Swamped – The Quick Sixes (Outtaspace)

There’s an awkward charm to the sound of The Quick Sixes that’s hard to resist. Equal parts twang, space retro blues and garage shimmy, this Geelong quartet is a cross between Brisbane’s late, lamented Hewkawis, The Modern Lovers and Shutdown66 (but with better manners.)

The Gee-troit Sound is long gone but if you think of The Quick Sixes as Barwon Heads Beat you can’t go wrong. It's surf music for the loveless and landlocked. It'll occasionally make you cry into your beer. It's sometime a little loose around the edges, but it's a load of fun. Variety is a by-word, too.

Bogan Rd – The Monaros (self-released)

Hello I-94 Barflies. The Monaros’ “Bogan Rd” is the latest release from Warnambool’s hardest working band. Shit, this must be their seventh or eighth long-player and it’s chock-a-block full of humour and wit.

Just listen to “Parma”. It’s a classic tune about, well, a Chicken Parmigiana. “Ring A Root’,”Kick It Long” and “Dunlop Volleys” are all so bloody Australian. This is a CD to get drunk to, stoned to and maybe not get fucked to – although the track  “King Brown” is kind of sexy.

Rock'n'Roll Undead – Mad3 (Rock'n'Roll Kingdom)
Upon the Dentigire - 2yago: (Zygeltigit)]

These albums by Japanese bands Mad3 and 2yago were pressed into my hands by one, Paul Slater, who runs the 3D Radio show ”'It's Always Rock'n'Roll” out of Adelaide on Monday nights (and whose adverts occasionally send him to Facebook Jail.) Paul is one of those music nutters who often knows the people who make the music, and has travelled overseas (France, Japan, UK) just for the bands (rather than the touristy T-shirts, towels and gastro).

Mad3 is built around guitar hero Eddie Legend (I-94 Bar readers will know him from the 5.6.7.8s) and are simply incredible. They're one big, bad, really sharp and clever rock'n'roll rollercoaster road trip - you're dragged kicking and squealing into a comic-character world of underground surfer/phantom/doom guitar noir. Play very fucking loud. Eddie has an incredible guitar sound.

Sound of Sydney Volume 4 - Various Artists (Method Records and Music)

What is “the sound of Sydney”? It’s a rhetorical question, if not an outright non sequitur.

If you asked 20 different people, you’d get as many different answers. Someone young might say it’s Triple J - which would be laughable but it’s, you know, it is somebody’s reality. You can fight media fragmentation but it’s like yelling at a cloud. Boomer.    

 “Sound of Sydney” was a series of compilation albums- appearing in 1983, ’84 and ’86 - and the work of Method Records’ Fabian Byrne, of mod-pop band Fast Cars. They were fine records - and very diverse and that in itself was reflective of what was going on in the underground.

Extract From the Fungus - Celibate Rifles (self released)

Consider it a last will and testament. Eleven songs, cobbled together from restored quarter-inch tape or cassettes, all but one track previously unreleased. It’s music written by other people, which isn’t a detraction ‘cos the Rifles always had the best covers. These are remnants of recording sessions from 1984 right up until a few years ago, but they’re much more than throwaways. 

The Celibate Rifles have a special place in the hearts and minds of most who saw them. A bunch of suburban Sydney boys fronted by a worldly and older larrikin, they began more brazen than cool. Before long, they fitted in with the exploding Australian underground of the ‘80s and ‘90s better than many critics realised. 

We Are The Plague - Suzie Stapleton (Negative Prophet)

Suzie Stapleton is a lifer: a singer songwriter guitar, violin and piano player and a rare breed of musician. She is the complete package. From the angular arrangement of melodies to the blues that float around her head, music is a 24/7 occupation..

Originally from Sydney, this artist knew that Melbourne was where she needed to be to develop her craft and skills by playing solo, and with all sorts of musicians, both live and in the studio. She became highly respected in that town.

I first saw her at the Prince of Wales in Melbourne with a cellist accompanying her, and Suzie completely claimed the room as her own. Even the most ardent St Kilda, beer-in-hand, rock pigs were blown away Two EPs were released and licensed in Europe, where word soon spread about her atmospheric vocal, guitar playing and original and dark arrangements.