THE MERCY KILLS – New Rule EP

For Australian rockers The Mercy Kills, there has to be a sense of relief in finally seeing ‘New Rule’ gain a full release. Recorded back in 2010, the EP reached promo stage – a few copies were even handed out at gigs – and then got cancelled. The material then spent the next ten years sitting in someone’s personal archive, always hinting at what could have been.

After finally seeing the light of day via Golden Robot Records (home to Michael des Barres and one incarnation of LA Guns) in 2021, it’s clear that it wasn’t an obvious lack of quality that caused the plug to be pulled prematurely way back when. The five tracks that make up ‘New Rule’ are a little rough vocally speaking, but by and large, are very good: there’s enough of a hard rock edge to please fans of an 80s rock style and there’s even a slightly sleazy undertone that suggests a love of glam. There are also several flashbacks to a more alternative 90s ensuring everything never sounds like a bad 80s throwback. Most importantly, some really fat basslines often give the material a fair amount of muscle. For a DIY release, ‘New Rule’ had – and still has – a fair amount in its favour.

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ROSE TATTOO – Outlaws

With their combination of hard hitting riffs and no-nonsense attitude, Rose Tattoo quickly became heroes of the Aussie rock scene in the late 70s. The missing link between AC/DC and Cold Chisel, the band had an incendiary frontman in Angry Anderson, which also gave them an easily recognisable brand. Their first two albums, 1978’s ‘Rose Tattoo’ and 1981’s ‘Assault & Battery’ remain firm favourites among fans.

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EVOLETAH – Run With The Hunted

Led by vocalist/multi-instrumentalist Matt Cahill, Evoletah began life as a guitar driven rock band. Their first two albums were enjoyable to a point, but didn’t really do anything that would make them stand out in a world of other similar bands. In 2013, their ‘We Ache For The Moon’ presented something of a rebirth, with the band exploring jazz, rock and pop in a fusion that sounded almost cinematic. It had almost nothing to connect it to anything that’d come before, but it was superb and found a place as one of the year’s best albums. It was, and remains, a record that showcased a lot of musical talent, a broad musical imagination and a willingness to cut the strings of expectation. By doing what came naturally rather than trying to craft a broadly appealing alt-rock hit, the Australian band created an underground masterpiece.

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