Dead Rabids main man Bob Short was a member of seminal Sydney punks Filth before he fucked off to England to become a goth and live in abject poverty. He’s also penned the odd vituperative review for the I-94 Bar. So now it’s your turn. Do your best.
There’s no hint of hyperbole in you being told that the A side is a fantastic song. A stone classic. Dead Rabids are no more and never pulled a lot of people when they were a going concern, but don't let that stop you plonking down your hard-earned virtual cash and picking up a copy before it goes out of print.
The pathos runs deep on "The Sound of My Broken Heart" and it sounds like something the early Saints would have turned out in one of their more reflective moments. Put away any sharp objects and lock the medicine cabinet.
Flip the single and switch the mood to bathos: "Do the Harold Holt" is an old Filth song (I think) and you can imagine singer Peter Tillman spitting out its message for poliical leaders to jump into the sea three times and surface twice. A resuscitated classic. The Rabids' abbreviated take on "White Rabbit" sounds positively doom-laden and there's a harsh beauty in its acrid chords. Feed your head some squat food.
The latest in a spate of singles. Just when you'd pegged these veterans as a freakbeat-psych band, the A side has a vaguely surf sound to the guitars; the B side is ’60s-infused pop with a reedy keyboard texture and a slightly dark edge. Welcome to the sound of The Neighbourhood Strange, the English quintet from Salisbury.
“Russian Spy” references the Skripal poisoning scandal that put their home town in the news in a way that the Druids never could. Marcus Turner’s elegant yet edgy vocal gives the song a touch of cool reserve while the guitar lines play tag. “Many Secrets” takes a couple more spins to make an impact and then makes itself right at home. The guitarwork is a stand-out.
There’s a CD edition that adds three bonus tracks: “Mary Mary” is a moody chugger. “Walk on Water” is a lost love tale with spacey guitar and an impassioned, out-of-sorts vocal. “Desert Sand” is a rambunctious near-instrumental and the pick of the bonuses. With this sort of variety, you have to wonder where the album will land.
Sedition 2019 is a Celebration of Public Art and Protest in Sydney during the 1970s, running across various venues and spaces this August-September. To celebrate, Feel Presents have put together a live music component featuring some musical giants from Sydney’s fertile post-punk scene of the late 1970s.
Mark down Saturday, August 31 at Paddington RSL for a show by The Aints!, Flaming Hands, Shy Impostors and The Professors. DJ Dr Rock with be providing the soundtrack between sets. Tickets go on-sale at 12 midday today here.
Ed Kuepper needs little introduction; as a founding member of Brisbane world beating proto-punks The Saints - residents of Sydney for a short four months in Jan-April 1977 - and Sydney’s post-punk giants the Laughing Clowns (1979-1984) Kuepper is almost single handedly responsible for igniting two musical movements.
The Aints! is a continuation of those both projects having lain dormant for some 35+ years but reignited with a passion in 2017 that has thus far seen the release of two full lengths albums, a mini-album and a series of scorching live shows.
Flaming Hands and Shy Impostors both sprung from the ashes of Sydney's exclusive Detroit scene headed by the pioneering Radio Birdman during their reign of 1974-1977.