post punk tunes from the ’80s!
They say the past is ‘another country’, and it is well worth revisiting as Ups and Downs lovingly reclaim alternative classics by XTC, Wire, The Passions and The Comsat Angels.
One of the EP highlights is the band’s gorgeous take on The Korgis hit ‘Everybody’s Got To Learn Sometime’ (written by James Warren). They perfectly capture the swoon and melancholic sway of the song, treating it with a gentle strum and shimmer. The icing on the cake comes in the form of legendary Australian-expat Rick Springfield who contributes a beautiful and yearning psychedelic guitar solo that adds a classic Beatles-esque feel to the recording.
Elsewhere the group convey the melodic rush of Wire’s infectious classic ‘Outdoor Miner’ with spirited headiness, they make XTC’s ‘Are You Receiving Me’ one of their own, find a tough-edged drive to The Comsat Angels’ ‘Independence Day’ and apply a darker and warmer moodiness to The Passions’ ‘I’m In Love With A German Film Star’, with sublime results.
The EP cover artwork has a fascinating back-story, as Darren Atkinson explains, “The girls on the cover were fans of Ups and Downs back in the late ‘80s and used to follow us around to gigs and send us presents. On one occasion they sent us a package that had photos of them dressed up as us, taking the piss out of various official promo shots,” he laughs.
(1) Are You Receiving Me – (XTC, 1978) “XTC have influenced all of us over the years. Are You Receiving Me is a classic exploration of isolation and breakdown in communication. We kind of slowed it down and twisted it around a bit.” – Alex
(2) Independence Day – (The Comsat Angels, 1983) “It’s one of those touchstone songs that helped the band define its sound in the early days. It’s been part of our repertoire since just about day one. Its dark and angular nature continues to cast its shadow over what we do.” – John
(3) Everybody’s Got To Learn Sometime – (The Korgis, 1980) “It’s a beautifully sad song that continues to haunt me to this day. We’ve even iced the cake by getting a bona fide rock star, Rick Springfield, to play lead guitar on it. Rumour has it that Ups and Downs are Rick’s second favourite band after The Church and I’m OK with that.” – Greg
(4) I’m In Love With A German Film Star – (The Passions, 1981) “We were early Passions fans and used to play this song live regularly in the 80s. We even used a photo of their album cover in our psychedelic live slide show. It’s a song that still moves me nearly 40 years after first hearing it.“- Peter
(5) Outdoor Miner – (Wire, 1978) “We started playing Outdoor Miner live in the late ’80s. I have no idea what the lyrics are about, yet the song is almost heartbreakingly melancholic. Wire have always been able to find beauty among the noise and chaos.” – Darren
A well-known figure in the Sydney music scene, Simon is best known as a drummer with his musical outings stretching way back to the thriving indie-rock years of the Sydney music scene of the ‘90s.
A founding member of the much-loved Disneyfist and later Modern Giant, Simon was also an original member of the acclaimed Aerial Maps, along with his brother Adam Gibson.
Along the way Simon has played and recorded with many Australian bands, with long stints in legendary Half A Cow Records soul/popsters, Sneeze, plus Lazy Susan, the Simon Holmes-led outfit, Fragile, and his own later ensemble, The Coolites.
With a love of travel, surfing and adventure, Simon’s life has taken him down many a dusty road and to many a backstreet bar. This restless spirit saw him settle in Vietnam for almost a decade, a location where he found a home and where he played an instrumental role in a burgeoning rock scene whilst also working as a high school teacher and writing songs for a number of local bands. The majority of songs written in that period eventually ended up on the three releases for his surf-rock band The Coolites.
The next adventure was a move to Bali to follow his other life-long passion, surfing, a location which in turn led to a whole swathe of new songs …
The Great Ongoing, out now via Bandcamp, feels like a musical memoir, both in the words Gibson sings and the music in which he places them. These are top-shelf indie guitar songs, of both the freewheeling and introspective kind. Jangling guitars chime and occasionally bristle amid warm and wistful melodies. Horns and keyboards add a depth of sound and frame the songs in a way that recalls the melancholic poeticism of Australia’s finest – The Go-Betweens and the Triffids.
‘Now Often Feels Like Then’ casts an eye back over youthful experiences and endeavours, odes are sung to heroes such as Joe Strummer and Anthony Bourdain and day-to-day objects such as battered books, coffee & wine, motel signs and summer streets are littered throughout Gibson’s descriptive songs. The voices of his fellow musicians, Alannah Russack in particular, act as echoes and memories – an additional layer of sonic nostalgia.
“It’s really my one and only proper break-up song,” says Gibson. “I spoke most of the lyrics on my phone recorder just after things fell apart but I couldn’t face writing it until three months had passed. I found some Polaroid photos in a drawer that made me sit down and transcribe the bits on the phone and then write it. Even after I wrote it, I never played it,” he reveals. “I couldn’t face it for about another year…” Simon Robert Gibson on the single ‘Three Months’
When pressed on the album’s themes, Gibson is quick to sum it up as his perspective on the important things in life. “I guess just the idea of staying positive, to keep moving, stay creative, surf, value friendships, accept that things change and enjoy the new whilst being proud of your past. Honour your own history and use it to build the future.”
Converting that positivity into something personal and creative is something that Gibson has wanted to bring to fruition via his own unique musical lens, for a while now. “People always saw me as a drummer, which is great, I love the drums, but I didn’t want to be just that. I wanted to use all those incredible experiences I’ve had through playing with so many awesome people and build something new from them.”
“I’ve been lucky enough to play with some of my favourite songwriters ever,” Gibson enthuses. “Tom Morgan, Nic Dalton, Simon Holmes, Alannah Russack, Pete Fenton, Paul Andrews, my brother Adam Gibson and a bunch more, I’ve always been a fan as much as a musician, and the time just felt right to make a statement under my own name. I love authenticity, things from the heart, songs that elevate day-to-day life to something more, and this bunch of songs seemed to have those things, and so I thought it was time to send them out in to the world.”
“I’ve had an incredible life to this point and I see the album as a bunch of snapshots of different aspects of my life that somehow come together and give some version of the whole. As my mum always said, “you’re a long time dead”, so you might as well do cool stuff when you have the chance!”
One half of folk-noir duo Jep and Dep (also featuring Darren Cross of Gerling), Jessica’s debut album takes the sound forged from that musical partnership and crafts it into her own ethereal and immersive world. Cross is still on hand as producer and engineer but it’s clear from the outset that this is Jessica’s singular and personal vision.
Devoid of drums, the eleven songs drift and creep along like mist on a moor. Heavily draped in resonant reverb that creates an ambient, cathedral-like atmosphere, the billowing vapour trails hanging heavy in the air, shrouding her songs that explore the themes of death, loss and memory – formed from her experience as a survivor of a mass shooting in Strathfield, NSW when she was seven.
There’s a half-grasped memory quality to many of the songs, buried in a hypnagogic haze, while others such as ‘Womb Tomb’ are lifted skyward and ‘Has It Come To This’ has the DNA of a classic torch song.
Vocally, Beth Gibbons (Portishead), Elizabeth Fraser (Cocteau Twins) and Aldous Harding’s early work are clear influences on the way Jessica hauntingly layers her voice. By playing electric guitar, she avoids straight folk and creates more emotionally visceral textures, bringing to mind PJ Harvey and the more elegiac playing of Mick Turner (Dirty Three). Time and the listener’s full attention are essential to fully appreciating the depth and expansive beauty of The Space Between.