Trusty Chords

I'm going to preface today's podcast with a personal lean, because if you know me, then you know how much I truly love AJJ.

I've been a fan for close to two decades now, having loved what was formed as a folk-punk – sometimes duo, often larger – outfit in Phoenix, Arizona. 

Though their early records – including the criminally-underrated 'Candy Cigarettes & Cap Guns' and 2007's breakthrough release 'People Who Can Eat People Are The Luckiest People In The World' – they definitely showcased more of a folk-punk style, but as time has gone on, they've expanded their sound into more of an alternative rock outfit with folky roots and influences.

My love and obsession of the band was so great that occasionally the band would themselves direct folks to me when they were after information about early releases and the like.

Though I'm no longer the obsessive vinyl collector I once was (largely due to running out of shelf space), I'll never pass up the chance to bump the great AJJ when I can.

And of course, I've also met and befriended some truly wonderful people thanks to my fondness for this band, so I definitely wouldn't be who I am today without them.

Since their formation, the band has featured the core duo of vocalist and guitarist Sean Bonnette and bassist and vocalist Ben Gallaty (though multi-instrumentalists Preston Bryant and Mark Glick have been core parts of the ensemble for the majority of the band's existence, too), and they've delivered a truly stellar string of albums.

Three years after the release of the wonderful 'Disposable Everything', AJJ have now returned with their ninth album, the brilliant 'Dirty Old Power'.

I might be suffering from recency bias, but it may very well be one of my favourite releases of their whole career.

More aligned with albums such as 'Christmas Island' and 'The Bible 2' in terms of how it blends those folk punk vibes with surrealistic indie and alternative rock, it's an album which I strongly urge you to listen to. (Again, I'm a little biased, but believe me nonetheless.)

Ahead of the record's release back in late September, I called upon the wonderful Sean Bonnette for another chat to discuss their latest album, and his journey into the world of music.

As with any time we've spoken previously, it's a bit fun, a bit informative, and a little bit irreverent.

Anyway, have a listen to AJJ's 'Dirty Old Power', keep your fingers crossed for an Australian tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you, the enterprising listener of this podcast, have been paying attention over the 111 previous episodes (and bonus episodes), you'd probably have gathered by now that I'm a fan of musicians who inject emotion, vulnerability, and stellar storytelling into their works.

If that's also resonated with you, then you're probably going to fall in love with Tig very soon.

Tig has been a musician for many a year, but it was only in 2023 that a pair of singles gave way to the following year's 'Inside Voices' EP.

Fast forward to 2026, and we've seen a batch of high profile supports, and plenty of writing and recording giving way to Tig being awarded the Vanda & Young Top 10 Global Emerging Songwriter prize.

Now, that's nothing to sneeze at by any means, but given she was awarded this based on the strength of her unreleased material, well, you'd better believe that means she's been sitting on something very special.

Indeed, we've seen a handful of songs released this year as well, including the likes of 'Morning Pages' and 'Alice Says', while the newly-released 'Ferris Wheel' arrived this week alongside the news that her debut album, 'It's Time We Met', will be arriving on February 26th.

I've been enjoying Tig for a few years now, so I was so eager to have a chat about what she's been up to that we connected all the way back in July for a lengthy chat about her musical journey, the new material she's been working on, and the impending release of her upcoming album. 

Anyway, have a listen to Tig's latest singles, have a listen to 'It's Time We Met' when it arrives in February, buy a ticket to her upcoming live dates, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

At the start of the 2010s, it felt like it was almost impossible to avoid The Vaccines if you were a fan of indie rock music.

Hailing from the streets of West London, The Vaccines first came together at the end of the '00s, but it was in 2010 that Vaccines fever took hold. Tracks like 'If You Wanna' showed a band whose approach to guitar rock was a refreshing one, and attention from radio and television broadcasters helped to legitimise the group's hype.

In 2011, their debut album – 'What Did You Expect From The Vaccines?' – was released to widespread acclaim across the board, and to this day stands tall as a perfect document of that early '10s indie rock sound.

The band have been far from lazy since, with five new records arriving in the ensuing 15 years, including their most recent album, 2024's 'Pick-Up Full Of Pink Carnations'.

Next month, however, The Vaccines return to Australia for the first time in two-and-a-half years to celebrate 15 years of 'What Did You Expect From The Vaccines?', performing shows around the country with Two Door Cinema Club as they look back on the album that kicked it all off for them.

In anticipation of this tour, I was lucky enough to have a chat with The Vaccines' co-founder Justin Young about the band, how the record launched their careers, and their return to Australia.

Anyway, have a listen to 'What Did You Expect From The Vaccines?', buy 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.

It's almost impossible to imagine the world of alternative rock without the influence of Dinosaur Jr.

Forming in Amherst, Massachusetts back in 1984, the core trio of guitarist and vocalist J Masics, drummer Murph, and bassist Lou Barlow first came together under the name Dinosaur, but added their diminutive title after the release of their second album.

Fuzzy, immersive, and highly distinctive, Dinosaur Jr. have long been considered one of the most influential groups in the genre, with the likes of Nirvana's Kurt Cobain labelling them one of his favourites, while friends of this show – including Evan Dando of The Lemonheads and Mac McCaughan of Superchunk – also took strong inspiration from them.

Truly, find yourself a fan of indie and alternative rock and start grilling them on their favourite records. If they don't mention albums like 'You're Living All Over Me' and 'Green Mind', well, I don't want to say you can disregard what they say next, but that's what I'm strongly implying.

Having initially existed for 13 years, the band had a bumpy existence, and would split in 1997, but reform in 2005. Since then, they've remained a prolific entity, getting close to matching their pre-split output. 

In late August, the group ended a five-year gap between records and unleashed their 13th album, 'There Near'. If you're a fan of the band, you're in for a good time, with their classic sound on full display as guitar players around the world look at J Mascis' work and wonder how the hell he does it.

Just after its arrival, I was lucky enough to catch up with J Mascis once more for a brief chat about his history of music and the new record. 

I will say, however, J is not exactly the most talkative person out there, so I do apologise that a lot of this podcast is actually me taking control. However, given that this podcast came together accidentally, I hadn't originally planned for us to be airing our chat together. So, regardless, I hope you enjoy it.

Anyway, have a listen to Dinosaur Jr.'s 'There Near', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

It's a little difficult to think about the Australian music scene of the past 15 years without thinking of The Rubens.

Hailing from Menangle in New South Wales, the largely familial band (three of its five members are brothers, you see), first came to prominence in 2011 when they found themselves scoring quite a bit of airplay over on triple j. 

Barely a year old, they'd made it into the station's Hottest 100 countdown, been nominated for an ARIA Award, and even released a debut album. Not too shabby.

2015's 'Hoops' changed it all for the group, with the title track taking out that year's countdown, and propelling The Rubens to further stardom. 

Consistently good singles, strong records (all of which have peaked within the Australian top 4, with 2021's '0202' even hitting the top spot), and a constant presence on the live scene have turned The Rubens into one of those bands you can always rely on. (A 'trusty' band, as it were…)

This month, The Rubens are back at it again with their latest effort, 'Group Therapy'. Their sixth album, it's a solid piece of work which – at times – feels like a return to their earliest years. To celebrate, they'll be heading out on the road once more, taking their impressive new LP to the masses.

I had a chance to chat to Sam and Elliott Margin from The Rubens a few years back, but I didn't have a podcast at the time. Now I do, so I figured it was high time we reconnected for a chat about the new record, their enduring success, and how it all came to be.

Anyway, have a listen to The Rubens' 'Group Therapy' when it arrives next week, buy 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.

If you're someone who likes their indie rock and alternative music with a healthy dose of shoegaze, well I reckon you'd do pretty well to check out Wishy.

Why's that, you ask? Well, it's probably because that's exactly what the Indiana outfit have been dishing up for the past five years.

Coming together thanks to high school friends Kevin and Nina (the former of which used to be in the now-defunct Hoops, and the latter used to record under the name push pop), Wishy wasted no time in making themselves heard. 

A pair of EPs in 2023 gave way to their 2024 debut album 'Triple Seven', and after another EP last year, they're now back with their second album, 'Nature's Pill'. 

If you've not yet heard that record (or the first one, for that matter), I implore you to give it a try. It's a wonderful piece of work with sensational songwriting, amazing performances, and a truly stellar ability to craft some immersive compositions.

This week (well, we actually recorded this back in late July), I was lucky enough to have a chat with Kevin and Nina about the formation of Wishy, how their second album came to be, and whether we'll be welcoming them to Australian shores soon, or whether that's just… Wishyful thinking.

Anyway, once you forgive me for that terrible pun, have a listen to Wishy's 'Nature's Pill', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

When it comes to folks who ensure their life is surrounded by art, it's hard to look past iOTA.

Having launched into the world of music and drama as a teenager, both of these disciplines have been vital parts of his life since. A batch of bands would give way to the launch of a solo career at the end of the '90s, and a string of impeccable albums would arrive along the way.

On the dramatic side, you might have seen iOTA winning awards for roles in 'Hedwig And The Angry Inch' and 'Smoke & Mirrors', or you might have witnessed him in roles such as Dr. Frank-N-Furter in 'The Rocky Horror Show'.

Or, if you keep your peppers pointed towards Hollywood, you might have seen him in Baz Luhrmann's 'The Great Gatsby', or George Miller's 'Mad Max' film series, where he plays the Doof Warrior.

But for the last decade, you wouldn't have seen a new album from iOTA. That is, until last month, when he released the stellar 'Hours Disappear'. 

A tender, stripped-back collection of old favourites and fresh creations (including a rendition of one of my all-time favourite songs, 'Come Back For Me'), it's a wonderful piece of work, and one for which the wait was certainly worth it.

As you might have guessed, this week's guest is indeed iOTA, and we took the time to look back on his stellar career, and whether it'll be another decade before we receive a new album.

Anyway, have a listen to iOTA's 'Hours Disappear', buy a ticket to his upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I'm going to preface things this week by saying this is going to be far from anything close to a normal podcast.

Why? Well, it's because this week's guests are TISM co-founders Ron Hitler-Barassi and Humphrey B. Flaubert.

Formed in Melbourne back in 1982, TISM have had a long and storied career. Known for hiding their identities behind masks and pseudonyms, high-energy live performances gave way to music which is as sharp, literate, and satirical as it is catchy and driven by a keen sense of melody.

TISM would quietly split in 2004 but after 18 years, they reformed in 2022 and have been playing shows with relative consistency ever since.

Now, they're getting ready to launch their No Mistakes Tour, their first national trek in 30 years, though they're aptly labelling themselves TSIM for the run and making it hard for editors all across the country.

Ever since they reformed, I've jumped at the chance to interview TISM every time the opportunity has come my way, and every time has been something of a shambolic mess. That's nothing against my skills as an interviewer, rather, it's a testament to how anyone attempting to have a chat with TISM might as well be bringing a knife to a proverbial gunfight.

This time around, I was brave enough (maybe foolish is a more accurate term) to say yes to having them on the Trusty Chords podcast.

However, remember when I said this episode is far from normal? Well, that's because trying to get TISM to do anything is like herding cats – masked cats who know their Jean-Paul Sartre from their John Paul Jones. 

As such, I knew that from the get go to the let go, I was going to have no luck asking any of my normal questions, and woe betide me if I was to try and run through the standard Trusty Chords segment near the end.

I will say, however, I did speak to someone once before on this podcast who knows a lot about TISM. I don't recall his name, but that's available way back in episode 47 if you find yourself eager to go further.

Anyway this is where I'll say, buy 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 and… I don't know… penance.

I don't think I'm talking out of school when I say that Tex Perkins is a man who wears many hats (and oh my, does he ever look stylish when he does).

If you're a casual consumer of music, then band names like Beasts Of Bourbon or The Cruel Sea would come to mind upon mention of his name. 

If you're a bit more of a diehard, then I could start mentioning the likes of his solo work, the Dark Horses, the Fat Rubber Band, The Tennessee Four, The Band Of Gold, The Butcher Shop, The Ape, the Bush Oysters, the James Baker Experience, Minced Meat, Salamander Jim, The Dum Dums, Thug, and collaborations like T'N'T with Tim Rogers, and the wonderful Tex, Don & Charlie with Don Walker and Charlie Owen. 

Good gravy, I think I'm going cross-eyed just mentioning them all.

And you know what? That's not even all of them. Tex has been in more bands than I've had hot dinners, and frankly it's a wonder he has time to do anything else in his life.

In recent years, we've seen The Beasts wrap things up, and we've seen The Cruel Sea release their first album in 24 years. If you're listening to this thinking we're about to be chatting about those bands, well, here's a curveball for you – we're actually chatting about 'Before The Show', Tex's new album made in collaboration with Matt Walker.

It's a stellar piece of work, and as the pair head out on tour, Tex was kind enough to donate his time to chat about his musical origins, and just what collaborating with an artist like Matt Walker is all about.

Anyway, have a listen to Tex Perkins and Matt Walker's 'Before The Show', buy a ticket to their current tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

As far back as I remember, I've never been someone to really find myself attracted to bands that generate a lot of 'buzz'. I mean, I remember realising as a kid that I had to listen to a song numerous times before it really clicked with me.

That's probably why I was pretty surprised I found myself really digging Getdown Services when they first came across my desk.

Having only been around for the past five years, the duo – comprising Ben Sadler and Josh Law – have fast made a name for themselves. They released their debut album, 'Crisps', back in 2023, with a string of EPs following soon after. 

Along the way though, their live shows swiftly drew attention for their frankly wild nature. 

See, while Getdown Services are like musical chameleons with a noted sense of humour, they're not a 'joke' band or anything like that. They're simply a pair of lads who know how to make good music, know how to have a good time, and want you to do the same.

They've managed to make a fan in Harry Styles, and earlier this year, they undertook their debut Australian tour, which swiftly sold out.

Just last month, they released their latest album, 'Massive Champion', and it's a massive success for the pair. Frankly, it's easy to see why they're being called Britain's best band.

That's why I was stoked to have a chat with them recently, where we talked about their musical journey, and why it is that people don't take music seriously if it has a sense of humour.

Anyway, have a listen to Getdown Services' 'Massive Champion', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.