A big thankyou to Brett for these 2 tape rips. Seemingly impossible to come by, he has ripped a couple of recordings from his collection.
A brief rundown of their inner workings, again from Brett and a comment he left on my Plutonic Girl upload.
”Apartment 99 was Simone, Lily, and Todd.
Todd left and joined Turnstyle, leaving them with Apartment 25.
Carla joined and became Plutonic Girl.
Paul from Red Jezebel joined then left to go on tour with Jebediah instead.”
So here we have 2 tape rips in one zip file. The first is a single track promo of sorts called ‘The Art Of Conversation’, the second is their ‘This Is A Home Recording’ album.
Sadly the first few tracks from this are a little muffled due to coming off tape, but they get better as the album progresses. Side B is perfect.
This great compilation is from about 2001 and features Boredumb / Billings Method / Caddis / Downsyde / Jed Whitey / Negative Reply / CPS / Dropsick Injektors / The Dirty Whittler / Ballpoint / No Wonder / Matty B / PC Thug and Fourstroke.
This is a great 2003 compilation by PCW Records featuring some of the best hardcore/punk/pop punk bands the city had to offer at that time.
The label was also responsible for another compilation ‘Perthquake‘.
This one has tracks from : 3 Days Later / AIDS / Alleged / Capital City / Change of Face / Eleventh He Reaches London / Fool The World / From The Ruins / Homicides / Jed Whitey / Kerb / Killed In Action / Last Years Hero / Local Pricks / Miles Away / Nailed Down / Negative Reply / PC Thug / The Coffins / The Critics / The Dead Ends / Times Up / Waste Of Space / Whitechapel ..
I saw these guys once at Yac It Up in Melville, I think anyway. I was really into ska and had no idea they existed before that fateful day around 1999. I was kinda bummed too, like I’d missed out on a local band with a horn section who could actually play. I never saw them again after that day either, go figure. They were a ‘wacky’ party band of sorts. That time I saw them was the first time I saw anyone ever use a real theremin on stage, it ruled.
Annyway it seems they toured outside of Australia quite alot, no mean feat for a pre-internet band from Perth. I’ll let their website do the rest of the horn blowing for them.
I hated this band. HATED. I hated people who liked them. Especially those two rather large girls who did the side to side swivel dance to them and Team Jedi.
Now I’m 35 and wear the occasional cardigan on a chilly night I quite enjoy them. The fact it took me 15 years longer to enjoy argyle knitwear than these guys may mean I’ve aged well…..more appropriately perhaps. Whatever. They have a nice amount of videos on their youtube. And a helpful wiki entry. And a myspace and a facebook and a website than links them all together.
Here is the ‘Itcheekneesonchee’ EP from 1997. I need the other stuff too if anyone has it.
Sugarchild grew out of the grunge era, which inspired two fourteen year old girls with bad attitudes and even worse hair to start their own band. Those girls were Katie Attwell (vocals/piano) and Joanne Dolphin (bass). They roped in Ian, Jo’s brother, who was rather good at playing the guitar, and an early incarncation of Sugarchild was born.
Sugarchild commenced gigging 1995 and soon became noteworthy in the flourishing Perth original music scene. Reviewers likened them to the Sundays, Portishead, the Cranberries and U2. They praised the “haunting pop tunes”, “powerful melodies” and “rich intertwining guitars”.
Sugarchild’s early career featured a number of high profile gigs including the prestigious “Bang” Artrage Closing Party (1995) and the Kiss My Wami Awards (1996-2000). In 1996, the band was nominated in the categories of “most promising new band” and “most popular female vocalist”. Their song “The Problem” appeared on the 1998 Kiss My Wami CD. The track “Sad 80’s Pop” was included on RTR FM’s Live at the Cornflakes (1997).
The band were state finalists in the 1996 NAD Campus Bands competition, where reviewers praised their “glorious muse…simple, thoughtful delivery” and “excellent form of indie pop”, “a set filled with catchy rhythms and angelic melodies…the most impressive set of the night”. They also appeared at the “Totally Frocked” Women in Music gig and RTR’s “In the Pines” (1997) to similar critical acclaim.
Sugarchild released their self-titled debut EP on the 19th September 1998 at the Grosvenor Frontroom (Perth) to an appreciative crowd and rave reviews. The CD was recorded in July 1997 at Revolver Sound Studios, Perth, with Ben Glatzer, and mastered by Don Bartley at Studio 301, NSW. The recording received high rotation airplay on RTR FM, Perth’s top independent radio station, and was also played several times on Triple J’s Oz Music Show.
I liked this band. Initially. They mellowed at an alarming rate though and ended up a very chilled out, almost entirely acoustic or ‘alt country’ as their myspace claims.
This is their release ‘Watch The Walls’ from 2000, a single called ‘Coconut and Lime’ from 2002 as well as their 2002 6 tracker ‘Make It Happen’. Sadly I don’t have any of the earlier stuff. They had a nice track called ‘Problem’ on the 1998 Wami CD which I’ll upload at some point.
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.