Known for his classic sound rooted in rock ‘n’ roll, rhythm and blues, and rockabilly, JD McPherson is set to play razor-sharp shows in support of his latest highly acclaimed album, Let The Good Times Roll. He’ll be backed by his longtime four-piece band featuring Jimmy Sutton on upright bass, Jason Smay on drums, Ray Jacildo on keys and Doug Corcoran on saxophone, guitar and keys.
With an impressive touring ledger that has seen JD McPherson crisscross the US on headline tours and open for such acts as Robert Plant, Dave Matthews Band, Nick Lowe and Eric Church, you’ll need to be quick when tickets for The Triffid show will go on sale at midday on Friday 4 September.
Produced by Mark Neill (The Black Keys’ Brothers, Old 97s, Los Straitjackets) along with McPherson, Let The Good Times Roll is, in his own words: ‘full of big, bombastic sounds; lots of guitars, and tons of percussion’.
From the Eddie-Cochran-influenced title track to Bridge Builder—the ballad co-written with Dan Auerbach—to the more punk inspired sounds of the current single, Head Over Heels, this latest album is a foot-stomping, ass-shaking thing of beauty.
This new music follows JD McPherson’s widely praised 2012 debut, Signs and Signifiers, a scorching rock ‘n’ roll record that introduced him to the music world and had the likes of MOJO Magazine calling it ‘…an utterly irresistible, slicked-back triumph’.
Website: JD McPherson
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The acoustic guitar is mostly played by wannabe hippies with stinking dreadlocks and whining aspirations or pub cover bands spraying their trade across oblivious patrons, but for the most part hot and horny backpackers.
They are good for pretty much nothing (I’m talking about acoustic guitars again here) except for creating warmth in an emergency situation by way of fuelling fire, or accenting or emphasising an important point during an argument or domestic dispute by way of smashing into kindling.
At least that was what Geoff Corbett (SixFtHick, The Tremors), lead vocalist of Shifting Sands thought, but just like so many times across his career of ‘blink and you’ll miss it’ highs and extended lows that would crush a purpose-built mini-sub through sheer and immense pressure, he would be proven wrong.
Oh yeah, acoustic guitar could be OK, but it would take a special someone to coax tunes of any worth from this body of warps and cracks, with a neck like a fretted corkscrew and five strings barely alive.
Step into the downward spotlight, Dylan McCormack (Gentle Ben & his Sensitive Side, David McCormack & the Polaroids) and take that abortion of pine and tinsel and pluck forth from it songs that don’t suck, are not Alt. country nor singer-songwriterly, but speak of but two things: sex and sadness—the Shifting Sands mantle. Bread and butter, if you will, except in this instance the bread has a hard-on and is trying to kiss you and the butter is drunk, sobbing and cutting itself with a sharpened piece of broken CD case. Clearer?
So in August 2012, Corbett and McCormack set about banging out tunes influenced by an impressive catalogue of surnames: Cohen, Hazlewood, Gainsbourg, Waits, Lanegan, just to name-drop five. These songs were of unrequited love, existential crises, clinical depression/substance misuse, anonymous seduction/sex and requited lust. It was gritty, like a bunch of cheap basil or beach sex. You choose.
Too gritty, the critics moaned. ‘Fuck them’, I hear you chime. But Corbett and McCormack had to work fast, so they enlisted the talents and undisputable good-looks of one, Danielle Golding (Inland Sea) to balance the canoe (so to speak) with sunshine, puppies and massage oil. This shit was actually coming together. Danielle transplanted hymnal organ, naïve piano and melancholic cello inside and around the tunes to remove some focus from Corbett and McCormack’s incessant boozing. It worked. Perhaps too well. Losers stumble upon winning formula. Danielle has now relinquished her vox/keys role to the wonderful and equally alcoholic Anna Clifford (Johnny & The Fembots, Family Jordan). Now add the delightful and enigmatic Liam Campbell to skins, the so-relaxed-we-better-check-his-pulse Dan Baebler on electric guitar and (on very special occasions) Mr Cameron Bruce, and you have the full-blown, terminally inconsolable Shifting Sands.
We hit the studio, drunk of course, and layed down an album-and-a-half of sheer genius. Each song a masterpiece in its own right. Everyone of them utterly unlistenable. We set about rectifying this. We prescribed the entire band Acamprosate (an anti-craving medication for the thirsty) and armed Darek Mudge (studio engineer and all round good guy) with a tazer and strict instructions to use it on anyone loitering around the fridge.
It worked. The resulting recordings captured the depression, anxiety and anger dredged up by severe alcohol withdrawal and just a little bit of love.
Our debut album, Beach Coma, was born. BAM!
Facebook: Shifting Sands
Josh Rennie-Hynes is quickly making waves as one of Australia’s finest Americana/folk singer-songwriters. He caught the attention of renowned ARIA-award winning Australian artist and producer Shane Nicholson, and together they began working on his debut album, February, in late 2013.
Rennie-Hynes independently released February, and it marks his maturation as both a songwriter and an artist. Since the release in July, Rennie-Hynes has not stopped touring—playing capital cities, regional areas, house shows and in-stores all over Australia—building his ever growing fan base and garnering a reputation as one of Australia’s hardest working touring artists. November and December of 2014 saw Rennie-Hynes touring internationally for the first time, with a 20-date headline tour of New Zealand. Rennie-Hynes has also received high-rotation radio play on ABC local Australia wide, and has also had regular plays on Triple J and community radio.
Rennie-Hynes is a captivating festival performer and has performed at the Woodford folk festival, Caloundra Music Festival, Apollo Bay Music Festival, Wandi Swagger Festival and the Tamworth Country Music Festival in the space of the last two years.
Website: Josh Rennie-Hynes
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