Rise & Fall of the Last Civilization – Guttercats (Wishing Well Records/Lucinda Records)

Scratch the surface of the underground rock and roll globe and there’s a whole lot of goodness lurking deep underneath with its roots in myriad and unexpected places. France’s enduring and esoteric Guttercats are a case in point, and this is Album Number Six.

French rock and roll cops a lot of flak  – some of it deservedly so. The place is rampant in high culture and the low brow stuff like rock and roll frequently gets trampled on. Deep down, the French do love refinement. But what doesn’t kill you makes you stronger, so it doesn’t pay to judge every book by its Tri-colour cover.

Parallax In Wonderland – Sonny Vincent (Dead Beat Records)

Tracking the career of New York City punk original Sonny Vincent is a tall order. The man is nothing if not prolific and he’s has had more labels than a printshop out the back of a bootleg distillery.

This album was first unleashed in 1998 (on vinyl only as “Hard In Detroit”) and the latest iteration, on CD and LP on Cleveland label Dead Beat, has been re-mastered and is a marked sonic improvement.

First, an aside: The original wasn’t my entry point into the raw music of Sonny Vincent, but it's where the relationship really took off.  You can draw a line through earlier bands like Testors and Shotgun Rationale, but “Parallax” coalesced everything that makes Sonny’s music great: frenzied punk energy, guitars and melody, laced with passion and verve.

Hoax – Hoax (Driving South)

Hindsight is a fine thing and it’s clear that the combined impact of grunge, corporate clumsiness and the commodification of music through disgitisation did many bands a disservice in the 1990s. Hoax was probably one of them.

Hoax was a staple of the live circuit in Newcastle, Australia, in the late 1980s and early ‘90s, opening for a slew of touring bands while building a local fanbase. Hoax took their lead from punk rock (whatever that is) and suffered constant line-up changes. They came and went, with the core of Geoff Mullard (vocals and guitar) and Anthony Dean (drums and vocals) going on to many other bands.

Montreux Jazz Festival 2023 – Iggy Pop (Ear Music)

Live is where it’s at for Iggy, Always has been. These days, the tours aren’t as frequent and stage diving is out of the equation, but he remains a peerless live performer at age 77.  But yet another live album?  

The obligatory scene setter: This is a “greatest hits and deep cuts” show on which Ig is backed by a seven-piece band. The three-piece horn section includes Leron Thomas, who featured on the “Free” album, and Corey King, who plays with Mary Bilge.  Sarah Lipstate (aka soundscape guitarist Noveller and also from "Free") is on board with French foil Greg Fauque (handling the lion’s share of the lead breaks), as well as jazz pianist Florian Pellissier.

Come On In – The On and Ons (Jem Recordings)

It’s only January but “Come On In” is already a contender for 2025's Record of The Year.

Granted, it’s not a “new” album as such - more a compilation of the band’s best songs from The On and Ons’ five previous releases with three new tracks appended - but don’t let that stop you. Odds-on that it’s going to smoke any other rocking pop you’ll hear in 2025.

“Come On In” is the American debut release for the Sydney band on Jem, an imprint established on 1970 and since revived by one of its founders, Marty Scott. It’s also home to the likes of power-pop king Paul Collins, The Grip Weeds and Richard Barone.

Live at The Marrickville Bowl. - John Kennedy  and the New Originals (I-94 Bar Records)

Lately, I have been thinking about the Australian movie “Death in Brunswick”, a bona fide classic and a brilliant black comedy. It features a kitchen from hell in a decrepit nightclub, populated by the dodgiest of characters. The smell of rat poison and mouse shit, and there’s a cockroach invasion that resembles an army removing food scraps. 

Now, I once worked one night as a kitchen hand at the notorious Kardomah Café (aka "The Dark Coma") when I was living in Kings Cross. The kitchen was not as horrifying as the one as in the movie, but I did feel like the Sam Neil character, channeling Dostoyevsky as I chopped onions, prepared soggy fries and tried to cut over-ripe tomatoes to sit forlornly atop nondescript cheeseburgers.