Issue #3 Nick Cave - Long Time Man

sad 90s day

1 jeff buckley - the last goodbye

2 moby - why does my heart feel so bad

3 coldplay - yellow

4 the corrs - runaway

5 goo goo dolls - iris

6 sinéad o'connor - nothing compares 2 u

7 oasis - wonderwall

8 jeff buckley - everybody here wants you

9 r.e.m. - losing my religion

10 ben folds five - brick

11 radiohead - street spirit (fade out)

12 red hot chili peppers - under the bridge

13 radiohead - talk show host

14 nick cave and pj harvey - henry lee

15 portishead - glory box

http://www.youtube.com/playlist?list=PLEqUBDLOwEXv1A0a5cuOVlI33LinYnYkW

Issue #2 Drunk Mums - Plastic

drunkmums.bandcamp.com

'The band have hit the nail on the head with their newest single, Plastic, which doesn't steer very far away from their first album, Eventual Ghost, from 2011. Drunk Mums have retained their sound without repeating the same thing for four years. Somewhere in their songs is a youthfulness, and you can't help but think about (and want to be) a little bit reckless and live in the moment. And maybe that's part of their attraction? Their songs have an immediacy in the way life does. Shit goes on, and while that's happening, let's all just drink a beer and have fun! And it sort of makes you want to say, fuck you to everyone you've ever known, and everyone you've ever hated, in the nicest possible way.' 

'Burn in Hell's musical style has been called, "pirate rock" in the past, but don't get the wrong idea. In fact, that term seems to squeeze their sound into a tiny rotten key hole where it really doesn't belong (well, doesn't belong entirely), and I can see how pirate rock could turn a lot of people off. I mean, we're not talking drunken parrots and a wooden stump here, we're talking old worldly despair, dirt, blood and booze; gravel in a wound, a rusted knife thrust into the leg during an amputation doused in alcohol, lust, love and all of that...'

Issue #1

Now available at Brunswick Bound, Missing Link Records, PolyEster Books, Greville Records and Sticky Institute.

I had to ask myself, why the cult following? Is it because there’s something in the way Spencer P. Jones plays his guitar, or maybe it’s something about the way he wears his cowboy hat, which makes you recognize that this man is from another time. A time when Australian rock n’ roll was dirty, when a pot of beer was sixty cents, when you could spend an afternoon at The Espy blowing your dole money on beer and pool. When a flat in St. Kilda was sixty dollars a month. A time when you’d cram your whole band into the back of a yellow Holden and hoon off to your next gig in some small town in the middle of nowhere. A simpler time. Maybe his songs resonate because he seems like someone who’s seen it all, done it all, and has a song to sing about it? A good guy turned bad or a bad guy turned good, and all the in-between...

Harry Howard and the NDE

Howard's lyrics (which seem kind of late 70's early 80's British post-punk-ish, spoken-poem inspired)  have a formalist structure to them; which has then been bulldozed down and built up again, all the while remaining emotionally cool . "I'm the song writer for this project [but] everyone contributes to the final product - of course". The songs off Pretty don't tell people what to think or how to feel, Harry is merely the narrator. "Words are slippery things" says Howard, "and they can mean as many different things to me as they can to anyone else". There is a nice measure, lyrically, between a song having some kind of 'other' meaning, a deeper meaning, an alternative meaning, along with the notion that it is what it is... There's no bullshit. "The songs do contain fact and fiction but it can be hard for me to know where one ends and the other begins". 

Jerry