Podcasts about phantom records

Australian icon Tex Perkins takes us through his legendary career, from The Cruel Sea & The Beasts recent works, to wild ARIA award nights, his atrocious habits with vinyl records, reissuing his works on vinyl and lots more.  Topics Include: Tex Perkins rehearsing with The Cruel Sea for upcoming gigs. Bringing back "deep cuts" from 30 years ago. Band already prepared the songs before his arrival. Feels like "personal karaoke" returning to old material. Gains fresh perspective on older songs with time. Sometimes writes songs instinctively, not from personal experience. Song "Hard For You" channeled rage he hadn't experienced. Recorded with Kid Congo Powers from Bad Seeds. ARIA Awards incident clarified - didn't stab anyone. Hit someone with a glass at an after-party. Molly Meldrum was present during the altercation. Lived with Jules Normington of Phantom Records. Paid rent by washing Jules' dishes. Had access to Jules' extensive record collection. Especially enjoyed 60s punk and garage rock records. Met John Foy, who was pedantic about record handling. Music scattered across many different record labels. Controls some albums, but not all. Universal owns The Cruel Sea and some Beasts albums. Axeman's Jazz recorded and mixed in six hours. Recent album "Ultimo" recorded differently - basic tracks then laptop. Modern recording allows more experimentation without studio costs. Prefers vinyl album lengths around 18-20 minutes per side. Three Legged Dog being released on three vinyl sides. Spanish reissues were "handshake deals" with unclear accounting. Appreciates unashamedly Australian content in newer bands. Newer bands don't hide their Australian accents. Never experienced censorship of his music. Had releases in different regions without his knowledge. No accounting from Big Time label after bankruptcy. Performed with The Legendary Stardust Cowboy in 1985. "Ledge" known for having "world's worst record" - Paralyzed. Backed Ledge with James Baker, Spencer Jones, Lachlan McLeod. Ledge progressively stripped during his performance. Threw Frisbee paper plates with drawings into the audience. EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

The Violets, the darlings of Triple J and Music SA in the 90s return with a new album This is a bumper Easter edition full of audio easter eggs! It was inspired by the Easter theme of "new life", which is why we're focussing on: The Violets - the band has reformed after a 20 year break Frankly Gin - they've developed a gin that is perfect for drinking neat or just with soda - it means gin can rise again in our list of guilt free drinks Michael Mills and Gemma Dandie - have collaborated to create an album of original songs breathing new life into the understanding of female palaeontologist, Mary Anning GIVEAWAY: Plus we have a copy of The Violets new album, Smoke, Mirrors, And Other Half-Truths to give away. Simple rules. Create a social media post on Facebook in which you tell us what Adelaide street Matt Cahill was parked on when he first heard The Violets being played on Triple J - and make sure you tag @theadelaideshowpodcast and @TheViolets.OFFICIAL - first one wins. You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page Running Sheet: The Violets rise again 00:00:00 Intro Introduction to the show. 00:06:00 SA Drink Of The Week This week's SA Drink Of The Week is a new, award-winning gin from Frankly Gin. And Steve was lucky enough to do a tasting with one of the co-founders, Bernie Woods. 00:12:28 Matt Cahill, The Violets I like to write my own introductions to interviews but the wordsmithery I've found online for the subject of this interview, the band The Violets, is so sublime, I'm just going to use it verbatim: From the day they first formed in Adelaide, back in 1990, The Violets were an enigma. Created from a fusion of shimmering guitar lines, sonic abstraction and an almost cinematic vision, they smashed together light and dark, and made beautiful agony dance cheek to cheek with pretty mystery. It was pop, it was prog, it was flat out indie rock but it was never quite like anything else. And I think we'll discover that our guest today is quite like nobody else, singer/songwriter, guitarist, producer: Matt Cahill. Before we start plucking the petals of the flower that is the story of the band and of the music industry, let's stop and smell The Violets with Mary who? MARY WHO? This is where I start with a confession. I just wasn't around in Australia in the 90s. I was living and working in Hungary and then moved to England (yes, dear listener, Alexis Cattely. take a sip - he has a drinking game based on how often I bring my time working for Radio Budapest into the conversation). As a result, the 90s really is a dark area in the map of my musical memory. That applies to everyone, for example, I only just discovered The Cat Empire in time for their goodbye concert. So, I am coming to this interview with no nostalgia, with no common points of reference, so I'll apologise in advance for any awkward questions. That said, I have recently been introduced to The Violets with your re-release of Leased Regret, and a special preview copy of your new album, Smoke, Mirrors, And Other Half-Truths, and I've become quite smitten. And because of your dramatic history from early success and Triple J airplay, then record company signings, then record company feuds, then the band dissolving, then the band reforming 20 years later, I feel like we have a rare opportunity for some musical palaeontology to help us deeply understand the workings of a band and the music industry. So, Matt, can you take us to the beginning and piece together how The Violets came to be? What did rehearsals look like? (And sound like to neighbours) It's very common for people to suffer from Imposter Syndrome and self-sabotage their creative desires (doubt their intrinsic qualities and vision). What was the internal journey like when it came to sticking your head up above the trenches and risking judgement by music lovers and entertainment power brokers? So, what would you nominate as your first "break"? Would that involve the song, Ain't Love Grand? AIN'T LOVE GRAND I recall watching the biopics of Elvis Presley and Johnny Cash and in at least one of them, they capture the moment when these fledgling icons first heard their music being played on the radio. Can you describe what it was like hearing The Violets on Triple J for the first time? And do you remember where you were and what you were doing? Tell us about the South Australian Music Awards. What's the process and what was the experience like? Does a music award and airplay have a psychological effect in the writing process? Does it start making you double-think yourself (if that's a term)? Here's my naive observations of 90s music. We had simple harmony vocals and drum/guitar/keyboard/(sometimes brass) in early country/folk/blues, then rock and roll simplified and made the sounds harder with some doses of strong hooks. Then things got more experimental as backing tracks and layers came to the fore in the late 60s early 70s. Then we got more sophisticated, clearer production sounds (big sounds) in the 70s (along with the emergence of glam and a smattering of punk). Then the 80s really brought high power and rock and roll and/or electric music to the fore (some of the sickly songs from the 50s and 60s were recreated or evolved but with modern sound engineering). Then the 90s. I see electric "fake" sounds dumped in favour of dirty, murky, emotional, throaty, frenzied masses of guitars, a token set of drumlines, and vocalisation that was not so much focussed on the lyrics but on the sound of the voice. You could say, there was a trance like quality to the 90s sound, punctuated and differentiated by little crumbs of vocal quirks to satisfy our desire for some confection amid this serious mining of frustration and expression. Your reactions? Some examples: Somewhere has that hook - somewhere in the back of my mi-iind (play snippet) Are golden hooks like that planned when you write the song, or do they emerge in the studio, or can they sometimes be the prime idea? NERO - has that really full throttle, guitar intensity (play snippet) Does that feel good just going full bore? Mood seems to be given its due in the 90s, especially the mood of despair or melancholy. Can you explain why? Or am I misinterpreting things? There is a raw honesty, an open reflection in some of your songs that lets us get closer to your inner world that we might expect to be possible in polite society. Pretty Hate Machine is very self-critical, almost confessional. Can you take us through that writing journey? PRETTY HATE MACHINE Everything's going great for The Violets. You were a touring/recording act from Adelaide that was signed to Phantom Records for 13 years and then you secured a deal with KRELL/SHOCK records. Amazing. But that giddy height was where you became embroiled in a Record Label war, ultimately leading to you playing your last show in 2001. I can hardly imagine how bittersweet that must have been, walking away from such an enriching enterprise. Can you take us through that time? What did you do in your "in between" years? Our listeners will know of Evoletah (you can hear one of your tracks in episode 323, Run With The Hunted. Last year, you re-engineered and re-released your first album, Leased Regret. How and why did that come about? What was it like writing new songs together? We've already featured one of the songs from your new album, Sideways - which you can hear in episode 348 - but the first track I'd like to play from Smoke, Mirrors, And Other Half-Truths, is called Love Lies In The Rain. And the reason I want to start with this is because when you sent me the link to the album and I was listening while cooking, I found my random email sent to you while in my apron and with the sizzling of the oven behind me. I wrote: "Love Lies In The Rain is a stand out to me." Shall we set this song up? LOVE LIES IN THE RAIN Discussion about the artwork for the video for Sideways. https://www.youtube.com/watch?v=zGlsndZ-9-o Something I noted was how evocative this album is of my vague recollections of 90s music but also hints of some of the more complex 80s sounds (I'm thinking early Cure, Simple Minds, early U2). There's a noisy quality that is for your ears what scrambly busy artwork is like for the eyes; it demands stillness and application and rewards those who sit with it. Is that fair? Having said that, one thing I note in the new album is how much the "noise" aspect is actually more refined; we have more definition of the specific instruments and voice. Is that just a moving of the style, or is it about modern recording techniques? April's Fool, from the new album, is an example of the delicate qualities in this album. It has modern, adult music, but the lyrics contain snatches of kids' rhymes and allusions. Can you whet our appetites for it? APRIL'S FOOD It's 2022, how are things sitting? Given the long break and the curse of biology, you guys are older than many of the other bands vying for "ear" time. Do you think that will influence your experience over the next few years because US commentator and comedian, Bill Maher, recently said to the 90 year old William Shatner, that ageism is the one remaining discrimination that our society turns a blind eye to? Something else I'd love your comment on is the band name. I've found a UK band with the same name and a young band from WA called The Violets that seems to have started in the early naughties while you guys were in hibernation. Does that cause any confusion? Where and how can people support you? Finally, I found another quote from a random email I sent you while cooking and listening to your album: All Went South is brilliant- am thinking of a full episode actually. Watch this space. Well, we have not only watched this space, but we've filled it with story and music. Thank you, Matt Cahill. Would you mind doing the honours and introducing the song that will take us out? ALL WENT SOUTH 01:28:18 Musical Pilgrimage In the musical pilgrimage, we're going to listen to a couple of tracks from a new album featuring Professor Flint and Gemma Dandie, These Curious Things. The tracks we'll hear are, My Dog, Trey, and the title track, These Curious Things. Michael Mills shares some of the back story and Gemma shares what working with Michael is REALLY like ;-) Here's the best link for this project: Professor Flint linktree link. Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/ See omnystudio.com/listener for privacy information.

Opera everywhere, including the beach, and world music in a park This is a very special episode if you enjoy music in manifold ways. We're covering opera, world music, and alternative rock, so prepare for some sensory overload. Firstly, we turn to opera because State Opera of South Australia has two intriguing programs lined up that are exemplars of the company's stated aim of introducing new audiences to opera. We'll be joined by State Opera's Head of Music, Anthony Hunt, and its Artistic Director, Stuart Maunder. Secondly, we chat with passionate attendees of Womad, recorded at the event last weekend. Finally, in the Musical Pilgrimage, we feature the latest song from The Violets - the great, Aussie alternative Rock band that has reformed after, well, let's say, quite a few revolutions of the sun, and they show they still have it. Oh, and for the SA Drink Of The Week, we try some Green Ant Gin, as tasted at Womad. PS Here's our final reminder that Steve Davis and Ekkia Evans have been reviewing Fringe shows again this year. Read the Adelaide Fringe reviews here, throughout the Fringe. You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve! The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards. And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: podcast@theadelaideshow.com.au If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it. And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page Running Sheet: Opera everywhere, music in a park 00:00:00 Intro Introduction to the show. 00:03:01 SA Drink Of The Week This week's SA Drink Of The Week is a Green Ant Gin by Seven Seasons Distillery, founded by Larrakia man Daniel Motlop. This premium distillery uses native Australian ingredients to create a taste of the world's "oldest new" flavours. 00:04:40 Stuart Maunder and Anthony Hunt, State Opera SA State Opera South Australia is launching a series of recitals this weekend ahead of the much-anticipated Boheme On The Beach - yes, that's opera by the seaside. I know State Opera has a mission to introduce opera to new audience but this seems to be evidence of the doubling of efforts because the recitals will be quite intimate - you'll be up close and personal with some of the celebrated chamber musicians and opera singers - and taking opera to the beach is a very Aussie move to "normalise" listening to opera. Let's explore these new frontiers with State Opera's Head of Music, Anthony Hunt, and its Artistic Director, Stuart Maunder. Bohème On The Beach Songs For The Sea Songs For A Day Songs For A Muse I'd like to start with the recitals. You'll be holding these at UKARIA Cultural Centre, which is a lovely venue in some of the last remaining natural scrubland around Mount Barker. It's not big. So, Anthony, just how close are we going to be to the performers? What headspace should one be in for attending a recital. I ask this because I've been doing a little work with 5MBS the Classical and Jazz music station, and there was an intriguing comment that a few listeners made when I was interviewing them. They said that they can't have fine music on in the background, they must listen actively. Are you expecting that most of your audience will be the type of listeners who LEAN FORWARD in their seats? OR, is it possible to enjoy these recitals the way Leigh Warren advised me to enjoy dance; just lean back, don't try to focus on anything in particular, and absorb the experience? Anthony, we will share the link for more information in the show notes, but can we have some highlights of the program? I would say, your elevator pitch, but that conjures an image of musak, which we don't want associated! Stuart, it took everything within me not to curtsy when I came into your presence today because I still remember the absolute perfection of your May 2021 production of Sweeney Todd. I was swooning for weeks - and I went unshaved! I know State Opera wants to broaden its audience and I noted two things. Firstly, my young cousin, Jamie, was there with a group of friends (all in their 20s); they'd made a special effort to attend. And, secondly, I brought along former Lord Mayor, Stephen Yarwood, who said he only accepted my invitation because it was me; typically he'd reject invitations to any concerts featuring country music or opera. But he left converted. Can you describe the alchemy involved? What cross-over potential does Boheme On The Beach offer? How accessible will this be to "new" ears? I've been reviewing theatre for almost 30 years and always take note of the projection of voices. How on earth will our singers project when you have such a large open area, sea breezes, and ocean waves to contend with, not to mention the occasional clanging of a tram? Is there a trend towards more engaging and interesting dramaturgy in opera these days; I note that State Opera's Barber Of Seville last November was very ornate in its acting demands on the performers. And what does La Boheme have in store? Finally, can we wear thongs to Boheme On The Beach? And does this create a precedent for Her Majesty's Theatre? 00:43:05 Womad voices Last weekend, Steve wandered the parklands at Womadelaide 2022, and bumped into some passionate advocates of the event who were quick, willing, and able to share some thoughts on why they're attracted and how proud they are of the organisers for persevering through Covid. Our Womad voices are: Karen Lewis Stuart Kuhl Evelyn Roth Alison James Heidi Angove 01:07:59 Musical Pilgrimage In the musical pilgrimage, we're going to listen to Sideways, the first track to be lifted from The Violets' first album in 20 years! Back in the 90s, if you listened to Triple J and other places where the cool kids hung out, you would have heard a few tunes by The Violents. They were signed to Phantom Records for 13 years and after eventually securing a deal with KRELL/SHOCK records, they ended up in a label war and ended up playing their last show in 2021. Fast forward to 2020 and in the event of the remastering the re-release of their 25th anniversary album, ‘Leased Regret', which won music industry album of the year 1995, they decided to reunite and make an album that has just been released. It's called ‘Smoke, Mirrors & other half truths'. Support the show: https://theadelaideshow.com.au/listen-or-download-the-podcast/adelaide-in-crowd/ See omnystudio.com/listener for privacy information.

To create one iconic brand is impressive, to create three - remarkable. MAMBO, Phantom Records, Deus Ex Machina - the realm of genius. Welcome to the world of Aussie legend Dare Jennings. Hear each song chosen by every Five of My Life guest at: https://open.spotify.com/playlist/60PqJQ1rg6fverFMyKvdkG Follow The Five of My Life on Instagram: The Five of My Life (@thefiveofmylife) Contact Nigel at https://nigelmarsh.com/See omnystudio.com/listener for privacy information.

Even As We Speak indie band from Sydney, Australia. Formed in the mid 1980s, founding members Matthew Love (guitar, banjo, vocals) and Mary Wyer (vocals, guitar) were later joined by Rob Irwin (bass) Anita Rayner (drums, banjo, mandolin), Paul Clarke (guitar, vocals) and Julian Knowles (keyboards, guitar, production). After a series of vinyl releases on Australian independent labels including Phantom Records, and success on the Australian indie scene, they came to the attention of BBC Radio 1 DJ John Peel who started to play the band's Phantom Records single 'Goes So Slow' on his show. This brought them to the attention of UK audiences and began a relationship with UK indie label Sarah Records. The band released several singles and an album on Sarah Records, three of which reached the Top 5 of the Melody Maker and New Musical Express UK independent music charts in 1992 and 1993.

Welcome to the Drone Podcast! We deliver you a podcast of a Techno Minded Hero every 2 weeks. Today its Thursday the 17th of September 2015 and you are listening to the Drone Podcast No.30.We would like to welcome a duo on the Drone Podcast. While living in Brussels, Belgium they are known as something special. Packed with some proper hardware equipment they always intent to tear up the dancefloor with some serious bangers. Some of the stages they already teared up are Defqon 1, Mysteryland and the famous Tommorowland in Belgium. You will experience an energetic and driving vibe throughout their set. With their first release as a fact on Phantom Records, we are pretty sure that the world will know their names in the future. They will hit you hard, twice as hard. They will let you know that they are here and here to stay. We would like to welcome: Two Times Four.Welcome to the Drone Podcast No.30. Please enjoy!

01. Krewella - One Minute (Protohype Remix) 02. Fonik - Infectious (Original Mix) 03. Skullee - God Is Dead 04. Planet Noize - Otherside (V3NOM Remix) 05. DualState - Rush (Original Mix) 06. Terence Palmer - Deep Horizon (Culture Of Greed Remix) 07. Borgore - Flex (Ft. Shay) (Document One Remix) 08. Michael White, Appaerance - Need Of Time 09. James Egbert - In The Beginning ft. Brittany Egbert (Dubstep Remix) 10. Hnoize, Stephee - Kiss Me Again (SpekrFreks Remix) 11. Wick-it the Instigator - The Golden Trap Gangster 12. Ellie Goulding - High For This (Omega Bootleg) 13. Tristam - I Remember 14. Skifonix - This Is a Robbery

Tracklist: 01. Teddy Killerz - I Dont Know (Original Mix) 02. Beta - Crazy (Original Mix) 03. Spencer & Hill - Pump It Up (Club Mix) 04. Tom Piper, Daniel Farley and Snob Scrilla - The Jam (Apocalypto & Jebu Remix) 05. Tommie Sunshine, Kid Sister and Disco Fries - Cool Without You feat. Kid Sister (Audien Remix) 06. Yoonbell - Marin (Original Mix) 07. Dirtyphonics - Walk in the Fire (Original Mix) 08. Underworld - Rez (Bassnectar Remix)