Episoder
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I don’t know about you, but when I try to describe Andy Bull, I have a hard time. After all, to simply call him a musician feels like it’s not going far enough.
Sure, he’s released a handful of EPs and albums over the years (including 2014’s ‘Sea Of Approval’) and he’s shared plenty of wonderful songs, such as 'Dog' (with Lisa Mitchell), 'Baby I Am Nobody Now', 'Talk Too Much', and much more, but it feels like he’s a little more accomplished than just a regular artist.
Then again, he’s also won an Encouragement Award at the 2014 Vanda & Young Global Songwriting Competition for ‘Baby I Am Nobody Now’, he’s been nominated for four ARIA Awards, and his work on Netflix children’s musical ‘Beatbugs’ has won seven US Daytime Emmy Awards.
Still, it feels like he goes beyond that scope. He’s also a stellar performer, and he’s a relentless creative as well. In fact, that creativity has recently manifested a new record by way of ‘Collapse In Bliss’. It's full of that soulful, introspective pop sound he's known for, but it's a gorgeous release.
Add in the fact he made it over the course of 40 nights this year, and that it's a wholly solo endeavour (save for a resurfaced demo penned by Andy and late Deep Sea Arcade musician Nick Weaver), and you’ve got a record you can’t go past.
So maybe when I say that Andy Bull feels hard to describe, well you can probably see where I’m coming from. So I decided to put it to Andy, largely since he’s my guest on the podcast this week.
As always, it was a wonderful chat, though by his own admission, he wasn’t being ironic when he penned that song ‘Talk Too Much’.
Anyway, I strongly urge you to check out Andy Bull’s ‘Collapse In Bliss’ album, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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For lovers of Australian music, the name Jamie Hutchings would be a familiar one.
Most notably, he’s known as the frontman of Sydney rock outfit Bluebottle Kiss, who lasted for 14 years and issued a raft of amazing records before their split in 2007. They’ve been called “Arguably Australia's most idiosyncratic guitar band,” and their music is arguably not as marketable as critics would like it to be, but Jamie isn’t exactly someone who puts that high on his list of priorities.
Since Bluebottle Kiss split, he’s continued with a number of projects, including a solo career, work with Infinity Broke, The Tall Grass, and more. When you put it to Jamie, he’s relatively humble, but prolific doesn’t begin to cut it.
Just a couple of years ago, the local music world welcomed Bluebottle Kiss back into the world with open arms, with a series of reunion shows taking place around the country. As someone who was at their Melbourne show, I can tell you now that it was a wonderful experience I’d recommend to anyone.
This week, Bluebottle Kiss hit the road to launch a brief tour with Brisbane’s own Screamfeeder, playing shows in Sydney, Melbourne, and Brisbane. If I were you, I’d head along, but that’s just me talking out loud.
Anyway, Jamie Hutchings is my guest this week, so I strongly urge you to check out the band’s impressive back catalogue, buy a ticket to their shows, and once you’re done doing that, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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Manglende episoder?
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If you’re someone with a fondness for indie music, then the chances are good that your life has been touched in some way by Mac McCaughan.
On one hand, he’s known as the vocalist for the likes of North Carolina band Superchunk, whose very output feels like the blueprint for any aspiring indie rock band of the ‘90s. Then, he’s been the head of groups like Portastatic, and played in the likes of Bricks, Seam, Go Back Snowball, and much, much more.
However, if none of those names seem familiar, then you might know Mac because of his role as a co-founder of the great Merge Records alongside Superchunk bandmate Laura Ballance.
Together, they helped make Merge into one of the greatest record labels to have ever existed. I can’t even begin to tell you how many iconic bands are part of the Merge stable.
Arcade Fire, Caribou, Lambchop, The Magnetic Fields, the Mountain Goats, Spoon, Sugar, Archers Of Loaf, and the great Neutral Milk Hotel. I'm not even scratching the surface here, by the way.
In fact, one of the greatest live experiences I've ever had was a Merge records lineup, when M. Ward and Superchunk performed in Melbourne in support of Neutral Milk Hotel. I'll never forget that night as long as I live.
On that topic though, this December sees Superchunk returning to Australia for the first time since that aforementioned tour back in 2013, and celebrating 30 years of the ‘Foolish’ album. Since that last tour, they’ve released records like ‘What A Time To Be Alive’, and ‘Wild Loneliness’, and needless to say, fans like me couldn't be more excited to see them on our shores again.
If you can’t tell, the wonderful Mac McCaughan is my guest this week, and I’m immensely grateful to be able to say that sentence.
Anyway, check out Superchunk’s ‘Wild Loneliness’ as a reminder of their recent efforts (then check out their wider discography), grab a ticket to catch them live, and once you’re done, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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I think it’s fair to say that my music taste would not be what it is without Dave McCormack.
Hailing from Brisbane, McCormack is the prolific musician best known as the frontman for beloved alt-rock outfit Custaro… uh, Custard.
Together, the group are best known for classic tracks like 'Apartment', 'Girls Like That (Don't Go For Guys Like Us)', and 'Music Is Crap', along with other exceptional tunes such as 'Hit Song', 'Nice Bird', 'Ringo (I Feel Like)', 'Anatomically Correct', and... well just about the whole discography.
Burning bright in the ‘90s thanks to albums like ‘Wisenheimer’, ‘We Have The Technology’, and ‘Loverama’, Custard even nabbed an ARIA Award, influenced me immensely as a music fan, and then split up in 2000.
Following the split, Dave added onto his list of groups – which had already included Who’s Gerald?, Static Exhale; C.O.W., Miami, and others to go solo, along with playing with groups such as The Titanics and The Polaroids. There’s plenty of other bands too, but we’ve not got that much time.
In 2009, Custard reformed, with sporadic performances ultimately resulting in a new album in 2015. Since then, more records have arrived, and now, this month has seen Custard issue their fourth post-reunion album, ‘Suburban Curtains’.
Oh, and if you’re not a music fan – firstly, what are you doing here, then? – you might recognise the Dave McCormack name from his work as the voice of Bandit on the immensely-popular TV show ‘Bluey’. No, not the one with Lucky Grills, but the other one, with the cartoon blue heelers.
In case you can’t tell, Dave McCormack is my guest today, and I truly couldn’t be happier to have his charming self on the podcast.
Anyway, I strongly urge you to check out Custard’s ‘Suburban Curtains’ album, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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If you found yourself listening to the so-called ‘alternative music’ coming out of Australia across the late ‘90s and early ‘00s, then you very well might have listened to Machine Gun Fellatio.
As their name might indicate, controversy was a bit of a staple for the group throughout their career, but another thing that was a constant was the quality of their music.
Firstly, it’s worth pointing out that Machine Gun Fellatio are an interesting, yet very accomplished band. By the time that they made their debut in 1997, members such as Pinky Beecroft and Chit Chat Von Loopin Stab had already collaborated with the likes of The Whitlams in the writing of their iconic ARIA Award-winning song, ‘No Aphrodisiac’.
For Machine Gun Fellatio – which also comprised members such as Bryan Ferrysexual, 3kShort, The Widow Jones, KK Juggy, and Loveshark – they found their way onto the alternative scene with triple j-friendly tracks like ‘Isaac Or Fuzz’, or the expletive-laden ‘Mutha Fukka On A Motorcycle’. But they also backed it up with heartfelt tracks, too.
‘Unsent Letter’, the closing track to their debut album, 2000’s ‘Bring It On!’, is undeniably beautiful (and worthy of being called one of the country’s greatest songs), as is the tender ‘All Of Them Ladies’, the opener to their 2002 album ‘Paging Mr. Strike’ (which was called the 175th best Australian album of all time by Rolling Stone Australia a few years back).
But still, their fun and frivolity was on full display, and while their high-energy songs hit the charts, so too did their nudity-laden live shows – which accompanied massive names like KISS, Robbie Williams, Primus, and Duran Duran – often generate headlines and controversy.
Sadly, in 2005, Machine Gun Fellatio called it quits following their ‘On Ice’ album the previous year. Most of its members remained busy in the world of music, however, and after years of silence, this year brought with it the news that the group would be reforming for a series of live shows as part of TISM’s ‘Death To Art’ tour.
This week, the wonderful Glenn Dormand, otherwise known as Chit Chat Von Loopin Stab, joins the podcast for a chat, just days after Machine Gun Fellatio made their live return with a secret show in Newcastle.
This recording was a little bit of a strange one given that an unexpected interview – my first with him – took place only 20 minutes before we spoke, meaning that this is the second time I was speaking with Chit Chat within an hour – which is not something that often happens.
Anyway, I strongly urge you to check out Machine Gun Fellatio’s discography, and once you’re done giving that a spin, grab a ticket to see them live, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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If you’ve been listening to music over the last decade, then the name ILUKA might be one you’ve come across. After all, when you give even a cursory listen to her music, it’s easy to see why her profile has been rising so rapidly in recent years.
Born in Australia but now based in America, ILUKA grew up playing music, with this love being fostered by classic names like Stevie Nicks and Janis Joplin – all of which are names often used in descriptors of her own music.
But her music is far beyond derivative; it’s born out of a soul background and filtered through a pop lens that results in an inimitable, timeless quality that leaves ILUKA with a reputation as an artist who is impossible to ignore.
In 2022, she released her debut album, ‘Queen Of Turbulent Hearts’, which arrived after years of singles and EPs. Now based in Los Angeles, she’s been entering her new era with the release of plenty of fresh singles. Now, she’s gearing up to release a lot more amazing music in the near future, so keep your eye out, because if you don’t yet know her, ILUKA’s is one name you’ll be hearing plenty of.
This week, the wonderful ILUKA is my guest, and she was a true dream to chat to – a great example of a musician doing everything they can to achieve their dreams and make the most of every opportunity that comes her way.
I strongly urge you to check out ILUKA’s latest batch of new music, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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It’s the standard story that any band goes through. You’re watching a David Lynch adaptation of a Frank Herbert novel when you decide to name your band after a word you heard during the film, only to misspell it, and before you know it, you’re one of the most successful bands to ever come out of New Zealand.
Of course, if you recognised the story I just told you, then you’re either Shihad’s Jon Toogood, or someone else I really want to have on this podcast. But in the case of the latter, Jon helped to form the band now known as Shihad back in high school in Wellington alongside longtime friend and drummer Tom Larkin.
Forming the band officially in 1988, the group released their first album, ‘Churn’, in 1993, with ten more albums following to date. For those keeping score at home, only one of them has peaked outside of the New Zealand top ten, and only one album since 1999’s ‘The General Electric’ hasn’t peaked at #1 on the chart. To put it simply, if you’re a Kiwi or an Aussie, Shihad are a bit of a big deal.
They’ve not always been known as Shihad though. There was that brief period of time when they adopted the name Pacifier, releasing a self-titled album which has since recently been reclaimed by Shihad as ‘The Pacifier Album’.
Outside of Shihad though, Jon’s also been the head of another project dubbed The Adults, which has explored a few different styles and genres across the two albums they’ve released.
Now though, Jon is doing things in a solo capacity with his debut solo album, ‘Last Of The Lonely Gods’. It's a special record, an introspective collection of songs borne out of a tumultuous period for Jon which included familial loss and a global pandemic which made the process all the harder.
In typical fashion, it’s a wonderful listen that you need to hear, and one which Jon is excited to tell you about in today’s episode.
That’s how I segue into urging you to check out Jon Toogood’s ‘Last Of The Lonely Gods’, and once you’re done, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping. -
For as long as I’ve loved music, I’ve loved that sort of music that connects with people for so many different reasons. When I was in my teenage years, I discovered a Sydney band called Tonight Alive, who managed to find themselves as one of the more prominent purveyors of pop-punk out of Australia.
Across four amazing albums over the span of seven years, Tonight Alive found themselves dishing out songs that were heavy yet sweet, and fun yet serious, offering fans the world over (including a strong following in the famously hard-to-crack American market) something special with which they could resonate.
Following the release of 2018’s ‘Underworld’, Tonight Alive decided to pull back a little bit, announcing something of a hiatus while they worked on their mental and physical health. After a brief return in 2020, the world was treated to one of its members doing something new and unique.
Yes, in 2022, vocalist Jenna McDougall announced the launch of her Hevenshe project. Not quite a side project and more of a new way in which she could focus her musical efforts, Hevenshe has since boasted a full EP by way of 2023’s ‘Wild Wild Heart’, and now – amidst new shows from Tonight Alive – has seen a new single by way of ‘Essential’.
As you may have guessed, the wonderful Jenna McDougall is my guest this week, and she was an absolute dream to speak to.
So, I strongly urge you to check out Hevenshe’s ‘Essential’, bump some classic Tonight Alive, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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Fans of the Melbourne music scene were this year excited to hear about the return of Ceres. For those playing along at home, it’s a pretty exciting prospect to have them back in our lives, especially given that they effectively disappeared at the end of 2019, leaving fans to wonder what the future held.
After making their debut with ‘I Don't Want To Be Anywhere But Here’ in 2014, Ceres followed it up in 2016 with ‘Drag It Down On You’, and again making magic happen with 2019’s ‘We Are A Team’. Blending emo, indie rock, and alternative vibes with honest, emotional songwriting, it’s easy to see why Ceres curated such a dedicated fanbase. As I like to say; no one just likes Ceres. They either love them, or they’ve never heard of them.
This year, however, Ceres returned with new music. Singles like ‘Want/Need’ and ‘Humming’ soon gave way to news of their first album in five years, ‘Magic Mountain (1996—2022)’.
I’ll be honest, as someone who loved what Ceres had been doing, I was apprehensive that the anticipation created by such a long wait would see the album ruined by high expectations. The truth, however, is that it’s one of the best albums you’re going to hear this year. Equally heartfelt and powerful, it’s a look inside the heart and mind of vocalist and guitarist Tom Lanyon as he reckons with personal tragedy, long-held trauma, and the thread of love and nostalgia that ties it all together.
This week, Tom Lanyon was my guest on the podcast, and I couldn’t be happier. We hit it off right away and it became one of the loosest and most honest chats I’ve had on this podcast to date. Though I do explain it a little further into the episode, Tom and I had a chat off-mic where we discussed our love of Jebediah, inspired by fondness for my early episode with the band’s frontman, Kevin Mitchell.
Anyway, Ceres are getting ready to release ‘Magic Mountain (1996—2022)’ next week, so I strongly urge you to check out the record once it’s out, but in the meantime, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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In the world of post-hardcore bands, it’s often easy to find groups which feel as though they follow the paths and trends crafted by the trailblazers before them. Then, of course, there’s groups like La Dispute.
Formed in 2004 in Grand Rapids, Michigan, the US group have been hard at it for two decades now, garnering critical acclaim with almost every move they make.
Following a series of EPs and singles, La Dispute released their debut album back in 2008, with their first Australian show following the next year.
Since then, well, it's been pretty hard to keep them away from local audiences. Likewise, new music would follow rather regularly, with what is arguably their most successful album, 'Rooms Of The House', arriving in 2014.
In 2019, they released their fourth album, 'Panorama', and after a local tour soon after, La Dispute returned to Australia only last year for another run of shows. Now, they're coming back for a special one-off show in November.
Already in the process of writing their upcoming fifth album, La Dispute kicked off a special series of shows back in June. As part of their 'Five Nights Only Tour', the group embarked on a global series of one-off shows around the world which sees them playing 'Rooms Of The House' in full for its tenth anniversary, along with a handful of other classics.
Already, they’ve played London, Amsterdam, and Berlin, and after a hometown show in Grand Rapids next week, they’ll be heading to Sydney on November 28th to wrap up these exclusive dates before they hole up in the studio for a while.
To celebrate this tour and their visit to Australia, I was lucky enough to chat with La Dispute vocalist Jordan Dreyer for this week’s podcast. I had actually planned to record this as a bonus episode due to our limited time, so I don’t get to go deep into the history of his musical journey, but we’ll save that for next time.
Anyway, check out La Dispute’s ‘Rooms Of The House’ as a reminder of their efforts ten years ago, grab a ticket to their Sydney show, and once you’re done, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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When it comes to prolific, diverse, and unafraid musicians, it’s a little hard to look past the unstoppable Darren Cross.
If that name doesn’t sound familiar right off the bat, then you might remember him as one third of the enigmatic Sydney outfit Gerling. Formed back in the early ‘90s, Gerling were hard to pin down. Beginning with a blending of alternative rock and noise, they soon incorporated more electronic elements into their work and – as Darren puts it – started doing full-on house music.
I’ll tell anyone that ‘Children Of Telepathic Experiences’ is a must-listen record, and tracks like 'Death To The Apple Gerls' or 'Enter, Space Capsule' are great examples of why. Chuck in later tracks like 'Dust Me Selecta', 'Turning The Screws', or even the Kylie Minogue-featuring 'G-House Project', and you’ve got a group unafraid of trying new things.
Sadly, Gerling broke up after their aptly-titled ‘4’ album, but Darren wasn’t keen to stop there. In fact, it’s clear that nothing will stop him. Soon, he launched his project The E.L.F., which gave rise to the likes of Betty Airs, and eventually saw the launch of the more heartfelt Jep And Dep with his partner Jessica.
Just over a decade ago, he started releasing music under his own name, with a few EPs giving way to his albums ‘_Xantastic’ and ‘Peacer’ in 2016 and 2018, respectively. In 2019, however, he launched his D.C Cross project, which is effectively a separate entity from the records under his birth name in that they’re explorations into acoustic instrumental guitar.
Taking influence from the likes of John Fahey and his innovative work with American primitive guitar, it’s a unique project which blends ambient soundscapes with Darren’s Australian take on solo acoustic guitar.
D.C Cross has released quite a few albums over the past five years, including the most recent, ‘Glookies Guit’, back in May. As per usual, he’s also getting ready to take his transcendent blend of music on the road.
Currently, there’s a bunch of shows planned for the likes of Wodonga, Kyneton, St Kilda, Melbourne, Brisbane, Lismore, Eltham, and Sydney across the next few months. There’s also more set to be announced, so I’ll pop the current ones in the online blog, and you can check out Darren’s socials for full details.
In case you haven’t guessed yet, Darren Cross is my guest on this week’s podcast. We’ve met and chatted numerous times before, and he’s always a wealth of knowledge when it comes to music, and it’s always a pleasure to chat to someone who is so passionate about the music they make.
Anyway, I’m beginning to ramble as I always do. So in the meantime, I strongly urge you to check out D.C Cross’ new album, ‘Glookies Guit’. and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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There’s no denying that the Adelaide music scene is one which is equally small and large. Small in the sense of its physical size, but large in just how far and wide its influence reaches thanks to the talented, welcoming people who comprise it.
One of those people is Jason Katsaras, a musician whose influence over the last decade is still felt despite his current absence from his hometown.
If you’ve been a regular of the classic SA venues, then you very well might have seen him as a member of bands like Burnside Mums, Dead Roo, or Big Town. Needless to say, he’s been around the place, and he’s a familiar face throughout the City of Churches.
For the last couple of years, he’s been working on a new project, one called Hard Rubbish. I’d be lying if I said it was anything less than the stellar quality we’re used to receiving from Jason, and it’s yet another project in a long list of Adelaide artists I wholly recommend.
This week, Jason is releasing a new single called ‘16 Walls, and it’s the sort of thing you need to be adding to your current playlist wherever you are. Fittingly, Jason is also my guest on this week’s podcast, which serves as a perfect opportunity for me to ask all the typical Adelaide questions. (No, not exactly “Which school did you go to?” but pretty close!)
Anyway, I strongly urge you to check out Hard Rubbish’s new single, ‘16 Walls’, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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If you’ve spent a bit of time in Melbourne venues over the years, then there’s a good chance you might have come across the wonderful Felicity Cripps.
For most people, Felicity would have landed on your radar as a member of Houlette back in the day, which soon evolved into the three-piece band Hoy. As time went on though, Felicity kept evolving, with music under her own name arriving before too long.
In fact, it was in 2016 we were introduced to the Felicity Cripps Band, a nascent vehicle for its namesakes own musical ideas. Once again, the music didn’t take too long to arrive, with the fittingly-titled ‘Introducing The FCB’ album landing in 2017.
But that’s where the story stopped for a while. If you were a fan of Felicity, you wouldn’t have been hearing much music at all. In fact, while she wasn’t too focused on writing and releasing music, she was still championing the cause, having found herself the co-owner of Castlemaine’s Theatre Royal.
But you can’t keep a good musician down, and this year, the Felicity Cripps Band re-emerged with new music in a big way. That re-emergence culminated in the release of the new album, ‘Chasing Volcanoes’, just over a week ago. I’d be remiss not to tell you how good it is, by the way. For me, it’s a “listen once, and press repeat” sort of album.
This week, Felicity Cripps joins me as a guest on the podcast, and truly, I couldn’t be more thrilled.
So, I strongly urge you to check out the Felicity Cripps Band’s ‘Chasing Volcanoes’, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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I’m going to be completely transparent right from the start and tell you that I am entirely biassed when it comes to today’s artist. This week, I am talking about Echo Social Club, a Melbourne rock duo who I have been completely enraptured by since I first saw them live in early 2023.
Featuring former Pseudo Mind Hive and The Hum Drums member Jake Bicchieri on guitar and vocals, and former Heavy Amber member Neve Tullberg on drums and occasional vocals, the pair are a ferocious mix of blistering rock that have left me speechless on numerous occasions.
I first met Jake when he was in Pseudo, and full transparency, he contacted me when Echo Social Club first came together, telling me about his new band. I wasn’t sure what to expect, but when I saw them play their second show last year, their live show blew me to the back of the wall. Since then, I have made it my mission to catch them live as often as I can, while telling everyone in earshot about how good they are.
On paper, they’re an unassuming duo, but when they hit the live stage, they’ve got more energy than a service station amphetamine, and they’re thrice as potent. Honestly, I can’t even begin to tell you how immense their live show is. Put it this way, The White Stripes’ Jack White is playing Melbourne this December, and if Echo Social Club were the opener, Jack himself would complain about the order of bands.
But along the way, they found time from their busy live schedule to hit the studio with Michael Badger and record an amazing EP. Titled ‘White Heat – White Noise’, it’s a five-track collection of songs that have been refined over the past couple of years through their live sets.
To celebrate, the pair are marking its release with not only a hometown launch show, but a run of shows throughout Adelaide, Sydney, Geelong, and an additional hometown show to cap it off. I know I’m supposed to remain somewhat impartial, but I truly think you should go ensure you see them at these shows.
To celebrate, the pair are marking its release with not only a hometown launch show, but a run of shows throughout Adelaide, Sydney, Geelong, and an additional hometown show to cap it off. I know I’m supposed to remain somewhat impartial, but I truly think you should go ensure you see them at these shows.
I strongly urge you to check out Echo Social Club’s, ‘White Heat – White Noise’ and once you’re done giving that a spin, buy some tickets to their tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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Some of my favourite artists are those who do so much amazing work yet often find themselves flying under the radar. While I’m a huge proponent of the fact that they should all be household names due to their exceptional output, they continue to operate as well-kept secrets, beloved by their diehard fans.
A great example of this is the wonderful Caiti Baker. For years now, Caiti has been crafting some truly amazing music. For example, she was one half of Sietta with partner James Mangohig (otherwise known as Kuya James), and after a number of years in this format, she launched a solo career over a decade ago.
Since then, she’s been sharing amazing records like clockwork. I’m talking records like ‘The Seventh Passenger’, ‘ZINC’, and 2022’s ‘Under Our Galaxy’. But Caiti doesn’t stop there, however.
She's produced an ARIA-nominated multi-artist lullaby album, won at the NT Music Song of the Year Awards, opened for American music legend George Benson, worked with Emily Wurramara on her new album, and even mentored young artists and established a girl group called CLINK.
This year, however, she released 'Stay Down' in anticipation of her next album, ‘So You Know’. It’s on the way, but we’ve had to wait a little bit since Caiti is also in the process of expanding her family with the upcoming addition of a little one.
Somehow though, amidst all of this, she found the time to have a chat with me about her musical journey, her past records, and her myriad influences.
One thing you should know before listening is that this was actually recorded a few months ago, in the earliest, formative days of this podcast. As a result, there’s a few audio issues from my end (and a couple from Caiti’s end), but issues largely dealing with my laptop struggling with processing audio. So a few times, you’ll hear a bit more background noise than I’d like. Caiti sounds amazing though, and she was a trooper for dealing with it.
I strongly urge you to check out Caiti Baker’s ‘Stay Down’ ahead of the eventual release of ‘So You Know’, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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If you’ve been paying attention to artists coming out of the Gold Coast over the last six years, then you might have come across Chavez Cartel.
A five-piece alternative rock band, Chavez Cartel wasted almost no time in making a name for themselves on a local scale. Releasing a handful of singles in their debut year, the band shared both the ‘Lucky, Lucky’ and ‘Confidence Is All I’m Taking Home’ EPs in 2019.
Alongside a long list of live shows and festival slots, their profile continued to rise, with a COVID-inspired silence being ended by the ‘Man’s Best Friend’ EP in 2023, and their ‘Red Flag Blues’ EP this year.
But along the way, they kept on kicking goals, with a UK record label signing them in 2022, massive support from big names on the local touring circuit, and even support from the BBC since 2018. Put simply, while they’ve been flying under the radar on a mainstream level, Chavez Cartel have been putting in the hard yards behind the scenes.
Fresh off the back of some shows in the US and the UK, and the release of their ‘Unfamiliar Boy’ single, the wonderful Ben Simpson was kind enough to join the podcast this week. If you’ve never listened to Chavez Cartel before, I reckon the magnetic Ben Simpson will be enough to convince you.
Anyway, I implore you to check out Chavez Cartel’s ‘Red Flag Blues’ EP and their ‘Unfamiliar Boy’ single, and once you’re done giving that a spin, have a listen to my chat with Ben, and I’ll see you at the end of the episode for some general housekeeping.
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I feel it’s rather customary for me to say that if you’re a fan of bands who blend genres like garage rock, punk rock, and hardcore punk, then I know exactly a band you should be listening to. That band, my friends, is California’s Destroy Boys.
Formed in late 2015 by Violet Mayugba and Alexia Roditis, Destroy Boys took influence from all manner of classic punk and rock bands to craft something that is entirely unique. It’s a little hard to categorise too. While they’ve been compared to countless other bands out there – including the likes of riot grrrl names such as Bikini Kill – it’s far easier to listen to them for yourself and see just how refreshingly singular their sound really is.
In 2016, Destroy Boys released their debut album, ‘Sorry, Mom’, before following it up with ‘Make Room’ in 2018, and ‘Open Mouth, Open Heart’ in 2021. Alongside a number of EPs and award wins over the years, they’ve managed to amass a huge following thanks to their intense live shows and relentless attitude toward making music and connecting with fans.
In fact, that relentless attitude has again resulted in another record, with ‘Funeral Soundtrack #4’ arriving this week on August 9th. It’s a brilliant record, and one which takes the band’s already-existing sonic sensibilities and continues to expand upon them.
It’s everything we’ve loved about what’s come before, but sees them infuse it with various genres you might not expect, including the likes of salsa and bossa nova. Throw in some features from names like Mannequin Pussy and Scowl, and you’ve got an album you need to hear.
This week, I was lucky enough to be joined by Violet and Alexia for another bonus episode of Trusty Chords, and it resulted in some of my favourite musical picks to date.
Anyway, check out Destroy Boys’ ‘Funeral Soundtrack #4’ when it releases this week, and once you’re done, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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If you’re someone who enjoys a bit of rock music and you haven’t found yourself listening to Kingswood at some point over the last decade or so, then you need to change that immediately.
Formed in Melbourne around the late 2000s, Kingswood wasted no time in letting their music get heard by the world. Following a self-titled EP in 2010, and their ‘Change Of Heart’ EP in 2012, a competition run by triple j Unearthed to play the iconic Splendour In The Grass festival shot the band to wider fame that very same year.
In 2014, they released their first album, ‘Microscopic Wars’. An ambitious undertaking for a debut, the record was made in Nashville with six-time Grammy Award winning record producer, engineer, and mixer Vance Powell. The record was a huge hit, hitting #6 on the Australian charts, boasting a handful of singles and even being nominated for Best Rock Album at the 2014 ARIA Awards.
Since then, Kingswood have been unleashing amazing tunes at every turn, with records like 2017’s ‘After Hours, Close To Dawn’, 2020’s ‘Juveniles’, and 2023’s ‘Home’ showing the depth of their musical talents.
Now, a decade on from their debut, Kingswood are taking a look back at that first record and hitting the road in celebration of its tenth anniversary. The tour kicks off on August 2nd with a hometown show in Melbourne before they head off around the rest of the country.
The tour sees them playing the album in full along with a handful of their other heavier classics. Put simply, if you like Kingswood’s earliest material, you’d do well to catch them on this tour.
Ahead of their shows, I was lucky enough to join Kingswood in their Melbourne studio for a chat. Due to the casual nature of the conversation, you’ll hear a little bit of rustling and moving around on couches from time to time, but that’s just the name of the game.
Anyway, revisit Kingswood’s debut album, ‘Microscopic Wars’, and once you’re done giving that a spin, have a listen to our chat, grab a ticket to their tour, and I’ll see you again at the end of the episode for some general housekeeping.
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When it comes to Melbourne indie/alternative/punk bands, I would say that I’m in a pretty good position to talk about Dental Plan.
First formed in 2018 by guitarist and vocalist Niam Hegarty, bassist and occasional vocalist Jo Gardiner, and drummer Stu Young, the band kicked off writing, recording, and gigging pretty quickly, establishing a respectable fanbase around the city as they did so.
Following their self-titled 2018 EP, they group released a single in 2019, before emerging from the depths of COVID in 2021 with ‘Hole In Me’, a track which saw Rolling Stone Australia label them as a band to watch.
This all naturally led into the recording of the debut album for the group, who had by that point undergone some changes in the lineup, though Niam and Jo remained consistent. After being joined by drummer Paul Dwyer, they also welcomed a new guitarist just last year by way of… well, me.
Yes, I am using my platform to shine a light upon my own bandmates this week. Of course, while accusations of nepotism and favouritism are probably being thrown about the world over, it’s worth pointing out that I was actually a big fan of Dental Plan before I even knew the folks in the band.
However, the main reason I’m talking about Dental Plan is because just last week, they released their debut album, ‘Raw Nerve’. Speaking as someone who joined the band around the time the majority of the recording was completed, I’m therefore in a position to speak objectively and tell you it’s actually a really good album. If you like punk, indie, and alternative rock with influences of bands like Nirvana, The Wipers, and Pavement, well you’re in for a good time.
As you might have guessed, Jo and Niam are my guests for the podcast this week. We actually recorded this episode at Jo’s house just after we had all come together to listen to the test pressing of our new record. I’d be remiss not to say you should grab a copy, of course, but this isn’t the Dental Plan sponsorship show.
I will point out there’s a few spotty moments in the audio, namely owing to the rather relaxed nature of our recording. But if you can deal with the sounds of some cars going past the window, and a few bumps of the mic, I think you might learn something.
Anyway, check out Dental Plan’s debut album, ‘Raw Nerve’, and once you’re done giving that a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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The world of alternative rock would likely not be anywhere close to what it is today without bands like The Jesus And Mary Chain. Forming in Glasgow back in 1983 by brothers Jim and William Reid, the Scottish outfit are these days considered to be pioneers of genres like alternative rock, shoegaze, and noise-pop. Combining these genres with their own unique take on post-punk and indie-rock, and you’ve got a recipe for something that feels impossible to describe.
Having emerged from a world in which punk rock and pop music had reigned supreme, The Jesus And Mary Chain found themselves wanting to make music which sounded different, and thus employed copious amounts of noise and feedback. The result was something jarring, and a sound that made it difficult for the band to get their foot in the door.
Eventually, they began making a name for themselves, with the likes of NME calling them “the best band in the world” for their intense live performances, and others labelling them “the new Sex Pistols” due to those aforementioned intense live performances.
Despite shows earmarked by drink, drugs, and debauchery, The Jesus And Mary Chain also made some truly amazing music. It’s impossible to look past records like ‘Psychocandy’, ‘Darklands’, and ‘Automatic’ without noticing the brilliance that lies under that noisy, shimmering surface. Likewise, songs like ‘Head On’, ‘April Skies’, and ‘Just Like Honey’ (which you might recognise from the closing scene of Sofia Coppola’s ‘Lost In Translation’) deserve to be listed among some of the best of all time.
In 1998, The Jesus And Mary Chain’s existence came to a premature halt due to disagreements between Jim and William that resulted in the latter walking off stage and quitting the tour. In 1999, they formally split, and wouldn’t perform again until 2007.
Since then, they’ve continued to tour and record new music, with ‘Damage And Joy’ – their first album in 19 years – arriving in 2017, and ‘Glasgow Eyes’ being released back in March. Now, they’re returning to Australia for the first time in five years this August for their aptly-titled ‘40 Years’ tour.
This week, I was lucky enough to be joined by Jim Reid for a wonderful chat about the band’s storied history and their current activities.
Check out The Jesus And Mary Chain’s latest album, ‘Glasgow Eyes’, and once you’re done giving that a spin, grab a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.
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