No Night Sweats N o  N i g h t  S w e a t s No Night Sweats

Sydney's Post-Punk Bands

I Like Music

Slapp Happy are Terrific

A List of CDs

Text is What I Write

Crime Fiction is Silly

[ Other Post-Punk Bands In Sydney ]

This page outlines most of the other, experimental bands that were playing in Sydney during the 'post punk' times of the late 70's and early 80's. 

(Apart from   Voigt/465   Wild West   and   No Night Sweats   who were the bands I was in)

The bands are listed in a vaguely chronological order...

Once again, almost all of the comments are my personal recollections and feelings. 
I'm sure that other people would have something different to say if given the chance.

However, Dermot DID have something to say in those days gone by.
And other people have memories of  the places we played.
And yet others have some sort of memory left.

Scapa Flow / JMM

Personell :
John O'Brien - bass, vocals
Mark Gerber - guitar, vocals
Michael Gerber - drums

A tight 3 piece, originally influenced by The Jam, who mutated quickly into a furious (in more ways than one) post-punk-prog-metal (??) outfit. Intricate bass and guitar lines, hooked together by terrific drumming, were played with intensity and volume and overlayed with surprising two part harmonies. If sometimes, possibly, too tricky for their own good, at least they were an antidote to the three chord thrash. They released 2 singles that I know of ('Endless Sleep' and 'At Home and Abroad') which I still play with affection and a tapping of the toe.

Mark is an ex-actor, ex-model and GM of the Oxford Art factory, Michael is an architect and I don't know what happened to John.

For information on the 'remastered' recordings of this band see : Aus P-P #1 and Scapa Live Seems-80 



Personell (original line up) :
Dave Studdert - rhythm guitar, vocals
Angus Douglas - guitar
Geoff Marsh - bass
Rob Whittle - drums

One of the first bands who disregarded the mostly reactionary ways of Australian Punk and focussed instead on song writing. On some nights they could tear down a venue with searing, charged, edgy performances but on others could seem under-rehearsed and all mismatched angles and high frequencies. Dave's throat-constricted voice could take some getting used to as well but was more effective than most other singers of the time. And he had something to say as well - a nice surprise. They continued on for a few years as part of the Doublethink/Green stable but slowly dissipated.

I thought that Dave had vanished totally but he's still writing and recording with one or two ex-Tacticians and a veritable raft of others. He seems to have picked up an afro beat along the way but, other than that, his songs are still strong and committed.

For information on the 'remastered' recordings of this band see : Aus P-P #1, SotS and Others


The Thought Criminals

Personell (original lineup) :
Bruce Warner - vocals
Stephen Philip - guitar
Roger Grierson - bass
Derik Wappilspoon - drums

Although it seemed like they were playing at being punk rockers because of a fairly light and humorous outlook, The Thought Criminals were always energetic, danceable and clever. The music was fairly simple and fast but played with panache and gusto - I can remember many afternoons and evenings watching the band with great enjoyment and an invisible pogo in my frame. Although they were a more straight ahead rock band than others on this page, their attitudes were always inclusive and wide ranging. Triple bills with Voigt and Tactics were commonplace.

Roger Grierson formed the somewhat important Doublethink and Green labels - independants one and all. He was head of Festival/Mushroom Records until March 2004 but is now retired (bastard). Stephen Philip went onto muted stardom in heavy pop with DoReMi.

For information on the 'remastered' recordings of this band see : TC/TA/HG TC French's and Chrono


Seems Twice

Anthony Yatras - bass, vocals, songs
Michael Molloy - guitar
John Douglas - drums

Like the bastard sons of early Wire and The Ramones, Seems Twice played incredibly short, fast and loud. Hardly ever more than a minute long, their songs define a most useful kind of minimalism : an intro (sometimes), a verse, a chorus and, occasionally, an instrumental section with very little repetition. Live, it was blink and you'd miss them and we never wanted to do that.

John Douglas went onto early 80s jazz/punk combo 'Kill The King'.

For information on the 'remastered' recordings of this band see : Aus P-P #1  Seems-80



Personell :
Graeme Revell - synth
Nihil - vocals
Danny Rumour - guitar
David Virgin - bass
Vostra - bass

My memories of SPK are limited and dim with age. Firstly there's the few live concerts I saw where noise and amputations seemed to share the same space. Secondly, there's the friendly times that Nihil came over to our house to hang around and chat amongst like minded people. Lastly, there's the tale of recording the vocals for the first single at Axent studios where each line was done separately - we were completely flummoxed. Their single-minded attitude held them in good stead as they found fame amongst the UK Industrial scene.

Danny and David went onto Sekret Sekret and Graeme eventually became a prominent writer of film soundtracks in Hollywood.

For information on the 'remastered' recordings of this band see : Others  SPK 79 


Pel Mel / The Limp

Personell :

Pel Mel

Graeme Dunne: vocals, guitar, bass (4)
Jane McGee: guitar
Jude McGee: vocals, sax, synth
Dave Weston: drums
Paul Davies: guitar (2)
Glenn Hill: bass (1)
Lindsay O'Meara: bass (2)
Craig Robertson: bass (3)

The Limp
Jane McGee: guitar, drums
Jude McGee: synth, sax, guitar, vocals
Tim McGee: guitar, synth, vocals
Glenn Nelson: vocals, synth
Christine Robinson: bass
Dorin Suciu: percussion
Dave Weston: guitar, drums
Wayne Williams: sax
David Whittaker: bass (original lineup)
Geoff Nichols: tapes, etc (original lineup)

Pel Mel came down from Newcastle (one of Sydney's steel producing neighbours) and caused quite a stir. You could tell they liked the early stuff of The Cure and Wire, exemplified by 'No Word From China', the only song to be featured on Countdown that had people in it I actually knew!

Poppy without being smarmy, highly energetic when they put their minds to it and quite musicianly as well, they showed that you could be experimental without being noisy. Easily the most 'successful' of the bands playing in the inner city during this time, they slowly evolved to become a more funk influenced, hard working troop whose music started to suffer even as they tried harder and harder to break the bigger time. Although that sounds a bit disparaging, it should be noted that they were the only band amongst us who had even a smidgin of a chance at greater popularity and they did at least try.

There were two big houses at either end of Commonwealth Street, near Central Station, where most of Pel Mel, Wild West and associated friends lived in each other's pockets. If you didn't actually live there then you went there all the time anyway. Influenced by the 'little bands' idea from Melbourne, small bands would be formed on any evening after a few unsteady jams in cluttered rooms. 

Probably the most long-lasting of these was The Limp which contained a goodly portion of Pel Mel (in slightly different roles) and who, therefore, created music in a similar vein but who also had their own lingering charm and success.

Although I've lost touch with almost all of these people, the central bunch have all retired from music as far as I know.

For information on the 'remastered' recordings of these bands see : 
Aus P-P #4
, Aus P-P #7 , Limp Live , Pel Mel Live and Common


The Tame O'Mearas

Personell :
Lindsay O'Meara
Drosma Bebris
Angela Plevey
Jill O'Meara
and possibly others played everything they could lay their hands on...

In many ways, The Tame O'Mearas were the definitive post-punk band : a do it yourself attitude with almost non-musicians learning instruments and making sounds and switching roles seemingly at random - do it now and then go on to something else. Overall, they sounded light and airy with small percussion and chiming guitar tones anchored by fluid bass. They sounded closest amongst us all to English bands like The Raincoats but, ofcourse, they were really like no-one else. Nothing released officially but songs like 'Sweat and Babble' and 'Curl Curl' are favourite cassette icons.

Lindsay (in just about everything listed here) now lives in Madrid, Drosma is in country comfort at Albury and Jill's a lawyer in Sydney. Angie died tragically with another of our friends, David Ayres, aboard the Marchioness on the Thames - I still miss them both.

For information on the 'remastered' recordings of this band see : Aus P-P #5 and Aus P-P #7


The Systematics / Ya Ya Choral / Scattered Order / Prod & M-Squared

Personell :
The Systematics
Patrick Gibson - synth, rhythm, vocals
Fiona Graham - synth, rhythm, vocals
Michael Filewood - guitar

Ya Ya Choral
Patrick Gibson - synth, rhythm, vocals
Fiona Graham - synth, vocals
Michael Tee - keyboards, guitar, vocals
The 'Choir'

Scattered Order
Patrick Gibson - synth, rhythm, vocals
Mitch Jones - guitar, bass, etc
Michael Tee - guitar, bass, etc
Michael Prowse - drums, etc

Michael Prowse - drums, etc
Craig Bottle - guitar, etc

The Systematics were the first real 'electronic' band I ever saw live, the two-synth chords and bass and melodies were launched over punchy, pocky rhythm box beats and sawed in half by rock-ist guitar. Patrick truely found the spot of his life on stage where he cavorted stupidly and with real joy and elan. Michael stood resolutely staring about, a guitarist to the end, whilst Fiona concentrated on her fingers but smiled beautifically every so often : they were simply infectious. A couple of EPs were released and then they imploded with a night of hi-jinks and melody at the Trade Union Club where the highlight remains Patrick's impersonation of a 'Release The Bats' era Nick Cave.

Ya Ya Choral continued on with the electronics but with a tidier, more pop based influence. Fiona sang more and Michael's guitar sound was hardly as abrasive as his previous namesake. In the early stages, they were backed by a 'choir' of friends who tried their hardest but never sounded more than clamorous. Later on, they continued without Patrick, playing a more strident rock and pop sound in the great western Sydney sprawl until, eventually, they became ground down. Have a look at Michael Tee's almost comprehensive YYC site for more.

Scattered Order were, I think, originally Patrick, Michael Tee and the speedy Mitch Jones. This band mutated noisily, brashly and harshly amongst a group of friends and foes who all had something to do with the fabulous M-Squared label and recording studio. Most of the bands I enjoyed and played alongside of (and most of the bands mentioned here) recorded in this little Surry Hills terrace. Michael Tee has another page with a more close-in and personal reflection of this whole thing.

I lost contact with all of these people for many years but finally caught up with Patrick again who is currently trying to re-invent his musicality and is still playing occassionally in The Loop Orchestra. Michael and Fiona are also planning to do more music after settling in their considerable family whilst Mitch and Dru from Scattered Order are still playing intermittently and recording intensely, as usual, but now in the less sunny climes of the UK.

For information on the 'remastered' recordings of these bands see : 
Aus P-P #3
, Aus P-P #4 , Aus P-P #7 , Sys Live , Tinkily Ball , Parish 81 , Ya Ya Live , Ya Ya M2 , Ya Ya TUC , Others and Various


The Makers of the Dead Travel Fast

Personell :
Peter Richardson
Greg Addison
Steve Couri
Tim Schultz
Shane Fahey

I saw these people around the place but never really got to know them very well at all. One of the first bands released through the M-Squared label (alongside of The Systematics and Scattered order), for me, their fame rests almost entirely with their first single 'Tael of a Saeghors' which, without a doubt, is one of the best songs I've ever heard :

Floating, watery sounds made by synths and bubble-makers lead into a lilting, gorgous two chord progression in 3/4 time and psuedo pirate verse ('ay, capn', et al) followed by a late-night busker sax melody that takes the place of the chorus. I've never heard anything remotely like it before or since.

Live, the magic was only sporadic but their brand of art-music was still strong and original. Shane Fahey still seems very active in the wunnerfull world of music...

For information on the 'remastered' recordings of this band see : DTF Live , Others and Various


The N-Lets & 2 Tapes

Personell :
Tim Vandenberg
Paul Grotch
Lindsay Omeara
Mark Boswell
...and others...

Amongst the group of people who knew them, the N-Lets were the epitome of how creative Wollongong, a city still best known for it's steel and pollution production, could be. A love of European free jazz (especially those people, like Han Benninck, who didn't take themselves too seriously) drew them together and a bigger love for rock skewed them towards higher volumes and an almost industrial sound. Wilful experimentation led them to the other, micro extreme including the use of a miked-up tabletop as the whole canvas for the recording of orchestrated scratchings, touches and droppings. Sporadic live performances were always interesting and visceral but they never really fitted in with any of the streams of music being played by other bands of the time. This difference, combined with a dedicated insularity, ensured them a lingering cult status.

Tim Vandenberg also created the 2 Tapes label, dedicated (mostly) to the dissemination of 'real' live recordings. At every performance he attended, a small but high quality cassette player would be used to record as much music as possible, in the most ambient fashion as possible. Tim stood in the middle of the crowd, where the action was, small microphones near the lapel, trying to document what is was like to actually be there. Without his extensive archive of these recordings (and his inability to allow any cassette tape to be thrown out), a veritable swag of great material would have been lost forever.

Tim and Paul are still in the Gong, as intimate as ever with the possibilities of live sound.


The Slugfuckers / Rhythmx Chymx

Personell :
Terry Blake - lead vocals, percussion
John Laidler - guitar, vocals, etc.
Graham Forsyth - bass, vocals
Austin Laverty - drums
Craig Wilcox - keyboards, percussion, etc.
Gordon Renouf - sax, bass, guitar, etc.

Iconoclastic, intellectual and anarchic, The Slugfuckers took the true intent of punk and carried it to a logical extreme. With shouted vocals, almost rudimentary playing, volume on ten and many obligatory messy interludes they enthralled, engaged and repelled in equal parts during any of their performances. Their recordings were slightly tidier, although still racket-full, and allowed the philosophies to shine through. 

The Rhythmx Chymx were a Slug off-shoot, minus Terry and plus other friends. They only released one side of vinyl - the other was taken up by the Severed Heads first release. Apart from the anarchic music, the most notable thing about this release is the continual ridicule of Sydney rock journo Stuart Coupe in the artwork. He was loathed at the time for his pedestrian tastes and values.

John Laidler can now be found in the Okapi Guitars...

For information on the 'remastered' recordings of this band see : Aus P-P #2 , Slug Singles and Slug Etc


Sekret Sekret

Personell :
David Virgin - vocals, guitar
Danny Rumour - guitar
Des Devlin - Bass
James Elliott - Drums
Peter Mullany - guitar

With chiming guitars, a steady, fluid backbeat and real Rock insouciance, Sekret Sekret were Australia's answer to the Paisley Underground of the USA. It was definitely David and Danny's show but the combination of pinpoint riffs and chords and the lazy, love-filled delivery of the vocals were always the outstanding things about the band. I suppose we liked them so much because their rock-star attitudes were in total opposition to the egalitarian group styles of everyone else. They should have been absolutely huge but, in the grand tradition, drugs and so on contributed to their downfall.

Danny and James, eventually, went onto bigger and better things in the swamp-ridden The Cruel Sea. 

Have a look at David Virgin's website.

For information on the 'remastered' recordings of this band see : Aus P-P #4 Sekret-84 and Others


No-V-Bleet / (Swell Guys)

Personell :
Tony Milner - Guitar, Vocals
Cyril Cully - Guitar, Vocals
Lyn Bardsley - Bass, Vocals

The Swell Guys travelled down from Brisbane in 1981, losing their drummer on the way and quickly morphed into the edgier No-V-Bleet. Full of interesting, chiming guitar work, fluid, melodic bass lines, and gorgeous chord changes they were reminiscent of Television, Talking Heads and XTC but with a fairly laid back Queensland charm thrown in for good measure. I'll admit that, at the time, their shy and sometimes slightly hostile stage presence and their real musicians technique had an adverse impact on any enjoyment I could get from them. But listening to the live recordings now, the only thing that doesn't excite me is the lack of fully detailed drum box patterns on some of the tracks. Another newly rediscovered gem, really.

Tony joined Brrr Cold and also played with Cyril, Lyn and Johnny Wilstead as Machines That Walk.

For information on the 'remastered' recordings of this band see : No-V Live , No-V Studio and Tinkily Ball

Via Veneto

Personell :
Mark Philip - bass
Stephen Philip (not the one from The Thought Criminals, btw) - roland acetone synthesiser
Mark Oddie - drums
Philip 'Garvey' - guitar, trumpet, vocals
Glenys - vocals, saxophone

Funk rhythms were always a problem for a bunch of white suburban boys and girls like us. Via Veneto did better than most although you could only vaguely relate it back to James Brown or, even more pertinently, The Pop Group. Their sound was often wrapped in darkness and was almost Goth-like in parts but the attempts at 'The One' kept it lively and listenable. Their sole recorded song - Empty - is almost perfect with it's rollicking bass and drums, syncopated synth bleets and monotone vocals.

I believe that all have left music except Philip, who continues in electronic glory...

For information on the 'remastered' recordings of this band see : Aus P-P #4 and Slug Etc


Hope Is A New Coat

Personell :
Cathy Hopkins - vocals
Gordon Renouf - guitar, drums, trumpet
Jill OMeara - bass
Dave Weston - drums
Nick ? - drums
Rod Pobestek - guitar
+ others in early line-ups

Mutating over many years and lineups but never really gelling properly, Hope could still always be relied upon for a visceral and powerfull performance. This was mainly due to Kathy's incredible, deep rock voice (weirdly under-recognised by all), Rod's hard guitar sound (tamed and trimmed a bit since Voigt/465) and the always dependable drumming of Dave Weston. Eventually this devolved to a stripped down three piece headed by Rod but ennui settled in and they petered out entirely. Another great lost band.

For information on the 'remastered' recordings of this band see : Aus P-P #5 , Slug Etc , Parish 81 and Tinkily Ball


Swami Binton

I never actually heard Swami Binton as they played mainly, if not exclusively, in Newcastle but their name was often mentioned and the faces were familiar... Here's a brief outline by Mark Davies: 

"Taking a lead from the DIY ethos of the time, and rejecting any aspirations to musical virtuosity, SB coined the term "pathetic rock" to describe a particular brand of chaotic suburban post punk. Formed in Newcastle in 1980 around the edges of the Grand Hotel scene, (Pel Mel, the Limp) SB used diverse instrumentation (from practice chanter and accordion) to embellish the basic rock ensemble. Charlie Thomas (harmonica) and Mark Davies (keyboard) were the vocalists for the most stable line-up of the band. Paul Davies, (guitar), Stuart Nicholls (Drums), Mark Thomas (Percussion) and Bob Pulik (Bass) formed the core of the group. Other members included Dan Casson (Sax), Christine Robinson (Bass), Lindsay Radcliffe (Accordion), Anne Whittaker (Synth). The band was a regular at North Leagues club supporting most of the visiting bands of the time. No studio recordings exist. A recording of a live to air radio perfromance survives and a desk recording of a 1981 performance at the Premier Hotel has gained a certain local currency. Influences: The Fall, Pere Ubu.

To my knowledge, the only people to continue with music were Paul Davies (to the later, funked up Pel Mel) and Charlie (whose harmonica drove fans wild in Famous).

An post-Post-Punk update from Charlie: ""Paul Davies, myself, Dave Weston, Jude McGee, Mark Phillip and Dermot had a band in the 90's called Weep with a residency at the Cricketers Arms in Surry Hills. It was 50% covers (Bassey, Bunnymen, Lucinda, Neil Young, Beefheart) and 50% Paul Davies originals and was highlighted by guest performances from the two greatest singers in Sydney of that era Linda Jannsen (Wicked Beats) and Charlie McLean (50 million beers). We were actually quite good on occassion. Dermot, Jude and Mark put together a band called Canada that I saw once but was too pissed to remember. They died after only a couple of gigs. Paul Davies and his brother Mark have a band called Soul Feather that play intermittently in Newcastle."


The Goat That Went Om

Personell :
David Ayres - Bass
Craig Wilcox - drums and guitar
Suzy Manigian - vocals and keyboards

Even more considerably lo-fi than The Tame O'Mearas, the lack of playing 'chops' didn't hold back this threesome from creating some weirdly interesting tunes. The sole studio recording by them that I have - 'The Pirate Song' - is just wonderfull : snappy drums and a loping bass line augmented by a circular keyboard pattern and topped off by Suzy's crystal clear voice. A tiny gem.

Suzy now lives in wilderness Tasmanian and can be found with the Kazakstan Kowgirls and Craig is a military historian, currently living in the Canberra and Sydney.

For information on the 'remastered' recordings of this band see : Aus P-P #4


Fish Shop, Baby

Personell :
Craig Wilcox - vocals,  guitar, bass, drum machine and keyboards
Helen Dickenson - vocals
Gordon Renouf - clarinet
190 Commonwealth St and others - choir

Some delicious, happy pop and mild, melodic experimentation from a group that never played live as far as I know. Just three tiny tracks exist - 'Nervous Boys' displays Craig's 'interest in skiffle' and Helens high, folk-like voice - pure magic all round. 'Twenty Miles from Home'  skitters along on a weirdly untimely rhythm box but is saved by a lovely melody, Helen's beautiful voice again and a tuneful choir of friends. 'Beam Me Up Scottie' is the lesser of the three but has an aura of 50s space music combined with indie rock. Apparently another member was added after these sessions who tried to make them over into yet another Detroit influenced garage band. It would never work.

For information on the 'remastered' recordings of this band see : Aus P-P #5


You Peghead You

Personell :
Lindsay OMeara - drums
Rae Byrom - vocals, casio
Mick ? - guitar (never played live?)

Considerably left-field even when compared to most of the 'avant' groups of the time, their sound consisted almost solely of intricate drum patterns, sparse keyboard chords and repetitive, yelped or droned vocals. There was hardly any melody to speak of but Rae was such a magnet on stage that it barely mattered. They only played a couple of times before they morphed into Brrr Cold but were mesmeric at every performance.

For information on the 'remastered' recordings of this band see : Aus P-P #5


Brrr Cold

Personell :
Lindsay OMeara - drums
Rae Byrom - vocals, casio
Antoni Rudnicki - guitar, shwarm, percussion (vers 1)
Tim Vandenberg - percussion (vers 1)
Isobel Trundle - bass (vers 1)
Tony Milner - guitar (vers 2)

Ian Cumming - bass (vers 2)

Lindsay and Rae's experimentations in You Peghead You were continued in Brrr Cold but augmented, initially, by Antoni and Isobel's clash of jazz and rock ideals. After they left (don't know why), Tony Milner's crisp angular guitar and Ian Cumming's strong, complicated bass lines made for a much tougher outfit. Influenced by free improv and jazz (there's probably some direct Laughing Clowns impact) and continuing Lindsay's obsession with tricky time signatures, they really sound like the inheritors of Voigt/465's 'difficult' mantle. Rehearsals in a stiflingly hot, completely carpeted room were never a bunch of roses and the fractious nature of the relationships didn't help either. So live performances were rare and always fraught with the possibility of things falling apart. They managed to record 2 excellent songs in a studio and then, unfortunately, dissolved.

Lindsay and Ian went onto Maestros and Dipsos.

For information on the 'remastered' recordings of this band see : Slug Etc and Tinkily Ball

Kill The King

Personell :
Michael O'Dowd - bass, vocals
Martin Withers - guitar
Martin Moore (1960-1986) - trumpet, saxophone
John Douglas - drums

Probably influenced by the early Laughing Clowns' ethos, Kill the King were ultimately dubbed the jazz-punk combo par excellence. Jazz because of the rhythms, syncopated vocal lines and brass soloing. Punk because of John Douglas' Seems Twice past and the almost frenzied attack of the full band. The incongruity of combining a muso's style with d.i.y. attitudes never stopped them being interesting and sometimes compelling.  

For information on the 'remastered' recordings of this band see : KtK Live


Moral Fibro

Personell :
Gordon Renouf - guitar, saxophone
Jill OMeara - bass, guitar
Patrick Gibson - keyboards, drum machine
Moira MaClaine-Cross - vocals
Simon Daley - trumpet

augmented (occassionally) with
Lindsay O'Meara - drums
Phil Turnbull, Cathy Hopkins - vocals

A lighter, jazzier feel infected bands as the 80s continued, propped along by UK trend setters like EbtG, Weekend and the Postcard bands. This was taken up perfectly by Moral Fibro who played unusual chord structures shifting underneath loungey melodies. Perfectly topped by Moira's style and sub Julie London delivery and Patrick's cooler, smoother voice, they lasted only a short distance before fraying.

For information on the 'remastered' recordings of this band see : Aus P-P #4 Cu-Mf-83


Chopped Up

Personell :
Mark Gerber - guitar
Micheal Gerber - drums
Jill O'Meara - bass
Cathy Hopkins - vocals

Bringing together the tight, prog influenced stylings of Scapa Flow and the decisive bass and rock/soul vocals of Hope Is A New Coat created something that was, possibly, better than both. The lengthy instrumental jams of Scapa were held at bay and Mark's shouty vocals were replaced by Kathy's expressive shouty vocals. Her wayward tendencies were also reined in to beautifull results. It was probably just an offshoot band in most senses but you could tell that they wanted to make it more. Unfortunately, no-one seemed to care.

For information on the 'remastered' recordings of this band see : Cu-Mf-83

Mr Knott

Personell :
Gordon Renouf - bass, samples, sax
Ian Cummins - bass
Dermot Browne - bass
Jill OMeara - vocals
Mary ? - vocals
Lindsay OMeara - vocals
Patrick Gibson - production, rhythm, vocals

Mr Knott was a studio 'band' initiated by Gordon in 1984 to record a couple of extended pieces incorporating tape samples a-la 'My Life In The Bush Of Ghosts'. Two songs exist : 'Talking To A Sleeping Man' has rollicking dual bass lines, massed taped horn flourishes, speach samples and atmospheric vocals. 'Another Way of Walking' has swirling electronics, atmospheric, punchy bass lines and Lindsay singing his heart out. Some of the 'classiest' material to come out of this whole scene and definitely not 'Gordon Goes To Hollywood'.

For information on the 'remastered' recordings of this band see : Aus P-P #4


Maestros and Dipsos

Personell :
Gordon Renouf - bass, drums
Lindsay OMeara - guitar, drums, vocals
Ian Cumming - bass
Debbie Auchinachie - vocals
Ashley Scarlett - vocals
Cyril Cully - guitar

Dual female vocals weren't heard much outside of folk circles and so the sound of Debbie and Ashley's close harmonies was bound to be memorable. However, the band were always a little tentative, seemingly a bit uncomfortable with themselves and each other, especially on stage. Their strong point will always be the direct, confessional lyrics which made a marvellous change from the bluster that other bands produced. In songs like Inertia and the gorgeous Backslide, simple guitar and drums, strong bass, floating melodies and emotional text combine perfectly.

For information on the 'remastered' recordings of this band see : Aus P-P #5 and Upside



Personell :
Dermot Browne - guitar
Patrick Gibson - vocals, keyboards
Dave Weston - drums
Mark Philip - bass
Philip 'Garvey' - keyboards (original lineup)
'Beat' Reed - Sax, keyboards, vocals (later lineup)
Charlie Thomas - Harmonica (later lineup)

Although starting later than most of the other bands above, their members included many people already mentioned plus the next wave of fan-musicians from Newcastle. They were, like everyone at this time, obviously influenced by The Smiths but added more self-depreciating humour and a tougher drum sound. Great songs abounded including 'Weatbix in the Beatbox' with it's pounding C&W rhythm and the rock anthem / soul survival of 'The Train Song'. They continued in one form or another throughout the 80's until dissipating under the weight of years.

For information on the 'remastered' recordings of this band see : Aus P-P #6 Famous-Live


Surely that's all of them?

Well, how about :

Severed Heads?
Other Voices?
Zee Tunes?
Like Unruly Children?
Upside Down House : For information on the 'remastered' recordings of this band see : Upside
Laughing Clowns (well - they were always on a different level to all us)?

To name but a few...

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