Trusty Chords

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.

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.

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.

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.

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.

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’.

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.

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.

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!