sydney

The Mark Of Cain - the band dubbed least likely in their high school year book - return to Australian stages this August in celebration of being the South Australian Music Awards' most recent inductee into the SA Music Hall Of Fame. 
 
TMOC join previous recipients like Jim Keays, Masters Apprentices, Glenn Shorrock, Cold Chisel, Archie Roach, Bart Willoughby, Sarah McLeod and The Zoot. The band will accept the award at a simple ceremony on August 19 at The Gov in Adelaids prior to taking the stage for a full career spanning set.

The Mark Of Cain will also play shows in Sydney, Melbourne this August under the banner “A Different Kind Of Tension”, a nod to legendary UK proto-punks Buzzcocks and their influential third album of the same name:

There is some nasty ’n’ dirty, gravel-based blues-rock ’n’ roll coming out of Sydney and nobody is doing it better than The Hollerin Sluggers. This powerhouse trio from the Northern Beaches is fucking grooving. They have all the awesome songs and guitar riffs you'll need to have you jumping around.

“The Promised Land” is a must for blues and rock enthusiasts alike. It’s a “must have” if you like slide guitar, open tuning, gritty vocals and no over-production. That’s what they recorded and that’s what you get here and - fucking hell - I can’t stop playing this.

From the first track, it’s a throwback to the great early ‘70s guitar bands. “Come Over” is the opener and what a rocker! The band is Owen Mancell (guitar and vocals), powerhouse drummer Andy Thor and Tim Cramer on bass. They’ve only been together a couple of years and this is their first album.

Expectations are one thing. Outcomes are another. The Scientists reformation (as in 35th anniversary of the original line-up) show at Sydney’s Factory Theatre failed to deliver for any number of reasons.

The Stems, Perth's most popular and iconic 80s garage rock band, celebrated the 30th anniversary of the release of their classic debut album "At First Sight Violets are Blue" with a successful all Australian capital cities tour in November 2017. To coincide with the tour, "At First Sight Violets are Blue" was reissued as a limited edition tour CD.

The tour garnered enough interest in Europe for Spain’’s Fuzzville Festival to make an offer for them to appear at the festival. More shows naturally followed and the band are now set to embark for a three week European tour over April/May which will cover Spain, France, Italy, Germany, Sweden and the UK. 

The UK leg includes a show at London's historic 100 Club.

 
_{Murray Bennett photo.}

The Stems
+ New Christs
Manning Bar, Sydney
Saturday, August 30, 2024
Photos: Tony McNamara unless otherwisde credited.

Shows by The Stems are reverential experiences, And for good reason. The band’s membership is scattered over two coasts of Australia and gigs don’t occur often. When they do, you know they're going to be something worth bottling.

What’s the special sauce? It’s Dom Mariani’s timeless pop songs being delivered by top-shelf players who have a chemistry that can only come from most of them playing together for years.

The foundation is Mariani on guitar and vocals, drummer Dave Shaw and bassist Julian Matthews, with a guitar foil of Ash Naylor(this tour) or Davey Lane, who are both ubiquitous and gifted in equal measures.

As far as recordings go, The Stems have not been prolific, with just two full-length studio albums since 1987, so it’s all about the quality and not the length. Their first LP, “At First Sight Violets Are Blue”, was a fully formed pop classic, and the 2007 “follow-up”, “Heads Up”, was substantial in its own right, although is not as well-known.

The Strike-Outs – The Strike-Outs (Evil Tone Records)

The debut LP by Sydney duo The Strike-Outs is the duck’s nuts, the bees’ knees and all the other animal physiology that lies between. Twelve songs in 24 minutes, so brevity is at its core. But so are dynamics. a feral energy and a musicality that divorces it from standard two-chord thrash punk.

The Strike-Outs-are brothers Simon Vines on guitar and vocals and Adam Vines on drums. They used to be Thee Evil Twinuntil they shed a bassist. No bottom end? No problem. Simon’s tone and a kick drum high in the mix compensate just fine.

Photos by Emmy Etie

Enmore Theatre - March 29, 2014

Richard Burgman was adamant when he bounced up to the microphone before a note was played and declared that the Sydney show would be the Sunnyboys' last. Who could blame him if he meant their final gig ever rather than the end of the tour. Informed sources say it's not the case and that the Sunnyboys will live on.

Legendary '70s Perth punk group The Victims - who introduced the world to both Dave Faulkner and his original drumming partner in the Hoodoo Gurus, James Baker – will say a final farewell with shows in Melbourne and Sydney in early December. 

The announcement follows the release of a new and final Victims single "Girls Don't Go For Punks"/"Victim", on esteemed Los Angeles label In The Red.

Since regrouping in late 2014 with uber  fan Ray Ahn of the Hard-Ons on bass, The Victims have released two vinyl records (an E.P. and the new single), as well as an anthology of their '70s classics, all on In The Re. They have also played a handful of shows on the Australian East and West both coasts. But now the time has come to say goodbye. 

A Perth farewell show, played in front of hundreds of heaving fans at the Rosemount back in June, was so great that plans were put into effect straight away to get the group over to Sydney and Melbourne. It just wouldn't have been fair to fans in both cities otherwise - including a new generation of '70s punk loving kids who need to see what the fuss is all about. 

The Victims play Brunswick Ballroom in Melbourne on Friday December 1,and the Crowbar in Sydney on Dec 2. And then they're done. Joining the band in both cities will be Wollongong's fantastic Chimers.

THE VICTIMS - LAST SHOWS
with special guests Chimers
DEC

1 – The Brunswick Ballroom, 
Melbourne
w/ Lice Trays
Tix on sale now
2 – Crowbar, Sydney
Tix on sale now

Lovegrinder The Album – Lovegrinder (self released)

There’s a popular theory - perpetuated by a few fans of Junkie Rock from Australia’s southern state's capital city – that the so-called salad days of Sydney underground rock and roll were a farrago based on an overdose of second-rate Radio Birdman copyists. 

Call it a typically defensive Sydney response but while the "Detroit" handle became a tag of convenience, most of the Harbour City’s bands of the 1980s/early ‘90s had tenuous musical links to the Birdmen. There was a handful of short-lived clones, but for the vast majority it was the energy and undeniable fuck-you-we’ll-do-what-we-want attitude of the Radios that were the hand-me-downs, and not their unique, impossible to replicate mutated musical mix.

Which brings us to Lovegrinder, yet another in the long line of Sydney bands that never progressed higher than the lower support rungs of the very crowded local live scene ladder. Not that there’s any great shame in that. For many, headlining the Tivoli or Selina’s wasn’t the goal because they had no interest in being on the rosters of the omnipotent Dirty Pool, Nuclear or Harbour booking agencies. Playing music was more about knocking around with their mates, consuming beers (or something illicit) and having a good time.

_{Tony Thewlis and Kim Salmon fronting the Scientists at Sydney's Southern Cross Hotel in 1982.}

The Scientists at their peak were unmatchable. A glorious collision of droning, caustic, fuzz guitars, minimalist bass, anguished lyrics about alienation and ominous, funereal rhythms, they created something unique after landing in Sydney in 1981. 

Originally ragged New York Dolls-inspired popsters back in Perth, the re-constituted Scientists stripped their music back to its darkest roots, concoting their own brand of psychedelia and incorporating influences like Suicide, the Stooges and Captain Beefheart.

Too big for their own Surry Hills backyard, the band moved to the UK in 1982 and, in typical expatriate Australian underground band fashion, starved before going on to influence countless other acts into the ‘90s and beyond.

Pismo Beach's Kings of the Ring, the Psychotic Turnbuckles, kick off their anniversary "40 Years Undefeated" tour of  Australia's East Coast at The Tote Hotel in Melobourne this Saturday. Supports are crazy great Sydney glam rockers Starcrazy and hometown retro champions The Vibratones.  

Asked how the Turnbuckles would fare with no competitive matches under their collective belts since last October's triumphant Japan tour, frontman Jesse The Intrudertold us: "Champions never fold. We've been training hard in the Pismo Clam Club gym and amping up on Turnbuckle Tonic. We will wipe the floor with those pathetic support bands". 

Man of few words and drummer Buddy "Bam Bam" Balam The Brooklyn Bruiser added: "They are bums. So are you. Get out of my way."

Tickets for The Tote, Sydney (July 13) and Brisbane (September 7) shows are here, and are presneted by The I-94 Bar (Melbourne and Sydney) and Punkfest (Brisbane).

Yes, 300 St Claire were another of those noisy, intense and hard-as-a-cheap-pub-steak bands that were around in a crowded Sydney backyard at the cusp of the 2000s and never made a substantial mark anywhere else.  They self-released an EP, gigged around and more or less fell off the radar before the decade was half-done. 

My own memories include taking away tinnitus from a support they played to Asteroid B612 at the Iron Duke in Sydney one Friday night. By the time Johnny Casino and Co came on, the damage had been done, and every note The Big Fella played fell on ringing ears.   

As is the way these days, 300 St Claire has reformed - to have fun and sink a few beers, the members will tell you - so now is a good time for their long, lost EP to resurface on Conquest of Noise, complete with extras. It’s every bit as bludgeoning as you’d expect. 

Sometimes I want to avoid the fact that I'm becoming an old fart. Sadly, talking up the "good old days" is a sign of this. Even so, it seems relevant when talking about today's Sydney, the bands and the live scene. It's how I view the world. 

I remember when I was seeing bands most nights of the week. It was somewhat of an outlaw existence and hard to comprehend it all at just 19-years-old. Back then, anyone over 24 was “old”. The veteran bands were the Sex Pistols and Radio Birdman. Then there was Iggy, who was ancient.

It was the early ‘80s and I was living in Surry Hills in Central Sydney when could you get a room in a shared house hold for $25 a week. There were quality, cutting-edge bands playing within a few minutes’ walk, five nights a week. The Triffids, The End, The Moffs, Salamander Jim, Scientist, The Laughing Clowns, and all that Black Eye art-noise band stuff.  There were venues everywhere - Trade Union Club, Evil Star, French’s, The Strawberry Hills, The Lansdowne and The Hopetoun. Then there were the squat gigs or house parties where everyone put bands on in their lounge rooms. And mostly always, those were free. It’s now all just a faded blur. 

Five years after their music last rang in anyone's ears, the enduring rock-pop sounds of Voodoo Lust are about to be heard again. 

Voodoo Lust returns to Sydney for one show only at The Factory Floor in Marrickville on Friday, November 20 and tickets are on sale here. They play Brisbane's Beetle Bar on November 28 with tickets on sale on the door. 

Voodoo Lust was an integral part of the explosion of the Australian independent pub rock circuit of the 1980s with a string of independent chart hits and tours with some of the biggest names in rock and roll.

They’ll be joined by Leadfinger, the power quartet led by Stewart Cunningham (Asteroid B612, Brother Brick), and the gloriously ramshackle inner-west garage rock heroes The Escapes.

Gary Slater of Voodoo Lust.    Shona Ross photo

One of the hottest Sydney days of the year translated to one of the coolest gigs in almost as long when Voodoo Lust made their first appearance for five years in the Harbour City last Friday night.

With the mercury clocking 42 degrees Celsius (nearly 103 on the old scale) on this fine Friday it was no time for sitting out in the sun (setting or otherwise) and the appointed venue, Marrickville’s Factory Floor, was accommodatingly air-conditioned.

Remember Voodoo Lust? You would if you set foot in an Australian East Coast rock and roll venue in the late ‘80s. The Voodoos toured the shit out of this place and were a powerpop-punk outfit extraordinaire.

T_{he On and Ons Glenn Morris and Jon Roberts with guest guitarist Murray Cook . Shona Ross photo}

At the risk of stating the bleeding obvious, this was a night of three contrasting but not dissimilar bands when The Smart Folk, Loose Pills and The On and Ons weaved their guitar pop web over Marrickville Bowling Club. It was also the album launch for The On and Ons' wonderful CD "Welcome Aboard".

These sorts of night are infrequent in Sydney these days. Ones where the bands on the bill complement each other and the venue doesn't turn people off, so they turn out in good numbers.

You’re here to read a live music review? Hang in there. There's a bit of preaching to go through, first...

Sublime Sydney pop-rockers The On and Ons are preparing to unleash their second album, “Welcome Aboard”, this month on the redoubtable Citadel label.  They’ll launch it at Marrickviille Bowling Club in Sydney’s inner-west on August 26 with special guests, Loose Pills..

With a line-up of Glenn Morris (guitar-vocals), his brother Brian (drums/vocals), Clyde Bramley (bass/vocals) and Jon Roberts (guitar), this is a band with a musical pedigree that includes the Hoodoo Gurus, the Screaming Tribesmen, Paul Collins Beat and The Barbarellas.

No Limit: Collected Works 1985-89 – Love Minus Zero (Method Records and Music)

From the Never Quite Made It Department comes this collection of gems.

Love Minus Zero was a Sydney pop-rock band that was around in the mid-‘80s who managed to release some tracks on Waterfront label compilation and a self-titled EP on Citadel spin-off Green Fez before packing their tent.

“No Limit” is a pubic service of sorts, not the least reason being that it serves as a reminder of the embarrassment of riches that was the Sydney music scene 35 years ago.