Well, it's safe to say I didn't see this one coming. The direction seemed to be heading more towards rock and less of the punky stuff, then Nikola released his solo album, very different, it was great, but where were Millencolin going to head. Kingwood is where they headed, 12 tracks, 34 minutes, of some of the best rock/punk pop going around today. I never really got into them in their early days, back when we were flooded with similar bands, i was quickly converted after their tour a few years back. Now this album arrives and it's definatly the best work i've heard from these guys. The production is spot-on and the songs are just...great. Catchy, punky, and great lyrically too. 'Farewell My Hell' kicks it off in a memorable fashion, then track three provides the first highlight, the upbeat vibe of 'Cash Or Clash' instantly memorable chorus, skate punk for the modern day, you can take your auto-tuned screamy rubbish and stick it, this is where it's at, great lead vocals, great backing chants, great sounds, it's a winner. But... it's not the only one that's for sure, this album is full of em. 'Shut You Out' swings more towards the rock vibe, 'Biftek Supernova' turns up the pace, 'Ray' is well, the perfect choice for a first single, a good mix of all the styles of the album in the one song. Shit, we're only halfway through the album and it's all glowing. It doesn't change in the latter half either, 'Novo' is a solid guitar driven power pop number, 'Simple Twist Of Hate' is the "angry" song of the album, hard 'n fast, 'Stalemate' could be another single, catchy as buggery, very typical Millencolin track, same deal with 'Mooseman's Jukebox' a track that stands out musically, listen close and there's quite a bit going on. Your gonna be hearing alot about this one i'm sure, if 'Cash Or Clash' is chosen as the next single, i'm predicting it'll be a big one. Bring on another tour!
Highlights : 'Cash Or Clash', 'Ray', 'Stalemate' fuck it... the whole thing. Go and buy this album

The Self-Righteous Brothers, AKA Triple J's Jay & The Doctor, AKA Frenzal Rhomb's Jay Whalley and Lindsay McDougal, AKA the Australian Music Industry cage-rattlers etc, have put together a package of love songs, as the title suggests, for the very wrong at heart. The Brothers came to prominence in the middle of last year when they became the house band on Channel [v]'s short lived late show hosted by Jabba. The content of their lyrics probably contributed to the rapid demise of the show, but who really cares. While there are plenty of people out there who will think this is absolute rubbish, you can't help but laugh at some of things in here. The opener is about a Necrophiliac relishing the discovery of a new corpse; 'I'm The Only Gay Soldier Left In Iraq' is self-explanatory, same with 'Daddy Drinks Because You Cry'. Then there is 'My Sweet Hermaphrodite', and track 8 - the album highlight featuring the timeless line 'I know that you're blind and can't see through the lies / Cause you've got too much sperm in your eyes'. Sound wise; it's just Frenzal Rhomb in stripped down, acoustic form. There will be plenty of people who slag it off (the songs are all very similar overall, and it becomes a bit thin in the back end) but if you dig a bit of political incorrectness, then you'll get plenty of chuckles out of it. It's also worth mentioning track 11 - 'Emo-sexual', which is a nice poke at the 'Emo Punk' movement. Don't get defensive if that is your chosen style, it's all very tongue-in-cheek considering Frenzal Rhomb have been one of the longest enduring Oz punk bands. There is a section at the end; 'Add eyeliner and gel to make your hair shine / Make sure the guitarists jump in time / Don't ever change the same four chords / Played on the best gear you're mum could afford'. Some people will like it, plenty won't. I think the Brothers best work has still been their clash with Kyle and Jackie O, but this is very entertaining.
Highlights : "(Too Much) Sperm In Your Eyes" , "Emo-Sexual", "(I'm) The Only Gay Soldier Left In Iraq".

This was released last year in the US, now thankfully Shock Records have decided to release it out here, basically it's a bunch of tracks recorded during the bands 'Anthem' sessions and other sessions around that time. Anthem, yeah that album that got little to no attention here in Australia. *cough* major label having no idea of their popularity and not seeing an instant six figure turnout so they dont release it properly *clears throat* What's not to like about this band, they've been killing it for years now and this shows they still have it, these songs aren't deserving of the b-sides tag, it'd easily be passable as a complete album. So 12 tracks all up, unless your a hardcore fan and have downloaded them they're pretty much all previously unreleased. All properly mixed and mastered up too which is always good, so nothing of shoddy 'demo' quality here. They send a little message to Jay Frenzal in the i guess appropriatly titled 'Jay Frenzal' track. Most tracks are pretty short and the whole thing clocks in under 30 minutes. 'Robots One, Humans Zero' is one of the main highlights, but it basically flows as a LTJ album and it's always damn good to hear quality new stuff from these guys. It's better than 'Anthem' overall, minus the big single tracks, don't let the title fool you, theres a reason why these guys have sold over a million records in their time.
Highlights : 'Robots One, Humans Zero', 'Sleep It Off', 'Portrait Of A Cigarette Smoker At 19', 'Jay Frenzal'

The follow up to their successful introductory EP 'Kick The Star' is Grand Fatal's newie 'Chaser Eraser', a 4 track single. The bands first proper, non rushed studio recording comes up sounding a treat quality wise, most of the tracks take a little more listening to get into than the previous EP, however the title track 'Chaser Eraser' being the stand out number, instantly appeals, with a chorus that is quickly becoming identifying as a sound of their own. It's clear in the b-sides too, while there may not be much going on in a verse and you begin ready to write the track off, suddenly they pull out this big chorus and bang, that's it, your into it. Of the b-sides, 'Go Static' would be my highlight, after a few listens it really stuck. The band is doing well to come up with something that isn't being overkilled, but something that is different and easily appealing. It may take a few spins, but Grand Fatal will eventually grab you, beware.
Highlights : Chaser Eraser, Go Static

Mercurial 90's man Beck returns to the fold after 2002's so-so effort 'Sea Change'. The guy who was responsible for three of last decade's most memorable crossover hits - 'Loser', 'Devil's Haircut' and 'Where It's At', delivers a typically unpredictable collection that doesn't spend too much time in the one place. The first three tracks pretty much tell you what you're in for. Album opener 'E-Pro' rumbles along powerfully in the vain of Jane's Addiction's 'Mountain Song' or OPM's 'Stash Up', interrupted by a gorgeously catchy 'Nah nah nah' sample. Second track 'Qué Onda Guero' is quite simply unbelievable. It's a hip-hop fuelled, jazz piece about a businessman in a vegetable van that harks back to the days of NYC rappers A Tribe Called Quest. Not content with all that Beck throws in some video game blips and samples, and random Spanish phrases shouted erratically. Number three 'Girl' is introduced with a Regurgitator-esque, computer generated keyboard sound that gives way to the most uncomplicated, poppy piece on the set. And so it continues through the next ten songs. There has to be 45 styles covered on this CD, and if there isn't 45 styles actually out there, Beck is making them up as he goes along. No one else could get away with this, but he does it brilliantly. If you're after something a little different - this is it. Highly Recommended.
Highlights : Qué Onda Guero, E-Pro… There isn't a dull moment on here

One band from the UK, being The Zatopeks and one from Denmark, being The 20 Belows make up this 6 track split 7" on white vinyl. The Zatopeks are a four piece Ramones influenced band, simple and catchy singalong punk rock, introduced by a couple of Spazzys members on the track 'The Summer I Fell In Love With Jimmys Girl', a very poppy number, they let loose a little more on 'She's Rock 'N Roll', a good fast punk number. Finally they leave with 'I Wanna Blow Jerry Hormone' which steps up the pace into a fast thrashy punk noise, quick, hard, fast... Time to flip over.
Three piece simple, loose pop punk rock from The 20 Belows, high pitched vocals, sounds very amatuerish and while they wont be winning any production awards they can write a decent tune and hold their own, their three tracks don't stand out as much as The Zatopeks, probably a band better suited to the live stage. Good release overall though, two bands fresh to my ears.
Highlights : The Zatopeks side

Just so you know that is no type-o in the title. If you thought you read 'Summer In Abandon' the first time, you're actually mistaken. Pinback are an 'innovative' act from over in the US, who have built up quite a fan base apparently. Their slightly melancholic brand of light rock / pop, isn't all that flashy on first listen, but reveals itself to be very sophisticated after a couple of spins. Sitting somewhere between Elliot Smith and Modest Mouse (but not nearly as noteworthy as those mentioned), there is some nicely layered instrumentation in here. It does seem a little thin in parts - but I suppose you can put that down to them aiming at 'less is more'. Worth a look if you are after something with a bit of longevity. A decent offering.
Highlights : Non-Photo Blue, Sender, Soaked

I remember this heavy Melbourne outfits last release was quite impressive and had some potential witha step up in the recording stakes. Well i'm happy to say that's what they've done on this EP, still self recorded but they've brought in the help of the ever popular DW Norton to lend a hand for the mixing. I'm sure their time playing together between releases also helped, but this is a major step up from, showing potential, to look out heavy rock scene. Driven by the strong female vocals and backed up by a solid rhythm section this EP is a damn fine one, for an independant release too. The main track 'Feed' is big, i don't know where to put it, one minute it's simple pop, with a massive sound then the next it's like a runaway train heading off the tracks, unpredictable and ready to destroy something. Really great track, take a note bands that attempt to scream, this is how it's done, deserving of success. Not just a one song wonder either, this whole EP is a great package, hard, heavy, catchy and so easy to get into. It's got grunt! Look out for it.
Highlights : Feed, Exit Wounds

For anyone in Perth who didn’t go along to this, start kicking yourself in the arse. The lineup wasn’t really spectacular for the most part with it consisting of the same old 4 or 5 bands who seem to be playing every festival that comes along of late, but despite that there was a huge amount of fun to be had.
Frenzal Rhomb played a surprising set consisting greatly of their lesser known songs, although they didn’t completely overlook the obligatory festival sing-along songs 'Punch In The Face' and 'Russell Crowe’s Band'. In between songs the band also pulled out their usual punches, teasing and throwing playful insults at the crowd.
Pint-sized rockers The Flairz ripped it up on Shadies Wild West stage, filling the tent to capacity with punters wanting to see what all the fuss is about. Playing a dirty and raw style of rock and roll, they threw in a cover of AC/DC’s TNT for good measure, and established they are much more than a novelty act.
Shihad played some older material but decided to show off a substantial amount of new tunes for the enthusiastic crowd. New material lacked the intensity of their older numbers but would go down very nicely in a small club.
Next up were Simple Plan and when it comes to performing live these guys have it spot on. Aside from dodgy music and even worse lyrics, these guys can work a crowd and are surprisingly somewhat entertaining (although the “Simple Plan suck - fuck off and die!” banner was pretty amusing) As the sky was turning a darker shade of blue and a chilled breeze set in, Grinspoon took to the stage and belted out their own brand of rock. The crowd were lapping it up, so much so that the mosh collapsed several times, with the band having to halt the performance. Several more songs were played and they soon left to make way for the band everyone was really there to see.
At about 8pm, one of Green Day’s techs stumbled out onto the stage in a pink rabbit suit, beer in hand, attempting to warm the crowd up before giving into the pressure of the crowd’s “scull! scull! scull!” chants. Two beers downed by the furry creature and Billie Joe, Mike and Tre finally made their grand, yet unexpected entrance. The set got off to a bang (quite literally, with plenty of pyro throughout the show) with American Idiot and the epic Jesus of Suburbia. A lot of fresh material, as well as plenty of oldies, their set consisted of songs spanning their career including Hitching A Ride, Brain Stew/Jaded, Longview, and even as far back as an early Operation Ivy cover from their pre-Dookie days. During the O.I. song, Billie invited 3 members of the crowd to get up on stage and finish off the song. The kids on stage seemed to be having a ball and it was a great chance for the real band to catch their breath after a blistering first half. At the song’s conclusion Billie called the guy on guitar to come over to him, when he then announced, “by the way… the guitar is yours!” The band continued with another handful of songs including a rendition of Johnny O’Keefe’s Shout! and finishing the set in a spectacular way with Queen’s We Are The Champions, all the while green, white and red confetti (complete with printed “Green Day” and the American Idiot “heart grenade” logos) was sprayed over the jubilant crowd.
Sadly and confusingly, the band finished up 30 mins short of their promised 2 hour set, however, there were few who left disappointed with the show they just witnessed. Green Day proved they have exactly what it takes to rock harder and better than anyone else and Rock-It once again showed why it is fast becoming the must-see festival of Australia’s west.