Telenova 38, The Detroit Cobras Tribute

Credit Clint Peloso

TELENOVA

Words by Jacob McCormack

Telenova are fast becoming a new Australian favourite.

With two EPs already released just two years into their history as a band, Telenova has a cohort of listeners that’s growing exponentially. Made up of Angeline Armstrong, Edward Quinn and Joshua Moriarty, the multi-instrumental expertise of Ed (Slum Sociable) and Josh (Miami Horror) and the hypnotising vocals of Ange have proven to be an enthralling combination.

After churning out their two richly filled EPs they are preparing to record and release their debut LP, with a date purposely left unspecified. “We have been working on a debut album,” says Ange. “And most of the songs that have made the final cut for what we plan to record have come in the last 12 months. We all have different influences and spread the songwriting process among the three of us. “We trust each other. Someone can leave the session one day because they might be really zapped and exhausted and whoever remains can keep working away at a track.

“As you write more and more, you can get better at recognising what is going to work and what isn’t,” says Ed. “So, if a track isn’t sounding like it would fit well on the album, you move onto the next one.

“With that in mind we will start an idea with the intention of finishing it, but realise that we might need to move on at any stage. We really just keep on making songs all the time, which is made easier because we all like hanging out with each other and writing music together.”

The success of Telenova’s approach is evidenced by nominations for Best Pop Work and Best Group at the Music Victoria Awards, and a coveted slot at Falls Festival this month.

“We had a show at 170 Russell,” says Ange. “Before we went on stage our manager told me ‘You know the first show you played was like 100 people and now it’s like 1000.’”

The Music Victoria Awards ceremony will be held on December 13. Telenova will play Falls Festival at Sidney Myer Music Bowl from December 29-31.

SMOKE STACK RHINO

Words by Kaya Martin

With a band name that’s ‘one heavy animal away from the blues’, Smoke Stack Rhino are celebrating a bumper year and a new single at The Toff in Town on Thursday December 22.

“We always get asked where the band name comes from. Some people think it’s a reference to a new psychedelic drug, or an environmental statement, but the weirdest one was definitely the pizza-flavoured aphrodisiac,” says Ash King, singer-guitarist of blues-rockers Smoke Stack Rhino. Taking their name from legendary blues vamp Smokestack Lightning, the Yarra Valley-based trio is still buzzing after their recent appearance at Blues at Bridgetown, Western Australia’s premiere blues and roots festival.

“Being our first time in WA, I’m not sure anyone had ever heard of us, but as an audience they were so appreciative and into it, it was amazing: wild, crazy, positive energy,” Ash says.

Smoke Stack Rhino isn’t afraid of getting a little rowdy. Unapologetically old school and sometimes as heavy as their namesake itself, the band are bringing the heat on latest single, Old Silver Bullet.

The track, released by the band’s own JAMALAMA record label, is a party anthem for those who like to get groovy. With a classic blues-rock vibe, it has a satisfying bite to it. Crunchy guitar riffs are peppered over a thudding kick drum pulse. It’s the kind of rev-up music Thomas Shelby would listen to before a backcountry shoot-out in the next season of Peaky Blinders. The band will be celebrating with a show at The Toff in Town on December 22, with support from Nathan McCormick Band and Bill Barber Trio. When it comes to their live set, these guys do not disappoint – coming off a whole stack of Aussie tours and festival rounds, they know how to get the party started.

The upcoming show will finish off a banger year, with an even brighter one on the horizon (we’ve heard whispers about an album coming in early 2023).

Tickets via https://www.thetoff.com.au. This article was made in partnership with Smoke Stack Rhino.

It’s fair to say that owners Rusty and Rhys are long-time, dyedin-the-wool fans, along with Kit Atkinson, their new booker.

For the uninitiated, The Detroit Cobras were icons of the Michigan garage punk scene. Led by frontwoman Rachel Nagy and guitarist Mary Ramirez, with a rotating cast of support musicians, they smashed out albums of popular 60s hits – a classic rock ‘n’ roll energy, by way of a 90s garage sound. Since Rachel’s passing earlier this year, The Gem have been looking for the chance to honour her life and music in true rock style. When they discovered Shannon Cannon of Juliette Seizure & the Tremor Dolls was also a huge fan and ready to lead a tribute band for the night, the plan finally came to life. There’s no better date than Saturday December 17 – what would have been Nagy’s birthday weekend. It’s free entry, all are welcome to gather and commemorate this badass legend of rock ‘n’ roll in the way she would’ve wanted: a rowdy party with good booze, good food, a good crowd and a Cha Cha Twist.

The Gem is no stranger to tribute events either, holding annual Patsy Cline and Hank Williams shows and the Grand Final Eve Johnny Cash Karaoke Night featuring The Boys Named Sue ensemble band. Every rock-lover in Melbourne knows The Gem can throw one hell of a hoedown.

So what can you expect from this particular shindig? A raucous good time with two sets of live rock ‘n’ roll classics belted out with love by a band of Nagy superfans. A high-energy crowd tearing up the dancefloor (perfect time to bust out the choreography, if you’ve got it).

For eats, you’ll be chowing down on the purest flavours of Americana: Sonny’s Fried Chicken and Burgers will be grillin’ and fryin’ up a storm in the kitchen – “damn fine food”, according to The Gem team – complete with the slaws, fries and sides you need to power through the party. For bevs, they’re slinging house cocktails, craft froths, and all the usual booze (and booze-free) suspects. And when the tribute act is done, DJ Shauna Ceratops takes over and keeps the vibe going long into the night.

The tribute band is a killer ensemble of Detroit Cobras fans: Shannon Cannon (vocals) and Graeme Coles (guitar, JS & The T-Ds), Kit Convict (guitar, Blowers), Shannon Driscoll (bass, Blowers, JS & The T-Ds, The Reprobettes), and Kate Alexander

THE DETROIT COBRAS TRIBUTE

If you’ve spent enough time in the Gem, you’ll have heard The Detroit Cobras on regular rotation in their garage rock playlist.

Words by Kosa Monteith

(Ute Root/ Party Pest/ Mightiest of Guns/ The Hot Blood). It is a labour of love for all involved. And Nagy was hugely influential on Cannon in particular.

“I think the first time I listened to Detroit Cobras I was about 17 working at Big Star Records and I put the Life Love & Leaving album on in the shop because somebody had recommended it to me for the Ronettes cover,” Cannon said. “I was instantly in love and just wanted to be Rachel. I would have settled for being even marginally as cool as her. “The 60’s girl group revival thing has definitely been a major part of Juliette Seizure & the Tremor-Dolls. Pretty much everything I write has backing vocal parts that I treat as integral instruments in the band – a main ingredient, not just a garnish.”

The ensemble will be keeping their covers faithful to the Detroit Cobras sound. Although, if you want to hear a killer version of ‘Hotdog’, check out Juliette Seizure & the Tremor Dolls’ version of ‘Hotdog’ from their Seizure Salad album. Even if you’ve never heard of The Detroit Cobras, chances are you’ll catch tunes you recognise in the set of greatest hits.

Whether you’ve memorised every line and riff of The Detroit Cobras tracks, want to pay your liquored-up respects to a powerful woman of the genre, or you’re a complete newcomer to the garage punk scene who just loves a damn good party, this promises to be a brilliant night of music, booze and great food at The Gem. Swing by, party hard, rock on and make Nagy proud.

Songs The Detroit Cobras Taught Us is happening at The Gem on Saturday December 17. This article was made in partnership with The Gem.

LIPSTEREO

Lipstereo have exploded onto the scene, in Australia and globally after having just released their maiden EP on Friday November 11. Entitled Modern Mythology, the opening track Stop is as rampant as the impact they’re currently having.

Words by Jacob McCormack

They released Stop as a single, with an accompanying music video that’s already been viewed 56,000 times on YouTube. Visually and sonically, it is evident the band has drawn inspiration from The Strokes and The Ramones, which is affirmed by band members Sam Stranges and Andrew Stainsby.

“[Stop] is 2 minutes long, which was certainly influenced by that ‘70s thing,” says Stranges. “Like the Ramones where it’s all killer no filler. I think we said it like 20 times throughout the song.”

Despite the high-octane energy pulsating within Stop, Stranges outlines that the lyrics themselves are meaningless and rather act as an exportation of pent-up angst. “When I was writing it, there was probably a lot of angst. If I look back at the words, they mean nothing. It’s not something you can release halfway through your career.”

Stainsby also adds that the short nature of the track ensures that audience members’ attention span isn’t tested or stretched to a point where they lose interest. “[Stop] doesn’t take two minutes to get to the good bit of the song, which sometimes puts off listening to longer songs.”

The condensing of songs was largely impacted by the influence of renowned producer Mark Opitz AM who worked on the record with Lipstereo. His involvement meant that the band members were forced to adapt during their time spent in the studio.

“Before we went into the studio I was imagining playing with clean guitars,” says Stainsby. “Kind of like the first Arctic Monkeys album, which has a lot of clean guitar stuff on it. I started playing the song Feedback and I was like ‘I might turn off my dirt here’, and then Mark was like ‘don’t worry about that, put it back’.”

As a result of Opitz’ production the EP has been refined to highlight the musical quintessence that Opitz has become famous for.

“I think the EP has a distinct Mark Opitz sound,” says Stranges. “Identified in this prog-rock guitar tracking. We recorded all together, when we first tracked everything all together, we were a full band. We really had this live thing and we double-tracked all the guitars and the vocals to make it sound big. It’s definitely a lot of Mark’s influence on that.”

Throughout the recording it was the refrain of relating to how something felt when playing the songs, as opposed to the finished sound that saw the ultimate recordings mould into the EP.

“When we went into the studio, we thought we wanted to record it properly and make all the tracks right,” says Stranges. “But Mark kept saying ‘what does it feel like, what’s the feeling?’ and that’s super important, if it feels right, it doesn’t matter if it has the perfect tone.”

“A prime example of that is the solo in Take The Bus,” says Stainsby. “I did a bunch of takes of that and the one we ended up going with was the last one we did and I made a bunch of mistakes in it and I didn’t bend all the way, but it was just the nicest feeling within the take that I did. Which made it the best in other ways, not technical ways. It’s kind of the mistakes that end up on the album that I like listening to.”

As the bands following expands globally, the concept behind the EP’s artwork maintains a high level of importance. With the intention to depict a narrative that symbiotically includes visual art and the music on upcoming releases, the first EP uses a painting entitled ‘The Savage State’ to commence the story.

“You could tell a second story within your career,” says Stranges. “Tell the rise and fall of an empire with the things that are presented in different musical styles, lyrics and different motifs that will reappear throughout the different releases. In our heads we created a story out of it.”

Modern Mythology is out now. This article was made in partnership with Lipstereo.

Adalita

INLAND

Album Reviews by Bryget Chrisfield

You know when someone’s so incredibly alluring and charismatic it’s as if they move around the world in slow-mo? Well that’s similar to the impact of Dazzling’s chorus: “You’re da-aaazz-Ii-hiiing” – additional, languorous syllables are added, elongating the word almost beyond recognition. This lead single boasts a stark, expansive kind of beauty, much like its accompanying film clip and also the monochrome self-portraits Adalita created for this album’s artwork. Toward song’s close, a dulcet, nursery-rhymey piano hook enters the arrangement – unexpectedly – as if floating by on a coastal breeze.

Opener Private Feeling establishes Inland’s sonic landscape: metallic, rhythmic riffs; subtle, throbbing bass; occasional swelling drum patterns that enhance the emotional turmoil of select lyrical phrases – all of which serve to complement Adalita’s captivating vocal performances. “I keep bringing you in/ And I keep shutting you out…” – we can feel the push-pull cycle of sexual tension here, but is it actually worth exploring or just another potentially toxic mindfuck? Equations glistens with tambourine jangles: “So I lie here and I do the equations/ I lie here bathed in frustration” – ooh, that does not sound like a good time. As she takes a leap of faith, Adalita’s vocals soar come the chorus: “And I WI-I-I-I-I-LL!” With its delightful surprise-banjo flourishes, Savage Heart (“Just take a number babe girl/ And sit yourself down…”) navigates a dangerous liaison. Hypnotic and soul-searching, latest single Hit Me is a whirlpool of atmospheric guitar distortion that’s further enhanced by Laura Jean’s flawless BVs. To shoot this accompanying music video, Adalita and director Adam Harding ignored a Keep Out sign and scaled a fence to access an abandoned house (which in turn inspired Inland’s closer, Abandoned Houses). Listened Hard’s pulsing waltz rhythms and driving, hypnotic riffs evoke recurring, obsessive thought patterns – like someone you already know is bad news still relentlessly hogging your brain space. Then, finally, some much-needed clarity: “I’m glad I’m not the girl for you.” Tropic, a short instrumental interlude, washes in with piano melodies that land like gentle rainfall. Textured and vibratory, Blue Smoke hovers and lingers much like the song title suggests.

Throughout her stunning third solo album – which explores “universal themes of obsessive love, the inner void and reclaiming of the self” – Adalita’s unconventional phrasing often demands that we lean in and work a bit harder than usual to decipher lyrics. But it’s totally worth the effort. And Adalita is a force.

Label: Liberation Release date: 2 December

Hannah McKittrick The day has again bruised me

Of Bridgette Winten’s stunning blackand-white photograph – which graces this album’s cover and features Hannah McKittrick melting into a sea stack, her long blonde hair cascading down a rock face – McKittrick commended, “The scale of it really makes me believe in things.”

This South Gippsland-born, Melbourne-based ambient folk artist’s plaintive vocals are alluring like a siren’s song. She obviously feels incredibly deeply and is not afraid to be, and sound, vulnerable through her work. “I have had my circuits broken/ It’s not enough to keep me from wanting…” – delicate piano accompaniment gradually intensifies throughout opener Shells before a flurry of cymbals ushers in reverberating beats.

The piano-led Big Plan (“It hurts to love you through this... How not to hate you through this…”) explores a family reconciliation broached too soon. During Threshold, McKittrick’s voice quivers with emotion as she challenges the upper reaches of her vocal range. “It’s not getting better/ I’m not better yet…” – Perfect Struggler (such a gut-wrenching concept!) closes out with a single, forlorn saxophone note; like a distant whale cry.

A richly rewarding, meditative listening experience, these seven songs of loss and love remind us that music conveys so much more than mere words. When life gets sticky, choosing music that matches our mood helps us make sense of it all and can even offer some much-needed comfort.

Label: Independent Release date: 29 November

Lipstereo Modern Mythology

Like jumping the fence to crash a festival then legging it through the crowd to outwit security, opener Stop storms in with exhilarating, dangerous energy. “Stop, I don’t wanna get caught...” – intensifying drums, party-starting riffs, belligerent vocal delivery... What’s not to like? There’s obvious The Strokes influences here, but this lead single also channels What’s My Scene by Hoodoo Gurus. Then Beatles-tinged follow-up track Little Spaceships beams in some bells and mellotron. Dripping with effortless, insouciant rock’n’roll spirit, Sam Stranges absolutely nails his vocal deliveries throughout Lipstereo’s debut four-track EP, but especially during song two.

“Take the bus to the station/ Don’t get impatient/ I’m there for the ride..” – closer Take The Bus takes it down a notch, until Andrew Stainsby’s luxurious guitar solo strikes like white lightning, melting our faces into sloppy grins of surrender.

This four-piece indie-rock band from Melbourne – who also clearly love R U Mine?-era Arctic Monkeys – wrote Modern Mythology very much inspired by the painting that graces its cover: a moody, intricate mountain scene featuring partially clad archers on the move, with deers in sight. There are four more paintings in this series, which Lipstereo also intend to translate into sonic landscapes for our listening pleasure.

Label: Pop Preservation Society Release date: 11 November

Jimmy Barnes Blue Christmas

Full disclosure: prior to pressing play on Barnesy’s Christmas album, the very idea of him scream-singing carols – in his signature style – gave me the heebie-jeebies. But how very wrong I was! (Sorry, Jimmy.) I mean, have you heard the title track/Christmas song? Who knew Jimmy Barnes could croon like Elvis!? Don’t believe me? Just listen! You’d never guess it were Barnes without foreknowledge – no shit!

Also, if you’re tipping Jimmy belts out the loudest-ever rendition of Silent Night, think again. This yuletide classic is delivered in melodious fashion with pleasing vibrato and features delicate glockenspiel accents.

Check out the so-Aussie blue Holden Monaro on the album cover as well: its number plate was switched out for the serial number of The King’s original Blue Christmas single release – how’s that for attention to detail?

The story goes that when he was gifted a collection of carols one Christmas morn, which his children had secretly recorded, Barnesy was reduced to a blubbering mess. So he decided to record his first Christmas album as a gift back to his kids, grandkids and fans.

Elsewhere: Barnsey sounds the most like his usual raucous self during upbeat rockers Run Run Rudolf and Rockin’ Around The Christmas Tree, Little Drummer Boy is resplendent with military drum rolls and closer Auld Lang Syne pays tribute to his Scottish heritage (bagpipes and all).

Label: Bloodlines Release date: 25 November

NO ZU Heat Beat EP

The passing of NO ZU’s beloved vocalist Daphne Camf (also of GAY, Rat Vs Possum and SaD) in 2021 devastated Melbourne’s underground music community and plunged this band into silence. Now the collective makes a welcome return with this intriguing five-track EP, named after their own self-identified genre and featuring Camf’s final recordings.

Opening lead single Liquid Love’s bass groove conjures Pressure On by Spandau Ballet and the unexpected “LI-QUID!” call-outs channel Freeze-Frame by The J. Geils Band. Mind Melt sounds like a loose Arabian shindig with occasional cowbell, rim clicks, brass blasts and a hotline-inspired outro: “Hello, I need help/ My mind is melting from my skull...” – call “1300 Heat Beat” at your own risk (see: closing track Phone Call Melt Down). A referee’s whistle and percussive, breathy “ha-ha-ha”s punctuate Cosmetic Beat, which lists cosmetic brands in deadpan fashion a coupla minutes in.

There’s something Supernatural Amphitheatre-level wild about NO ZU (if you’ve been there, you know) and agile basslines weave a horny thread throughout. Yello and also Tom Tom Club (particularly Wordy Rappinghood) spring to mind – nothing is sonically out of bounds when it comes to NO ZU, which makes for a thrilling ride.

Surrender to these tunes and block out the world, ‘Fuck off, I’m dancing!’-style. You can’t not dance to Heat Beat.

Label: Chapter Records Release date: 18 November