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 NEWS...
It's been a week of ups and downs for Aussie rockers Jet. While Get Born hit the coveted top position on the Australian album charts (their first #1 anywhere in the world), the lads have been forced to cancel the remaining gigs on their national tour due to a "serious family illness". Adelaide and Perth will be temporarily deprived of their Jet fix and considering the success of the east coast dates, including 3 sold-out shows in Sydney, fans will be bitterly disappointed. But an official statement from the band suggested the lads were willing to make it up to their South and Western Australian fans: "It is with great regret and disappointment that Jet announce the cancellation of the final leg of their current Australian tour. Shows scheduled for Adelaide, Dunsborough, Perth and Fremantle will no longer take place as planned due to a serious family illness. The band sincerely apologises for any disappointment caused by this unexpected turn of events. Jet fans have been out in force on ‘Thee Get Well Gone Revue’ and the band intend to repay the support by making up these shows at a later date. Jet aim to tour Australia again sometime later this year and plan to reschedule shows in Adelaide and Perth." If you've bought tickets to the cancelled shows, you can receive refunds from the point of purchase. Overseas fans (who are probably holding their breath right now) will soon find out if the London Brixton Academy show or festival dates will go ahead as planned.
(posted: May 19, 2004)
Jet, Australian rock's current flag-bearers, have sold out their national tour, the 'Thee Get Well Gone Revue', leaving a few fans disappointed, but there's consolation in the form of the repackaged Get Born album with a new DVD component. Filmed at London's Astoria Theatre, the 5 live performances on offer capture Jet's potent live energy. Back home after touring the USA with The Living End and The Vines, it seems that Jet may find it hard to shake their new mates, with Chris Cheney joining the band on stage at Melboune's Forum for a blistering version of Elvis' That's Alright Mama, which is on the tracklisting for the Get Born DVD component along with favourites like Are You Gonna Be My Girl and Cold Hard Bitch. Aussies can also get a fix of live Jet when the band are the subject of a live ABC special (7th & 8th of May) filmed in Melbourne, which will be repeated in November to coincide with Australian music week. Meanwhile Look What You've Done, the band's new single, is receiving strong airplay as they play jammed venues across Australia.
(posted: May 5, 2004)
Sometimes the Australian music media tend to collectively put heir head in the sand when it comes to recognising an up-and-coming talent. Any fool could have seen that The Butterfly Effect were emerging as a hard rock force in this country, with sold-out shows and new gigs constantly being added to tour schedules. They're one of the hardest-working acts in the country and relentlessly take their music to the fans, constantly on the move over the last 18 months as they prepared their followers for the releases of Begins Here, then backed up the slickly produced LP with yet another tour. Music journalists can say what they want in reviews, but recent readers' polls have given the industry a shocking wake-up call that indicates The Butterfly Effect are one of the most popular rock acts in the country. The Drum Media's 125,000 readers have voted and the results will have the band's detractors feeling very uncomfortable. Begins Here has taken third spot for 'Favourite Australian Album' behind Powderfinger's Vulture Street and Jet's Get Born. And if that was impressive, The Butterfly Effect have outranked Jet in the category of 'Favourite Australian Artist' to take 2nd position behind Powderfinger. This follows heavy rock/metal magazine, Kerrang's readers' poll that also placed the band at 2nd position for 'Best Australian Band' and #6 for 'Best Tour'. After a lacklustre reception to their debut, it seems The Butterfly Effect have the last laugh and you can watch them do exactly that as they leave a burning trail across Western Australia during May. To check out the dates, click here. To access The Butterfly Effect page, click here.
(posted: May 3, 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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 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 SPAZZYS
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With the driving force of Ramones-styled riffing combined with the best driving rhythm I've heard since The Hard Ons emerged, all-girl rockers The Spazzys are destined to find a home on Australian radio with their debut single. It's a short sharp burst of power pop that doesn't pretend to be anything but an optimistic take on the sound of yesteryear; the songs that turned mosh pits into human casseroles and always started with a trademark scream of "1, 2, 3.." The Spazzys are destined to have that same effect on an increasingly large audience as they make the transition from pubs to home stereos. If you like the title track, you certainly won't be disappointed with the b-sides which, like Paco Doesn't Love Me, only have one pace: full on. Could these three 21 year-olds be the antidote for an EMO-obsessed generation? Let’s hope so.
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WHAT ARE YOU GONNA DO? (5 TRX ENHANCED)
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 THE CITY LIGHTS
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After being trapped with a compulsory video dose of this single, I was a little miffed, but the City Lights made it up to me with some harder edged doses of their blatantly 60s formula; especially She Don't Even Know My Name. The band's worship of retro rock even extends to clothes, but while I'm no big fan of reversing time, this energetic act are a tight outfit that appeal to any rock fan, simply by their ability to thrash out 3 chords so passionately.
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 THE ANYONES
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With a killer opening track like Pocket, it's tough to do anything but sit back and enjoy The Anyones' debut album. There may be a lot of 60s-inspired pop acts rising from the underground but the one thing they forget is the fact that the decade that gave us a lot of stripes and helmet-like haircuts also gave us great tunes. That's why The Anyones are a cut above the rest and it's easily evident during quieter moments like Rubin that this act revels in harmony and have mastered the art of writing a strong melody. The old-school influences just seem derivative when interpreted by most of current new-rock wannabes, but The Anyones make their music unique enough to be taken seriously. Rather than seeming like a trip in a time capsule, their debut sounds like a new take on an old idea and even on the whimsical and Beatle-esque Here We Are (La La Land) the band manage to retain their individuality. I think this is probably Paul McKercher's finest recent effort behind the mixing desk and considering how prolific he is as a producer, that's a compliment. On Green Cat's Eye the band reach their rockin best, dredging up a beefy rhythm section to show the other extreme of their repertoire. This is a sweet-sounding debut from one of the only real contenders for the retro crown.
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WALKIE TALKIE MAN (5 TRX)
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 STERIOGRAM
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New Zealand's Steriogram milk the most from 3 chords on their frenetic single Walkie Talkie Man, mixing some relentless rock with fast-paced lyrics. As with most Kiwi acts, they already have their own unique sound, which relies on the musical contradiction of raw vocal performances over slick rock. Simple grooves carry the sound but Steriogram sound best when things get a little more challenging, like the clever dynamics of Sing The Night Away. It's definitely the standout track, given extra support by well-placed backing vocals. If Steriogram hit those heights regularly on their album, it will definitely be one of the more interesting releases of 2004.
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SINCE YOU'VE BEEN GONE (3 TRX)
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 POWDERFINGER
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Australia's most successful rock act of the last decade continues to surprise me. Initially, after hearing Vulture Street (the Aria Award's 'Album Of The Year' in 2003), I thought they'd opted for a strong long-player with little care for the inevitable string of ensuing singles, but each time I hear a fresh cut from that outstanding album, I realise that these stars of Brisbane's rock scene can't help but write a radio-friendly tune. Since You've Been Gone edges closer to the dramatic epics that made them a house-hold name, but still follows the theme of Vulture Street: deep blues in the guise of rock. Another two demos provide fans with a special insight into the making of their award-winning album and while these tracks are merely 'works in progress' they certainly sound good enough to be part of the finished product. Powderfinger are heading into new territories, like Canada, where the boys are finding new fans and critical acclaim to match the adoration they've received at home. The wall of sound they create was always destined to find a happy home in North America where the love for rock seems to reaching yet another peak. Well, if they love rock, they've discovered the right band because this 5-piece have consistently delivered premium riffs since they arrived on the scene in 1990.
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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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 28 DAYS
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The distinctive 28 Days sound produced such top 20 hits as Sucker and Rip It Up, powered by tireless festival performances and rise of the turnatable as a legitimate instrument in the world of rock. This time, they bring us Like I Do, a fresh pop track with hip-hop tendencies. One could say it sounds a little like something American band Sugar Ray would produce, but the strong Aussie vocals contribute to a homegrown sound. With turntables, distorted guitars and chunky bass, this track will seem irresistible live and a sure thing for radio air-play - a top 50 spot for sure!. 28 Days fans will love this track - it's got the Australian 'hip-pop' scene wrapped around it's finger - but for the rest of us, it bares an uncanny resemblance to the long list of previous 28 Days singles released into the mainstream. While striving for a new and unique edge, 28 Days fail to surpass their Rip It Up or Sucker spots in chart history. Having mastered the charts and the art of b-boy/punk fusion, it may be time for a change in direction for these familiar Melbournites.
(review by Laura)
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B.W.T.T EP (9-TRX ENHANCED)
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 H-BLOCK 101
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H-Block 101 are back and goddammit, I missed them. I didn't miss some of those unnerving moments of bent vocal harmony, but I guess the punk mentality allows for a few well-placed blemishes. Musically, they're ridiculously tight and their shuffling rhythms can often sound like the bastard son of The Clash and All; an even mix of intense attack and rambling soul, calling on influences that range from hardcore to funk to ska to...(can I say it?) calypso. What initially looks like 7 different mixes of the same song, turns out to be a study of the same chorus, but filtered through a range of styles. Monet kept painting the same bloody waterlilies, but I haven't heard of a band writing 7 different songs with the same title. I'd strongly suggest that the H-Block lads go through a production middle-man because the Couchman Remix of Burning With The Times is awesome; it's worth buying the disc for that version alone. The socio/political imagery included in the package really shows us what we lost when the happy/shiny Cali kids decided to reinvent punk and slot it under the rating of 'G'. Wasn't it originally about 'kicking against the pricks'? It seems H-Block 101 are keeping the flame alive. Also check the 5 fresh videos on this disc. 8 tracks and 5 videos? That's what I call value for your bottom dollar.
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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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 TIM ROGERS & THE TEMPERANCE UNION
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With You Am I, Tim Rogers forged a reputation as one of Australia's finest songwriters, skipping over musical genres from grunge to guitar-pop and topping the Australian charts. But somewhere along the way he fell into blues and since that time, despite calls to return to the fold and respect the mainstream, Tim seems quite happy to slowly sink into a more traditional blend of blues and country. Here's his first solo effort as Tim Rogers & The Temperance Union: Spit Polish. 12 retrospective/introspective numbers tell us more about Rogers than any You Am I record and deliver thick portions of the enigmatic frontman's strengths: laconic lullabies and bent blues. The melancholy Some Fellas Heartbreaker opens proceedings and drips with irony; the concept of profiting from romantic disappointment by writing a hit ballad. You'll hear that same style of honky tonk riffing that impressed on You Am I’s Deliverance but Rogers injects a little Western edge into his tunes, making them more rural than urban. That's the defining slant that makes Spit Polish different to You Am I's recent efforts. I Only Understand Her In The Rain stands out, combining the rustic feel with the traditional strength of yearning lyrical content and I particularly liked Letter To Gene, a tribute to everyone old enough to remember donning Kiss make-up and launching into imaginary solos on cardboard cut-outs of guitars. Lisa Miller returns an old favour and guests on Damn Songs; a welcome addition to a strong tracklisting. The duo sound great together, as they did on Rogers' contribution to Miller's Version Originale. Fans of You Am I have grown up with Rogers and this is the next step in our maturation. Are we getting old? No, with Spit Polish Rogers shows that we're moving with the times, leaning away from the digital world to favour the art of traditional - and very human - musical genres.
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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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 EPICURE
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Apparently it's tough being in a rock band. I can't remember it being a hard life at all - just dirty and smelly - but I'll take everyone's word for it. So, if rock 'n' roll is considered to be a difficult job, imagine how tough it is to make an impact with subtlety. That's exactly what Epicure have been excelling at over the last 18 months: competing against ferocious guitar bands, but brandishing melody and delicate compositions. With two tracks on the latest list that counts - the Triple J Hottest 100 - Epicure have obviously made an impression on the station's national audience. If forced to describe their sound, I'd have to call them a lighter version of Powderfinger; the same bluesy grooves as a foundation plus a soulful lead vocalist in the form of Juan Alban. The previous single, Armies Against Me, is an early highlight on the tracklisting of The Goodbye Girl, but the true riches of this modest release can be found after the 2nd or 3rd listen when songs like the title track come to the fore, delving deeper than any leathery riff or snarling lyric. Perhaps modern music is becoming more intelligent and if that is the case, Epicure represent the trend perfectly with thoughtful words and carefully crafted songs that may not blow you away, but certainly promise to have more longevity and lasting appeal.
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 THE VINES
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The hype from Highly Evolved has hardly subsided and here we are with new material. You know what that means: more crap music journos like me (yawn) gushing worn-out stories of Nichols' alcoholism (is it that time already?) and trying to convince us that he's a total loose-nut (it's time for a kip). Jeez, we're boring. It's the same old story, isn't it? Well, one thing that I can confidently write about The Vines is this: Craig Nichols is a great songwriter; if the band can survive the constant touring and bad live reviews, they'll be great live players; and none of the fans give a rat's ass whether tossers like me like The Vines or not. Personally, subtracting the BS and label expectations, I think The Vines made the only 'beautiful' rock album in the last 3 years and I expect a lot from Winning Days. Ride is the first taster of studio sessions with Rob Schnapf and although it lacks the raw intensity of Get Free, it's a fiery opener that will compel radio programmers to slot it into the high rotation bracket. The production switches from thin versus to an extra fat chorus, increasing the impact. B-sides include the Wayne Connolly-produced Drown The Baptists (a more subdued and shadowy ditty) and a home-studio demo of Don't Go, which has an interesting hollow feel that I like but also found slightly nauseating. For fans, the b-sides make this package essential, because you won't find Drown The Baptists or Don't Go on the forthcoming Winning Days long-player. Get ready for another 18 months of Vines-related hype as Nichols and co. hit the Top 10s in Australia, the US and Europe.
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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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 PLUNJA
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cd extended player
90% of Australian pop acts should listen to Plunja and, in particular, Three Colours Black. They might actually identify something alien and immensely likeable in this Geelong act's repertoire. It's called a 'chorus' and if the all-important climaxes in music are rare where you'd expect to see them - Pop - then you'd have to say that heavier guitar music is completely bereft of a decent hook. The youngsters in Plunja are bringing pop sensibilities to heavy guitar without watering down the sentiment and Three Colours Black contains the most infectious chorus I've heard this year. Add to that- a little bit of metal anger/anguish, slick arrangement and tasty riffs; and what you get is another slight departure from Nu-metal; but one that still contains the crunching guitars, yearning vocals and attitude. You can see why Roadrunner Records - home of most of the decent metal in existence - decided to add Plunja to their impressive roster of talent. With the success of bands like the Butterfly Effect and Cog, Plunja are entering the mainstream rock market at exactly the right time.
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 GYROSCOPE
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cd single
Perth's Gyroscope is one of the most important rock acts in the country at the moment because while other guitar bands are looking back, this 4-piece is pushing forward, forging a new sound. Safe Forever shows a more subdued side despite the climactic ending and it seems that the whole CD is meant to prove that they can respect melody, with both b-sides being examples of their more introspective moods. An acoustic version of Misery unveils the core of their talent for songwriting while Sharp Words (live) is a memorable tearjerker from an earlier release. Any crap band can release an album in Australia at the moment, so it's good to see that one young act are actually ready to produce a solid LP, having developed their stylised sound with a series of strong EPs. I'm a big fan of this act and you can expect a lot from them over the next 12 months, culminating in a hefty slice of the mainstream rock market.
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 THE SCREAMING TRIBESMEN
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cd
Music enthusiasts and city-dwellers who can still remember the 80s would know The Screaming Tribesmen, even if only from Igloo (1983) which made a massive impression. Folks outside Queensland knew that Brisbane was capable of producing the odd gem. After all, The Saints hail from the great brown town. Despite the short-lived original line-up, the Tribesmen managed to stay in the ranks of the classic underground acts of that period; a fact that came to the fore when this anthology of early work crossed my desk and my eyes lit up. This is definitely one for the die-hards. All the original studio sessions are included and to beef up the tracklisting you'll find another ten rare live recordings. In terms of garage rock, recent efforts at visiting the era don't compare with the once in a lifetime musical rapport this trio forged over a short space of time. The studio production also compliments the genre and the live tracks are so raw that you almost feel like you've traversed the 20 year gap to be standing in a skanky bar circa 1984, watching the motley 3-piece blaze through a notable list of rock standards. There's a lot still left to say about The Screaming Tribesmen but in reality, this CD allows them to speak for themselves. Sentimentalists can sigh and wish the industry and media had given them a better go in the 80s but a lot of bands die without recording a decent slab of tunes and we can be thankful that the original line-up of The Screaming Tribesmen managed to record before they imploded.
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 AC/DC
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DVD Region:ALL Format:PAL
It was 1991 at Castle Donnington, the famed location for the Monsters Of Rock Festival, the ultimate stomping ground for the globe’s hugest hard rock and metal acts. Most would have thought that 1991 would be the peak of AC/DC’s post-Bon career. Few would have guessed that they’d be just as valid 12 years later and also have the distinguished honour of becoming ‘living legends’ of the Rock n Roll Hall Of Fame. Everything was right at that show: massive crowd, the band in fine form, a ridiculous amount of cameras, a fat sounding PA of monumental proportions. Not only did the band encompass their entire career during the blistering 2 hour set, but the genius behind this production also made it possible for fans to select isolated camera positions for different members of the band (only on select tracks) allowing you to watch Angus for the entire duration of tracks like Thunderstruck, Back In Black and Highway To Hell. The Panavision film transfer and 5.1 surround sound are making this vid one of the most successful DVD releases of the year. AC/DC haven’t stopped peaking for the last 25 years, but Live At Donnington is a definite highlight of their outstanding career.
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