"Dishee!" is Hugo Race's umpteenth studio LP- I think the veteran guitarist has stopped counting (if he ever did). Race came up to considerable notoriety in The Wreckery in the 1980s in Melbourne (and Sydney).
On the Allmusic website,Mark Deming describes The Wreckeryas "One of the more important bands on the Australian post-punk scene of the 1980s, Melbourne's The Wreckery played dark, atmospheric music informed by the blues and the same sort of chemical and cultural obsessions as their contemporaries Nick Cave and the Bad Seeds".
There's a lot more to Hugo Race; he's been involved in many recording projects; Dirt Music and The True Spirit spring to mind. Also, by dint of relentless touring and recording all over the world, he has built up a considerable overseas following. He also cannot keep himself still, creatively speaking; just recently he's played sizable gigs with The True Spirit, and a Doors' "LA Woman" tribute show. And there's a new one on the horizon...
Bats get a bad rap. They’re part of nature and humans – some of the stupider members of the human race, at least – feel an idiotic desire to tame nature. Nature will always win; unlike humans, nature plays the long game.
There’s a local politician whose electorate covers the poor, marginalised and disenfranchised inner-eastern Melbourne suburbs where the local population can barely rub two four-wheel drives, a private school education and an annual ski trip together. He doesn’t like bats, probably since he had an involuntary bowel movement after reading “Dracula” at school.
He wants the bats out of the trees in Kew. Dirty, filthy, disease-ridden pests, he reckons. Plus, they might have conspired to unleash COVID on the world, working in cahoots with devious foreign governments, copies of Mao’s “Little Red Book” stashed under their wings…
I Won't Bend For You - Brian Henry Hooper (Bang! Records/Incubator)
First, it's a damn good LP, the kind you put on repeat all day when it lands in the letterbox. Second, it's so damn moving you'll find yourself tearing up in decades to come. Third, there are songs here which you'll put on at parties and have people scampering up, eyes wide, 'Who THE FUCK is this? It's brilliant!'
This has been a difficult last few years. The stupidvirus has not, of course, helped, but as far as I'm concerned it's just a gentle reminder of what awaits us all, one way or another. One dilemma which confronts some of us is - how best to remember the creative? A novelist, well; in George Macdonald Fraser's case, because he'd left the manuscript in a very prominent place, his family arranged for his very first book to be published. In a musician's case - what have they left for us?
She’s Back b/w The Other Side – Bored! (Fantastic Mess Records)
Discerning people like their diamonds ijn the rough. These are cast-off gems from Bored!’s “Feed The Dog” album sessions, released on a short run 45 by Fantastic Mess in the run to their re-issue of the 1991 record on vinyl. It’s the three-piece version of the band, led by the late Dave Thomas.
“She’s Back” sits back on the groove and shows off Thomas’s singular guitar tone. The vocal is buried deep in the mix but audible enough to give you the idea. Keep it sleazy! “The Other Side” is an obvious nod to Dead Boys with more steamroller guitar and a tsunami-like feel from the ending room propelling things along.
Issued in clear and pink vinyl (the latter is already sold out) with the usual Fantastic Mess trimmings of inserts, sticker and postcard, it won’t be around long. Glenno Smith’s stark artwork suits it to a ‘T’.
Kiwi comeback kings The Datsuns are making a noise with the second single from their new album "Eye to Eye". Part of the so-called New Garage movement of the '00s, The Datsuns disappeared off the map for seven years and as the video for "Dehumanise" shows they're still capable of cooking up a fuzz-spattered aural shitstorm.
Glam via Bowie, Roxy, Ultravox! and original punk, this LP is intense.
I don't like cover bands as a rule. Very few get close to improving or mimicking the original (even if they did write the original). And as for the Australian series “Like a Version' - what a rubbish gimmick.
In case you didn't know, The Skids reformed in Scotland more or less as a fun thing a few years ago, and in 2018 released a new LP ("Burning Cities" on No Bad Records) which I also have ordered from my long-suffering record shop.
Can’t Wait To Be Fine – We Hate You Please Die (Buttercup Records)
Don’t attempt to pigeonhole this band. It won’t do you any good. We Hate You Please Die play what you could broadly term lo-fi garage rock, but that’s where the preconceptions end.
There’s a whimsical fragility to these 12 songs that make them odd and compelling. There’s also sharp musical ability and some keen song-writring.
“Can’t Wait To Be Fine” is the second long-player for the two girls/two guys band from Rouen in France (their first “Kids Are Lo-Fi” came out in 2018) and it’s evidently a kick against the twjn pricks of brainwashing and society’s demands to confirm.
With beginnings as a guitarist in the high energy scene for Zen Genies, and more recent service as drummer for bush punks Handsome Young Strangers, indie band Wifey and country act Dave Favours and the Roadside Ashes, ubiquitous Mark “Looch” Lewis has as much claim as anyone to being a Sydney musical fixture.
Now fronting his own Looch Lewis and The Press Gangsters instead of playing in other people’s bands, dropping this a solo single seems a logical progression.
Yes, it is that “Free Dirt”, the Died Pretty song from which they took their debut album’s name and that ended up on their second LP, ”Lost”, and while it might initially seem a bold choice, it’s done so well that it raises the question why more people haven’t tackled the much-loved music of Ron, Brett and Co.
The I-94 Bar iinvited LIpstick Killers members Mark Taylor and Peter Tillman to front up for a chat on Friday, to mark the release of their band’s killer posthumous compilation “Strange Flash!” on Grown Up Wrong! Records. Fan Steve Lorkin and Tillman’s former Filth bandmate Bob Short were hosts for this wide ranging chat reflecting on the band’s rise through the Radio Birdman-inspired Sydney underground scene to their disintegration in Los Angeles. You'll find our review of the album here.