OUTLAW BLUES AND ENDLESS GRACE....
If you're feeling unloved and forgotten, frightened and voiceless, alienated and misunderstood, in these brutally dark times of Trump, surveillance, controlled media, Gestapo cops and endless war, get these CD's. They will comfort you immensely. "Brilliant Disaster" is sort of an EP but also perhaps, the best LP I've heard since Ian Hunter's ‘90s masterpiece, "Rant".
The way you know every slick American music rag has been hijacked by the corporate state to promote war and Wall Street, bigotry and consumerism, is they keep putting war criminals, former wrestlers, and vacant lap dancers on the cover instead of the Cohenesque, Paul K… Maybe he ain't that famous, but his songs have had immeasurable emotional impact on most everyone they have been properly introduced to.
Listen up: This is killer. Ten songs of sharp-edged, driving punk with lots of melodies.
The original Aberration kicked around Sydney in the 1980s as a four-piece, playing New Wave of British Heavy Metal (NWOBHM) inspired punk, sharing stages with the likes of the Hard-Ons and Massappeal before that hoary old chestnut, “lifestyle issues”, took ‘em out in ’86.
Original Aberration singer, Big Al Creed (Hell Crab City/New Christs/Panadolls), is the sole survivorv on vocals and guitar. He’s joined by Tony Bambach (ex-Lime Spiders) on bass and Stu Wilson (ex-New Christs, Lime Spiders) on drums.
Melbourne band sell out. Again.
Seedy Jeezus: "Polaris Oblique". Rhetorical question: how do three hairy men make so much bloody racket? And why is it so damn good?
Patrick Emery's given this one four bottles in the review below, but you know what? bugger him with an awkward object, it's five or more easy. Thwack this on the car stereo and you'll be making sharp turns and mounting sidewalks in no time. 'Polaris Oblique' is big, heavy, and soaks like alcohol into a villain's hanky.
The Seedies know their shit, they know their rock'n'roll; Lex Waterreus (gesundheit) (he's the talented swine with the voluminous guitar and the brilliant artwork) sounds like Plant on a good day, and one must assume he has the whacking great dong to match.
This recording is where it all started for recent Sonic’s Rendezvous Band fans. Originally issued in 1998 as “Sweet Nothing”, it was the first non-bootleg, live recording that stood up, sonically speaking, and both the CD and LP pressings sold out quickly.
A second disc of live and tweaked studio stuff (“City Slang”) surfaced a year later and we’ve been fairly spoiled with a flow of material since then.
“Sweet Nothing” was an ear-opener in all senses of the term. No longer did you need to listen to “Strikes Like Lightning” or any of the other lamentably poor quality boots and ponder why nobody in Detroit in the mid-‘70s owned a boombox with a decent microphone.
The steady stream of releases peaked with Easy Action’s lavish 2006 “Sonic’s Rendezvous Band” box set, a six-disc CD collection that included rehearsals, other live recordings and a spruced-up version of this show. Now, this vinyl release has arrived as part of the annual Record Store Day hoopla.
It’s said that the only good thing to come out of Australia’s national capital is the Federal Highway, but it’s not true. Canberra’s also spawned some decent punk rock, and here’s more evidence.
It’s not a hanging offence if you’ve never heard of The Vacant Lot. Molly Meldrum never made their acquaintance either. If he had, he would have hated them. Take that as a plus.
The Vacant Lot grew out of the Australian National University campus in 1978. Canberra had a small but energetic punk or new wave scene by then. Wearing less Detroit leather than Sydney, not as ragged and oppressed as bands from Brisbane and not as artfully smacked out as the Melbourne crew, it was a community that tolerated - no, encouraged - music that didn’t fit with convention.
Neil Young shouldn’t be allowed near a Super 8 movie camera, let alone a big screen. If his girlfriend, The Mermaid Lady, wants to make her own movies, she’s rich enough to go right ahead. Just be merciful and don’t make them compulsory viewing.
This is the soundtrack to a Mermaid Lady movie. Her directorial debut, no less. Apparently, the fillum is a rambling, plot-less Netflix download in which Neil and his band (aka The Spawn of Willie Nelson) appear as outlaws and cowboys, who "pass the days digging for treasure while they wait for the full moon to bring its magic, the music and let the spirits fly."
The above review comes from a friend and the media release. I can’t vouch for it myself. What I do know is that Neil needs to stick to making music. It’s his strength.