sydney

A taste of the forthcoming new album, this double A-sided single single puts Fast Cars in a place of their own. It's elegiac dream pop with an edge and a long way removed from their mod and powerpop beginings.

Those Sussex Hotel days are long gone. The band is now a core duo of Sydney multi-instrumentalist Fabian Buyrne and UK-domiciled vocalist-guitarist Di Levi. The songs are children of the digital age, worked up in disparate studios and assembled across the Internet.

"Stainless" is pop song of sharp contrasts with sarcastic lyrics ("nothing sticks to you") elegantly rendered by Di Lev,i atop a bedrock of flint hard, buzzing guitars. There's plenty of space in the production.

"Real Love?" Is instantly sunny, thanks to chiming guitar, Di's lilting vocal and a lusher backing. Piano and a pulsing bass-line, buried deep in the soundscape, round things off nicely. It's a song about being alive while savouring your surroundings. Pop with a capital 'P'.

3/4 

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Sydney's finest purveyors of glam alt-rock, Starcrazy, are back with a hard hitting, hard rock rendition of ABBA's, “S.O.S”' and have given I-94 Bar first look at the brand new music video, which is due for release on streaming channels tomorrow. You can pre-save it here.

You can catch the band live at The Lady Hampshire in Sydney on Saturday, September 23 along with local up and comers, Mayeflower, The Polymics and DEDPAN. Tickets are here.

In only a few years since forming, Starcrazy have sold out multiple electrifying shows, released two independant EPs, received ongoing radio airplay from Alice Cooper, opened for world class artists (such as The Animals, Faster Pussycat, Wednesday 13, Chris Klondike Masuak and Hard-Ons), and even performed on national television!

Lead singer, Marcus Fraser, says of the new single:" We've always been into anything 70's and decided to incorporate a rocked up version of ‘SOS’ into our live set. 

“It took a little patience learning the three-part vocal harmonies and transposing the piano part to guitar but audiences have been super responsive so we decided to record it in the studio. It's really fun putting our own spin on a classic pop tune. 

“We added a completely new backing vocal part in the last chorus written by our bassist, Jack Barratt."

The music video was filmed and directed by John Flaws and edited by their very own, Jack Barratt. It pays homage to the original ABBA video from 1975 with crazy spinning camera effects and unique mirrored close ups of the band members.

 

Brash Sydney glam-pop-rockers Starcrazy are releasing their self-titled debut album on October 18 and have unveiled a teaser film clip. “I Ain’t That Crazy” was written by bassist Jack Barratt and produced by Mo Mayhem (Mucho Sonar, ex-Hell City Glamours). The video was shot by Connor Barratt.You can stream it here.

Announcing the album, the band says: “This release successfully transports the fire and glitter of our live performances into the recording studio with no loss of heat or dynamics. We’ve been a band for over four years now and feel that with this full length release, we’ve finally honed in on our own sound.

During these past few weeks there has been a stream of classic 1977 UK punks band bands floating through, or announced to play in, Sin City, aka Sydney.  Names like Buzzcocks and The Stranglers have been something of a call-to-arms. And now a band that has less of a profile locally, Stiff Little Fingers, is playing.

Stiff Little Fingers emerged out of Belfast in 1977 as a bunch of teenagers playing in a punk band in a city with its soul ripped apart. It was a hard place but one that still had heart. Anyone who looks at news footage at the time knows Belfast was a warzone.

I remember a great uncle telling me first-hand stories of how brutal the city really was. Daily body searches by the English soldiers, ruthless gangs that murdered you for your religion and children that were bashed within an inch of their lives after school for walking down the wrong street.  Entrenched generational anger and hatred ran deep on both sides.

What a long way this Sydney band has come in a few years – and not just geographically speaking.

The Prehistorics have done the European touring thing a couple of times now, returning home to relative indifference. Main-man Brendan Sequiera was planning to relocate to France but red tape and lukewarm day job prospects have put that plan on the backburner.

What he and his band have delivered with their fourth long-player is an album of world-class, melodic but hard-hitting rock and roll. It will go down a storm offshore and - all things being equal - should make an audience closer to home sit up and listen as well.

And so the return, and rise, of the Sunnyboys continues. If you said they could top this one, you’d need to back it up.

They billed themselves as Kids in Dust when they stepped back onto a stage for the first time in 21 years at the Dig It Up festival in Sydney on April 24, 2012. The nom de plume was supposedly to avoid performance anxiety or to ramp down expectations, maybe both. It didn’t matter; any tentativeness was swamped by a roomful of love.

Nor were there any misgivings in evidence at the same packed venue, the Enmore Theatre, last Saturday night. Just an irresistible king-tide of energy and good spirit.

The Lonelyhearts popped out of Sydney’s western suburbs in 1979 and burned, briefly and brightly, before slipping away. Their their first 45, “Last Kiss” b/w “Ambition” is as one of the great lost Oz power-pop gems of its time.

They had two lives, resurfacing towards the end of the decade, but The Lonelyhearts’ recorded legacy (three full singles) was scant for a band of their quality. And that’s why Melbourne’s canny boutique label, Buttercup Records, is seeking to make amends.

_{Steve Lorkin photo}

More than a decade ago, I was sitting in a Sydney pub with a beer after a Bob Dylan concert. I was amidst Dylan fans, including Jenny Kee, the ’60s fashion icon, “OZ” magazine figure and Buddhist. Jenny is a deep thinker and was peeling back layers on the Dylan show we had both witnessed. She turned to me in mid-conversation and asked a question I won’t forget.


“Do you think Dylan is deeply spiritual and has soul consciousness on stage?”

My answer after much thought was: “I can’t answer that, as I believe Bob lived many lifetimes and always felt he was guarded on that level, except in his born-again phase. That said, his songs are from the heart and mostly from his mind.” 

Jenny responded. “I saw Lou Reed last year. I believe he does, as he is on that journey.”

“I can’t say that about Bob or even Lou Reed. But after seeing Patti Smith live, I believe she does and that it comes from a very deep realm, in fact one could call it soul consciousness.”  

That was my answer all those years ago that night in Haymarket. I've always believed Patti is indeed a special performer.

It’s 40 years since Sydney mod band Division 4 released their “On The Beat” EP, and to celebrate they have got together to record a new single “Let Her Go”.Division 4 are Kieren Fitzpatrick (ex-Love Minus Zero) on guitar and vocals, Brad Fitzpatrick (ex-Bam Balams, Gigantic and Rob Younger’s ‘60s band Nanker Phelge) on lead guitar, Mark Jago (ex-Stig Can’t Clap) on bass and vocals, and David Rowley (ex-Jump Vision and Watusi Now) on drums who replaces original drummer Joe Genoa. The new single was written by Kieren and Mark. Mark also mixed and produced the song and directed and edited the video.

It’s a pairing of the music of two legendary Australian underground legends, the likes of which hasn’t been seen in Sydney in 46 years: Tamam Shud and Buffalo Revisited are playing a double-headliner show at the Bald Faced Stag Hotel in Leichhardt on Friday, September 9.

Regarded as Australia’s true progressive, surf and psychedelic music pioneers, Tamam Shud recently celebrated 45 years with the release of a new album, “Eight Years of Moonlight”.

Buffalo is held in the same high regard and was recently lauded as the Australian “inventors of heavy metal” by UK magazine Classic Rock, which said they’d paved the way for scores of hard rock and stoner acts.

Forming in 1971 and releasing five albums in six years, Buffalo dissolved after making their mark as a live act despite a lack of commecial radio acceptance. They’d left a potent legacy before bass player Peter Wells went on to form Rose Tattoo.

Archetypal bad boys, Buffalo’s early albums “Dead Forever”, “Volcanic Rock” and “Only Want You For Your Body” have been reissued numerous times and original copies change hands for hundreds of dollars in collector circles. 

A year ago, following constant approaches from fans, Dave Tice assembled a line-up to re-visit the original band’s legacy. They’ve since played a handful of select gigs, including a 40^th birthday celebration for iconic Brisbane radio station 4ZZZ.

The vinyl revival will suddenly become more accesible if you’re an Australian band looking to press an album or single.

With just one local pressing plant (Zenith in Melbourne) capable of a substantial run, Australian bands have been starved of choice with the cost of having a record manufactured offshore compounded by shipping costs. A new plant is set to open in Sydney’s inner-western mid-year, according to the facility’s manager Vincent Chen.

Sydney’s music community is rallying to get behind much-loved rocker Spencer P Jones in an hour of need.

Spencer is battling serious illness and fund-raisers have been popping up all over Australia. Sydney is responding with its own show, The Axeman’s Benefit, on Friday, June 24 at The Factory Theatre in Marrickville.

Died Pretty is headlining a heavyweight bill which will include Spencer’s old band The Johnnys (with guest vocalists), the Hoodoo Gurus (playing a mini-set), home-grown garage up-starts Straight Arrows and psych-punk veterans Young Docteurs.  The Johnnys will close the night.

The killer line-up will be augmented by a bevy of guest musicians including Jim Moginie (Midnight Oil), Simon Day (Ratcat), Jack Ladder, Murray Cook, MC Anthony Morgan, Jason Walker, Peter Fenton (Crow) and Kane Dyson (Spurs For Jesus.) FBi’s Jack Shit will be lending his DJ talents.

All of the acts have played alongside or recorded with Spencer in some capacity.  Died Pretty is fresh from a summer of sold-out A Day On The Green and club shows and is re-convening especially for Spencer.

Although his career has been mainly under the mainstream music radar, Spencer P Jones has been a tremendously influential figure in Australia.

Arriving in Australia from New Zealand in 1976, Spencer came to prominence with hard-drinking cowpunks the Johnnys and then inner-Sydney swamp supergroup the Beasts of Bourbon, he’s also played with the Gun Club, Renee Geyer, Chris Bailey, Rowland S Howard, Nick Cave and Paul Kelly.

In recent years he’s been recording and playing with his own solo bands as well as members of The Scientists and The Drones.

Tickets for The Axeman’s Benefit went on sale last  night and are here. A substantial number have gone already so don't delay.

It’s shaping as a Blink And You Might Miss It Moment: Star-studded Sydney band The Stepfords are reforming "for one night only" on April 11.

The gig will coincide with New York-based singer Monica McMahon being in Australia and guitarist Jon Schofield (ex-Paul Kelly & The Messengers) celebrating his 60th birthday.

The Bat and Ball Hotel in Redfern is the venue and fittingly so - it was one of The Stepfords' favourite haunts.

With a line-up of McMahon, Schofield, Jim Bowman (ex-Ed Kuepper), Clyde Bramley (ex-Hoodoo Gurus) on bass and Iain Shedden (ex-Saints) on drums, The Stepfords were a staple on the inner-Sydney scene of the ‘90s.

Concrete Box b/w Crazy For You – Room 101 (Lost in Pyrmont Records)

This particular Room 101 were the first band to use the name that I'm aware of; there is now a chat show (dear God), a band from Lansing (Michigan) and a post-hip-hop outfit from Nuh Zuhlund, which explains why this band's bandcamp addy is https://room1011.bandcamp.com/

"Concrete Box" is a slice of simple, socially-observant venom articulately snapped out, with zipping twin guitars in sharp sync with bass and drums, with a lyrical trajectory perfect for the physically active lead singer. Granted the pop world had moved on somewhat from guitars (so the industry thought at the time)  but the crowds in Sydney thronged to hammering bands like Room 101. Given some of the rather woeful "punker" type bands which appeared each Sunday night on 'Countdown', Room 101 would've cheered you up no end. 

Tales From Bad Drip – Bad Drip (Outtspace Records)

From out of Sydney’s Inner-West comes Bad Drip and they’re quite the thing if you’re partial to heavy blues jams. “Tales From Bad Drip” is only four songs but the vinyl-only EP packs plenty of punch.

The Inner-West Delta. It’s where Surry Hills’ survivors settled when gentrification pushed the inner-city rents up and the dole dried up. Some of them even got mortgages and have spawned kids. It’s a funny place, full of contradictions and probably ripe for urban renewal itself, but it’s also where most of Sydney’s music now lives.  

A lot of those Inner-West bands sound like fey indie rock or hip slacker drivel with no songs. If the cliche is reality, Bad Drip is refreshingly atypical. A quartet that’s only been around two years, this is their first physical release. Of course, it’s on vinyl.  

Enmore Theatre, Wednesday, October 30, 2013

Restraint is not often a by-word around these parts but let’s at least try to keep some perspective. A visit to Australia by Television seemed unlikely, if not an absurd proposition, just a few years ago. The band was scarcely active, Richard Lloyd having had long flown the coop, and Tom Verlaine had let a label issue two mothballed solo records that were barely promoted. It seemed if the TV hadn’t been turned off it was in storage and in danger of being forgotten.

The Dirty Earth is a Sydney band that cites the MC5 as a precursor among others but to be blunt, right now their sound is more Maroubra Seals Club than Grande Ballroom.

The quick version? Fourteen tracks. The cover doesn’t lie. Wall-to-wall guitars. Rocks harder than a Manly ferry on a cross-Sydney Harbour run in a 40-knot gale. The long version? Read on…

“The Fantastic Sounds of” has the blessing of Dave “Spliff” Hopkins, their mercurial guitarist, and frontman Ben Brown, whose stellar “surfing dead” artwork has not only adorned their past and present releases but those of Massappeal, Red Kross and Bored! They were the core of the band. Hopkins now lives in WEstern Australia and plays in Purple Urchin, while Brown is still a stellar artist.  

The Hellmenn sprang from the loins of the Sydney musical underground in the halcyon late ‘80s, rolling out a long-player and numerous EPs and singles until grunge, random breath testing, poker machines and venue licensing red tape sucked the marrow out of the local live scene in the early ‘90s. The Hellmenn were proud products of the city’s Northern Beaches - the place that spawned Midnight Oil, Asteroid B612, the Celibate Rifles, to name some notables. There were many more.

Sydney band, The Hadron Colliders, will launch their debut EP, “Measuring the Space between Us All” at the iconic Petersham Bowling Club in their home city on Sunday, February 22 from 5pm with an all-ages gig.

Containing members from ‘80s and ‘90s bands The Last Metro and The Catherine Wheel, The Hadron Colliders have built up a reputation for their dynamic live performances which has been further enhanced by the release of their debut EP.

The EP, recorded at Damien Gerard Studios with Russell Pilling (The Church, The Vines, Died Pretty) has been described as “...soulful, gentle indie pop... fragile, constructed melodies and (a) sort of melancholy sweetness”.  Our own Robert Brokenmouth said "Measuring the Space Between Us All" was “...sexy... a crushing, lovely boat trip down a brooding romance-laden river”.

Joining the band will be Canberra’s Positive Feedback Loop and Nature Strip Duo (a stripped down version of the inimitable The Nature Strip). Entry is $10 tickets at the door), with kids free.

If you have a single bone in your body that resonates to the sound of powerful, guitar-powered pop-rock with melody and smarts, take a plunge on this deluxe LP package before it sells out. 

Rock and roll is littered with stories about “the one that got away”. The Lonelyhearts, more than most Australian bands from the teeming, dizzy time that was Sydney in the ‘80s, can genuinely lay claim to the title.