Make sure you read until the end. Let’s talk vinyl first:
The A side of this is where the voice (and guitar, for the most part) of X goes back to the ‘60s to show off his sentimental side. Steve Lucas pulled together a capable combo in Levi Franco (drums), Ryan MaCay (bass) and Herbie Mayhem (piano) to play his songs a couple of years ago, so strap yourself in.
“Ever So Lovely” is an ode to Mrs Lucas (hi Joey!), set to raunchy guitars and set off by Steve’s warm but chipped-at-the-edges vocal. Shades of A.R.M., his fabulous Oz Rock project of 20 years ago, here but not as excessive and fixed in the now.
A slice of fuzztone thicker than hand-sliced artisan bread and bossy chick vocals fuel both sides of this snarler 45 from French band The Missing Souls. Vocalist-bassist Zaza Sharpe lives up to her surname on the A side, a cover of a song by The Teardrops that's recorded live to eight-track, with guitarist and co-vocalist Little Big Ian chipping in.
A cover song also graces the B side (“Alligator” was by American frat-punkers The US Four) and it’s powered by a storming, dance-worthy beat and a neat duet between Zaza and and Little Big Ian. Soulful and fiery as hell, if this is indicative of The Missing Soul’s output on French label Dangerous Skylab (two singles and an LP) then you and me both need to hear it.
State Records on the Web
Wrong Turn is a duo-grown-into-a-trio from Melbourne that puts the primal back into rock and roll. Two albums in, this single is the first new recording to make it into the record racks since the band became a three-piece and it hits the bullseye, right in the fucking centre.
Wrong Turn is Ian Wettehall’s band and what his c.v. (The Philisteins, The Freeloaders, The Lords of Gravity, Seminal Rats, Stoneage Hearts) doesn’t tell you isn’t worth knowing.
Don’t let the jokey cover art fool you. The A side comes over like Chuck Berry on 11, telling a story about a man called Johnny Collingwood who never left home. It’s seriously raw and sounds like it was recorded in a toilet. There’s enough fuzz in the guitar to rattle your fillings loose, the vocals growl and the engine room of Myles Gallagher (drums) and Pip McMullan (bass) deliver appropriate crash-and-wallop with powerful fills.
Flip it over and “Baby No Good” hits you in the solar plexus with equal effect. Vocally, there’s a touch of Hasil Adkins in the scream-and-stutter, reverb-soaked chorus (“B-b-b-b-b-b-baby no good!”) while the band sounds even trashier than pn the A. It's all recorded in glorious mono so you know it kicks like a mule. Score this gem at the band’s shows or hit them up on Facebook.
After half a dozen albums you’d expect these Swedish veterans to be good at this thing called Garage Pop and they don’t let anybody down on this meaty four-song EP. It’s catchy, rough-edged pop with twin-guitars.
Dee Rangers are firmly stuck in the 1980s but that’s a positive around these parts. Sweden, the US West Coast, the UK and Australia were all hot spots back for garage rock with distinct ‘60s overtones back then and this release reminds you as much.
Prime cut “I Want You” is straight out of Burbank with a surging organ line, gritty guitars and an impassioned vocal all hanging off a catchy hook. Pers Nystrom announces Utte Petterson’s lead-break with a howl before we’re dropped back into the chorus. Killer stuff.
Love Cans play minimalist garage punk and and come from Switzerland. No, that sentence isn’t an oxymoron. The Land of Bankers, Cuckoo Clocks and Chocolate is, in fact, a rich breeding ground for this sort of music and Love Cans nail it as well as any.
Being a bare bones trio (guitar-keys-drums) of psychos, they revel in the lower end of the aural spectrum. Parochially speaking, this is the precisely the sound Australian kids are devouring in an underground scene that most people don't see because it generally operates outside of established "rock" venues. I'm sure things aren't much different in Europe.
Organist Dany Digler’s drawled vocal is buried in the mix on “Scary Eyes” which is a vaguely rockabilly-tinged work-out that meanders a little. The sound’s more jagged and strident on “Grave Yard” with Bab Digler’s distorted guitar to the fore. Dany’s Lux Interior-styled vocal (wailing about “too many dead”) and hypnotic organ sound give “Grave Yard” a seamy feel and its corpse is kicked along by Meryl Love’s simple but forceful drumming.
The vinyl single doesn't come with a download code but you can solve that problem (if it is one) by checking Love Cans out on Bandcamp where this is available as a physical product and download. If you like what you hear, Burning Sound can hook you up with another five track digital release.
Love Cans on Bandcamp
For six years at the cusp of the ‘80s and start of the ‘90s, Hellmen rode the skatepunk-surf wave better than most Sydney bands. Now Melbourne’s Buttercup Records reminds everybody what the racket was all about. Hellmen were explosive and slammed out song after song with not many longer than three minutes - exactly like this release.
"Mutant Surfer" is a four-track seven-inch EP with two scuzzy rehearsal songs, an outtake and a previously released track. The title cut opens and is an especially potent example of what these guys sounded like live. “Don’t Do It” rocks like the proverbial but pales next to closer “Stone Rock”, left off “Electric Crazyland”. “Skate To Hell” is a cover of a Gang Green song that seems very familiar, even to a non-skatepunk fan. Now, I wasn’t the biggest fan of Hellmen back in the day (something about them being from enemy territory like the Northern Beaches maybe?) but this makes me want to track their old stuff down. It's all due for a re-issue and this is a taster for a Buttercup LP of some sort.
Art is by the mega-talented band member Ben Brown and there’s even a temporary tattoo in the packaging. It’s a limited run of 300 copies - a precursor to an LP - so don’t delay.
Buttercup Records on the Web