LIVE REVIEW: Jamie Hutchings @ The Newsagency, Sydney

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Jamie Hutchings, Sophie Hutchings

The Newsagency, Sydney 

April 27th 2018

It was a family affair at the Sydney album launch for Jamie Hutchings new solo album Bedsit. Sophie Hutchings, an acclaimed musician in her own right, opened the evening with a mesmerising set of solo piano. She’s released three full length albums on the local Preservation label and on stage she translated her hypnotic, subtle style to The Newsagency’s baby grand piano. Notes fluttered and danced like lattice and filigree and there seemed to be a constant dynamic interaction between soft, melodic prettiness and omnipresent melancholic undertones. With an attentive seated audience the effect was transfixing.

Jamie Hutchings has always searched for new ways to present and extrapolate his songs. From the spirited rock of Bluebottle Kiss to the wilder and darker Infinity Broke, the constant recognisable core is always Hutchings’ songs. Bedsit and this tour gave fans the chance to absorb those songs in the raw, unfettered by electricity and volume. With acoustic guitar in hand and accompanied on nearly all songs by bassist Reuben Wills and Sophie adding beautiful piano on a handful, the mood Hutchings created was decidedly laid-back, with a warm conviviality in the air.

Opening with Bedsit tracks Second Winter and Judas Is A Girl, we were again reminded of Hutchings’ unique way around a melody – never taking the easy way, dancing and wrestling with the notes and transitioning from spoken word to falsetto and gnarled, strained vowels with ease. December Park was an early highlight of the new material, as was Here Comes The Frost, a song that could’ve easily inhabited any of the Bluebottle Kiss albums. Speaking of that band, we were treated to a brace of their songs, including Last Playboy In Town, Everything Begins And Ends At Exactly The Right Time and The Weight Of The Sea. 

Now possessing an enviable and near faultless body of work, Hutchings continues to explore creative and intellectual songwriting but never at the expense of spirit and verve. Those qualities were on full display on The Newsagency stage on this autumn night. 

Chris Familton

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NEW MUSIC: East Brunswick All Girls Choir – Essendon 1986

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It’s great to read today that East Brunswick All Girls Choir are back with a new album called Teddywaddy, set for release on June 29th, 2018. Their last album Seven Drummers came out back in 2014 and was a real favourite at DS.

Check out the first single, ‘Essendon 1986’, a tumbling, dissonant, howling stagger and clang of a song.

“The song is about the drudgery lumped upon the working class in order to maintain. It’s about the little things people do in order to feel like they’re not churning the butter, often to feel like they’re not where they really are. I still don’t know who decided we were meant to work 5 days a week between 9-5, what monster came up with this concept?” – Marcus Hobbs

LIVE REVIEW: John Garcia @ Factory Theatre, Sydney

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John Garcia, Peter Black @ Factory Theatre, Sydney Australia, April 21st, 2018

I doubt whether many alternative rock fans in the early 90s would have envisaged that the singers of Kyuss and The Hard-Ons would be doing a small-sized solo acoustic show in the year 2018. Noise and electricity have always been crucial elements of John Garcia and Blackie’s calling card sounds so it was both a revelation and a relief that they both pulled it off so well.

IMG_2674Peter Black has been playing solo shows for years now and it’s quite a different sound to his band outings. Predominately made up of finger-picked acoustic guitar and a high register voice, his set was low-key yet quite engaging once one became used to his style. His melodies danced and twisted into fascinating shapes, never settling on any one note for more than a millisecond. Both Neutral Milk Hotel and Graeme Jefferies’ The Cakekitchen came to mind as Black dug into his four-album catalogue for a very good opening set.

With the stage set and various bottles of spirits and an ice bucket in place, John Garcia and guitarist Ehren Groban set about creating an atmosphere that was both intimate and intense. There was plenty of chat from both singer and guitarist with Garcia thanking the audience repeatedly and talking about the songs and their transition from electric to acoustic forms and admissions of pre-gig nerves. The second he opened his voice to sing you knew you were in the presence of one of the great rock vocalists. He possesses a power and control that Kyuss fans already knew he had but shorn of the electric sludge and sonic density of that music his singing was even more impressive. From a sweet whisper to gritted teeth and searing howls his range and precision was visceral and perfectly executed.

From solo material to the iconic Kyuss songs such as Green Machine, Space Cadet and El Rodeo (complete with thunderous audience sing-a-long) and Hermano’s Kentucky he showed that he wasn’t just about the ‘hits’ and then filler. The whole set was strong right across the board. Credit must also go to Groban who was never weighed down by the history of Kyuss. He nailed the rhythmic intensity of the songs and added impressive filigrees of classical, Spanish and blues guitar with not much more than a loop pedal. Garcia complemented the music with shakers and tambourine that, in his hands, sounded like a malevolent rattlesnake. The passion for the songs the brotherly camaraderie and the relief and satisfaction of a job exceedingly well done were the rewarding features of an excellent night of heavy acoustic rock.

Chris Familton

NEWS: The Goon Sax Announce New LP ‘We’re Not Talking’

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Brisbane trio The Goon Sax are back with the followup to their acclaimed debut album Up To Anything. We’re Not Talking is due out on September 14th on Chapter Music via Secretly Canadian/Inertia Music.

CH151 The Goon Sax 1500Here’s the first single, ‘She Knows’, a song that still possesses that urgent acoustic strum but now framed by a bigger, warmer sound and more effects. If the first album was the skeletal introduction to their songwriting then this suggests they now have a clearer and more confident perspective on how they want to present their songs.

‘She Knows’ has become a very fast song, which took us a lot of practise to be able to finally hit and strum our instruments fast enough, with a lot of strings breaking. I hope it makes people energetic and excited to listen to, it’s a song about losing hope, stubbornness and heartache. I’m not sure if it’s our saddest song, but maybe if you lock yourself in your room for a couple of days and only listen to it you might not feel so happy, it is also okay if you feel happy to this song! Even better!!!”- James Harrison

If you’re in Sydney, you can catch the band playing a special one-off show at Golden Age Cinema & Bar next Wednesday May 9th, before they head to the UK, Europe and the US (for their first ever US shows) in May/June.

NEW MUSIC: Roadhouses – Black Lights

 

 

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Sydney slowcore dream rock trio Roadhouses have released their second single from their forthcoming self-titled debut LP.

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Pre-order Roadhouses 

‘Black Lights’ is an atmospheric piece of late-night, wistful psychedelia with Cec Condon’s drumming recalling Portishead and Yvonne Moxham delivering a beautifully melancholic vocal. Sweet sadness never sounded so good.

 

LIVE REVIEW: Cosmic Psychos @ Bald Faced Stag

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Cosmic Psychos, Birdcloud, The Chats @ Bald Faced Stag, Sydney, April 6th 2018

Who said rock n roll is dead?

The top echelon may be uninspiring but down at ground level guitar rock is still brimming with passion, humour and free-spirited energy A sold out venue and mosh-pit ready crowd greeted young upstarts The Chats. Joining the Cosmic Psychos tour from the Sunshine Coast they were like a mini version of the headliners. The same relentless, urgent, pummel and strum that is part AC/DC, Cosmics and Straight Arrows complete with mullet, wraparound shades, a bucket hat and goofy facial expressions. There’s a cartoonish quality to their sound but the simple, unfettered documentation of their lives, the impression that they don’t take things too seriously and their energetic delivery made for an entertaining set. They call themselves shed rock; more like larrikin rock.

IMG_2532Birdcloud hail from Nashville TN and if anyone had concerns that two girls with a ukulele and acoustic guitar would struggle between two slabs of hard rock then they were quickly proven wrong. Jasmine Kaset and Makenzie Green came with sass and attitude, calling out the sound person for a shitty mix at the start of their set. Once they got rolling they showcased their Singles album with songs like Fuck You Cop, Vodkasodaburg and Washin’ My Big Ol’ Pussy. Things descended into hilarious chaos with The Chats joining them for a song, a flashed nipple, and the removal of pants for a strap-on harmonica solo. Part cabaret, 100% rock ’n’ roll.

Cosmic Psychos were onstage, ready to kick into things before the roadies had even finished soundchecking, such is their casual approach. Starting with the none-too-subtle double shot of Pub and Nice Day To Go To The Pub, the kids, young and old, set about creating a mosh-pit of careening bodies, cascading sweat and alcoholic grins. Sure there’s colloquial humour aplenty but the Cosmics have a well-honed sound with Ross Knight’s strangled bark and yell and his buzzsaw bass, Dean Muller’s precise and inventive drumming that looks way simpler than it is, and the well-rounded specimen that is John McKeering and his spiralling wah guitar solos and slashing chords. It’s simple music but delivered with primal muscle and a deft touch. A masterful blend of  The Stooges, Ramones and Motorhead. Dead Roo, Fuckwit City, Bitter Not Better, Lost Cause and Feeling Average were all standouts before the support acts stormed the stage and brought it all home with the glorious sing-along of David Lee Roth. After 34 years Cosmic Psychos are an undeniable rite of passage for Australian youth at the crossroads of punk, metal and hard rock. 

CHRIS FAMILTON

NEW MUSIC: Wax Chattels – Career

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Wax Chattels from Auckland, NZ have released the first single from their self-titled debut LP, set for release on May 18th via Flying Nun Records and Captured Tracks.

‘Career’ is a dark and ominous slow building track that conjures up images of fried circuit boards and ghostly monks in a post-punk landscape where sonic stabs pierce the gloom and deadpan vocals are the calm before the storm of swirling dissonant noise.

Album preorders available HERE. If you head to Bandcamp you can also hear the tracks ‘In My Mouth’ and ‘Disappointed’.

Wax Chattels are:

Peter Ruddell (keyboards/vocals), Amanda Cheng (bass/vocals) and Tom Leggett (drums).

DOUBTFUL SOUNDS – Spotify Mix Series

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We’ve got a new series of mixes happening over on Spotify. As is our want, these are all over the show. One minute you’re in downtown LA in the 80s, next you’re off to New Orleans in the 20s before a quick jaunt to Auckland in the 1990s. Dub, post-punk, glam metal, ambient, pop, country and jazz. Anything goes.

Catch up with the first three mixes below….