During the 1980s the Australian underground produced a number of bands that were influenced by American garage music but added their own local twist to the sound. The Triffids, Died Pretty, Beasts of Bourbon and the Scientists to name just a few. Los Palms fit well into this tradition. Their self-described psych desert jangle harks back to this 1960s garage music, but it feels like an Australian Gothic version. This is music for sun bleached landscapes and wide-open spaces.
Woozy, droning organ phases in and out of tune. Guitars alternate between adding melody, texture, and accentuating rhythm. These songs are stories, a cinematic journey to somewhere mysterious and foreboding, but also impossible to resist. The vocal melodies are strong and are treated like another instrument, another layer of atmosphere. It all comes together to produce a swirling and sometimes disorientating soundtrack to a trip into the darker recesses of the mind.
None of this amounts to much if the songs are no good. These are great. Los Palms have written nine songs that have their own character within the psych rock boundaries. The album opens with the punchy ‘Scared of Saturday Night’ and ‘I Don’t Wanna Be Cool’ – the jangly garage sound is established right out of the gate, with the latter being not unlike one of the more upbeat songs from the first half of Angel Olsen’s ‘Burn Your Fire For No Witness’. ‘Cadillac’ is a bit more of a slow burn, the solid groove of the rhythm section driving a song that feels like an epic despite being just over four minutes long. ‘Just a Sin’ could be from a modern spaghetti western soundtrack with its reverb-soaked and wiry lead guitar. ‘Sorrows’ is what we might have ended up with if Nick Cave fronted the 13th Floor Elevators. The melodic seventies soul of ‘Sandy’ brings another change of pace while ‘Sunday Death Drive’ is a rollicking bass driven slice of surf rock.
Los Palms have concocted a retro record that manages to feel fresh and timeless. Strong songs, dynamic performances, great musicianship, and attention to detail have ensured that ‘Skeleton Ranch’ is one of the best albums of 2022.
No Peace are a relatively new band on the Adelaide hardcore scene. They’ve just released their debut album Something More, sixteen minutes of furious and dynamic hardcore that will get your blood pumping. Sonic Vandals talked with Jesse and Jeremy about making the album and the inspiration for some of the songs.
Sonic Vandals: With the new album, I’m interested in what your lyrical inspiration is.
I’ve heard five songs from the record, the three that were on the promo and the two that came out recently. Some of it is talking about straight edge, that sort of thing, and the song ‘No Peace seems to be about depression. ‘16 Years’ and ‘Taking It Back’ seat to be about straight edge and the hardcore scene is.
Jesse Conte: ‘16 Years’ lyrically is more about when my dad sold my childhood house that I grew up in.
SV: Well, I got that completely wrong then.
JC: No, no it’s not about that being wrong or anything, just interpretation. Someone could probably interpret that differently. Dad sold the house and leaving that place for the final time kind of thing. I actually wrote those lyrics that last time I was there. I just whipped out my phone, I was pretty, you know, emotional about it in a good and a bad way. That’s what that was about. And then “We’re Taking it Back’ is definitely about the hardcore punk scene and having newer generation people come around and contribute to it and build it. Essentially, we’re taking it back. It’s a bit cliche, but we’re taking it back from the people that maybe didn’t deserve to be there and mistreated it and abused their power and stuff within it.
SV: It’s changed. In the late 90s and early 2000s, I didn’t feel like I wanted to be part of it back then.
JC: It’s very different.
Photo: Steven Cook
SV: Yeah, and there are certain people in my age group who are still playing in punk and hardcore bands around here who I wouldn’t want to have anything to do with because of their attitudes. There are guys around my age who are decent people, there’s plenty of them as well, but there’s certainly a few that subscribe to old school views. Using racist and ableist slurs, and shit like that in their lyrics. A couple of guys I used to go to school with have got a band that’s still active now and they’re doing that sort of thing.
JC: Yeah wow, it’s always crazy that people have this ability to just completely ignore any kind of growth and societal change.
SV: Well, that’s the thing there, they’re exactly the same as they were when we were in high school in year eight when I first met them.
JC: That’s crazy. Imagine spending that much of your life, just not growing and changing in anyway.
SV: The other song was ‘No Peace’.
JC: Yeah ‘No Peace’ I think lyrically that song is very much a reflection on giving to something when you’ve got nothing else. Not to say that I don’t have anything else, I’ve got a lot of other things in my life that are great but giving everything to something and having to scratch and crawl to make a change or to make an impact on that thing. And in this case it’s about hardcore and I guess that lyrically some of the words are using that and the things I described were like going through, you know, dark times and going through horrible things, but then knowing that you have something like the hardcore community or something like punk music to help pull you through it and give you a bit like that light at the end of the tunnel. A lot of my lyrical content is written from a place of black despair, but then seeing like that hope at the end of the tunnel.
SV: Yeah, it’s a quality of hardcore, that’s what the scene’s about.
JC: Yeah, absolutely. I like to write from a place where it’s describing like what’s around me or what’s happening or how I feel. No matter how dark or negative or depressing that sounds, I always kind of flip it and have the positive take of it. I’ve never really assessed what type of lyrics I write. I write what I feel was real to me. I don’t think I could ever be too over critical or over analyze how I do it, I just do whatever comes to me, whatever feels natural, so I don’t want to be insincere in what I create or what I do.
SV: How about ‘Cut Ties’ and ‘Live With The Pain’?
JC: So ‘Cut Ties’. I rarely write lyrics that are a direct reaction to a specific thing, but I wrote that song based on Trump and the January 6th insurrection basically. And it was kind of describing his fall – I don’t want to say ‘from grace’ because he was never ‘in grace’, I think he’s always a twat. Yeah, it was almost a direct reaction – your friends will cut ties and seeing the people, just as soon as Trump started that whole insurrection, which he did, people (Trump supporters) have been like ‘oh shit, we had nothing to do with him’ cutting ties with him completely. And as soon as there was essentially, blood on his hands, he changed his opinion, and he was like ‘Oh no we shouldn’t have committed violence.’ It was a direct response to that. Whereas ‘Live with the Pain’ was more very simple lyrics, not too much going on. That was a reflection on how I’ve dislocated my shoulder like 10 times, so it’s a more literal thing. Everyone has those things that they carry around daily, they just have to live with it and find a way to either overcome or accept. It’s a direct response to that. I can show you the album listing if that helps.
SV: I’ve seen it on Bandcamp.
JC: Oh cool, yeah so.
Photo: Steven Cook
SV: That actually brings me to another question.
JC: This is amazing. Our drummer, hey bro.
(At this point No Peace drummer Jeremy Deboer walks in and Jesse introduces us)
Jeremy Deboer: What are you doing? A podcast?
JC: Yeah, that’s what the world needs another couple of white dudes making a podcast. We’re doing an audio interview, talking about the album, like the content, really.
JD: Are you recording right now?
JC: Everything you say right now is going to go straight to vinyl, we’re getting pressed.
JD: Yeah, cool evidence.
JC: You basically crashed our interview. So how did you go recording the album in the studio with me?
SV: It was basically the two of you, wasn’t it? It’s a live band but just your project.
JD: Yeah, it’s a collaboration of Jesse and Jeremy. Actually Jesse and Jesse and Jesse and Jesse and Jeremy. Yeah, it was cool. So I haven’t prepared any answers for this.
JC: How was the studio time?
JD: I was thinking about that today, about doing all that, mean it was it was good. Usually how we write is, you kind of would just put down the riff, and you’d be like I was thinking something like da dot dot dot dot dot dot or whatever for the drums, along like that.
JC: I’ll speak the drums
JD: You have a lot more hardcore influence than me, so I would just play that and then I’m gonna add something that I made up, like I think this works.
JC: You do it roughly, and then you put your own little spin on it from your influences.
SV: You’re drumming is quite different to most hardcore drummers; you’ve got a bit more of a swing to it.
JD: Yeah, so, everyone who taught me to play drums has been a jazz drummer, so I’ve been playing drums technically for 21 years. I mean I should be way better. How long that is?
JC: So I say the same about me. The studio time was a lot of fun, but because you’ve got a set amount of time, there’s always that bit of stress, so we get two or three takes into a song and be like ‘this tempo is just not working’ or we haven’t settled with it yet, so we have to do another 15 takes and by the end of getting that song you’re thinking, ‘oh cool, I’ve only got another 10 left, awesome’
JD: But I think the hardest part for me was simplifying everything. Listening to some of the tracks, like the one that Life Lair Regret (No Peace’s label) posted today, I was thinking back to when we were recording that and I remember we had to do a few takes on a couple of the parts ’cause Jack was like ‘you’re adding too much’
JC: You’re doing a lot with it.
JD: Yeah, so its heaps stripped back from what I would normally instinctively want to put in a part. But that was kind of cool too, but I’ve liked doing that more with hardcore.
JC: Cause yeah, you don’t need to do. Even the most simple beats in hardcore get big reactions.
JD: Or it pushes or accents a riff if the backing is a little bit like less wanky and less intense.
JC: Your other bands, like playing in Xile, what would you say your drumming style for Xile is like?
JD: Or Vile, I think Xile is a much more successful band. Yeah, definitely different. That’s hardcore influenced but there was much more blast beating, blasting as well.
JC: Way more technical than No Peace. I can’t comprehend that kind of stuff, so I can’t write that.
SV: Yeah, stuff like that, I can’t get my head around it, though it’s great to listen to.
JC: It’s fucking sick to watch, and you’re like ‘Oh man, that’s fucking wild’ but then I try to write it. My brain just doesn’t work like that.
JD: Well, yeah, you don’t even know how they go about approaching starting to write a song like that.
SV: So you guys wrote everything before you went into the studio and then it changed a bit while you were in there?
JD: Yeah, me and him get into a practice room and go through it and then we kind of add and subtract bits so we might make things go longer or shorter. Or like the end of the song ‘You’re Nothing’ where it’s got that beat downy…
JC: Like jungle beat Yeah, it sounds like – that part he’s (JD) taking about is almost like Rival Mob. It’s very like jungly. In the studio we lengthened it heaps, didn’t we.
JD: Yeah, yeah, and there’s even stuff that we play live, but we’re like, oh, that should probably just go for a bit longer.
JC: Like the end of ‘Live with the Pain’
JD: And because it’s like it’s so heavy and cool you want it to kind of last longer live ’cause they’re (audience members) like, yeah, I that. He’s very proud of that riff.
JC: Yeah, it’s probably my favourite riff, and it’s so simple. It’s funny, having shown a bunch of people the record now the things that I’ve put more creative effort into, like more like more effort into the riffs, more effort into the lyrics, and like what’s happening in the song are the songs that people don’t like as much and it’s these simple songs like ‘Cut Ties’ and ‘Live with the Pain’ people like.
JD: Yeah we did that with that other band Vile, we wrote, like basically a filler track. It was something that we’re just like, well, this is shit, but we need another song and then it’s everybody’s favorite song was but it’s just so caveman but heavy as.
SV: People just want to go crazy in the pit. They don’t care if you’re playing 48 notes a second, they just want something that’s going to make them move.
JC: Exactly if there’s like a vibe to it, a good riff, then people will generally enjoy it.
Jesse Conte on stage with Fever Shack
SV: You got quite a few guests this time.
JC: Yeah there’s quite a few guest spots.
SV: What does Kynan do?
JC: He just does a cheeky little yell in one part, but I almost didn’t say he was a guest spot ’cause it’s not really, it’s one little part sentence, but I didn’t want to –
JD: Go and do that again, forget to include someone.
JC: I didn’t want to yeah
SV: Have you forgotten someone before?
JC: Greg Bennett from Trial.
SV: On the EP.
JC: Yeah, he’s my favorite vocalist.
JD: But it was just an oversight, they forgot to write it on there.
JC: I called him and apologised and he was like ‘No, it’s fine man, shit happens, all good’ He was so nice about it, but I felt so fuckin dirty on myself. In terms of 2000s hardcore he’s all up in it like Trial, Huge and his other bands work is great as well, and I’ve gotten him sing on my nobody band from Adelaide’s record and then I forget to credit him.
SV: But you did fix it later.
JC: Yeah, I did do a little print out to put it in our 7 inches. We did credit him on Spotify and Bandcamp but there was no physical thing in the record which he found out because I sent him the record he’s like ‘Where’s my name?’
JD: Just insult to injury. Here you go buddy. Maybe when you get in a in a bigger band, I’ll write your name. Not even worth mentioning.
SV: I don’t think I really had all that many other questions, I was just interested in your creative processes behind the lyrics and then coming up with the arrangements.
JC: It’s really just Jeremy and I – I’ll write a song at home to what I think is finished and then we’ll hang out and just jam it a bunch of times.
SV: And how do you go teaching the parts to the other guys in the band for playing live.
JC: That’s really slow.
JD: It isn’t too bad these guys pick it up a lot quicker ’cause this is second lot of people that we’ve had through.
SV: So it’s not the same guys who were playing last year.
JD: No, different crew.
JC: We had some dudes drop out and some guys tag in.
JD: Basically all the members of Brainfreeze now.
JC: Pretty much, yes, Billy, Josh and Jake are all in Brainfreeze.
JD: And I’m playing in Tunnel Vision as well
JC: I thought you played in Xile
JD: We can perpetuate that rumor.
No Peace launch Something More on December 10 at Hurricane Fest. See @nopeacehc on Instagram for details.
A Wednesday night gig at a packed Cranker is good for the soul. Hey Harriett’s shows are always a rush, an exchange of positive energy and a reminder that music is healing. Stephi and Storm-Lou opened the show with inspired sets of indie goodness. Though their sounds are different, both bands have great tunes with passionate delivery, and I look forward to catching them again sometime soon.
Hey Harriett opened with a spirited version of ‘Hearts in the Ocean’ that had everyone dancing from the outset, and the wild breakdown succeeded in loosening everyone up. High energy versions of ‘Over You’ and ‘Too Fast, Too Soon’ followed. ‘More’ is a slice of danceable indie rock with a heavy chorus that inspires some jumping around. It’s also the ideal song for a spot of crowd surfing. George Rochow took the opportunity of a packed and engaged Cranker crowd to tick one off her bucket list – the sea of humans carried George out into the room and back to the stage. It’s a rarity these days and the highlight of a night that was all about connection, great tunes, and rocking out.
Two new songs followed – ‘I Wanna Die (agnosis)’ and ‘Your M8’. The former is a barnstorming, punky rocker that touches on the anxiety and stress induced while awaiting a mental health diagnosis. ‘Your M8’ is in swinging 6/8 time and is about being friend zoned. Both new songs sound great, with catchy melodies and driving riffs.
The set was supposed to finish with the upbeat ‘Let’s Dance’ but there was no way the band were going to get away with just seven songs, so after some enthusiastic encouragement from the crowd we were treated to a couple of bonus songs – ‘Ventolin’ and ‘Not Allowed’. In some ways it was a typical Hey Harriett show – we got positive vibes, catharsis, and some joyful chaos. But that’s only part of what makes them great. Their enthusiasm is contagious, their songs are well crafted, arrangements creative and musicianship top notch. The connection they create at every show is something that you can’t fake.
See them August 27 at the UniBar with Rose Clouseau, Hubris and Peanut Butter Crack Babies.
Last Saturday night the Adelaide hardcore scene converged on Jack & Jill’s Basement Bar for a benefit show to raise medical funds for Banjo Cox. In a typical show of support many turned out in the horrendous weather for an incredible night of top shelf music.
Jesse Conte, HumanXError
The Uglies opened proceedings with a sharp set of punk/hardcore originals. Lead singer Moose has a great sense of humour and put in an intense performance. The band was ferocious, their razor riffs propelling the songs and getting the crowd moving from the start. Their drummer also somehow managed to play fast and sing at the same time on some songs without collapsing – very impressive. They were a fun way to start the night and I’m super keen to catch them again.
Steve Cox, HumanXError
HumanXError were up next and played their final show. The band was only around for a short time but they achieved plenty. Their 7” ‘Your Faith in Ashes’ was a highlight of 2021 and their final act was to donate the proceeds of their entire time as a band to the Zahra Foundation. We were treated to a run through of the songs from their 7”. Singer Steve Cox’s important political messages came through loud and clear – especially with regards to dismantling rape culture. Musically the band were tight, with guitarist Jesse Conte’s versatile riffs ably supported by Billy Harness and Joshua Law’s brutal and groove-based rhythm section. It was a privilege to see this band perform one last time.
The Uglies
I somehow missed all but the last song or two of Culture Shock – they sounded sharp and fired up though.
The Weight
The Weight finished things off with one of the most ferocious sets I have seen in my life. They were tight, the riffs razor sharp and vocalist Ben had intensity to burn. They played a number of songs from their demo CD and album ‘Prisoners of the Flock’ (including my favourite ‘Speaking in Absolutes’) and whipped the crowd up into a frenzy. They’re justifiably considered legends – even though this was a once off show, they still gave it everything. The positivity and good will in the place were amazing. It was a killer night and one I won’t forget in a hurry.
The Sundials are band that want you to dance. And they have the songs, the musical chops and the swagger to make that happen. Their sound and appearance is undeniably retro, but their performance is fresh and alive. It sure as hell isn’t just window dressing.
Last night at the Lowlife Bar they played a short but very sharp set of Stonesy rockers with a few funkier numbers thrown in for variety. Their originals are well written, catchy and danceable. It’s easy to get caught up in their impeccable vibes and forget that you just had terrible day at the office. The rhythm section captures the groove of the Stones at their loosest but tighten it up a bit. The guitarists lay down a combination of razor-sharp riffs and bluesy and at times melodic solos. Singer Dieter Horvat has a keen ear for melody and a powerful and blues tinged vocal delivery that suits the band’s sound and swagger to a tee. He rarely stands still, often running out off the stage and singing and dancing with the audience – it’s a good way to get some crowd participation happening. He also threw in the odd harmonica solo to mix things up a bit.
The Sundials are a fun band to watch. The 12 string Rickenbacker guitar adds to the late 60s/early 70s vibe, as do the band’s clothing. Their searing cover of the Stones “Bitch” slotted seamlessly into the set. The Sundials musicianship is top notch and they have the songs and intensity to match – and probably have about an albums worth of originals already – I’m very keen to see where they go next. Check them out live if you can, I don’t think you’ll be disappointed.
Sonic Vandals 