NEW MUSIC: Magnus – Saints, Sedated

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Sydney trio Magnus know how to hit the metal, indulge the boogie, stoner rock vibe and stay perfectly on the wrong side of weird on this digital single ‘Saints, Sedated’. It hits a super solid pounding sprint home at the back end after digging into jazz metal noir and desert rock grooves.

The track features Lucius Borich (Cog) on drums, percussion, backing vocals and organ.

Magnus’ sophomore album is coming soon and has been engineered and mixed by Aria award winning Paul McKercher and mastered by Grammy award winning Brian Gardner (Queens of the Stone Age – Songs for the Deaf).

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LIVE REVIEW: The Goon Sax @ Petersham Bowling Club, Sydney

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The Goon Sax, Gregor, Married Man
Petersham Bowling Club
23 November 23rd, 2018

As The Goon Sax made a hurried dash from Newcastle after their flight from Brisbane to Sydney was curtailed, Married Man opened the evening of outside guitar pop music with a set that showcased the songs and voice of Sarafina Pea. Vocal effects were employed to songs that took in dream pop and post punk. It was blurred music with jagged edges courtesy of the rhythm section and in Pea, a voice that rises above the music quite impressively.

Gregor was up from Melbourne and like the headliners he too was celebrating his recently released album Silver Drop. If Married Man used the standard rock n roll components then Gregor (in duo format) delved further into the world of deconstructed pop songs by utilising a drum machine, endlessly inventive bass playing, washes of sound and deadpan vocals with filter-free diary-entry lyrics. It was a fascinating mix that took a few songs to adjust to but across a full set it all made total sense as sad confessional songs to dance to.

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The Goon Sax should probably have been playing a larger venue with a proper sound system, given that the show was sold out and the sound was under par. It was no fault of the sound-person but the drums weren’t mic’d and with drummer Riley Jones’ often light touch they lacked impact in the rhythmically driven songs. The bass was shortchanged as well, leaving the songs sounding a bit hollow and missing depth. All that aside, the band dug in and tore through a set that drew mostly from the new album We’re Not Talking but dipped into their debut, the super catchy Sweaty Hands a particular highlight. Sleep EZ, Make Time 4 Love and the Jones-sung Strange Light all stood out. 

As a band they clearly have the songs and have developed into a fascinating triptych of quirky and slightly awkward individuals (think Talking Heads) but the gnawing feeling still remains that Louis Forster needs to take the lead on more songs. There was a noticeable lift, clarity and drive in the songs that he helmed and the audience responded as a result. Jones’ vocal cameos were also a welcome addition to the set. In all this was a good show, not the best they’ve played in Sydney but good enough to warrant the acclaim and growing fanbase The Goon Sax continue to receive. 

Chris Familton

SONIC KICKS: Peabody

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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.

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