Ben Ely is best known for playing bass with Regurgitator for over 20 years. The Gurge are well known for their irreverent sense of humour and pop punk tunes, so when I heard the first track ‘1988’, which is a beautiful dark tune about Ely growing up in Brisbane, it completely floored me. It’s a deep and personal story about Ely and his mates first adventures of going to punk rock shows and getting into fights with bouncers and thugs.
I was definitely not expecting this kind of album at all, and to be honest, Strange Tales of Drugs & Lost Love nailed me to the wall from the first track onward. Ely’s introspective story telling about his adolescent growing up in Brisbane is like an open wound, his personal honesty is incredibly raw and poetic. Continue reading →
Brand new to the Melbourne music scene, Mental Tremors hit the ground running. They released their self-titled debut and within a couple of weeks they were signed to European DIY label Cursed Tongue. It’s easy to hear why they were signed to a label so quickly, as soon as the cat scratch riff of ‘Like A Broken Town’ kicks in, the listener is body slammed against the floor and spends the next five and half minutes trying to compose themselves and left wondering what the hell just happened.
‘Bastard Son’ slows the tempo down slightly; the drums penetrate deep and hard with an ongoing hypnotic groove.
Considering the band is only a duo it’s hard to fathom the racket they make, a wall of sound is built high above the listener and smashed down around their ears with an almighty force. Continue reading →
It’s always hard when someone you know asks you to review their band. It could be awesome… but what if it just isn’t your thing? or even worse, what if it’s shit? So when Andy Simpson of the legendary Don Fernando sent me a message and asked if I could listen to his new project Meathook, I thought I would do the usual thing of sending it on to someone else, but then I clicked on play…
So all you Tool fans who have been waiting 612 years for a new release, ‘The Beginning’ kicks off with an intro that would slot perfectly into Undertow, with riffs straight from the Blues For The Red Sun mixing desk, and a solo that goes on for miles; the song steamrolls across the great expanse covering everything from hard edged stoner to doom and all in between. There are no lyrics, no words, just like this review, nothing could truly describe the sound of this track, except that ‘The Beginning’ is the perfect introduction to Meathook, which will string you up by your ears and make them bleed for more. Continue reading →
Doom. The name says it all. From the opening riff to Black Sabbath, to the heavier than heavy tones of bands like Electric Wizard and Monolord, it’s a genre defined by dark sounds, and heavy lyrical themes. The breadth of styles within the genre is also as extreme as the sounds. The vocals can range from upper register screams to gravelrash intestine shredding and the music from the dirtiest sludge to plain old heavy rock’n’roll shot through with blues licks. But I love it all, start to finish!
Enter Devil Electric! They’re a four-piece from Melbourne and have just punched heavy music fans everywhere right between the eyes with their self-titled debut. The sound is classic doom, but they’ve also managed to twist an age-old formula to their own perverted uses, and in turn created a distinctly unique collection of songs. Continue reading →
Local Melbourne riff lords Dr. Colossus have been bludgeoning crowds with their melodic fuzziness for a number of years now, the new album The Dank is full of hypnotic groove that will get the listener lost as soon as the needle hits the record.
The name Dr. Colossus is a reference to a Simpsons character and the album is filled throughout with others; from the track ‘Future Bart’ to the cover art (which has a picture of Moe’s Tavern), these references add so much fun to the songs that you can’t help but laugh. Continue reading →
French writer Jean-Baptiste Alphonse Karr once wrote in his epigrams: “Plus ça change, plus c’est la même chose”; which for those of unfamiliar with French translates to “the more it changes, the more it’s the same thing”. Groovin The Moo in 2017 made its first appearance in South Australia at the infamous Adelaide Showgrounds, vastly different from its original location in Oakbank. However, the sell-out crowd were once again greeted with a gloomy winter-esque atmosphere (referred to as “Groovin The Mud” in past years), but misery was far from consideration by the attendees, if there were premises to assign to the festival – “victory” and “mystery” would be certainly suiting.
Adelaide-based progressive folk luminary Tom West had the privilege of the opening slot for the festival and brought out his entire arsenal for the presentation. A six-piece band including keys and a banjo serenaded the early observers, although not quite in a spirited fashion, more-so a soothing manner. Single ‘Easy, Love’ was the standout which channelled Pennsylvania’s criminally unknown Koji; honestly though, it wasn’t an enthusiastic engagement but a warm welcome nonetheless. Continue reading →
Yeah, Friday had finally hit. I’d spent the week learning new systems and processes in a brand new job, and whilst not physically tiring, it’s certainly mentally draining, but the Nashville Pussy gig (and a beer or two… dozen) was never far from my mind.
I grabbed a beer and hit the room to check out Melbourne’s Tequila Mockingbyrd. This all-girl three-piece do a great trade in ‘70s hard rock, big riffs, hair, and a fuckload of energy and enthusiasm. It was clear they were having a blast onstage. Singer / guitarist Estelle Artois plays some mean guitar, and has a great set of pipes too. Backed by a solid rhythm section, which is comprised of bass player Jess Reily (who was wielding a pretty funky silverburst T-bird too!) and drummer Josie O’Toole, they’ve got all their bases covered. Check ‘em out when you can. Continue reading →
Stoner legend Brant Bjork has been a frequent visitor to our shores, so when his tour was announced, all the desert rats come out in droves. Before the show at The Corner, Bjork had already played Negative Waves in Geelong and Cherry Rock at Cherry Bar. Along for the ride he bought Holy Serpent, Don Fernando and Fuck the Fitzroy Doom Scene.
It’d been a long time between beers since I’ve seen FTFDS so I made sure I was front and centre. As soon the riff for ‘Better Off Dead’ kicked in I was pinned to the wall. The unique thing about this band is the three part harmonies, it gives the performance incredible strength. They finish off with the sludgiest version of ‘Facing The Ruin’, by the end of the set my heart was in my throat and my ears were blasted, did I care? Not in the slightest. Continue reading →