Explore every episode of the podcast Trusty Chords

It's almost impossible to imagine the world of alternative rock without the influence of Dinosaur Jr.

Forming in Amherst, Massachusetts back in 1984, the core trio of guitarist and vocalist J Masics, drummer Murph, and bassist Lou Barlow first came together under the name Dinosaur, but added their diminutive title after the release of their second album.

Fuzzy, immersive, and highly distinctive, Dinosaur Jr. have long been considered one of the most influential groups in the genre, with the likes of Nirvana's Kurt Cobain labelling them one of his favourites, while friends of this show – including Evan Dando of The Lemonheads and Mac McCaughan of Superchunk – also took strong inspiration from them.

Truly, find yourself a fan of indie and alternative rock and start grilling them on their favourite records. If they don't mention albums like 'You're Living All Over Me' and 'Green Mind', well, I don't want to say you can disregard what they say next, but that's what I'm strongly implying.

Having initially existed for 13 years, the band had a bumpy existence, and would split in 1997, but reform in 2005. Since then, they've remained a prolific entity, getting close to matching their pre-split output. 

In late August, the group ended a five-year gap between records and unleashed their 13th album, 'There Near'. If you're a fan of the band, you're in for a good time, with their classic sound on full display as guitar players around the world look at J Mascis' work and wonder how the hell he does it.

Just after its arrival, I was lucky enough to catch up with J Mascis once more for a brief chat about his history of music and the new record. 

I will say, however, J is not exactly the most talkative person out there, so I do apologise that a lot of this podcast is actually me taking control. However, given that this podcast came together accidentally, I hadn't originally planned for us to be airing our chat together. So, regardless, I hope you enjoy it.

Anyway, have a listen to Dinosaur Jr.'s 'There Near', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

It's a little difficult to think about the Australian music scene of the past 15 years without thinking of The Rubens.

Hailing from Menangle in New South Wales, the largely familial band (three of its five members are brothers, you see), first came to prominence in 2011 when they found themselves scoring quite a bit of airplay over on triple j. 

Barely a year old, they'd made it into the station's Hottest 100 countdown, been nominated for an ARIA Award, and even released a debut album. Not too shabby.

2015's 'Hoops' changed it all for the group, with the title track taking out that year's countdown, and propelling The Rubens to further stardom. 

Consistently good singles, strong records (all of which have peaked within the Australian top 4, with 2021's '0202' even hitting the top spot), and a constant presence on the live scene have turned The Rubens into one of those bands you can always rely on. (A 'trusty' band, as it were…)

This month, The Rubens are back at it again with their latest effort, 'Group Therapy'. Their sixth album, it's a solid piece of work which – at times – feels like a return to their earliest years. To celebrate, they'll be heading out on the road once more, taking their impressive new LP to the masses.

I had a chance to chat to Sam and Elliott Margin from The Rubens a few years back, but I didn't have a podcast at the time. Now I do, so I figured it was high time we reconnected for a chat about the new record, their enduring success, and how it all came to be.

Anyway, have a listen to The Rubens' 'Group Therapy' when it arrives next week, 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're someone who likes their indie rock and alternative music with a healthy dose of shoegaze, well I reckon you'd do pretty well to check out Wishy.

Why's that, you ask? Well, it's probably because that's exactly what the Indiana outfit have been dishing up for the past five years.

Coming together thanks to high school friends Kevin and Nina (the former of which used to be in the now-defunct Hoops, and the latter used to record under the name push pop), Wishy wasted no time in making themselves heard. 

A pair of EPs in 2023 gave way to their 2024 debut album 'Triple Seven', and after another EP last year, they're now back with their second album, 'Nature's Pill'. 

If you've not yet heard that record (or the first one, for that matter), I implore you to give it a try. It's a wonderful piece of work with sensational songwriting, amazing performances, and a truly stellar ability to craft some immersive compositions.

This week (well, we actually recorded this back in late July), I was lucky enough to have a chat with Kevin and Nina about the formation of Wishy, how their second album came to be, and whether we'll be welcoming them to Australian shores soon, or whether that's just… Wishyful thinking.

Anyway, once you forgive me for that terrible pun, have a listen to Wishy's 'Nature's Pill', have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

When it comes to folks who ensure their life is surrounded by art, it's hard to look past iOTA.

Having launched into the world of music and drama as a teenager, both of these disciplines have been vital parts of his life since. A batch of bands would give way to the launch of a solo career at the end of the '90s, and a string of impeccable albums would arrive along the way.

On the dramatic side, you might have seen iOTA winning awards for roles in 'Hedwig And The Angry Inch' and 'Smoke & Mirrors', or you might have witnessed him in roles such as Dr. Frank-N-Furter in 'The Rocky Horror Show'.

Or, if you keep your peppers pointed towards Hollywood, you might have seen him in Baz Luhrmann's 'The Great Gatsby', or George Miller's 'Mad Max' film series, where he plays the Doof Warrior.

But for the last decade, you wouldn't have seen a new album from iOTA. That is, until last month, when he released the stellar 'Hours Disappear'. 

A tender, stripped-back collection of old favourites and fresh creations (including a rendition of one of my all-time favourite songs, 'Come Back For Me'), it's a wonderful piece of work, and one for which the wait was certainly worth it.

As you might have guessed, this week's guest is indeed iOTA, and we took the time to look back on his stellar career, and whether it'll be another decade before we receive a new album.

Anyway, have a listen to iOTA's 'Hours Disappear', 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'm going to preface things this week by saying this is going to be far from anything close to a normal podcast.

Why? Well, it's because this week's guests are TISM co-founders Ron Hitler-Barassi and Humphrey B. Flaubert.

Formed in Melbourne back in 1982, TISM have had a long and storied career. Known for hiding their identities behind masks and pseudonyms, high-energy live performances gave way to music which is as sharp, literate, and satirical as it is catchy and driven by a keen sense of melody.

TISM would quietly split in 2004 but after 18 years, they reformed in 2022 and have been playing shows with relative consistency ever since.

Now, they're getting ready to launch their No Mistakes Tour, their first national trek in 30 years, though they're aptly labelling themselves TSIM for the run and making it hard for editors all across the country.

Ever since they reformed, I've jumped at the chance to interview TISM every time the opportunity has come my way, and every time has been something of a shambolic mess. That's nothing against my skills as an interviewer, rather, it's a testament to how anyone attempting to have a chat with TISM might as well be bringing a knife to a proverbial gunfight.

This time around, I was brave enough (maybe foolish is a more accurate term) to say yes to having them on the Trusty Chords podcast.

However, remember when I said this episode is far from normal? Well, that's because trying to get TISM to do anything is like herding cats – masked cats who know their Jean-Paul Sartre from their John Paul Jones. 

As such, I knew that from the get go to the let go, I was going to have no luck asking any of my normal questions, and woe betide me if I was to try and run through the standard Trusty Chords segment near the end.

I will say, however, I did speak to someone once before on this podcast who knows a lot about TISM. I don't recall his name, but that's available way back in episode 47 if you find yourself eager to go further.

Anyway this is where I'll say, 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 and… I don't know… penance.

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.

Hello and welcome to Trusty Chords, the podcast which aims to celebrate music and those that create it.

Spend just a few minutes chatting to Nick Manuell, and it's pretty clear that he's one of the hardest-working folks in the Australian music scene.

Having been interested in music since his early years, a number of bands gave way to The Sinking Teeth, who were a staple of live stages for quite some time – close to a decade in fact.

However, Nick's current list of bands can be traced back to 2013, when The Sinking Teeth went out on tour with punk icons Bodyjar for their 'Role Model' tour. Performing alongside Luca Brasi as fellow supports, it was just six years later that he'd be asked to join Bodyjar as their bassist.

Since then, he's served as a member of the legendary rock group, starting another band – Raging Hormones – along the way.

Most recently, Nick went back to that 2013 tour, because in 2024, he also joined Luca Brasi, this time as their rhythm guitarist. Needless to say, if you're in a band right now, be careful chatting to Nick, or else he might just be coming for your job.

Alongside his stellar work in his numerous bands, Nick's work also extends to the worlds of photography, videography, recording, and so much more. I've been lucky enough to share stages with him, record in the studio with him, and have his camera pointed at my face, and he's a dedicated professional in every aspect.

Next week, Nick is hitting the road with Luca Brasi as they kick off their 'If This Is All We’re Going To Be' tenth anniversary tour, but before he does that, he was kind enough to join for a lengthy chat about his musical history.

Anyway, buy a ticket to Luca Brasi's upcoming Australian tour; listen through the discographies of The Sinking Teeth, Bodyjar, Raging Hormones, and Luca Brasi; and I’ll see you at the end of the episode for some general housekeeping.

It's pretty hard to think about punk music over the past 50 years without paying mind to the great Greg Ginn.

Beginning his career with a radio equipment company before he was even a teenager, Ginn co-founded the band Panic with vocalist Keith Morris in 1976, with the group adopting the name Black Flag in 1978.

The ensuing decade has been studied, talked about, written about, and immortalised at great length, with Black Flag quickly becoming one of the most hard-working, prolific, and energetic punk bands on the scene. 

When someone talks about hardcore punk, laments the 'glory days' of the genre, or turns their attention to what a punk band 'should' be, they're probably talking about Black Flag.

Though Black Flag would split in 1986, a batch of reunions have taken place since, and just last year – in 2025 – Ginn announced the latest lineup of the band. This time around, it made headlines, largely due to the fact that the combined ages of his new bandmates don't equate to his own.

While some critics have derided the latest era of Black Flag for featuring a 'Gen Z' lineup, and others have exercised some misogyny with comments towards their newly-recruited vocalist – the first woman to hold down the role – recent footage has shown that the band are actually firing on all cylinders.

This May, Black Flag  are returning to Australia for a batch of shows, and to celebrate, the normally media-shy Ginn joined me for a brief chat about the band's latest happenings. We don't quite get to all of his favourite songs, but with such a hard question put to a great musical mind, who can blame him?

Anyway, buy a ticket to Black Flag's upcoming Australian tour, and I’ll see you at the end of the episode for some general housekeeping.

I'll admit that when it comes to music in Australia, Canberra is a music scene that is typically overlooked.

Which is a shame, because that's where most folks got to experience the rise of Kim Yang.

Born in Taipei, Taiwan, Kim's formative musical years saw a brush with fame by way of an impressive appearance on Taiwan's Super Idol TV show. However, after relocating to Australia to professionally study music, Kim revisited the world of performing by way of busking in the streets of Canberra, eventually releasing a batch of recordings into the world.

Following support slots for a run of local acts such as Josh Pyke, Ben Lee, Katie Noonan, and more, Kim's impressive foray with widespread attention preceded a move to Beijing in 2023, where she continued her musical journey on a global scale.

In early May, Kim will release her debut album, the stellar 'Turn On The Lights.' It's an album that is a true pleasure to listen to, with Kim's penchant for curating an intimate, comforting mood with her music underpinned by her innate ability to showcase a sense of vulnerability and humanity in her lyrics.

With lyrical themes focusing on identity, purpose, fear, and anxiety, while also drawing on her own journey through self-doubt, discovery, and acceptance, it's an album you would do very well to listen to.

This week, I was lucky enough to have a chat with Kim ahead of the release of her album, and it was a true pleasure to learn more about her musical journey, and approach to her craft.

Anyway, have a listen to Kim Yang's 'Turn On The Lights' when it arrives on May 7th, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For the Australian music fans among us (and I've looked at the podcast demographics – that's most of you), the name Dean Hanson might not be to the level of household recognition, though his work is certainly on the way.

For close to two decades now, Dean has served as the guitarist of Ball Park Music, a group who are – in my opinion – one of the country's most consistently good groups. 

Sure, they might not have won an ARIA (yet), and they might have only received their first local chart-topper (so far) last year, their work is stellar, their live experience immense, and their reputation as solid performers established.

But for fans of Dean (and there are plenty), there's good news in the pipeline, because he has today released his debut album under his solo moniker, Zeano.

Dubbed 'Window Seat, Always,' Dean figured it was time to put all those ideas he had bubbling away under the surface to good use and to finally make a record which showcases them all. Working with Tim Hart of Boy & Bear, a ten-day recording period gave way to an album which is truly exceptional.

Some records get unfairly overlooked when described as a 'solo project', but don't let that fool you, Dean has crafted a record which could easily stand tall on its lonesome if he had no prior brand recognition.

That is to say, this is a record you should give your time to. Come for the outgoing pop rock near the start, and stay for the introspective work that populates the back end – you won't regret it.

As you might be able to assume, I was lucky enough this week to have a chat with Dean for the podcast, where we talked about solo projects, supporting big name acts, and creating music solely for the love of it.

Anyway, have a listen to Zeano's 'Window Seat, Always,' buy a ticket to his album launch show, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Those keeping their finger on the pulse of the Australian music scene may have noticed that just a few weeks ago, we were blessed with the release of 'Spectacular Denial,' the debut album from Anna Smyrk.

An artist who has been performing for many years in various guises, Anna has been working on a solo career for most of the last decade, and it's been a pure treat watching her release music with increasing regularity.

According to her website, she's someone who crafts songs for "word nerds and pop hook obsessives", which is probably why I enjoy her music so much.

With her long-awaited debut album, we've received a powerful collection of tracks that transcend genre lines and traverse myriad topics, with much of the record serving as a vehicle for dealing with grief.

That's all to say, it's an album that is as powerful as it is immersive, and vulnerable as it is brave. I don't think I'm making a bold claim when I say it's one you should definitely listen to.

Recently, I was lucky enough to have a chat with Anna about her many years spent as a wonderful musician, and the journey to this stunning record as well.

I will apologise in advance that there's a few audio hiccups from time to time, but as always, if you don't mind, then neither do I.

Anyway, have a listen to Anna Smyrk's 'Spectacular Denial,' buy a ticket to her upcoming shows, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I'm going to make a bold claim that if you're listening to this podcast, you've got a very good taste in music. That's why I think you'd do very well to check out Melbourne's own Fairtrade Narcotics.

A genre-defying six-piece ensemble who are often described as blurring the edges of jazz rock and psychedelic pop, they've been in the game for close to a decade now, making lovers of luscious tunes swoon, and melting faces along the way.

This week, they release their second album, 'Recession Pop', and I believe it's one of those albums you need to listen to in full to really appreciate. Don't go shuffling it on streaming or picking out the singles – pop it on, sit with it, and let it musically overwhelm your senses.

Describing the record as a "soundtrack to a bubble-gum dystopia", it's an album which comes from a period of evolution and change for the band. 

Alongside relocating studios, welcoming new members, and further honing their eclectic sound, Recession Pop is a sonic snapshot of a band who have been at it for some time, but are only now showcasing their full potential as songwriters, performers, and artists.

This week, I was lucky enough to catch up with Wilsen Conn, George Inglis, and Brooke Kymberley of Fairtrade Narcotics for a chat. If George sounds familiar, that's because he joined in during the Sleepazoid chat a few weeks back. Much like that podcast, drummer Luca Soprano couldn't make it – but I'm not taking it personally.

Anyway, have a listen to Fairtrade Narcotics' 'Recession Pop', buy a ticket to their upcoming tour and their album launch show this evening, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For close to 15 years now, I've been a massive fan of Adelaide's Bad//Dreems.

Regarded as one of Adelaide's finest purveyors of pub-rock (a term they initially shied away from), Bad//Dreems first formed back in 2011, and wasted no time hitting the ground running.

A debut EP gave way to 2015's 'Dogs At Bay,' which was followed by 2017's 'Gutful,' and 2019's 'Doomsday Ballet.' In 2023, the group re-emerged from COVID with Hoo Ha!, their best-performing record to date, and their only one to (so far) to receive an ARIA Award nomination.

As I said at the start, I've been a massive fan of Bad//Dreems across this past decade-and-a-half. In fact, if you know anything about me, it's how much I am a fan of this group.

As it stands, they're currently the band I've seen the most, I've also spent time in the studio with them, and they even refer to me as their number one ticket holder – which I'm not going to complain about.

Last week, they released their fifth album, 'Ultra Dundee,' which is arguably one of their finest releases to date. It's powerful, it's mysterious, it's angular, jagged, and luscious, and it's the distillation of what Bad//Dreems have been leading to after all these years.

Sadly, the record was also accompanied by the news that, after their upcoming tour, Bad//Dreems will be going on an indefinite hiatus.

So I recently wiped away the tears and had a chat with founding Bad//Dreems members guitarist Alex Cameron, and vocalist Ben Marwe. Together, we had a lengthy chat about their career, their new record, and what this hiatus means for them.

Anyway, have a listen to Bad//Dreems' 'Ultra Dundee,' 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 ever thought to yourself, "Son of a gun, I reckon 'bush-psych' is one of those genres that should exist," well, have I got a name for you.

That name is William Crighton, the Australian musician originally from Dubbo, who launched his career 25 years ago. However, his musical journey really begins in earnest with the release of his self-titled 2016 album.

Remarkable in his musical approach thanks to a profound compositional and lyrical sense that manages to intertwine time, place, country, and emotion in a raw, yet profound mix, Crighton's work has been recognised as, I believe the technical term is 'pretty bloody good', having taken home the ARIA Award for Best Blues And Roots Album off the back of 2022's 'Water And Dust'.

Today, Crighton is back with another corker of a record, 'Colonial Drift'. If you're in the mood for a good time, I implore you to pop those headphones on, sit back, and let him transport you with his myriad musical talents.

This week (well, we recorded this over a month ago), I was lucky enough to be joined by William Crighton for a chat about his new record, his musical past, and everything else. The audio is a bit spotty due to a poor internet connection, but I won't fret if you don't.

Anyway, have a listen to William Crighton's 'Colonial Drift', have a listen to our chat, buy a ticket to his upcoming tour, and I’ll see you at the end of the episode for some general housekeeping.

For over two decades now, the world of indie rock and emo has hosted none other than Pennsylvania's Tigers Jaw.

First formed in 2005 as a two-piece, the project soon expanded and began releasing music. In 2008, their self-titled second album was released, firmly establishing the group as one of the genre's finest acts. In fact, you'll find tracks like 'Plane vs. Tank vs. Submarine' and its sublime follower 'I Saw Water' rightly considered some of the best in the '00s emo revival.

This is all to say that Tigers Jaw do a pretty fine job, and that formative success has only followed them. While the group's membership has ebbed and flowed – though always comprising Ben Walsh since its formation and Brianna Collins since 2006 – their music has continued, with new records arriving with regularity.

Now, after five years, Tigers Jaw are back with their latest record, Lost On You, and it's a stellar piece of work. Powerful, emotive, and punchy as ever, it's an amazing album which shows that more than 20 years into their career, Tigers Jaw are nowhere close to being done with their roles as impressive musicians.

This week, I was lucky enough to have a chat with Ben Walsh in the lead-up to the record's release on March 27th. 

Anyway, have a listen to Tigers Jaw's Lost On You when it arrives (but listen to the rest of their discography in the meantime), have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I'd like to imagine that I'm like a lot of people when I say that I enjoy music that doesn't take itself too seriously. That's probably why I found myself resonating with Electric Six when they first broke onto the scene over two decades ago.

By the time they turned heads with 2003's debut album, 'Fire', the group had been around for quite some time already, having first launched as The Wildbunch in Detroit back in 1996, and adopting their current name a few years later following some shuffling of members.

That debut album was an impressive one, spawning hits like 'Danger! High Voltage', 'Dance Commander', and 'Gay Bar,' and proving that you don't need to be a solemn-faced, suit-wearing rocker to make a splash.

They certainly rocked though, blending elements of rock, disco, and even metal in their work to craft a sonic palette which was as varied as it was impressive. Hell, their latest tour poster calls it 'disco-punk and metal-funk', so it's one hell of a descriptor.

Pretty soon, they became a prolific entity, and between 2003 and 2023, they averaged around one album a year between myriad live shows. That initial success brought with it a pair of Australian visits in 2004 and 2005, but from there it was a long wait for a return. In 2023, they made a long-overdue comeback, following it up again the year after. 

Now, Electric Six are back for another Australian tour this month, and to celebrate, I was lucky enough to spend some time with frontman Dick Valentine (or Tyler Spencer, as his driver's license would tell you) for a chat about the group's enduring legacy.

Anyway, have a listen to Electric Six's lofty discography (maybe start with 'Fire' – it's great!), have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you're one of those folks who contends that pop-punk was at its best in the '00s (and it was, let's face it), then there's a pretty good chance you've bumped a bit of Cartel in your time.

First formed in Georgia back in 2003, it didn't take long for Cartel to hit their stride, recording and releasing music, while also touring in earnest. In 2005, however, they struck it big with the release of their debut album, 'Chroma.'

A stellar masterwork of the genre, 'Chroma' is the sound of a young group combining their shared influences to craft something incredibly special. It's got hooks, it's got riffs, and it's got that cathartic edge that everyone strives for when it comes to music of the era.

Over the years, Cartel have continued to grow. They became the second (and final) band to appear on the Band In A Bubble series (following on from previous podcast guests Regurgitator), they toured Australia on numerous occasions, and have released three more albums.

However, since the release of 2013's 'Collider,' the band haven't toured Australia or released a new album. That sort of changed last year when they released a re-recorded version of 'Chroma' for its 20th anniversary, and announced a new run of Australian tour dates – which kick off this weekend – and will see them playing the record in full.

This week, I was lucky enough to be joined by Cartel's Will Pugh, days before his latest trek to Australia, and mere weeks after his last. Together, we spoke about the band's formation, the legacy of 'Chroma,' and how that new album has been cooking.

Anyway, have a listen to Cartel's 'Chroma,' have a listen to our chat, buy a ticket to their tour, and I’ll see you at the end of the episode for some general housekeeping.

For close to 25 years now, the Australian music scene has been home to a little group called Kisschasy.

First forming in around 2002, the group rose to fame in 2005 with their exceptional debut record 'United Paper People,' and – having not exhausted their brilliance on their first outing – followed it up two years later with the stunning 'Hymns For The Nonbeliever.'

Two years later, the group gave us their third album with 'Seizures,' and sadly didn't follow it up. A new record was demoed, but it never saw the light of day, and in 2015, Kisschasy bade us farewell after a final tour.

In 2022, a return was on the cards, with the band playing their debut album as part of the Good Things festival that year. Following more tours, the band began sharing new music in 2025, and now they're back with their long-awaited fourth album, 'The Terrors Of Comfort.'

I truly cannot tell you how much I love Kisschasy. They are a band who have been with me for over 20 years now, and if they had a dollar for every time I'd listened to one of their songs, I'm sure they'd be recording albums on gold microphones at Abbey Road after pulling up in their Ferraris.

And in fact, 'The Terrors Of Comfort' is an album I implore you to listen to. It's only February, but I may have already found my album of the year. It's everything you love about Kisschasy's glory days, filtered through years of growth, evolution, and musical maturity that only a band like them can deliver.

This week, I was lucky enough to be joined by guitarist and singer Darren Cordeux for a lovely chat where we discussed everything from the group's formation, to their classic era, to the new music. Plus it was a great chance for me to be a Kisschasy nerd for a while.

Anyway, have a listen to Kisschasy's 'The Terrors Of Comfort,' 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.

If you're not yet around sleepazoid, then now might be the time to change that, because according to all and sundry, they're on their way to becoming the 'next big thing' in Australian music.

It's easy to see why, however. One only needs to take a look at their blissful mix of – as a colleague of mine described it – "gritty grunge and dreamy shoegaze" to see why they're drawing a crowd everywhere they go.

And draw a crowd they do. Having shared their debut tracks back in 2024, sleepazoid released their debut EP 'running with the dogs' just last year. By the time I caught them, six months after that EP arrived, you'd be forgiven for thinking they've been around a decade or longer given how voracious their fanbase is, how packed their shows can be, and how intense they are as performers.

Fast forward even further, and now, they've just released their latest EP, 'NEW AGE'. As you'd expect, it's another stunning piece of work from this group who simply can't help but make some amazing music, and it truly leaves you wondering just what amazing heights sleepazoid are about to scale next.

This week, I was lucky enough to be joined by Nette France, Jo Pabis, Jim Duong, and George Inglis from sleepazoid (sadly, Luca Soprano couldn't make the chat) for an in-depth chat about their career and the new EP.

This is one of my rare in-person chats, so excuse the spotty audio that occurs when five people  chat over two shared microphones.

Anyway, have a listen to sleepazoid's 'NEW AGE' EP, buy a ticket to their upcoming shows, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If there's one thing that you need to know about Joyce Manor, it's that every time they release a new album, their fans are in for a good time.

In fact, I've been saying that for well over a decade now, having followed the Californian outfit since the release of their second album, 'Of All Things I Will Soon Grow Tired,' back in 2012.

In the time since, they've released four more albums, a few more split EPs, myriad singles and music videos, and toured the world on numerous occasions. Not bad for a little group that kicked off rather quietly back in 2008.

Now, 18 years into their storied career, Joyce Manor are back with their latest album, 'I Used To Go To This Bar.' For diehard fans of the group, it's exactly what you want out of a record from Joyce Manor, with that frenetic sense of energy and power being paired with their stellar lyrics and inimitable knack for writing a killer tune.

This week, I was lucky enough to have a chat with not just one, but all three members of Joyce Manor, with Matt Ebert, Barry Johnson, and Chase Knobbe joining for what may actually be my favourite episode I've recorded to date.

Anyway, I'll let you be the judge of that from a listener's perspective. So in the meantime, have a listen to Joyce Manor's 'I Used To Go To This Bar,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you've listened to Australian music at any point over the last 25 years, the chances are good you've bumped a bit of The Herd from time to time.

Formed in Sydney out of, and by, members of the Elefant Traks collective, The Herd wasted no time in sharing their myriad musical influences with the world. After their self-titled debut scored praise thanks to the likes of the song 'Scallops' (to date, a word I cannot pronounce correctly thanks to the song), second album 'An Elefant Never Forgets' attracted attention thanks to enduring political cuts such as '77%' and 'Burn Down The Parliament'. 

But it was 2005's 'The Sun Never Sets' that really set the spotlight upon them. Packed full of intricate rhymes, a vast array of musical themes, and arguably one of the best local releases of that year, it was an album whose impact is far greater than its commercial performance. 

The record also scored an additional boost after The Herd performed a cover of Redgum's 'I Was Only 19' for triple j's Like A Version segment, cementing them into local musical history.

While two more records followed over the next six years, The Herd have been largely absent from our stages for years now. But this year, that's changing, with the group coming together for a 20th anniversary tour in support of 'The Sun Never Sets.' Performing the record alongside some of their other classics, it's bound to be a stellar experience for all and sundry.

This week, I was lucky enough to be joined by Tim Levinson (otherwise known as Urthboy) for a chat about the record and the upcoming tour.

Anyway, have a listen to The Herd's 'The Sun Never Sets,' buy a ticket to their upcoming shows, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I'll be honest when I say that there's a good chance a lot of folks who appear on this podcast are unknown by large portions of the listenership. That's not a bad thing, of course, since it helps promote discovery and all that sort of thing.

However, there's another very good chance that this week's guest is one that you do know, especially given he's the first Grammy Award-winner (that I know of) to appear on this podcast. That person is John Gourley, the co-founder of Alaskan rock outfit Portugal. The Man. 

Having formed back in around 2004, it didn't take long for the group to start releasing music, and by the time I discovered them in 2009, they'd already released four records. Plenty of tours followed, including a few trips to Australia, and a spot on the final Big Day Out lineup. Then 2017 happened. 

That was the year the whole world caught on thanks to their unavoidable single 'Feel It Still'. It topped the charts around the world some months after it was released, and in early 2018, Portugal. The Man took home the Grammy for Best Pop Duo/Group Performance.

It took a few years for the band to release their next album, and following a bit of a personnel overhaul in 2024 and 2025, Portugal. The Man returned in November with their tenth album, 'SHISH,' which is certainly worth your time if you're a fan of immersive, introspective pop rock.

This week (well, it was last year when we recorded this actually), I was joined by Gourley for a chat about the band's rise to fame, their brush with success, and – of course – their latest album.

Anyway, have a listen to Portugal. The Man's 'SHISH,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

It's been about two decades now since the world of Australian hip-hop welcomed Matt Colwell, otherwise known as 360, onto the scene. 

A rapper with a flair for mixing genuineness with wry humour and slick rhymes, 360 rose to wider fame in 2011 with the release of his 'Falling & Flying' album. Reaching No. 4 on the ARIA charts, it saw him take home two ARIA Awards from the ten nominations he received that year. 

His 'Boys Like You' single would hit No. 3, and his next two albums – 2014's 'Utopia' and 2017's 'Vintage Modern' – would hit No. 2 and No. 3 on the charts, respectively. That is to say, he's had a solid taste of commercial success.

But it doesn't end there, because this year, he returned with his fifth album, 'Out Of The Blue.' His first record in eight years, it was a long wait for hardcore fans, but came about following time spent on recovery as he went through a period of rehab to overcome addiction and to enter a newfound state of sobriety and stability.

Next year, 360 heads out on his latest tour, the ambitious Back And Forth tour with longtime friend and collaborator Pez, with the pair literally going back and forth across the country from February until June.

This week, I was lucky enough to have a chat with 360 as we spoke about his new music, his approach to the craft, and his journey from the darkness into light.

Anyway, have a listen to 360's 'Out Of The Blue,' 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.

It was just over 30 years ago that power pop outfit the Icecream Hands formed in Melbourne.

With its origins lying in Adelaide group The Mad Turks From Istanbul in the '80s, the power pop sensibilities of The Mad Turks followed over to the Icecream Hands, which has featured founding songwriter, vocalist, and guitarist Charles Jenkins ever since.

Throughout their storied history, Jenkins and the Icecream Hands have carved out an impressively dedicated fanbase, have scored a few ARIA Award nominations, and are frequently met with critical acclaim, though commercial success has often eluded them.

In 2007, their album 'The Good China' was followed by a hiatus of sorts where Jenkins would focus more on his solo work for a while, whether it be under his own name, or with The Zhivagos or The Amateur Historians.

In 2020, the Icecream Hands returned with their album 'No Weapon But Love,' and fast-forward another five years and we've now received the exceptional 'Giant Fox Pineapple Tree.' If you're a fan of music which is not just pleasurable to listen to, but features some of the best songwriting you'll hear this year, then this new album is one worth your time.

This week, I was lucky enough to be joined by Jenkins for a lovely chat where we discussed his musical history, the importance of good songwriting, and the Icecream Hands' journey to today.

Anyway, have a listen to the Icecream Hands' 'Giant Fox Pineapple Tree,' buy a ticket to their upcoming shows, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For close to 30 years now, the Australian music scene has sporadically played host to the exceptional Cordrazine.

Fronted by Hamish Cowan, who formed the group following time spent in the group Blindside, Cordrazine were the very definition of a star that shone brightly, and for a period far shorter than they should have.

Releasing their 'Time To Leave' EP in 1997, the group's singular sound saw them making it into triple j's Hottest 100 of the year when their track 'Crazy' hit the No. 17 position, and by 1998, debut album 'From Here To Wherever' hit the national top 10 and resulted in two ARIA Award nominations.

Sadly, Cordrazine were not long for this world, and they split soon after. Cowan would go on to form the duo Hamish with Bryan St James, but we wouldn't see Cordrazine again until 2010, when the 'Always Coming Down' album was released into the world.

Since then, it's been a little sporadic on the live front, though we've recently seen a handful of new tunes released by the group in the lead up to the release of the 'You See In Me' EP, which arrives today.

The EP will be followed by a launch show at the Northcote Social Club next week, which is being billed as the final opportunity to see Cordrazine live.

This week, I was lucky enough to be joined by Cowan, who was kind enough to take part in not just one, but two chats, after we simply ran out of time in our first meeting to talk about all the things we had to. 

Anyway, have a listen to Cordrazine's 'You See In Me' EP, buy a ticket to their final show, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I could probably hazard a guess and say that we all know people like These New South Whales: stunning musicians, effortlessly funny, charismatic, and just all 'round impressive people.

With that in mind, it's hard to pick out what to focus on when talking about their achievements.

Maybe we could talk about their musical career, which has brought with it a handful of albums and even an ARIA nomination?

There's also room to discuss their amazing live performances, which are as ferocious as they are arresting.

Perhaps we could focus on their comedic side, which resulted in their very own Comedy Central series?

Or maybe we could point our attention to their 'What A Great Punk' podcast, which is closing in on a lofty 500 episodes?

Ultimately, These New South Whales are the sum of many parts, and all of them done very well in tandem.

This week, the group release their fourth album, 'GODSPEED,' and in typical fashion, it's a pretty stellar release. Alongside its arrival, they're hitting up the east coast of Australia for a series of free instore performances which are then followed by a series of live podcast recordings, wrapping up the first season of 'What A Great Punk.'

With so much going on, I caught up with These New South Whales' Todd Andrews and Jamie Timony to have a chat about the new record, 500 episodes of their podcast, and their eclectic love of music.

Anyway, have a listen to These New South Whales' 'GODSPEED,' buy a ticket to this weekend's podcast recording tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

I'm going to go out on a limb here and say this – the chances are very good that you do not know my guest today. In fact, I hadn't even heard about my guest until just a few months ago.

That all changed back in June when I played a show in Ruovesi, Finland, on whose line-up the band Cliff Barnes could also be found.

Also hailing from the gorgeous country that is Finland, Cliff Barnes is the sort of band that any self-respecting lover of '90s rock should familiarise themselves with immediately.

Fuzzy, raucous, and energetic, fans of Dinosaur Jr. will undoubtedly recognise some parallels with their sound, while folks who enjoy their music loud and laden with hooks will be well-catered to.

When I caught Cliff Barnes live, I left with a copy of their debut album, 'Free Flyin',' which arrived in 2023 – roughly 25 years since the group had first formed and begun making music. Truly, you'd do well to check them out, especially given that I've been unable to stop recommending them to friends since I heard them.

I also left that show with a definite need to chat to JP Jakonen, the founder, guitarist, and vocalist of Cliff Barnes, who – away from his time in the music world – should be called Dr JP Jakonen, with his professional career seeing him serve as a prolific author due to his specialties in the fields of philosophy, psychology, and religion.

So that's exactly what I did recently. I called up JP to have a chat about his myriad musical projects, the work of Cliff Barnes, and to gain a bit of an insight into what he does for a day job.

Anyway, have a listen to Cliff Barnes' 'Free Flyin',' 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 one of Australia's next big rock bands is going to be The Belair Lip Bombs.

Hailing from Frankston in Victoria, The Belair Lip Bombs aren't exactly from a massive musical metropolis, but that hasn't stopped them thriving.

First formed in 2017, the quartet issued a pair of EPs ahead of their 2023 debut album, 'Lush Life,' which arrived to widespread acclaim. Since then, things have been looking up even more for the group, with an appearance at the South By Southwest music conference garnering the attention of Jack White's Third Man Records label, and seeing the group become the first Australian outfit signed to the iconic stable.

Since then, their profile has only grown, and with the release of last week's 'Again' album, it's clear The Belair Lip Bombs are well on their way to global prominence.

This week, I was lucky enough to chat with drummer Daniel Devlin, who joined to discuss the group's rise to fame and the sounds and influences of their latest album.

Anyway, have a listen to The Belair Lip Bombs' 'Again,' 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're not yet a card-carrying member of the Georgia Knight club, then you're in prime position to change your life.

Originally from Melbourne, Georgia Knight has been part of the music world for some years now, having made a public debut with her solo material back around 2019.

As she continued to write and record, Georgia shared more music until the release of her 'Hell On Bent Street' EP, showcasing a truly stellar approach to her musical craft which is probably best described as indie rock with elements of folk thrown in.

Since then, things have been a bit quiet. While Georgia recorded a full album around 2023, and while she's played plenty of shows since, we've been waiting to hear new music for some time, with that drought set to end this week with the release of 'Beanpole.'

A truly gorgeous album which shows a darker vibe to her already-impressive music, Beanpole is one of those albums you can't just listen to once, with its cinematic vibes and elements of trip-hop and avant-garde instrumentation enticing you to pop the headphones on and give it more of your time.

I was lucky enough to catch Georgia a few times at BIGSOUND in Brisbane this year, and it's become crystal clear she's well on her way to becoming one of the country's most exciting musical exports.

That's exactly why I made sure that I needed to have a chat with her for the podcast this week, which I did when she called in from her car in New Zealand for a lengthy discussion on music, social anxiety, and a love of great songwriters.

Anyway, have a listen to Georgia Knight's 'Beanpole,' buy a ticket to her upcoming launch show, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you've been paying attention to the Australian music scene in recent years, there's a good chance you may have come across the enigmatic majesty that is Our Carlson.

Having got his start in the hardcore world over two decades ago, Carlson has spent the past few years cementing himself as a commanding figure within the world of electronic music, describing his work as "trauma doof from The Peoples Poet."

In 2021, his 'A Bit Much' EP gave punters a taste of what was to come, with passionate lyricism and stellar compositions fast winning over audiences. Meanwhile, 2023's follow-up, 'A Bit 2 Much,' continued the trend, and gave us a further taste of what was still to come.

This year, he's released the full-length record, 'OC Spray,' a collection of nine tracks that showcase his musical diversity and myriad lyrical focuses. Alongside doof beats and eclectic production, you can even find elements of hyperpop and raw, stark vulnerability. It's a hell of a record, and one you definitely need to hear.

Alongside the recorded music, however, Carlson also uses his position to champion the causes that matter. Whether it's the likes of calling out strobes at shows, or campaigning for Indigenous rights, a free Palestine, or the rights of the LGBTQI+ community, Carlson is a man with many focuses at any given time.

This week, I was lucky enough to catch up with him again and have a chat about the new record, and everything that's gone on over these past few years.

Anyway, have a listen to Our Carlson's 'OC Spray,' have a listen to our chat, buy a ticket to his current tour, and I’ll see you at the end of the episode for some general housekeeping.

Ask anyone, and there's a good chance that many Australian music fans will describe Gareth Liddiard as one of the pillars of this country's music scene.

For Liddiard, his musical career began back in the '90s, entering this creative world alongside the formation of The Drones, who are often regarded one of Australia's most revered bands. Alongside numerous albums and myriad live performances, The Drones took home awards like the inaugural Australian Music Prize, while 'Shark Fin Blues' was voted the best Australian song by contemporary songwriters.

While The Drones would enter a hiatus of sorts in 2016, Liddiard has kept at it, forming Tropical Fuck Storm the following year. Since then, that's been his main project, though he's also dabbled with Springtime alongside luminaries Chris Abrahams and Jim White.

Weird, discordant, and ever-arresting, Tropical Fuck Storm this year released 'Fairyland Codex,' their fourth studio album, and first full-length record since 2021. It's a stellar album, and one they're about to head out on the road to support with an Australian tour.

This week, I was lucky enough to speak to Gareth Liddiard once again, funnily enough, just a day after 'Fairyland Codex' nabbed a spot as a finalist for the Australian Music Prize.

Anyway, have a listen to Tropical Fuck Storm's 'Fairyland Codex,' 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.