Three days, no brakes, something to celebrate. That’s the state I’ve found myself in after constantly playing King Salami & The Cumberland Three. This is what music is all about: Transcending barriers that are put up by the music snobs.

How the hell do you get a Japanese punk joining forces with a French punk and then finding a Caribbean tennis teacher for oral scintillation? Then they come up with a name that covers a love of sausages, calling themselves “the best party band in the British Isles” And they pull it off. How?

The answer is Music, pure delightful music. Music that you dance to. Music that you can surf to. Music that you can chop wood to. Pure music.

feedtime have come together to release their first album since 1996’s "Billy". A lot has happened in the last 21 years, so what can we expect from the original lineup of Rick, Al and Tom who have been playing sporadically since reforming in 2011?

It starts off well. “Any good thing” opens with a fantastic, sliding bass line before kicking off with pounding drums and a frenetically distorted guitar. My first thought when hearing Rick’s vocals was that of GG Allin’s voice towards the end of his life. The gravel has turned into a metallic growl.

And the pace continues well into “Thought”, before slowing down into "Box n Burn". Both strong tracks with a powerful sound. However, the issues start to arise with "Skilled Enuf". While the musicianship on the track is strong, the writing is quite simple and unengaging, “Skilled enough, to play one chord. Skilled enough to play one note” might be a true description of the band’s minimalist arrangements, but it is unengaging.

Here’s news for those who thought Jeff Dahl had put his guitar in a rack and drawn an end to his prolific punk-glam career. He’s back with a new album - and it sounds like he never went away.

Dahl had been laying low with protracted health issues since pulling up tent pegs at his Arizona desert digs and moving back to his own (and his wife’s) childhood home of the Hawaiian Islands. Prior to slipping off the public radar eight years ago, Dahl was a force of rock and roll nature, turning out a string of abrasive, hard-rocking records and publishing one of the world’s greatest magazines, Sonic Iguana.

That some of the Pink Fairies are around today to make an album, two decades after their last and four after their heyday, is something of a miracle. Surprise Number Two is that it’s good.

If you’ve read Rich Deakin’s meticulous book about the band’s travails, “Keep It Together”, you’ll know that The Pinks were never people to shy away from the Rock and Roll Lifestyle. Taking care of business was never the band’s forte, which makes a new record’s appearance even more unlikely. Their last LP, “Kill ‘Em and Eat ‘Em” didn’t set any houses on fire and smelt like a once great band on its last legs.

“What's he doing reviewing THAT?”

Only people of a certain age will “get” this review. The term "Guilty Pleasure" will not be used at any point.

Admit it, punk. If you grew up in Australia in the 1970s and ‘80s (OK, you were might have been underage and still growing up, but you could sneak into licensed premises) and lived anywhere outside of Melbourne and Sydney’s inner-city regions, a dose of Pub Rock was unavoidable. A way of life, even.

Born out of a surf club fundraiser, this trio from the Manly Dam Delta on Sydney’s Northern Beaches have just rolled out album number two. “Gypsy Mojo” makes it clear that if The Hollering Sluggers have sold their souls to the Devil at the Brookvale Oval crossroads, they ain’t getting a refund.

The Sluggers are a trio playing blue collar blues with a distinct rock and roll edge. There’s no new ground being broken on “Gypsy Mojo” but that’s not going to worry fans of this style. It’s honest and unpretentious blues-rock.