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The sound resonated strongly; scoring the band a spot in Triple J’s Short Fast Loud midyear report and legions of admirers the nation over. 2013’s follow up, the aptly named 7” release 'Tassie' further developed this sound and gained more ground, Kill Your Stereo proclaiming; “Luca Brasi are doing some serious good for Australian punk music at the moment.”\u003cbr\u003e\u003cbr\u003e‘By A Thread’ highlights vocalist Tyler Richardson’s everyman lyrical refrains and the signature highly skilled guitar work of Tom Busby. This second album pushes the signature Luca Brasi sound into more dynamic territory. Eleven songs of intelligent construction with an eye for quality and considered production, delivered with all the warmth you would expect from an album recorded in the company of friends, at home in Tassie. 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Since forming in 1990 Screamfeeder have released 6 studio albums, numerous Eps and singles, toured extensively in Australia and overseas, played our country's biggest music festivals, shared the stage with the likes of Sonic Youth, Pavement and Swervedriver and consistently produced intelligent, infectious indie-rock gems - all the while retaining a diverse and passionate fan base from all corners of the globe.\u003c\/em\u003e\u003c\/p\u003e","brand":"Poison City","offers":[{"title":"Default Title","offer_id":18731231510595,"sku":"PCR091","price":20.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/2689\/products\/PCR091_SF_KittenLicks_SILVER.jpg?v=1655689562"},{"product_id":"screamfeeder-fill-yourself-with-music-lp","title":"SCREAMFEEDER 'Fill Yourself With Music' LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003ePoison City's re-issue of Screamfeeder's 1995 indie-rock classic! 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Since forming in 1990 Screamfeeder have released 6 studio albums, numerous Eps and singles, toured extensively in Australia and overseas, played our country's biggest music festivals, shared the stage with the likes of Sonic Youth, Pavement and Swervedriver and consistently produced intelligent, infectious indie-rock gems - all the while retaining a diverse and passionate fan base from all corners of the globe.\u003c\/p\u003e","brand":"Poison City","offers":[{"title":"Default Title","offer_id":12143898230851,"sku":"PCR090","price":25.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/2689\/products\/PCR090_500x500_a1663d82-0718-4ff7-9489-1ac662298662.jpg?v=1599048834"},{"product_id":"lincoln-le-fevre-resonation-lp","title":"LINCOLN LE FEVRE 'Resonation' LP","description":"\u003cp\u003eRESONATION is Lincoln Le Fevre’s sophomore album, recorded at Melbourne’s Sing Sing Studios with master producer and Tasmanian ex-pat Paul McKercher (You Am I, Augie March, Screamfeeder) at the helm. 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He subscribes to the grand tradition of chord striking, richly orchestrated, narrative songs. And while this obviously calls to mind national treasure Paul Kelly, it also deftly references the styles of artists of such artistic pedigree as Elvis Costello, Ryan Adams, Lucero and Raymond Chandler. 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Re-mastered by Bob Weston and featuring new liner notes by Robert Christgau, \u003c\/span\u003e\u003cem\u003eIcky Mettle\u003c\/em\u003e\u003cspan\u003e comes with bonus material (packaged as a second disc with CD, digitally with the LP) including the entire Archers of Loaf vs. The Greatest of All Time EP as well as singles and b-sides from the Icky Mettle era.\u003cbr\u003e\u003cbr\u003eA1 Web in Front 2:05\u003cbr data-mce-fragment=\"1\"\u003eA2 Last Word 3:36\u003cbr data-mce-fragment=\"1\"\u003eA3 Wrong 3:41\u003cbr data-mce-fragment=\"1\"\u003eA4 You and Me 3:10\u003cbr data-mce-fragment=\"1\"\u003eA5 Might 2:06\u003cbr data-mce-fragment=\"1\"\u003eA6 Hate Paste 2:47\u003cbr data-mce-fragment=\"1\"\u003eMettle Side\u003cbr data-mce-fragment=\"1\"\u003eB1 Fat 1:19\u003cbr data-mce-fragment=\"1\"\u003eB2 Plumb Line 2:04\u003cbr data-mce-fragment=\"1\"\u003eB3 Learo, You're a Hole 3:50\u003cbr data-mce-fragment=\"1\"\u003eB4 Sick File 1:43\u003cbr data-mce-fragment=\"1\"\u003eB5 Toast 4:37\u003cbr data-mce-fragment=\"1\"\u003eB6 Backwash 3:27\u003cbr data-mce-fragment=\"1\"\u003eB7 Slow Worm 3:34\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Poison City Estore","offers":[{"title":"Default Title","offer_id":866307035,"sku":"","price":55.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/2689\/products\/AOL_Icky.jpg?v=1411884689"},{"product_id":"luca-brasi-extended-family-lp","title":"LUCA BRASI 'Extended Family' LP","description":"LUCA BRASI's killer 2011 debut long player 'Extended Family' - melodic, sing-a-long party punk rock at it's finest! 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Limited edition - one time only pressing via Poison City Records.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“If ever a band was created for an epic singalong, it was Iron Chic. There’s that big feeling at the core of their soaring melodies as they build and rage, starting with a verse from Jason Lubrano and building to a gang singalong at the chorus in nearly every song. They’re songs that transcend the performers, taking on the personality and voice of an entire room.” - Scenepointblank\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Quite often, “pop-punk” gets used to describe something that’s actually indie rock (see: Swearin’, Japandroids), which can trigger a lot of negative biases amongst people who are fairly certain they’re not into the former. The difference lies in tone: pop-punk evokes palm-muted power chords with clean distortion and nasal vocals, whereas indie rock is most associated with shambling, jangly and fuzzy guitars with drawling vocals. Iron Chic gives you both!” - Pitchfork\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Not since the early '90s glory days of bands like Jawbreaker and Samiam has the melodic punk scene been so relevant as it has been the past few years. 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What the hell, it couldn't hurt right? Besides, we were getting pretty sick of playing the same set for the last 21 years!\" \u003c\/em\u003eThe Meanies have one of the most storied histories in the chronicles of Australian rock. Four mates that loved beer and punk rock came together in 1989 and somehow landed on a formula of snotty power-pop that would see them tour the world, supporting the likes of Nirvana, Pearl Jam, The Beastie Boys, The Lemonheads, Bad Brains and Fugazi.\u003c\/p\u003e\n\u003cp\u003eAt their peak, Link, Wally, DD and Ringo were selling records left, right and centre, establishing themselves as one of the country's most adored underground heroes. 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It hasn't all been easy though - losing two great mates along the way in former guitarists DD and Tas - but they've continued to soldier on with the help of Jordan “Jaws” Stanley (The Onyas\/The Casanovas), keeping the amps rattling and the beers cold in their honour.\u003c\/p\u003e\n\u003cp\u003e2014 saw the band re-master and re-release their entire album catalogue on vinyl through local label Poison City, and the band will again team up with Australia's premier punk imprint to bring you 10 new bangers to bash beer to in 2015.\u003c\/p\u003e","brand":"Poison City","offers":[{"title":"Blue\/ Black Splatter","offer_id":43112706801825,"sku":"PCR109LP","price":20.0,"currency_code":"AUD","in_stock":true},{"title":"Black","offer_id":43112706834593,"sku":"PCR109LP-2","price":20.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/2689\/products\/PCR109_500x500_d536d195-4beb-4cb3-b9a4-f0cd34e9aa02.jpg?v=1586261375"},{"product_id":"screamfeeder-rocks-on-the-soul-lp-burgundy","title":"SCREAMFEEDER 'Rocks On The Soul' LP","description":"\u003cp\u003e\u003cem\u003e“Whether you want the depravity of the post-punk noise, the sweetness of a soothing pop song, or something in between, on \u003c\/em\u003eRocks on the Soul \u003cem\u003ethey deliver. I'll give this an A-. (In Music We Trust)\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eThroughout the 1990’s, Australian music in the post-grunge era exploded in popularity, fuelled by the excitement of the new punk DIY ethos and the sheer excitement of independent, non-corporate bands making thrilling new sounds. Screamfeeder rode that surging wave, producing four acclaimed albums, enjoying significant airplay and touring relentlessly. Things were looking pretty good.\u003c\/p\u003e\n\u003cp\u003eBut by 1999 Screamfeeder found themselves backed into a corner by their American record label at the time, being legally prevented from recording a follow-up album to their 1996 smash \u003cem\u003eKitten Licks\u003c\/em\u003e. The covers EP \u003cem\u003eHome Age \u003c\/em\u003ehad filled the gap, but the band were sitting on an ever-increasing pile of diverse new songs. In the end, they found a way to opt out of the disastrous contract and arrangements were promptly made for a recording session in the winter of 2000. \u003c\/p\u003e\n\u003cp\u003eThe studio and producers were an odd choice, a discreet office location in Melbourne’s South Yarra owned by electronic duo The Pound System. It turned out to be perfect - Woody and The Rev could hear new potential for the band’s trademark male-female vocal interplay, sweet yet bruising guitar lines and never-sitting-still song structures. Together the team proceeded to deconstruct Screamfeeder’s approach while exploring the possibilities offered by the then- new Pro Tools digital recording platform. \u003c\/p\u003e\n\u003cp\u003eIt was a bold move; it would have been too easy to make \u003cem\u003e‘Kitten Licks II’\u003c\/em\u003e, but instead the band turned a sharp corner and produced a quite-unexpected album. The songs are sprawling and hyper-melodic, layered, edited and experimented with. Vocals are lush and the melodies emphasised, drum beats are looped and hypnotic. This was the sound of a band confident enough with their songs that it didn’t matter the sonic tangents they took off on. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“...At the time, it sounded like it was too good for a band from Brisbane, which is never true — of anywhere — but that’s how Screamfeeder made me feel. I was excited by it. It was probably the last time I felt truly shocked by what a Brisbane band was capable of. Now everyone knows.” (Ian Rogers) \u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv title=\"Page 2\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eTim came up with the album title, a play on The Isley Bros ‘60s LP \u003cem\u003eSoul on the Rocks\u003c\/em\u003e. The album alienated some of the more change-resistant fan base, while engaging with a whole new one, who were captivated by Kellie’s epic \u003cem\u003eStopless\u003c\/em\u003e, or the quasi space-age \u003cem\u003eAbove The Dove\u003c\/em\u003e. Dean explored the local area and added his field recordings to some of the songs, notably \u003cem\u003eIf You Lived Here\u003c\/em\u003e. \u003c\/p\u003e\n\u003cp\u003eFinally released in October 2000 through Shock Records, the album was a masterful return to form, showcasing a set of songs that quite clearly raised the bar, from the first notes of Kellie’s masterpiece \u003cem\u003eStopless \u003c\/em\u003eto the epic closer, \u003cem\u003eClose Again\u003c\/em\u003e. If there’d been any doubt about the band’s ability to survive the industry travails, \u003cem\u003eRocks On The Soul \u003c\/em\u003eproved them all wrong. \u003c\/p\u003e\n\u003cp\u003eAnd here we are in 2015. 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And if White Hot Moon wears its ambition on its sleeve, that's by design: the band looked to wide-screen albums by Yo La Tengo and Sonic Youth for inspiration in finding a bigger sound. That shows: Drake and Greaves spin huge webs of sound, anchored in shoegaze but branching off in a dozen directions, from fuzzed-out power-pop (“Bonhomie”) to shimmering balladry (“Dandelion”) and back again, while St. Charles and Pierce lock into step subtly counterintuitive rhythms and floor-shaking low-end. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThat inclusive attitude toward songwriting fuels Pity Sex's creative fires. Drake’s more intimate and confessional songs complement St. Charles’s imagistic lyrics, and vice versa. This confluence enriches White Hot Moon and encourages compositional complexity and a shared affinity for pop solidity in equal measure. 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