I'll tell you about who these characters are in a minute. But first, “Lurid Tales…” is brilliant.
What a huge sound. Big breakers of broken chords ... huge, ripping silences. God, I'm hooked.
Really, I cannot emphasise this enough, “Lurid Tales…’” is a huge, majestic achievement. It's mature, gothic, simple, complex. And I'll be listening to this not just for weeks, but for years.
“Lurid Tales…” is both not at all what I expected Melbourne’s Michael Plater to be involved in, and exactly what I expect from him. And no, that's not a contradiction.
This is War! Godfathers Live! – The Godfathers (self released)
Vol 4 – The Black Bombers (Easy Action)
The Second Cumming – The Filthy Gypsies (self released)
Twin guitar assault? Tick. The Godfathers have been around, in one form or another, for 35 years or so. There have been many line-up changes - and this one has just been summarily dismissed by the singer, Peter Coyne.
All I'll say is: brilliantly recorded live Godfathers will boot your bonnet. Their later albums are as much a feature as their earlier ones, and boy, do these songs rock and crackle. The band is tight, tight, tight and come at you with pizzazz and panache.
It's better than I thought it would be. Sort of.
Once upon a time I lived in a share house with a New Order fan.
Don't you dare pity me.
Anyway, this muffin collected live tapes of New Order. Every time he got one, he'd play it. Loud.
Like I said, don't pity me. I can do that for myself.
KIm Volkman and the Whiskey Priests come from Melbourne. No shock there. Most of the best Australian rock and roll does. And this is a record - like most of them - with a beginning and an end. No shit again, Sherlock. The distinction is that the songs at each end book-end and define what's inbetween - and it's pretty fucking great.
The slightly frayed vocal of opening track "I'm Still Standing (Alive and Well)" and its swaggering, Oz Rock chug suits its survivor sentiment to a tee. And the cover of the Jagger/Richards classic "Silver Train" that closes the album is pulled off with consummate, ragged ease.
Stones and Oz Rock. They're children of the blues. Throw in the inevitable Ian Rilen and the Love Addicts comparison (more on that later) and you'll appreciate how "The Devil Won't Take Charity" nails its colours to the masts.
Let’s get the obvious ones out of the way first, shall we?.
Firstly, after what he’s done in the past, Iggy is entitled to play whatever music he wants. Any outstanding debts have been repaid. In full. And with interest. He can be as indulgent as he wants. Except for that cover of “Michelle”. Or “White Christmas”. Oh boy.
Secondly, if his solo career doesn’t stack up against what he did with the Stooges, that’s almost certainly because most other people’s best work doesn’t, either. Being an ex-Stooge can be both a blessing and a curse.
First heard this outfit on Big Daddy K's Sydney community radio show (2RR, 6pm AEDT Saturday nights). They'd released a single ("Dog's Breakfast" b/w "Stitched", and I was smitten. So I got in touch. Turns out the band have released an LP, but as so many do, it's virtual at present.
You'll excuse me. Many, many bands show their influences. Sometimes these are subtle or complex. When I first listened to "Any Port..." I thought they were familiar with Chris Walsh's bass in The Moodists ... but no, apparently not. They've taken the bits of bands which have most impressed them, and created ... some sort of powerful monster.
Shark Arm are anything but subtle. They've taken aspects of The Birthday Party - but not the bits the Jesus and Mary Chain took - the violence at gigs, the shriek-y feedback, the singer leaning on the the guitarist onstage, and - of course - the big hair. None of that. Instead, we're looking at a two-piece (drums, and guitar/ vox) who use ugly bass loops, sing clearly about ugly truths, and whose guitarist has learned about space as well as position.