Trusty Chords

I'll admit that when it comes to music in Australia, Canberra is a music scene that is typically overlooked.

Which is a shame, because that's where most folks got to experience the rise of Kim Yang.

Born in Taipei, Taiwan, Kim's formative musical years saw a brush with fame by way of an impressive appearance on Taiwan's Super Idol TV show. However, after relocating to Australia to professionally study music, Kim revisited the world of performing by way of busking in the streets of Canberra, eventually releasing a batch of recordings into the world.

Following support slots for a run of local acts such as Josh Pyke, Ben Lee, Katie Noonan, and more, Kim's impressive foray with widespread attention preceded a move to Beijing in 2023, where she continued her musical journey on a global scale.

In early May, Kim will release her debut album, the stellar 'Turn On The Lights.' It's an album that is a true pleasure to listen to, with Kim's penchant for curating an intimate, comforting mood with her music underpinned by her innate ability to showcase a sense of vulnerability and humanity in her lyrics.

With lyrical themes focusing on identity, purpose, fear, and anxiety, while also drawing on her own journey through self-doubt, discovery, and acceptance, it's an album you would do very well to listen to.

This week, I was lucky enough to have a chat with Kim ahead of the release of her album, and it was a true pleasure to learn more about her musical journey, and approach to her craft.

Anyway, have a listen to Kim Yang's 'Turn On The Lights' when it arrives on May 7th, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For the Australian music fans among us (and I've looked at the podcast demographics – that's most of you), the name Dean Hanson might not be to the level of household recognition, though his work is certainly on the way.

For close to two decades now, Dean has served as the guitarist of Ball Park Music, a group who are – in my opinion – one of the country's most consistently good groups. 

Sure, they might not have won an ARIA (yet), and they might have only received their first local chart-topper (so far) last year, their work is stellar, their live experience immense, and their reputation as solid performers established.

But for fans of Dean (and there are plenty), there's good news in the pipeline, because he has today released his debut album under his solo moniker, Zeano.

Dubbed 'Window Seat, Always,' Dean figured it was time to put all those ideas he had bubbling away under the surface to good use and to finally make a record which showcases them all. Working with Tim Hart of Boy & Bear, a ten-day recording period gave way to an album which is truly exceptional.

Some records get unfairly overlooked when described as a 'solo project', but don't let that fool you, Dean has crafted a record which could easily stand tall on its lonesome if he had no prior brand recognition.

That is to say, this is a record you should give your time to. Come for the outgoing pop rock near the start, and stay for the introspective work that populates the back end – you won't regret it.

As you might be able to assume, I was lucky enough this week to have a chat with Dean for the podcast, where we talked about solo projects, supporting big name acts, and creating music solely for the love of it.

Anyway, have a listen to Zeano's 'Window Seat, Always,' buy a ticket to his album launch show, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Those keeping their finger on the pulse of the Australian music scene may have noticed that just a few weeks ago, we were blessed with the release of 'Spectacular Denial,' the debut album from Anna Smyrk.

An artist who has been performing for many years in various guises, Anna has been working on a solo career for most of the last decade, and it's been a pure treat watching her release music with increasing regularity.

According to her website, she's someone who crafts songs for "word nerds and pop hook obsessives", which is probably why I enjoy her music so much.

With her long-awaited debut album, we've received a powerful collection of tracks that transcend genre lines and traverse myriad topics, with much of the record serving as a vehicle for dealing with grief.

That's all to say, it's an album that is as powerful as it is immersive, and vulnerable as it is brave. I don't think I'm making a bold claim when I say it's one you should definitely listen to.

Recently, I was lucky enough to have a chat with Anna about her many years spent as a wonderful musician, and the journey to this stunning record as well.

I will apologise in advance that there's a few audio hiccups from time to time, but as always, if you don't mind, then neither do I.

Anyway, have a listen to Anna Smyrk's 'Spectacular Denial,' buy a ticket to her upcoming shows, 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 make a bold claim that if you're listening to this podcast, you've got a very good taste in music. That's why I think you'd do very well to check out Melbourne's own Fairtrade Narcotics.

A genre-defying six-piece ensemble who are often described as blurring the edges of jazz rock and psychedelic pop, they've been in the game for close to a decade now, making lovers of luscious tunes swoon, and melting faces along the way.

This week, they release their second album, 'Recession Pop', and I believe it's one of those albums you need to listen to in full to really appreciate. Don't go shuffling it on streaming or picking out the singles – pop it on, sit with it, and let it musically overwhelm your senses.

Describing the record as a "soundtrack to a bubble-gum dystopia", it's an album which comes from a period of evolution and change for the band. 

Alongside relocating studios, welcoming new members, and further honing their eclectic sound, Recession Pop is a sonic snapshot of a band who have been at it for some time, but are only now showcasing their full potential as songwriters, performers, and artists.

This week, I was lucky enough to catch up with Wilsen Conn, George Inglis, and Brooke Kymberley of Fairtrade Narcotics for a chat. If George sounds familiar, that's because he joined in during the Sleepazoid chat a few weeks back. Much like that podcast, drummer Luca Soprano couldn't make it – but I'm not taking it personally.

Anyway, have a listen to Fairtrade Narcotics' 'Recession Pop', buy a ticket to their upcoming tour and their album launch show this evening, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For close to 15 years now, I've been a massive fan of Adelaide's Bad//Dreems.

Regarded as one of Adelaide's finest purveyors of pub-rock (a term they initially shied away from), Bad//Dreems first formed back in 2011, and wasted no time hitting the ground running.

A debut EP gave way to 2015's 'Dogs At Bay,' which was followed by 2017's 'Gutful,' and 2019's 'Doomsday Ballet.' In 2023, the group re-emerged from COVID with Hoo Ha!, their best-performing record to date, and their only one to (so far) to receive an ARIA Award nomination.

As I said at the start, I've been a massive fan of Bad//Dreems across this past decade-and-a-half. In fact, if you know anything about me, it's how much I am a fan of this group.

As it stands, they're currently the band I've seen the most, I've also spent time in the studio with them, and they even refer to me as their number one ticket holder – which I'm not going to complain about.

Last week, they released their fifth album, 'Ultra Dundee,' which is arguably one of their finest releases to date. It's powerful, it's mysterious, it's angular, jagged, and luscious, and it's the distillation of what Bad//Dreems have been leading to after all these years.

Sadly, the record was also accompanied by the news that, after their upcoming tour, Bad//Dreems will be going on an indefinite hiatus.

So I recently wiped away the tears and had a chat with founding Bad//Dreems members guitarist Alex Cameron, and vocalist Ben Marwe. Together, we had a lengthy chat about their career, their new record, and what this hiatus means for them.

Anyway, have a listen to Bad//Dreems' 'Ultra Dundee,' 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've ever thought to yourself, "Son of a gun, I reckon 'bush-psych' is one of those genres that should exist," well, have I got a name for you.

That name is William Crighton, the Australian musician originally from Dubbo, who launched his career 25 years ago. However, his musical journey really begins in earnest with the release of his self-titled 2016 album.

Remarkable in his musical approach thanks to a profound compositional and lyrical sense that manages to intertwine time, place, country, and emotion in a raw, yet profound mix, Crighton's work has been recognised as, I believe the technical term is 'pretty bloody good', having taken home the ARIA Award for Best Blues And Roots Album off the back of 2022's 'Water And Dust'.

Today, Crighton is back with another corker of a record, 'Colonial Drift'. If you're in the mood for a good time, I implore you to pop those headphones on, sit back, and let him transport you with his myriad musical talents.

This week (well, we recorded this over a month ago), I was lucky enough to be joined by William Crighton for a chat about his new record, his musical past, and everything else. The audio is a bit spotty due to a poor internet connection, but I won't fret if you don't.

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

For over two decades now, the world of indie rock and emo has hosted none other than Pennsylvania's Tigers Jaw.

First formed in 2005 as a two-piece, the project soon expanded and began releasing music. In 2008, their self-titled second album was released, firmly establishing the group as one of the genre's finest acts. In fact, you'll find tracks like 'Plane vs. Tank vs. Submarine' and its sublime follower 'I Saw Water' rightly considered some of the best in the '00s emo revival.

This is all to say that Tigers Jaw do a pretty fine job, and that formative success has only followed them. While the group's membership has ebbed and flowed – though always comprising Ben Walsh since its formation and Brianna Collins since 2006 – their music has continued, with new records arriving with regularity.

Now, after five years, Tigers Jaw are back with their latest record, Lost On You, and it's a stellar piece of work. Powerful, emotive, and punchy as ever, it's an amazing album which shows that more than 20 years into their career, Tigers Jaw are nowhere close to being done with their roles as impressive musicians.

This week, I was lucky enough to have a chat with Ben Walsh in the lead-up to the record's release on March 27th. 

Anyway, have a listen to Tigers Jaw's Lost On You when it arrives (but listen to the rest of their discography in the meantime), have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I'd like to imagine that I'm like a lot of people when I say that I enjoy music that doesn't take itself too seriously. That's probably why I found myself resonating with Electric Six when they first broke onto the scene over two decades ago.

By the time they turned heads with 2003's debut album, 'Fire', the group had been around for quite some time already, having first launched as The Wildbunch in Detroit back in 1996, and adopting their current name a few years later following some shuffling of members.

That debut album was an impressive one, spawning hits like 'Danger! High Voltage', 'Dance Commander', and 'Gay Bar,' and proving that you don't need to be a solemn-faced, suit-wearing rocker to make a splash.

They certainly rocked though, blending elements of rock, disco, and even metal in their work to craft a sonic palette which was as varied as it was impressive. Hell, their latest tour poster calls it 'disco-punk and metal-funk', so it's one hell of a descriptor.

Pretty soon, they became a prolific entity, and between 2003 and 2023, they averaged around one album a year between myriad live shows. That initial success brought with it a pair of Australian visits in 2004 and 2005, but from there it was a long wait for a return. In 2023, they made a long-overdue comeback, following it up again the year after. 

Now, Electric Six are back for another Australian tour this month, and to celebrate, I was lucky enough to spend some time with frontman Dick Valentine (or Tyler Spencer, as his driver's license would tell you) for a chat about the group's enduring legacy.

Anyway, have a listen to Electric Six's lofty discography (maybe start with 'Fire' – it's great!), have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you're one of those folks who contends that pop-punk was at its best in the '00s (and it was, let's face it), then there's a pretty good chance you've bumped a bit of Cartel in your time.

First formed in Georgia back in 2003, it didn't take long for Cartel to hit their stride, recording and releasing music, while also touring in earnest. In 2005, however, they struck it big with the release of their debut album, 'Chroma.'

A stellar masterwork of the genre, 'Chroma' is the sound of a young group combining their shared influences to craft something incredibly special. It's got hooks, it's got riffs, and it's got that cathartic edge that everyone strives for when it comes to music of the era.

Over the years, Cartel have continued to grow. They became the second (and final) band to appear on the Band In A Bubble series (following on from previous podcast guests Regurgitator), they toured Australia on numerous occasions, and have released three more albums.

However, since the release of 2013's 'Collider,' the band haven't toured Australia or released a new album. That sort of changed last year when they released a re-recorded version of 'Chroma' for its 20th anniversary, and announced a new run of Australian tour dates – which kick off this weekend – and will see them playing the record in full.

This week, I was lucky enough to be joined by Cartel's Will Pugh, days before his latest trek to Australia, and mere weeks after his last. Together, we spoke about the band's formation, the legacy of 'Chroma,' and how that new album has been cooking.

Anyway, have a listen to Cartel's 'Chroma,' have a listen to our chat, buy a ticket to their tour, and I’ll see you at the end of the episode for some general housekeeping.

For close to 25 years now, the Australian music scene has been home to a little group called Kisschasy.

First forming in around 2002, the group rose to fame in 2005 with their exceptional debut record 'United Paper People,' and – having not exhausted their brilliance on their first outing – followed it up two years later with the stunning 'Hymns For The Nonbeliever.'

Two years later, the group gave us their third album with 'Seizures,' and sadly didn't follow it up. A new record was demoed, but it never saw the light of day, and in 2015, Kisschasy bade us farewell after a final tour.

In 2022, a return was on the cards, with the band playing their debut album as part of the Good Things festival that year. Following more tours, the band began sharing new music in 2025, and now they're back with their long-awaited fourth album, 'The Terrors Of Comfort.'

I truly cannot tell you how much I love Kisschasy. They are a band who have been with me for over 20 years now, and if they had a dollar for every time I'd listened to one of their songs, I'm sure they'd be recording albums on gold microphones at Abbey Road after pulling up in their Ferraris.

And in fact, 'The Terrors Of Comfort' is an album I implore you to listen to. It's only February, but I may have already found my album of the year. It's everything you love about Kisschasy's glory days, filtered through years of growth, evolution, and musical maturity that only a band like them can deliver.

This week, I was lucky enough to be joined by guitarist and singer Darren Cordeux for a lovely chat where we discussed everything from the group's formation, to their classic era, to the new music. Plus it was a great chance for me to be a Kisschasy nerd for a while.

Anyway, have a listen to Kisschasy's 'The Terrors Of Comfort,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.