
- Details
- By Robert Brokenmouth
- Hits: 416
Steve Turner. Kerrie Geier photo.
You lucky Eastern Australian Coast gits. This October, Mudhoney return to Australia for their ninth tour. But they ain't playing Adelaide (or Perth.) Bastards.
Right, well, I figure that you know who Mudhoney are and they shouldn't need the likes of me to introduce them yet again.
It's interview time afor the band's guitarist Steve Turner and I am not interested in asking about "Sea**le" and "gru*ge" as I'm sure everyone's heard all about it by now. The band must be bored to death by answering the same questions over and over.
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- By The Barman
- Hits: 658
The reformed Panadolls (from left) Big Al Creed, Ash Thomson, Ken Archbold, Matt Bannerman and Phil Van Rooyen, at Link and Pin in Woy Woy.
For the second half of the 1990s, Dangerous Rock and Roll had an address on Sydney’s Northern Beaches and used the pseudonym The Panadolls.
Deriving their name from a prescription painkiller, The Panadolls were troublemakers in a crowded Sydney scene that had not yet been battered into submission by poker machines, over-regulated venues and changing tastes. They ran with like-minded peers ,the Celibate Rifles, Hellmen, Powder Monkeys, Asteroid B612 and Brother Brick, and pushed a brand of Detroit-tinged high-energy rock that was equal parts Dolls blues squawl and a Stooges-like attack, all channeled through an Oz Rock filter.
Any band with the guitar attack of Big Al Creed (ex-Dr Fruitworld, later to join the New Christs) and bassist-cum-frontman Ken Archbold (ex-Hellmen) had a distinct advantage. The Panadolls did not sit long in any genre and burned brightly for only five years. Their sole album, “From The Glitter To The Gutter”, and “From The Valley Of The Panadolls” EP went out of print soon after.
And now they’re back. Sorta. Latter-day drummer Ashley Thomson (ex-Kelpies, Roll Cage) has issued both digitally here, supplemented by an outtakes/rarities release called “Dirty Hits”. The Panadolls also reformed for two “don’t blink or you’ll miss them” shows in July, both outside hometown Sydney.
It all sounded like an excuse to corner Kenny Archbold and pose some hard questions. The Barman did the honours.
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- By Robert Brokenmouth
- Hits: 485
Thirty-two years after their last vinyl single on US label Sympathy For The Record Industry, Pismo Beach’s Undefeated Intercontinental Tag Team Rock and Roll Champions, Psychotic Turnbucles, are releasing a new 45.
“Bad News Travels Fast” b/w “Infected (With You)” is out on our own I-94 Bar Records on September 5 and will be launched in the band’s second home, Sydney, at Marrickville Bowling Club this Saturday.
A curious Robert Brokenmouth was so floored by this news that he decided to interrogate the Turnbuckles via email. Here’s the result of his exchange with Jesse The Intruder (vocals), The Grand Wizard (guitar), Count Forza (guitar), The Infliktor (bass) and Buddy “Bam Bam” Balam The Brooklyn Bruiser (drums).
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- By Angela Evol
- Hits: 2173
Nicole Laurenne communes with her people. Stephane Perraux photo.
US all-girl band The Darts have spent the last decade turning garage rock, Farfisa organ and relentless touring into one long, gloriously chaotic adventure - from festival stages and basement dives to boats, caves and a Scottish prison chapel.
Ahead of their first Australian tour in September, Angela Evol caught up with singer, songwriter and Farfisa-wrangler Nicole Laurenne to talk their album "Halloween Love Songs", The Damned, Sydney,"Peaky Blinders" and what happens if you stand at the back with your arms folded.
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- By The Barman
- Hits: 527
Credit: ChatGPT
You could have knocked down most fans of Australian ‘70s underground music with a feather in July when Lipstick Killers co-founders, guitarist Mark Taylor and singer Peter Tillman, stepped out of the shadows and released a rock opera.
To say the least, “The Shining Stone” - presaged by “The Lipstick Killers present” in the title - was a departure from the expected. Not glitter punk. Not acid punk, not garage rock. Instead, it was a massive sounding, full-blown orchestrated concept album, with full-blooded Three Tenor-style vocals and squalls of shiny, metallic guitars. All on CD and gorgeously packed with two glossy booklets of illustrtated narrative.
If you haven’t read our review we’ll put a spoiler out there right now: A.I. was heavily and uashamedly utilised in the making of “The Shining Stone”. Way to go to polarise opinions in these charged times. But there's lots more to discuss
Mark Taylor and Peter Tillman have a YouTube channel, The Bad Kynd, where they have been publishing images and garage punk songs - and a near-finished new Lipstick Killers album is in the wings.
The Barman invited The Lipstick Killers into the Bar and here’s the virtual e-mail exchange.
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- By Robert Brokenmouth
- Hits: 497

For many I-94 Barflies, Swervedriver , soon to hit Austraia for a seventh tour, are still a relatively new band. And the 1990s were not that long ago.
As you may know, Swervedriver is led by driving force, Adam Franklin (guitar and vocals); the band came to prominence from about 1990, after several previous bands had folded (including the very Stooges-heavy Shake Appeal). Swervedriver immediately got people's attention with a series of EPs featuring loud, feedback-y guitars courtesy Franklin and Jimmy Hartridge.
This approach to rock'n'roll usually creates what I think of as “chronic wet pants syndrome” with the movers and shakers in the record companies. In my limited experience, audiences, accustomed to lame, unadventurous slop, usually respond to feedback-soaked bands with hearty roars, too much alcohol and a blissful sense of being the top of their head being removed. In one previous interview, Franklin has described his glee at the sight of punters being "peeled off the back wall" in response to their live shows.
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- By Robert Brokenmouth
- Hits: 1533
SharkArm. Rachel Cullen photo
Sydney skuzz rockeers t SharkArm have been gigging for years with an album and two singles to their credit. The big news for locals is that they're bringing Queenslanders Gravel Samwidge, and Sotu Australians Molly Fet Circuit for gigs at MoshPit (August 15 from 2.30pm) and The Link and Pin in Woy Woy (August16.)
SharkArm haven’t fronted the Bar for an interview so this seemed like a good reason for Robert Brokenmouth (who plays in Molly Fet Circuit) to ask a bunch of questions. SharkArm are Damian Iowa (drums), Nathan Iowa (guitar and vocals) and Josh Shipton (bass.)
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- By Robert Brokenmouth
- Hits: 1452
The MacGuffins. Alison Breen photo.
Lachlan Colquhoun is a writer, editor, publisher, bass player and anarchistic ne'er-do-well. Adelaide expat cum Sydney-ite, currently with Sydney outfits The Flippin' Kick Outs and The MacGuffins.
You might not have heard of Lachlan Colquhoun. On the other hand, if you're an old fart sitting at home with the bowl of corn chips barely balanced on your belly while you suck a stubby through a straw, you might remember him from tumultuous, inebriated nights in the 1980s and ‘90s when Sydney was crowded with bands, possibility and sub-tropical steam, even more crowded with thirsty punters.
If you know the music world, essentially everyone in this country is a minor player. Why? Because it's Australia, and while we may think we're something special, overseas, no other bastard does. So, like Iva Davies or Daniel Johns or even that bloke from Men at Work, while between jobs which pay a fuck of a lot better than being a musician.
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- By Robert Brokenmouth
- Hits: 970
Samwidge is served: Declan Bradbury Mark Spinks and Alex "Sleepy" Morrison. Photo by Calan Stanley
Rejoice, Sydneyites, because Gravel Samwidge are extracting themselves from their Brisbane base and heading down your way for some sonic shenanigans.
For those unfamiliar with Gravel Samwidge, here's the basics: They are Declan Bradbury on bass, James Cassidy on guitar, Alex “Sleepy” Morrison on drums; and band leader Mark Spinks on guitar and vocals.
But before any more, a little heresy. When I was a young lad I absolutely loved The Scientists (first and second versions). It's forgotten now, but the second mark were often scorned and verbally abused outright. They simply didn't fit: noisy, fuzzy, feedback-y. And, especially, all that horrible long hair which, for rock 'n' rollers, had gone the way of the dodo during the late 1970s.
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