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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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If you’re not across Iranian-born, New Zealand-raised artists, you’re not only doing yourself a disservice, but you’re missing out on the magnificent CHAII.
Ever since the Persian musician moved to Auckland at eight years old, she’s been a firm fan of hip-hop, and as her creativity flourished, so too did she become involved within the world of music, crafting her own unique blend of beats, lyrics, and aesthetics.
Alongside the classic tenets of hip-hop, you can find CHAII dropping in flavours of her own cultural identity, whether it be by way of the Persian time signature, samples, and other elements not usually heard within western music. Together, they combine to create an artist who is as unique as she is arresting, and as energetic as she is brilliant.
Since she dropped her first single under the CHAII name back in 2019, she’s been rising through the ranks ever-so quickly. She’s released her Lightswitch and Pineapple Pizza EPs, and exceptional singles like ‘WOW (Look At Me)’, ‘Oh Nah Yeah’, and ‘Fun’, including a collaboration with Tones And I and Young Franco that came out last week called ‘(Can’t Get You) Off My Mind’.
What I’m trying to say here, is that if you’re not listening to CHAII just yet, well, that’s something you need to be changing very soon. Thankfully, you’ve got a perfect opportunity, with CHAII getting ready to release her debut album next month.
This week, I was lucky enough to be joined by CHAII for a lovely chat where we discussed her musical history, her sound, and her rising global fame.
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If you’ve not yet heard of English trio Tors, there’s a very good chance that’ll be changing soon. Formed by brothers Matt and Theo Weedon in 2016, the “three-piece harmonic indie band” were joined by drummer Jack Bowden after picking him up on Gumtree.
However, the band’s history can actually be traced back quite some years, with Matt’s career as a songwriter beginning with a casual appearance of one of his tracks on the beloved TV show ‘Skins’. Fast-forward a few years and a few bands, and now Tors have been continuing on their world-beating journey, slowly building upon their fanbase at each and every turn.
It’s probably even worth pointing out that Matt and Theo’s grandfather, Bert Weedon, had a little bit of a music career as well, going on to influence names like Paul McCartney and Eric Clapton with his guitar playing back in the day. I mean, you don’t become the first British guitarist to have a hit single without making a few fans in the process.
For Tors, however, they’ve been riding high on their continuing success, and earlier this year, they released their newest EP, ‘Miracle’. It’s a gorgeous collection of tracks, and it shows a band who are comfortable with letting vulnerability in, and ensuring that only the best music is shared with the world.
Since then, they’ve been pretty bloody busy. After all, the last month alone has seen them play California's BottleRock Napa festival, Tennessee's Bonnaroo, the Netherlands' Pinkpop festival, and a plucky young upstart festival called Glastonbury. Y'know, no big deal.
They’ve also struck a friendship with Aussie band The Rions, too, going so far as to trade covers after Tors’ cover of ‘Scary Movies’ caught the attention of The Rions, who whipped up a version of ‘Happy Enough’ in turn.
This week, Matt Weedon was kind enough to join me on the podcast for a lovely chat about the band’s history, their rise to fame, and if they’ll be fitting Australia into their busy schedules.
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For the majority of the last 20 years, one of the most explosive performers on the music scene has been Frank Carter. Unassuming with his short stature and red hair, Frank burst onto the scene as a member of Gallows back in 2005, blowing away everyone with his intense stage presence and mesmerisingly powerful voice.
After six years with Gallows, Frank left to form Pure Love, an alternative rock band that slightly eased off the pedal of intensity that we’d previously seen. After a few years there, Frank partnered with Heights guitarist Dean Richardson to form yet another new band, this time called Frank Carter & The Rattlesnakes.
From the release of their first album, Blossom, in 2015, Frank Carter & The Rattlesnakes have been dishing out some truly amazing music. Whether it's pushing into those hardcore roots, easing into different areas, or just trying new things, there's no denying that the creative flame burns bright for both Frank and Dean on and off the stage.
This year, they released the album Dark Rainbow, and it’s certainly one you should spend some time with. In fact, that’s what a lot of fans did when Frank Carter & The Rattlesnakes visited Australia back in April for a long-awaited local tour.
It’s now that I lift the veil on the world of podcasting and tell you that this week’s episode was recorded back in April, the day before the band kicked off their first Aussie tour in four years.
I’d actually chatted to Frank back in 2019, but this was the first time I’d spoken to him in person, and the first time I’d spoken to Dean, so it was a lovely chance to get up close and personal with them both for an hour.
At the time, I was also entirely unaware that Frank was not too far off announcing a special set of gigs effectively fronting the Sex Pistols when he performs ‘Never Mind The Bollocks, Here’s The Sex Pistols’ with Paul Cook, Glen Matlock, and Steve Jones this August. Had I known that, I might have thrown in a few more questions about English punk of the ‘70s. And by ‘more’, I mean ‘some’.
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If you’ve only heard of one punk band, it’s likely the Ramones. After all, they pretty much wrote the book on the leather-jacketed aesthetic, and the musical delivery of short, sharp, and punchy songs that influenced the genre’s earliest years, and is still heard to this day.
Though all of the band’s founding members have long since passed, their lineup wasn’t static for their existence, and in 1989, they were joined by a young bass player named Christopher Joseph Ward. Of course, he was better known as CJ Ramone, which is exactly how I introduced him to listeners on today’s podcast.
CJ Ramone was a member of the iconic group for their final seven years, and both during and after the band’s run, he performed in a handful of other groups, including Los Gusanos, Bad Chopper, The Ramainz – a Ramones tribute band which also included both Dee Dee Ramone, Marky Ramone, and Dee Dee’s wife Barbara. As the real Ramones once said; "we're a happy family".
In recent years, CJ Ramone has been a member of the greatest punk cover band out there, Me First And The Gimme Gimmes. Working with Spike Slawson of Swingin' Utters on vocals, Lagwagon’s Joey Cape on guitar, The Damned’s Andrew "Pinch" Pinching on drums, and Rocket From The Crypt guitarist John ‘The Swami’ Reis, it’s a veritable who’s-who of the punk world.
Last week, they released their latest album, ‘¡Blow It…At Madison’s Quinceañera!’. A live album in the same vein as 2004’s ‘Ruin Jonny's Bar Mitzvah’ where they performed at an actual bar mitzvah, this time, you can hear them awkwardly celebrating Madison’s 15th birthday.
For this episode, the lovely CJ was kind enough to spend some time out of his day with me. Needless to say, he’s something of a punk icon, and I’d be lying if I said it wasn’t an honour to chat to a member of one of the genre’s most iconic names.
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If you’ve been listening to this podcast for the last 12 weeks, you’re probably aware I tend to focus on artists who aren’t exactly household names.
That much is certainly true for this week’s artist, Lancaster duo The Lovely Eggs. Comprising married couple Holly Ross and David Blackwell, The Lovely Eggs have been going for 18 years now, having played their first gig in New York back in 2006.
Since then, phrases like ‘little known’, ‘underrated’, and ‘underground heroes’ have all been bandied about when describing the pair. This shouldn’t particularly come as any surprise though, especially given the way they conduct themselves.
After all, they not only describe their music as “too punk to be hippie, too hippie to be punk”, while their early work is like “a child making a kaleidoscope while listening to Red Krayola”, and their recent gear is like “listening to Black Sabbath while reading Richard Brautigan”.
In addition to that, they’ve never tried to be commercial successes, eschewing traditional release campaigns, label support, and industry insight, instead remaining steadfastly DIY and independent, and reaping the benefits.
Those benefits have been made apparent, too, with numerous singles, EPs, and albums arriving over the years, collaborations with producers like Dave Fridmann (who has worked with The Flaming Lips and Tame Impala, to name a few), and a song with one of their biggest admirers, Iggy Pop.
While some might say they’re doing themselves a disservice by taking a different route, folks like Holly and David are proving that success is still possible with that DIY spirit.
Now, they’ve released their latest album, the fantastic ‘Eggsistentialism’, and it’s a record you truly need to hear.
This week, Holly and David of The Lovely Eggs were true to their name, and were lovely enough to join me as they chatted about their own musical histories, their voracious independent spirit, and all the music that they love. -
If you’re listening to this podcast in Australia, there’s a chance you know The Tea Party. In fact, they’ve probably played more live shows in this country than you’ve had hot dinners. That might sound impressive, but it’s all the more admirable given they’re a Canadian outfit who have been on the scene since 1990.
Formed by Jeff Martin, Jeff Burrows, and Stuart Chatwood (who apparently didn’t get the memo regarding his name), The Tea Party made a name for themselves thanks to their unique musician style they’ve dubbed ‘Moroccan-roll’.
Across their discography, they’ve shown elements of progressive rock, industrial music, and acoustic compositions, too. Check out albums like ‘Transmission’ and ‘Triptych’, and classic songs like ‘Temptation’, ‘Fire In The Head’, ‘A Certain Slant Of Light’, and ‘Heaven Coming Down’ for an example of what I’m talking about.
In 2005, the group announced their split, and Jeff Martin went out on his own, kicking off a solo career, and performing as part of The Armada, and Jeff Martin 777. In 2011 however, The Tea Party got back together, and they’ve been going strong ever since. With a bunch of releases being shared since then, and a return to relentless touring, it’s just like the good old days.
Now, ahead of their latest Australian tour, Jeff Martin and Jeff Burrows were lovely enough to donate a small portion of their time to chat about their own Trusty Chords.
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The Australian music industry has long had a habit of churning out some great artists who manage to curate an intense and fanatical fanbase around the world thanks to the wonderful music that they create.
If anyone understands what it’s like to have a massive fanbase, it’s likely Dave Powys, who has been the guitarist and a multi-instrumentalist with Melbourne indie-folk group The Paper Kites since 2010.
If you know The Paper Kites for any reason, it’s possibly due to their 2010 single ‘Bloom’, which managed to do what Aussie bands only dream of, and went Platinum in the US and Canada. For a bit of a reference, at the time of writing, it has more than 584 million plays on Spotify, and 35 million views on YouTube alone.
No matter how you slice it, that’s pretty impressive.
But they didn’t stop there. Since then, they’ve released six full-length albums, the most recent of which was 2023’s ‘At The Roadhouse’, which once again captures the singular sound of the group, and shows their worth as a celebrated group of Aussie exports.
Ahead of a tour of the UK & Europe, where they’ve got a pretty voracious fanbase, Dave Powys was kind enough to join me for a chat. Now that this podcast is out, they’re just about to head out on an Australian tour, so once you’re done giving this podcast a listen, go out and catch them live!
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By his own admission, you probably haven’t heard of Kevin Devine, but for almost 30 years now, he’s been a prolific musician who treats making music in much the same way the rest of us treat the need to breathe. That is to say, he deems it to be pretty bloody important.
In fact, in addition to a solo career, Kevin’s been a member of bands like Infind, Delusion (who later renamed themselves Miracle Of 86), and Bad Books (which features members of Manchester Orchestra), plus he’s also got a pretty fruitful solo career, both under his own name and with his backing band, The Goddamn Band
Needless to say, if you’ve not yet heard of Kevin Devine, well, now’s the time to get on board – you certainly won’t be left wanting when it comes to content.
However, he is going to have to take a bit of time off making music when he heads to Australia this week for his first tour in ten years.
Ahead of his trip down south, I was lucky enough to have a chat with Kevin for the podcast, where you’ll hear him chatting about his underdog status, his love of Elliott Smith, and more.
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If you’re someone who has your finger on the pulse of the world of jazz, then Audrey Powne is a name that you might be aware of. If hers isn’t a name you know, well, then you definitely need to listen to today’s podcast.
Based in the UK, but originally from Melbourne, Audrey is an artist, producer and multi-instrumentalist who has been aptly described as a creative force carving out a distinctive path in the worlds of future jazz and soul.
Having been drawn to jazz at a young age, Audrey honed her craft in the vibrant Melbourne music scene amongst the likes of Hiatus Kaiyote and 30/70, and can now be found performing in some of the most visionary musical circles globally.
A prolific artist, and a stalwart of the Melbourne jazz and soul scenes (which has seen her leading various pop projects including synth pop duo Au Dré, and sweet soul band Leisure Centre as both a vocalist and trumpeter), Audrey released debut solo album, ‘From The Fire’, on April 26th.
Ahead of the album’s release, Audrey took some time out of her day to have a chat for the latest episode of the Trusty Chords podcast, where she discussed her love of jazz, her journey into the world of music, and the exciting process of her debut album.
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For close to a decade now, Ben Gumbleton has been the driving force between the masterful Boo Seeka.
From albums like ‘Never Too Soon’ in 2017, which hit number eight on the Aussie charts, 2022’s ‘Between The Head & The Heart’, and this year’s ‘Midnight Highlight’, he’s become renowned as a wonderful musician you need to hear.
This week, Ben joins the podcast as he talks through the Boo Seeka story and opens up about his musical process.
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After almost 30 years, iconic rockers Grinspoon are still going strong, and following a 12-year gap between records, they’re back with new material. Yesterday saw the announcement of new single ‘Unknown Pretenders’, which will appear on the forthcoming ‘whatever, whatever’, and will be supported by a 45-date tour.
Needless to say, these blokes don’t do things by halves.
Fresh off the back of this announcement, Phil Jamieson and Pat Davern joined the podcast this week for the inaugural bonus episode, which just sees us mainly delving into their own Trusty Chords.
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If I had to put it simply, Human Noise are a band you need to know. Based between Sydney and Melbourne, the four-piece outfit craft a truly unique sound that gets inside your head and takes you over.
Last month, they released their latest album, ‘Glitching Colour’, and it’s a truly stellar release.
This week, the wonderful Eddie Boyd joins the podcast for an informative chat about the band’s history, their sound, and their newest album.
- Visa fler