Issue 385

Bleeding Through


Bleeding Through are a band that should need little introduction. After all, their latest release 'The Truth' has received well-deserved glowing reviews all over the world (metal mag Kerrang described it as an album which is about to "tear 2006 a new arsehole"). My first impression was that the record's sound seemed accentuated in every way to give it more of a "in your face" feel; something which guitarist Brian Leppke explains was the plan from the start.

Taking Back Sunday
Louder Now
Warners

I've got a confession to make. I'm a huge Taking Back Sunday fan. That's not it - unlike apparently everyone else, I don't have a problem with emo. The confession is that, despite my unabashed love for debut 'Tell All Your Friends' and joyful reverence of follow-up 'Where You Want To Be,' I doubted that TBS were more than a one-trick-pony facing an inevitable slide into mediocrity. When I feverishly downloaded new single MakeDamnSure the second I knew of its existence, it seemed the by-the-numbers TBS song that offered no surprises had confirmed my suspicions.

Grant McLennan

Cattle & Cane. Bye Bye Pride. Streets Of Your Town. Bachelor Kisses. World weary troubadour storyteller Robert Forster was always the cooler one to love, but it's the songs of Grant McLennan that come easiest to mind when you think of The Go-Betweens. He belonged to that precious group of Australian songwriters who wrote with a uniquely Australian voice (along with the likes of Forster, Nick Cave, Don Walker and the late David McComb), and his too-early death on Sat 6 May 2006 at the age of 48 has robbed us of one of the country's greatest talents, not to mention called time on a band who proved that reformations can sometimes truly recapture - and even exceed - past glories.

Andrew P Street's Farewell Editorial

Dear You,

You know, when I started popping into dB Magazine every fortnight in mid-1999 to help knock up the gig guide and write Puff'n'Stuff, it didn't occur to me that it was something that could subsequently become my day job. However, that's what I've been doing for the last six years or so - that, and sorting out Prize Frenzy. And organising (and often doing) interviews. Oh, and the games and DVDs sections. And the CD reviews. And the live reviews. And the crossword clues. And commissioning articles from our crack team of writers. And dealing with the entire national music industry. Actually, now I think about it, it's a big job - and to think it all started when our editor Alex Wheaton turned to me after Robyn Hitchcock's gig in the Big Star basement in the early 90s and said "you didn't pay to get in, write me a review." That, incidentally, is pretty much the principle I've maintained with my own writers ever since.

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