New: The Fabergettes – Ready to Go

The Fabergettes, everyone’s favourite band that got left out of the Grease soundtrack, are back with a fantastic new jam! You can practically see a whole cast of extras swinging around a red and white chequered diner, twirling their aprons and sipping on vanilla malts.

Although The Fabergette are only roughly as old as John Travolta’s belief in Sciontology, they know how to create one hell of a tune. Thick and crunchy guitar riffs, bouncing drum beats, handclaps and a bright eyed and thrilling guitar solo all help tie down an absolute cracker. If you can’t listen to this song, and then want to go and achieve your dreams, then you are literally Scrooge.

Advertisements

Album Review: Ty Segall – Manipulator

Ty Segall is one of the most renowned names in rock n roll from recent years, and with good reason. The dude knows exactly how to make his guitar crunch and shred with the same ferocity as being run over by a stampede of rhinoceros (rhinoceroses?). He has the same ability to turn a guitar into a chomping trash compactor as Jimmy Page, and he hurls it into the pop sensibilities of Husker Du and The Replacements. It’s music to be thrown against a brick wall over and over again.

Over the years, Ty Segall has shifted from the more mucky Cramps-like recordings that were on ‘Lemons’, ‘Melted’ and ‘Goodbye Bread’, and into cleaner sounding recordings, with ‘Manipulator’ falling into possibly the squeakiest he’s been. But, it doesn’t stop him from absolutely shredding. After the calm and collected Segall that was unveiled on ‘Sleeper’, it’s thankful that he’s gone back to making songs that would deafen a firework engineer.

The album is packed with songs so loud, they’d un-deafen Pete Townshend. There’s ‘The Faker’, a track so chugging and large, it’s like a train that’s piloted by Creedence Clearwater Revival. There’s the spindly and slimey “The Crawler”, which is like a spider that learned how to tied a distorter pedal to each of it’s limbs and jumped. “Susie Thumb” has a similar effect of plunging the listener headlong into a rabbit hole about how much of a shallow idiot Susie is, all whilst loaded with poltergeist-raising riffs.

Continuing along, “Feel” manages to retain a super creepy, shlock horror, (almost) Black Sabbath vibe , with a blood-soaked guitar stabbing solos into our hearts, time and time again. Seriously, that solo is straight from a witch’s cauldron, made from the blood of a serial killer’s bat, and the most toxic poisons of the Amazon. It’s an exotic thing that can only be found in the darkest corners of the world. And “Connection Man” is like an interstellar rock hit, like something two bong-smoking aliens would traipse around the galaxy to when they couldn’t find their KISS cassette tapes.

The songs are good, there’s no doubt about that. However, when the album is centrally built around 2-3 minute goldmines, and said album goes for a full 58 minutes, with 17 tracks in total,  it becomes slightly exhausting to listen to so many high-modal thrashers. What made some of the older Ty Segall material so effective was because the albums were short, and sharp, and that the shitty production, that made it seem like the songs had built in tape hiss, gave a little humanising and ordinary quality that helped pace the record out. It feels like Ty Segall could’ve separated this record into two searing records, and maintained the punch without knocking out the listener.

However, when the only real complaint about a record is that the artist in question has gotten better equipment and actually has a bit too much good material, then the album in question can’t be bad. ‘Manipulator’ is still a choke-slam, and has got you gagging for air faster than a rollercoaster ride going at light speed whilst blasting an audiobook of 50 Shades of Grey. Boom! Ther’s a fucktonne of dynamite in this record, and it’ll keep blowing your fingers right off until you physically can’t put the record on anymore.

‘Manipulator’ is out on Spunk Records right now, AND Ty Segall is fucking coming to Sydney. He’s gonna be at Oxford Art Factory, on Wednesday 17 December. Why haven’t you clicked this link to buy tickets yet?

New: King Tuff-Eyes of the Muse

Fucking shitting a brick right now, because King Tuff has just pulled off the most brilliant guitar solo of 2014.Starting out with some solid channeling of Creedence and a good dosage of KT’s cough syrup-esque tones swishing around in your ear. But the John Fogerty gets switched pretty quickly for some Marc Bolan, which brings us to the aforementioned insane guitar solo. It’s a total gobsmacker, a Southern-fried thing that twirls around on a  colourful drug cocktail, KT’s swinging fingers moving all over the fretboard like a glam rock wizard. Absolutely insane!

Top 5 Records w/ Drunk Mums

One of my favourite stories to tell is the time I saw Drunk Mums for the first time. If you’ve hung out with me for more than ten minutes, you know this story. But fuck it, this is the Internet, and nothing is sacred. So I’ll tell it again.

It was just after my 18th birthday, and Drunk Mums were playing a show. I was at some party, because I somehow got invited. At said party, a fuckload of tequila was ingested, but whatever, I’m a rock ‘n’ roll dude. I was feeling good, so I got on the train to go see my first rock n roll show as a mature, voting citizen of Australia. However, once I reached the gig, the tequila reached me. I became a spewing, sobbing mess, curled in an alleyway of Sydney whilst Sun God Replica destroyed eardrums a storey above me (good band, check ’em out). I somehow made it past the sentries guarding the doors, and managed to watch a few songs of Drunk Mums, before getting kicked out and somehow getting home, only to wake up to the worst hangover. Ever. Seriously, ever.

I’m going to get a second opportunity to catch Drunk Mums in the flesh real soon, on May 29th at Frankie’s Pizza. You should go too, because Drunk Mums are one of the coolest rock n roll bands in Aus, despite my short-lived drunken encounter with them. And because Adam Ritchie, the frontman with the best mullet in Aus is a hero, he agreed to talk about his Top 5 Records.

Theme: Top 5 Records to Get Drunk To

Preface:

To start of with, this is a list of what influences me in DRUNK MUMS. I listen to a whole variety of music and intently try not to be involved with one genre.

This being said, that makes it even harder to pick only 5 records that I really enjoy. Many of these are staples and though I might not listen to these every day or even every week for that matter, they rule. I hope you think they rule too-Adam Ritchie, Bass Wizard and  Throat Conjurer

The Angels – Face to Face (1978)

Australian legends. From start to finish this record bangs out massive rock and roll attitude. These guys helped define the OZ ROCK genre. In a sea of shit that comes out Australian bands these days, I always come back to this to help restore any dignity that gets scraped from my eardrums in Australia’s overcrowded musical garbage dump.

The Damned – DAMNED DAMNED DAMNED (1977)

First heard this as an early teenager and it changed my whole perspective on music. I threw Silverchair in a fire pit, spat on it, bought safety pins and became a brat. This record definitely inspired all of my peers at the time too. We all started bands (in my hometown of Cairns) and held house shows nearly every weekend, which was the best thing for isolated teens to do. Or was it?

AC/DC – High Voltage (International Version) (1976)

This record contains a selection of songs from their first two records (High Voltage + T.N.T) both released in 1975. I hated this band when I was a kid cos I’d have to try and go to sleep with me dad and his mates blasting it when I wasa wee wiper snapper trying to get a nice bita shut-eye. Now that I’m an adult I totally get it. If you don’t get it, TRY HARDER!

Motörhead – S/T (1977)

It took me a while to get into these guys because all I kept hearing was ‘Ace of Spades’ yeah it’s a good track but if you hear THIS record you too will feel like buying a motorbike and drinking a bottle of whisky every night. This quote from Lemmy explains it all “Concentrate on very basic music: Loud, Fast, City, Raucous, Arrogant, Paranoid, Speedfreak Rock n Roll…it will be so loud that if we move in next door to you, your lawn will die”.

Gary Wrong Group – Knight of Misery (2013)

Restored my faith in modern music. Great rank vocal delivery with a lineup consisting of two drummers who play synth and organ at the same time and the lead man Gary Wrong himself on guitar + vox. The record it self comes in some awesome packaging too. Gary screen-printed every copy and the vinyl is “Garbage” coloured. What the fuck!? Sick right? YES!

Top 10 Things That Happened in 2013

Okay, just to clarify, this isn’t a list about the best shit that happened in 2013 for music. Although most of it is about some of the really, really great shit that happened, some of it is about some of the bad shit that happened in 2013. That is to be expected, so chin up buddy, dry those tears, and think about the sunny day that Violent Soho brought out their sophomore record, and forget about the time that Miley fucked a teddy bear. 

10. Chapter Music and I Oh You Records (tied)

This has just been such a fantastic year for both these top-notch Aussie record labels. Albeit on opposite ends of the music spectrum, and drastically varying in age (Chapter celebrating their 21st Birthday this year, and I Oh You celebrating their 4th), they have both released some of the best tunes this year, and rightfully won their place in the music community. Chapter Music released a stunning 15 or so records this year alone, with records ranging from the ‘dole-wave’ world-conquerers Dick Diver and The Stevens, to the long-awaited debut album from Primitive Calculators and another new one from The Cannanes. Meanwhile, I Oh You was out there putting on tours for the likes of Earlwolf, Foals (DJ’s) and getting the one and only Neon Love together for a reunion show. If that wasn’t enough, I Oh You also put out another one of my favourite records of the year, Violent Soho’s ‘Hungry Ghost’, and Snakadaktal’s debut record. They also managed to be a bunch of cockteasers and put out tantalising singles for City Calm Down and DZ Deathrays. If these labels can keep the pressure, there’s no telling how 2014 will end up.

9. New Shit From Bands That Haven’t Released Shit In A While

Beware, I’m not talking about bands that reformed, or broke their hiatus. I’m talking about bands that have never broken up, but have been ‘illin on the fringes of musical society, just waiting to return to form with strident singles. The aforementioned DZ Deathrays, Straight Arrows, HTRK, The Avalanches, Royal Headache, Seekae-just a few of the bands that blew us away with stand alone releases that said, “Fuck you, we’ve still got it.” If you haven’t checked out any of these singles…do it, you unintelligible ape!

8. Shitty Albums That People Thought Would Be Way Better Than They Actually Were

Ooooh, the first hot topic! I’m not just talking about Daft Punk here, there were so many built up albums this year that fell flatter than an ad campaign for Vaginal Warts. Arctic Monkeys, Sebadoh, No Age…just a short list of albums I listened to that I wish I hadn’t had, so I could dedicate more time to wistfully thinking about making sweet love to Robert Pollard. But that’s not even scratching the surface of bands like Cloud Control, Cults, Weekend, Soft Metals, Obits and Franz Ferdinand. A lot of bands that I was expecting to deliver stunning results returned with meagre offerings that either cruised along on the strength of predecessors, or worse, fucking sucked.

7. Solo Projects

For me, the term ‘solo project’ is a bit of a dirty word. Most of the time, they’re warning stories for the over-eager frontmen and women. Just ask Johnny Borrell, Johnny Marr or Noel Gallagher…if your album isn’t awesome, you kind of lose all credibility,and come off looking like a wanker. But luckily, there was a whole swag of Australian artists that went out on their own and wandered out as deadset legends. Nathan Roche, Angie, Kirin J Callinan, Geoffrey O’Connor, and Alex Cameron are just a couple names that released some stellar records this year that only get better with repeat listens. No point getting too much into it, just go fucking listen to them yourself. Trust me, these records are more on the Bob Dylan side of the solo spectrum, in terms of awesomeness.

6. Boutique Festivals

In a year where shit is getting fucked up ALL over the place for major music festivals, whether it be the gargantuan amount of drug related arrests, Blur cancelling on Big Day Out, or AJ Maddah telling people that their favourite bands suck tremendous amounts of horseshit, major festivals are becoming more and more fucked. I can’t tell you how pissed I was when I missed the chance to see Massive Attack, Superchunk, Black Rebel Motorcycle Club and Neutral Milk Hotel all in the same place for Harvest festival, only to see it collapse before my very eyes. And lets not even touch on hip-hop festivals this year, with Rap City, Supafest, Movement all being cancelled.

However, with the absence of ya boiz 50 Cent and T.I, boutique festivals have continually outshone their counterparts. The ‘original’ boutique festival, Laneway, has gone international, and their 2013 edition was fucking awesome. Japandroids, Divine Fits and POND all left massive dents in my brain, right were the pleasure centre is located. Other festivals like OutsideIn, Strawberry Fields and the upcoming, sold-out Secret Garden festival (which frankly has the most amazing lineup I’ve ever seen) continue to dominate. Oh, and Sound Summit was one of the most pleasurable and unique experiences of my entire life, a smorgasbord of musical delights that will probably never be collected in the same period again. Fuck me, if boutique festivals become a thing, how the fuck will yadda yadda capitalism, Soundwave, Nova 969, joke, haha.

5. Reformations-the fucking shit and the not-so-shit

Firstly, let’s talk about Black Flag. Maaaaan, did they fuck that one up. One of the all time greatest punk bands became a petty squablling bitch fit of the highest order, and at the end of it all, once-stoked fans where left with an album called ‘What The…’, which compromised of a bunch of piss-take ‘punk’ songs and an album cover that looked like ClipArt threw up. They fucking fired Ron Reyes onstage! Black Flag aside, bands that also wanted money to buy that brand-new toaster and reformed included Boyzone, The Backstreet Boys and Girls vs. Boys. It reads like a list of who-gives-a-shit.

However, on the plus-side, Jurassic 5, Philadelphia Grand Jury, and Powder Monkeys all put aside differences and got stuck into some gigs. And by some miracle, the mother fucking Replacements got together again! What! That’s amazing! I nearly blew a load when I heard that!

4. Electronic Music???

Electronic music has had a confusing year in 2013. On the one hand, there has been some absolutely froth-worthy local shit that has gotten tails wagging and genitals exploding. Touch Sensitive, Wave Racer, Cosmo’s Midnight and Hayden James have had stellar years, and underrated labels like Future Classic, Silo Arts, and Yes, Please have all shot to national attention, like synth induced erections. And let’s not even bother to touch on Flume-that guy gets enough deserved praise.

But in terms of mainstream music, the result has been mixed like a cocktail served by a squirrel with Parkinsons. Of course, Disclosure released that pretty killer album. But the likes of hardstyle trap from the likes of Baauer and DJ Snake, and the legions of mindless DJ’s that trample our radio waves that release forgettable single after another dilutes a lot of the mainstream appeal of electronic music. Not even new albums from Jon Hopkins, and Boards of Canada, or the embracing of the genre from indie rock icons like Arcade Fire and David Bowie, could distract from the likes of Knife Party destroying decent music. Although it is undeniable that electronica had a killer year on the local front, its better to forget that other shit happened outside of our shores.

3. Debuts

Face it, a lot of debuts came out in 2013, and they all rock me better than a hurricane. International props to the likes of Savages, FIDLAR, Eagulls, HAIM, Jackson Scott, SQURL, HUNTERS and Atoms For Peace. But that doesn’t even come close to the amount of talent that pooped out shining nuggets of debut gold this year in Australia. TV Colours, Gooch Palms, Bad//Dreems, Food Court, Bed Wettin’ Bad Boys, Zeahorse, Bloods…the list goes on…and on….and on. Batpiss, Clowns, Amateur Drunks, Reckless Vagina! Unity Floors, Day Ravies, The Stevens, SMILE! These are just a couple of my favourites, but you get the idea. There was a fuckload of bands that popped their cherry and the collective music community lost their shit. Blood was everywhere.

2. Miley Cyrus and the Death of the Child Star

Look, I actually don’t hate Miley Cyrus. I think her music sucks, her taste is awful, she acts and sounds like a spoiled brat and is a living cumstain, but she’s actually the perfect pop star that this generation needs. She’s like The Dark Knight of shitty, over-produced music. And good for her for completely shaking off the goodie Hannah Montana image.

But therein lies my point. The Jonas Brothers broke up this year, the Biebs has conveniently spray-painted, prostituted and retired (?) his way into a ‘bad boy’ image, and we all saw Miley nearly fuck Robin Thicke onstage at the VMA’s. Right now, there isn’t really a glistening child-star to sell t-shirts. Even Lorde, the youngest pop star of the moment is more grown up than the majority of twenty year old hipsters that infect her concerts just to say they saw ‘Royals’. She hung out with fucking David Bowie and Tilda Swinton for her birthday party!

Regardless, 2013 saw the Death of the Child Star, a feat that should both cause us to all be thankful, and astonished.

1. Local Garage Rock Hit a Fucking Peak

Garage rock, my favourite genre, has well and truly hit its peak at the moment, and shows no signs of declining. Seriously, attend any bar in any capital city in Australia, and there’s a 1-in-3 chance that there’s a garage rock band giving it 100% and blowing minds.

Not only is the live scene of garage rock well and truly at a high point, but the albums these bands are making are astoundingly good. Palms and The Gooch Palms released underdog debuts that blew everything out of the fucking water like a land mine in a kiddy pool. TV Colours took the usual formula and added dashing synths and samples to create a tale of fucked-up-ness that’ll have you massacring penguins just to get your hands on some more. And Bad//Dreems single handedly resurrected the sound that was left behind where GOD put it.

Outside of debuts, garage bands that have already established themselves continued to push shit further into the realm of amazeballs. King Gizzard & The Lizard Wizard, Witch Hats, Ooga Boogas and fuckloads of others continued to do what they do best-ensure that we, the shitstains of musical society, are enjoying their output more than humanly possible.

As if that isn’t enough, there’s new garage bands springing up all over the place, and the sound still hasn’t been tired out. Bands like Doctopus, The Living Eyes, Tiny Migrants and Adults are just a very small handful of the concoction of rock n roll music that is permeating our ears on a local level. If you haven’t done so, check out all of these bands and more.

We are living in a renaissance of the greatest form of amatuer music in all its forms, and the least you can do is contribute in some small way. 2013 was one of the best years for Australian music, garage and rock n roll specifically, because finally, all the years of hard work that these bands have done has started to pay off exponentially in fantastic records and performances. Get along to a show, buy a record, and ensure that 2014 means that local music is better than the last shitstain of a year.