Still on a high from their sell-out hometown launch, Adelaide’s all-girl outfit The Villenettes will keep celebrating the release of their first full-length album, “Lady Luck”, with a mini-tour of neighbouring state Victoria.
They’ll re-launch their record at The Luwow in Fitzroy in Melbourne on Friday the 13th of March.The mayhem will continue the following evening when The Villenettes stop over at The Karova Lounge, in up-country Ballarat, with locals The Yard Apes.
Supporting The Villenettes at The Luwow will be ‘60s garage girl gang The Reprobettes and The Luwow’s GoGo Goddesses and DJs.
Recorded at Melbourne’s Head Gap Studio (Adalita, Magic Dirt, Paul Kelly, Violent Soho) with Neil Thomason and Mick Baty, the album is released through local garage label Off The Hip Records. It follows their first release, the “V for Villendetta” EP, that sat at #1 on Adelaide radio station Three D for four consecutive weeks.
“Lady Luck” will be Feature Album on PBS 106.7FM on the week commencing 23 February, having also had this honour on Three D and Radio Adelaide.
Died Pretty guitarist Brett Myers has re-surfaced in Sydney band Joeys Coop, whose debut seven-inch single is due out soon on Citadel. Joeys Coop is Mark Roxburgh (Decline of the Reptiles), Andy Newman (Deniz Tek Group, Decline of The Reptiles), Matt Galvin (Eva Trout, Perry Keyes, Loose Pills), Lloyd Gyi (Perry Keyes, Dave Warner) and Myers.
We at the I-94 Bar are fans of the members' bands but we're especially keen on that distinctive Myers jangle-and-soar so you can guess what we think of the song. Joeys Coop will launch “Take Me Away” at Petersham Bowling Club on Sunday March 22 with supports Knievel, Buddy Glass and Matt Shacallis. More gig details here.
In 2012, a reformed Sunnyboys delivered arguably the most emotional comeback of any Australian band in living memory. More on that soon. Three years later, they’ve given us the most unlikely of resurrected albums, with a stunning re-issue of their second record, “Individuals”.
Originally released in May 1982 when the band was poised to take the Australian charts by the throat, it sold respectably but ultimately foundered under the weight of massive expectations and a curiously subdued mix.
The discovery of a previously lost rough mix among the estate of their late producer and manager (as well as legendary guitarist), Lobby Loyde, cast a new light on a largely overlooked record. The new version sounds as lively and dynamic as the band’s “Sunnyboys” debut from 1980.
There’s been a flurry of excitement about this - and rightly so. Along with Filth, the Psychosurgeons were one of the first Sydney bands to firmly grasp the grasp the back of punk’s bondage pants, give them a good tug in a downward direction and expose its arse.
The Psychosurgeons’ “Wild Weekend” will always be a classic 45, so hearing that this was on the way created the sort of anticipation that you could cut with a figurative knife. Or razor blade, if that was your thing.
There was a time when Sydney’s northern beaches beaches were a hotbed of high energy rock and roll.
Since the decline in the Sydney live music scene (and the demise of the Manly Fisho's Club) the opportunity to enjoy local bands under one roof has been rare. An event at Narrabeen RSL on March 28 is trying to revive those days.
Sunken Ascension is a mini-festival, headlined by the home-grown Celibate Rifles, and running across three levels of the club.
It’s free from 2pm and all-ages until 8pm, after which it’s $25 (or $20 pre-sale.) For that you get cheap beer, inexpensive food, a downstairs cocktail lounge and a local shuttle bus.
Celibate Rifles, C.O.F.F.I.N, Captain Kickarse and The Awesome's, The Archaic Revival, Gutter Tactic, Bloody Kids, Taelor Jane, Bilby and Asia Hatton are playing and tickets are here.
Tommy is, of course, that double LP rock opera what the ‘Oo done, back in 1969.
Pete Townsend was a powerhouse of creativity and, since he didn’t own an opera company or a film company, we can say he made a pretty impressive stab at both over the four sides of vinyl back in the day. Streets ahead of the competition by a forward-looking rock band, Tommy rebooted the Who back into the limelight…and you know the rest, I’m sure.
There’s been an opera version, a musical adaptation, a film, and there’s been several reissues, including a Super Deluxe Edition. And now…this…extraordinary, louche, beautiful, moving interpretation of a record which is well and truly in I-94 Bar reader terrain.
Is it really a surprise in 2015 to hear rocking garage soul that has its origins in the UK played better than almost anyone else around by a band that comes from Auckland in New Zealand? Meet Thee Rum Coves.
These guys (and girl) should be the toast of the summer festival circuit in Europe. They deserve to fill the vacuum left by the demise of The Jim Jones Revue. Thee Rum Coves have everything going for them for a shot at success in Europe…except geography. Not that this should matter.
It’s said you should never judge a book by its cover and the same goes for records. This is apparently Album Number Three from this Oslo, Norway, six-piece and they sound nothing like the middle-aged lay preachers standing ankle deep in water under a bridge that they appear to be. Hallelujah.
The Dogs (not to be confused with the late French band or the still kicking one from L.A. via Detroit) rock like they mean it. They worship at the shrine of the ‘60s garage/‘80s garage revival scenes but they bring enough manic energy to these songs that makes them stand apart from the rest of the pack. Cock an ear to the furious “Stay Away From Her” with its Dicatoresque vocal and melodic bass-line behind its driving guitars to know as much.
It’s time to kiss and make up. When “Individuals” was released back in 1982, as a follow-up to the Sunnyboys’ barnstorming eponymous debut, it was justifiably unloved by many.
The songs were…good…but slower. Its lead-off single, the curious “This Is Real”, was stilted and a million miles removed from the infectious “Happy Man” and “Alone With You”. The biggest drawback, however, was the record’s lifeless production which reduced the sound of the Sunnyboys to an empty husk. It lacked warmth and sounded distant.