MUSIC FEATURE

Stonefield

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Sydney Comedy Festival 2012

COVER FEATURE

Atmosphere

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Reasons To Be Pretty
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  • THIS WEEK'S ISSUE

    BRAG 462: May 14 2012

    Janelle Monae
    Imogen Heap
    Amon Tobin
    Zola Jesus
    Ned Collette
    My Brightest Diamond
    Dark Shadows
    Chance Waters
    Spoonbill
    Efterklang
    Bonjah
    Building Bridges Festival 
    Dallas Frasca

    The Brag Magazine Team:

    Publishers:

    Adam Zammit & Rob Furst

    Editor in Chief:

    Adam Zammit

    Editor:

    Steph Harmon - steph@thebrag.com

    Associate & Arts Editor:

    Dee Jefferson - dee@thebrag.com

    Art Director:

    Sarah Bryant

    Staff Writer:

    Caitlin Welsh

    News Coordinators:

    Nathan Jolly & Chris Honnery

    Graphic Design:

    Alan Parry

    Cover Design:

    Sarah Bryant

    Senior Photographer:

    Tim Levy

    Advertising

    Meaghan Meredith – meaghan@thebrag.com

    Ross Eldridge – ross@thebrag.com

    Les White – les@thebrag.com

    Gig & Club Guide Coordinator:

    Conrad Richters

    gigguide@thebrag.com

    clubguide@thebrag.com

    Call us on: (02) 9552 6333

    Album Review: Straight Arrows – It’s Happening

    Indie Album Of The Week: Straight Arrows
    It’s Happening
    Rice Is Nice
    ***1/2

    Rarrr! Garage brats in your face! Sydney’s Straight Arrows have spent months being hailed as the snotty voice of our fair city’s med-fi garage-punk scene. Their debut full-length (half an hour’s a full length when it’s eleven songs, you guys) loses a bit of the gobby aggression of early releases, in favour of this year’s de rigueur: slowed-down beachy goodtimes.

    Fronted by Owen Penglis, personnel includes Circle Pit’s Angela Bermuda on bass and guitarist Alex Grigg – last seen fronting Red Riders. He sounds happier and freer now than on, say, Replica Replica; the surfie riffs sprayed all over opener ‘Bad Temper’ are, like the rest of his work here, both technically great and super fun.

    Only problem is this: I love the sound of shitty recordings as much as the next person who recently bought a release from a cassette-only label, but I literally can’t hear what Penglis is singing. Would it have killed the vibe that much to put him a little higher in the mix?

    It’s up to each listener to decide whether it’s acceptable (stoner-garage goodness recorded on the cheap) or not, but like anything released this year under a certain BPM, the mics sound like they were down the hall from the actual instruments. Personally, I’d like it even more if I could hear it better – but it thrashes happily between garage energy, punk apathy and this year’s hipster clambake noise regardless.

    This is instantly likeable, and apparently face-melting live. Buy it on vinyl if you can.

    Caitlin Welsh