Trusty Chords

When it comes to Damian Cowell, the only word that accurately sums up his career is ‘prolific.’

A staple of the Melbourne music scene for close to five decades now, Cowell has been involved in more bands than I’ve had hot dinners. On the prehistoric side of things, there’s bands such as Tall Stories and I Can Run, and then there’s a rather well-known group called TISM. 

That’s probably the band he’s best known for, with the group’s anonymous, pseudonymous members releasing six albums, and nabbing two ARIA Awards across their initial 22-year span. They also boast one of the most passionate fanbases in Australian music history as well, and when the group announced an unexpected reunion in 2022, fans ensured it resulted in some of the band’s best-attended gigs of their career.

But we’re not here to focus on just TISM – in fact, we barely do in our chat – because Cowell has also been a member of Root!, The DC3, and has been the eponymous frontman of Damian Cowell’s Disco Machine. Currently, he’s one half of The Arseless Chaps, a new duo formed with comedian Tony Martin that promises to operate in the same vein as names like Groove Armada, Daft Punk, The Presets, and Barlow & Chambers. (Well, maybe not the last one.)

I’ve had a few chats with Damian over the years, and recently, he was kind enough to agree to a lengthy discussion about his career and myriad projects ahead of The Arseless Chaps’ upcoming tour of Australia.

So before we get into it, I strongly urge you to buy a ticket to The Arseless Chaps’ upcoming gigs, and once you’re done doing that, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For about 15 years now, Adelaide has been home to a stellar outfit called Raccoon City.

Though not exactly trailblazers of the screamo and post-hardcore genre in the city, for a while, they were arguably one of the most prominent, setting themselves apart as a leading figure within those circles at a time when the genre du jour was a breezy indie-rock.

Personally, Raccoon City were one of those groups that became rather formative for me during the time I would find myself at gigs in Adelaide. They were a constant presence, played intensely arresting live shows, and became a favourite of mine and others that I knew.

After releasing their debut album ‘Nightlife’ in 2014, Raccoon City existed for about another year or so before putting things on ice for a while. All the while, folks like myself hoped that a return was inevitable, and thankfully in the midst of COVID the group did indeed return, this time with a stellar new record called ‘For Nobody, Nowhere’.

It was the sound of a group having evolved. After all, their lineup had shifted somewhat (to actually include a friend I went to school with), and their music felt bolder, more adventurous, and more mature. Fast-forward another couple of years, and this year they’ve returned again with new album ‘FUGUE’.

Once again, it’s a truly impeccable album and one that – if you’re a big fan of emotive vocals, crushing compositions, and passionate performances – you definitely need to listen to.

At the front of the band is Levi Cooper, the vocalist of Raccoon City, which he co-founded with brother Dylan. Over the years, he’s been in a number of bands – a number likely too big to truly do justice to. But this week, he’s managed to find the time to have a chat to me about his most notable band ahead of their new record.

Frankly, it’s just great to have more folks with South Australian accents on the podcast.

Anyway, I strongly urge you to check out Raccoon City’s ‘FUGUE’, 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.

If you don’t recognise the name Kingsley Hall, then I want you to stop what you’re doing right now and do a bit of musical research.

For most, Kingsley’s name would be recognisable thanks to his role up the front of English outfit The Chapman Family, where he was better known as Kingsley Chapman. Though relatively unknown down here in Australia, their successes were notable (after all, they played the likes of Glastonbury and even boasted IDLES as a support act), though they split around 2013.

In recent years though, you’ve been able to find Kingsley up the front of Benefits, a noisy outfit which pairs harsh musical elements with Kingsley’s impassioned, politically-relevant, stream-of-consciousness lyrics. In fact, they resonated with me so much that their debut record, Nails, was my album of the year in 2023. Considering I listened to hundreds of records that year, it’s no mean feat.

But their music isn’t for everyone. It’s confronting, it’s harsh, it’s angular, and at times it’s a little hard to digest. But that’s part of the appeal.

Now, Benefits have pared down to a duo, with Kingsley joined by Robbie Major to present as a ferocious two-piece which still pack the same amount of energy and ferocity despite the much more economical format.

Today, they release their second album, ‘Constant Noise’, and it is an absolutely stunning piece of work. To some, it might feel like they’ve pulled back on the throttle a little bit when it comes to being a confronting record, but the energy is still there, the anger still palpable, and the visceral effect it has upon you as a listener is still as real as ever.

As I mention in the early part of our chat, when I started this podcast, Kingsley was one of the names I’d had right at the top of my list in terms of dream guests. Heck, I followed The Chapman Family quite a bit in their final years, and I’ve paid attention to everything he’s done since, so it’s no surprise I wanted to dive deep into his musical past.

So Kingsley was kind enough to join me for a chat recently, and despite our attempts to keep it short and snappy, it ended up being a long one – and that’s with all the editing he advised me to do.

Anyway, I strongly urge you to check out Benefits’ new album ‘Constant Noise’, 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.

I’m going to hazard a guess that even if the name Barry Adamson isn’t one you recognise right off the bat, you’re definitely aware of his contributions to the world of music.

At the age of 19, Barry found himself joining the nascent Magazine as his first band, with wayward Buzzcocks vocalist Howard Devoto recruiting him for the new band. An influential presence in the world of post-punk, the group's short tenure resulted in a handful of well-regarded albums before they split in the early '80s. 

Soon, Barry found himself briefly playing with The Birthday Party, before frontman Nick Cave recruited him for his eponymous new band, Nick Cave & The Bad Seeds. After a few years and albums there, Adamson found himself again embarking upon a new musical journey, with a solo career kicking off with 1989’s ‘Moss Side Story.’

Even then, his career doesn’t peter out there either, because soon enough he was working as a composer as well, working on film soundtracks from time to time, including the likes of David Lynch’s ‘Lost Highway.’

Throughout it all though, he’s never stopped being busy, and even in between reunions with Magazine and The Bad Seeds, he continues to make solo albums, with ‘Cut To Black’ arriving as his latest record just last year.

In only a matter of days, Barry will be down in Australia once more for a tour of the country, and by all accounts, I wouldn’t miss it if I were you.

This week, Barry was kind enough to join me for a chat to discuss his beginning in the world of music, and how he got to where he finds himself today.

But in the meantime, I strongly urge you to check out Barry Adamson’s ‘Cut To Black,’ 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.

If you’re on the cutting edge of music, then you would be aware that there is a band hailing from unceded Kaurna Country (that is to say, the South Australian capital of Adelaide) that is one you definitely need to know.

That band is Street Legal, a group whose sound might be rooted in the romanticism of ‘80s sonics and nostalgia, but heavily progressive, and boasting an approach to their music which is cutting edge, forceful, and – above all – a lot of fun.

Having first made their recorded debut in 2020, a number of tracks have arrived in recent years, with the likes of ‘Hair Today, Gone Tomorrow’ and ‘Modern Ruins’ preceding the release of their debut EP, ‘Bruxism’. Released just last month, ‘Bruxism’ is a wonderful collection of tracks which showcases just what it is that makes Street Legal so special.

If you’re someone who wants their music to be moving, to be impactful, and to be ultimately intriguing, then Street Legal are the band for you. But if you also want something that feels familiar, and with inspiration taken from some of the musical greats, then Street Legal is the band for you.

I’ve actually been paying attention to the Street Legal story for a few years now because I’ve known frontman Matthew Hayward for quite a while now, having gotten to know him thanks to his work in the Adelaide music scene back in the day.

As you can expect, it wasn’t exactly too difficult to coax Matt to appear as my guest on this week’s podcast, where I spent the whole time gushing about how much I really love Street Legal’s debut EP.

If you're in New South Wales, Victoria, or South Australia this April, then you should definitely head along to catch Street Legal on their ‘Bruxism’ national tour.

But in the meantime, I strongly urge you to check out Street Legal’s debut EP, 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.

If you’re anything like me, then the chances are good you’ve been spending the past few years eagerly awaiting a full-length return from Hachiku.

Started as the musical project of Anika Ostendorf just under a decade ago, Hachiku rose to fame as part of the beloved Milk! Records stable, with a handful of releases preceding the arrival of her debut album, 2020’s ‘I’ll Probably Be Asleep’.

Again, if you’re anything like me, you probably listened to that album and truly fell in love with it. After all, how can you not? It’s got Anika’s masterful musical approach towards dream-pop, indie dance, and much more combining to craft something truly special.

However, for those eagerly awaiting a follow-up soon after, well, there was a bit of a wait – almost four years in fact – before Hachiku returned with new singles. Thankfully, it was all in the lead-up to a new album, with ‘The Joys Of Being Pure At Heart’ arriving today, on February 28th.

It’s a stellar album, full of that exuberant, immersive dreamy indie-pop style that has won Anika and her musical collaborators so much praise.

Of course, there’s no time to rest on those laurels, because Hachiku will be hitting the road almost immediately, with dates in the US, Australia, and Europe scheduled to keep them all busy for the next few months.

Thankfully, before things got too hectic, Anika was kind enough to join the podcast this week for a chat, and I couldn’t be more grateful.

Anyway, I strongly urge you to check out Hachiku’s latest album, 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.

If you’ve not yet heard of Kristin Hersh, well, I envy you because she has a rather storied career ready for you to dive into. 

Having first formed Throwing Muses alongside her stepsister Tanya Donelly in the early ‘80s, the group swiftly became an impressive musical force, with records arriving via the influential 4AD label.

In 1991, Donelly left the group to form Belly (having co-founded The Breeders just a few years earlier), and Throwing Muses continued as a trio. By 1994, Hersh had kicked off a solo career, and in 1997, Throwing Muses disbanded and she went on to focus on her prolific solo work.

By the early ‘00s, she’d become a little bit busy to say the least. More solo albums followed, Throwing Muses reformed, and she’d even begun a new band called 50 Foot Wave. For Kristin, downtime is not something that she does, because it wasn’t long before she became an author as well.

I feel like I need a bit of a diagram just to help sum up how impressively prolific Kristin really is.

But let’s fast-forward a few years, because in 2025, Throwing Muses are back with a new album, with ‘Moonlight Concessions’ arriving as their first new record in five years. It’ll actually release on March 14th, when Kristin is in Australia as part of yet another tour of the country.

Somehow, her busy schedule allowed her to join this humble little podcast for a chat ahead of what will soon become another full year of music, touring, and songwriting.

Anyway, I strongly urge you to check out Kristin Hersh’s extensive back catalogue (and the new Throwing Muses album when it arrives next month), and once you’re done giving those a spin, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you’re a music fan from Melbourne, the chances are pretty good you’ve heard of Beth Seymour. By her own admission, it’s a name you might not be quite familiar with just yet. After all, as she says; new name, new her, new era.

But for years, Beth has been a vital part of the Melbourne music scene, with an irresistible combination of earnest lyricism, power-pop melodies, and a punk attitude resulting in a sound that is – for folks like myself, at least – impossible to ignore.

You might have caught Beth making music as part of La Famiglia, or even as part of the burgeoning Hormones. Now, you’re likely getting ready to experience Beth as a solo artist all over again, with her new era officially kicking off today thanks to a new solo single.

It’s been a little while since we last heard from Beth, and in that time, quite a bit has changed. She came out as transgender, continued to work as a prolific musician, and has now reintroduced herself to the world with new single ‘Medication’.

Backed by faithful backing band The Lizzies, ‘Medication’ is one of those songs that is truly arresting. It’s hard to not be moved by the honest, heartfelt lyrics, the raw performance, and the acoustic instrumentation which allows you to connect with it on such a deeper level. Give it a listen, and if you’re not a fan, I’ll… well, be very surprised.

This week, Beth was kind enough to join me for a chat which is one of the longest this podcast has seen to date. If you like a couple of music nerds talking about songwriting, power pop, and more, you are well-catered to this week.

Anyway, I strongly urge you to check out Beth’s new single ‘Medication’, 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.

If you’ve ever thought, “There just aren’t enough rock and roll bands out there who make me want to release my pent-up energy,” then you need to set your sights towards New Zealand and check out The D4.

Around the turn of the century, The D4 were one of the more prominent rock outfits emerging from New Zealand, with debut album ‘6Twenty’ arriving as an all-killer, no filler example of what the band do best.

Before long, they were a bit of a sensation around the world, with the group even managing to make their way onto US TV with a spot on the ‘Late Show With David Letterman’… though famously, Letterman himself was off that night.

Following a few more years of shows and music, The D4 called it quits around 2006, waving goodbye with their ‘Out Of My Head’ album the year prior.

Since then, members have gone on to other projects, with vocalist and guitarist Jimmy Christmas forming the likes of Luger Boa and Jet Generations.

A few years ago, The D4 got back together for some shows, making their way down to Australia in 2023 (where my band actually supported them in Melbourne), and now, they’re coming back again for a run of east coast shows.

This week, Jimmy was kind enough to join me on the podcast to chat about the band’s history and their rise to fame.

Anyway, I strongly urge you to check out The D4’s exceptional back catalogue, 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.

There’s a lot of bands out there who manage to craft music that is as emotional as it is poignant, but I feel there are few who get quite the same reaction to their work that Melbourne’s Slowly Slowly does.

If you’ve been listening to Australian music over the last decade, then I’m pretty sure you would’ve heard them at some point.

First formed in 2015, Slowly Slowly released their first album in 2016, but soon turned heads thanks to 2018's ‘St. Leonards’ after they signed to the UNFD label. 2020's ‘Race Car Blues’ hit #7 on the Aussie charts, and 2022's ‘Daisy Chain’ increased that by two. 

They've played amazing shows both at home and abroad, and they've crafted some truly inspired songs. Whether it's the upbeat catharsis of songs like 'Blueprint', or catchy cuts like 'Jellyfish' (the two tracks I use to turn people into fans of the band), there's really nothing they can't do. Pop on some Slowly Slowly and let yourself just get lost in the mesmerising mix of beauty, power, and raw talent that their music showcases.

Now, in 2025, they’ve unveiled their latest record, ‘Forgiving Spree’. Like everything else they’ve done, it’s top-shelf quality that you simply can’t turn away from. Even more impressive, it’s such a brilliant record that comes barely a year on from singer and songwriter Ben Stewart’s ‘Pushing Daylight’ solo album.

Needless to say, they’re a talented group, and this week, Ben was kind enough to join me on the podcast to chat about the band and their latest record.

Anyway, I strongly urge you to check out Slowly Slowly’s ‘Forgiving Spree’, 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.