Handasyd Williams & The New Primitives – MICK DALEY Review


16 Aug 2015 MICK DALEY

Clipping     Buy the album.

One listen to Ironsight confirms that country rock oughta have its own commercial designation, rather than being lumped alongside modern country artists.

While Handasyd Williams and the Primitives wear their country influences proudly, they’re following an outlaw tradition steeped in renegade anti-glamour, glorying in unabashed big ideas and unhinged electric guitars as much as fiddles and mandolins and eschewing the rum and bubblegum post-pop of the mainstream country music variety.

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Sam Shinazzi – PENNYBLACK MUSIC UK Review

Forever & For Now


Read the Interview       Purchase the album

With such great music being made within our own shores it’s easy, even with technology being as advanced as it is now, to miss out on what is happening elsewhere in the world. In the not so distant past there seemed to be a constant stream of exceptional albums coming from Australia’s Laughing Outlaw Records to remind us that there is a wealth of talent down there that really deserved to be checked out. Even now when thinking about the label a few names readily come to mind that defined the sound and vision of Laughing Outlaw. Perry Keyes was one; Jenny Queen, the Redlands Palomino Company were others, and then there was Sam Shinazzi.

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Mark Lucas – COUNTRY UPDATE Review

Little Town Blues

8 June 2015  COUNTRY UPDATE          CLIPPING

The first solo album for a while from Mark Lucas, following a string of albums with his band the Dead Setters see’s him bringing the focus back to the stories and the story teller. This time it seems that Sydney’s “urban cowboy in residence” has hung up his hat and put away his twang in favour of more poetic reflections and ruminations in a more acoustic setting.

To oversee this excursion he’s turned to ex Karma County frontman and Jimmy Little producer.

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James Thomson – FOR THE COUNTRY RECORD Review

Cold Moon

2 June 2015 FOR THE COUNTRY RECORD              CLIPPING

James Thomson is a wonderfully unassuming singer-songwriter with a calm and even energy that permeates through each song he sings. His songscapes are simple and old-school, and his influences range from alt-country to bluegrass. Despite Thomson being from Newcastle Australia his sophomore album “Cold Moon” feels like it belongs somewhere in the Southwestern United States; It has a real lonely desert feel to it. This is genuine, as the album was largely inspired by a trip Thomson took through this area. Thomson lists Bob Dylan, Robert Johnson, Woodie Guthrie, and Townes Van Zandt as major influences, and he does good job of channeling their iconic and simple Americana into the modern age. He pays homage to these folks by straying from ego or flashiness, and making this album about the songs rather than about himself.

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Mark Lucas – THE MUSIC Review

Little Town Blues    3 ½ Stars


Mark Lucas normally fronts The Dead Setters but here he steps out on his own with a collection of intimate and restrained songs, decorated with fiddle, banjo, piano and even tuba without ever distracting from the personal and sometimes socio-political content of his lyrics.  Stranger possesses a beautiful, lilting melody, Small Town is a wonderfully restrained folk song and the single, Please Tell The DJ, is a ‘last drinks’ bar shuffle that impresses lyrically.  Little Town Blues is an exemplary example of Australian songwriting, full of beautifully restrained playing and honest lyrics.  The MUSIC   27 May 2015    Chris Familton

James Thomson – POST TO WIRE Review – Cold Moon

Cold Moon

21 May 2015 POST TO WIRE                    CLIPPING

James Thomson’s debut album was an impressive calling card, a introduction to a talented songwriter already sounding beyond his years in terms of his songs and their lived-in delivery. The promise of that first sprawling collection of songs has been refined and stylistically expanded on the exceptional follow-up Cold Moon.

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James Thomson – THE MUSIC Review

Cold Moon       4/5 stars

May 2015 The Music         CLIPPING

Thomson’s debut (self titled) album was an introduction to a songwriter already sounding beyond his years in terms of his songs and their lived-in delivery.

That promise has been refined and stylistically expanded on this exceptional follow-up. Thomson imbues its themes of affairs of the heart, both good and bad, the way a city can wear you down and the desire to escape to the country, with convincing emotional vulnerability and weight, drawing from the blue/country/folk traditions. The resonant balance of melody, emotion and authenticity makes this one of the finest local Americana albums of recent years.    Chris Familton

Sam Shinazzi – Video “Bones” – great clip, great review


HHHHAPPY 23 April 2015

Sam Shinazzi calls Sydney home in his new clip for Bones

Sam Shinazzi brings his thoughtful songwriting to life with this contemplative video for his clip Bones. Nice work Brett Knight.

Besides having an awesome name, Sam Shinazzi has been kicking around for a while charming folk with his alternative rock and personal, engaging storytelling. If you want proof check out his latest album Forever and For Now, to put it simply it’s brilliant. He’s a humble guy, so it makes sense that the video for Bones follows suit.

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Sam Shinazzi shines as a storyteller on FOREVER & FOR NOW

HHHAPPY  2 April 2015

by Debbie Carr
Somewhere in Sydney, hidden deep beneath aspiring rappers spitting rhymes about their ex’s and every local DJ’s latest chill house mix, Sam Shinazzi picks up his acoustic guitar. Now I’m not saying these fine musicians aren’t creating something special for the future of our music industry, but I’d just like to take a moment to appreciate what feels like the underrated sound of the moment; classic Australian alt-rock.
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Sam Shinazzi – BRAG Review

Forever & For Now       4/5 stars

April 2015 The Brag       CLIPPING

“I feel it in my bones, the fear of being alone,” sings Sam Shinazzi on ‘Bones’. It’s a moment of startling rawness, but typical of the intimacy and directness of this record, which benefits hugely from its heart-on-sleeve candour. On ‘Go’ he’s weighed down with regret as a relationship flounders, while ‘Grieving’ is matter-of-fact statement of loss.
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