SONIC KICKS: Peabody

Sonic Kicks PEABODY

Peabody are now five albums deep in a career that has seen them become a stalwart of the Sydney indie rock scene over the last 24 years. Their latest, A Redder Shade Of Rust (produced by Jamie Hutchings) finds them in fine form yet again. It’s heady, poetic and a really great balance of melody, rhythm, momentum and knotty guitars. It’s dark and churning one minute, on songs such as ‘Perfectly Fine’, before hitting a spirited punk sprint on ‘Prosthetic Heart’. Elsewhere, ‘Sometimes’ is a murky tumble through post-punk shadows and ‘Too Many Days’ heads to the desert with a Morricone twang and an exquisite chorus.

Singer and guitarist Bruno Brayovic kindly took the time to take a swing through our Sonic Kicks: Albums That Shaped Me Q&A and talks G’N’R, Ween and buying cassettes in Ashfield Mall.

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The first album I bought.

The Divinyls  – What a Life

I bought this on cassette (which I still have) at a small record shop next to Franklins supermarket in Ashfield Mall, when I was in Year 5. I’d seen an ad for it on TV which included snippets of Good Die Young and of course, Pleasure and Pain. I was mesmerised, and if I’m honest, probably quite excited by Chrissy Amphlett. I still am.

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An album that soundtracked a relationship.

The blue album by Weezer was a a favourite of mine and my first girlfriend. I wore Buddy Holly glasses but I’m pretty sure neither of us knew what Mary Tyler Moore looked like.

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An album that inspired me to form a band.

It’s a cliche but Nirvana’s Nevermind really solidified my resolve to write songs and perform them with a band (we’d already performed live at school in some capacity). The simplicity of the songs and Kurt’s vocal approach both appealed to me because they both seemed achievable. I was wrong.

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An album that reminds me of my high school years.

Guns N Roses – Appetite For Destruction

I’d gone overseas with my parents so I managed to get it before it came out in Australia. I taped it for heaps of my friends so I was popular for about two weeks. It’s still the very copy I listen to when I whack it on the record player.

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An album you’d love to hear live and played in full.

I thought Kell’s (from Singing Skies) suggestion of John Cale’s Paris 1919 was awesome. I’d love to hear that. But if I have to choose something different I think I’ll say Ween’s Chocolate & Cheese.

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My favourite album cover art.

So many to choose from. Hard to go past Midnight Oil’s Red Sails in the Sunset.

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A guilty pleasure album.

The Traveling Wilburys self-titled debut album. Is this cool again, or is it still daggy? I dunno, but I do know there are some killer songs on it. Some of Bob Dylan’s best songwriting moments are on here, too, including ‘Tweeter & the Monkey Man’, which George Harrison said was actually largely written by Tom Petty. Each song is better than the last, with the exception of ‘End of the Line’ which is still passable.

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The last album I bought.

A vinyl reissue of Paul Kelly’s Post.

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The next album I want to buy.

Piss-Up by local punk band C.O.F.F.I.N. The vinyl is sold out but I’ve been streaming it like crazy. Anyone wanna sell me a copy? Will drop pants for food… or album. These guys are insane live.

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LIVE REVIEW: Power Trip @ Bald Faced Stag, Sydney

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Power Trip, Flaming Wrekage, Shackles
Bald Faced Stag, Leichhardt NSW, Australia
September 22nd, 2018

As legends of the thrash scene such as Slayer, play farewell tours, attention starts to shift to who will lead the next wave of metal. On the back of their acclaimed Nightmare Logic album, Power Trip are widely considered the reigning princes of a new breed of thrash. Accordingly it was no surprise to see sold out signs at their debut Sydney show.

Locals Flaming Wrekage took to the task of opening the evening with vigour and enthusiasm. They’ve been carving out a niche for close to decade now and that experience showed in the balance of pure thrash and more melodic leanings, as they shifted between the two effortlessly. 

Shackles took things into a different level with songs that barely hit two minutes. Played at a lower speed they’d probably be standard length but such is the intensity and top gear approach by the band, they literally hurtle through rapid-fire grind-core riffs with a drummer that was more machine precision than human metronome. The death/punk vocal approach was a blistered blast of a growl that would have been more effective if it had been better placed in the mix.

If the night had been stepping up in quality with each act, it took a quantum leap forward when Power Trip hit the stage. The clarity and tightness of their playing was on display from the opening pummelling chug and their high velocity intensity. Looking at the band you could pinpoint the various influences of their sound, the hardcore punk of vocalist Riley Gale, the classic metal hinted at by bassist Chris Whetzel’s Judas Priest t-shirt, the 80s thrash vibe of lead guitarist Blake Ibanez. You get all that and more when Power Trip lay waste to a stage and by song two they’d incited a circle pit behind the flailing limbs and stray boots of surfing punters. Crowd favourite Executioner’s Tax (Swing Of The Axe) got an early airing and was a high point of the night, Gale leaning out into the throng, grinning maniacally and leading the anthemic and macabre chorus before making an appeal for weed to help ease the pain of a rolled ankle the previous night in Brisbane.

Divine Apprehension, from their recent retrospective release, was pure thrash chug with wailing cyber solos. Rhythm guitarist Nicky Stewart eyed off the crowed with a menacing raised fist, bared teeth and theatrical intensity when he wasn’t laying down slabs of artillery riffs, the solid base between the rhythm section and Ibanez’s pyrotechnics. Returning for the encore and one final round of chaos, they pulled out Crossbreaker from their debut album before leaving the heaving masses satiated and promising to return to Australia sooner rather than later. Power Trip had prevailed, cementing themselves as the new bastions of hybridised metal.

 Chris Familton

LIVE REVIEW: Jen Cloher, Tiny Ruins @ Red Rattler, Sydney

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Jen Cloher, Tiny Ruins
Red Rattler Theatre, Marrickville, NSW Australia
20th September, 2018

A sold out Sydney show is a great way to kick off a solo tour for Jen Cloher and as she revealed during her set, this was her first ever solo headline gig. A surprising event given the career Cloher’s established over the last dozen years.

Hollie Fullbrook is better known as the central figure in Tiny Ruins but tonight she was performing solo, still in the hazy midst of jet lag following a European tour. It made for a fascinating set as she played old favourites such as Chainmail Maker, Me At The Museum, You In The Wintergardens and Hurtling Through, alongside her new single How Much, her first on Cloher’s Milk! Records label. Blaming the jet lag she admitted feeling nervous and at one point had a lyrical memory failure but recovered gallantly. It was a chance to see an artist at a transitional point with a new album pending, on a new label, singing songs we’ve never heard, stripped back to their essence.

Jen Cloher fitted into the Marrickville warehouse aesthetic in her green mechanic overalls. She was “at work, playing her block of wood”. It was more than work of course, as evident in the emotion she displayed when introducing songs with stories from her life. There were memories of her Jim Morrison teenage obsession, stealing money from her parents to fuel her Galaga addiction while pretending to be an 11 year old boy called Jon, a beautiful tribute to her mother who that day had been posthumously honoured at Auckland University as part of the Suffrage 125 commemoration and more. The stories were laced with humour and honesty and gave the songs context and added depth. 

With just an acoustic guitar Cloher transformed her more rock-leaning recordings into solo reveries that never lost their spirit and energy. It emphasised her strength as a lyricist, allowing the words to cut through in the acoustic setting, riding her near endless array of sweet and melancholic melodies. Tracks such as Sensory Memory, Kamikaze Origami and Strong Woman from last year’s self-titled album drew cheers from the warm and enthusiastic crowd but we were also treated to some dips into the back catalogue with David Bowie Eyes, Needs, Mother’s Desk and Eden With My Eve. 

Fullbrook returned to the stage for the encore and the pair played a touching version of Save Me From What I Want, a song that Cloher recorded with Mia Dyson and Liz Stringer. It capped off a wonderfull night of music. Songs stripped back to their simple yet detailed beginnings as stories, carried on the strings of acoustic guitars.

Chris Familton

LIVE REVIEW: Gaz Coombes @ Oxford Art Factory, Sydney

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Gaz Coombes, Mitch King @ Oxford Art Factory, 13th Sept 2018

Solo tours from artists known almost exclusively for their work with bands are often approached with caution. Will they be able to replicate the spirit of their recordings and maintain the integrity of their songs with just their voice and a few instruments on stage? Some artists take the fully acoustic approach – “These are the stripped back, skeleton versions of my songs,” they say. Others create a new experience and approach the songs from different and fascinating angles. Gaz Coombes successfully took the latter option.

Up first, Mitch King serenaded the arriving punters with a set that showcased his technical ability as a guitarist and a voice that fits the template of the soulful, bluesy, easy-listening and surfer-friendly sounds that the likes of John Butler, Jack Johnson and Ben Harper have built careers on. The audience were drawn to King’s friendly demeanour and clear talent but it all sounded like we’ve heard it a million times before. It wasn’t helped by detours into Heartbreak Hotel and AC/DC’s Thunderstruck.

Gaz Coombes bounded onstage still looking younger than his years and with that cheeky street urchin grin intact. Many would have been there hoping to relive 90s memories with some Supergrass tracks but for that they’d need to wait until the very end of the hour-long set. This was all about Gaz Coombes the solo artist – now three albums deep into his post-Supergrass career. Much of his performance focused on the recent World’s Strongest Man album, his most textured and genre-mixing collection of soulful psychedelia to date, and its predecessor Matador. 

Drum loops, keyboards, effects units, acoustic and electric guitars were all at Coombes’ disposal and the newest songs in particular benefited from the palette of sounds on offer. Wounded Egos, Shit (I’ve Done It Again) and The Oaks highlighted the impressive range and quality of his voice with soaring falsetto and a strong soul-meets-Radiohead tone and texture to the songs. Deep Pockets was a Krautrock groove that spiralled into the stratosphere on the back of distorted guitar and the pneumatic insistency of its rhythm while Detroit was a strummed, heady rush of cascading melodies. 

Humble and grateful to the audience for turning up after a decade-long gap between tours, Coombes had the perfect encore up his sleeve with a dive into two songs from his old band’s songbook. Moving was soaring and euphoric before he left us with a song about “getting in trouble with the law” that drew a cheer from the crowd and communal singing as he tore through Caught By The Fuzz.  Coombes is on a creative run that’s hit 25 years and though it was built on the back of Supergrass he showed that he’s more than earned the respect and continued support of his fans through his solo career.

Chris Familton

NEW MUSIC: Straight Arrows – 21st Century

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Sydney band Straight Arrows return with a new slice of ramalama garage rock ‘n’ roll called ’21st Century’. Killer breakbeat, rolling bass and guitar chops! It comes from their forthcoming new LP On Top, due out October 21st. Look out for a 7″ 45rpm single release coming soon.

Hit the Bandcamp link to hear the single (plus ‘Out & Down’) and preorder the album.

ALBUM REVIEW: Roadhouses – Roadhouses

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They say that it is harder to play music slowly than it is to play it fast. Things fall apart and momentum is lost. In the case of Sydney trio Roadhouses, sedated rock music is their calling card. They deal in drifting, alt-country-imbued, slowcore torch songs where heartache is just a tear away. If you got Lucinda Williams to front Spain, at the Twin Peaks Roadhouse – you’d have a pretty accurate summation of the sound and aesthetic of this album.

Skirts as short as sin, drinks that don’t touch the side – you get the picture of where Yvonne Moxham takes her songs. Late night bars, heartbreak and yearning populate her songs of burgeoning and fracturing relationships. First you’ll be mesmerised by the band’s haunting, atmospheric sound, then drawn in by Moxham’s lyrics that hang heavy in the air. Drummer Cec Condon (Mess Hall) throws inventive rhythms and accents into the mix, like a slow motion Jim White. 

‘Black Lights’ throws a subtle curveball into proceedings with its melancholic synths and trip hop drumming that brings to mind Everything But The Girl jamming with Cowboy Junkies. Elsewhere, ‘Heartless’ recalls the haunting minimalism of Low and in ‘Drinkin’’ they conjure up a wonderfully lush, swoon and swell of a sound. Sadness, pain and bruised romance never sounded as good as it does on this excellent debut album.

Chris Familton

 

LIVE REVIEW: Infinity Broke, The Tall Grass, Mark Moldre 13.07.18

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Infinity Broke, The Tall Grass, Mark Moldre @ Factory Floor, Sydney July 13th 2018

Tonight’s gig was a warm up and testing of the waters ahead of all three acts heading off on tour to France. The heavy lifting was firmly in the hands of Jamie Hutchings, drummer/guitarist Scott Hutchings and bassist Reuben Wills who played in all three bands, and though there was a degree of ironing out the creases and in some cases feeling out the songs, this was a night of diverse and engaging music.

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Mark Moldre is in the mixing stage of his new album, the followup to 2013’s An Ear To The Earth, and he gave the audience a preview of what they can expect with a cluster of new songs that showed a noisier, looser and fuller band approach. His poetic phrasing and command of melody is still at the forefront of the songs but now they appear to have a stronger rhythmic focus and draw from a wider sphere of influences with folk, junk-shop blues and esoteric rock ’n’ roll all wrapped up together. Fever Dreams in particular stood out amid the new songs.

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Peter Fenton and Jamie Hutchings’ collaborative project The Tall Grass was fleshed out to a full band when they started touring their album and now with a new rhythm section of Scott Hutchings and Wills in place for this tour, they’ve taken it to a rawer sounding place without losing any of the melodic warmth in their harmonies and guitar interplay. A quiet and attentive crowd made for some awkward silences between songs and there were some minor equipment issues and a false start but it all made for a fascinating glimpse of the newly convened lineup taking its first live steps on the eve of international tour dates. Moller hung wistfully in the cold night air, The Road Is Long dug its heels in with firm intent and The Buyer Beware showcased the duo’s wonderfully interlaced vocals before they finished with an elegant take on Crow’s Halo.

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The third set of the night for Hutchings and co felt like a cathartic release of sorts. With Infinity Broke the magic lies in the group’s devotion to rhythm, both primal and detailed, as well as an embrace of noise, repetition and sharp edges. After the softer palette of acoustic guitars and poetic leanings, the physicality of Infinity Broke felt like aural assault at first. Then the senses adjusted, audience stances were steadied and heads began involuntarily nodding. The endurance and precision of drummer Jared Harrison was hugely impressive and he provided the glue and foundation for the music, allowing the bass to sit in the pocket and hang on for the ride and enabling the Hutchings bros to embrace their inner noisenik with flailing full body feedback, angular, dissonant riffing and bent-out-of-shape rock ’n’ roll. A couple of new songs piqued the interest of those hoping for a new album, before they wound the slightly rough around the edges but wholly entertaining evening to a close with the epic Krautrock weather bomb that was Monsoon.

Chris Familton

FRANCE DATES

  • 24th July @ Le Galion-Lorient – Infinity Broke + Mark Moldre + The Tall Grass
  • 25th July Place aux Artistes-Saint-Quay Portrieux – Mark Moldre + The Tall Grass
  • 26th July Folks Blues Birthday Party-Binic  – Escape-ism + Bench Press + Infinity Broke + Mark Moldre + The Tall Grass

27/28/29th July @ Binic Folks Blues Festival-Binic

  • 27th The Tall Grass + Infinity Broke
  • 28th Infinity Broke-Mark Moldre
  • 29th The Tall Grass-Mark Moldre

LIVE REVIEW: Cash Savage & The Last Drinks @ The Lansdowne, Sydney

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Cash Savage & The Last Drinks, Blake Scott, Roadhouses @ The Lansdowne, Sydney – 23rd June, 2018

With a new album Good Citizens on the horizon and a fresh new single out in the world, Cash Savage & The Last Drinks hit Sydney with a fine pair of opening acts in tow. 

Roadhouses also have new music freshly imparted to the universe and they played a typically strong set. Their sound suits the size of the Lansdowne live room with it’s compact stage and always spot-on sound. The trio showcased their new album, slowing heartbeats to the shimmering drowsy tempo of their music. They’re a band who know how to get the most out of well placed instrumentation, leaving notes hanging in the air. When they did get busier it was Cec Condon’s drums and James Bellesini’s bass that added subtle details. It was only the last minute of their set where the tempo increased into a Velvet Underground-esque accelerated strum.

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Blake Scott is travelling the solo route while his band The Peep Tempel are on hiatus. You get the sense he is finding it a therapeutic experience – getting to scratch his musical itch on stage, yet there  are also cracks in his stoicism, particularly in his between-song comments that suggest he’d rather have the full band on stage with him. There’s a real appreciation for his guitar playing that takes it’s own exploratory trip through his songs, independent of, yet also fully complementing his words and melodies. Warmly received by the audience, he’s a hard songwriter to pigeonhole and one gets the sense that’s exactly how he likes it.

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Cash Savage has firmly established herself on the strength of her songwriting and live performances, and with The Last Drinks behind her you’d be hard pressed to find a more exhilarating and heart swelling live band in this country. Their set was perfectly paced, beginning slow and moody, all their power in the restraint of their playing. Slowly, song by song they opened their shoulders and loosened their hips, fully immersing themselves in the cathartic aspect of playing the songs. Savage  possesses one of the most commanding thousand yard stares, her eyes fixed on the back wall of the venue, occasionally scanning and momentarily locking eyes with various punters. The new single Better Than That was resplendent in its warm pulse and glow, referencing the marriage equality events of last year. Other new songs sounded equally impressive but the strength of familiarity meant that crowd favourites such as Rat-A-Tat-Tat, the lurching Let Go and a version of Run With The Dogs that teased and teased before lifting off with sonic gusto. There’s a tension in the music that Savage clearly knows is crucial to protect. The more she holds onto that, the more powerful the effect when it’s released, and as evidenced by the moving mass of bodies and satiated grins, the greater the experience for both band and audience.

Chris Familton