Ultra-cult Venom-style thrash metal features on both this man’s albums. The music is bad and the lyrics are cheesy beyond belief, but whether this is intentional or an accident is uncertain, either way its AWESOME.
Hailing from Geraldton, Western Australia, up and coming hard rockers El Horizonte have fused together a very angsty and energetic debut album. As winners of their state final of the 2002 National Campus Band Competition, it is clear that the energy from the album must translate to a powerful live show for an audience.
‘Signatures At The Crossroads’ is a very dark album, anger being the main emotive fuel. The production is very bass heavy – fitting with the style, of course – and as of such the lyrics are often hard to pick. The desired gloom is easily communicated however, through the varied styles of murmurs, screams and chanted choruses. Actually, despite not being my style of music at all, I have to admire the complex sound El Horizonte have created by the diversity of their songs in regards to tempo, volume and mix of instruments. “Signatures…” is simply a good taste of the potential El Horizonte have in writing creative, intelligent hard rock.
The album is consistent in its melancholic and haunting mood, which comes with both merits and shortcomings. For one thing, this is not a “user friendly” album and is difficult to appreciate on the first listen. Brash and hard hitting, it triggers a certain amount of apprehensiveness, so one really needs to be patient before realising the depth of sound and harmony that underlies. The low-budget production doesn’t help either – at high volume, the bass really is overpowering. Nevertheless, ‘Signatures…’ is a worthy debut and should El Horizonte keep exploring their talent, they should have a bright future ahead.
Their website is gone, but their myspace is still here. I’ve no idea what happened to them. Click the cover to download this album.
Unfortunately the Rosemary Beads (specifically Gretta Little) do not want their music archived here.
It’s taken 10 years of running this site for anyone to take such offence at their art being remembered on this little pocket of the internet. Even though I had removed their music many months ago and replaced it with links to Citadel Records online shop where you could purchase 2 of their EP’s, this was not enough. I received this today from Gretta and have now taken down the flyers, pictures and bio that was on this post originally. The threats at the end really hit a nerve.
At the end of the day however, it is their art and how they choose for it to be consumed is up to them … to a point. If you want music to be ‘yours’ and nobody else’s – don’t release it. And don’t be a dick.
Charlotte’s Web were an Australian Indie pop band, formed in Perth, Western Australia, briefly as Catherine Wheels, in 1986 with mainstay Jeffery Lowe on vocals and guitar.The band released Flies in the Face of… on cassette in January 1988 and Short Time Strait as an EP in February 1991 before disbanding later that year.
Atomsfear were quite competent musicans and obviously played live quite a lot. I seem to recall the singer being responsible for the SLAM gigs often held at the Newport and other venues and those gigs did a lot of good for up and coming bands so hats off to him.
What a fucking band. Serious. Amazing. And I’ll come right out and get the obvious out of the way; they played slow. Real slow. And I honestly think that if they were still around now and starting their careers as a new group in 2011 they’d be huge. Singer Daniel Erickson now plays for Mukaizake who you need to check out if you haven’t already. Drummer Alex Stevens is an architect in London. I don’t know about the others.
They released 2 things. An EP called Lowercase in 1995, and the 1998 LP ‘Half Cut’. You can get both on eBay usually.
Stolen from last.fm :
Formed in Perth, Western Australia in 1991, Bluetile Lounge underwent a lengthy incubation period in order to perfect their singular sound, waiting a full two years later to debut, and even then only in the most intimate, living-room settings. These shows slowly led to dodgy pub gigs, and culminated in the creation of their debut album, lowercase. Released in late 1995 on the Summershine label via the reccomendation of Low guitarist Alan Sparhawk, the album was distributed in the US by Sub Pop.
Stolen from cduniverse:
BLUETILE LOUNGE discography. Perth, Australia’s Bluetile Lounge create one of the most delicately held-together Walls of Sound possible, which means there is something both sad and captivating about the music, with its alternately quiet and loud dynamics always unfurled at the same painstaking pace, which surely takes a few hints from the music of the Velvet Underground, or more likely that band’s prettier descendent Galaxie 500. The hushed moments act as the spaces in the music, but they seem more like musical shrouds than clarifiers; it is when the guitars, bass, and drums come crashing down that the most introspection is inspired. The sound cacophonies conjured up by the band are like epiphanies, vast, sublime vistas full of brittle chordal architecture, cities in the mind that are wholly intoxicating because they make you wait for the payoff, the end of the dream. The band’s second album, Half-Cut, is full of moments in which tension is built up like a slow-forming tidal wave, almost as if the band stores the tension in some room with the door bowing and splintering under its weight and pressure before letting it out in a great gust of breath that contains everything: frustration, pain, euphoria, bliss, all passing by interminably as objects. There is not always sufficient enough difference between the melodies, especially since many of the songs last seven minutes or longer and the vocals are more like subliminal whispers beneath the music than anything else. Certain songs, however, do rise out of the sound: “Lapsis,” a gorgeous, drowsy ballad with a gossamer web of harmonies; the three-minute bit of metaphysical noodling, “Shifty,” a listless raga; the short cosmic stomp of “Whiner.” But even if Half-Cut consisted entirely of one long, shimmering, melodic drone like the ones on this album, it would be worth it to let the half-speed beauty sprinkle down over you, like a rain shower on a warm day. Howard Healy (vocals, guitar, bass); Gabriell Cotton (guitar, piano, background vocals); Alexander Stevens (drums, percussion). Personnel: Alexander Stevens (drums, percussion).
Click the album cover to download ‘Lowercase’ from 1995.
I almost didn’t rip this CD and post is simply because if you go into basically ANY Cash Converters in Perth you can buy a copy for a buck.
This is no mean feat seeing this record came out sometime around 1995.
The band flooded, and I mean FLOODED Cashies with their debut and perhaps only album with hundreds of copies over the years.
At one point there must have been 30 of them on the racks in the Osborne Park cashies and every other secondhand store within a 20km radius had a few as well. I went into the Mandurah store over xmas this year and they had 2 copies.
That aside this is a fairly decent 90s metal record, much in the vein of the first Allegiance album I guess. I never saw them play live that I recall but they shout the usual 90’s
metal bands from Perth in the liner notes such as SFD, Nebula, Downer, Grimoire, Choke etc.
Lead guitarist ‘Ershon’ was a year above me in high school and as far as I remember was about the most metal dude I’d ever seen by the time he was 15. Strangely this year at Churchlands High was also shared by Karl Smith from Thermos Cardy/Sodastream. You couldn’t get further apart musically if you tried.
Thanks to ‘d’ for the comment on this post. I’ve stolen it and now we have a write up about Glimmer.
Glimmer were quite important to the late 90′s scene in that the band had Kirsty and Rob who ran Halflight Records. The band always got a high number of other bands members rock up to watch them.
Halflight released Plutonic Girl’s ‘X ray Vision’, a couple of Red Jezebel EPs, Anodyne 500s ‘Treasureway’ and also the first record by Deloris (melbourne).
They also ran a recording studio that im sure many other bands rehearsed or recorded at. (i know Jebs rehearsed some of Someday Shambles there).
They got a bit of JJJ airplay with one song off this album and when JJJ decided to eventually do a live broadcast from WA i think it was all halflight bands that played live.
After changing drummers they changed there name to Braving the Seabed.
Light The Fuse is a great compilation from 2005 featuring 4 songs from Perth’s best Rock’n’Roll bands – The Volcanics, The M-16’s and Fourstroke. Also features 3 covers of The Bamboos, The Victims and The Bakery. It came out on ‘Out Of The Loop Records’ who have released some hot records in their time but may well be asleep now.
I stole the little write up above from Devils Rumble blog which has some great treats for your ears.