Mac De Marco – This Old Dog
Underground Lovers – Staring At You Staring At Me
Yumi Zouma – (What's The Story) Morning Glory?
Woods – Love Is Love
BNQT – Volume 1
Mew – Visuals
Spoek Mathambo – Mzanzi Beat Code
Screamfeeder – Pop Guilt
Tim Rogers – An Actor Repairs
Jazzanova – The Remixes 2000 - 2016
The reformed and rejuvenated Underground Lovers now return with album number nine, Staring At You Staring At Me, once again occupying a rare space in the now seriously crowded realm of dream pop. There's something about the measure of their songs – equal parts punch and atmosphere – that's impeccably precise in the way they hang perfectly, and leave you hanging each time. What I think makes Staring At You Staring At Me particularly pleasing is the presence of Philippa Nihill's swirling keyboards and voice, her songs adding a great dimension overall to proceedings and sorely missed during her absence from the band. The newcomers trying this stuff on these days could really take a trick or two from their book – getting the band back together doesn't always get back to the glory days but here's one example where it totally works.
BNQT is a very obscure sounding moniker but it ain't no acronym: it's pronounced 'Banquet'. Clarifications aside, their debut Volume 1 is indeed a sumptuous feast of pop vision, and that's because it's the work of one hell of an indie supergroup. Get a load of this for a line-up: Eric Pulido from Midlake, Ben Bridwell from Band of Horses, Alex Kapranos from Franz Ferdinand, Jason Lytle from Grandaddy and perhaps inexplicably, Fran Healy from Travis. The lush results from these guys comes in the form of old school symphonic soft-rock and pop in the expansive, epic 70s style and it's marvelously done with no one overplaying their hand. After a few listens, you'll be happy to realise that when you name something 'Volume 1' that it usually means there will be a 'Volume 2.'
Spoek Mathambo has become a key player in South Africa's new music scene, the singer, producer and multi-instrumentalist opening up his albums to upcoming artists for collaboration in showcasing their talents. His latest, Mzanzi Beat Code, is typically freewheeling stuff, busting out robust and modern dance music with the elastic freneticism of African rhythms coupled with unique updates on dub, house, rap and much more. Pretty wild, pretty cool.
Also, new tunes this week from Jonti, DJ Shadow with Nas, Waxahatchee, Jack Ladder, Sampa The Great and The Mountain Goats.
Enjoy it all on 2SER,
Bad/Dreems – Gutful
Juana Molina – Halo
Loose Tooth – Big Day
El Michels Affair – Return to The 37th Chamber
Greta Now – Greta Now
The Cactus Channel with Sam Cromack – Do It For Nothing
The Meltdown – The Meltdown
Harriet Brown – Contact
Various Artists – The Dark Side: 30 Sixties Garage Punk and Psyche Monsters
Various Artists – King Jammy's Dancehall 2: Digital Roots and Hard Dancehall
If you ever thought the Wu-Tang Clan and the RZA's right on arrangements were ripe for reinvention then you have to look to El Michels Affair. The sneaky side project for members of The Dap-Kings and the Menehan Street Band first emerged in 2009 with Enter The 37th Chamber, putting the razor-rough soul-streaked hip hop the Wu-Tang Clan perfected into brassier vintage funk territory. A fitting tribute to the bones of the Wu-Tang sound without any hint of pastiche, El Michels Affair have returned eight years down the line with Return To The 37th Chamber, and round two is just as good. Smoky, slinky and super-cool, El Michels Affair is masterminded by Leon Michel, a man who's been a hired gun for Dr John, Aloe Blacc and Chicano Batman, and his pedigree shines through with class and fun.
Sydney may be somewhat down and out on the live venue front but the pub rock dream is alive and well for many – anyone bearing witness to men and women decades apart in age climbing the fence to catch the secret warm-up show for Midnight Oil in Marrickville a fortnight back will testify to this. The straight-up, no frills, meaty rock riffin' and direct, confrontational, sly and sarcastic lyricism of yesteryear is back with the likes of The Peep Tempel and The Pretty Littles of late, but Adelaide's Bad/Dreems really have their own corner of sticky beer-soaked carpet with their newie, Gutful. These fellas aren't mucking about, going back to the source in once again enlisting rock pig producer veteran Mark Opitz to produce hardly veering from the template he forged with The Angels, Midnight Oil and Cold Chisel in the 70s and 80s. I suspect the band have dialed down on the irony by becoming more comfortable in the guise they inhabit on Gutful, and it makes for a more substantial album, wholly and solely built on good, honest songwriting. A lot of bloody cheek helps, too.
A little while back I mentioned my soft spot for onetime Stereolab singer Laetitia Sadier and her ever-inquisitive questing self on both the musical and philosophical sides to her work. Argentina's Juana Molina is similarly aligned and so much joy has ensued with the release of her first album in four years, Halo. Her idiosyncratic electronic-pop is warm and bubbling but turns and twists on an underlying, slightly spooked atmosphere and ensures you are likely to listen below the sweet surface and pay closer attention. In thrall to rhythms she has discovered the world over, Halo is typically both charming and off-kilter from Molina – maybe her sense of questioning just couldn't be satisfied in her previous career as one of Argentina's most popular comedians, and we're all the better for that.
Los Angeles native Harriet Brown's debut album Contact is all about how we engage and exchange with the world and for Brown one does that with the power of funk. 80s style mechanized funk rules Brown's world, and in that world, Prince is king. The man's manic bass and guitar lines zip all over Contact and his tunes are full of clanging, banging rhythms that bounce around like a pinball. There's a lot of love vibes running through Brown's sound and it's one hell of a positive pursuit you can dance to.
Also, new tunes from Akufen, Witch Prophet, Wilco's Jeff Tweedy, one time Gomez frontfellow Ben Ottewell, a solo effort from The Only Ones' Peter Perrett, Alex G and locals Fountaineer and HEX.
Enjoy it all on 2SER,
Father John Misty – Pure Comedy
Future Islands – The Far Field
Here Lies Man – Here Lies Man
Hauschka – What If
Arca – Arca
Sneaks – It's A Myth
Arto Lindsay – Cuidado Madame
The New Pornographers – Whiteout Conditons
The Tall Grass – Down The Unmarked Road
Adam Gibson & The Ark-Ark Birds – Cities of Spinifex
Folk as social commentary is of course nothing new but while Bob Dylan these days is content to croon his way through the Great American Songbook and stay well away from the complexities of modern life, Father John Misty is diving right in with his new album, Pure Comedy. On Pure Comedy he is execrating in pointed and hilarious ways. He's on the same level as Kanye West when it comes to telling us about what's wrong with ourselves and our world – both our own little worlds and the world at large - and he's very good at it. The difference between Father John Misty and Kanye West though is that while Pure Comedy is populated with a host of characters gorging blithely on the more grotesque acts of consumption and unknowingly plunging into bland but existential crisis, the perpetrator in West's albums is himself. The niggling thing about Pure Comedy is the podium Father John Misty stands on throughout the duration, pointing our ills out to us from a safe distance. The joke, evidently, is on us. Still, the punchline is worth listening out for.
In my music nerd fantasies I have unashamedly dreamed of unlikely sonic pairings, thinking they could be either plain great or just plain funny. What would Morrissey sound like up front of Gang of Four, for example? I can't claim Can Halen – check Soundcloud for someone's brilliant imagining of David Lee Roth upfront of the legendary German rock experimentalists – but I'm not sure anyone's thought of Jazz Sabbath. Yes, I have devoted time to thinking what the result could be like if some of the 1970s fusion era's greatest minds came together to play Masters of Reality. Well, it turns out I'm not alone here and in fact somewhat vindicated thanks to Antibalas member Marcos Garcia and his new project, Here Lies Man. Of course Antibalas are one of the prime exponents of Afro-beat in the modern music landscape and Garcia has seemingly been wondering what it would be like if Black Sabbath got down the same way. Hence the self titled debut from Here Lies Man is heavy psych-rock in freaked out co-habitation with heavy percussive funk, dealt out with expert feels. If reality bites, then with Here Lies Man Marcos Garcia is the master of his own fantasy.
Arto Lindsay was in short-lived New York band DNA, feted by Brian Eno as one of the defining bands from that city's No Wave movement that also spawned Sonic Youth. Since that time, Lindsay has worked with David Byrne, Animal Collective and Tom Waits, three acts whose work that can map the strange but wonderful co-ordinates Lindsay has mapped out with his own. DNA embraced the notion of punk rock by simultaneously rejecting it, injecting the interplay of jazz, funk and avant-garde music into disjointed noise assaults spat out with scattershot but intoxicating rhythms. Unusual time signatures remains a focus well into Arto Lindsay's 60s, but in recent years has explored the sounds of his Brazilian heritage beautifully, if not purely, as shown on his latest album Cuidado Madame. The Brazilian pop fostered by the conic likes of Gilberto Gil and Caetano Veloso is the focus here, but recast and revised through Lindsay's restless ways with electronica and experimental playfulness. The result is never less than singular and charming,
Also, new tunes from Jess Locke, Broken Social Scene and Astral Skulls.
Enjoy it all on 2SER,
Feedtime – Gas
The Courtneys – The Courtneys II
Madlib – Bad Neighbour Instrumentals
Your Old Droog – Packs
The Cairo Gang – Untouchable
Nmandi Ogbonnaya – Drool
Laetitia Sadier Sound Source Ensemble – Find Me Finding You
Nattali Rize – Rebel Frequency
Kelly Lee Owens – Kelly Lee Owens
Various Artists – Hustle! Reggae Disco
There's surely many soft spots out there for one of the truly great bands of the 80s and 90s, Stereolab. While they're no longer, various new projects have cropped up from time to time, including Tim Gane's Cavern of Anti-Matter. Singer and Lyricist Laetitia Sadier has been the most visible with a string of solo projects and collaborations, the latest under the banner of Laetita Sadier Sound Source Ensemble. Find Me Finding You is their first release and while the sounds it contains will be warmly familiar to Stereolab fans, Sadier's creative well is still running deep. Like her old band, Sadier continues to milk nostalgic sounds to future ends – picking the most inventive stuff to do so like German cosmic electronic music, Brazilian pop, 70s funk and avant-jazz – for her singular, atmospheric pop. Sadier's global reach with her sound matches her global concerns for humanity in her philosophical and searching lyricism. How she does it with such charm and grace is testament to her enduring status as one of pop's great thinkers.
Have a look at the size of Chicago multi-instrumentalist Nnamdi Ogbonnaya's catalogue on bandcamp and you might think you're looking at the actual entirely of bandcamp itself. There is that much music emanating from this freakish talent, pus there's another six bands he's involved with as well. His latest missive Drool is being released by the Father/Daughter label, and works a similar kind of hyperactive elastic sound as Thundercat, but often comes off like TV on The Radio on an Afro-beat and hip hop bender, refracted through a decidedly oddball point of view. Drool is on the right side of manic, full of substance altogether infectious.
Kelly Lee Owens hails from Wales but now lives in London where club culture took hold on her own music, Owens shifting from her indie-rock roots to make her debut album. The fully immersive self-titled longplayer balances calm textural beauty and pulsating undercurrents, as if Beach House went techno, but Lee Owens has created her own space, channelling the open-ended, vulnerable lyricism aligned with more indie-pop sounds to make for electronic dream-pop that goes deeper than the dancefloor.
Also, new tunes from Oscar Dowling, Jason Isbell, Kirin J Callinan, Braille Face, Aeriae, Woods, Coldcut X On U Sound, Fazerdaze and Sydney artist Plantlife.
Enjoy it all on 2SER,
SERvin' Up! - w/c March 24, 2017
Jarvis Cocker & Chilly Gonzales – Room 29
Ronald J Bruner - Triumph
El Duende – Making Storms
Dayme Arocena – Cubafonia
Wire – Silver/Lead
Augustus Pablo – King David's Melody
Kelly Dance – Wild Grass
D Henry Fenton & The Elozabethans – Twice I Fell Down Once
The Jesus and Mary Chain – Damage and Joy
Ondatropica – Baile Baile Bucanero
John Belushi overdosed there. Led Zeppelin rode motorbikes through the lobby. Lindsay Lohan got banned after holing up there and cracking nearly 50K on her room service bill. And now the infamous Chateau Marmont in Los Angeles is the setting for the new album from Brit-pop's ever-reigning king of observational dry wit, Jarvis Cocker, in collaboration with Chilly Gonzales. If that second name means nothing to you, the Canadian artist was a cutting and often crazily hilarious rapper and electronic producer but traded up to play piano and work arrangements for the likes of Drake, Daft Punk and Feist. Their album Room 29 is a song cycle's surrounding the dank, grey side of Hollywood life when the bright lights have shut for good. Lifestyles of the rich and famous become ways of the aimless in the hands of Cocker's droll delivery of his hapless characters' exploits and musings, fatuously lavish and thus simultaneously empty. This is the stuff that crops up like a large ink splat on Cocker's radar, and his lounge lizard delivery alongside Gonzales' sparse piano makes this an unsparing set but not without some empathy in their caricature. Also, it has to be mentioned this is out on venerable classical music label Deutsche Grammphon, which makes Cocker now labelmates with Mozart.
Kelly Dance's second album Wild Grass sees her adopted home of China as the core of its lyrical concerns, circling both in its current state and future. But Dance doesn't deal in a dry, academic treatise, taking flight from Chinese science fiction's fantastical treatments of the nation's whirring transformations. Dance's songs don't come easy but take time with them and they'll absorb you, curling around like smoke with the same mysterious air as PJ Harvey's dark rock thrust but also the airy and light way of folk that carries its essential outlook of open-ended possibility.
You might say The Jesus and Mary Chain were the surprise hit of the 2016 Spectrum Now Festival, but to be a surprise hit you really need a critical mass of people to be surprised. Not many people were there to witness a more-than-solid set that featured new songs that have found their way onto their first set of new material in 19 years, Damage and Joy. The formula hasn't changed much but it case you need a refresher, the band led by the ever-bedraggled and detached brothers Jim and William Reid soup up blues riffs with fuzz to a psychedelic tip of art-damage rock. I always liked their slow, hazy, narcotic rollers rooted in a 50s ballad style and there are plenty of those on Damage and Joy - some featuring Isobel Campbell - to keep me happy. Nineteen years is a long time to sit on the raw, electric thrill they mastered, and there's polish here than rightfully should be, but this chain isn't quite all broken yet.
Also, new tunes from Melburnians The Meltdown and Poppongene, Sydney's Belles Will Ring and the onetime Sydneysider we will still claim as ours, Tim Rogers.
Enjoy it all on 2SER,
Laura Marling – Semper Femina
Hurray For The Riff – The Navigator
Spoon – Hot Thoughts
Real Estate – In Mind
Angie – Shyness
Chicano Batman – Freedom Is Free
Jay Som – Everybody Works
The Shins – Heartworms
Various Artists – Desert Divas Volume 2
Various Artists – Synthesize the Soul: Astro-Atlantic Hypnotica From The Cape Verde Islands 1973 – 1988
Having run away still in her teens from her broken family home in New York, Alynda Segarra hopped trains al over America. She made New Orleans her home after befriending that city's street musicians who encouraged her to start playing guitar and since then the band she formed, Hurray For The Riff Raff, have been a loose collective of that city's varied players led by the strength of her songwriting vision. Committed fans of the band – a growing number with each album – know that you can pick a Segarra song but not so much her style, having worked in the cracks of Americana with a rough n' tumble approach that bucks and kicks against staid roots music norms. On the latest album, The Navigator, you'll find Segarra somewhat a little more refined but also turning over yet again towards the tough but literate rock style fostered in her original New York home by the likes of Patti Smith, fused with the warm, communal sounds heard in Puerto Rican community she grew up in in the Bronx. Joy and openness define Segarra's songs as much as their lack of frippery – life in America is one big glorious mess and she intends to swim right through it all, having a damn good time being as serious as she wants to be.
If you've missed the edge in the breezy, crafty indie-pop fostered by The Shins in their early years, you've been missing it a long time, with their hallowed debut Oh, Inverted World going all the way back to 2001. Where James Mercer's songs were nimble and full of intimate insights dropped without a hint of cloying, later efforts tended towards the slick and cutesy. Now, having taken the reins of The Shins solely and wholly back to himself and self-recording and producing the new album Heartworms, it feels like the real James Mercer has stood up and reclaimed his idiosyncrasies. Heartworms proves the difference is often in the detail.
The new album from Chicano Batman, Freedom Is Free, is flower-power positive and unrelentingly funky – if that sounds like an old bongo-addled flatmate then fear not because the LA band show a deft hand with the message in their music, not to mention humility and humour. Snatches of soul, r ' n b, the tropical, psychedelic side of Brazilian pop and Spanish caballero music are sublimely filtered through their tight rock package, so infectious that it's hard to resist.
The second volume of Desert Divas comes from NT Music's initiative to mentor and record emerging indigenous female artists from the Northern Territory, and on display is a wonderfully diverse array of artists who move from country to soul to atmospheric electronica, often concocting a captivating sound from all three and then some. With mentors like Hiatus Kaiyote's Nai Palm and Leah Flanagan on board, it's a great reminder of the creativity that comes from some of the more far-flung reaches of Australia, well away from the hustle n' brand type sounds devised by our major cities' industry players.
Also, new tunes from Sydneysiders Flowertruck, Melbourne duo Heat Wave, a new Sydney do featuring Infinity Broke mainman Jamie Hutchings and Crow's Peter Fenton called The Tall Grass, Adam Gibson & The Ark-Ark Birds and Clark.
Enjoy it all on 2SER,
The New Music Review is taking a break this week, but here's what's on our airwaves this week!
SERvin' Up! - w/c March 13, 2017
Gabriella Cohen - Full Closure and No Detail
Omar Rodriguez-Lopez - Azul, Mis Dientes
Anna Calvi - Live for Burberry EP
Lowland Hum - Thin
Daedelus - Baker's Dozen
Temples - Volcano
Broads - Vacancy
Sleaford Mods - English Tapas
Methyl Ethel - Everything is Forgotten
The New Music Review is taking a break this week, but here's what's on our airwaves this week!
SERvin' Up! - w/c March 6, 2017
Nadia Reid - Preservation
The Blackeyed Susans - Close Your Eyes And See
Francois & The Atlas Mountains - Solide Mirage
Ibibio Sound Machine - Uyai
Sarah Bethe Nelson - Oh, Evolution
Thievery Corporation - Temple of I & I
Clap! Clap! - A Thousand Skies
Various Artists - That's Not An Edit Volume 5
Karriem Riggins - Headnod Suite
Oddisee - The Iceberg
Plus new singles from Saskwatch, Kelly Dance, Allah-Las, Kit Warhurst, Luke Yeoward and The Mountain Goats!
PVT – New Spirit
Thundercat – Drunk
Dirty Projectors – Dirty Projectors
King Gizzard and The Lizard Wizard – Flying Microtonal Banana
Sun Kil Moon – Common As Love & Light Are Red Valleys Of Blood
Bing & Ruth – No Home Of The Mind
Dag – Benefits of Solitude
Sallie Ford – Soul Sick
Molly Burch – Please be Mine
Various Artists – Studio One Rocksteady Volume 2
PVT have always been a band to create cohesion from the music's ever-blurring boundaries. Starting life at the intersection of jazz and post-rock, they then took the freedom and extended reach inherent in both further in deploying electronics for cavernous, otherworldly results. In more recent years, pop melody has come into their focus and vocals along with it. On their latest album, New Spirit, the band have hit a sweet spot all their own between atmosphere and song. With a sense of the epic that Radiohead might be jealous of, New Spirit puts a digital kind of precision on Eastern and Western influences – mechanised, percussion-heavy Japanese pop from the 80s and its global outlook seems to be an inspiration – as the soundtrack for a vision of Australia and its own fizzing culture.
Sallie Ford is a new name to me, but she used to front a band from Portland, Oregon called The Sound Outside. On evidence of her new solo album, Soul Sick, I'm keen to check them out retrospectively. It's an absolutely buzzing and jumped-up set of songs, with cracking rockabilly-style stompers full of gritty guitars aplenty. Upfront of it all, Ford is happy to come off a little off the hook to give the raw feeling of her tunes an extra kick. Ironically, it's all quite self-deprecating, like each tune is an instalment in her going all the way down, but doing it with a real kick at each point.
The uber-bassist of choice for Kendrick Lamar and Flying Lotus – not to mention thrash-and-burn heavyweights Suicidal Tendencies – Thundercat has slowly drip-fed singles since mid last year from his new album Drunk, but he's got 23 tracks all up on the final product so there's plenty of gems fresh for the picking. You can feel the joy Thundercat (real name: Stephen Bruner) has with his music as well as the humour, but there's no mickey being taken out of the 80s style soft-rock cushioned well throughout Drunk. Soft-rock has been one of the mainlines of modern pop's retro obsessions, not to reinvent upon old sounds, but simply painting them with irony. Thundercat however wrings it to emotional ends in the way he has used heart to connect his fondness for hip hop, 70s funk, jazz and soul. It helps having Kenny 'Footloose' Loggins and The Doobie Brothers' Michael McDonald on board, too.
Also this week, new tunes from Sydneysiders Alba, Dappled Cities, All Our Exes Live In Texas and Angie, global fusions from Mista Savona, soul newcomers The Jay Vons and Como Mamas, Spoon and the return after 20 years of 90s UK pop darlings, Ride.
Enjoy it all on 2SER,
Toby Martin – Songs From Northam Avenue
Life Will See You Now – Jens Lekman
Horrorshow – Bardo State
Ryan Adams – Prisoner
Tim Darcy – Saturday Night
Strand of Oaks – Hard Love
Sloppy Heads – Useless Smile
Sinkane – Life & Livin' It
Jesca Hoop – Memories Are Now
Foam – Coping Mechanisms
Youth Group singer Toby Martin's second solo album was borne from a special project in collaboration with Sydney's Urban Theatre Projects, that saw Toby camp out across various front gardens and backyards in Blacktown to write in poetic observation about life in the western suburbs. The resulting Songs From Northam Avenue was recorded with diverse musicians from Vietnamese and Middle Eastern backgrounds and produced by drummer and percussionist extraordinaire Bree Van Reyk (Holly Throsby, Seeker Lover Keeper, Ensemble Offspring, Synergy) It's focus – the stories of Western Sydney in all its multicultural glory – is rarely seen in song these days and Martin finds a sweet balance between earthy and exotic, gently working a seamlessly beautiful and poignant line throughout.
Thankfully for Californian-born, Manchester-based Jesca Hoop, being a nanny to Tom Waits' children isn't the most interesting part of her CV. It was Waits and his wife and songwriting partner Kathleen Brennan that helped Hoop kickstart her own career in song and it was no mere favour for all those bedtime stories. Those two can pick an idiosyncratic talent when they see one and now four albums in with Memories Are Now just out she is breaking through on her own, especially after the gentle set of duets she did last year with Iron & Wine mainman man Sam Beam. Hoop's own work has a smoky and mysterious air about them that give them a compelling nature – think of a folkier Joan As Police Woman – but also have a singalong style to them that most couldn't pull off the way she does.
We're up to album number six for Sinkane, the project for London-based Sundanese multi-instrumentalist and producer Ahmed Gallab. You might however know Gallab better from his work in tribute to the recently-passed Nigerian artist William Onyeabor and his unique synth-powered Afro-funk music, clearly a great inspiration for Sinkane. Life and Livin' It has the kind of joyous outlook in pursuit of higher thinking and liberation where positivity and politics aren't mutually exclusive. Sound and vision match – a dreamy pop spin on the freewheeling African and funk sounds Gallab is in clear thrall to as well as the future-reaching Kraftwerk and their epic, spacey sense of rhythm and space. This is a melting-pot of serious vibes designed to have you set on a constant upswing of thought and feeling.
Any 90s post-rock fans out there? Math rock perhaps? There must be – Steve Albini's Shellac toured him to great crowds last year still hungry for that dynamic, exacting, angular rock sound they own and of course Mr Albini still makes a living recording bands looking to reproduce that particular precision-oriented thwack n' thump that HURTS SO GOOD. Well, look no further than Perth's Foam for your latest hit straight out of the playbook passed on by the likes of both Jesus Lizard and June of '44, hoisting up a hard edge with melody, sly groove and wry observational humour. The album's called Coping Mechanisms, after all.
Tim Darcy fronts US outfit Ought, but he wrote so many goddamn songs for their second album that he used the overflow to work towards his solo debut, now out and called Saturday Night. I'm not sure what Tim Darcy's Saturday nights are like but he must be interesting company when you consider he sounds like Roy Orbison grown up with the yearning kind of disaffection reserved for today's alienated lovelorn – or lovestruck. Then he's backed by a slightly more dapper version of The Velvet Undeground for his gritty pop stompers that allow him to come on all swish and gnarly at the same time. Yes, he's a modern crooner.
Also this week, new tunes from Paul White with Danny Brown, the return of beat guru Edan with hip hoppers Packs, KNX, Dirty Projectors, Animal Collective, new punk prodigies Plaster of Paris, Aldous Harding and The Cactus Channel & Sam Cromack.
Enjoy it all on 2SER,