The advantages of using steel in construction are numerous and perhaps too complex to properly explain in one article. But, they can be broken into a few broader categories quite easily. Steel is ubiquitous in modern building, favoured for its versatility, resilience, environmental benefits, looks and cost amongst other reasons. Let's take a more in-depth look at why it is the material of choice for builders, engineers and architects.
Steel is synonymous with strength and durability. As a raw material, steel has extremely high tensile strength and an excellent strength-to-weight ratio meaning that it will never twist, bend or buckle, no matter how much pressure it is under.
Steel is also non-combustible, unlike wood. It does not rot like wood does. Galvanised steel is quite impervious to corrosion and bugs and insects such as termites have no appetite for it. It’s as reliable as you can get when it comes to building materials and requires very minimal maintenance and care. You can always count on steel for strength.
The widespread felling of trees is one of the biggest contributors to global warming and the subsequent destruction of our natural environment. Using wood in construction is highly unsustainable, whereas steel offers a much more responsible solution.
Steel is one of the most recycled materials in the world and can be melted down, re-shaped and re-used countless times in building and construction. Clearly it is the most sustainable option.
When you consider the durability, versatility, and sustainability of steel, it is an extremely affordable option.
Raw steel is relatively inexpensive, and manufacture and steel fabrication has become less and less labour intensive in recent years thanks to advances in the tools and technology that steel fabricators employ. Both of these factors help reduce building costs. Steel also lasts forever, and maintenance isn't an issue, so it will never cost you a thing again - it can even save you money on insurance costs.
It is also easier and lighter to transport, which will save you money on delivery and installation costs.
In the past few decades, trends in design and architecture have steered towards sleek, yet bold aesthetics that steel lends itself perfectly to. Therefore, steel is often associated with more sophisticated, modern applications in residential and commercial construction. It pairs wonderfully with other modern materials like glass, as well as classic elements like stone, wood and tile (a further testament to its fantastic versatility as a building material).
With its impressive strength to weight ratio, steel is able to span great distances while maintaining its strctural integrity, and for this reason it is favoured by forward thinking architects.
These are just a few of the broad advantages of using steel in construction and there are many more to consider. However, what is for certain is that steel is the vital resource and provides the framework for building in the modern world.
If you are considering steel stairs, need a steel supplier, structural steel or steel surface treatment and would like a professional opinion, we can help.
Our team of experts have the experience and knowledge to answer any of your questions and will ensure that you find the best solution to suit your needs. To contact us today, simply call, fax, email or drop by our Brookvale location.
Stairs are an integral element of any home or building, both functionally and aesthetically. While choosing the staircase design is quite a fun process, choosing the right materials is extremely important. Steel stairs are an excellent choice for a number of reasons that go beyond just design and functionality. Steel is an extremely versatile building material, with perks for consumers and the environment too. Let's have a look at some of the benefits of building steel stairs.
In the past half century or so, trends in modern architecture have tended to lean towards sleek minimalist designs of which steel lends itself perfectly. Steel tends to be associated with modern, sophisticated applications in homes and construction, pairing nicely with glass, but also timber and other materials (a further testament to its fantastic versatility as a building material).
Steel is also an extremely flexible material with an impressive strength to weight ratio meaning that it can be fashionied to suit the needs more left-field or forward-thinking designers and architects. Steel can also be finished with any number of coatings, further opening up the scope for designers to be creative with colours and patterns.
For a material so favourable across the board in construction and design, steel is still relatively cheap. When you consider its longevity, versatility, sturdiness and aesthetic appeal, steel is one of the most economic building materials avaliable.
Raw steel is relatively inexpensive, and manufacture and steel fabrication has become less and less labour intensive in recent years thanks to advances in the tools and technology that steel fabricators employ. Both of these factors will help reduce building costs. Steel also lasts a lifetime, further saving you money.
It's widely known that widespread felling of trees across the world is one of the key contributors towards global warming and the demise of our natural environment. A large wooden staircase require huge amounts of fresh lumber, sourced only by cutting down trees.
Wooden staircases are also almost entirely non-recyclable, whereas steel is one of the most recycled materials in the world with a global recycling rate of over 60%. It goes without saying that it is the most eco-friendly choice.
Steel is an alloy made up of iron and other materials, mainly carbon. Both of these materials discourage dislocation at an atomic level and thus steel has extremely high tensile strength, making it a prime material for building.
Steel is also non-combustible, unlike wood. It does not rot like wood does. Galvanised steel is quite impervious to corrosion and bugs and insects such as termites have no appetite for it. It's as reliable as you can get when it comes to building materials and requires very minimal maintenance and care. You can always count on steel.
While using other materials may allow construction to start sooner, the steel fabrication process and erection cycle of structural steel is much faster than any other material. Steel sections come ready-made, waiting to be erected upon delivery. 3D technology allows close collaboration between designers and fabricators, greatly enhancing productivity and in turn speeding up the building process.
Steel stairs will look better, last longer and provide you with far greater protection than a wooden alternative. If you are considering steel stairs and would like a professional opinion, we can help.
Nobody knows who invented steel. It’s exact origins are lost throughout the history of mankind, attributed to early blacksmiths in China, ancient India and Sri Lanka and the Middle East, and Britain during the Industrial Revolution each who contributed in different ways to the development and proliferation of steel across the world. The invention of stainless steel however, is a fascinating story.
Steel may be incredibly tough – not to mention ductile and tensile – but that doesn’t mean it is invincible. Steel is essentially made by adding carbon to iron, and iron inevitably will rust. For many, many years, metallurgists around the world attempted to overcome this frustrating obstacle.
Experimentation with adding other elements to iron was fairly common, with moderate success. However, it wasn’t until 1912 that a reliable method of mass-producing rust-proof steel was discovered. And it was entirely by accident.
Of course, ‘inventor’ is an ambiguous term, especially with something as ubiquitous and elementary as steel. Corrosion-resistant steel – an alloy of iron and chromium – was first recognised in 1821 by Pierre Berthier, a French metallurgist.
Despite this discovery, metallurgists of the time were unable to find the balance of high chromium and low carbon that makes modern stainless steel so effective. The products they were producing were too brittle for practical use.
In 1872, two Englishmen named Clark and Woods patented an alloy is very close to the modern equivalent of stainless steel – an combination of chromium (30-35%) and tungsten (2%).
For the next 40 years, more developments were made around the world, each noting the relationship between chromium and steel and the rust-proof result of a marriage between the two. However, these efforts were tedious and despite many patents being registered, no alloys were mass-produced or marketed to the general public.
Then Harry Brearly came along.
Harry Brearly worked out of the Brown-Firth research factory in the industrial town of Sheffield, England. It was here that he spent countless hours seeking a strong alloy suitable for gun barrels, which were then known to wear down easily. This was not a simple task.
His efforts lasted months, and while the pile of scrap metal next to his work bench rusted, he noticed something strange – a barrel gleaming amongst them.
He pulled the shining barrel from the rusted heap and studied it. This particular sample contained roughly 12.8% chromium and 0.24% carbon. At that time, to properly inspect the microstructure of alloys they had to be polished and etched. This could be achieved by exposing it to a dilute solution of nitric acid in alcohol. However, this sample, he saw, was very resistant to chemical attack.
Within three weeks he perfected a hardening process for the alloy. He named the invention “rustless steel”.
At the time, Sheffield was known for its production of quality cutlery, and in this market, Brearly quickly saw a place for his invention. Back then, cutlery was usually made from steel or silver. Steel would rust easily and had to be cleaned constantly to avoid contamination. Silver, on the other hand, was far too expensive for most people.
Brearly approached an old friend, Ernest Stuart, with his invention. Stuart was manager at R.F Mosley’s at Portland Works, a cutlery works in Sheffield. He tested Brearly’s alloy in a vinegar solution and when it remained unmolested he dubbed it “stainless steel.”
The discovery was announced two years later in a January 1915 newspaper article in The New York Times which described the metal as “non-rusting, unstainable and untarnishable”. In the same year, Brearly applied for a patent in the US, only to find there was already one registered by metallurgist Elwood Haynes.
Haynes and Brearly pulled together their funding and took their invention to prospective investors. They soon formed the American Stainless Steel Corporation. By 1929, over 25,000 tons of stainless steel were manufactured and sold in the US alone.
If you’re as interested in steel as we are, you can also have a read of our article on how steel is made.
If you have a project in need of steel, whether it’s supply, fabrication, drafting, or installation, talk to the experts at Steel Fabrication Services. Our dedicated team of professionals will ensure that your project goes according to plan right down to the smallest detail. Give us a call today!
Garden waste, or ‘green waste’, is a big issue for many of our valued clients. Sydney Rubbish Services operate across areas of Sydney where green waste is pervasive – the leafy North Shore, Eastern Suburbs and Inner West, and also inner city suburbs where space is limited. Garden waste removal – or green waste removal – is one of our many specialties. For us, no job is too small and no waste is too big.
Depending on your household and its garden, the green waste that you may need to dispose of will vary. Areas in the North Shore or Eastern Suburbs may need to dispose of higher volumes of grass and leaf waste, where as households closer to the city – the Inner West or inner city – generally have bulkier waste items like trees and branches to dispose of. No matter what you need to get rid of, we can handle it.
Common types of yard waste include smaller items such as grass clippings, leaves, weeds, plants and small twigs and branches. Bulkier items may include tree stumps, large branches, smaller trees and tree limbs.
Garden waste – also known as green waste, organic waste or yard waste – includes any plant or animal matter – this includes paper and cardboard, as well as degradable food scraps. When these materials end up in landfill and start to breakdown, the process is called anaerobic decomposition.
Anaerobic decomposition creates methane which is a potent greenhouse gas and can be extremely detrimental to the environment. Because of this, sustainable, conscious removal through an organic resource recovery facility is the most environmentally-friendly option for green waste. This will require the help of rubbish removal service.
• In landfill, green waste is the second biggest producer of methane
• The gases produced during anaerobic decomposition will continue to do so for 15-20 years
• Methane contributes to global warming 25% more than carbon dioxide
• About two thirds of waste that ends up in landfill is organic waste
• Composting is an excellent option for home recycling of organic waste. It produces nutrient-rich soil that can be re-used in your own garden
• The heat produced during the composting process is enough to breakdown weeds and harmful pathogens in the soil
Without the space for composting there are some options for the recycling of organic waste through a rubbish removal service. This is how the process works:
Step 1: Pickup
This part of the process is the most important for consumers – making sure organic waste is correctly separated from other types of waste. This is then picked up by a waste removal service and taken to a designated organic resource recovery facility, of which there are a few in Sydney.
Step 2: Decontamination
At the facility, waste is combed for contaminants such as steel, glass, concrete, plastics and rocks, which are then removed.
Step 3: Shredding and Storage
The organic material is the loosened and shredded into small sections which are then stored in open windrows (food materials are stored in vessels for composting) – these are kept moist and turned over for 16-20 weeks.
Step 4: Composting
During storage, micro-organisms break down different materials, creating heat (between 50 and 70 degrees). This heat source will kill harmful pathogens and weeds. The compost is constantly tested to comply with certain standards.
The compost is then sorted into different standards to be used in different applications, and into different sized packages.
Step 6: Recycling
The compost products are then shipped out for use in agriculture, garden centres and other end markets where they are re-used, returning nutrients and minerals to soil, reducing methane emissions and improving plant growth.
While most of green waste is recyclable and should be disposed of responsibly, the reality is that garden waste is often produced in large quantities – usually when a big clean up is in order. This poses a massive problem with removing it in an eco-friendly way.
Most of us do not own right kind of equipment to dispose of green waste in large quantities – preferably a ute or a trailer or even a home mulcher or wood chipper. And while your garden may look lovely when it is flourishing, as soon as you start working on it, waste will quickly build up and begin rotting, which is not a pretty sight.
Much if the waste from your garden is bulky and difficult to remove, and could also pose health and safety to your family if not removed quickly and efficiently. That’s when it’s best to call in the professionals.
Council green waste removal is very limited. A big cleanup of your garden will most definitely yield more waste than can be fit in your bin – if your council provides one. For those without means to transport green waste to the few rubbish dumps in Sydney, professional removalists are your best option.
No job is too small for us, and you’ll be hard pressed to find anything in your garden that we can’t get rid of.
Sydney Rubbish Services will efficiently remove all of your garden waste, utilising our 10 years of experience in the industry with our dedicated team to cater to your needs, no matter what the size and, of course, in an eco-concious manner.
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After spending the last half month traveling the country for their Everyone Is Good At Something tour, Skegss finally stopped by Sydney last night and absolutely smashed the shit out of Newtown Social Club.
They’ve made a fairly solid reputation for delivering a killer live set and at no point throughout the night did they show any signs of dishonouring such notoriety.
Aside from a few gronks/attention seekers who thought it would be either funny or a good idea to lay themselves on the stage or unplug the amps more than once, the night went off without a hitch. It was clear from the start just how much everyone in the crowd absolutely froths over the Byron Bay trio.
With support from White Blanks, Verge Collection and Dumb Punts who all got energy levels up high early on, Newtown Social was packed to the brim - one of many sold out shows from this tour.
From the moment the boys stepped foot on stage, punters turned into maniacs, with bodies and shoes flying everywhere within the first 30 seconds of their first song.
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Kicking things off with Slayer then crowd favourite Eat It, the energy they evoked was insane and although Newtown Social isn’t the biggest venue in the world, the sound they delivered was huge.
They played a motley mix of tunes which included some of their older tracks Fun, Heart Attack and LSD, plus a whole lot of new songs from Everyone Is Good At Something like Stranger, New York California, My Face and Mustang.
Although the new EP has only been out since July, the amount of people that were singing every word to every song proves what an impact Skegss have on their fans and they love that people have for them.
Finishing the night with a couple stage dives from Toby and Ben, the show was just pure, simple, sweaty fun. They aren’t a band that tries too hard or needs to fall back on a whole bunch of over-complicated riffs or melodies to keep an audience happy. They make fun music and deliver one hell of a punch in their live set. And we wouldn't have it any other way.
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In case you didn’t hear, The Lulu Raes and the Polish Club absolutely ignited the Newtown Social Club last Friday in exhausting moments of intense dancing or within joyous, reflective interludes catalysed by the on-stage talent.
In a fruitful Friday evening haze, the venue had magnetised with the Sydney headliners to draw in a solid, fun-thirsty crowd, to be captured in the black vacuum of the upstairs gig room and consequently shown one hell of a time. It is always a huge treat to see two completely different and momentous acts sharing a big ol’ double headliner in full steam of their latest single and in a thick stream of wild gigs, revealing the broad spectrum of prolific and amazing bands that permeate the scene.
From the get go, the ominous, black walled venue was overshadowed by the heavy and elevating fuzz of psych-blues. The epicentre of this strange den was fronted by two men (vaguely Polish). These were two very fucking loud savage men playing the blues at an incredible pace.
This was my first observation of Sydney two-piece, Polish Club and won't be my last. The duo played with tight, pulsating rhythms, layering and accentuating thick bluesy riffs over the canvas of bass and snare hits that were fed at rapid fire, like a well oiled machine, ‘JH’- with his built, thick forearms like Popeye, steadily kept a solid beat whilst vocalist Novak elevated the tunes into raucous, rock and roll hoedowns.
The intense dynamic that progressed from loud to louder to that of a flaring Boeing 737 climaxing into heels-to- Hendrix breakdowns that ultimately sent shockwaves into the minds and limbs of punters, as a few graduated to Ian Curtis-style dance moves around the stage.
A quick bat of the eye around the room revealed the effect this punchy, emotive set; incredible glowing faces, laid their life and hearing on scene, cherishing both the vivid intensity of noise and the authentic space given within blues structure.
The 2 piece have played a string of gigs around the Sydney scene as well as an almighty US of A tour, backed up by their latest single, My House/Blood and Bone a well recorded, raw, testament to the bands sound and energy as they wail and woo their way into the hearts and heads of a diverse audience.
Polish Club are set on a aural collision course to meddle with the likes of Kirin J Callinan, Dune Rats and The Murlocs at Brisbane festival The Blurst of the Times as well as commandeering local sets at venues Australia wide. In this climate of constant musical crossovers, blends and blasts with the past, it is easy to pick and choose the sounds within the immense sphere of music to amalgamate as your own.
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Yet, chock full of humbling blues authenticity and heartthrob lyricism Polish Club have landed smack bang in the middle of the palette of 12- bar madness, brought to life within the bustling streets of Sydney, their energy, message and music within context is ultra grounding, with resonances turning back musical clockwork, and resurrecting the blues, on their own terms.
In the wake of the chaos, the club is a dark room, once again silent and full of strangers. I begin to cultivate the eeriness of absence as I initiate pay-pass into liquid form. On my mind is one thing… That new tune from The Lulu Raes, previously sang outwardly in the shower just that very morning whilst wallowing in soap scum.
The single is Infinite Paradise (Sail Away) and although Corona didn’t enjoy the binge drinking in the shower idea, when the song was played live, I was instantly transported to where I would rather be… right fucking there. A curtain closed entrance, ensued calf raising, cautious leans from the audience vindicating all elements of personal space.
I edged closer to the PA at the front all knowing this would be the perfect place to get my rocks off. And it was. Opening with their newest flavour Infinite Paradise, the 5 piece got well and truly stuck into the bouncy, warm, summery vibe it reeked of, letting the crowd relish around the dance floor, consequently turning the venue into a heaving sweat pit of laughs and slack jawed gazes.
The pop/rock outfit really hit the main vain, oozing into fun-filled dancey rhythms, carried by addictive lyrical melodies and harmonies that trail seamlessly through each arrangement. Space bound gats, auxiliary keys and percussion drive this smooth sailing vessel into the futuristic realm of pop goodness harnessing, with great intention, the capabilities of a wacky pedal set up and use of a tight sample pad to demonstrate each individual voice.
Just as quickly as you jump up for a band like this, gravity (the bastard) coupled with well worn mullet from the bass man ensure that you will return back to earth, with a renewed vigour to the tune beat by beat in funkalicious unison. The band carried themselves on stage with a ‘dorky’ larrikin vibe, sporting the most vibrant and cheeky outfits to get you in the mood to perspire keenly to not-so-guilty pop/rock pleasures.
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Cutting down to a personal interlude, in which chart-topping hit, Happy Birthday was sung to frontman ‘Eddie’. Happy birthday Eddie; you’re a champ. The set rolled on as trusty fans flashed uncreased memorabilia bought just minutes before only to be given the most classic rendition of Rupert Holmes' Escape (the pina colada song), in which many a happy folk mouthed and belted off key lyrics in an intimate exchange between band and audience.
These moments characterise both the bands’ personality and their incredible impact on the lively human response that saturated the walls of the Newtown Social Club.
By grappling both ends of a musical fuse and bringing to light the insane joy that can be reaped from live music, with exponential momentum both bands, the bands continue to leave a big impression on the constantly evolving music scene. They leave in their wake the recognisable predecessors of artistic influence, in an ultimate ode to feeling, individuality and expression, driven on the self selected plane of ambition that ultimately improves our vision of the world. From the way we shower, to the way we dance, to the way we feel.
The Lulu Raes will continue touring alongside Polish Club in Adelaide on the 15th of April as well as the Blurst of the Times festival on the 16th.
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It was quiet for a Saturday night in Newtown, aside from the occasional inebriated Kings Cross dropout, bringing his lifeless irritation elsewhere due to recent legislative force. Upon entering Newtown Social Club, the scene was similar but with an air of possibility and anticipation for the events to take place.
The fabled, self-confessed weirdos Mangelwurzel were to ply lucky attendees with a booze-soaked barrage of genre defying magic and expose us to the workings of Gary, their debut release for which they were touring.
Bathed in blue light, the thin crowd of early birds witnessed opener Kirkis, a man of many talents, due to play bass for the headliners later in the evening. Treating the lucky few with a rare solo set, Kirkis seemed at home on the floor with his laboratory of guitar effects and devices and bellowing inaudible poetry into his mic, adjusted to floor level for maximum ergonomic facilitation.
The sounds that emanated were consistent and jarring, the audience were engulfed and bewildered by Kirkis' experimentations. It was a window into his soul, laid bare and whilst uncomfortable, even confronting at times, it was nevertheless fascinating.
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As the crowd sheepishly started to fill out, it was Making who were to take the stage next. This time, the lighting burnt shades of red into the evening and seemed symbolic of the sonic bloodbath about to take place. Making were visceral and unforgiving, yet calculated to a tee. The Sydney band hammered their organised chaos and did their darndest to build on the atmosphere that, by no fault of the performers, needed a lift.
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When it was time for the headliners to take the stage, the crowd had built and each of us were thirsty for a taste of Mangelwurzel's bizarre beauty. The band took to the stage triumphantly to the soundtrack of Natalie Imbruglia's Torn, it looked as though the 90's smash intro was a little tongue in cheek yet, vocalist Cosmia Jaala passionately mouthed every word.
As the first few notes trickled from the band's instruments, they warmed up with a 30 second improvised song to the tune of Yankee Doodle, the tone of unpredictable strangeness was set. However, just as the crowd were settling into the sarcastic disarray, the band struck up into their first tune and effortlessly so.
Jaala's cutsie drawl floated and stung over the precision of the band, she swung on curtains and traversed the stage like a drunken pixie, occasionally letting out a violent squeal which only served to pump up the crowd harder. Dance moves were flying around left, right and centre and soon the room was a beehive, built to a frenzy thanks to Mangelwurzel's unstoppable groove and Cosmia Jaala's hypnotic control.
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Tracks like Everybody's Friend hit hard. With the horn section slamming out note-perfect lines in ever-changing metres whilst bounding around the stage like wacky, waving, inflatable, arm flailing tube women it was incredible their lungs didn't collapse.
Improvised songs were interspersed with real meaty jams ripped from their LP, Gary like Hawaii and My House which allowed for crowd interaction, our cheeky ring leader Jaala, covered in permanent marker dicks and fishing for her improvised song ideas in the ecstatic crowd with her "chalice of truth" the microphone.
It's impossible to label anything about Mangelwurzel, their music is a thoughtful as it is bizarre and their live performance was as frenzied as is was precise. The six-piece exploded like a candy shotgun, blasting fluorescent sweetness into the atmosphere.
The night ended too soon and as the last notes faded from the air, it was as if we were removed from a trance, an ethereal connection between band and audience which can only happen in the most special of circumstances. It was beautiful, it was bizarre, it was unexplainable perfection.
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As I arrived to review Newtown Social Club's (NSC) 1st birthday mini festival last Sunday something came to mind. It’s not about the bricks and mortar but the community attachment that instils meaning on a building. A church with no congregation is just a stone building with windows depicting scenes of malnourished metal heads in loin cloths pointing at each other.
The Hopetoun Hotel was just a shitty pub on a corner in Surry Hills but to many it was the heart of music in Sydney; an incubator venue supporting talent across its staff and its stage. The building stands there the same today as the day it closed but we feel nothing for it. It’s dead to us as we are to it. I spent last Sunday surprised by how many comparisons I could draw between the long gone and oft forgotten Hopetoun and Newtown Social Club. Something I’ve never been able to do before.
This flowery piece is at its core a review so I feel like I should actually REVIEW. If I could liken the blogs in this country to a dessert it would be a big bowl of 10 different brands of custard, all beige and unidentifiable with the nations music listening population represented by little gummy bears all sinking to their deaths into a thick sweetened sea of inoffensive non-opinions. So I promise I will review. I will give things ratings. Securing a photographer to join me on this journey was difficult. On my first submission for a budget to hire one the scaly powers that be at Happy were less than impressed and I was whipped, not once, not twice, but thrice for the suggestion.
Not sure whether it was the beating or the residual smell of sulphur in my lungs from being in the presence of pure evil but with my senses impaired I came up with the plan that I would document the night on my iPhone. Would have been a great idea apart from the fact that every time I tried to take a photo of a band, an actual photographer with an actual camera and pockets lined with actual money kept on getting in my shots. I’ve chosen a select few for your viewing pleasure below.
Sadly I missed watching The High Ceilings but I managed to catch Prints and everything from then on on both stages. In the downstairs bar we had solo acoustic performers (ala Old Sando) and upstairs full band set up in their 300 capacity band room. Prints delivered their Interpol-esque brand of brit-indie with the confidence of a band progressing well.
While not sonically adventurous they would be a promising act once their singer properly develops his full vocal register and they start to establish some unique elements. Rooms followed them on the main stage bringing their vibey electronic set up with them. Only a handful of shows deep Rooms are a band that are destined for some interesting things. The set felt a bit ill-thought out with endings of songs being abrupt and clunky when they could surely glide together but for a band so young these things can be excused.
At this point it’s only appropriate that I do my first actual review of this “review”. Contextually it’s an important stage of the night because it’s at this point I discover something.
Notes: Next time hide your three cases of Sailor Jerrys in a room with a working lock guys. With a newly found lust for life due to the nautical bounties swilling around my belly I ventured downstairs and caught Ben Horder with his pleasant acoustic stylings and bounced upstairs to watch Good Counsel with whom I was thankfully warned were Sydney band Thieves reinvented. With an almost full band room Good Counsel ran through their set of lyrically driven rock music with the chaotic energy that instantly won over the crowd. There were guests on stage, there was a guitar thrown down at the end of the set, there was passion, there was a lot of booze in my belly. Some might have mistaken me for someone having a really good time. After their set I went to relieve myself and decided it was also time for another review.
Notes: Unisex toilets done well – I felt like I was in Ally McBeal minus that pouting anorexic witch. Julia Jacklin played downstairs with her husky tones and her tele followed by the crowd Andy Golledge… Or maybe it was the other way round. Keeping track at times was difficult because there was always something to do, always something to see, always Sailor Jerrys to steal. The curiosity of the day for me was definitely The Maladies.
The last time I saw this band play was actually on the stage of the Hopetoun Hotel all those years ago. After a long hiatus I was eagerly awaiting their new music but I’m disappointed to report that it fell flat for me. Maybe it was my expectations but they lacked the excitement I remember of them so fondly. I just didn’t feel it. And I wanted to. So badly. The heady combination of booze and bands had me hungry leading me to review number three:
Notes: Sorry guys – I’m sure your kitchen is stunning but you can’t set up shop next to Deans Diner with their burgers and not expect some pissed punters to stray. While Peter Avard of The Mountains fame was downstairs playing his guitar, I joined the steadily growing crowd all waiting for Flowertruck to start. When they finally walked out on stage I was surprised at how young they were. Their set was fun and energetic and a great sending off for what was a great Sunday afternoon.
Despite my personal disappointment in The Maladies and the under developed stylings of Prints, across the entire night there has been a resounding promise of future potential and current quality across the line-up. To take this whole “review” thing a bit further I think its best I not only review the night as a whole but also hand out some awards.
Notes: Newtown just loves this guy.
Notes: You look like a mixture of Omar Rodriguez-Lopez from Mars Volta and the cookie monster and I salute you!
Notes: It was amazing to see a middle age sax player the band met off the street a week prior and Andy Golledge come up on stage to join Good Counsel for a massive sing along of their song Mary (photo above).
Notes: Which I then picked up and drank. Rookie error boys. Sort your shit out!
Notes: With about 20 years age gap between the two groups neither knew what to make of the other and it was hilarious to watch!
I think the night as a whole could be summed up by words from the opening song of Flowertruck’s set “All the flowers grow/ It’s so beautiful”. It is and it was places like The Hopetoun that proved to facilitate that growth all those years ago. It might have been assisted by the presence of some old Hopetoun stalwarts (Richie Cuthbert, The Maladies ect.) but there was an energy about NSC on Sunday that made me feel something I hadn’t felt for a while. It was a homely feeling. Not in the bricks and mortar but in the throngs of people, the energy of the stages, the community in attendance. It felt like Indie music might have a home again. Time will tell but I’m optimistic about the venue and the way it’s being run. I eagerly await the 2nd birthday.
Notes: Thanks for reading x
It's safe to say that Polish Club are going to make 2016 their bitch. The Sydney duo have worked hard to win over audiences with their thumping rock and or roll tunes and it's paying off nicely. Why, it was only a year ago when we first came across the band and their single Able. It's the closest you'd come to a slow dance at a garage rock party.
It was raw, tender and juicy. "Mmmm
steak Polish Club" was a fairly reasonable reaction upon hearing the band for the first time. Since that delicious appetiser, Polish Club have been charming the socks off punters and have risen to become one of the most talked about bands in Sydney. Not too shabby gents.
Their debut eponymous EP released in November last year was a fair effort. The garage rock intrigue was there as they expanded their sound to incorporate more of their blues influences, Beeping taking off like a middle-aged man's hard on thanks to Viagra. The guitar riffs are thick and sleek like Novack's 'tache, while those drums courtesy of John-Henry proved to be just as invigorating as ever. Not to mention that testimonials of their live shows have been nothing shy of glowing. Which makes us super keen to hear their new single My House when they hit the road for a quick tour kicking off next weekend.
There's a certain charm that comes with being a two-piece band. DZ Deathrays, for all their thrashing about and skull splitting riffs, manage such a charm with ease. Melbourne cool bois The Stiffys have it in spades. Perhaps it's that intimacy between two people making music together, or perhaps there's too much rhetoric being thrown around and we can chalk it up to all these bands having hefty musical chops. Such is the case with My House, which see Polish Club flex the muscles they so rigorously worked out on their EP.
Clocking in at just over two minutes, My House is a classically brisk Polish Club song. Novack's vocals are as bluesy as ever as he swings from croons to hollering wails. Those vocals are the highlight of the single as they capture the anguish of the story. My House is a song about owning a space, either physical, mental or emotional.
There have been themes of loneliness in Polish Club's music before, and here it is more prevalent than ever. Don't worry, things aren't too dour. The clean delivery of the guitars and drums keep things feeling pretty jovial. It's a good balance, and all in all is a pretty promising sign of things to come from the band's double A side which will be released on April 8.
Polish Club will be taking off on a double headline tour with their Sydney compatriots The Lulu Raes starting at the Newtown Social Club on Friday April 8. They'll continue on to Melbourne, Adelaide and Brisbane, so be sure to get your tickets pronto, the Sydney show is almost sold out!
For more info on live shows check out our gig guide!
Seeing bands in stadiums, with massive production sets - pyrotechnics and the like - standing amongst thousands of other punters is pretty cool. I saw Sabbath last week and there was no doubt that the enormity of the whole performance was part of its charm. But I couldn't help thinking man, it'd be way better seeing this in a club.
I suppose this was the thought process behind Last Dinosaurs' decision to ditch the theatre circuit that they have grown into over the past few years and go back to their roots; playing small, sweaty, packed-out club shows where the crowd is a little more tangible, and perhaps, the whole experience a little more rewarding.
Last time they were in Sydney they played the Enmore Theatre - a 1,500 capacity venue. For their upcoming Miracle Methods tour, they've instead opted for a three shows at Newtown Social Club - a 300 capacity venue. A decision that is pretty fucking cool, for fans and the band alike. Before they kick off the tour, we asked singer / guitarist Sean Caskey which bands he reckons are far more befitting to a club than a stadium - cos for some bands, it just sounds better.
When you’re watching a band in a club you’re 150% more likely to cut a rug in the privacy of darkness. The picture that is painted in my head when I hear this song is myself (or anyone else) doing the bullet dodging dance from the Matrix. But sped up a little. Would be the right move for this song. Laid back.
Drifting In And Out
I was thinking today about how a band is influenced by the venues they play, and whether their music is suited to their domain. This band is perfect for a club. It just has that tight disco boogie. Some BIG sounding bands like.. Coldplay or U2 wouldn’t fit in a club. Their sound is too enormous and spacious. In the case of U2 playing in a club - the cringe generated would be so strong that a black hole would be formed thus destroying everything.
We managed to catch these guys at a secret show in Bangkok, it was the hottest show I’ve ever been to (temperature wise). It was like being stuffed in a box full of 200 other sweaty people going ape shit. Sweating isn’t much fun but when everyone else is sweating too it makes it ok - more embraceable.
This is just one of those things I wish I could have witnessed....
I don’t wanna draw comparisons but when I listen to these guys I am reminded of the romantic desire I had to see The Strokes live in a club. It would have been a great privilege to see. This song is so nostalgic and perfect. I’m gonna go see these guys the next possible chance I get. Garage sounding stuff sounds and feels coolest in smaller spaces.
(I Don’t Wanna) Break Your Heart
This is one of those songs that probably wouldn’t sound that good in open air. So airy and sizzly already, the sonics of it would probably be lost in open space. In a CLUB however, all those washed out guitars would be filling the dance floor with a pleasant haze of pure euphoria as the soothing breathy vocals massaged your neck.
Keen On Boys
Something about the way a club sounds and feels in my mind is so charming. I love how the big speakers are so damn close that every snare hit rattles inside your ear drums, and the occasional bass note hitting the harmonic frequency of the room tickles your intestines a little too much. This song i imagine would be like a 3m wave crashing right on top of you and pulling you far out in to the deep seas of emotions.
These guys have a rep for being super super tight, I’ve seen videos of them playing in clubs and it looks insane. Seems more like musical acrobatics.
Killing two birds with one stone here. I’m a huge fan of Panda Bear and of course Bradford Cox. Watching a great band in a club is like seeing a great comedian in a small stand up venue. There’s just something so special about the intimacy. It feels more like a shared experience between the audience and performer. I imagine seeing these two special guys in a club would be pretty cool.
Again with Bradford. Couldn’t wish for more than to see one of my main men playing at me local.
You can catch Last Dinos on their Miracle Methods tour at the following dates - many are sold out though! Get tickets here.
FRI 20 MAY - Fat Controller – Adelaide, SA
FRI 27 MAY - The Foundry – Brisbane, QLD
FRI 3 JUN - Northcote Social Club – Melbourne, VIC
SAT 4 JUN - Northcote Social Club - Melbourne, VIC (Sold Out)
THU 9 JUN - Newtown Social Club - Sydney, NSW
FRI 10 JUN - Newtown Social Club - Sydney, NSW (Sold Out)
SAT 11 JUN - Newtown Social Club – Sydney, NSW (Sold Out)
This is going to go down a treat at one of their club shows: