Video: Kitchen’s Floor – Resident Dregs

Having the words ‘OFFICIAL HD’ connected to the name of Kitchen’s Floor seems contradictory, because the band have built themselves upon their reputation for using the bare minimum to say a lot. It’d be like having 2am kebab, but only having organic ingredients. The drunken, sloshy, probably unhygienic parts are the best.

But the HD really more just reflects the video for the new one from Kitchen’s Floor. Now, the tsunami of punk fuzz escalates at a higher pixel count, and the coursing snarl echoes with a tad more clarity. YEAH!

Furthermore, the scratchy intimacy that was such a staple of KF’s early stuff has been long done away with, replaced by a Yes, I’m Leaving staccato aggressiveness. There’s a razor sharp bass riff packed with more looming menace than a stare-off with Bruce Willis, and splintered guitar that’s sole wish is to see you burn. Then, Matt Kennedy’s vocals are transformed into hoarse howls; a demonic bellow that would like nothing more than a XXXX at the local bowls club.

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Album Review: Excess – Escape From Brisbane

I’ve never been to Brisbane, but I can guarantee it’s got the best music in Australia right now. There’s glistening synth punk, spleen-splitting punk rock, and garage rock that used to be around when The Hard-Ons were considered offensive. Basically, Brissy is full of the kind of music your Mum would hate, or love. I don’t know your Mum, she could be really cool. To expand,  it appears like Brisbane is the last bastion of consistently authentic music, whatever the genre might be.

At the centre of all this is Matt Kennedy, a guy who’s been plugging around the area for a long time. And when I say long time, I don’t mean that he was there when Royal Headache were playing shows, I mean he was there when Green Day were considered socially relevant. He’s played in a variety of bands, most famously the decrepit and gnarled lo-fi depression of Kitchen’s Floor. He’s also the man behind Eternal Soundcheck, a record label and distribution service that have lent a helping hand to the likes of R.I.P Society, Tenth Court and Cool Death, amongst many others. On the label side, he’s brought out records by The Friendsters, Satanic Rockers and Fig. From the outpost of Brisbane, this bloke has been a central figure in breathing life into not just his local area, but all of Australia, most likely putting in the hard yards at a time when no one else was either.

So it comes as no surprise that folks would’ve been jumping out of their pub stools to contribute to EXCESS, Mr. Kennedy’s solo electro-face-fuck project. A true who’s-who of Brisbane’s most glorious bands has been compiled to provide vocals for this album, and when reading through the list of guests, a rush of air will inexplicably escape from your mouth. Daniel and Sarah of Blank Realm, Mark Spinks of Gravel Samwidge, Sean and Chris of Multiple Man and Andrew McLellan of Primitive Motion are just a few of the names to appear.

However, whilst each name that appears causes blood to rush to the head, it cannot be overstated that these folks are all guests on what is ultimately Matt’s project. Although each character is unique, they only build towards the final product, a single aesthetic that is remarkably different from the rest of the bands and projects on display. EXCESS is thrust from the middle of a sci-fi epic, one in which dyed corn-syrup blood and animal intestines are used to the most graphic extent possible. It’s like the most tense parts of The Lost Boys and Aliens are clashing amongst each other to the sound of off-kilter pop and church bells, slithering synths bellowing and chiming at a seemingly random pace.

As Gerald Keaney remarks that “A high quality stereo system is required to appreciate this track…”, you can’t help but believe that sentiment extends to the rest of the album. Not because the album is faulty and soft, and needs to be re-mastered, but rather because the twisting, unpredictable and lushly dystopian soundscapes of EXCESS deserve to be appreciated in such an environment. To play it on anything less is an insult.

Maybe Matt wants to escape from Brisbane. I’d hope not – who else would act as a facilitator of all the amazing music blossoming from that region. But by providing this mutating beast of a tape, and for all his previous saintly endeavours, he’s certainly earned himself a holiday.

Get yaself a copy of the album here: ‘Escape From Brisbane’, out now through Virtual Cool Records

New Punk: Red Red Krovvy + Satanic Rockers + Moonboat + Meter Men + POWER + Dribble

I really wanted to title this New Noise, because the bands on here are ready to blow out your fucking eardrums. But then I’d be naming it after a Refused song, and I kinda didn’t want to do that.

Red Red Krovvy – Real Life

This is about as short and sharp as they come. It’s like X-Rey Spex if they turned into the Hulk, just broad shoulders bulldozing everything in its path. This song is pure fire, ready to burn down your fucking brain from the inside out. The bellows on here are staunch and terrifying. If you have loose bowels, shit now.

Red Red Krovvy play at The Valve Bar in Broadyway tonight! With Housewives, Sweat Tongue, and Meat Tray.

Satanic Rockers – Death Sentence

Fucking hell, this shit is like having your skull shoved into a running treadmill that’s compromised of gravel. This is noisy, bludgeoning death music, like being choked out by Chrome. Like Ghastly Spats, the noises produced on here are pure B-Grade horror, the darkest thing to have been released in Australia in a long time. The vocals are dripping with foreshadowings of destruction.

Moonboat – Spirit Panther

Who even knows where to begin on this one? On one hand, there’s hellfire being spewed like volcanic diarrhea, like “Hellpipes” and “Greybomber”. Then later down the album, these very strange, almost indie-rock pieces rock up, but they’re sprawling works. ‘Spirit Panther’ is interesting, and it constantly evolves, like chucking cheat codes into Pokemon. Basically, Moonboat are Australia’s Deafheaven.

Meter Men – Severed Relations

If you haven’t already, get yourself nice and bloody familiar with Helta Skelta Records. Fuck me, this stuff is so immediate and bloodthirsty, it makes me sweat under my armpits. It’s like having the Gutter Gods become even more brutally skin-peeling. Lo-fi recording, mind-crushing drums, and buzzsaw guitars that sound like they could fell the Amazon, Meter Man are fucking insane.

POWER – Puppy

Holy shit, POWER are amazing! They blast through with this early Replcaments-esque rock star posturing, but it’s flayed alive by the furiosity of the riffs and crashing noise. This is 80’s speed metal funnelled into a pub rock atmosphere. If Radio Birdman had been introduced to Slayer, something like this could have existed before now. Let’s just count ourselves lucky that POWER exist in this present universe.

Dribble – Girl of My Dreams

Another one from the amazing Cool Death Records, it’s new stuff from Melbourne gutter punks Dribble. Possessing a lot of the same bratty, punishing snot that propelled Circle Pit, Drown Under and Ausmuteants, Dribble power through this 3 minute thrill injection, splintering ears with all sorts of heart-in-your-throat guitar wailing, settling down for a second, and then exploding back into chaos. Fuck, this is insane.