The DIY ethos is less a gimmick and more a way of life these days for the 99 percent of musicians not enslaved by a major label. It's either practical, necessary or all too easy to hole up in your bedroom and let those ideas pour out onto a hard drive without someone else calling the shots and charging your own money for it.
There's a defiite upside and also a downside. Rattanson is a case in point.
Rattanson is a one-man garage pop multi-instrumentalist from Sweden and "I'd Much Rather Be With The Noise" is his second album under that name. A former member of powerpo act Fanscene and garage rockers The Rawhides, he's gone solo to focus on his own songs.
Rattanson played all the instruments on his first record, 2017's "Full Scale Shakeability", and also on this one except for drums, for which he recruited Anders Björnlund from the Turpentines and the HiJackers. He'll have a bass player in tow to play the songs live.
This is one angry sounding record. Its 11 songs seethe and burn with fuzzed-up, roaring guitars and are propelled by an engine room whose controls are set for the carpark just outside the Gates of Hell.
That’s a place with which Chickenstones main man Andy “Doc” Temple Ellard has become familiar over the last 18 months. In early 2018, he and the band were riding high on the back of a new album, “Johnny Streetlight”, and preparing for a tour of Europe when Doc got a tap on the shoulder from some fucker called Cancer.
Now, that prick comes in many guises and the kind that came cold-calling was especially nasty and persistent. Doc is a Registered Nurse so he had an understanding of what would be involved, but all the forewarning in the world doesn’t make the fight physically easier. Many rounds of treatment later, Doc’s emerged at the other end - with shorter hair and a deeper suntan - and he’s still looking over his shoulder.
Great pop music is timeless. The proof is right here in the 37 rare or previously unreleased tracks on this compilation of Australian bands from Melbourne label Popboomerang.
Ask yourself this question: When did Pop - as the ‘60s defined it - become uncool with the masses? Who forced it to go sit in the naughty corner with its rowdy sibling Rock and Roll and its odd cousin Free Jazz? Best guess is when the corporatised music industry ate itself in the 1980s and all the people with emotional intelligence were replaced by spreadsheets.
Melbourne pop fan Scott Thurling and his prolific label just deals with it. With more than 100 releases in the back catalogue, for almost 20 years it’s been the go-to place in Australia for “real” pop - not the soulless pap that passes for the same for most people. As you might work out from the title, “Shake” is the third volume in a series and the label’s fourth compilation. A handful of these tracks date back 20 years but you'd never know.
Some of us have had a lot of problems forgiving Alice Cooper the man for ditching Alice Cooper the band. The first two Alice Cooper band albums, “Pretties For You” and “Easy Action” were fairly decent if you go in for a bit of whacky hippy burlesque. They have their fans but, truth be told, they needed a firmer hand than Frank Zappa if they were going to amount to anything more than a sideshow.
Next came five albums of perfection. Even the much maligned “Muscle of Love” shits over anything that tried to pass itself off as competition. I know we're all Stooges and Dolls fans here but the Coop actually owned the mainstream throughout the early ‘70s.
Well, they were a shit hot band with great song-writing, a genius producer and a grand guignol stage show. How could they miss?
Well, the thing is...
I suppose you might think of this as “modern jazz”, a term I find too concrete, too easily dismissable. I think it's fair to say that most people find improvised, loosely structured music either to be crap, or too much effort to pay attention to. Which is why you don't hear yer actual John Coltrane or Ornette Coleman in the elevator or supermarkets.
Why they play horrible current “pop” in these places I have no idea, as it makes me hurry to get what I need and run; I mean, if I could get my groceries in a place with either nothing playing or bland light classical wittering away in the background I'd be very happy ... oh, then there's the likes of Albert Ayler... don't get me started.
I like music, but you may have gathered that already. I'm not that keen on definitions, though. Cradle of Filth started in one area, but bent the rules and ended up with a big, broader sound which still fits (albeit somewhat untidily) into a genre-area-type-thing.
There are supposed to be two types of Scientists fans: those who like the first punky-pop incarnation from Perth and people who like the latter, swampy line-ups that sprang up in Sydney and moved to the UK. Of course that’s nonsense. The world isn’t binary. You’re free to love ‘em both.
Getting a handle on the recorded legacy of either, however, is no easy task. The grunge Sydney-UK Scientists recorded in fits and starts, falling out with their then-record company and seeing their stuff released in forms that did not please them.
You'll drop big money tracking down original vinyl but the output of the Perth Scientists has been reissued several times over in jigsaw fashion. At one stage their legacy did suffer from a poorly produced self-titled record (the posthumous so-called Pink Album) being their only LP. Thankfully, there’s enough out there to give a more complete picture of their sound, to which “Not For Sale” adds much.