Author: Jimi Kritzler
This volume documents the music, songwriting, aesthetics and struggles of fifty of Australia’s most innovative and significant bands and artists currently at the creative peak of their careers, providing rare insight into the critically heralded cult music scene in Australia. The author, Jimi Kritzler, is personally connected to the musicians he interviews: their discussions cover the musicians' struggles with drugs, involvement in crime and the death of band members.The book is complimented by previously unpublished photographs of all bands interviewed.The Australian underground scene in the last five years has been heralded not only in Australia but also in Europe, and particularly in America. Known as the ‘Australian Invasion’, many of the bands interviewed in this book have received a great deal of hype and press in America, with many of the bands signing to American record labels. Bands featured in the book, such as The Drones, Eddy Current Suppression Ring, Royal Headache, Uv Race, Circle Pit, HTRK, Lost Animal, Oren Ambarchi, Total Control, Witch Hats, Deaf Wish, Blank Realm, New War, Holy Balm, Fabulous Diamonds, The Garbage and The Flowers, Straight Arrows, xNoBBQx, Naked on the Vague, Kitchen’s Floor and My Disco are all on American record labels, and have toured America at least once. Eddy Current Suppression Ring even lent their song ‘Memory Lane’ toan American telecommunications company advertisement, which was played repeatedly during the Super Bowl. While that may indicate the influence of the band in America atthe more mainstream end of the spectrum, at the other end, Eddy Current Suppression Ring are a culturally significant and revered underground band, who play to thousands of people at any given show.
Author: Bryan Ray Turcotte
This title exposes the lasting impact of punk on visual culture. Hundreds of flyers, photos, set lists, vintage fashions and other ephemera from all of your favourite bands are jammed into this menacing volume. It features a wide spectrum of bands that initially ignited the scene and later fuelled its global expansion. It also features interviews with Ian Mackaye, a respected voice of the DIY music underground, and Malcolm McLaren, a promoter of the early punk movement.Contributing writers such as Wayne Kramer, Arturo Vega, Kid Congo, David Yow, Annie Anxiety, Duane Peters, Marc Mc- Coy, Tony Alva, Don Bolles, Trudie and Pat Smear flesh out the visual assault. It also features hard hitting interviews with Ian Mackaye, one of the most respected voices of the DIY music underground, and Malcolm McLaren, likely the most impactful promoter of the early punk movement.
Author: Craig Horne
Melbourne is able to support around 465 live music venues – compared to 453 in New York and 385 in Tokyo. Melburnians are committed to going out to listen to live music and have supported generations of musicians. This title is the socio-political history of live music in Melbourne and the stories of those musicians who played anything they wanted: jazz, rock, country and blues.
The style of the magazine was a mix of interviews, articles, fiction, and music reviews, often written in Glass's absurdist, stream-of-consciousness writing style, which at times bordered on nonsense. The text was complemented by bizarre artwork and photographs, frequently unrelated to the articles they accompanied. One trademark of the magazine was its use of appropriated text and images from uncredited or unknown sources, taken from found objects picked up by Glass, other contributors, or readers. Another regular feature was the inclusion of a compilation 7" record or CD of music by artists profiled in the corresponding issue. Bananafish is often credited with giving many Americans their first exposure to Japanese noise musicians such as Merzbow and Solmania, as well as domestic noisemakers like Emil Beaulieau
Front Cover by Christine Shields from Bananafish Issue #15
The style of the magazine was a mix of interviews, articles, fiction, and music reviews, often written in Glass's absurdist, stream-of-consciousness writing style, which at times bordered on nonsense. The text was complemented by bizarre artwork and photographs, frequently unrelated to the articles they accompanied. One trademark of the magazine was its use of appropriated text and images from uncredited or unknown sources, taken from found objects picked up by Glass, other contributors, or readers. Another regular feature was the inclusion of a compilation 7" record or CD of music by artists profiled in the corresponding issue. Bananafish is often credited with giving many Americans their first exposure to Japanese noise musicians such as Merzbow and Solmania, as well as domestic noisemakers like Emil Beaulieau.
Kiddiepunk is proud to present “And I Could Not Have Hurt You” a new book of poems by Robbie Coburn. This harrowing collection consists of 36 sombre and piercing poems exploring death, loss, depression and self-harm. Presented in three sections, the poems form a fractured and harrowing narrative that doubles as a descent into the abyss.