Melbourne's The Sunset Club are prepping for their first physical release real soon, and here is a taste from it. Frontman Dougie Arnott was a great help for this year's Sonic Masala Fest, helping us out over the weekend with gruntwork and positive vibes, and the band opened the Pre-Sonic Masala show at The Bearded Lady alongside Tape/Off, Turnpike and Dead Farmers. The two tracks here are punchy, both evoking the 90s guitar rock that proliferated the land and more brooding, propulsive fare as seen on B-Side 'Over & Over', with Arnott's howl taking you by the throat. Solid stuff.
As if I wasn't going to love the fuck out of Headless, the new (and wholly unexpected) album from Pale Heads, the hastily assembled Melbourne super/uber/shitgroup. Featuring Batpissers, Nation Bluers, Harmonisers, Droners, and a Pair, Pale Heads come together as a rusted barrel mess, sloshing their wrecked memories, battered bodies, and twisted limbs into one destructive black mass that rides the pendulum between these guys' past influences (blue collar nihilism, violent drunk diatribes, bucolic flannel punk, frenetic numbskull noise), the filaments drawn into a swirling abyss of madness and mayhem.
From the brilliantly explosive (and slightly unhinged) 'Thomy Cut Off A Head' Headless careens off all of the walls - the dour-with-weird-effects 'Pale Head', the charged throbbing rock of 'I Can't Lose You', the caterwauling black hole and SY instrument annihilating of 'Milk Eyes', the nobrain attack of 'Transitioning Out' with the stumbling moments of tooth-nerve-ending bloodcurdling screams of madness masquerading as lucidity; the singalong skree of 'Devotion', the melancholy outro to 'Homeless'; the roughhousing spit-drenched outlier 'Small Town Casualty'; the twisted out of shape bent sonics and wrenched emotions of 'Power & Privilege'; the inherent vitriol spewed forth out of 'The Pits'; the charged groove and growl of 'Chrome'; the gleeful destruction and Morricone twang undercurrents of 'Accountancy Is Hard' (a great track this one); and the closing title track, which feels the closest to a true amalgam of the band members' former selves (and the last few seconds of banter IS the band).
There isn't much cohesion amongst the songs per se, but seeing as the band played together five times before slamming these down on tape at The Tote is a huge reason why Headless remains so loose. But it is a badge of honour too - these guys have bashed out songs that are jammed, crushed, gutted and burnt into their contorted, blackened angularities, and are all the more cathartic for it. For something so instinctual and instantaneous to be so brutally accomplished (albeit streamlined and battered) is bloody good. Imagine what the boys will be like when in each other's faces for a little while longer. There might be more scabs and scratches on those pale heads, but the ferocity and noisy abandon could be monumental. Headless is out now through Poison City Records on blue, red or black vinyl - get in.
Pale Heads launch the album this Saturday in Melbourne at the Gasometer with excellent support from the likes of Spinning Rooms, Steve Miller Band and Slab Knackers (an Eddy Current Suppression Ring "side" project), and play two shows in Sydney the following weekend. I'm sure there are more shows to follow (Brisbane, watch out).
The early bird release for tickets to our 2nd Sonic Masala Fest on Saturday March 14 are now at a close - tickets now stand at $20. Feeling gyped? Well, just remember, with 22 bands on display (less than a buck a band), plus cheap Coopers Pale Ale, plus free barefoot bowls, plus a 4ZZZ stall, plus band, label and festival merchandise and releases - it's still an OK deal. I'm sure the food will be alright too. But just to sweeten the deal that little bit more, here are three more bands that are on the lineup...
Sydney's Dead Farmers have been been blasting unadulterated rock for almost a decade now - can you believe that? They don't get up to the Sunshine State all that often, so it's a bit of a coup that we have the trio involved in Sonic Masala Fest. Furthermore, they will have in tow new album Wasteland (out on RIP Society) which, if first taste 'Can't Go' is anything to go by, is likely to melt faces. They are interested in the purest form of rock, what RIP Society head Nic Warnock prefers to reference as "pre-punk rock" - and namecheck the likes of Neil Young, The Faces, The Stones, Creedence, The Saints - all via a Minutemen-esque work ethic. Shiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiit.
One of the purest, brightest, and most destructive sparks to light up Brisbane in the past twelve months has been Clever. Featuring members past and present of Per Purpose, The Wrong Man, Psy Ants and more, this four-piece are taking the Venom P Stinger route into Brisbane sweatbox oblivion, a white-hot, multi-limbed, irascible demon intent on exploding and regenerating in two-minute spurts.
Brisbane's purveyors of dumb sludge Bottlecock have had a decent few months ey. What with the launch of their record - Record - and their 'Girt By Dickheads' coming in 7th on the 4ZZZ Hot 100 for 2014, the trio are riding high (as high as these slack bastards can ride I guess). They are a good bunch of crude losers - make sure you use your bottles as cocks in their honour.
These three join an already stellar lineup that includes the mighty Screamfeeder, White Walls, Summer Flake, Ghost Notes, Dollar Bar, Danyl Jesu, Barge With An Antenna On It, Unpeople, Thigh Master, McKisko, Pleasure Symbols, Ultra Material, Primitive Motion, theseashallnothavethem, Golden Bats, Vulture Circus, Julia Anderson & the Johnnys, and Go Go Fish. It all happens at Greenslopes Bowls Club kicking off at 11am.
Whilst it is with dismay that I am yet to take part in either Meredith or Golden Plains festivals, I still benefit when that crew get a line-up going. Every December and March respectively, the bands that wing their way to Australia for the festivals and slot in Brisbane sideshows to boot (except Roky Erickson...sight...). The upside is that you don't miss out, AND you get more intimate concert gigs. The downsize is that you have to pay through the teeth to see them all, which isn't possible anyway because bands invariably clash (hello Ariel Pink and Endless Boogie (although that was an easy choice to make, Endless Boogie being one of the raddest bands on the planet and all).
Tonight sees some craziness involved, yet only one international band is taking the spotlight. The fact that it is the brilliant Japanese genre-defying trio Boris, supported by the excellent Laura and "local" legends Nikko, breaks my heart. So if you are getting along, it should be fucking amazeballs (I saw them at the Islington Garage in London back in 2010 - they killed...) If they play this (which I certainly hope they do), I will shit myself from pleasure. And I won't even be there. I just know this song from osmosis. If you can smell me, it can only be a good thing...
One of the most underrated Melbourne bands doing the do at the moment is Dead Farmers. They just released a killer 7", and are making a rare appearance in the Sunshine State supported by Per Purpose and Sewers (thanks Bedroom Suck!). I'm very bummed to be missing this show too - plus it'll be one of the last gigs to play the sadly closing Woodland venue (goodbye $5 Tooheys schooners!). So here is the video for their latest single, you lucky devils!
Now whilst they are further down the bill at the Alhambra Lounge tonight (supporting the effervescent Velociraptor, with the irascible Tiny Migrants also in support), I haven't played this ace vid of Tape/Off's 'Hell Comes To Frogtown.' Great name, great song, tripped out visuals. I'm there (in spirit...and in boozy reverence later!)
So where will I be tonight? At the 5th Sonic Masala showcase, of corks! Where you all should be too. We have Fred Savage Beasts (a side project for the aforementioned Tape/Off's frontman), Motherfucking Morgan Freeman and Crass Creatures ready to tear your ears off and feed them to you through sweaty desperation (true story - I've had them locked up in cages with nothing but a bowl of stagnant water and their instruments as sustenance). Franco Cozzo heads that bill, and the Melbourne duo (SM's first interstate guests) are intent to bludgeon your torso with brutal notes until you dance like a loon and holler like a banshee. Have listen of a track they played at the Workers' Club last year for verifiable proof that tonight will bring about world peace.
I should end here. But then I NEEEEEEEEEEEEEEEEED y'all to watch and listen to Spiritualized's new song/video, 'Hey Jane'. i think it is possibly the best video EVER. For real. Comments welcome. In fact, this video may feature in another post next week, because outside the wedding I'm going to and the writing I'm required to pump out so that I can get the bread in order to live, that is all I'll be taking notice of. It's fucking incredible. My gift to you (only if you give up a tenner and come to my show).
Today heralds in a few days' worth of posts devoted to some fantastic Aussie releases that I have been saving up, including ones by Royal Headache, Straight Arrows, Dead Farmers, and Total Control. Not all of them are this year's news, but are warranted another look in. This one though, is fresh off the presses, and is a veritable delight to boot.
Melbourne's Witch Hats have the guttural firepower and diseased charisma necessary to corrupt the minds of the masses. On their debut release Cellulite Soul the rawness and aggression inherent in their swagger suggested that style and substance weren't independent of each other, instead always wrestling for control. And in Pleasure Syndrome they really nail their MO to the wall. The beauty of this LP though is that the cohesion, the Araldite that grips a band into a fevered vortex of sonic elation and cosmic power, seems to have arrived. By the metric tonne.
Opening track 'The Bounty' is the perfect example of this. Frontman Kris Buscombe still sounds ready to double glass you at the drop of an ill-place syllable, yet there is a comfortable presence behind his lyrics now that suggests that such a glassing wouldn't be a violent outpouring so much as a graceful balletic manoeuvre that you would be in awed fascination by even as pints of blood pulses out of your split forehead. Such reigning in of the bountiful seams of sleazy abandon is what makes Pleasure Syndrome an infinitely better release, and possibly one of the best Aussie releases of the year (neck and neck with another that I will talk about very soon...) 'Mahoney' lends lyrics that sings to their previous incarnations, the S&M rife imagery as disturbing as it is titillating. 'Hear Martin' has taken references to serial shooter Martin Bryant, thrown together some Clash and Doors hubris and percolated it all with a sense of lackadaisical longing - something that shouldn't work, yet offers a slinky number that exudes originality and intensity. Closer Closing out with the suitably heavy 'Ashley', Witch Hats assert the notion that they are well-heeled rabblerousers with hearts of tainted pitch.
