Archive for the ‘ALBUMS’ Category

Image may contain: 3 people, flower, child and outdoor

Another Milk! Records signee, the mint rock trio Loose Tooth dropped their second LP, “Keep Up” in 2018. I must admit I was skeptical: How can Melbourne keep up the guitar-pop bands of such quality, But Loose Tooth were a pleasant surprise. Their transcendent rock certainly takes cues from bands like The Cure and that classic Melbourne jangle, but it’s nevertheless some of the freshest sounds coming out of the Australian metropolis. Etta Curry, Luc Dawson and Nellie Jackson know a thing or two about hooks, and “Keep On” is especially infectious, like a pleasant nag. With Barnett on their side and plenty of catchy rock melodies in their heads, this Loose Tooth won’t fall out anytime soon.

‘Keep On‘ is taken from Loose Tooth’s album ‘Keep Up’ out now:


Australian singer/songwriter Stella Donnelly has announced her debut album, “Beware of the Dogs, due out on March 8th via Secretly Canadian, and the news arrived with a great new single, “Old Man” and its accompanying ‘90s-inspired music video. On the song, Donnelly serves up more of her signature biting critique with extra helpings of humor and ballsiness. “Oh are you scared of me old man, or are you scared of what I’ll do?,” she sings, almost teasing, but meaning business. Another timely lyric follows: “You grabbed me with an open hand. The world is grabbing back at you.” Donnelly sings sweetly, but the men in her songs ranging from her mean boss in “Mechanical Bull” to the powerful desk-dwellers in “Old Man” are anything but.

Donnelly sticks up for herself with grace and wit, and if this first single is any indication, Beware of the Dogs will be a smart, satirical introduction to what’s sure to be an exciting career in music. The Perth songwriter has a U.K Tour set for April/May She will be at the Bodega on the 5th May 2019.

Image may contain: 1 person, playing a musical instrument and guitar

Aztec Camera  a Scottish Indie/pop/new wave band was formed by Roddy Frame, the group’s singer, songwriter, and only consistent member. Formed in 1980, Aztec Camera released a total of six albums: “High Land, Hard Rain” (1983), “Knife” (1984), “Love” (1987),“Stray” (1990), “Dreamland”(1993) and “Frestonia”(1995).The band garnered popular success for the songs “Oblivious”, “Somewhere in My Heart” and “Good Morning Britain” (a duet with former Clash guitarist Mick Jones).

The band’s first UK single release was sold in a 7″ vinyl format by Postcard Records a Glasgow-based independent record label co-founded by Edwyn Collins and Alan Horne—in 1981. The single featured the song “Just Like Gold” and a B-side entitled “We Could Send Letters”; an acoustic version of the latter song appeared on a collectable compilation album, entitled C81, that was released on cassette in 1981 through a partnership between NME magazine and Rough Trade Records. Frame, was just aged 16 years, He met Collins for the first time during the Postcard period when the latter was 21 years old.

A second single, also released in 1981, featured the songs “Mattress Of Wire” and “Lost Outside The Tunnel”. Following the two 7″ vinyl releases with Postcard, the group signed with Rough Trade Records in the UK and Sire Records in the United States for their debut album. At this point, the band was officially a quartet: Roddy Frame (vocals, guitar, harmonica), Bernie Clark (piano, organ), Campbell Owens (bass) and Dave Ruffy (drums, percussion).

Aztec,Camera:,High,Land,,Hard,Rain.,Gatefold,LP,and,7,EP,High Land, Hard Rain; Aztec Camera

High Land, Hard Rain (1983)

When it appeared in the spring of 1983, Aztec Camera’s debut album, High Land, Hard Rain, was an acoustic-driven breath of fresh air. Led by teenaged singer/songwriter/guitarist Roddy Frame, the Scottish band offered a batch of memorable songs that deserved a broader audience than they reached at the time, from the infectious “Oblivious” and “Pillar to Post” to the introspective “The Bugle Sounds Again.” Frame went on to release another five Aztec Camera albums before recording under his own name.

Aztec Camera’s debut album, “High Land, Hard Rain” was produced by John Brand and Bernie Clarke for the Rough Trade record label. The album was released in April 1983 and was distributed in different formats on Domino Recording Co. The album was successful, garnering significant critical acclaim, Frame later revealed that the song “Oblivious” was consciously written as a Top of the Pops type pop song and received a corresponding degree of popularity.

During the recording process for the album, Frame used a different guitar for every song. For the song “Orchid Girl”, Frame explained in 2013—during the 30th anniversary tour that he was attempting to merge the influences of his favorite guitarist at the time,  jazz player Wes Montgomery, and punk rock icon Joe Strummer. In a late 1990s television interview, Frame explained that a “boy” image was associated with him during this era, and that he was annoyed by it at the time, as he was taking his music very seriously—”you don’t want to be called ‘boy’; especially when you’re listening to Joy Division” but he eventually stopped caring about it.

After “High Land Hard Rain”, Bernie Clarke left the band, and was replaced by Malcolm Ross on second guitar and backing vocals. Aztec Camera changed record labels once again for the release of their second album, “Knife”, which was released through Warner Music .

Frame revealed in a May 2014 BBC radio interview that he was not informed of the ownership arrangements of the record deal, stating that he was unaware as an 18-year-old that the record company would own the rights to all of his corresponding recordings.  After “High Land, Hard Rain”, Frame spent a significant amount of time living in New Orleans, listening to Bob Dylan’s album “Infidels”. Upon reading that Dire Straits’ guitarist and singer Mark Knopfler produced the album, Frame began writing songs based on a sound that he thought Knopfler could work with.

Knife (Expanded)

Knife (1984)

Frame signed the band to the WEA record label—at the time his manager was Rob Johnson  and he secured Knopfler as the producer for Aztec Camera’s second album,“Knife”, which was released in 1984; Frame explained in 1988 that Knopfler was very “professional” and efficient during the recording process. Frame’s experimental mindset in relation to music emerged on “Knife”, as the duration of the titular song is nearly nine minutes and synthesizers appear throughout the album. Prior to the album’s release, the band previewed a selection of songs as part of a performance for the BBC television show Rock Around The Clock and the song “All I Need is Everything” received radio airplay subsequent to release. In a 2007 interview alongside Collins, Frame explained further:
He’s [Knopfler] a great guitarist. recording techniques were great—you [Collins] would have liked him, ‘cos that was then, it was quite a thing. ‘Cos everyone was going digital, and going MIDI and all that, and his thing was all about using the right microphone. If you use the right microphone, then you don’t have to use too much EQ and all that stuff, and it was all about that. Yeah, I kinda liked that—the right mic[rophone], the right amp[lifier], the right kind of board and stuff.

Love“Love” (1987)

At the time that the band’s third album “Love”(1987) was created, Frame was the only original member of the band involved with the project; Love and future Aztec Camera albums were written and recorded by Frame under the “Aztec Camera” moniker, and session musicians recorded with Frame on a track-by-track basis.

Frame explained in August 2014 that he contemplated the conception of “Love” during a three-year hiatus following the release of “Knife”. Frame said that he moved even further away from the British “indie ethic” and was listening to the “pop end of hip hop”, Frame wanted to make a record based on such influences and “Working In A Goldmine” the first song to achieve this aspiration.

Frame relocated to the US to record the album—”pretty much against the wishes of Warner Brothers“, who were unsure of his decision-making at the time—and was primarily based in Boston, Massachusetts, and New York. Frame recorded with American session musicians, like Marcus Miller and David Franke, and explained that his audience was “mystified” by the transformation of the band, but he was “too far gone” to care and just wanted to do his “own thing” by that stage. Due to the significant change of musical direction, the album’s first three singles did not make a strong impression in the marketplace.

The “Love” album produced the popular song “Somewhere In My Heart”, recorded by Frame with dance, R&B and pop producer Michael Jonzun in Boston. Frame said in 2014 that the song has been “great” for him, but at the time of creating the album, the song was not “in keeping” with the rest of “Love”, Frame revealed in a radio interview with the “Soho Social” program, presented by Dan Gray, that he considered “Somewhere In My Heart” an odd song and initially thought it would be best as a B-side.

“Somewhere in My Heart” is the twelfth single and biggest hit by the Scottish band. It was released as the third single from their 1987 studio album “Love”.

Frame was asked during a television interview, following the release of “Love”, about the new sound of the album, and he referenced artists like Anita Baker and Luther Vandross. When asked if the album could be labelled “Middle of the road (MOR)”, Frame replied: “Call it what you like. I don’t really mind.”

Stray [Deluxe Edition]

Stray (1990)

For the band’s fourth album, “Stray”, Frame collaborated with the Clash’s Mick Jones on the song “Good Morning Britain”, He and Jones also toured with the band following the album’s release. Jones performed as Aztec Camera at the Glasgow Barrowlands and the Ibiza Festival in 1990.

In a 1990 interview, Frame explained that he wrote “Good Morning Britain” in 45 minutes after a two- to three-hour conversation with Jones in the canteen of a London rehearsal studio that both Big Audio Dynamite and Aztec Camera were using.  In an August 2014 radio interview, Frame elaborated further, stating that at the time he wrote the song, Jones lived near his London home; Frame had visited Jones after recording the song and said to the Clash guitarist, “You’ll either sing on it, or you’ll want to sue me”, as Frame believed the song was so similar to Jones’ previous work.


“Dreamland” (1993)

Frame then recorded the next Aztec Camera album,”Dreamland”, with Japanese composer Ryuichi Sakamoto. Released in 1993, While mixing the album at Hook End Manor, an 18th-century red-brick building that had been converted into a studio in the Berkshire countryside of England, UK, Frame explained that he waited for a lengthy period of time to work with Sakamoto, due to the latter’s busy schedule. Frame finally met with Sakamoto in Ibiza and both eventually recorded the album in New York City, US over a four-week period. Frame’s interest in Sakamoto was elaborated upon in a latter interview.
I liked what he did when he was in the Yellow Magic Orchestra, and I also liked that album where he plays the music from Merry Christmas Mr Lawrence on piano. That’s where you realise that the atmosphere around his compositions is actually in the writing. Frame’s routine consisted of: working in the studio from the early afternoon until around 2. a turkey sandwich at a deli off Times Square (“because it was possible to get one at two in the morning, and for no other reason”); a cab-ride back to the Mayflower Hotel, where he was staying; an hour of listening to Shabba Ranks; and then bed.

“Frestonia” (1995)

For Frame’s final album under the Aztec Camera moniker, and the last original studio recording for the WEA label, Frame worked with renowned production team Langer-Winstanley, who had previously worked with Madness and Elvis Costello. “Frestonia” was released in 1995 and the Reprise Records label issued it in the US. “Sun” (1996) was the only one song from the album that was released as a single. After the release of “Frestonia”, Frame finally decided to record under his own name in the future and was no longer a Warner artist.

There has been three Aztec Camera “Best of” compilations released: “The Best Of Aztec Camera” was released in 1999 by Warner ESP. that specialised in compilations; in 2005,Deep and Wide and Tall was released by the Warner Platinum series; and “Walk Out To Winter: The Best Of Aztec Camera” , a two-disc collection that was released by the Music Club Deluxe label in 2011.

Since the Stray Tour in 1990, Frame has merged a segment of the Bob Dylan song “It’s Alright Ma (I’m Only Bleeding)” into “Down The Dip”, from “High Land, Hard Rain”, and this version of the song was played by Frame at subsequent live shows, Around 2012, Frame included a segment of the Curtis Mayfield song “People Get Ready” in live solo versions of the song “How Men Are”, from the “Love” album. In October 2013, a book entitled The Lyrics: Roddy Frame containing the entirety of Frame’s lyrical work with Aztec Camera.

Image may contain: one or more people

We are always on the hunt for hot new Australian bands, we figured Courtney Barnett’s own label, Milk! Records, might be a good place to start the search. There we stumbled upon Melbourne’s Jade Imagine, who combine the best of slacker-rock with a distinctly Aussie surf-pop sound. The band’s frontwoman, Jade McInally, has been on the Melbourne scene since the early 2000s, but it wasn’t until 2016 that she sent a pile of demos to Dave Mudie, Barnett’s drummer. From there, McInally formed Jade Imagine with several other vets of the Aussie indie realm: Liam “Snowy” Halliwell of The Ocean Party and Ciggie Witch, Tim Harvey of Real Feelings and James Harvey of Teeth and Tongue. Together, they’re Jade Imagine, and they’ve yet to release a full-length LP, which means 2019 could be their big year.

from the Debut EP “What The Fuck Was I Thinking” By Jade Imagine, thru Milk! Records

Image may contain: 2 people, guitar

The Boy Least Likely To. are about to release their fifth album so I was keen to find out about it. They discuss the new single and the inspiration behind that standout duo/band name. The boys are long-time friends and have a great love of 1980s bands like Aztec Camera and Altered Images. They have developed since their debut, The Best Party EverThey have been tipped as artists primed for greatness and explain what they have planned for the approaching months. The Boy Least Likely To were looking forward and touring plans for this year. It has been great getting to know one of the most charming and hard-working acts working at the moment.

Jof Yeah, we were originally called Billy the Kid and The Hole in the Wall Gang but we Googled ‘hole in the wall gang’ and it came up with loads of stuff about men who put their penises through holes in public toilet doors – so we decided to go for something else. There are probably some early demo. C.D.s of the first single we released with the wrong name on somewhere in the world. In the end, we just thought The Boy Least Likely To was a nicer fit for us. It’s kind of how we felt about our place in music at the time. I don’t think anyone ever expected us to amount to anything, least of all us.  We just kept trying different instruments out until we found the one that fitted: the banjo, the glockenspiel; the recorder… whatever it was.

No one else was really using those sorts of sounds when we started out. But we just wanted to make a record that sounded completely unlike anything else that we were hearing at the time.

It wasn’t us trying to be weird or quirky, I don’t think. We just tried everything until it sounded right to us. It probably sounded completely wrong to everyone else. We were just really aware that we didn’t want to make a traditional ‘Rock’ record. I still think the same way really. I just want to make records that sound like they could only have been made by us.



Image may contain: 5 people, beard

Currently in the studio working on the follow-up to 2018’s best album Joy As An Act Of Resistance could we really get a new album from the Bristolian boundary breakers in 2019? Despite a ludicrous touring schedule it appears that they are aiming to follow the pattern of 2017’s Brutalism and the aforementioned Joy… by squeezing this another album out before the close of the year. ,

We are We are big fans of Idles here and not just because they are from Bristol! Its been brilliant to watch all their hard work pay off and hopefully this record will see them fully appreciated as the great band they are on record and especially live!. Idles – Joy As An Act Of Resistance 

‘Samaritans’ from ‘Joy as an Act of Resistance.’ out 31st August 2018 on Partisan Records.

There’s nothing like making the grand entrance to impress people, but few do it in such style as Humble Pie’s Jerry Shirley and I managed when we drove to Steve Marriott’s country home on Friday. As the brakes of Jerry’s mini failed in the entrance to the drive we gracefully smashed into and through the newly-repaired gate and glided to a regal halt half on the lawn!

A barefooted Steve came hurtling through a gateway from the rear garden and pulled up in his tracks when he saw what had happened. Jerry was attempting to halt the car which had started rolling again in the direction of Steve’s car while I clambered through the dead gate.

“I thought it was a scooter crash, we’re always getting them out here. We keep having to rush out with cups of tea to revive people,” Steve gasped. “Are you okay? Right, one new gate needed and two shots of liquid refreshment for medicinal purposes.” on that practical note we filed into one of Steve’s two cottages to find his wife, Jenny, making tea amid four dogs, three kittens, and two geese. This, it seems, was only part of the Marriott menagerie.

Steve Marriott had been living in the country for almost three years now and Jerry thinks it has made a new man of the one-time looner. “He’s much calmer now, different,” Jerry said on the way down. “He’s changed, but not that much… he’s more himself. He doesn’t get moods, he’s just back into being the real Steve.” He has virtually finished with drink and accessories, preferring cups of tea and the fresh air. Uppermost in Steve’s mind that day is the group’s first album with A&M. Titled simply Humble Pie, it is an important first and a lot of hard work has gone into it.

‘Live With Me’ on side one, called This Side, is the type of thing you might expect to hear during a jazz festival when the sun is high and the atmosphere is peaceful. Pete Frampton’s organ begins and is joined by Jerry on drums and then the guitars of Steve and Greg Ridley. Pete controls the organ fluctuation very well, taking the crescendos down to a soft melody very neatly. It’s a relaxing number with little bursts of energy.

Steve: “That’s a stage number. All those things we kept them like we do on stage.”

‘Only A Roach’ could well be a modern country-and-western number in its approach. The vocal harmonies are used to repeat lines at the end of verses and then sing along together. Not the sort of thing I would have expected from Humble Pie‘One-Eyed Trouse-Snake Rumba‘. If you don’t know what the creature in the title is, write to me for the answer in a plain, sealed envelope! A fair old bit of rock and roll with two voices taking alternate parts.

‘Earth and Water Song’ has quiet vocals and thoughtful lyrics with an uncomplicated backing. The acoustic guitar, tapping cymbals, light drumming and flowing organ create a pleasing effect. “I am the earth and she is my water” goes one line, then there’s a short piece of louder instrumental work which becomes more prominent during the number, though it’s never obtrusive. The other side is called That Side; it is generally much louder ‘I’m Ready’ is all very heavy and has Pete yelling over a frenzied riff. A lot of bass drum and cymbals and a fine contrasting lead guitar with lots of guts going into the whole thing. ‘Theme From Skint’ is almost a folk song. It’s like a cross between Bob Dylan and the Rolling Stones being folksy. It gets more pounding after a time and this is because it leads straight into…Rock On.  ‘See You Later Liquidator’ which is no doubt a reference to a certain period in the Pie’s recent career. It is musically violent and takes over as the second part of an idea that began during the preceding track. It builds and builds to a walloping crash of thunder at the end after holding the same course but progressing in volume. ‘Red Light Mamma, Red Hot!’ Much heaviness and pounderama abounds here. Stomp, stomp go the drums, the guitars crack away and Pete belts the lyrics out in fine fashion. A nice guitar passage is combined with fierce drumming and a forceful bass line.

‘Sucking On The Sweet Vine’ is the final track. “A love song” is not quite the right description, though it is basically just that. It is in some ways similar to ‘Only A Roach’ though not so involved. The theme is sadness and desolation, and the music is complimentary though very much of today. Steve: “Greg wrote it and sung it. He needed a band where he could come out of himself.”

The Album over, we talked about its chances, which I rate highly, and Steve commented: “I think it’s the best thing I’ve ever been involved in. What I’m knocked out about is the clarity, that’s down to Glyn Johns, the engineer.

“It’s not just a thin sound to get the clarity, he gets a nice loud sound at the same time. I’ll stand up for this album to anyone any day of the week. an album should be like a stage show.” From the “Life and Times of Steve Marriott”

We rejoined Jerry and Jenny and the dogs who were playing football (honestly) on the lawn. The group had a gig that evening at Southampton Top Rank and getting there was proving a bit of a problem because of Jerry’s crash, the fact that Steve oughtn’t to drive at night (says Jenny) and they had to pick up Pete at his home in Hampstead en route. So a mini cab was called.

The journey back to London from deepest Essex was spent by Steve, Jerry and myself awarding points out of ten to young ladies in the street. It’s a popular Humble Pie pastime it seems.


Graham Parker has lost none of his bitter finesse with words over the years. I have always seen him as an English answer to Dylan. This album does not disappoint on that score with its unexpected imagery and cynical twists. Musically though things have consistently improved as he experiments more, takes more risks by sometimes using less, and trusting himself to produce.
Don’t get me wrong: his harder soul albums are still to be heard blaring from my speakers frequently, but the sweeping sadness of tracks like ‘The Other Side of the Reservoir’ are there daily. Part Van Morrison, Part Stones but all Graham Parker.

This is an album of renewed vigour so why does he still not get renewed recognition?, Not even a slot on Jools Holland, “Don’t Tell Columbus” crackles with desperation and redemption sung with rich, complicated emotional power. And hooks, lots and lots of hook. It is unhealthy, perhapes even obscene, that someone should be able to come up with an album this good this far into their career.


Image may contain: 4 people, people smiling, people sitting and child

TFS is the new band formed by Gareth Liddiard and Fiona Kitschin (from Australia’s epic art punk psych maniacs The Drones) with Lauren Hammel (High Tension) on drums, and Erica Dunn (Harmony / Palm Springs) playing guitars, keys and other gadgets.

We’re not sure why so many Aussies got bit by the bad-band-name-bug, but Tropical Fuck Storm were certainly not exempt from the plague. If you can pardon their unfortunate moniker, however, and focus on their music, you just might find yourself smitten with their manic psych-rock.

from TFS album A Laughing Death In Meatspace and available on TFS Records/Mistletone

They released a totally bonkers-in-all-the-right-ways record in 2018, the weird and wild A Laughing Death in Meatspace. Fans of the now-defunct The Drones might recognize Tropical Fuck Storm’s lead singer, Gareth Liddiard, who was a founding member of the former band back in 1997. Liddiard is still working with Drones mate Fiona Kitschin for this new project TFS, but it’s a completely different animal. They recruited two Melbourne vets,  and now it seems like the four of them might be Australia’s version of Diarrhea Planet, a kind of mythical live act and purveyor of noisy pop-punk. TFS aren’t for everyone, but if they’re for you, we’re pretty sure it won’t take you long to get on board.

Tropical Fuck Storm You Let My Tyres Down Recorded Live – Paste Studios – New York, NY

Image may contain: text

“I’m so scared to get out of here / But I really want to get out of here.” It’s a line from “Strange Light”—a late standout from the sophomore LP by The Goon Sax and I’m not sure there’s a lyric that better sums up the feelings of late adolescence. Those prime years when your conflicting instincts are all fucking with each other, and the endless possibilities preached at you from childhood become paralyzing instead of promising. Growing pains and dawning realizations abound, but it’s in this mess that we finally wind up meeting ourselves. It’s an experience you might have all over again after listening to We’re Not Talking, the latest effort from the Brisbane trio. The band’s first album, filled with achingly familiar suburban references like Target and sweaty-palmed hand-holding, was released when Louis Forster, James Harrison and Riley Jones were just 17. This makes Talking, released two years later, an interesting crystallization of growing up. Taken out of context, a line like “I never knew what love meant / And I still don’t,” would be grounds for a heartbreaking ballad, but here it’s just a passing observation, a scanning self-analysis on the way to being an adult. For The Goon Sax, growing up sounds pretty good.