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Australian Guitar

Australian Guitar Vol. 130

With a strong focus on the Australian music scene, Australian Guitar is a rich source of information on playing techniques, styles, the wide range of instruments available and all the technology that guitarists have to consider in the 21st Century.

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Future Publishing Ltd
$4.99(Incl. tax)
$34.99(Incl. tax)
6 Issues

in this issue

2 min.
australian guitar digital #130

EXCLUSIVE INTERVIEWS A VIDEO INTERVIEW PHIL STACK (THIRSTY MERC) In this interview, Steve Flack goes head to head with much-accomplished Australian jazz and rock musician Phil Stack. Stack is the founding bass guitarist of the pop-rock band Thirsty Merc, which formed in 2002 and has released four acclaimed studio albums. He is also the regular double bassman for jazz musician James Morrison, and is the leader of the jazz rock ensemble Phil Stack Trio. In November 2008, Phil was awarded first place in the National Jazz Awards held at the Melbourne Jazz Festival. His records have also won Stack praise from industry stalwarts and critics alike. In 2005, Thirsty Merc were nominated for a whopping four ARIA Awards; three years later, their smash hit “20 Good Reasons” was nominated for Song Of The Year. FROM THE…

9 min.
bigsound festival

Even after 17 years, the annual BIGSOUND festival continues to evolve. As always a celebration of the innovations and revelations shaping the Australian music industry, this year’s bash posed a notable focus on audience participation. Gone was the usual slew of two-dimensional panels for punters to sit in and listen to – those still thrived, of course, but coexisted with workshops and forums that encouraged the younger guns amongst us to make their voices heard. If there’s one reason you should make the pilgrimage to a future BIGSOUND, it’s the live music. From legends like Regurgitator and Ella Hooper (plus a midnight set from the one and only Paul Kelly) to the up-and-coming hopefuls who had barely touched a stage, there was no shortage of riffs and pits to sooth our…

4 min.
the good, the bad and the savage

Here’s a good rule of thumb: don’t listen to Cash Savage when you’re feeling particularly emotional. The 37-year-old Melbournite holds back not an ounce when she pours her heart into a tune, whether it be a scathing takedown of the men that question her talents, or a heartfelt crooner on former loves. The fourth LP with her backing band, The Last Drinks, is Good Citizens: a rumination on the varied levels of societal shittiness that permeates the world in 2018. Like those before it, the record’s objective is blunt. Whether it’s á la tight and temperamental Telecaster riffs or a vocal harmony soaked in sultriness, Savage wants you to feel the pain that she feels; her music is a weapon, and she attacks like her namesake in the spirit of…

5 min.

The timeline of Basement is one most emo bands could only daydream of replicating. A figurehead for one of the genre’s most lucrative labels, Run For Cover, the fivesome brewed an enormous underground following with two crash-hot albums that drew kids to their theatre shows like moths to a lamp – 2011’s I Wish I Could Stay Here and 2012’s Colourmeinkindness. Their short-lived hiatus only made them more of a cult favourite, and when Promise Everything stunned critics and fans alike in 2015, Basement made a much-deserved crack into the mainstream. Now under the guidance of the world’s arguable biggest alternative label, Fueled By Ramen, the band are ready to embark on their world domination. The record that’ll take them there is Beside Myself – 12 cuts of raw, heart-on-sleeve authenticity. Driven…

4 min.
palms of fury

When Thrice make their way Down Under in February, it’ll be their first Australian tour in over a decade. The post-hardcore powerhouse last made the trek in September of ‘08, riding high on the release of their two-part (or four-part, if you wanna get fickle) epic The Alchemy Index. That was somewhat of a peak era for the band, their energy lucid and their beats blasting hotter than the Californian sun under which they were formed. YouTube clips from the cycle affirm this – look at the way Teppei Teranishi would rip through a hook with no regard for his fingertips; the way sweat would pour down Dustin Kensrue’s face when he cleaved out the perfect scream. Ten years on, one might assume the combination of age and exhaustion have caught…

4 min.
hellions: act iv

Hardcore and opera don’t gel in much (or any) of a traditional sense, but Hellions live up to their namesake in that they don’t really care about your rules. Their 2016 opus, Opera Oblivia, beautifully married the pit-starting gruffness of their punk roots with the histrionic gravity of a baroque masterpiece. It was an ambitious feat, but one that paid off in spades with unanimous critical acclaim and a string of sold-out tours across the globe. So it only makes sense that its follow-up would not only continue on that path of dramatic grandeur, but kick it into absolute overdrive. “We’d always been building towards what we achieved with Opera Oblivia,” declares guitarist, bassist and – starting with LP4 – co-lead vocalist Matt Gravolin. “We sort of found our identity there, and…