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 NEWS...
Jet fans may have been disappointed in May, when the lads were forced to cancel dates on their last national tour, but all will be forgiven as the lads return during October to finish what hey started. The Melbourne 4-piece has completed another round-trip of the US where their Get Born album has been certified platinum (1 million sales). The new single, Cold Hard Bitch, is reminding Aussie fans of Jet's ability to rock, so don't be surprised if tickets for the forthcoming tour sell out within hours; Sydney and Adelaide Jet fans will have to be quick when tickets become available on August 16, closely followed by Melbourne on August 17. After strong sales and many successful tours, Jet could put the icing on the cake at this year's MTV Music Awards. Are You Gonna Be My Girl has been nominated for 3 Awards (Best Rock Video, Best New Artist and Best Editing) and Jet also have a chance at winning the 'Viewer's Choice Award'. With so much happening for the retro-rockers overseas, Aussie fans will be hoping for an uninterrupted tour schedule in October. To check the forthcoming Jet dates, click here.
(posted: August 2, 2004)
For the second year running, Jenny Morris & Friends will raise money for The Golden Stave Music Therapy Centre by performing a one-off gig to raise funds. Last year Jenny attracted a star-studded line-up including Diesel, members of INXS, James Blundell, Doug Williams and Melinda Schneider. 2004 sees the return of James, Doug and Melinda as well as Jimmy Barnes, Deni Hines, Rick Price, Billy Thorpe and re-introducing, for the first time on-stage together in 27 years, legendary 70’s glam rockers, Hush. That's right, the original line-up of Keith Lamb, Rick Lum, Smiley Pailthorpe and Les Gock will rock on stage together for this special occasion. “It's been nearly 30 years since this group of desparates have been on stage together," explained Les Gock. "We hope that Nordoff Robbins will forgive us for using their name as an excuse get together on stage. If it wasn't for Nordoff Robbins and APRA it would be another 30 years before HUSH got together on stage again". If you believe that music is therapeutic, you'll be happy to know that the The Golden Stave Music Therapy Centre is pushing the boundaries, exploring 'development and change through the power of music'. Music therapy at the Golden Stave Music Therapy Centre is based on the Nordoff-Robbins approach, which emphasises improvisation and other creative techniques. Let's hope Jenny & Friends can top 2003's impressive fund-raising effort ($35,000). Tickets are $175.00, which covers food, beverages and includes a tax deductible donation of $75.00. Tickets are available at http://www.nordoff-robbins.com.au/basement.
When: Tuesday, 17th August, 2004 from 6.30pm
Where: The Basement, 29 Reiby Place, Sydney
(posted: July 29, 2004)
Just when we needed a good dose of Aussie music controversy, Frenzal Rhomb has kick-started an enjoyable feud with Kyle & Jackie O from the Austereo Network. Let's hope it snowballs into something particularly nasty. Of course, with several hot-tempered personalities involved, it's already become an entertaining story. Let's begin at the beginning: the Bass In The Grass festival held in Darwin on July 10. The Rhomb boys were headlining but before they could get to the stage they were told their set would need to be pruned due to several other acts running over time. Knowing the Frenzal boys, they would have only been slightly miffed, but tempers were about to get frayed when the Chief Minister of the Northern Territory decided to say a few words before the set. Add to that the late (9 hours late) Jackie O arriving to say a spiel and the band were justifiably irate, realising they'd have to cut 7 songs from their set. I'm not sure whether the Minister or Jackie had bothered to become acquainted with the music and lyrics of Frenzal Rhomb because, quite frankly, they were asking for trouble. Lindsay decided to play the Thunderstruck riff over the top of Jackie's spiel, which was followed by an cutting tirade on the evils of televised pop contests like Popstars and Australian Idol. Just to set the scene, a number of established Australian acts have been dropped by major labels over the last twelve months. While no one could actually prove that this has occurred to make way for people like Guy Sebastian and Shannon Noll, it seems very obvious to anyone in the industry that this negative shedding of local talent is a consequence of labels' preference for transient short-lived pop acts. I hope companies like BMG don't lose any sleep wondering why they've become the enemy. That was the whole point of Frenzal Rhomb's outburst. Jackie O left the stage upset and the band played on, which is why they were there in the first place. Then the real fun began. On Monday July 12, Jackie's producer, Ryan, was busy on the blower, calling Epitaph (Frenzal's label) to request an apology. Those familiar with the band will now be having a little giggle. The band refused, inspiring threats from the network saying Austereo would "bury the band", meaning this totally underground punk act would suddenly be missing from radio playlists. Anyone who knows the band is now laughing. It was a dumb idea to threaten a band that has nothing to lose; Jason Whalley, articulate frontman of the act, decided to accept the invitation to join Jackie O and Kyle for an interview. I guess the dynamic radio duo was out for blood, but it's evident from the transcript of the interview that the ruse backfired. Here are some highlights of the conversation that I lifted from the Out With The Old site. To check out the whole dramatic transcript, click here. To set the scene, I can assure you that the only people yelling during this conversation were Kyle and Jackie O:
J: ...If you ring up our record company, you people ring up our record company...threatening to bury the band...saying that we're never gonna get played on Austereo again...
K: Yep.
J: ...What the hell are we supposed to think? I mean, you've never played us...
K: Triple M, Triple M have, haven't they?
J: ...You've never supported us...
K: Have Triple M?
J: ...You don't support good, original Australian Music...
O: Yeah we do, but to suit the station...
J: You're not, you're a mouthpiece for the corporate music industry, and you always have been!
K: ...you're just like a f**king idiot that sits in the background not trying to get into the scene.
J: ...You're in this position where you can promote good, new, Australian talent, and you don't.
K: You've got to get over it, because there's going to be different types of music for different sorts of people. That's why you guys have been around for ten years, because you appeal to a certain group of people. Otherwise you'd be finished long ago. And so does Shannon Noll, and so do Popstars, everyone's got different tastes.
J: I know, you know what I care about? I care about the fact that there are bands like You Am I, good Australian bands, that are being dropped from their labels right now because, to make room for not only the Australian Idol winner...we're not just talking about the Australian Idol winner, which is full fair enough, we're talking about six of the losers, that are now being signed to these major record companies for what? For these completely short term careers...
K: Yep.
J: ...So the record company can make a quick buck...these bands aren't being nurtured...and for us to get up on stage and say, "Popstars, f**k 'em, f**k the lot of 'em, fu**king get f**ked, I'll stand by that, and I don't think that that should be offensive.
K: I don't care about Australian Idol or Popstars, I only care about Jackie and the embarrassment that she had at the hands of your band.
J: Well, I'm very sorry if you felt hurt Jackie. It wasn't intended to make you personally feel in any way uncomfortable up there on stage. We were up there to do our show, this is what we do, we basically, I can't see very many people that are championing the cause of young Australian bands that are trying to get by...
K: Just let me say, if it was me up there, it would have been on for young and old from the start.
J: Okay, now for a start, I'd just like to say, Jackie...were you aware that one of your security guards threatened our guitar tech with the threat of violence - as you're doing now Kyle, "it would have been on for young and old" as you say.
O: Yeah.
J: That security guard came up and threatened us with actual violence? Do you endorse that?
K: Yes, well I do.
J: You do? You endorse that? You would have come and punched on because we said something about Popstars and Australian Idol?
O: It wasn't about Popstars and Australian Idol.
J: Because you felt that somehow we'd offended you, or not given you enough time to speak up. You were nine hours late for your show...
O: Well f**k mate, at least give me a chance to say something. Like, it's so rude to just come in and say f**k you, f**k Jackie O and play the guitar over me. I was only going to talk for like, ten seconds, seriously.
J: If we're going to talk about rudeness, can you please just explain why your people are ringing up our record company telling us you're going to bury our band...
O: We're not going to bury your band...
J: And never getting played on Austereo again?
O: But yeah, probably won't get played.
J: (laughing in exasperaton) It never did get played!
O: It got played on Triple M.
K: That's because it was pretty much shit.
J: It got played at bloody midnight so they could fulfil their Australian content, it's bullshit.
K: Mate you are just so bitter, you may as well just take a new career path.
J: I'm not...(laughing). Okay...
K: You're sad, see you later, goodbye. (hangs up) Man, what a cock. Sorry everyone, we've got to go to the hot thirty countdown now.
O: We've run out of time.
K: I apologise to all the people that would have liked to have ring up and complain about the traffic today, and I don't like kids wearing seatbelts, but we had to sort that out because I loathe that situation.
O: Oh you, you do, god.
K: And the old, what are they called? Friends Of Romb? (snickering from both) They're dead to us. They're dead to us.
Just in case you're not familiar with seedy undertones, the Austereo network audience are Jackie O and Kyle fans, not Frenzal fans. It was a pretty gutless and potentially dangerous forum for their disdain of this seminal punk group. It will be interesting to hear the roles reverse when Jason and Lindsay from Frenzal Rhomb take over Triple J's Today Today program. I have a feeling that interview will rear its ugly head again; this time for an audience who are more sympathetic to the band. Here at Whammo, we're praying for a continuance of this tasty feud. So far the score is Frenzal Rhomb: 2; Kyle and Jackie O: Nil.
(posted: July 14, 2004)
WHAMMO'S ROCK 10 (MARCH/APRIL 2004)
TOP 10 ROCK ALBUMS
1.....POWDERFINGER SINCE YOU'VE BEEN GONE
2.....GYROSCOPE DRIVING FOR THE STORM
3.....SPIDERBAIT BLACK BETTY
4.....THE LIVING END TABLOID MAGAZINE
5.....POWDERFINGER SUNSETS
6.....POWDERFINGER LOVE YOUR WAY
7.....GYROSCOPE SAFE FOREVER
8.....MAGIC DIRT ALL MY CRUSHES
9.....THE CASANOVAS LET IT RIDE
10....THE LIVING END WHO'S GONNA SAVE US?
TOP TEN ROCK ALBUMS
1.....HOODOO GURUS MACH SCHAU
2.....TIM ROGERS & THE TEMPERANCE UNION SPIT POLISH
3.....THE PERSIAN RUGS TURKISH DELIGHT
4.....LIVING LOUD RELENTLESS
5.....SPIDERBAIT TONIGHT ALRIGHT!
6.....YOU AM I CREAM AND THE CROCK
7.....THE LIVING END MODERN ARTILLERY
8.....THE SCREAMING TRIBESMEN THE SAVAGE BEAT OF...
9.....THE SCIENTISTS PISSED ON ANOTHER PLANET
10....POWDERFINGER VULTURE STREET |
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HARD ACT TO FOLLOW (5 TRX ENHANCED)
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 GRINSPOON
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Don't look to Grinspoon for inspiration if you'd like to become a modern, sensitive, politically correct rock lover. But if you'd like to don a pair of 'Aviators', drive a very large car and super-glue your stereo's volume to '11' you've found the right band. Every Aussie knows the story thus far: 4 close friends are 'unearthed' by Triple J, release a string of ever-increasingly popular albums and with their New Detention LP, become rock heavy-weights of the calibre of Silverchair and Powderfinger. With each new release, The Grinners pair back the sound, simplifying the formula and tap into the sound that Australian acts have mastered since the 60s: straight hard rock n roll. The sound is as easy to follow as a Home & Away plotline, but don't be deceived; it's an evolution. The band's popularity attests to the fact that their fans love the modern Grinspoon sound and as per usual, in the space of a few minutes, Phil's lyrics manage to undo the fine work of moralists, parents, priests and anti-drug campaigners. The do-gooders must cringe every time this band releases new material and that's one of the many reasons why Grinspoon will, once again, assume the mantle of Aussie rock royalty in 2004.
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WHO'S COMING THROUGH THE WINDOW (5 TRX)
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 BETCHADUPA
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I'm not sure why this kiwi 4-piece isn't being touted as 'the next big thing'; the media seem to waste that cliché on hype acts who's longevity is doubtful. Betchadupa were only a name to me until the Flying Nun label's Under The Influence compilation set me straight and their two contributions became regular visitors to my stereo. The Brit-pop aspect of their sound seems to be slightly diminishing and the bands ability to punctuate their riffs with dynamics comes to the fore on Who's Coming Through The Window; a punchy, dirgy single with the Kiwis' trump card: a massive wailing chorus. But, as is so often the case, the real appeal of this EP must be the 4 b-sides recorded at The Metro in Sydney as Betchadupa supported Eskimo Joe; another act on the rise. These live recordings are the best I've heard for many moons. Apparently the lads were playing so well on their latest tour of Australia that a live recording was suggested, just to capture their brilliant form. A good mixture of their short career is on display including Move Over and an intense version of Supa Day that left me gob smacked. I hate to single anyone out on such a consistently impressive package, but anyone who's ever sung live should have a listen to the quality that is possible on stage. Both lead and backing vocals are strong. Then there's the chaotic but precise ending to Design; whoa, that is a f**ked up but beautiful last 8 bars. Obviously I like Who's Coming Through The Window but I'm more excited by the fact that Betchadupa keep getting better with each release. My advice: check out everything they've ever done.
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 NEON
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The hype surrounding Neon’s EP A Man could be written off as "it's not what you know, it's who you know" but the truth is more sincere. Neon, a 3-piece that had a traditional career path on the Aussie pub circuit, recorded a demo, which landed on the desk of one of their heroes: Steve McDonald (Red Kross). Next thing they knew, they were recording an album in L.A, borrowing guitar gear from Pat Smear; Dale Crover (Melvins) playing a drum outro; and generally pinching themselves and wondering how they landed such a great deal. But it got even better when ex-Blur guitarist, Graham Coxton heard their tunes and instantly offered to release an EP for the band. You can hear a selection of those same raw but powerful demos on the A Man EP plus hear the first fruits of Neon and McDonald's labours: the title track, A Man. The sound is a mash of edgy rock flavours with a thread of retro appeal, drawing from the bands that had a harder or more warped sound yet, through the ability to write likeable tunes, made unlikely forays into the mainstream; bands like Cheap Trick, Red Kross and Urge Overkill. The Brits are going ape over this band, even at this incredibly early stage and the title track is a good reason why: big harmonies, a slightly jingly jangly top end to their guitar sound and most obviously, they have a great frontman in Josh Bitmead. Friend is the track, using a siren-like chorus to cut straight through you. If it isn't on their album I'll personally complain. Neon will definitely be a band to watch out for, especially when they release their Steve McDonald-produced debut album.
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 PAN AM
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Pan Am's recent signing to their new Aussie label was celebrated with more than the usual enthusiasm and people seem to keep reminding me that Pan Am's self-titled album is about to come out; that Pan Am's album is out; that Pan Am's album is being sent to me; that Pan Am's album should be at my office by now...have I listened to it? Okay, okay, I get the message, I'll listen to it! I'm glad I did. At a time when I feel that there's way too much rock in the market - a flood of it - this New Zealand 3-piece have clarified the situation for me: there's not enough good rock in the market; that's the real problem. Pan Am play in one direction: directly in your face. It's not overly heavy, it doesn't have a definite scene to belong to; it isn't being sung by a transsexual; none of the members are sleeping with anyone famous (or at least I don't think so?!)...There’s nothing obvious to Pan Am's appeal as a saleable item. But their appeal is the one thing that should be obvious to us, namely: great songs, honesty and ability. What else do you want? With Supa Sam, Interstate Boy and Superman, the album starts with a bang and should leave most rock fans short of breath. Midway through the tracklisting, the mood becomes a little more melancholy with Natural, a song that had quite a beautiful melancholy feel. But this is definitely a rock album and the respite is only temporary, Song 1 picking up the pace and tracks such as the engine-like Saskatchewan making it perfectly clear that Pan Am have a definite edge. Once again, with Pan Am's recent move to Melbourne, we've snagged another great New Zealand band (insert evil laugh here) but instead of gloating, I'll point to the obvious: we're always happy when a Kiwi act defects and heads slightly west because it means one more great band is circulating through our live venues and improving the quality of shows. Pan Am will be a fine addition to our much-improved live scene and with an album of this quality, they're sure to gatecrash radio playlists and possibly threaten those pop-drenched Australian charts.
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DON'T BRING ME DOWN (3 TRX)
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 BROCK DOWNEY
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I can't profess to be an expert on Brock Downey but the 4 brat rockers from Melbourne have emerged with a sharply produced cut that proudly displays their influences: hardcore, punk, hip-hop, pop. Don't Bring Me Down will probably be sidestepped by the punk purists, deemed too heavy by pop fools, ridiculed by hip-hop fans and as for hardcore...well, that really doesn't exist anymore. Nevertheless, there's every chance the band will prevail, due to their watertight musicianship, punchy dynamics and razor-sharp vocals. Like I said, it's tight; a fact consistently backed-up by b-sides Something So Wrong and Rockin'n Poppin'. In fact, the boys would have had more luck if they'd spent more cash on Rockin' n Poppin'; the standout cut in my humble opinion. I can't say I've been transformed into a Brock Downey fan, but I've got a feeling that their balancing act between the sounds of 28 Days, Grinspoon and The Androids may impress a rock-hungry Aussie market.
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 JEBEDIAH
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I kind of missed the Jebediah phenomenon in the 90s but I'm not only jumping on the bandwagon this time; I'm driving it. Yep, the man who once shrugged his shoulders when folks mentioned the Jebs, is waxing lyrical, gushing compliments and berating anyone who hasn't heard the band. I've become one of those annoying latecomers I usually despise. I don't need to be an old fan to know that the scene just hasn't seemed the same without Jebediah; a band whose influence is now clearly noticeable as younger acts - especially from Western Australia - begin to make an impact. Having shed the dead weight of a major label contract and opting to return to independent status, The Jebs seem reborn and the subsequent autonomy and enthusiasm have combined to deliver the bestest Jebs album in memory: Braxton Hicks. First Time, the first single, was loaded with 4 great tracks, so I've been assuming Braxton Hicks would be a 2004 highlight. I wasn't wrong. The opening track, More Alone, is dripping with that unmistakable Jebs sound: power + melody = joy. Being a worshipper of all things distortion, I love it when this W.A. 4-piece shovel a few coals into the furnace to achieve that locomotive momentum, as on Loaded Gun, but I'm a sucker for a big chorus and the more melodic It's Over completely nailed me, giving me an insight into the type of appeal that has not only attracted a massive fanbase, but - most importantly - retained it. First Time seems like an old friend after spinning in my stereo many times, but I've made a new friend: Nothing, which brutally mashes light riffing with the hardest distorted onslaught on the album. No wonder it ends proceedings. Jebediah have reached that point where every element is under their control - from production to business - and if Braxton Hicks is the end product of that control, every signed band should rip up their major label contracts immediately.
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 DALLAS CRANE
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Dallas Crane opened the recent Jack Awards ceremony with Dirty Hearts, their catchy current single. It represented one of the hardest tasks possible for a band; to walk onto a cold stage in front of a pensive audience and perform for the cameras; one chance at glory. It took them about 2 seconds to hit 100% intensity. It was that moment that turned me into a fan of the band and in a time of fairly lacklustre releases, Dallas Crane's self-titled LP has lifted my spirits again. This is an album that screams 'Oz Rock!' That means the riffs are edgy (Wrong Party), choruses are powered by gripping hooks (Iodine) and the band know how to infuse their licks with a honky-tonk groove (Can't Work You Out) which reminds me of my formative years, hugging a transistor radio, absorbing the music of AC/DC, Ted Mulry Gang and Billy Thorpe. In true TMG style, Dallas Crane is an act that thrives on having a broad scope, careful to write wistful ballads, blues-ridden grooves, as well as the staple diet: gritty rock that only sounds correct when heard at a filthy pub. Dallas Crane, with this album, has set a standard for the ridiculous amount of new rockers hoping to achieve success, and their advantage is blindingly obvious; they really mean it. Yep, it doesn't sound like one riff or word or beat is contrived. And thanks to this album, I just realised that almost every other new rock band is simply bulls**ting. With songs like Numb All Over (my new favourite), Dallas Crane are ready to steal the new rock mantle from current pretenders; a 'changing of the guard' that will be welcome at Whammo.
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ESCAPE FROM TOMORROW TODAY
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 THE CITY LIGHTS
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The City Lights didn't really make an impression on me initially, although You Stand Accused Young Man came close to making an impact. All that changed when Escape From Tomorrow Today landed on the Whammo review pile. It wasn't the singles that attracted my attention, it was tracks like New World Record and A Big Star (great lyrics) that changed my perception, lifting the band from their relegation with new-rock also-rans and raising them above the mire. 60-s tinged guitar sounds are too common at the moment; you end up missing good acts because of the ample helpings of dross, but you can safely assume that The City Lights are a cut above the rest. Sometimes it takes a full set of tracks to truly judge a band's sound and the diversity on Escape From Tomorrow adds to the appeal of this act, introducing a lighter psychedelic flavour to their repertoire, which creates a much-needed balance. Songs like No End In Sight benefit from intelligent arrangement, building organically and showing restraint to achieve a powerful result. It would be naive to simply label The City Lights as retro; there are many influences in their sound that aren't necessarily limited to bygone eras. A healthy respect for underground rock, nerdish humour and impeccable playing make Escape From Tomorrow Today one of 2004's real surprise packets.
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 SPIDERBAIT
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The music market is fickle and it's probably fair to say that Spiderbait suffered through guilt by association when the next generation turned their backs on the mid-90s alt-rock phenomenon. When you listen to the opening track of Tonight Alright - the jump-up jammin Take Me Back - you realise that Spiderbait play beyond any trend; they blast any of the 'new rock' wannabes off the stage with such a natural flair for power that even their healthy sense of humour and love for ironic rock-worship can't interfere with the dramatic impression they make. With producer, Sylvia Massy Shivy (Prince, Tool, Red Hot Chili Peppers, Johnny Cash), The Bait have finally found a technical magician who can share their love for over-the-top rockness. Part of that 'I'm not worthy' love for riffs and slammin beats has risen to the surface in the form of their cover of Black Betty, but this 3-piece don't need to cover the classics to prove that their hearts and souls belong to music; you only need to hear the chuggin Put It Down, the rollin' 5th Set and the frenetic In The City. I've been hanging out for a long time to hear something this unashamedly huge, loud and heavy, but it's a bonus to have the extra dimension of pop-savvy hooks; always a feature of Spiderbait's music. Grunge may be dead but I see no reason to leave behind that thick, crunchy, fuzzy distortion that we fell in love with; the riffs that gave us 'heavy' without 'metal'; the sound that Spiderbait promise to revive with Tonight Alright!
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 DALLAS CRANE
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Dirty Hearts is custom-built for radio, which will allow the song to get a crucial second chance with radio audiences. That's all it takes. An older, sentimental rock sound emerges from the crusty 6 strings, driving bass and thumping drum tracks. With anthemic simplicity, Dallas Crane taps into the 60s and harnesses the essence of the era, then ties the basic elements together with one of the most distinctive voices on the circuit at the moment. It definitely requires more than one listen and after hearing it a few times, my enthusiasm for the song continues to grow. A live version of Iodine gives fans a reminder of the Dallas Crane live show, while b-sides Sold Me and Come Again provide a great insight into the forthcoming album. Both tracks display more melody than the title track; especially Come Again, which really isn't quite complete without an audience of keen fans chanting the sing-a-long lyrics.
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 GYROSCOPE
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With a mash of pop sensibilities, chunky riffs and a driving rhythm section, Gyroscope is the most exciting young rock act in the country. Sure, you can name a bunch of revivalists that are gaining more attention, but when the hype disappears and the transient music industry decides to move on, Gyroscope will suddenly find themselves sitting on top of the rock pile. Constant touring and a string of successful EPs have perfectly prepared the Western Australians for the arduous task of recording their debut LP, Sound Shattering Sound, which includes some of the highlights from previous releases, such as radio faves Doctor Doctor, Midnight Express and Safe Forever. They've got that Western styled vocal attack - an all or nothing approach made famous by Jebediah - but lyrically, Dan's straightforward and honest approach allows punters to feel a connection with his autobiographical exorcisms, instantly evident on the opening track Confidence In Confidentiality. Restraint is one of Gyroscopes most potent weapons and after 7 years, the band has developed a chemistry that makes them a breeding ground for impressive dynamics. Take This For Granted is a good example of their ability to balance distortion and melody, sounding exact in moments of intensity while fully embracing minimalism. Personally, I love Gyroscope when they hit that no-holds-barred level of hard rock, but being one of the few acts in the country to please lovers of riffs and pop, you can't blame the band if they opted for an approachable mix. Are You Getting Any Better stands out as a perfect example of this tight 4-piece's sound; whispers, screams, hooks, distorted riffs, lulls, crescendos, dramatic prose; somehow all jammed into 3 minutes 45 seconds. When the sleepy media and music industries wake from their drug-induced rock-revival comas, Gyroscope will be waiting to lead the charge for fresh and original direction. If that's the case, Sound Shattering Sound will be remembered as an historic debut.
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 THE DATSUNS
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Australia has The Vines, Jet and The Casanovas, but New Zealand has The D4 and The Datsuns. Those bloody Kiwis have out-rocked us again! Plenty of youngsters are donning leather pants and developing their pouts, but New Zealand's premier contribution to the rock revival is one act that looks right in its garb and sounds the goods. If reviving rock is the aim of these bands, it certainly must help to have Led Zeppelin's John Paul Jones as a producer and, with the help of Jones, The Datsuns deliver a sonic brochure of ancient riff techniques to the modern audience, including shades of AC/DC, Kiss and Zeppelin. Opening with the frenetic single, Blacken My Thumb, the Kiwi 4-piece never break from the 70s trance and dutifully respond to the spate of rising new-rockers by blasting the listener with 12 strong compositions. Many acts can reproduce ancient sounds or write good tunes, but the real stars of the scene combine those strengths to create a truly rock-hard album that will deserve a spin when all the hype dies down. Highlights include Girls Best Friend (a theme close to every rocker's heart), Get Up (2.5 minutes of dandruff-shaking bliss) and I Got No Words (a tribute to their producer?). Most importantly, Outta Sight Outta Mind works as an LP; well balanced, cohesive and consistent. It also signals the first respectful nod to the muddy blues-ridden sounds that were common in the Australasian indie scene as we approached the 90s. This album will do nothing to harm the expanding fanbase of The Datsuns and the popularity of this act as a live entity will surely increase with some long-overdue media attention, courtesy of a fresh slab of original tunes that tap into the very heart of the genre.
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 ESKIMO JOE
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Everyone's giving this album glowing praise but nobody seems surprised; in fact, A Song Is A City is one of those rare moments when an album's build-up is justified by the finished product. The single, From The Sea, gave a solid indication of quality and also highlighted the amazing voice of Kav Temperley, which rides along on waves of melody; a traditional strong point of Eskimo Joe's sound. While the band are dodging the notion that they're 'maturing', it's obvious, from the opener Come Down, that their bratty pop-punk beginnings are behind them and to fill the resulting void, the band have found a richly textured style that remains pop but introduces a more introspective element, both musically and lyrically. Pianos, strings and an array of cinematic sounds garnish electric guitars, but while songs like I'm So Tired and Carousel suggest the band's evolution, Older Than You and Don't Let It Fly retain the energy so often displayed by the earlier incarnation of Eskimo Joe. Bluebottle Kiss has already shown that an act can escape pop origins to successfully mature with their audience and it seems that Fremantle's finest act is ready to make the same transition. The trio have discovered the key to producing fine songs; a philosophy that the band describe with the motto "it doesn't matter what we want, it's what the song wants"; the reason why A Song Is A City will easily take its place among the finest Australian albums for 2004.
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 THE CASANOVAS
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I can't say The Casanovas is the most innovative release of the year; in fact, it's probably the most derivative, but Tommy Boyce's obsession with pouting, denim-wrapped, aviator-wearing, V8-powered rock'n'roll is no secret and as he says (describing the album): "I really needed to get that out of my system". This type of rock has always been delivered with love and a thinly concealed sense of humour, but often taken completely seriously by the masses. Tell me Angus Young wasn't having a laugh when he first donned the school uniform; or Kiss weren't taking the piss when they strapped on their mums' platforms. Obviously, there's a touch of irony in this style of guitar music and - let's face it - Aussies mastered irony a long time ago. So, it seems, we've also mastered rock and hi-octane favourites like No Time For Love and Shake It (both previous singles) attest to the fact that The Casanovas are straight shooters. AC/DC fans should have a go at this. The majority of the album is set in the 70s and modelled off the early work of our greatest rock export: Acca Dacca. I was dubious after Livin' In The City, which I definitely wouldn't have chosen to open the album, but after sifting through the familiar hits, I discovered Strange Dreams, a slight departure from jagged, minimal riffing; and One More Time, which was like shifting from 3rd to 4th gear. While their songwriting is getting more consistent, 10 Outta 10 is still The Casanovas' coolest track and justifiably ends proceedings. Throw this album into a pile along with your mirror sunglasses, Levis and the keys to your 68 Monaro: together they make a perfect set.
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 THE VINES
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Rock and live music have made a belated comeback after club culture dwarfed pub culture. Now it seems everyone wants to grow their hair and pick up a guitar. The problem is that only a few of those people can actually write songs. One of them is Craig Nichols, much-maligned frontman of The Vines, unquestionable forerunners of 'new rock'. Winning Days follows the debut album that launched this band into Top 10 chart positions all over the world, but while temptation could have resulted in a duplication of the old formula, Rob Schnapf's production aims for the middle ground that was completely avoided on Highly Evolved, best illustrated when comparing a song like Autumn Shade with Get Free. This time the extremes are rare and thick layers of textured guitars make for a beefy backing to Nichols' undoubted flair for writing good tunes. The most obvious sacrifice is the sparse and exposed instrumentation, which added to the raw appeal of rock numbers on The Vines debut, but this is a more complex interpretation of songs and will need more than one listen. Like the single, Ride, songs like TV Pro and Evil Town don't immediately stand out; they emerge slowly, gaining appeal after numerous spins. I don't dare pass judgement on the tracks that are yet to impress because I have a feeling they'll become favourites in time. It's that type of album. Whether it was the original intention, Winning Days is a darker album that invites the listener to explore its depths; a richer-sounding effort from a band that gained instant notoriety through unbridled energy.
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 DAN KELLY & THE ALPHA MALES
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I've developed a theory after listening to Dan Kelly & The Alpha Males Sing The Tabloid Blues. I believe in ancient folklore, the Kelly males were cursed. The spell compels them to continually write songs for the term of their natural lives. Look at Paul. Has anyone ever actually seen him anywhere but a stage or a studio? Mm...spooky. And here's the 'prodigal nephew', stepping up for his time in the spotlight. Dan has had a musical epiphany since Man O'Mercy and it involves playing with his current backing band, The Alpha Males (Gaz Liddiard of The Drones and Tom Carlyon of The Devastations) who seem to have dragged a hidden growling beast from the pretty boy who began wooing lovers of roots music with his previous EP. Step Forward is a huge leap for Kelly into the realm of rootsy rock. We'd better get used to his dulcet tones, trashy lyrical imagery and deft touches on the old 6-string because he seems to have his own custom-built charm, complimented by an ambiguous background of Buckley-esque wayward adventures and more than a touch of mystery. Summer Wino makes a welcome return but this isn't an album of highlights; it's a consistent barrage of fine songs and believable performances. You'll find plenty of examples of Kelly flexing his lyrical muscle. Words can easily pass you by when they're accompanied by music but when this young crooner sings, you believe him. That's rare. As for the music, the Alpha Males dig deep to find the root of roots music, then squeeze it through amplifiers or dumb it down to the most primal essence; its soul. What am I saying in English? Simply this: I love it.
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 FUR PATROL
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Bios seem quick to label this act as 'Melbourne-based' but I don't think there's any better selling point than saying a that a band is from New Zealand. Those two slithers of land floating in the Tasman Sea seem to produce an outstanding quality of guitar bands. I was impressed with the single, Fade Away but that track had to grow on me. It's strange how important singles are to the perception of a band and I was pleasantly surprised to find a much harder brand of riffing on Collider. In fact, the tracklisting constantly contradicts the impression of the recent single, being generally energetic and staying true to the crunchy sets that have earned Fur Patrol an avid live following. Julia Deans is star in the making. Her songwriting and crystal clear voice unite to present a woman that can communicate soul through rock, which, let's face it, is seldom heard in modern music. It's not that I'm head-over-heels in love with Fur Patrol, but I can definitely say that I believe Julia when she sings. It's that sultry and sometimes powerful lyrical presentation that will win a major following for the band and it certainly won't hurt to have that ability to write a killer chorus, hammered out by a tight, powerful band that can fill a venue with a huge sound.
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ROUGH DIAMONDS ANYTHING GOES (4 TRX)
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 END OF FASHION
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I'm having a 70s flashback as I listen to Rough Diamonds and it makes me realise that I miss the melodic epics of the old days when radio was crammed with huge sounds; ambitious musical extensions of simple but beautiful melodies. Rough Diamonds a monster of a tune, which makes sense of the departure of Rod (guitar) and Justin (vocals/guitar) from Australia's latest 'cool' act, The Sleepy Jackson. There's no way Justin Burford could have survived on the road with the Sleepies. He must have been itching to explore the compositional flair that makes this debut EP a must for lovers of well-crafted tunes. Sometimes a large of dose of attention in the lead up to a debut can eventually send a band crashing down to earth, but this is a complete gem of a recording and easily jumps up to the #1 spot on my current personal Top 5. Jim Moginie and Magoo are responsible for the production and what a formidable duo they make. If you want to recreate sounds from a past era, Magoo is your man; just ask Regurgitator or Gerling. While there's no real formula to the EOF sound, you can rely on each song to contain rockin’ verses and a mammoth (I really mean MAMMOTH!) chorus. An airy quality adds a mystic quality and Justin's voice is superb, leaving an impression that, personally, I'm finding hard to shake off.
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 HOODOO GURUS
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How can the Hoodoo Gurus get away with making a comeback? Let's face it, they're not getting any younger and despite an unblemished reputation as a benchmark act among Australia's star-studded history of rock, some may think this new album is a knee-jerk reaction to rock'n'roll's highly publicised return to charts. But hang on, doesn't Dave Faulkner still write great songs? Yes, he definitely does. Have Brad Shepherd’s licks lost their edge. No, definitely not. And as for Rick and Mark, haven't they always been the machine that keeps this combo rollin'? Aha. So what's the difference? A couple of wrinkles, a few creaking joints and a receding hairline: that's all. 8 bars of the opener, Chop and you realise that Dave's knack of writing top tunes is still intact; Brad's chunky riffs on #17 made me grind my teeth down to the roots; and that same rhythm combo that powered a bunch of hits, power through Girls On Top with the type of energy that a hundred sweaty brat-punk acts would love to emulate. Take away the hype of modern media and music is still about songs. Aussies will know that the first time they ever heard My Girl, all those years ago, they knew the Hoodoo Gurus could write great tunes and with songs like Dead Sea, Dave and the boys can proudly re-emerge with another solid album of memorable tracks. Mach Schau may be remembered as one of their finest efforts.
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BEST OF BOTH WORLDS (DVD & CD PACK)
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 MIDNIGHT OIL
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CD AND DVD Region:ALL Format:PAL
This release is presented in a DVD style package.
With Peter Garrett concentrating his efforts on saving the Tasmanian wilderness, you could almost forget that he was once the world’s most captivating frontman, but the ABC are about to remind us with the release of a specially packaged CD/DVD set of two classic Midnight Oil concerts. Trust me, if you were anywhere near a Midnight Oil show in the 80s, you secured tickets immediately, because Pete and the boys were the most compelling act around. Best Of Both Worlds takes us back to the fiery prime of the act as a live entity, transporting us to Goat Island (January 85) and Capitol Theatre (November 82); back to the music of Place Without A Postcard; 10,9,8,7,6,5,4,3,2,1; Red Sails In The Sunset; and Species Deceases (which I still believe is the best EP I’ve ever heard). I made the mistake of mentioning this release to the folks in the office and everyone stopped working to reminisce about the old days. It seemed that anyone over the age of 30 had a story of seeing the Oils in their prime. The Goat Island footage has been enhanced, remixed for stereo and presented in 5.1 Dolby Digital surround sound. This is essential for any Midnight Oil fan but especially valuable to overseas fans that had no opportunity to see some of the classic Oils shows in Australia.
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