I’m not too keen on live recordings unless they’re amazingly electric, conveying a dynamic unavailable in a studio. As far as this one goes, it’s okay, giving you a good idea of the RIFLES’ hard-driving Australian rock meets early punk. But special? No.
I’m a moron. The RIFLES come clear across the world to play in America, and I’m too busy to see them. Fortunately, I’ve got this live show recorded on that tour at their CBGB’s performance. Must have been an incredible show, because these tracks just blaze full of a hard-edged guitar sound.
This is the second LP by this Australian band and it contains some remixes on certain songs. Very different from the LP (their third) reviewed last issue. Anyway, this band follows all the great traditions set down by bands like the MC5, STOOGES, RADIO BIRDMAN, and the SAINTS. Some outstanding, hard-hitting rock with even some soft ballads thrown in.
It’s taken me a long time to like these Aussies, but this one has finally sunk in. This band has the traditional rock’n’roll à la BIRDMAN/SAINTS sound but with their own poetic style in both rockers and ballads. Great production, inventive arrangements, and topics ranging from world view to personal view. A fine release.
We missed this one the first time around, and it’s another first-rate single by one of Australia’s leading rock outfits. The JOHNNY CASH title tune is catchy and fun, and despite a fair flip, this one recalls the better rockin’ material from this country.
The first US release of Australia’s CELIBATE RIFLES contains eight tracks from their first Aussie 7” and LP. Half super rocking punk à la early SAINTS or RADIO BIRDMAN, and half hard-edged ballads.
The second album from this politically aware/personally oriented Australian band, which I’m not as fond of as other people I know. Their music tends toward a ’70s rock style, with some songs on the soft side and others on the tougher, guitar-heavy side, not unlike some “Detroit rock” bands of past days. Off and on.
The CELIBATE RIFLES present plenty of innovative garage rock on their debut album. Like many other Australian bands, they’ve been heavily influenced by the likes of RADIO BIRDMAN and, to a lesser extent, the SAINTS. Most of these songs fall into that raunchy guitar-oriented pattern and feature snotty ’60s vocals. But there are also a couple of lame oddball tracks like the semi-jazzy “Where Do I Go” and the rockish “Back on the Corner.” One other positive aspect of Sideroxylon is the politically aware lyrics; one negative aspect is the under-produced guitars.
Catchy power-chord progressions, tasteful lead breaks, and extremely clever lyrics set this debut four-track apart from most current British hardcore. “Kent’s Theme” integrates snippets of cigarette jingles with a sharp anti-smoking attack, while “Let’s Get Married” adopts a loose, good-humored quality. An exceedingly winning release from a relatively unknown band. Bravo!