Vinyl only. Not just brilliant, “Tenterhooks” has no right to be this fucking good, this exciting, and (granted) if you're anything like me it’s going to be thrashed beyond recognition, and god have mercy upon your neighbours. Such raw gentle, blaring fucking power and construction.
There are very few times when I wish I had a shitload more money than I do have, and this week is one of them, when I wish I could've gone to Portland, Oregon to see off the very talented, wayward but rather lovely Mike Pitts (of Neptune Skyline and the Kent 3), and to Melbourne this Friday to see off Lost Talk.
After (I believe) 3 years Lost Talk are splitting up, and releasing this vinyl LP as a farewell at their last gig - this Friday night (July 19) at the Cactus Room, Thornbury. (Uh, that's in Victoria. Squidneysiders, book your flights)
Fort Wayne, Indiana’s favourite blues duo is back and while they’re not making any seismic shifts in their music, it sure sounds good on “Shake and Bake”.
What's here? Ten songs. No fat. Mostly foot stomping punk blues. That giant-sized space cake on the cover sure ain’t gluten-free. Is it studio album 10 or 11? Who cares. The formula works.
Left Lane Cruiser remains Freddy “Joe” Evans IV (guitar and vocals) and Pete Dio (drums and percussion), the latter on his third straight record, and opening track “Two Dollar Elvis” makes an immediate impact. Dio lays down the time to signal Evans’ stuttering guitar and trademark hoarse ’n’ gritty vocal.
There are more musical and cultural references in the latest Dave Graney album than a shelf-full of fourth year undergraduate sociology theses. Over a baker’s dozen songs, “ZIPPA DEEDOO WHAT IS/WAS THAT/THIS?” - we’ll call it “ZIPPA” for short - is a wander through the backblocks of Graney’s singular musical mind.
It’s self-described “classic rock” but don’t expect Journey or Van Halen to spring out of the speakers. “ZIPPA” is in-the-pocket, pop-rock played by a well-drilled ensemble. Drumming national treasure Clare Moore, consummate bassist Stu Thomas and jazzy guitarist Stuart Perera have been in more trenches together than the cast of “Hogan’s Heroes” and Graney’s respect for stylistic boundaries is on a par with Nancy Pelosi’s affection for Donald’s pipe-dream Wall.
Opener “Baby I Wish I Could Have been a Better Pop Star” is classic Graney: There’s more piss being taken here than in the bathroom of a highly-paid Macquarie Street urologist, and you don’t have to wait for the results from the lab to know who Dave’s talking about.
Americana is a term that excuses all sorts of sins. It’s so sweeping as to be meaningless - and it’s been homogenised to the point of dross - so let’s not speak of it again.
Some folks call Pat Todd “Americana” and it doesn’t remotely cover what he and his Los Angeles-based Rankoutsiders play. They’ve been tagged “Mellencamp with the Les Paul turned right up” by one reviewer, which is a bona fide compliment if you ignore the stuff that charted in Australia…
So, the fifth Rankoutsiders album, “The Past Came Callin’”, is rootsy and muscular rock and roll, an amalgam of rock, country, blues and everything in-between, and a contender for their best yet.
What makes the 14 tracks on “The Past Came Callin’” stand out? The songwriting, for one. Pat Todd doesn’t do mawkish sentimentality and writes from the heart. These are a mix of old and new songs, stories about relationships and crimes - which we all know are sometimes one and the same thing.
The surging, urgent guitars of Nick Alexander and Kevin Keller are another distinctive plus. Like Thunders with a clear head or Keef with a new-found dose of inspiration and less noodling, these guys make you take notice of every lick and steamrolling riff.
A conundrum for you: If douche is a word for “an obnoxious or contemptible person” why don’t these guys suck harder than a top-of-the-line Dyson vacuum cleaner near a split beanbag?
The intent is obvious from the song titles and long before you first drop that stylus into the groove. The Douches want to wind music back to Flintstones days, stripping it bare until there’s just fuzz left on the bones. Thirty-somethings on drums, bass and two guitars. What you see in their artfully posed cover St Kilda Beach photo is what you hear.
Zappa rhetorically asked if humour belonged in music and the answer’s right here. Eight songs and there’s a droll dad joke in most of them. What’s not to love about the “primordial cordial” chorus in the song of the same name, especially when it’s about going on a bender?
Sonically speaking, Prehistoric Douche are Melbourne’s equivalent of Sydney’s Crusaders without masks and playing a little slower. The playground they’re both in is familiar but each brings something of their own to stand out from the rest of the kiddies.
You might ask who they are, but after you wrap your ears around this debut album from The Heck, chances are your next question will be: “Where can I get more?”
The Heck hail from the northern reaches of the Netherlands and are the new garage rock outfit for singer-guitarist Henri Soulman (Sensational Second Cousins, the Miracle Men and De Keefmen) Soulman references the Sonics and The Reigning Sound as his big influences but there’s a lot more going on under the hood.
The Heck are a trio and we all know that such a configuration puts a sharp focus on the rhythm section. The fluid, warm bass-work of René Katerbarg and effervescent drumming of Erik Berends are right up to the job. Katerbarg fills any holes in the road while Berends drives the songs from just behind the beat.