Best Albums of 2015 So Far (That I Missed)

I’m human. Believe it or not, the pinnacle of dickhead that is I am prone to fucking up. I can only pump out one horrible 500 word review every now and then, and as such, have missed out on some pretty incredible records. Other sites offer up the #content, sure, but I feel bad that I haven’t been able to personally deliver a small, spelling-error-stuffed, profanity-laden review of some amazing records that I think others should hear about. For some reason or other, I never posted about them at their time of release, and I’m genuinely bummed that I didn’t offer my two cents whilst the iron was hot, or whatever the phrase is. So, basically, here’s the good stuff that I missed that you shouldn’t:

1. The Living Eyes – Living Large


2. Screaming Females – Rose Mountain

3. Heart Beach – Heart Beach

4. Love of Diagrams – Blast

5. Panda Bear – Panda Bear Meets the Grim Reaper


6. METZ – II

7. Jess Locke – Words That Seem to Slip Away

8. Dollar Bar – Hot Ones

9. Twerps – Range Anxiety


10. Marlon Williams – Marlon Williams

11. Sharon Van Etten – I Don’t Want to Let You Down EP

12. Grenadiers – Summer

13. Clowns – Bad Blood


14. Blur – The Magic Whip

15. Joanna Gruesome – Peanut Butter

16. Thee Oh Sees – Mutilator Defeated At Last

17. Superstar – Table For Two


18. Sleater-Kinney – No Cities to Love

19. Kangaroo Skull – Palace of Nothing

20. Oh Mercy – When We Talk About Love

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Album Review: Wet Blankets – Rise of Wet Blankets

When I was 15/16 years old, you wanna know what I was doing? Jerking off, and begging strangers that seemed the perfect mix of sympathetic and old to buy me and my shitty mates booze. I thought Wavves were edgy, and that taking a girl to Maccas and shouting her lunch was a “pretty good first date”. I knew I was smarter than everyone, and that when I was a millionaire from all that punk music (read: THE NEW NOFX ALBUM) I would take a big ol’ shit on the lawn of everyone who said that I was weird because I listened to “Enter Sandman”. Doncha know that’s fucking metal?

It wouldn’t be until about a year later that I went through the enlightening discovery that there was more to Australian rock music than Powderfinger, but this story ain’t about me. As intriguing as it would be to recount just how many Prodigy CD’s I bought, this reflection of who I was at 16 is less of an attempt to trace everything to the exact point of when I realised how much of a fucking loser I am, and more of a gobsmacked appreciation of Wet Blankets.

Wet Blankets is the project of Zane Gardner, a bloke straight outta Geelong. I refuse to call him a kid, because he’s got his head screwed on better than the majority of fuckwits that run this country. Furthermore, he’s evidently got a damn fine music taste, judging by the way he propels through his debut album. There are touchstones throughout the ‘Rise of Wet Blankets’ that sure as shit put my high school musical obsessions to shame. Whereas most teenagers are happy to numbingly plod along to Disclosure and Selena Gomez, Zane has obviously been thrashing The Reatards, Dead Boys and Cosmic Psychos. Fuck, I would’ve killed to have had the foresight to give those artists a chance and to have sought them out earlier than I did.

‘Rise of Wet Blankets’ doesn’t even stretch for 20 minutes, but the amount of sweat, puke and fuzz that’s loaded in here could kill an unsuspecting high school student faster than synthetic weed and a free period with nothing to do. The guitar solos on here are as deranged as an ‘Nam flashback, the yelling and screaming puts spoiled rich kids to shame, and the dark humour wouldn’t feel out of place in a Bret Easton Ellis novel.

What makes this record so impressive is how organic it feels. Zane mmade one actually?doesn’t shy away from his age, or try to mask it with some sort of bullshit maturity. No, the repulsion for the kind of shit that annoys people under the age is rampant in the record, like hating on school in “Kits”, dealing with dipshits on “Marge is A Wet Blanket” and struggling to sleep on “Fridge Too Far”. You know why you can’t sleep? You’re too fucking loud!

From the first second, to the last, this record is relentless, a no holds barred cage match of ear-bleeding guitar. It’s the perfect record to encapsulate the teenage experience, with all its acne and inability to talk to girls. And what’s more, its music that won’t make you ashamed to have listened to in your pimply years – Wet Blankets is a band that can, and will, be adored at all ages.

New: The Living Eyes – High Standards

Geelong aka Rock n Roll City, has bred all sorts of legendary acts, but one of the finer cases is The Living Eyes. Following on from their 2013 debut LP, The Living Eyes have returned with a single that announces a new album, ‘Living Large’.

Announce isn’t the right word – they’re style probably aligns closer with obnoxious lambasting, brash and loud to the point where GG Allin might even recoil. “High Standards” certainly raises the bar to extraordinary levels, and if The Living Eyes can keep their energy levels to the manic heights of the average Ren & Stimpy cartoon, then ‘Living Large’ should be one of the rock n roll releases of 2015.

Album Review: Ausmuteants – Order of Operation

Here’s the thing – people have got to know about this band. Sure, this is just some shitty personal blog, but if someone happens to stumble across it looking for midget porn, and finds this album, then I’ve done my job as a douchey Internet denizen. There’s almost no way that Ausmuteants won’t become their new favourite band. They’re just too fucking brilliant, visceral and goddamn authentic to be ignored.

For a little more context, Ausmuteants ripped their name off some Brazilian band, and inserted enough haywire, schizophrenic synths and noisy feedback to warrant any original members from Suicide to drop their instruments in despair. Coming outta Geelong, Ausmuteants feature members of Frowning Clouds, The Living Eyes, School Damage, Wet Blankets, and pretty much any band that sounds like it was dragged from a murder scene, kicking and screaming with an insane look in their eye. Their first album was a gonad-punch of noise moulded into pop and splintered with all the fucked up shit that harps society.

Their second record built up those stages, but threw in a few more avant-garde pieces, like “I Pissed Myself Twice”. On “Order of Operation”, Ausmuteants finally sound like they’re a full band, not just a collection of screams and howls projecting the most disparagingly funny lyrics onto musical freakouts resembling Jack Nicholson’s eruptive fate in “The Shining”.

Furthermore, these songs are yelping animalistic eyeball poppers, more so than shoving a lawnmower, followed by a bottle of vinegar up your arsehole. A re-vamped version of “Felix Tried to Kill Himself” is so furious and deranged, you’d swear someone was trying to kill the band members in the middle of the recording, and the only way to defend themselves was to throw as much noisy guitar at this Jason Voorhees as possible. The same situation applies to the escaped mental-ward patients of “1982” and “Boiling Point”, songs which reach bleeding, scarred and fucked-up levels of success far too easily.

There isn’t really a moment on “Order of Operation” when Ausmuteants aren’t at their crude, twitching best. When not writing songs about porn (“Freedom of Information”), there’s stuff like the gutter revelation of “Depersonalisation”, which sounds like Ghandi reaching Nirvana whilst living in a compost heap in St Kilda. There’s a slight change of pace, within “Wrong”, about the plight of being a constant disappointment, but this seems less like a #stylisticdeparture rather than just fitting the pretty fucking depressing theme of the song. However, it does show that Ausmuteants hold onto that little bit of empathy, and they’re not too far gone to edge back into this boring realm of humanity.

Ausmuteants, I mean, these guys are fucking supernatural. They pound and thrash, and ruin any concept of cliche with their sheer ecstasy. Accompanied by a fucked up (read: refreshing) sense of humour, and enough schizophrenic bellowing to send the Primitive Calculators reeling, Ausmuteants align themselves with the too-oft ignored progressive punk of the 70’s, stuff like The Monks, The Residents and The Tubes. Maybe I’m dooming myself here by trying to compare Ausmuteants to something else, but it’s meant to be taken as a compliment, and in regard to their ability to be a crass, hyper-real thing of the lore that has somehow been brought to life before people are probably ready for it. It’s with a strong hope that people can recognise how fucking brilliant this band is, and ensure that they become cult idols before they’re using machines to breath.

New: The Living Eyes – Guilty Pleasures

The fucking ruthless Geelong-ians known as The Living Eyes are back to shred your minds and ambitions to become a better garage band than they are. They’re latest is a track called “Guilty Pleasures”, which re-invents the entire definition of high-octane. If surf rock were catapulted into space without an astronaut helmet, rocketing into the stratosphere at eye-bulging G-Forces, the resulting sonic boom would sound a little like this 2 minute extravaganza. To speak bluntly, this thing is more dangerous than working a buzzsaw without gloves and after a half dozen schooeys.

New: The Frowning Clouds – Move It

Way down in Geelong, there exists a hub of bands that kick unbelievable amounts of ass. The Frowning Clouds are at the premier of that scene, and make rock and roll tunes so sticky you would’ve thought spilled a beer into the recording equipment. Listening to ‘Move It’, with its overwhelming sense of Thee Oh Sees-esque party vibes, you can’t help but want to move your head at a breakneck pace, your neck walloping along like a yo-yo snapping back and forth.

‘Move It’ manages to go through a shitload of phases,each one more jizz-inducing than the next. There’s a triumphant opening riff, that moves sleepy-eyed psych-tinged territory, before…holy shit, is that a kazoo? Whatever point you find yourself at, there’s the kind of wide-eyed wonder that can only be matched by watching Adventure Time on acid.

Top 5 Records w/ Anti Fade Records/The Living Eyes

It’s a well established fact that I fucking love Anti Fade Records. They’ve put out killer release after killer fucking release. Don’t believe me? Here you go, you doubtful swine: Gooch Palms, Straight Arrows, The Bonniwells, Austmuteants, The Clits, Cobwebbs, Housewives, The Kremlings, The Frowning Clouds…fuck, I’m out of breath. Point being, this label is the centre of the universe when it comes to garage rock that’ll whip your pants off and blow you. Speaking of the centre of the universe, Anti Fade have also released two compilations called ‘NEW CENTRE OF THE UNIVERSE’ and they fucking rule. Best cassettes I’ve ever bought.

You may have noticed I left out a very important band in the list of Anti Fade releases, namely The Living Eyes. That’s because I wanted to create dramatic tension/talk about it in this paragraph, you living splooge stain. Anyway, The Living Eyes adhere to the Anti Fade rule of kicking copious amounts of ass. Just check this video for ‘Eat It Up’:

Did you fucking see that? Or were you blinded by the way that it makes everything else you’ve listened to in the past 48 hours sound like the sound of a disinterested dog scratching its balls? Either way, consider yourself lucky as you read the Top 5 Records of Billy from The Living Eyes/Anti Fade Records fame. I sure do.

Chrome-Red Exposure
Anybody into Chrome will most likely know how much of a fan I am already, since I nicked the label name from them. I took it from the chorus of this song, even though they have a different song altogether called Anti-Fade. This song’s better though!
There’s heaps of cool stuff on this album and I’m always amazed at the weird overdubs and sick production on it, considering its only two dudes performing and recording the whole thing.
The Kinks-The Kinks Are the Village Green Appreciation Society
Even though this album is known to drag out a bit towards the end – I still reckon its amazing. The first 10 songs are all completely second to none. The last 5 are still great but maybe not as great. Sick song writing and drumming – tempo changes in ‘Walter’ and ‘Animal Farm’ are so good. It was real hard to pick just one song to preview here
The Soft Boys-Underwater Moonlight
Most recent LP I heard on this list. Only got into it in the last 6 – 8 months. Great lyrics, great bass lines, great lead breaks, the works. Pretty bangin’! The lead break after the chorus in this song gets me every time, I don’t think it’ll ever get old.
DEVO-Duty Now For the Future
I really can’t pick between the first two Devo albums. I was a bigger fan of the first one for ages but the second has been getting a lot more spins over the last year so I listed it here. It’s a bit more weird which is good. There’s too many hits to pick from on here anyway.
The Saints-Eternally Yours
Australia’s finest. Even though they’d moved to London by this point, it’s still Aussie! Pretty much same deal as the Devo one – very on par with the first LP. I like the direction they take on this one though, little less punk (in a good way) and self-produced. Plenty of good riffs that ya just can’t argue with.
*The embeds are messing up, not sure what’s wrong with them.

Gig Review: King Gizzard & the Lizard Wizard

Thursday 10th April @ The Roller Den

Fuck man. King Gizzard & the Lizard Wizard amirite? Four albums in 18 months? That’s like me completing a university assignment on time-fucking impossible! Hell, you’d be better off getting me to hold a conversation with someone who doesn’t know who the Black Lips are than stopping King Gizzard from pumping out new, consistently mind-blowing material. That’s why everyone who wanted to get bits of their highest expectations exploded out of their skull attended the Gizz’s show in Erskineville that Thursday night.

The night opened with local psychers Raindrop. A damn good performance, but nothing to write home about. Worth chucking a text or a sneaky e-mail to your mate who digs on Tame Impala and POND though. The guys were pretty stereotypical psych lords, long haired dudes with cool shirts, busting out long, droning solos and wrapping the audiences’ head in a hefty sheet of reverb. Overall, everyone who was on drugs (90% of the crowd) loved Raindrop, and the others wore a smile of content.

Next up though, were garage punk kings The Living Eyes. The singer/guitarist Billy runs Anti-Fade records, one of the finest churners of garage and punk in the Southern Hemisphere, so no doubt his own band are going to be fucking sick. The guy with the balls to press records from The Gooch Palms, Wet Blankets and Ausmuteants is obviously a guy with the balls to blitz the fuck out of a show.

And blitz they did, raining down a storm of riffs and fuzz fury on an unsuspecting crowd that quickly turned into a mosh of Slayer proportions. Seriously, it was like a bukkake of guttural guitar and howling,wretched garage rock. The crowd couldn’t get enough of the ferocity on stage; even when a string broke and the band awkwardly waited for a replacement onstage, they had no trouble rolling back into oblivion-mode when a new guitar began it’s thrashing induction. ‘Ways to Make A Living’ and ‘Eat It Up’ packed particularly intense Mike-Tyson ear-chewing punches. There was a do-or-die vibe, like the B-52’s meeting Bass Drum of Death competing in a fiery go-kart race where everyone dies in an explosion of tyre and garage fuzz at the end.

Finally, the Gizz got onstage, and the only conceivable problem was how they were going to fit all seven members on stage. They managed, a lot better than on the considerably smaller stage at FBi Social on the Saturday night, and the show got into full swing quicker than an episode of Game of Thrones kills off a major character. Immediately, ear drums were blown, and a roiling mass of bodies began. The Gizz played with passion and perseverance, eliciting the kind of vibrancy that you’d rarely see at a gig.

The material mainly stuck to the previous two album releases-this year’s ‘Oddments’ and last year’s ‘Float Along-Fill Your Lungs’. Basically, that meant that the songs could range anywhere between three minutes and ‘Head On/Pill’ sixteen minute-plus extravaganza. But all the material showed off a new-side of the band that allowed the audience to revel and indulge in carnal dancing and excitement, like a seven-pieced psychedelic Dungeons & Dragons die.

For example, ‘Sleepwalker’ was entrancing like the best Animal Collective material, whilst ‘Hot Wax’, was a primal seeper, divulging in a mud-caked, bass-driven firecracker that is best set off after a batch of bad acid acid in the swamps of Perth. And the fact that ‘Head On/Pill’ has upwards of five muscular, pile-driving sections where all the audience is allowed to do is headbang and thrash is a testament to what kind of insane beast King Gizzard are in the live format.

Seeing this band live is a 100% must. They’re like a version of the Planeteers that were obssessed with the Nuggets compilations instead of hanging out with a guy with a green mullet that painted himself blue-apart, they’re just a bunch of long-haired minstrels. But together, and attached to their various instruments-a harmonica, a guitar, a theremin, a drum kit, whatever- their powers combine to form a loud, real and impossibly addictive show that will fuck up your ears and make every nerve ending in your body resemble a fried composition of total happiness.

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.

Video: The Living Eyes-Eat it Up

Are The Living Eyes getting morbid? Nah, fuck that, they might be getting melodramatic in the lyrical sack, but they still pack a punch with their 60’s garage rock n roll. ‘Eat it Up’ jerks around schizophrenically, just jamming all levers into overdrive and creating pure fun sound. Meanwhile, the band employ what has to be the least adequate style of clothing in a video, with jackets, hats and even sunnies made from newspaper. It all fit into The Living Eyes retardedly cool atmosphere.