The Veronicas - "Gothic Summer"

Artist: THE VERONICAS

Label: Big Noise

Distributed by: Ingrooves 

Cat No: 

Year: 2024

Produced by: John Feldmann, Ryan Linvill

Personnel: Jessica Origliasso (Vocals), Lisa Huffman (Vocals), Kerser (Guest Vocals on Savage), Travis Barker (Drums), Sierra Deaton (co-songwriter).

Running Order: 

1) Perfect

2) Detox

3) Here To Dance

4) Savage (ft. Kerser)

5) Invisible

6) Ribcage

7) Jungle

8) Perfect (acoustic version)

Genre: Rock, Acoustic, Garage Rock, Hip-Hop, Pop, Punk

The Veronicas sixth studio album has been a mileston in their musical career so far.  It is the first album for them as a newly independent band, signing to Travis Barker's Big Noise label.  Now without the creative and commercial constraints of Sire Records and Sony Music, The Veronicas have had more of a chance to take their artistic faculties into full control and it shows on this album.  

A refreshing change for many Vfans is the use of more guitars on this album, harking back to their early days of the first album "The Secret Life Of", whilst still digging some pop sounds on tracks like Savage and Ribcage.

According to Jess in a recent interview with Rolling Stone: "The whole theme of Gothic Summer is that it’s basically exploring social commentary on what we think is reality versus how we create our reality. It’s a very metaphorical album."

Lisa's comment was: "Gothic Summer is about the highs and lows of life. Finding beauty, empowerment and self-love in the shadows and darker parts of life’s experiences."

Gothic Summer contains just 7 new tracks, most of which are under three minutes long.  There has been some debate in their Facebook fan group as to whether this can be classified as an album with such a short running time and amount of tracks.  However, the band Sparks did something similar in 1979 with their album "Number One In Heaven" which had only six tracks on it and was considered a groundbreaking album for them for ushering in the electro pop and New Romantic movement to come out of the UK in the early to mid 80's.

The album opens up with the song "Perfect", which is a statement about being your own master and not conforming to the world's paradigm of what is perfect, and succeeding in life on your own terms rather than other people's expectations.  A good solid rock track with a rousing chorus reminiscent of their early hits "4ever" and "Revolution", and the video is unforgettable with Jess singing whilst having a huge huntsman spider crawling all over her face.  

"Detox" is about ridding themselves of toxic people in their lives and seeking quality people for their future.  Lisa is now happily married to actor Logan Huffman, whilst Jess is engaged to an American jeweler called Alex Smith after a couple of toxic relationships with Ruby Rose and Kai Carlton between 2016 - 2020.  The intro is reminiscent of the chorus of The Sonics "He's Waiting", and then explodes into a fast and furious punk number where they exorcise the ghosts of their past lyrically and vocally before suddenly going into a cod-reggae outro for the last 60 seconds.

"Here To Dance" is inspired by 70's disco as well as the likes of Sly & The Family Stone and Donna Summer as well as 70's Brisbane girl pop act Chicks Incorporated.  Opening with a good funky bass riff, it's a light-hearted track about dancing wherever you are no matter how you might be feeling at the time.  This was the third single to be taken from the album and cost nothing to make, being filmed on an iPhone at Lisa's place on her front deck.  

"Savage" was written about a past relationship, containing Australian rapper Kerser whom Jess and Lisa have recently met.  It starts out as a piano ballad with electronic claps and drumbeats before going into a shuffling dance track similar to the rhythms of the 90's Australian acts Caligula and Lavish.

"Invisible" is about wanting to withdraw from the world after being disappointed by a lover.  Travis Barker plays drums on it, and it was co-written by Sierra.  Another good rocker with a catchy chorus.  This song speaks to me a lot after being abused by a couple of parasitic ex-housemates and not wanting to associate with people too much except for eating, drinking and doing laundry.  

"Ribcage" demonstrates Jess' love for musical theatre which they grew up on from an early age.  It was originally a love song, but has much darker overtones and talks about rebirth.  A beautiful ballad with pianos and sonic sound effects over a gentle backdrop.  The lyrics are very graphic in describing the downs of romance and the physical pain it causes to the other partner.

"Jungle" is inspired by The B-52s and The Cramps with a 60's garage surf rock sound, and the beat reminiscent of a track from their Godzilla album "In It To Win It" but with more authentic 60's sounds.  A great fun track to do milk cow and shimmy dancing to - I'd love to hear them experiment with more 60's sounds for future albums.  The message is that life is a jungle out there and is not always fair, and you need to be thick skinned and open minded to deal with the curveballs that sometimes get thrown at you.  

The album closes with an acoustic rendition of "Perfect".

Gothic Summer looks set to be The Veronicas first chart topping album in Australia (it has already topped the iTunes charts at times of writing) thanks to innovative and aggressive marketing techniques that they have offered via their music store on their website as well as an official album launch at the Crowbar in Sydney on March 23rd.

Rating: 5/5 

James Elliott Rock God - "Space Demons" (CD Baby)

 

James Elliot Rock God

Genre: Alt Rock, Glam Rock, Hair Metal, Rock'n'Roll

One of the most surprising comebacks of 2023 so far has been that of James Elliot.  Originally formed in Brisbane in 1973 and fronted by lead singer/guitarist David DeWitt, they went on to win the Brisbane Battle Of The Bands in 1975 which got them a one-off deal with RCA Australia and resulted in the local hit "Space Demons", a piece of glam rock in the style of then labelmates David Bowie and The Sweet.

In 1977, they released a further single "Better Rock'n'Roll" before retiring in the face of punk, disco and new wave which had surpassed glam rock in the Top 40 pop charts.

Fast forward to 2020, after languishing in the rock'n'roll wilderness, DeWitt decided to revive his alter ego with a more harder and heavier rock sound but maintaining the camp theatrics which made the original band a success in the first instance.

Taking on a pickup band and producer, this album is one of the most fun and fresh that I've heard in a long time.  

The album opens up with a re-recorded version of "Space Demons" still maintaining the glam boogie vibe of the original with harder guitar sounds.  "Electric Man" blasts the band into 2023 with a catchy "Aye aye aye aye" chorus line which is up there with Violent Soho's "Hell fuck yeah!" from their main hit "Covered In Chrome".  It tells the story about David being electrocuted on stage various times when he was doing gigs.  Contains a good pumping guitar riff and some chinking riffs in the middle 8 part.  

"I Am A Rock" is more towards the quirky arty side of glam rock like Roxy Music and Sparks, and like "Space Demons" has been given a C-21 remake (it was originally the B-side).  

"Better Rock'n'Roll" is also a remake with the keyboards of the original scrapped for more frantic guitar playing and some tight power pop chords make this one of the most appealing songs on the album, an ode to youth hedonism of the 70's.  "Somebody's Girl" is a more laid back rock ballad which wouldn't sound out of place in a beer garden, and a straightforward theme about unrequited love for a woman.  

"Midnight Devil" is a bit more 60's rock in its delivery compared to the 70's vibe that this album is built around, but it's an enjoyable track nonetheless as well as "Not Welcome In My Head" (a contemporary social comment about mental illness which this modern world has become more aware of).

In all, it's an album that most rock'n'roll fans will take to instantly with plenty of hooks, distinctively camp vocals and solid beats.  It's fun without being silly or overly tacky, but serious enough to be able to relate to what DeWitt's intentions of making this album was about.

4.5/5

Scarlett Gunner - "It's Your Love"

 

The second CD release from Scarlett Gunner is a very catchy upbeat country boogie number with a solid beat and call and answer boy/girl vocals from Jesse and Wacey.  Already receiving interest from overseas countries as well as from local radio, this very well might be the song that will break Scarlett Gunner to international fame.  One of Brisbane's most prolific performing duos out there, they certainly deserve it.

5/5

Davey Page - "Happy Birthday Sweet Sixteen"

Artist: Davey Page

Label: Atlantic Records

Cat No: 100028

Year Of Release: 1975

Produced and Arranged by: Jeff Wilkes

Davey Page was an indigenous teen idol in Brisbane in the mid-70's, and he recorded this Neil Sedaka cover at the age of 13.  

He was also the second Brisbane musician to sign with the Atlantic label in Australia, the first being Marcie Jones as a solo act after Marcie & The Cookies disbanded.  Very sweet and pleasant cover, and he went on to release a glam rock single as the follow up "We Like Music Together".

Davey went on to become a well known and respected theatre star in Australia, before sadly passing away from cancer in 2016.  

The Veronicas - "Godzilla" (Album) - Sony Music (2021)

Album: Godzilla

Artist: The Veronicas

Label: Sony Music Australia 

Catalogue Number: 1943-988188-2

Release Date: 28 May, 2021

Six years after the release of their previous album "The Veronicas", Jessica and Lisa produced a concept album which was mostly about their alter egos as pop/rock icons and the trappings of fame.  The eclectic nature of the previous album was replaced with an experimental journey into synth-pop from the 80's and 90's.  

It topped the Australian iTunes chart the first day it was released, but quickly pipped by the new album by their labelmate P!nk. 

Godzilla: Opening with a guitar riff reminiscent of Hole's "Celebrity Skin", the title track contains a vibraphone riff and irregular drumbeat topped with Jess and Lisa's vocals and the chorus screamed out, which is about how they are perceived to be show-ponies by the music and entertainment industry rather than multi-dimensional human beings.  It was released as a single as a taster from the album, but did not chart.

Kaleidoscope: Contains a pounding digital piano intro before going into a somewhat overproduced pop track.  Although this track has become a favourite with their fanbase, I personally find the autotuned chorus and hooks unnecessary, it would sound better if this was a more basic acoustic rock number.

In My Blood: Released in 2016, it was a chart topper in Australia.  The song refers to finding love at first sight and the adulation of meeting somebody whom you feel you can instantly click with.  It has an anthemic dance vibe to it.  The song was helped to the top with a dramatic promo video.

In It To Win It: One of the most intriguing tracks on the album it has an early 60's pop drumbeat which is reminiscent of The Angels' hit "My Boyfriend's Back" combined with rapping and a siren-like keyboard riff and some heavily reverbed guitar scrubbing.  

High Score: Their experimentation with synth-pop has an 80's sounding harpsichord synth riff which gives way to their vocals and a dreamy soundscape.  

Stealing Cars: This song tells the tale of living in the inner-city suburbs amidst squalor and crime but keeping a sense of comradery in spite of what other people do to wile away their time and eventually getting tired of it to find a greater purpose in life.  

Supernatural Girl: A beautiful pop ballad, which sounds like early 90's Duran Duran and Johnny Hates Jazz.  

101: This is a poignant track about being able to live to be 101 years old, and the challenges to be able to sustain such a relationship.  The keyboard riff sounds similar to Donna Summer's "I Feel Love", but the song has a more modern feel to it.  

Catch Fire: A very beautiful and dramatic track, with some sitar playing and surf guitar interspersed with symphonic chords and unequalized vocals in the chorus.  The track is interesting for its lack of drums, and has whiffs of Enya, Sarah McLachlan and even Sparks recent material to it.

Silent: Featuring Travis Barker on it, it's a pleasant track with some buzzy guitars and strings and a powerful rousing chorus.

The Only High: This was the last song to chart for The Veronicas in 2016, it's a song about reminiscing about long lost partying days and finally looking to human love for natural highs and dependency as one matures.

Sugar Daddy: The closing track is another one which started life several years before this album came to date.  The subject matter is very much self explanatory - making oneself available for a wealthy man to treat them as a trophy girl.  It's also one of the most anticipated tracks from the band's fan base, who had been wanting an official release of it since 2013.  

9/10 

The Veronicas - "Godzilla" (Sony Music)

 "Godzilla" is the first single to be taken from the new album by The Veronicas titled "Godzilla".  Reuniting with their first ever producer Toby Gad, they've delivered a massive audio orgy of screamed out verses reminiscent of Shampoo and Dream Wife, a blistering sonic grungy guitar riff borrowed from Hole's "Celebrity Skin" and topped with some 80's keyboards looming over the soundscape.  

Just when I was fearing that The Veronicas were going to head down the dreaded dumper of pop and rock music with their last batch of EDM oriented singles failing to crack the Top 50, along comes this one where they both stick their middle fingers up to the Establishment saying "We're back motherfuckers, and this is what you all really wanted!!"

Sure, Jess and Lisa have matured over the last 10 years but the old wildness and sheer adrenaline inducing energy of their rock'n'roll days which endeared me to them is still intact.  

Definitely a must-have.  

5/5.  And extra kudos to the video where they're looking brazenly hawt in black vinyl bodysuits!

The Down And Out - Track previews

Recorded: March - June 1966
Personnel: Tim West - Rhythm Guitar and Vocals
                  Stuart West - Bass
                  Graham Vincent - Lead Guitar
                  John Jurss - Drums


Some more recordings from The Down And Out have resurfaced recently.  John Jurss had arranged to have them recorded with 4BC at their studio in Wharf Street during March to June 1966.

The tracks were: "One Day", "Down Man" and "It Ain't Right".  The production and musicianship is pretty tight but with a good rawness and energy to it.  "One Day" has 60's punk elements to it, whilst "Down Man" features some close-knit harmonies to it and some stops and starts to it similar to "Rain" by The Beatles.  "It Ain't Right" has a fast, aggressive guitar riff which runs right through the song and half-talked, half-sung vocals with some good harmonies in the chorus and a guitar solo reminiscent of Dave Davies' playing.

These tracks will be available online shortly.