Never became obsessed with that Oz Rock thump-clomp beat to the same extent as many, if not most, around me, but there’s no denying the global impact of the Alberts sound. This two-song CD single contains primo examples of the same, courtesy of the ubiquitous Simon Chainsaw (“SC”) and his new partner in rawk, Tony Currenti (“TC”).
For those about to confess ignorance, Tony Currenti was the session drummer on AC/DC’s seminal “High Voltage” and on hits for Stevie Wright (“Black Eyed Bruiser”) and, um, John Paul Young (“I Hate The Music”.) He would have joined Acca-Dacca fulltime, too, but for the facts he already had a band and touring on the back of his Italian citizenship would have exposed him to that country’s military draft.
Tony owns a Sydney pizza shop (Torino’s at Penshurst) and plays on occasional AC/DC tribute bills. Globe-trotting Simon Chainsaw has relocated from Brazil to Australia and roped in Currenti for recordings and live shows over a chianti and Pizza Margherita. The result is a combo of that trademark Chainsaw punk-pop roar and good ol’ fashioned Oz Rock.
Currenti’s not big on dramatic fills but drives his big Ludwig kit (the same one he played for Acca Dacca) like a reliable old bus. He fairly nails the feel to the floor on the OK rocker, “Lick My Wounds”, but the second song is where it all comes together. “Firestorm” is wall-to-wall guitars with a seriously solid beat and a rocking hook. The drums were produced by Mark Scully (ex-Ratcat, Deadly Hume) and sound ace. It's a free download here or use the link on the Bandcasmp page to ask Simon for a physical copy.
In the truest sense of DIY, this bedroom-recorded EP comes with hand-drawn inserts or a cover either smeared in blood or bearing glued-on pieces of a smashed 45. Shades of The Psychosurgeons with the red and white corpuscle edition and the music’s of a similar mind.
Alien Nosejob is Jake Robertson (of Ausmuteants, Hieropants and Frowning Clouds) and the four songs are bedroom recordings, augmented by a full-blown horns section in one instance. “Caffeine OD” sound slike early Devo on a meth trip with its stuttering guitar and jerky rhythms fitting perfectly.
The Cramps tackled the topic first but songs about flies should proliferate in Australia. We’re infested with them. “Flyblown” marries an odd juvenile melody to lyrics about wanting to be a fly. It’s equal parts aggravating and addictive. “Sydney Sizzles” and “Over The Bridge” are a pigeon pair of punk rockers; the former doesn’t do a lot for me before the horns kick in, a la “Prehistoric Sounds”, while the latter scoots along like a Wipers tune before whipping itself into a furious breakdown with more horns.
All in all, pretty wonderful and this Bandcamp link makes it so easy to procure.
If you were a member of a band who was about to drop off the twig and wanted somebody to preserve your contribution to music for posterity, you’d want the job done by Scotti and John from Buttercup Records.
The boutique vinyl-only label from Victoria, Australia, packages music like nobody else. The latest effort is a seven-inch re-issue of News, the Melbourne band formerly known as Babeez, who neatly straddled the punk rock and art camps of the late ‘70s. It pairs the 1978 “Dirty Lies” b/w “Chop Chop Chop” single with the previously unreleased “H Division Bash” and a scorching live “Mainline Honey” as a 33rpm EP.
This is just great.
Just 150 were pressed - there were two types of cover available - one to commemorate a gig, with a faux '70s bootleg cover. There was the standard disc and sleeve edition, and bugger all of a deluxe edition. There's a handful of copies of the "standard" left. You deffo need this in your collection.
The deluxe edition is, as always with Seedy product, is a bit like dipping into Santa's sack (though not quite so seasonal). First, the vinyl came in different colours. There's this great poster, "a parody of a '72 Japan tour poster"; a Japanese Obi (that's one of those titling things that go around the left edge.
That's a helluva title. It's also a limited edition split single featuring Sweden's Nomads and Norwegian power pop wonders The Dahlmanns, put together for the 60th birthday party in Spain of Next Big Thing zine creator and all-round top bloke, Scotsman Lindsay Hutton.
Just 500 were pressed up for the shindig in Madrid and only a handful remain available...
If you don't know, The Dahlmanns are the World's Best Power Pop Band. No arguments, thank you very much. "Fireball" is the theme song of a Gerry and Sylvia Anderson pre-Thunderbirds TV show ("Fireball XL5") and it was the first 45 that a pre-pubescent Lindsay ever bought in the early 1960s.
Sydney band The Holy Soul have a way with collaborating with the rich, at least in in history, and infamous. Here’s another example of that maverick magic.
Seven years ago, The Holy Soul combined with Damo Suzuki (Can) and a Drone to punch out a live album on Repressed. This time out, it’s a half-studio/half-live 45 of similar vintage, this time with Rocket From The Tombs and Pere Ubu frontman David Thomas, with whom they played on a blink-and-you-miss-it Australian visit.
“Master of The Universe” is the A side (it’s a Hawkwind cover) and hovers between industrial skronk and space rock. Theremin and a throbbing bottom end underlay dry guitars and Thomas’s unique, plaintive vocal. A melange of guitars - presumably John Hunter and Trent Marden or both - and synth raises the tension in the breakdown before Sam Worrad’s hypnotic bass resumes its ominous march.
The live “Man In The Dark” starts with the wheeze of Thomas's accordion wheeze and plays itself out with restraint for its five-minute duration. Delicate guitars chime to a subtle bass-line while Thomas expounds on (I think) a lapsed relationship, half-talking, half-crooning. Measured and magnificent. it was left off the live album that you can find here. The link below will lead you to the single. Odds are it won't last long.