Trusty Chords

I don't think I'm talking out of school when I say that Tex Perkins is a man who wears many hats (and oh my, does he ever look stylish when he does). If you're a casual consumer of music, then band names like Beasts Of Bourbon or The Cruel Sea would come to mind upon mention of his name. If you're a bit more of a diehard, then I could start mentioning the likes of his solo work, the Dark Horses, the Fat Rubber Band, The Tennessee Four, The Band Of Gold, The Butcher Shop, The Ape, the Bush Oysters, the James Baker Experience, Minced Meat, Salamander Jim, The Dum Dums, Thug, and collaborations like T'N'T with Tim Rogers, and the wonderful Tex, Don & Charlie with Don Walker and Charlie Owen. Good gravy, I think I'm going cross-eyed just mentioning them all. And you know what? That's not even all of them. Tex has been in more bands than I've had hot dinners, and frankly it's a wonder he has time to do anything else in his life. In recent years, we've seen The Beasts wrap things up, and we've seen The Cruel Sea release their first album in 24 years. If you're listening to this thinking we're about to be chatting about those bands, well, here's a curveball for you – we're actually chatting about 'Before The Show', Tex's new album made in collaboration with Matt Walker. It's a stellar piece of work, and as the pair head out on tour, Tex was kind enough to donate his time to chat about his musical origins, and just what collaborating with an artist like Matt Walker is all about. Anyway, have a listen to Tex Perkins and Matt Walker's 'Before The Show', buy a ticket to their current tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

As far back as I remember, I've never been someone to really find myself attracted to bands that generate a lot of 'buzz'. I mean, I remember realising as a kid that I had to listen to a song numerous times before it really clicked with me. That's probably why I was pretty surprised I found myself really digging Getdown Services when they first came across my desk. Having only been around for the past five years, the duo – comprising Ben Sadler and Josh Law – have fast made a name for themselves. They released their debut album, 'Crisps', back in 2023, with a string of EPs following soon after. Along the way though, their live shows swiftly drew attention for their frankly wild nature. See, while Getdown Services are like musical chameleons with a noted sense of humour, they're not a 'joke' band or anything like that. They're simply a pair of lads who know how to make good music, know how to have a good time, and want you to do the same. They've managed to make a fan in Harry Styles, and earlier this year, they undertook their debut Australian tour, which swiftly sold out. Just last month, they released their latest album, 'Massive Champion', and it's a massive success for the pair. Frankly, it's easy to see why they're being called Britain's best band. That's why I was stoked to have a chat with them recently, where we talked about their musical journey, and why it is that people don't take music seriously if it has a sense of humour. Anyway, have a listen to Getdown Services' 'Massive Champion', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

It's always really fun watching artists catch on quickly and suddenly seeing their popularity skyrocketing as folks catch on and pay deep attention to them. That's pretty much what happened with Sydney outfit The Lazy Eyes when they first formed about seven years ago. Launched by a bunch of school mates, they swiftly found themselves performing at events like BIGSOUND before they released a single, and then as they did, a global pandemic happened and halted their momentum. Thankfully, they didn't stagnate, and while singles like 'Cheesy Love Song' were followed by a pair of EPs, their profile continued to rise. In 2022, they released their debut album, 'SongBook', and months later they were supporting names like The Strokes. Though impressive, it'd take a while before we heard new music from the band. In fact, it would take about four years, with their return occurring earlier this year as they got ready to unleash their second album, 'Cheesy Love Songs'. It's a gorgeous piece of work that showcases that indie rock mentality of The Lazy Eyes and blends it with their clear love of melody and pop sensibilities, wrapping it up and delivering it in a package which is as self aware as it is impactful. This week, I was lucky enough to have a chat with The Lazy Eyes members Harvey, Leon, and Itay. We didn't quite go deep on all the standard questions relating to their Trusty Chords (we had a good time regardless), but we certainly touched on their formation, their new record, and why their second record shares a name with their debut single. Anyway, have a listen to The Lazy Eyes' 'Cheesy Love Songs', buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

It's always fascinating to see how songs can catch on and – in some cases – become emblematic of an entire era. For many, the early '90s hip-hop scene is typified by songs like 'Jump Around', the debut single from Los Angeles trio House Of Pain. They charted around the world, and while that debut single hit No. 3 in the US and No. 15 in Australia, they never quite matched the same critical and commercial heights. By the time they'd hit the big time, one member of the group – Everlast – had already gone solo with a debut album in 1990, having previously emerged as a member of Ice-T's Rhyme Syndicate. But once House Of Pain called it quits in 1996, Everlast went solo once again, with albums like 1998's 'Whitey Ford Sings The Blue's going top ten in the US. He even took home a Grammy in 2000 thanks to 'Put Your Lights On', a collaboration with Santana which is still a track I go back to regularly. However, while albums would come relatively regularly, his most recent record – 2018's 'Whitey Ford's House Of Pain' – was his last for some time, with live shows being largely put by the wayside, and new music emerging only rarely. As he explains, there was a lot going on: COVID, a house fire, a divorce, and even a health event which left him unable to play guitar. This year, however, he returns with 'Embers To Ashes', an album which falls into vintage Everlast territory, pairing his vulnerability with acclaimed musicianship in a way that appeals to fans both longtime and nascent. This week, I was lucky enough to have a chat with Everlast (well, we had the chat back in May, if you want a peek behind the curtain), to chat about the new record and everything associated with it. If you're eager to hear war stories about his time in House Of Pain, I will admit you may be disappointed, but Everlast – or Whitey Ford, if you prefer – is someone who can still tell a good story, and share some real interesting tales about his experiences with music. Anyway, have a listen to Everlast's 'Embers To Ashes', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Cast your mind back to the early-to-mid-'00s, and it was pretty hard to escape Epicure. That is, if you were listening to triple j, the Ballarat outfit were a hot commodity. Having formed in the mid-'90s, a few formative releases gave way to a bit of a personnel shuffle and something of a musical refocusing. What came next was the sort of thing that most bands of the era could only dream of. Slick support slots, constant airplay, and even placings in the annual Hottest 100 countdown made Epicure's name one that a lot of fans were quite familiar with, while albums such as 'The Goodbye Girl' and 'Main Street' were mainstays of those same fans' CD players. By 2010, however, it was clear that things were reaching an end, and after the fittingly-titled Quietly Into The Night tour, the band found themselves no longer a going concern. Members still made music, of course, including Juan Alban, who released a string of solo records in the coming 15 years. However, many fans of the band – and I include myself in that list – were not expecting to receive word that 2026 was bringing with it a new record from the group. Dubbed 'Evenings In Honduras', it's a wonderful piece of work which feels like a perfect continuation of what the band had delivered all those years ago, and also serves as a perfect example of a 'reunion' done right. My excitement for this new record led to me giving Juan a call to chat about this new record, how it came together, and what fans can expect going forward. Anyway, have a listen to Epicure's 'Evenings In Honduras', buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

When I first started this podcast, I made a wishlist of people I wanted to chat to. I've still not achieved my most-wanted artist (but I came close earlier this year!), but one of those first names I put on that list was none other than Eric Michener, better known as Fishboy. If you're not across Fishboy, then you definitely need to go back and right that wrong immediately. I truly believe Eric is one of my favourite songwriters, with albums like 'Albatross', 'Classic Creeps', 'Waitsgiving', and 'Art Guards' providing a perfect example of his broad storytelling skills, and the way in which he is able to construct and craft dazzling character-driven narratives that connect like satisfying jigsaw puzzles. That is to say, if you want an album to sound good and feel good too, then darn it, you need to listen to his discography. To this day, I believe that 'Art Guards' may actually be my favourite album, solely due to the satisfaction obtained from this lyrical narrative. Of course, in recent years, 2021's 'Waitsgiving' may have overtaken things as his most popular record – especially if you're in Eric's home of Denton, Texas, where the annual Waitsgiving celebration takes place. However, it's been a few years since the last album was released, and last month, that all changed with the arrival of 'Bravest Neighbor'. Described as a "12 song examination of how a game of telephone in an imaginary community can touch on isolation, embarrassment, estrangement, and heartbreak," I'm not lying when I tell you this is a very good album. The lyrics are impressive, the music is accomplished, the narrative is stunning, and the additional musicians on here (I mean, it was recorded by Kid Koala in Montreal, so you know it's going to be good) are stunning. I don't want to give anything away, but I urge you to listen to this record at least once before you hear this episode. I've listened to it close to a dozen times and I'm still discovering things. In fact, Eric and I actually discussed whether to make this episode spoiler-free or not in the lead-up to our chat. Oh, in case you can't tell, my guest this week is indeed Eric Michener, who was kind enough to spend a couple of hours on a Saturday afternoon talking down the computer to a dedicated Australian fan about his craft, his records, and his love of music. Now, I will admit that there are a few audio hiccups at play here. Namely that I could hear my own voice echoed through Eric's audio, so if you're hearing a little bit of doubling up when I'm talking, that just means my countless hours of audio editing have not quite reached their peak. Sorry about that. Anyway, have a listen to Fishboy's 'Bravest Neighbor', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Has there ever been a musician harder to categorise than Pinky Beecroft? (Okay, for those saying Frank Zappa or Ween, that was more of a rhetorical question, so please hold onto your opinions for the end.) For the vast majority of music fans, his is a name which would have come to prominence thanks to his role as the de facto frontperson of Machine Gun Fellatio, a group whose very success needs to be studied by academics under the guise of answering the question 'How on Earth did that happen?" Machine Gun Fellatio were a genre-defying outfit whose existence was tantamount to a loose collective of weirdos – that is, a collective that just happened to make some amazing music. Despite their less-than radio friendly name, lyrics, live shows, and songs, they persisted, supported artists like KISS, Duran Duran, and Robbie Williams, and after three studio records, called it quits in 2005. Shortly after that, as members went and did their own thing, so too did Pinky. He launched the band Pinky Beecroft & The White Russians, released an EP and two albums, and sporadically emerged from the shadows to play live shows. Pinky Beecroft & The White Russians soon became The White Russians, and then performances as The Wreck Tangle and Pinky Beecroft 4.0 followed, but for 17 long years, no new music arrived. That is, until this year. In fact, this month sees Pinky releasing the new album Lonesome Wolf . It might sound bizarre to say, given his storied career, but it's a stunning piece of work. Equal parts heartfelt, affecting, and powerful, it's enough to remind you that behind the chaos he's known for, he knows his way around a song – after all, he does also share a co-write on the ARIA Award-winning 'No Aphrodisiac' by The Whitlams. Truly, it's a wonderful album that ebbs and flows in terms of intensity and reflection, and it's one that I urge you to listen to with the headphones on, allowing it to wash over you as it unfolds. While Pinky might have had a wild life, the release of ' Lonesome Wolf' proves that there's more to him than what many fans would expect. Of course, diehard fans like myself have long been aware of that, but it's nice to be able to share that with others. This week, Pinky was kind enough to invite me into his hotel room in Melbourne for a lengthy chat about his musical career, his time with Machine Gun Fellatio, his solo work, and everything in between. Anyway, have a listen to Pinky Beecroft's ' Lonesome Wolf' when it arrives next week, buy a ticket to his upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I say this a lot, but as a former Adelaidean, I really do enjoy listening and chatting to musicians from South Australia. If you're someone whose finger has firmly been on the pulse of the City of Churches' music scene, then you might be aware of Any Young Mechanic, a quintet whose music is a true delight for anyone who enjoys a blend of indie, folk, and rock in equal and appropriate measure. They're actually a somewhat nascent addition to the music scene, because before they adopted their current name in late 2024, they were better known as Wake In Fright, having taken their moniker from the 1971 film of the same name. Due to issues with the film's estate, they took on this new name and made a very auspicious 'debut' of sorts. That debut has taken on a tangible form by way of their stellar record 'The Modern Shoe Is Ruining The Foot'. It's not just a dire warning for any fans of podiatric health, but also one of the finest records you'll hear this year. Former triple j Music Director Richard Kingsmill likened the record to The Middle East (the band that is, not the region), and as a massive fan of that group, I have to agree that this is an album that one can only describe as truly special. Now, all of that glorious praise I just shared above is why I'm heartbroken to actually note that this is possibly the worst-sounding podcast I've recorded to date. For those unaware, a lot of media interviews take place these days either in person, over the phone, or – most commonly – via Zoom. Any Young Mechanic were taking part in a press day in Sydney while we chatted, and while press days may usually feature in-person chats, our differences in distance necessitated the five of them speaking to me from a couch over Zoom. While that usually wouldn't present any problem, this one did – for some reason – find itself presenting numerous *audio* problems whereby there are times when members simply cannot be heard, and their answers are almost entirely unintelligible. This isn't just a you problem either, listeners – I couldn't hear the band either during these responses, which is a shame, because what I *could* hear sounded very passionate. I'll offer a promise to have the members back on an episode at some point in the future (perhaps when they're next in Melbourne), but in the meantime, I've presented the episode here with the audio cleaned and enhanced as best as I could. Anyway, have a listen to Any Young Mechanic's 'The Modern Shoe Is Ruining The Foot', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Ahead of making this podcast, I really had to think back to where I first discovered the band Metric. Hailing from Toronto in Canada, the group came together back in 1998, initially forming as a duo between Emily Haines and Jimmy Shaw, before things expanded, evolved, and early releases started arriving. There's an interesting story about how their first records actually came about (stay tuned for that one), but personally, I think I would've come on board with Metric around the time of their fourth album, 'Fantasies', in 2009. That's where a lot of folks came on board, to be quite honest, and I'm not too ashamed to say I was definitely among the many who were drawn to the band's immersive sound and their rising popularity. Since then, they've been a constant figure in the 'new releases' list, with this past April resulting in the release of their tenth album, 'Romanticize The Dive'. It's an album you should definitely check out if you're a fan of their earlier material, and it's one that you'll likely find yourself returning to quite a few times. This week, I was lucky enough to have a chat with Emily and Jimmy about the band's history, their new record, and how it's all up to me whether they make it back to Australia or not. Incidentally, as we spoke, they were gearing up to return to one of the most Canadian tour line-ups imaginable, with Broken Social Scene and Stars as their tourmates. (Sure, Emily is a former member, and Jimmy is listed as a current member of Broken Social Scene, so it's not that out of the ordinary, but what a bill that is!). Anyway, have a listen to Metric's 'Romanticize The Dive', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

One of my favourite things is watching a band achieve their goals. I don't just mean recording an album, releasing it, hitting the charts, and going on tour – both domestically and internationally – but honestly, even just playing music together. While Melbourne outfit The Velvet Club have certainly achieved all those initial things I mentioned, the majority of their journey was predicated on a shared love of music and the ability to simply get together and crank out some tunes. Having done just that close to a decade ago, the group have gradually and constantly risen through the ranks of the Australian music scene, with a series of singles and EPs resulting in them ultimately releasing their debut album, 'Are You Falling In Love?', earlier this month. It's a great record that will undoubtedly appeal to anyone who is a fan of genres like indie rock, the garage rock revival, and the indie sleaze vibe that came along with it. That era of music was exactly what I found myself chatting about with the band's vocalist and guitarist, AJ Tilyard, who was kind enough to join me this week while we talked about the band's rise, and the release of their debut record. Anyway, have a listen to The Velvet Club's 'Are You Falling In Love?', buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you've taken anything away from the sort of artists I've had on this podcast in recent years, you can probably surmise I'm a bit of a fan of the more indie, alternative, punk, and heavier genres. One of the groups that does manage to traverse all of those elements is The Menzingers, a punk-influenced outfit from Scranton, Pennsylvania who this year celebrate two decades in the game. Releasing their first album in 2007, new records have been a regular occurrence for the group, who signed with the legendary Epitaph Records for 2012's ' On The Impossible Past' and have stayed there ever since. Over the years, they've been pumping out plenty of brilliant records, playing countless live shows, and just generally being the very definition of unsung heroes in the world of music. Seriously, go back and listen through their discography – it's pretty hard (if not impossible) to find a dud. This week, The Menzingers return with their latest record, ' Everything I Ever Saw' , and if you're a newcomer to the group, it's a solid showing of what makes them great. It's got hooks, it's got choruses, it's got some pretty heavy songwriting, and it's got that undeniable element that makes us all love them. A couple of days ago, I was lucky enough to have a chat with Greg Barnett – vocalist and guitarist of The Menzingers – about the band's history, their new record, and our shared love of The Mountain Goats. (Stay tuned for Greg and I launching the 'Full Force Pittsburgh' tribute podcast at some point in the far away future.) Anyway, have a listen to The Menzingers' ' Everything I Ever Saw' , have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Hello and welcome to Trusty Chords, the podcast which aims to celebrate music and those that create it. Most Australian bands would tell you that the dream is to not only carve out a respectable niche for yourself on home soil, but to make impressive in-roads overseas. For Newcastle's Vacations, that's exactly what they've spent the past decade doing. Initially formed out of solo recordings made by frontman Campbell Burns, Vacations soon began releasing a string of EPs and singles, with debut album ' Changes' arriving in 2018. Since then, they've released three studio albums, and amassed a huge following. 2016 single 'Young' has gone Gold and Platinum around the world, bringing in close to 900 million streams on Spotify alone, while 2018's 'Telephones' has performed similarly, surpassing 800 million streams. Needless to say, they're doing pretty well for themselves, and these global in-roads now extend to Burns himself living in New York, where he continues to craft stellar tunes. Those stellar tunes will again be a focus of their forthcoming album, ' Pursuit Of Anything' , which arrives in October. It's on track to be a big one for the band, but before that, they'll be returning home for a national tour next week in support of their recent single, 'Holy Grail'. Ahead of the big few months for the group, Burns was kind enough to join me for a chat where we discussed his musical growth, the growth of the band, and of course, his eclectic musical taste. Anyway, have a listen to Vacations' ' Pursuit Of Anything' when it arrives in October, buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

There's a very good chance that if you've listened to music lately, then you might have heard of Dexter And The Moonrocks. Maybe theirs isn't a name you've particularly become familiar with, but on a statistical level, you've likely heard them thanks to their March single 'Freakin' Out'. Hell, I'll admit I had no idea who they were until the track popped up on my Instagram feed. By that point, it had garnered millions of streams, and at the time of this recording, it boasts over 109 million streams on Spotify alone – just for that one song. But this wasn't an overnight success, given that Dexter And The Moonrocks have been on the scene for about five years now. Again, as we speak, it's No. 48 on the Australian charts (having made it up to No. 30), and managed to hit the top 50 in the US, and the top ten on the Alternative and Rock charts – topping the former. Needless to say, Dexter And The Moonrocks are hot property right now, and if you're not yet on board, you might need to do so. Just under two months ago, I was lucky enough to have a chat with drummer Ryan Fox (otherwise simply known as Fox, since they have another Ryan in the band, too) about all this success. Since then, they've dropped another single called '12 Steps', and they've announced an Australian debut thanks to appearances on the Strummingbird lineup, and slots supporting Bailey Zimmerman. Anyway, buy a ticket to Dexter And The Moonrocks' upcoming Australian tour, listen to their in-demand discography, and I’ll see you at the end of the episode for some general housekeeping.

For close to 25 years now, Canada's own The Flatliners have been bringing their unique brand of punk to the world. Formed in 2002, the Ontario group are one of those rare bands who have managed to maintain the same line-up through the entirety of their career. They've used this stability to craft numerous records over the years, including the likes of 'The Great Awake', 'Cavalcade', and 'Dead Language' on Fat Wreck Chords, and most recently, 'Cold World'. Their seventh studio album, 'Cold World' is exactly what you're after from a new album by The Flatliners. Sharp yet smooth, but maintaining that frenetic energy that has accompanied their decades of work, it's an album definitely worth your time. Alongside his time in The Flatliners, guitarist and vocalist Chris Cresswell has spent almost a decade performing a similar role in Hot Water Music. You might have heard me mention Hot Water Music before, namely due to the fact that bassist Jason Black was the guest in our third-ever episode, and the fact that this very podcast is named after one of their songs. Needless to say, it's nice to welcome another member of the Hot Water Music family onto the Trusty Chords podcast. Anyway, have a listen to The Flatliners' 'Cold World', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

There's a very good chance that if you've found yourself listening to music in recent years and noticing there seems to be a stylistic shift to the straightforward pop and rock of the '60s, you've likely found yourself listening to The Lemon Twigs. Hailing from Long Island in New York, The Lemon Twigs is the musical project of brothers Brian and Michael D'Addario, who, after starting in the world of acting, found themselves focusing on music, forming their nascent band while in high school. From there, it's the standard story every group dreams of: demos attract interest, and before long, you're signed to a record label, making plenty of albums, appearing on TV, touring the world, and cultivating a strong fanbase. Just one month ago, however, the familial duo returned with their sixth album, the stellar 'Look For Your Mind!'. Tapping into the psychedelic power pop sound, it's a brilliant piece of work that underlines just how strong they are as songwriters and performers. Needless to say, when the opportunity came up, I knew I had to take the chance to have a chat to Brian and Michael to talk about their latest record. Anyway, have a listen to The Lemon Twigs' 'Look For Your Mind!' album, and I’ll see you at the end of the episode for some general housekeeping.

Last week saw the Trusty Chords podcast celebrate 100 episodes, so we here at TC HQ figured it was high time to offer up a few facts and stats from the past couple of years. We're talking information about the theme song, info on the longest and shortest episodes, the most chosen artists, albums, and songs, and all that other sort of granular stuff you didn't even know you wanted until now.

For about 15 years now, the Australian music scene has been home to The Pretty Littles, arguably one of the best rock bands this country has produced in quite some time. From humble beginnings with a batch of albums that largely flew under the radar, it was in 2016 or so that The Pretty Littles began to experience wider fame. Albums like 2016's 'Soft Rock For The Anxious' and 2018's 'Skeleton Run' helped cement them as staples of the independent rock scene, and there's a very good chance that 2020's 'Weekend Away' would have continued that trajectory, had it not arrived against the backdrop of COVID. That album was very close to being the last for the band, with The Pretty Littles effectively ceasing to exist after its arrival. Thankfully, the story doesn't end there, and frontman Jack Parsons kept the group going, enough to release 2025's 'Force' album, which was my favourite Australian release of 2025, and third-favourite record of the year overall. Given that Force took a while to arrive, one could have reasonably expected another few years to elapse before The Pretty Littles dropped a new record, but thankfully, we're celebrating today with the release of 'Mulga Wire', a fresh new album that shows that this is a band that don't just offer up some slick songs with stellar songwriting (try saying that five times fast), but commands your attention because of it. This week, I was lucky enough to have a chat with Parso, just days after he returned from the latest edition of Guts Touring up in the Northern Territory. Thankfully, he was bright-eyed and bushy-tailed enough to take part in what would be this podcast's 100th episode celebration (or as I'm calling it, the 'Trusty Chords 100th Episode Extrava-Spec-Ganza-Tacular'. Catchy, right?) Anyway, have a listen to The Pretty Littles' 'Mulga Wire', grab a ticket to their upcoming tour, listen back through that impressive discography, and I’ll see you at the end of the episode for some general housekeeping and some words about this podcast's 100-episode run.

If you're someone who has a penchant for music which is a little bit ferocious, a little bit honest, and a whole lot of impactful, then you might have come across Chasing Ghosts over the years. Originally, Chasing Ghosts was formed as a solo act by Jimmy Kyle, a Thungutti man who also happens to be a musician, storyteller, and educator up there with the best of them. Following Chasing Ghosts' arrival, albums arrived in due course, and soon enough, it expanded into a full-band affair. Records like 'Confessions From A Phone Booth' and 'I Am Jimmy Kyle' were followed by the 'Homelands' EP, and in 2025, we received the Therapy album. I'm going to editorialise a little bit when I say that 'Therapy' is a stunning record and one that is definitely worth your time. Early this month, however, Chasing Ghosts revealed that they were going on an indefinite hiatus. Noting that "family has to come first," Jimmy reflected on the impact that the band has had on both him and the wider community, and revealed that they wouldn't be going out with a whimper, but with a bang. Indeed, they announced one final show to take place at the Northcote Social Club this June, with the massive attention soon necessitating a second show. This week, Jimmy was kind enough to join me for a wonderful chat, discussing his musical history, the story of Chasing Ghosts, and the impending hiatus. As a bit of a peek behind the curtain, my band will actually be supporting Chasing Ghosts at their second Northcote Social Club show, but this hadn't been locked down while we were chatting. Anyway, buy a ticket to Chasing Ghosts' upcoming farewell show, listen back through that impressive discography, and I’ll see you at the end of the episode for some general housekeeping.

I daresay that The Sheila Divine are one of those great examples of a band who deserve much more attention than they've received over their career. Forming in Boston back in 1997, most casual fans of the group would've come on board around the release of 1999's 'New Parade' record, which spawned the likes of 'Hum', 'Like A Criminal', and more. If you're a fan of music from the late '90s (and frankly, if you're listening to this podcast, I daresay you are), 'New Parade' should be required listening. Go ahead, take 46 minutes and give it a run. I'll wait right here. (That was great, wasn't it?) But their story doesn't end there. Following another record a couple of years later, the group would split, with a pair of reunions eventually resulting in a constant stream of records since 2012 as an independent act. An acclaimed group of musicians, songwriters, and performers, the band's fanbase is strongest in the US northeast, as well as Belgium. And with good reason, too, because they are a stellar band who are still operating at full capacity, decades down the line. This week, they return with their latest album, the fantastic 'The Middle Ages.' If you're a fan of alternative rock with soaring choruses, frenetic energy, and a viscerally-earnest approach to the craft, you'd do well to check this one out. Since The Sheila Divine's inception, Aaron Perrino has been up the front, serving as vocalist and guitarist. This week, he was kind enough to join us for a chat (well, we actually spoke back in March) to chat about the band's history, their new record, and his familial link to another friend of the show. Anyway, have a listen to The Sheila Divine's 'The Middle Ages,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Ruby Jones is one of those musicians whose whole life has largely been spent in the pursuit of music, with a calling to the craft as a youngster soon finding itself following her for the entirety of her life. If her name isn't one that's familiar, there's a very good chance you might have seen her as part of Melbourne soul outfit Clairy Browne & The Bangin' Rackettes, which existed until 2015 and boasted Ruby as a member. Since then though, she's been very active as a solo artist, having launched her career a few years later, and releasing the stellar 'The Woman Who Loves You' album in 2021. There was a bit of a gap between releases after that, however, and it's taken us a little while to receive her new record, 'Souvenir.' Arriving last week, it's one of those records which definitely falls into the category of 'worth the wait', because Ruby has crafted an 11-track collection of tunes which showcase her stunning approach to folk and rock. Touching upon myriad topics such as creativity, heartbreak, toxic relationships, a love of place, and even climate catastrophes, it's a record which is varied in its approach, though anyone would be consistent in their opinion that it's a wonderful release. You might have guessed by now, but this week, I was lucky enough to have a chat with Ruby about her musical career, and how it led to the release of her new record. Anyway, have a listen to her 'Souvenir' album, buy a ticket to her upcoming launch show, and I’ll see you at the end of the episode for some general housekeeping.