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ALTERNATIVE |
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 NEWS...
Over the last decade, Regurgitator has ripped popular music apart, and with startling results. Their tongue-in-cheek take on mainstream culture has lifted them to the top of the charts, where they have comfortably existed alongside the music they parody so well. Now, in an act that once again sees them balance between insanity and brilliance, the Brisbane 3-piece has decided to record their latest album in a bubble located in Melbourne's Federation Square. The glass structure will allow people 24-hour access to the band over three weeks and be closely monitored by Channel [V]. I guess it's like Big Brother, but with talented people. This concept has existed for many years but the band was inspired to make it a reality after seeing a well-known stunt by an illusionist. "I felt a bit ripped off by David Blaine," Yeomans said, referring to the lunatic who suspended himself in a glass box over the River Thames in London last year. "He was just sitting there not doing anything all. I thought we could put the creative process under that kind of scrutiny." If you're not familiar with this Aria-award winning act, just click here to be transported to a list of their releases. Stay tuned for more 'Band In A Bubble' news on Whammo.
(posted: July 29, 2004)
One of Australia's most warped and entertaining live acts, TISM, are on the road again and those 'in the know' will already be aware of the significance of any TISM tour. Firstly, the band rarely tour at all, so if you miss one of their gigs, don't expect to see them again for a couple of years. Secondly, they're probably one of the most bizarre acts to ever chart in this country. So, it's no real surprise that the masked marauders of black comedy are adding extra shows to their tour schedule. So far, Melbourne and Sydney will get an extra dose of madness, but I wouldn't be surprised if TISM's The White Albun (2 X DVDs + a full CD album) inspired more demand and extra shows in other cities. With songs like Everyone Has Had More Sex Then Me, I Rooted A Girl, Who Rooted A Guy, Who Rooted A Girl, Who Rooted A Guy, Who Rooted A Girl, Who Rooted Shane Crawford and Diffident Strokes, the new DVD/CD pack is a vivid reminder of this act's twisted appeal. To check out the full list of dates for TISM's 'The White Albun Tour', click here. To order The White Albun, click here.
(posted: June 29, 2004)
Just when Daniel Johns was fit enough to show off his new post-bulimic 6-pack, The Dissociatives singer/songwriter has been struck down by a throat infection. That means shows over the weekend have been cancelled to give the famous frontman a few days off, hopefully making a strong comeback to finish off the tour with his usual high standard performances. Apparently our quiet-spoken diva decided to 'soldier on' last night in Brisbane but couldn't deliver vocals at 100%. At least the Silverchair lynchpin has enough experience to be up-front with fans and Johns was honest, explaining his situation to the audience. The strained attempt to please the crowd in Brisbane was the last straw for Daniel's throat, which has completely shut down, making any further performances impossible until he's recovered. Dissociatives fans shouldn't panic; the show at Twin Towns has been rescheduled and refunds are available for other shows that - unfortunately - cannot be postponed. The act and their management seem genuinely disappointed, which makes sense considering this is their first headlining tour. This is what they had to say: "The Dissociatives and their management would like to sincerely apologize to everybody who has been inconvenienced by this change of plans. The decision has not been made lightly. According to medical advice Daniel's condition is typical of the common, but severe, throat infections that affect hundreds of thousands of Australians every winter. With medication and some rest it should pass very quickly and he will be able to resume live performances next week." Wow, I guess he must have caught a chill, taking off his shirt so many times recently. Didn't Mama Johns teach him anything? Make sure you check Miss Terri's Whammo Tour Page for changes and updates.
(posted: June 26, 2004)
The master of sinister melodies is back with a fresh release titled Abattoir Blues/The Lyre Of Orpheus, set to hit the Whammo shelves during September. Nick Cave & The Bad Seeds' 13th studio LP will be a double album, following the success of Nocturama, and Nick Launay will produce the new record in Paris at Studio Ferber. The current line-up, after the departure of Blixa Bargeld, will be: Nick Cave, Mick Harvey, Thomas Wydler, Martyn Casey, Conway Savage, Jim Sclavunos, Warren Ellis and James Johnston. More information will be available after the album is mixed at Astoria in London. Check Whammo during August to pre-order Abattoir Blues/The Lyre Of Orpheus.
(posted: June 11, 2004)
Regurgitator's obsession with video games has resulted in old-school game imagery appearing in their video clips and cover art, but you'd have to think that the boys have finally hit the peak of their preoccupation, with Atari announcing that the Brisbane 3-piece have written music for the new Playstation 2 game, Transformers. The video-clip for the theme song will hit screens this week and Quan Yeomans has composed the music that players will hear as they battle Cyclonus in the Deep Amazon Level. Quan had this to say: "When I saw the names ‘Atari’ and ‘Transformers’ put that close together I just knew I had to be involved.” Modern games always offer a reward for the inquisitive players and Transformers is no different; if players locate the correct 'Datacon', they'll reveal a hidden bonus remix of the theme song. The relationship between local games producers and musicians is a major pioneering breakthrough for the local scene. Let's hope this starts a trend in Australian interactive entertainment.
(posted: May 11, 2004)
WHAMMO'S ALTERNATIVE 10 (MARCH/APRIL 2004)
TOP 10 ALTERNATIVE SINGLES/EPs
1......DAPPLED CITIES FLY PEACH
2......THE DISSOCIATIVES SOMEWHERE DOWN THE BARREL
3......THE SLEEPY JACKSON COME TO THIS
4......LITTLE BIRDY LITTLE BIRDY
5......THE SLEEPY JACKSON VAMPIRE RACECOURSE
6......ESKIMO JOE FROM THE SEA
7......LITTLE BIRDY THIS IS A LOVE SONG
8......LAZY SUSAN SOMETIMES
9......THE SLEEPY JACKSON GOOD DANCERS
10....YOUTH GROUP SHADOWLAND
TOP 10 ALTERNATIVE ALBUMS
1......THE DISSOCIATIVES THE DISSOCIATIVES
2......YOUTH GROUP SKELETON JAR
3......BLUEBOTTLE KISS COME ACROSS
4......BIG HEAVY STUFF DEAR FRIENDS AND ENEMIES
5......ISIDORE ISIDORE
6......LAZY SUSAN NEVER BETTER
7......THE GIVEGOODS I WANT TO KILL A RICH MAN
8......SOMETHING FOR KATE THE OFFICIAL FICTION
9......GERLING BADBLOOD!!!
10....GASLIGHT RADIO Z-NATION |
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 NULL SET
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The Null Set play that brand of fuzzy, noisy guitar pop that can be quite hypnotic, creating a layered slab of distortion that has more flavours than my Aunt Delphene's Christmas trifle. From Sonic Youth to Swervedriver to Polvo, we've embraced the loose sound of competing duel guitar bands that create these massive melodies and The Null Set sound like the result of puting them all through a mincer. As with the afore-mentioned acts, lyrics and even vocals don't really matter to The Null Set's sound; it rarely comes to the fore, seeming like a contractually obligated effort rather than a foreground entity. The laconic tones help to remind you about structure and occasionally help the mood, as on All Day Sucker, but the music definitely takes priority, enveloping the listener; sometimes as warm as an old friend and other times as abrasive as your worst enemy. Kate Wilson's shuffling snare work is a musical strength that sounds like it would fill any sized venue while the three guitar-pronged attack of distortion will challenge many mixers. Return To Highway Speed is an impressive introduction and with a little time; a few more songs like these; and a decent producer, you can be sure that The Null Set are heading for a top-class debut album.
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FLIPSIDE - CANDLE RECORDS REMIX ALBUM
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 VARIOUS ARTISTS
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A Candle compilation? I think this may bring me closer to these artists because previously I've only really fallen in love with the music of a few notables like Richard Easton, Jodi Phillis and The Guild League. I'm right; straight from the outset I'm hit with Owen Bolwell's remix of Ruck Rover's Wealth, Fame & Happiness: a killer tune. I also had to completely review my opinion of Anthony Atkinson after hearing his Break In The Weather filtered through the supreme musical mind of J Walker (Machine Translations). In fact, my only criticism of this album is the fact that nowhere does it clearly state that this is a remix album, apart from the title of Flipside. It definitely made me more interested when I discovered the remix credits on the liner notes. And if I get into an artist's music via a remix, so be it; the end result is the same: I like the music. The electronic edges help me to approach acts that are diametrically opposed to me personally. It all just seems too nice and cuddly over there in Candle land, but a few added beats and textures made me feel at home in their warm fuzzy ideology. The more the disc plays, the more I'm lured, feeling uncharacteristically whimsical during Golden Rough's Provenance (Jason Blackwell remix) and even Darren Hanlon, who I'd all but written off, left me stunned, remixed by a producer who is fast becoming the most impressive in the country: Qua. Flipside does more than introduce the Candle roster, it represents the turning point for acoustic and light pop as the music is absorbed by the electronic community, with startling results.
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 RED SUN BAND
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The Red Sun Band impressed me with their previous single, Pavement, but as is often the case with young bands, the b-sides outshone the title track. Sleep Forever is a more clear-cut standout on this disc, a dreamy study in distorted melody that benefits from the main marketable factor of this act: those Mazzy Star-styled vocals that enchant despite the raw nature of the music. Drink The Wine focuses more directly on those vocals, shifting the gear stick down a few notches and only building for a few brief moments before sinking back into its own trance. It's that lulling, stumbling rhythm and the plodding riffs that are becoming a feature of the bands sound, as on Take Down, but rather that leave you bored, it acts to intensify the sentiment of these songs and I belive The Red Sun Band have hit another check-point on the road to greater exposure. I look forward to the next installment.
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 BLUEBOTTLE KISS
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Jamie Hutchings loves to tell stories and Bluebottle Kiss' latest cut from Come Across transports us to a small town, giving the listener an insight into the mind of a forgotten hero; the big fish in a small pond, lamenting a lost youth and reminiscing over 'what could have been'. It's a sparse example of Bluebottle Kiss in laid-back mode, barely moving from neutral but adding to the melancholy lyrics by matching the pace of the protagonist's location, wandering like the mind of the character. Hutching's natural flair for writing tunes results in reams of unused material and six b-sides add to the value of this release, including 3 4-track recordings that give fans an idea of the humble origins of Hutchings' compositions. B-side highlights include the brooding Love Me To Death and organ-powered The Record Company. Last Playboy In Town suggests the future for Bluebottle Kiss as the distortion pedals are put out to pasture and subtlety replaces angst, perfectly showcasing the talents of an act that has grown and matured with its fanbase.
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 THE DEVOTED FEW
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The relationship between urban and rural Australia has always been tenuous but if local acts have their way, the differences may soon evaporate. It seems that 5-piece melodic rockers, The Devoted Few, have opted for the jingle-jangle of country twang on the latest single Desolation Angels, an early hint of the quality we can expect from their forthcoming album, Billboard Noises. ARIA Award-winning producer, Jonathan Burnside opts for a clean sound on Desolation Angels, and why not? There's no need for gadgets and cut'n'paste production when you've got the voice of Ben Fletcher (Bluebottle Kiss) and fine songs to work with. Desolation Angels, a story of destined love, may be the catchy title track to this short collection, but the release is well-rounded with b-sides that include the evocative It's Over, reworked by Jamie Quasar (Patriarch), who's remix reminded me of Machine Translations or Qua's work with Architecture In Helsinki. It's Over may be hidden in the middle of a strong tracklisting, but you can expect Australian radio to take notice of it's appealing blend of human sentiment and digital rhythms. Make sure you watch out for Billboard Noises, including cameos from Glenn Richards (Augie March) and Peter Fenton (Crow).
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 GUS & FRANK
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Gus And Frank are so nice I'd like to 'can' their single, but there's something infectious about their optimism. Maybe that's why their humble origins in a pizza shop were always destined to develop to the point where they were guests on national radio and television, while their debut album Confessions Of A Rooftop Killer chalked up enough sales to make it one of the biggest independent hits of 2003. Having left the old open mic days behind, Gus & Frank are using their full 5-piece line-up to maximum effect with sold-out tours and this single should keep them on radio where their ditties have struck a chord with national audiences. Wonderful Life is as hopeful as this act gets, but b-sides reveal a slightly more adventurous group that have some diversity in their repertoire. It's a little too clean and fun for my liking but the snowballing success of Gus & Frank proves that plenty Aussies are ready to enjoy fresh tunes from this group of extremely merry men.
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 YOUTH GROUP
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I think Youthgroup write songs to rival any of their peers in Australia and Skeleton Jar certainly hasn't let me down. Wayne Connolly's production is crystal clear to compliment a band powered by melody and lyrics. The rhythm section has been given a bit more punch while vocals remain sweet giving the band an extra edge, just in time to capatalise on some interest in the US. Skeleton Jar features the previous single Shadowland, which highlighted the band's talents for charming radio audiences, but there are many low-key highlights including the title track and See-Saw, that transmit powerful moments and show Youth Group's diversity. In terms of indie pop, this recently trimmed 3-piece cover the gamut from subtle minimalism to moments of unadulterated rock, but it's the emotive lyrics and ability to write a good tune that set this band apart from the dirge of guitar pop coming from Australia's indie scene.
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 THE DISSOCIATIVES
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This is certainly not what I expected from a collaboration between dance guru Paulmac and Silverchair frontman Daniel Johns, but in hindsight it only seems fair that both collaborators should forego their traditional genres to produce a unique sound. In other words, don't expect to mosh or dance while listening to this beautiful debut. Johns seems to have reignited his love for music since Diorama's experimental sound charmed Australian audiences. The fantasia element and orchestration continues on The Dissociatives, but this time Johns doesn't have the added pressure of a huge fanbase with massive expectations. Ideas can flow, however wacky, and that fact becomes blatantly obvious when you hear the sombre opener, We're Much Preferred Customers. Just when you think that Johns is at the steering wheel, you begin to notice the more subtle influence of Paulmac, as the production commonly focuses on lighter electronic sounds that reminded me of keyboard pop in the 80s. Lifting The Veil From The Brail has that same blend of sing-long country fused with rock that The Sleepy Jackson have brought into the spotlight; but it's the melody that will hypnotise fans of the duo as songs like Forever And A Day make a lasting impression. I'm not sure if I've ever heard this many emotive chord progressions on one disc. The Dissociatives is definitely pop but presented with an experimental flair, enhanced by an attention to detail that often verges on experimental. If you can put aside the trendy sounds of now and open your mind, you're guaranteed to discover a rare beauty on The Dissociatives' impressive debut.
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 LAZY SUSAN
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After releasing the up-tempo indie hit of the summer, Sometimes, Lazy Susan are back with a complete album to feed hungry fans of guitar pop. When it comes to inspiring smiles and sighs, this band must be considered to be the country's experts, never failing to write a good hook. Never Better is comprised of 11 potential hit singles, presented as an album and each song contains that usual flair for writing hooks and insightful lyrics. In fact, I started to laugh by the time I got to the fourth track, Rosie, because I wondered how the band could possibly pick a new single from the consistent batch of infectious tracks. Maybe they just draw a winner out of a hat. Holding On gets my vote, with its classic put-down: 'you get ten points for difficulty but for execution you get minus three'. I think if I heard that from a lover, I'd consider myself 'told'. Musically, Lazy Susan just concentrate on giving their songs the best possible forum and little else. Sure, there's a few tiny solo moments but when it comes to impact the band would rather use dynamic arrangements than dazzle their fans with self-conscious posing. And that's the point: Never Better is custom made for pop-lovers; modest, slick and extremely easy on the ears. The album art reflects the band's penchant for irony, showing a galleon in the clutches of a monster octopus, with the words 'Never Better' scrawled underneath. Without their knack for exposing the strange quirks of lovers, the band might be a little too sweet but Paul Andrews and Pete Wilson are smarter than the average lyricist and know how to add an unnerving edge or bitter-sweet sentiment to these slick tunes. Never Better shows the depth of a band who made an instant impact on the indie scene and now, with a fresh and improved collection of songs, threaten to become a more mainstream entity.
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THIS IS A LOVE SONG 5 TRX EP
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 LITTLE BIRDY
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The title of This Is A Love Song is slightly ironic considering the title track features the heaviest guitar work of any Little Birdy release. It's a short and sweet burst of energetic 70s-flavoured rock that shows a side to the young Perth act's repertoire that only live audiences would have been previously aware of. With the appearance of another member of the band, Simon Leach, on the writing credits for Alright, you get the sense that Little Birdy are discovering new depth and the variety on this disk adds to a their traditional strengths of melody and strong lyrical content. Bad For You is a good example of that inherent knack for writing strong hooks that Katy continues to develop. While Paul McKercher's production skills are renowned, I suspect that the garnishes - effects and interesting dynamics - are originating from the players themselves and it's a little scary to think of how quickly this act are evolving. Katy Steele may be the star but she has the perfect support cast, McKercher included. Surely, with the quality of songs this band are writing and producing, they must be ripe for an album.
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 BIG HEAVY STUFF
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Fads, new genres and trends in music all come and go, but Big Heavy Stuff don't react. They simply write good songs and continue to produce them well, leaving behind an overweight discography that epitomises persistence. The single, Mutiny, hinted at the quality of songs we could expect from Dear Friends And Enemies; carefully crafted collections of meandering melodies and understated, restrained intensity. Greg Atkinson is one of the country's lyrical heavyweights and on the LP he displays that knack for placing the listener in the comfort zone only to twist his sentiment and challenge through personal observations and concepts. It's dramatic tracks like the opener, Her Small Mouth, that find a depth that is rare in indie rock, telling real stories through creative sounds. Big Heavy Stuff join a long list of Aussie acts that resist the temptation of the overdrive pedal to communicate a deeper message; one that doesn't rely on furious distortion, but instead relies on the power of songwriting. It doesn't mean that BHS can't write hooks and interesting riffs; there's plenty of crafty dynamics like my personal favourite I Should Have Seen This Coming. But if you're willing to actually think when you listen to music, Big Heavy Stuff provide that cerebral side to Australian guitar music that is so often undervalued.
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 SEKIDEN
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It's kiddie and lacking a lot of depth, but this band are hard to shake. They write dangerously catchy tunes and punch them out with a mixture of cheese and power-pop. This is the album I intended to stop after 30 seconds and then 40 minutes later I found myself bopping like 15 year-old girl in piggy tails. It's really quite sickening to think of the damage this release has done to my credibility as a hard-assed lover of all things dark and intense. S-T-A-Y was my favourite, probably because the music reached its girly/infectious peak with the help of Seja's vocals. Don't get me wrong; this band still rocks but in a way akin to Ash or, going back further, Ratcat. An American market is opening up for Sekiden and I wouldn't be surprised if they broke the college scene in the US. Magoo's penchant for cheesy sound made him the perfect producer but when it comes to trite but delicious sonics, this band are well versed. Sekiden are optimistic and loveable; they could be the best thing that's ever happened to pop, but pop just hasn't noticed yet.
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 ADAM SAID GALORE
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The current obsession with retro-rock is taking the emphasis away from what's really happening now. Adam Said Galore's Of Lost Roads is one of the great things about 'now'. Sure, I can still hear influences - to me, they seem like a beautiful cross between Polvo and Bluebottle Kiss - but that's how music evolves; not through pseudo cover bands, but through a mixture of adoration and exploration. Perth's Adam Said Galore have everything I currently need in order to get lost in songs: intelligence, dynamics, drama, intensity; plus an ability to rock out with crunchy riffs or restrain the feedback to offer lyrics that provide a crystal clear image of scenes and characters. Drive-In Scene just became my favourite song. Well, to be honest, it's been my favourite song for the last two weeks. Its arguing guitars and schizophrenic rhythms have me captivated. When it breaks down to subdued and emotive minimalism...well, that's when it really hooks me. These lads seem to be at the mercy of their own music. It's like a badly behaved dog, sometimes heeding the call of its masters, but never really convincing anyone of its obedience. From the most fragile scraping of a single string to monstrous walls of distorted mayhem, Adam Said Galore are constructing a new sound-scape and Of Lost Roads is a testament to their architectural skills.
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 VARIOUS ARTISTS
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Well, I'm still recovering from this year's Homebake Festival so I'm in the perfect position to remember the day's festivities, including a consistent bombardment of intense performances and the obligatory serving of brilliant Australian music. The lingering hangover continues to connect me to the event. The headaches and nausea were kick-started by Magic Dirt, intensified by Spod, exacerbated by Katalyst, tortured by Gerling, condensed by Beast Of Bourbon and compounded by Nick Cave & The Bad Seeds. That was my personal agenda but looking at the tracklisting of Homebake 2003 instils a slight feeling of loss: the one's that got away. This disk proudly displays another progression for the local scene, which - with the current rock revival - is fast approaching the quality of the mid-90s indie boom that helped the popularity of Homebake while in its foetal stages. The pioneers are still rockin (Nick Cave & The Bad Seeds, The Church); the fat distortion of 90s acts continues to shock the youngsters (Magic Dirt, Screamfeeder, The Superjesus), quality electronic acts dragged many rock fans to the Big Top (1200 Techniques, Resin Dogs, Gering, PNAU, Katalyst); and the rock revivalists were in fine form (The Vines, The Casanovas, The Mess Hall). These acts, once again, have made a mockery of the term 'alternative' with approachable and chart-topping tunes that provide an intelligent option for music fans, so often sold tripe by the media and labels. If you're curious about Aussie music, Homebake 2003 is a perfect introduction regardless of genre. Blues, roots, rock, house, breaks, art rock, psychedelic, punk, electro, hip-hop, jazz, pop: it’s all covered on Homebake 2003.
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KINDLING (6 TRX ENHANCED)
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 ARCHITECTURE IN HELSINKI
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Architecture In Helsinki is a buzz band at the moment. 'Band' is probably the wrong word considering the size of this act who seem to piece music together as a collective. The atmosphere created on Kindling is similar to the music of the Go Betweens but the compositions are pieced together in a modern cut n paste style using a vast array of instruments including horns and strings. The Melbourne crew just can't stop tweaking and creating new tunes. This EP incorporates the music of like-minded peers like Qua and Biftek, which get the remix treatment on Lo-Fi Kids. There's also a live version of The Owls Go to give you the ultimate sampler of Architecture In Helsinki's music: a single, collaboration, a live track and two remixes. There's never been an easier way to get acquainted with this innovative act.
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 THE CHURCH
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Forget Yourself proves the impossible; that a band can exist for 23 years, consistently producing credible sounds without disappearing up their own backsides or tarnishing their name with transient musical whims. This album represents the veteran troupe as a unanimous agreement on ideology; the same idea we loved in 1980. Forget Yourself blends a magnetic brand of pop, crushes it with raw distortion and adds a psychedelic garnish to arrive at the definitive trademark sound that has attracted a truly global following for this seminal act. Recorded at Spacejunk and produced by Tim Powles, the whole LP is beautifully tarnished by a raw edge that contradicts the sweet harmonies and melodies. It adds credence to the notion that The Church's career is working in reverse, powered by a DIY philosophy that protects the group from outside influence and purifies the sound. But the true appeal is always in the combination of 4 fine songwriters blending their best ideas to arrive at a supreme compositional quality. Sealine's opening wall of distortion is the most epic sound I've heard this year. It literally left me dazed and prepared me for the 14 prime tunes on Forget Yourself. After the first single, Song In Space, I discovered my new favourite song, The Theatre And Its Double, which breaks down to hushed vocals and lightning finger-picking to achieve the level of quality I call 'goose bump material'. Lay Low finds The Church rolling like a well-oiled machine with Powles driving the chorus and adding some lush offbeat snare-work to the quiet moments. It's the carefully planned dynamics and variety of textures that makes this LP one of the best albums for 2003 and there's no doubt the obsessive fans will be sated, at least for the moment. Forget Yourself, rather than exhibiting the craft of an act in its twilight years, suggests that The Church have much more to offer: much, much more.
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 BLUEBOTTLE KISS
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2 cd pack
Jamie Hutchings rambles through another gripping set of stories, feet stomp, saws whine, acoustics battle beats, darkness eats light. Yep, it's another beautiful release from Bluebottle Kiss. From the eerie atmos of Scouthall to the manic guitars of Crawling With Ants, this well-established Sydney act adds to the quality achieved by 2002's Revenge Is Slow. This is a band that has grown from humble, indie-rock/pop beginnings to be one of the heavy-weights of the independent scene. With Come Across they flaunt the experience that has lead to intricate production techniques, the cohesion of a concept album and a quality of song writing that can't be taught; it must be honed by the sands of time. Bluebottle Kiss have paid their dues and the rewards can be enjoyed by their snowballing fan base. Depth and darkness rival Nick Cave or Tom Waits and if those two seminal acts can be used as a comparison, the quality of Hutchings stories can also be lifted to their level of expertise. You get the feeling that lyrics flow comfortably- there's no sense of trying to be clever but, naturally, rich images emerge and are framed with the exact musicianship and the confidence of a band that always threatens to reach their prime, yet better their previous efforts with each new release. Come Across is no exception. Die-hard fans will love the limited edition version with a bonus disc treating them to 8 unreleased tracks from the Revenge Is Slow sessions.
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 SPOD
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Can it be true? Is this the future of music? It's a frightening thought but this extraordinary solo artist's tongue-in-cheek fusion of harsh electronic sounds and cock-rock is brilliant satire while also teetering on the edge of critical acclaim. Like a cross between T-Rex and Peaches, this pink-clad, self-made sex symbol struts on stage, flanked by dancers; an act born from guest slots between the performances of local rock acts. It's got to be one of the most extreme and gutsy acts on the scene at the moment and after initial confusion in the industry, the media are leading the way and finally getting the joke. With production assistance from Decoder Ring's JohnBoy Rock, Spod's debut, Taste The Radness is...well, I guess you'd have to say that it's ‘totally rad’.
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 FOURTH FLOOR COLLAPSE
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The only thing I know about Fourth Floor Collapse is their reputation for fine live performances and this CD; their 2nd LP, From The Cold. Actually, that's all that matters to me and in this case, ignorance is bliss. Australian music has never been more exciting than the current era and this band reinforces the notion that local acts are excelling beyond the traditional strength of pub rock. From The Cold proves that power and intensity doesn't necessarily have to depend on a distortion pedal. The 13 tracks waver between indie guitar riffing and more traditional influences of folk and roots, combining to consistently inspire euphoria similar to the subtle dynamics of Coldplay. Michael Miller's voice is a defining element and I can imagine it may attract or discourage potential fans, but I really believe Michael's sentiment when he sings and - in my opinion - that is the key to a great vocalist. From The Cold is one of the few self-produced efforts to hit the mark in 2003 and its carefully crafted gems do justice to the meandering whimsical mood of the band. Sun perfectly represents Fourth Floor Collapse as rare masters of restraint and from that early stage of the album the band earned my full attention; attention to the poetic lyrics, emotional vocal delivery and the pure joy constructed through passionate, exact musicianship. I may have been vague when it came to background information on this impressive Perth act but given the quality of From The Cold, I'm hungry to know more.
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 SOMETHING FOR KATE
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Ah, I've just fallen out of love and Something For Kate's long-awaited The Original Fiction has arrived just in the nick of time. This follow-up to the brilliant Echolalia is the perfect soundtrack to the inevitable self-indulgent melancholy I'll be suffering/enjoying for the next few days/weeks/months. The precisely structured chord progressions, creative arrangements and insightful lyrics are already weaving their magic and cultivating the warm gloom of loss. The Official Fiction is a master stroke from the lush packaging to the tiniest detail of production and the moment Paul Dempsey's voice launches into the lyrics on the opening track, Max Planck, it feels like an old friend is there at my side. His voice is instantly recognisable and familiar as he tells the stories that have become a feature of SFK's unique lyrical content. It's the opening song that also proves that Paul Dempsey's talent as a songwriter is hardly the lone attribute of this act. Clint Hyndman's drumming is far from conservative, offering oddly but deftly placed accents and a beat that fights the sugar-sweet melodies to provide a much-needed edge. You'll find plenty of brilliant garnishes on the production, courtesy of Trina Shoemaker who obviously has a strong bond with SFK. While the impressive consistency of The Original Fiction makes it difficult to choose stand-out tracks, Best Weapon, Asleep At The Wheel and Deja Vu, the current single, are all personal favourites. The Original Fiction also features a star-studded cast of guest vocalists, adding an extra depth to the band's fine voices through contributions by Caitlin Cary, Lisa Germano and Grant Lee Phillips. Most fans approach releases of this importance with a fear of disappointment but I can guarantee fans that there's no need to worry. The Original Fiction is what we all expected: a brilliant progression in the evolution of a seminal act.
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 GERLING
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In the last 12 months we've seen the electro-clash and garage-rock movements gain a stronghold on popular music culture but it would seem pure madness to glue those styles together. Luckily Gerling are completely mad. This twisted hybrid of guitars and electronics finally achieves what so many current acts are failing to produce: a completely new sound. The point of fusing opposing elements isn't to produce aural Siamese twins but sonically meld styles in the hope that a new music emerges. BadBlood!! combines rolling rock, squeezed through all manner of digital and analogue toys, presented to the listener as pop-sensible, catchy and revolutionary sounds. From the very first track, Blood On The Microphone Pt1, I was in Gerling's zone, experiencing flashbacks to the era when real bands began to emerge from the territories of electronic music; acts like Cabaret Voltaire and Nitzer Eb. The chorus is a killer; a huge wall of vocals and keys bending in unison. You'll find the two teasers released prior to BadBlood!!: Who's Ya Daddy (from the EP of the same name) and the first single Get Activated. In the City, another highlight, transports the listener on a chugging bass line through distorted vocals and ancient keyboard sounds. The Sydney 3-piece thrashed out their earlier gigs with guitars/drums (no bass!) and developed a unique guitar sound. That sound is now synonymous with Gerling and returns on Bad Blood!!! and Wacked Light. For those who most enjoy Gerling's own brand of acidic beats, We Got Venom will inspire you to worship your nearest disco ball. BadBlood!!! may be the end of Gerling's evolution; it seems to be a full stop (or should I say exclamation mark) at the end of several years-worth of intense audio research as the band have constantly moved boundaries and acted as musical clairvoyants, always hinting at the next possible trend. Now it seems that Gerling are beyond the role of reflecting music's fashions. With BadBlood!!! they signal their intentions to lead the charge into the future. Who knows what future sounds may emerge from Gerlog studios? Maybe even Gerling don't know.
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 THE SLEEPY JACKSON
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Every time The Sleepy Jackson release new songs I cringe. As a musician and songwriter, nothing makes me more jealous than hearing fresh brilliance from songwriter Luke Steele. With Lovers this annoyingly gifted genius has done it again. After hearing the blissful beauty of Good Dancers I felt like selling my guitar; the raw energy of Vampire Racecourse made me consider giving up my own music and joining a covers band; the half-spoken lament of Rain Falls For Wind forced me to consider other pursuits like karate or perhaps jigsaw puzzles. My prospects were even worse: there were still another 9 songs to listen to. How depressing. Among the songs remaining I noticed This Day, previously included on the acclaimed Let Your Love Be Love EP along with the morbid but lush Fill Me With Apples. Lovers is an album that seduces you with whispers before berating you with thumping drums and finally ending the relationship with bitter prose. You can't trust this album or rely on it; Lovers will constantly surprise you but the most puzzling factor is the untouchable essence that escapes language; that certain 'something' that luckily exists within the music of some acts, yet is sadly missing from others. If I was asked to describe my favourite style of music, I would say that it must express sadness, power and beauty simultaneously. The Sleepy Jackson's Lovers, regardless of its meandering path through many genres, epitomizes that sound.
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