Japan’s The Deadvikings return to claim their stake and expand their domination over Sydney this week with their ultimate heavy protopunk.
Their four-day Japanese invasion - their second in a year - starts at The Old Manly Boatshed on September 27 with locals Tshatki and 4 Barrel Hemi. Entry is free.
Day 2 (September 28) sees a foray in to new territory via Paddington's Captain Cook Hotel sharing the helm with goth rockers RK Ally, Black Knuckles and Black Heart Breakers. Entry is $10 at th door.
The third gig is a return to iconic inner west venue The Townie at Newtown on September 29, with Eightball Junkies and BUNT. Free entry.
Day 4 peaks at the empyrean of Sunday venues, Frankie's Pizza, in the CBD on September 30 with Stu G's Cloak & Dagger kicking off followed by cosmic sludge monarchs Lord Dodongo and US trio BOYTOY, making their Aussie debut. No cover charge.
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For once, instead of the anodyne whitewashed authorised biography, here you get the ghastly stories and goss. Also, like Matt Johnson’s too-few LPs, “Long Shadows, High Hopes” has been a long time coming. It has the full co-operation of its subject (the book features on The The's website, so one assumes it's the authorised tome).
It comes with a cracking (if brief) foreword by long-time friend and collaborator Jim Thirlwell (you may remember him from such films as , and for his work as Foetus, Steroid Maximus and so on).
It's also a biography with the insights and detail one would expect of a writer of one of the Stones, or a Beatle. And that's because, in the UK and the USA, The The were bloody huge. And ... he walked away from vast fame, fortune and all the usual head-spinning hoo-ha which so many rock gods revel in.
Fraser has done an excellent job, remaining on friendly terms with his subject, maintaining an even perspective but still able to take issue with him at times. Rather difficult if you're a fan, which Fraser obviously is.
Now, I confess I thought The The to be just another English ’80s pop band. Wasn't my thing. But, upon being queried whether I had an interest in reviewing the book, I had a quick look at what Johnson's been up to. Wikipedia (the people's unrelyabull enscycloppedya) tells me that, apart from The The, Johnson is "also a film soundtrack composer (Cineola), publisher (Fifty First State Press), broadcaster (Radio Cineola), and conservationist/local activist".
So I changed my tune and put my hand up and, slightly startled, read Thirlwell's intro at the bus stop. Also, Johnson's first single was produced by Graham Lewis and Bruce Gilbert and that stopped me dead in my tracks. Now I didn't just want to review the book. I wanted to hear the man.
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Figuratively speaking, the title fits like a glove.
This long player hasn’t arrived entirely without warning, but its sonic impact is like a sucker punch to the side of the head from a blind spot.
No dispute that Warped is an Australian hard rock institution. Through two careers over the course of nearly three decades, the line-ups might have shifted but the commitment to that dirty “Geelong sound” has remained intact.
For the uninitiated, Geelong is/was an industrial city to the west of Melbourne which was a rich spring of of bands in the late 190s and early ‘90s. The town’s industrial nature has faded, but the “no airs, no graces” character of its music has hung in there.
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Here’s the two-part hypothesis: (1.) No schtick in rock and roll works as well as premature death and; (2.) the Japanese have a particularly deep interest in musicians who have checked out early – especially those terminally doomed through their own vices.
The latter probably has a lot to do with the strict Japanese drug laws and the populace's deeply rooted respect for authority. Remember the Macca bust? Did you hear the one about the Australian band that wouldn't tour there because the singer liked his pot so much and was worried he wouldn't find a connection? I digress.
The laws of science say that any hypothesis should be disprovable. While you’re trying, I’m spinning this album.
"Jesus Loves My Heroin II" is a Japanese tribute to Nikki Sudden and Kevin Junior Now, I have familiarity with some of the works of the late Mr Sudden; I’m less up-to-speed with the output of the late Mr Junior.
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Longtime Bad Seeds pianist Conway Savage has passed away, aged 58. Close friends confirmed his passing on Facebook.
The Melbourne-based former Feral Dinosaurs and Happy Orphans member joined Nick Cave and the Bad Seeds in 1990 and had been a fixture until last year’s US tour when illness forced him to step down. Savage was operated on for brain cancer and is understood to have been in care recently.
He guested on many albums by the likes of ex-GoBetween Robert Forster, Kim Salmon, Dave Graney, former Triffids member David McComb and Spencer P. Jones.
Savage has a string of solo releases and collaborations to his credit. His most recent EP was 2010’s “Pussy’s Bow”.
Carbie Warbie photo
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Parallel universes of like-minded underground music scenes exist all around the globe but Poland has to be one of the lesser-known outposts. Poison Heart from Warsaw just appeared on my radar and they might be candidates to pop up on yours.
The Scandi Rock wave of the ‘90s gave high-energy rock and roll a much-needed injection of spirit just as the rippling after-shocks of grunge were making everything bland and homogenised. Poison Heart soaked it all up and “Heart of Black City” makes obvious nods to the Hellacopters and Gluecefier.
Is that a Warsaw Turbojugend logo on your CD slick or are you just happy to see me?
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For every band that “makes it” there are hundreds, if not thousands, that never get past thefringes of a scene. Sydney’s Hunchbacks were one of the many runners-up in the mid ‘90s. Despite patronage from the likes of Asteroid B612 (whose main man John Spittles produced them), they never cracked the big(ger) leagues.
That the hard blues edge of The Hunchbacks is apparent on The Fringe Dwellers’ debut album “Hook Down Easy” should be no surprise: Vocalist Carl Ekman (on bass) and guitarist John South from that band are leading lights. They’re joined by sometime I-94 Bar scribe Simon Li (drums) and Damien Smith (vocals and guitar.)
The sound of “Hook Down Easy” drips Sydney’s underground music scene circa 1986. It’s in the driving, hard-edged sound and sparring guitars that do it. That’s where the band’s roots are and there’s no escaping them. I’m guessing that won’t be a drawback for many reading this.
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Despite an increasing lack of consistency with his official album releases, it's fair to say Iggy Pop continued to reign supreme in the live setting throughout the eighties. You could always guarantee he wouldn't actually sound like the horror that was "Blah, Blah, Blah" in the flesh.
This disc emerges from around the period of the equally undigestable "Party" LP. Fortunately, despite sharing two guitarists, it sounds nothing like that.
Along with other companies, Easy Action has recently all but flooded the market with a seemingly endless slew of concert releases from this period. The "Where the Faces Shine" box sets proved more than worthy but they alone bought us more than 12 hours of live Pop music.
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- By Bob Short
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“Noise annoys,” said the Buzzcocks and although they took a more melodic bent than most of their contemporaries, you knew what they were on about. “Ugly music for ugly people” was the apt review tagline for the self-titled Kim Salmon and the Scientists album, many years ago.
This confronting record from electro-punk duo Ace Killers Union is a bit of both. If their music doesn’t make a mark, stick in your craw or drive you to reach for a stiff glass of Suntory whisky after a couple of listens, you’re just not paying attention.
Ace Killers Union - ACU for short - is Hiroshi The Golden Arm and Mr Ratboy with their guitars and a whole slew of machines. From the impossibly fast title track and opener to the low-fidelity, speed pulse-attack of “I Wanna Be Your Dog” (yes, that one) this is an abrasive melange of noisy, gutter rock skronk.
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