Much is made of Dirty York’s sound, ‘big old-fashioned rock’n’roll’, ‘old school rock’ etc. (much of this from Dirty York’s own camp) but one descriptor that seems strangely absent is ‘country’, especially as there’s no escaping the twang on the group’s third album, Feed The Fiction.

The six-piece certainly break out the swagger from the word go with the dual guitar rocker Be Home & Alive. The song certainly serves as a benchmark for the rest of the album – if it isn’t to the immediate pleasure of the listener then the record simply isn’t for them. It would be difficult to overstress the clear cut nature of this album. Beefy guitars churn out catchy riff after riff, supported by a solid if unremarkable rhythm section and groovy keyboard playfulness. Vocalist Shaun Brown channels every manner of ‘classic rock’ vocalist, with Humble Pie-era Steve Marriott being a suitable comparison point.

Lyrically, mid-tempo country rocker (a descriptor that could suit nearly every song here) Stiches In My Pocket sums up the tone perhaps better than any other tune, “Feelin’ alright, waitin’ for rainbows/Man you know she wants it”. Generic, aimless Southern rock lyrics about relaxing and women unfortunately suits the music to a tee.

Feed The Fiction is hardly the old school, old-fashioned rock‘n’roll album it would love to be – it’s a fairly straightforward country rock album, albeit one done with gusto and real passion from the band. There’ll be an audience for this album, no doubt, but even they will struggle to find reason to revisit this more than a handful of times. - www.themusic.com.au

DIRTY York vocalist Shaun Brown evokes a memory of Steve Marriott singing in the lower range during his Humble Pie days.

Brown has one of those distinctive voices that could take his talented band to the top if they are able to come up with a breakthrough album with the right mix of songs. Whether Feed the Fiction is that album remains to be seen.

It's a solid effort that showcases the considerable abilities of this Melbourne band, but does it reach the heights of the classic rock albums it seeks to emulate? Enjoyable as it is, arguably not.

However, this collection of 12 original tracks is certainly a fine step in the right direction and worth investigating. Two nicely brandished guitars (Luke Teys and Benny James Pertzel) and some good keyboard work from Ammiel Warner give Dirty York a rounded, full sound, with Brown contributing on harp. They are backed ably by Brett Wolfenden on drums and bassist Justin Rudge.


The album kicks off to a lively start with Be Home and Alive and other early highlights include the rocker Stitches in My Pocket and the get-down-and-boogie of Can't Wait to See Ya. A soulful harp refrain introduces Dollar Bet Man, a touching ballad that is particularly evocative of Marriott, before quickly changing pace for the raunchy Keepin' Me Up.

The album, Dirty York's third, stays in heavier mode until the catchy Never Show, before heading south with another nicely put together ballad, Thru the Filtered Light. Dirty York has established a following in Europe and this album of well-executed, southern-edged and classic rock music suggests it is a band worth watching. - The Australian

Generalmente, todo el material que nos llega de Teenage Head Music es sinónimo, si no de excelencia, sí al menos de especial atractivo. De particular encanto, al menos para los que gustamos de sonidos añejos y que buscamos nuevas formaciones que reivindiquen lo tradicional, pero sin perder de vista los tiempos que nos ha tocado vivir. Porque sí, estamos ya en el segundo decenio del nuevo siglo (y milenio, no olvidemos), pero muchos hemos crecido musicalmente (y también físicamente) en las décadas de los 70’s y 80’s de la ya cerrada centuria pasada. Por eso, mirar atrás -para algunos- sea un ritual que se realiza de forma repetitiva y que forma un bucle infinito, aunque (eterna paradoja) reivindique lo claramente temporal.

DIRTY YORK es otra banda más que viene del país de los canguros, más en concreto de Melbourne, y que algunos conocerán de su paso por una edición pasada del Azkena Rock Festival. Esta vez lo hacen con un tercer LP que sigue la estela de sus trabajos anteriores. Sí, quienes hayan escuchado “Waiting On St. George” (2009) y su más reciente “Say Goodbye To Diamonds” (2011) tienen mucho ganado para dilucidar por dónde van los tiros con “Feed The Fiction”. Y es que los australianos no desandan el camino, esa senda que de algún modo eligieron cuando se formaron hace ya unos cuantos años como sexteto de rock n roll clásico.

“Feed The Fiction” es básicamente blues / hard rock de alma sureña, con un sonido claramente influenciado por BLACK CROWES. Aunque haya matices (a diferentes escalas) de otras bandas como THUNDER, sus coterráneos MY DYNAMITE, los BAD COMPANY etapa Robert Hart e incluso AEROSMITH, desde luego el peso de los de Georgia es innegable e indisimulable.

Dentro de estas bien fijadas coordenadas podemos escuchar desde medios tiempos como Dollar Bet Man, Free To Find Out o Thru The Filtered Light (donde destaca especialmente el espíritu sureño del grupo) hasta composiciones más movidas como Sweet Sensation o Be Home and Alive (ya empezamos a advertir desde el inicio que la armónica es un instrumento que encaja perfectamente en la filosofía de la banda), pasando por otras que recalcan aún más sus influencias como Speechless o Stitches In My Pocket. Incluso se pueden oír voces secundarias femeninas (caso evidente Can’t Wait To See Ya) o el sonido del “Master Seven” de KINGDOM COME en Keepin Me Up o el estribillo del inspirado Never Show.

Al igual que sus convecinos DIRT RIVER RADIO quizás abusen un tanto de los medios tiempos, ya que a los cortes citados al principio habría que añadir Why I Burn y See Beyond, lo cual no es impedimento –ni mucho menos- para disfrutar de un más que buen trabajo de rock de claro sonido americano.

Volverán a Europa en el mes de mayo, coincidiendo con la promoción del nuevo álbum, en la que será una gran ocasión de acercarse a comprobar si en directo son fieles al espíritu que desprenden en estudio. Ese ente de añejo hard rock que lo impregna todo, como si se tratara de aquella fina lluvia que cala los huesos en una fugaz tormenta de verano. - www.subterraneoheavy.com

Vorbei sind die Zeiten, zu denen außer von AC/DC oder den Bee Gees nicht viel aus dem Roten Kontinent zu uns schwappte. OK, ist ja schon gut, es gab da noch die frühere Band des australischen Umweltministers und zwei oder drei andere, aber das war es dann auch schon (kleine Untertreibungen sind bewusst gewählt). In den letzten Jahren allerdings beobachte ich einen stetigen Strom aus feinen Neuheiten, der so langsam gen Alter Welt mäandriert. Aufmerksame Leser dieses bescheidenen Formats werden wissen, welche Bands sich hinter meinen Andeutungen verbergen, denn nicht nur unsere Protagonisten hier zählen dazu.
Dirty York haben sich in ihrer australischen Heimat mit den Jahren den Ruf erspielt, eine wirklich hart arbeitende Truppe zu sein und diese Kunde fand irgendwie auch den Weg zu uns. Zwei Scheiben waren bislang erhältlich: Das Debütalbum "Waiting On St. George" stammt aus dem Jahre 2009 und der Nachfolger "Say Goodbye To Diamonds" wurde vor zwei Jahren vom geschätzten Kollegen Steve an dieser Stelle besprochen. Dazu gab es eine erfolgreiche Tournee, die sogar den WDR mit seinem altehrwürdigen Rockpalast-Format zu einer Live-Übertragung bewegen konnte (vielleicht kriegen wir das ja mal als DVD präsentiert…?). Heuer kommen sie wieder auf Tour und sind ab dem 9. Mai in Europas Clubs anzutreffen (Details wie immer in unseren Tourterminen). Passgenau, könnte man sagen, denn die vorliegende "Feed The Fiction" ist auch noch ganz warm.
Warm wie der Musiker Heimat und ebenso warm wie deren Interpretation unseres heißgeliebten Southern Rock. Aha, also nach wie vor nix mit australischem Pub Rock, sondern es gibt immer noch mit Blues geschwängerten erdigen Rock, mit diesem ganz speziellen Touch an Ingredienzien, die man den großen Vorbildern aus dem Süden eines anderen Kontinents so zuschreibt. Aber eben nicht nur das, wir hören auch intensive, sehr gefühlvolle Stücke, die in verhaltenem Tempo eher soulig-bluesig daherkommen denn als knackige Rocker.
Eröffnet aber wird die Scheibe mit dem beschwingten "Be Home & Alive", das uns neben den anderen (üblichen) Instrumenten eine betörende Mischung aus Orgel, Boogie-Piano und Blues Harp bietet und voll ins 'südliche Kontor' haut. Hier und an vielen anderen Stellen auf der Scheibe können wir Reminiszenzen an Lynyrd Skynyrd und Konsorten raushören, aber auch an den Kollegen aus England, namentlich den Rolling Stones oder Led Zep, kommen die sechs Herren aus Australien einfach nicht vorbei. Es ist ein ständiges Hin und Her, das aber nicht als wankelmütiger Brei aus den Boxen fließt, sondern in sich vollkommen stimmig ist. So assoziierte ich zum Beispiel "Speechless" oder auch "Stitches In My Pocket" beim ersten Durchlauf ganz spontan mit Passagen der Rossington Collins Band auf ihrer "Anytime, Anyplace, Anywhere", während Jimmy Page dazu den Gitarrenpart liefert - aber das bin nur ich. Immer wieder kommen auch an anderen Stellen kurze Eingebungen hoch, die auf Bands schließen lassen, die man (ich) irgendwo schon mal gehört hat. So muss ich bei "Free To Find Out" unweigerlich auch an Elemente denken, die mir bereits bei Little Feat untergekommen sind. Aber wie bei allen Dingen im Leben, assoziiert der Rezensent lediglich im Rahmen seiner eigenen Möglichkeiten und die Kollegen würden vielleicht etwas ganz anderes interpretieren. Bei "Dollar Bet Man" eröffnet sich danach dann ein schönes Slow Country-Feeling, besonders verstärkt durch den akzentuierten Einsatz von Piano und Banjo.
Ganz anders kommt dafür etwas später "Sweet Sensation" daher: Ein dichter Orgel-Teppich wabert über der Komposition und der Track bringt uns einen rockigen Kontrast zur langsamen Nummer davor. "Never Show" verweist im Anschluss ganz stark auf den bereits genannten Mr. Page und seine Riff-Künste, während "Thru The Filtered Light" unmittelbar darauf in etwas verhaltenerem Southern Rock glänzt und zudem mit einer schönen Solo-Gitarre aufwarten kann. Recht entspannt werden am Ende mit einer erneuten Orgel-Einlage bei "See Beyond" aus der Platte entlassen. Wenn der Titel in der Tat ein doppeldeutiger Ausblick auf Veröffentlichungen der Band in der Zukunft sein soll, dann sehe ich dieser ganz locker entgegen.
Insgesamt vermag ich zu resümieren, dass mir das Scheibchen außerordentlich gut gefällt. Die Australier vermögen es erneut, deutliche Querverweise zu setzen und diese mit ihren eigenen Impulsen zu versehen. Ihre Wurzeln haben sie ganz eindeutig in der Dekade ab den späten Sechzigern und machen erfreulicherweise auch überhaupt keinen Hehl daraus. Aber, und jetzt kommt wieder die subjektive Wahrnehmung durch, man darf sie auf keinen Fall in den großen Topf der vielen Bands werfen, die sich mit diesem mittlerweile ubiquitären Retro-Sound schmücken. Und auf jeden Fall haben sie sich Steves Worte zu Herzen genommen und von der Spielzeit des Vorgängers schlappe zwanzig Minuten gekappt - well done! Ich für meinen Teil freue mich sehr, dass ich "Feed The Fiction" nun in meiner Sammlung haben darf. - Rock Times

Ya tenemos en nuestras manos (y nuestros oidos) el nuevo disco de Dirty York, “Feed The Fiction“. Se trata del tercer disco del sexteto australiano, tras su disco debut en 2009, “Waiting On St. George“, y “Say Goddbye to Diamonds” tan solo un año después. A Dirty York tuvimos la oportunidad de verles hace un par de ediciones del Azkena Rock Festival y fue una grata sorpresa.

En este nuevo disco confirman lo ya mostrado en anteriores trabajos: Southern Rock de corte setentero con temas de riffs afilados y sonido clásico con inevitable referencia a The Black Crowes en su propuesta. Pero en este disco, además de capturar la esencia del sonido de los setenta en “Be Home And Alive“, acercarse a los primeros Stones del “Exile On Main Street” con “Free To Find Out“, o dejar intuir a los Allman Brothers en la genial “Stitches In My Pocket” también deja abierta la puerta a sonidos más The Band en “Dollar Bet Man” y termina de forma más íntima y personal con “See Beyond“.

Son muchas las bandas que surgen con propuestas del estilo de los Dirty York, en las que tocar rock clásico de los setenta y sonar como los referentes, pero al mismo tiempo desmarcarse de las obvias influencias y tener una personalidad y un sonido propios se antoja complicado. Sin embargo, seguimos diciendo que haciendo las cosas bien, el mero hecho de parecerse a los clásicos no es en sí mismo malo si a ello le añadimos el sello personal de cada grupo. Y creo que los Dirty York están en ese camino, en el bueno.

Se trata al final de un disco de buena música ejecutada por buenos músicos, con actitud y con un futuro prometedor. Estamos deseando poder volver a verles en directo, cosa que será bastante pronto ya que estarán de gira por el estado en los meses de Mayo y Junio. Estas son las fechas confirmadas de sus conciertos.


Roughly translated...

We have in our hands (and our ears) Dirty New York album, "Feed The Fiction". This is the third album from Australian sextet, following his 2009 debut album, "Waiting On St. George" and "Say Goddbye to Diamonds" only a year later. A Dirty York had the chance to see them a couple of issues Azkena Rock Festival and was pleasantly surprised.

In this new album confirms what has already been shown in previous studies: Southern Rock cut riffs seventies-themed classical sound sharp and unavoidable reference to The Black Crowes in their proposal. But on this album, in addition to capturing the essence of the sound of the seventies in "Be Home And Alive", the first approach of Stones "Exile On Main Street" to "Free To Find Out", or let the Allman Brothers intuit in the great "Stitches in My Pocket" also leaves open the door to the Band sounds "Bet Dollar Man" and ends in a more intimate and personal with "See Beyond".

There are many bands that come with proposals Dirty York style, which play classic rock of the seventies and sound like the references, but at the same time distance himself from the obvious influences and have a sound personality and own it seems complicated . However, we are saying that doing things right, the mere fact resemble classic in itself is not bad if we add the hallmark of each group. And I think the Dirty York are on that road, in the good.

This is the end of a good record music played by good musicians, with attitude and with a promising future. We look forward to seeing them live again, which will be quite soon as they will be touring the state in the months of May and June. These are the confirmed dates of his concerts. - Rock In Focus (Translated)

Hay cosas que van cambiando con el tiempo, supongo que la edad y todas esas historias, te van adaptando a las necesidades del momento. Yo por ejemplo, siempre he sido muy reacio a tomar medicamentos, ya ves. Una tonteria quizás, pero a no ser de algún dolor insoportable, como tras alguna operación que he sufrido, y aun así, si os soy sincero, jamás he terminado un tratamiento, al segundo o tercer dia, cuando el dolor mas fuerte ha remitido, se acabó tomar pirulas. No es que me guste sufrir, ojo, es que siempre me ha dado mucha grima la quimica, manias. Preferia sedarme yo mismo, de otra manera, normalmente de manera líquida. Ahora llevo unos dias atiborrado a pastillas, supongo que la edad ha disminuido mi tolerancia al dolor, o simplemente, ya no me "automedico" tanto como antaño, o mas bien casi nada, excepto mi cerveza diaria y algún copazo los fines de semana.

Sin embargo hay cosas que no cambian. He contado alguna que otra vez, creo, que allá a final de los 80, descubrir bandas como The Black Crowes, Quireboys, Dogs d'amour o D.A.D. para mi fue como un soplo de aire fresco. Algo empachado de tantos sonidos melódicos y estribillos radiables, el giro hacia sonidos mas clásicos de estas bandas, junto a esa panda de macarras que airearon aquello llamado sleaze, me dieron un giro en mi forma de disfrutar el hard rock, y aun, tanto los sonidos mas "canallas" del hard, como aquellos que cabalgan a caballo del british blues y todo el rock que se mamó en los 70, los que habitualmente leeis mis historias, sabeis que son mi caballo de batalla.



Sin lugar a dudas, The Black Crowes se convirtieron en los mas grandes de aquellas bandas que tomaron el retroceso como biblia en los 80, pero sus continuas idas y venidas, con la de momento ¿definitiva? parada de los hermanos Robinson, ha dejado el camino repleto de herederos de su espíritus, algunos sin mas mérito que ser meras copias sin sentido, pero otros capaces de hacerme vibrar y calarme los huesos, como me pasó la primera vez que escuché a los australianos Dirty York y su "Goodbye to diamonds", cuya reseña podeis recordar pinchando aqui. Es curioso, porque siempre tuve otra idea del rock que venia de Australia, mas relacionado con gente como Radio Birdman, a pesar de que si es cierto, que de allí habian salido además de AC/DC, grandes como Rose Tattoo, Cold Chisel o Jimmy Barnes.

Pero desde las antipodas, está apareciendo una serie de bandas, como los propios Dirty York, My Dynamite o The Widowbirds, que apuestan por el camino cimentado por los grandes nombres del rock. Volviendo a Dirty York, tuve la oportunidad de entrevisar a Shaun Brown, vocalista de la banda (para leerla, aqui) y hablar con el de todo ello. Ahora Dirty York tienen por fin su tercer disco en la calle, "Feed the fiction", y reconozco que tenia muchisimas ganas de echarmelo a la oreja, mas sabiendo, que además la gente de Teenage HeadMusic, iban a volver a ponerlos en nuestros escenarios durante mayo y junio, y al fin llegó la hora, ya tengo el disco en mis manos.



Tras la primera escucha, solo pude pensar, que cabrones, que bien suenan estos tios, menuda máquina de rock and roll. Ese rollo Stones del principio mezclado con el mejor rock sureño de la inicial "Be home & alive" te abre el apetito al instante, porque está claro que la cosa promete y mucho. Cuando caes rendido ante un disco en su inicio, ya no hay vuelta atrás, y la primera vez que me eché al oido "Speechless", no podia apartarlo de mi cabeza. Puro rock, sin mas historias. "Stitches in my pocket" es festiva, con ese teclado honky tonk, y ese solo de guitarra, para no dejar de bailar entre gente como tu y como yo. Atentos a los coros femeninos de "Can't wait to see ya", fabulosos que construyen un tema delicioso, rítimico y pegadizo.

"Free to find it out" saca de nuevo a relucir ese retazo sureño que atesora la banda con esa forma de cantar de Shaun que bebe de todos los grandes vocalistas que dio el rock de los setenta. Otra de las joyas de este disco es "Dollar bet man", un medio tiempo con una armónica llena de vida y un sentimiento blues que se te impregna hasta la última partícula de tu cuerpo. Guitarras poderosas para "Keepin`me up", un tema, que eas guitarras me han recordado un poco a Lenny Kravitz, cuando a este le da por rockear, que lo hace de escandalo. De nuevo conducen directos al sur con "Sweet sensation", el temas mas "hard rocker" y otra de mis favoritas de este disco, pletórica.



Mamma mia, como suena "Never show" a Led Zeppelin en esas guitarras con un toque soul que la enriquece mas aun. Si algo destaca en este nuevo disco de los australianos es que no se han puesto límites. Es un disco mas variado, en el que se dan cita todas las influencias mas palpables de la banda. Ecos de los hermanos Robinson y sus Black Crowes me vienen a la cabeza con "Thru the filtered light". Otro tema que me ha atrapado es "Why I burn", donde me vuelven a salir alguna referencia Stone mezclada esas guitarras a lo Allman Bros. Para cerrar este album, que mejor que un buen blues de la mano de "See beyond", una preciosa canción a ritmo lento, ideal para apagar las luces, encender unas velas, mirar a tu pareja a los ojos y dejar surgir el momento.

Es cierto que tengo debilidad por esta banda. En su anterior paso por Cádiz no pude verles, algo que curiosamente me suele suceder, como me pasó con otra de mis bandas favoritas actuales, The Delta Saints. Los australianos tienen marcado el sur del sur en su calendario el 2 de junio, esta vez, espero poder estar allí. Mientras tanto, pienso seguir disfrutando de este "Feed the fiction", que ha cubierto todas las expectativas que tenia puestas en el. ¿Quien coño se empeña en decir que el rock and roll ha muerto?

Roughly translated...

There are things that change with time, I guess age and all that stuff, you are adapting to the needs of the moment. I for example, have always been very reluctant to take medication, you see. A silly perhaps, but unless some excruciating pain, as after an operation I have suffered, and yet, if I'm honest, I have never finished a treatment, the second or third day, when the strongest pain has subsided, take pirulas ended. Not that I like to suffer eye is always creeps me a lot of chemistry, manias. Sedate me preferred to myself, otherwise normally in liquid. Now I have a few days packed with pills, I guess age has lessened my pain tolerance, or just, I do not "self-medicate" much as before, or rather almost anything except my daily beer and some weekends copazo.

But some things never change. I counted occasionally, I think, beyond the end of the 80s, discovering bands like The Black Crowes, Quireboys, Dogs D'amour or DAD for me it was like a breath of fresh air. Something surfeit of many sounds and melodic choruses radiables, the shift to more classic sounds of these bands, along with that bunch of thugs who called sleaze that aired, I took a turn in my way of enjoying the hard rock, and even, both sounds more "rogue" of hard, as those who ride horse all british blues and rock that sucked in the 70s, which usually leeis my stories, you know that is my workhorse.



Undoubtedly, The Black Crowes became the largest of those bands who took the fall as bible in the '80s, but his constant comings and goings, the moment the final?? stop the brothers Robinson has left the road full of heirs of his spirits, some no more merit than mere copies be meaningless, but others able calarme me vibrate and bones, as I did the first time I heard Australians Dirty York and "Goodbye to diamonds", which you can review by clicking here remember. It's funny, because I always had another idea of ??rock that came from Australia, more related to people like Radio Birdman, though if true, who had gone there besides AC / DC, great as Rose Tattoo, Cold Chisel or Jimmy Barnes.

But from the antipodes, is showing a series of bands, such as Dirty own York, My Dynamite or The Widowbirds, who bet on the road cemented by the biggest names in rock. Returning to Dirty York, I had the opportunity to entrevisar Shaun Brown, vocalist (to read, here) and talk to it all. Dirty York now finally have their third album on the street, "Feed the fiction", and I recognize that I had really wanted to echarmelo to the ear, but knowing that people Teenage addition HeadMusic, would put them back on our stages during May and June, and at last the time came, and I have the disc in my hands.



Upon first listen, I could only think, you bastards, that they sound these guys, what a rock and roll machine. That roll of the principle Stones mixed with the best initial Southern rock of "Be home & alive" opens your appetite instantly, because it is clear that the thing promises much. When given before a hard fall in his home, there is no turning back, and the first time I threw the ear "Speechless", could not it out of my head. Pure rock, no more stories. "Stitches in my pocket" is festive, with that honky tonk keyboard, and the guitar solo, non-stop dancing from people like you and me. Attentive to the female vocals of "Can not wait to see ya", fabulous building a delicious theme, rhythmical and catchy.

"Free to find it out" brings back to light the southern patch that holds the band that Shaun's singing that draws on all the great vocalists who gave rock of the seventies. Another gem of this album is "bet Dollar Man", a mid tempo with a lively harmonica and blues feeling that pervades you every last particle of your body. Guitars powerful for "Keepin 'me up", a theme that eas guitars reminded me a little of Lenny Kravitz, when he assumes this rock, which makes scandal. Again direct drive south with "Sweet sensation", the themes more "hard rocker" and one of my favorites on this album, brimming.



Mamma mia, it sounds like "Never show" to Led Zeppelin on these guitars with a touch of soul that enriches even more. If anything stands out on this album of Australians is that you have set limits. It is a more varied album, which brings together all the more palpable influences of the band. Echoes of the brothers Robinson and his Black Crowes come to head with "Thru the filtered light". Another issue that has caught me is "Why I burn", where I come out again some reference Stone mixed those guitars to Allman Bros. To close this album, what better than a good blues hand "See beyond" a beautiful song at a slow pace, ideal for lights out, light some candles, look at your partner's eyes and let the moment arise.

It is true that I have a soft spot for this band. In its previous step Cadiz could not see them, something that often happens me curiously, as I did with one of my current favorite bands, The Delta Saints. The South Australians have marked on your calendar South June 2, this time, I hope to be there. Meanwhile, I continue to enjoy this "Feed the fiction" that has covered all the expectations I had put on. Who the hell is determined to say that rock and roll is dead? - Motel Bourbon (Translated)

E ao terceiro trabalho há coisas que mudam outras não. Os australianos Dirty York continuam orgulhosamente a espalhar a sua (boa) música sem necessidade de editoras e seguem o seu caminho trilhando caminhos de rock’n’roll retro com as bases bem cimentadas em Led Zeppelin e afins. O que muda? O som de Feed The Fiction está mais rockeiro e menos Southern, com os temas mais curtos e diretos. De resto continua lá tudo o que é necessário para criar um bom disco: rock (muito rock!), country, blues, gospel e sempre bem old school. Há por aqui deliciosos honky tonk, apaixonantes Hammond, frenéticas harmónicas e empoeirados banjos. E tudo isto inteligentemente misturado com riffs, com guitarradas, com solos eletrizantes, com slide guitar. Ouça-se, por exemplo o soberbo trabalho das duas guitarras em Speechless, a harmónica inicial (a lembrar Rui Veloso!) e as guitarras acústicas de Dollar Bet Man; sinta-se a espiritualidade do gospel nos corais femininos e no órgão de Can´t Wait To See Ya ou See Beyond. Porque, na realidade, Feed The Fiction, sendo um disco diferente do seu antecessor, revela-se como mais uma pérola que urge descobrir. Essencialmente pela forma como os Dirty York compõem as suas canções, cheias de feeling rockeiro e de emotividade, sendo capazes de surpreender a cada tema, utilizando sempre diferentes caminhos.

Roughly translated...

And the third change some things work some do not. Australians Dirty York proudly continue to spread this (good) music without labels and follow your way along paths of rock'n'roll retro with the bases well cemented Led Zeppelin and the like. What changes? Feed The Fiction is more rocker and less Southern, with themes shorter and direct. Moreover there is still all that is needed to create a good record: rock (rock too!), Country, blues, gospel and always old school. There are delicious here honky tonk, passionate Hammond, frantic harmonic and dusty banjos. And all this cleverly mixed with riffs, with guitars, with electrifying solos with slide guitar. Listen, for example the superb work of the two guitars in Speechless, the initial harmonic (Rui Veloso to remember!) And the acoustic guitars of Dollar Bet Man; feel the spirituality of gospel choirs in the female body and the Can ' t Wait To See Ya or See Beyond. Because in reality, Feed The Fiction, being a disk different from its predecessor, reveals itself as more urgent to find a pearl. Essentially the way the Dirty York compose their songs, full of feeling and emotion rocker, being able to surprise each theme, always using different paths. - Via Nocturna - Portugal (Translated)

Dirty York are one of the creams of Australian rock talent. They are part Black Crowes, and part Rolling Stones (when they were good), with a juicy dash of Aerosmith and Lynyrd Skynyrd all thrown into one indelibly Australian package.
Their second masterpiece “Say Goodbye To Diamonds” follows perfectly on from their wonderful debut “Waiting On St George”. It’s an album dripping with bluesy soul. Shaun Browns vocal performance is stunning. He switches effortlessly between a deeply emotional delivery on songs like “World Is Blinding” and “Foolish Side” and a biting, scathing rock drenched growl on songs like “Get It On” and “Tied Up”.
On this album, they have found a way to take their unique sound to the next level, it is undoubtedly The Dirty York, but it’s not a repeat of “Waiting On St George”. What it is, is timeless blues drenched Rock ‘n Roll, loud, proud, soul soaring and magnificent.
The band is carving out its niche, possibly still looking for that perfect killer sound. For just their second album, “Say Goodbye To Diamonds” comes mighty close.

Personal Highlights
Born With A Broken heart
Black Friday
World Is Blinding
Foolish Side
(4.5/5)

- Only Australian Music

And suddenly invent a time machine to take us up to 70 years? Well, be assured the most nostalgic York Dirty because they do precisely the opposite. That is, bring to this day the sound of that golden era. What you hear on Say Goodbye To Diamonds is hard rock of the purest lineage, descended from the likes of Led Zeppelin, crossed with a Southern rock of Lynyrd Skynyrd and where even a slight lack and delicious aftertaste blues / country to include subtle but harmonics and bright horn section. This is already the band's second album, also released in 2010, but only now coming to Europe. But it is late enough that the Europeans are a delight with the most fantastic albums in this genre that have been published in recent years. Say Goodbye To Diamonds is itself a pure diamond. Purely retro, with no artificial, with an innate ability to make nice in a natural way, this is a disc that is missing in the discography of any fan of hard rock. The use of slide guitar is great and the unmistakable sound of Gibson Les Paul is here treated in a simply superb. Topics such as Born With A Broken Heart, Tied Up, Black Friday Rumors Stop The Foolish or Side, are more than perfect homage to the aforementioned names. But again, look in the trunk of memories of much of the roots rock that today is done and project them into a promising future is expected for this quintet from Melbourne. Arguably, Say Goodbye To Diamonds, is a unique class of hard to find.
- Via Nocturna - Portugal (Translated)

Dirty York, publican “Feed the Fiction”, fantástico tercer disco de la banda australiana el próximo 1 de marzo, del que irá acompañado de una gira europea y española, con fechas confirmadas en nuestro país entre los meses de mayo y junio de 2013.

“Feed the Fiction” de Dirty York es un delicioso y grasiento manuscrito del mejor Rock actual y a la vez eterno, plasmado en doce canciones absolutamente colosales. Dirty Rock ha podido escuhar su nuevo disco desde hace unas semanas y nos referimos a dos de sus canciones “Speechless” y “Can’t Wait to see ya” (sin palabras y os quiero ver ya).

Dirty York se postulan como una de las bandas más importantes del momento, “Feed the Fiction” apuesta a mover ficha respecto a sus anteriores discos, sus espéndidos también “Waiting on St. George” del 2009 y “Say Goodbye to Diamonds” del 2010, dándole los mimbres del ADN Dirty York, léase Rock and Roll con trazas sureñas, Gospel y Blues del pantano, y añadiendo ahora más importancia a los teclados y a los coros de acompañamiento femenino en muchísimas de sus canciones como en “Be Home and Alive”, “Speechless”, cobrando importancia esos coros traviesos en “Can’t Wait to See Ya”, “Free to Find Out”, “Never Show” o la balada final en “See Beyond”.

Dirty York tras el éxtasis de Rock-Blues & Southern oscuro de sus dos discos anteriores, ahora en “Feed the Fiction” añaden más imágenes de gran fuerza narrativa como en la balada Folk Country “Dollar Bet Man”, que nos recuerda su comienzo a aquella armónica de David Bowie en “A New Career in a New Town”, y las Stonianas-Humble Pie-Leon Russell sureñas “Thru the Filtered Light”, “See Beyond” o “Why I Burn” todas ellas nacidas del fondo de un granero.

Dirty York se ha encargado de alimentar en “Feed the Ficton”, a esa América árida y la magia pantanosa de sabor a The J. Geils Band, Leon Russell y al mejor Ronnie Montrose de Montrose, de la mano de su magnífico cantante Shaun Brown y de sus escuderos Benny James a la guitarra, Justin Rudge al bajo, Luke Teys a la guitarra, Ammiel C. Warner a los teclados y Brett Wolfie a la batería.

“Feed the Fiction” de Dirty York se esgrime como disco radiante, abriendo con la irresistible “Be Home and Alive” con ese juego de armónica, guitarras y coros, auténtico balonazo en la cara, al igual que sus siguientes “Speechless” y “Stitches in my Pocket” con un comienzo casi en castellano, canciones levantadas sobre potentes y elaborados riffs de guitarras, pianos, batería y coros soberbios.

Dirty York “Feed the Fiction” España gira 2013 European Tour
“Can’ Wait to see Ya”, un magnífico Boogie a modo Gospel con esos irresistibles coros femeninos, dan paso dos fantásticas baladas “Free to Find Out” y “Dollar Bet Man”, extraídas de esa paleta Rock Folk Blues Coutry más oxigenada. A partir de eso momento el disco se convierte cada vez más, en contagioso, con las potentes “Keepin’ Me Up”, “Sweet Sensation”, y la épica “Never Show” con unas guitarras literalmente echando fuego.

“Thru the Filtered Light”, “Why I Burn” y “See Beyond”, son las canciones que rematan el nuevo disco de Dirty York, personalmente son mis favoritas, de nuevo tres baladas que equilibran un disco, lleno de canciones sucias y amargas, y en que éstas tres, entran de forma diáfana para imprimir esa caricia final a nuestra audición.

“Feed the Fiction” nos alimenta de eso que está a medio camino de lo fascinante y lo sublime, Dirty York confirman su presencia en mayo en ciudades como en Monzón, Vitoria, Bilbao, Gijón, Liérganes, Burgos, León, Orense, Vigo, y en junio en Madrid, Cádiz, Estepona, Murcia, Valencia, Zaragoza y Barcelona, por confirmar sus fechas en Europa. - www.dirtyrock.eu

DIRTY YORK
FEED THE FICTION (INDEPENDENT) 4 stars

THE Delta Riggs, Downhills Home and Dirty York are beasts of the southern wild. All three bands have jammed until new blisters formed on old blisters and the winner is you, the lover of low-slung, maximalist Scotch rock. Dirty York put the organ right up in the mix and make sure no man is left behind; they just wanna play a lil music for you. A love for Rolling Stones and Black Crowes coalesces on Be Home and Alive and Stitches In My Pocket and unlike Christian Bale in American Psycho, lead singer Shaun Brown maintains a strong `Seppo timbre. He doesn't strain in `Strine and Sarah Carroll and Suzannah Espie keep the Southern spirit alive and ripping with BVs.

Sounds like: Sweet sensation of rowdy rock.

In a word: smokin'

Mikey Cahill
HiT Listings, Livelist, Rock City and Clubland Columnist - HiT, Herald Sun, Melbourne

visit URL - eleven Rock Magazine

Dirty York “Feed the Fiction”, European Tour y en España 2013
By Carlos Pérez Báez

Dirty York “Feed the Fiction” gira española 2013 European Tour
Dirty York, publican “Feed the Fiction”, fantástico tercer disco de la banda australiana el próximo 1 de marzo, del que irá acompañado de una gira europea y española, con fechas confirmadas en nuestro país entre los meses de mayo y junio de 2013.

“Feed the Fiction” de Dirty York es un delicioso y grasiento manuscrito del mejor Rock actual y a la vez eterno, plasmado en doce canciones absolutamente colosales. Dirty Rock ha podido escuhar su nuevo disco desde hace unas semanas y nos referimos a dos de sus canciones “Speechless” y “Can’t Wait to see ya” (sin palabras y os quiero ver ya).


Dirty York se postulan como una de las bandas más importantes del momento, “Feed the Fiction” apuesta a mover ficha respecto a sus anteriores discos, sus espéndidos también “Waiting on St. George” del 2009 y “Say Goodbye to Diamonds” del 2010, dándole los mimbres del ADN Dirty York, léase Rock and Roll con trazas sureñas, Gospel y Blues del pantano, y añadiendo ahora más importancia a los teclados y a los coros de acompañamiento femenino en muchísimas de sus canciones como en “Be Home and Alive”, “Speechless”, cobrando importancia esos coros traviesos en “Can’t Wait to See Ya”, “Free to Find Out”, “Never Show” o la balada final en “See Beyond”.


“Stitches in my Pocket”, tema inédito de Dirty York para su disco “Feed the Fiction”.

Dirty York tras el éxtasis de Rock-Blues & Southern oscuro de sus dos discos anteriores, ahora en “Feed the Fiction” añaden más imágenes de gran fuerza narrativa como en la balada Folk Country “Dollar Bet Man”, que nos recuerda su comienzo a aquella armónica de David Bowie en “A New Career in a New Town”, y las Stonianas-Humble Pie-Leon Russell sureñas “Thru the Filtered Light”, “See Beyond” o “Why I Burn” todas ellas nacidas del fondo de un granero.

Dirty York se ha encargado de alimentar en “Feed the Ficton”, a esa América árida y la magia pantanosa de sabor a The J. Geils Band, Leon Russell y al mejor Ronnie Montrose de Montrose, de la mano de su magnífico cantante Shaun Brown y de sus escuderos Benny James a la guitarra, Justin Rudge al bajo, Luke Teys a la guitarra, Ammiel C. Warner a los teclados y Brett Wolfie a la batería.

“Feed the Fiction” de Dirty York se esgrime como disco radiante, abriendo con la irresistible “Be Home and Alive” con ese juego de armónica, guitarras y coros, auténtico balonazo en la cara, al igual que sus siguientes “Speechless” y “Stitches in my Pocket” con un comienzo casi en castellano, canciones levantadas sobre potentes y elaborados riffs de guitarras, pianos, batería y coros soberbios.


Dirty York “Feed the Fiction” España gira 2013 European Tour
“Can’ Wait to see Ya”, un magnífico Boogie a modo Gospel con esos irresistibles coros femeninos, dan paso dos fantásticas baladas “Free to Find Out” y “Dollar Bet Man”, extraídas de esa paleta Rock Folk Blues Coutry más oxigenada. A partir de eso momento el disco se convierte cada vez más, en contagioso, con las potentes “Keepin’ Me Up”, “Sweet Sensation”, y la épica “Never Show” con unas guitarras literalmente echando fuego.

“Thru the Filtered Light”, “Why I Burn” y “See Beyond”, son las canciones que rematan el nuevo disco de Dirty York, personalmente son mis favoritas, de nuevo tres baladas que equilibran un disco, lleno de canciones sucias y amargas, y en que éstas tres, entran de forma diáfana para imprimir esa caricia final a nuestra audición.

“Feed the Fiction” nos alimenta de eso que está a medio camino de lo fascinante y lo sublime, Dirty York confirman su presencia en mayo en ciudades como en Monzón, Vitoria, Bilbao, Gijón, Liérganes, Burgos, León, Orense, Vigo, y en junio en Madrid, Cádiz, Estepona, Murcia, Valencia, Zaragoza y Barcelona, por confirmar sus fechas en Europa. - www.dirtyrock.eu

Sticking firmly to their chosen roots, local quintet Dirty York espouse the aesthetic and idealism of rock 'n' roll in its classic longhaired, denim-clad incarnation. Waiting On St George is the band's debut album release and presents a treasure trove of suburban stories set to golden riffs and, inno uncertain terms, pays homage to the classic bands of the genre, be it The Stones, The Faces and most of all, the southern rock flavour of The Black Crowes.

The stark photo that adorns the album's cover is a fair representation of the musical flavour contained within. Five Melbourne musicians, who have all served their apprenticeships in a host of local bands, have come together to celebrate the early '70s heyday of rock 'n' roll and have written a batch of songs to commemorate the occasion. Waiting On St George showcases a fantastic rock 'n' roll band who, after countless liveshows, have now harnessed their visceral potential.

The abundance of riffs is balanced by brilliantly arranged chords, as Dirty York demonstrate their versatility from the adrenalin charge of No Apologies, across the barroom ballad Thank You Mama to the boogie of the brilliantly titled All My Friends Look Like Jesus. Musicianship is at a premium as guitarists Luke Teys and Benny James weave in and out ofeach other's six-string arrangements, while drummer Luka Szpakolski and bassist Todd Bennett provide the southern groove that swings the band. But the real weapons on the album are the vocal cords of singer Shaun Brown, whose searing style and delivery is the perfect narrative to accompany the rough and rootsy soundtrack.

Waiting On St George is a great, no-frills rock 'n' roll record, delivered by a band full of confidence and swagger. And while the shadow of their heroes can be seen and heard across their debut album, the prospect of where Dirty York can progress on future releases is a prospect well worth sticking around for. - Symon JJ Rock, INPRESS, Wednesday June 10, 2009. - INPRESS

Melbourne’s Dirty York are a regular on the local live scene; their style of blues rock fits perfectly into the pub atmosphere. Debut album Waiting On St. George takes listeners on a Dirty York road trip with southern stylings and soulful melodies.

It’s easy to hear the band are experienced and advanced musicians. With vocal stylings not unlike Bon Jovi and the use of brass, piano and various percussion, Waiting On St George is clearly a reflection of the band’s influences The Rolling Stones, AC/DC and The Black Crowes.

The majority of the album is upbeat, full of solid guitar solos and everything a blues rock album should encompass. Slower tracks Crazy Little Thing and One In Every Crowd shows Dirty York can not only rock out but strip things back to a heartfelt soul vibe.

Waiting on St George sounds like it could have been written twenty years ago with it’s charming and honest blues rock grooves. Dirty York transport listeners to another time and place, where blokes with beards dance around pubs and hug their fellow man with joy. It’s fresh, fun and worth a listen. - Alexandra Hartshorn, MAX Music TV, Saturday April 4, 2009. - MAX Music TV

No nonsense, straight ahead rock’n’roll has become ensconced as an Aussie staple, right up there with Vegemite and great beer. Given that, any local band operating in that genre from square one faces a degree of prejudice regarding their authenticity and originality. With their hearty debut album Waiting On St. George, Melbourne’s Dirty York negate such questions, delivering quintessential pub rock with some tasteful detours.

Frontman Shaun Brown boasts an impressive howl often reminiscent of early Barnsey, but what sets this quintet apart from their umpteen pub rock contemporaries is their varying musical sides. Taking their cues from early 70s Stones with a healthy slab of Cold Chisel, Dirty York underscore their rock with rollicking piano and saxophone. On top of this is a leaning towards classic soul, exemplified on tracks such as ‘Blue Eyes’, ‘Crazy Little Thing’ and ‘One In Every Crowd’, the latter of which includes some superb horn backing. Special note must be given to lead guitarist Benny James who, instead of only playing million mile an hour, trillion note solos that sound like the shit off Angus Young’s boots, fleshes out the record with superb additional touches. Swampy blues opener ‘No Apologies’ stomps with the bite of James’ slide guitar, while ‘Spareroom Hero’ delights with a ragged, country-tinged lap steel interlude right off Exile On Main Street. At the same time, ‘Roll With It’, ‘Thank You Mama’, and ‘Easier Said Than Done’ provide AC/DC-inspired rock that’s better than anything most young bands have delivered of late. And slow-burning gospel-tinged closer ‘Revolution’ truly drives home this band’s versatility.

These sonic virtues elevate Waiting On St. George above the many like-minded records out there, giving it a textured, wholehearted quality that suggests longevity.
HHH½ - Justin Grey, TIME OFF, Wednesday May 20, 2009. - TIME OFF

I'm a bit of a sucker for that Exile On Main Street, The Faces circa 1971, early Black Crowes kinda sound. If it's done well. And these guys are not too shabby at recreating that vibe with some passion. - Richard Kingsmill, Triple J, 21 April 2009. - Triple J Radio

Forming from the booze soaked ashes of numerous other local acts, Dirty York have already carved a serious niche for themselves in the overcrowded Melbourne music scene. Having played shows with the like of Spencer P Jones and 67 Special, this is a band that demands your attention. From the opening guitars of new single No Apologies you will sit up and pay attention. And then you will get up and dance your ass off.

Dirty York play a brand of blues rock that will get the boys tapping their feet, and their girls showing their moves on the dance floor. This is a band that has somehow injected the fun they have playing live right into the recording. There are great guitars, keys, and even horns featured on the three songs showcased here from the upcoming debut album. With a rhythm section that holds it all in place and tightens up that groove, and the unmistakable whiskey soaked vocals of front man Shaun Brown, Dirty York are indeed an exciting proposition in this age of sharp haircuts and pink polo shirts. Dirty York bring together all your favourite rock bands (you can hear the Stones, the Black Crowes and even Janis throughout these three tracks) and smash out great rock n roll songs.

No Apologies is a blues rock song that demands to be played loud. Its loose and dirty, but that is as it should be. Roll With It is a four on the floor rock tune that will get crowds pumping their fists and singing along. The last track here, Spareroom Hero, has its influences clearly on its sleeve, but who fucking cares?! It’s a great song the Robinson brothers would be proud to call their own. What a great way to shake the winter blues and get ready for another rockin’ Melbourne Summer. Get the beers in, the barbie on, and Dirty York blasting out the speakers. The neighbours will be round to party before you know it. - Tim Burke, thedwarf.com.au, Wednesday, November 19, 2008. - thedwarf.com.au

Dirty York deliver Southern Rock drenched blues-driven, soul rock that takes no prisoners. Injecting the 'roll' back into rock and roll this Melbourne five piece release their debut single No Apologies off their forthcoming 2009 release (due out in March).

No Apologies is a foot thumpin' rumblin', heady remedy of struttin' hard rockin' goove and authentic soul, which rollicks about with all the abandon of a runaway train, and is guaranteed to put tingles in your pants.

Dirty York have experienced a successful year in 2007, their dynamic live shows have warmed the stage for the likes of The Bellrays, Rocket Science, Spencer P Jones, The New Christs and 67 Special, with rave reviews. Dirty York are relentless in their commitment to writing, recording and performing, and their debut album promises to be a real treat to anyone who appreciates top quality songcraft with good, honest delivery.

If Dirty York don't get you excited about music again - you better check your pulse. - adelaidenews.com.au, November 5, 2008. - Adelaide News

This is quite an interesting record from sruffy-looking Melbourne five-piece, Dirty York. Firstly, to judge an album by its cover, looking at the five of them looking surly, off to the side, flat out angry, with their checked shirts with an abundance of facial hair, I'm thinking. 'This is gonna be some flat-out rock 'n' roll'. I am indeed correct. However, we're not talking just any rock 'n' roll, this is some tasteful rock 'n' roll, this is some rock 'n' roll with some thought, this is rock 'n' roll with something to offer aside from volume and aggression. This is Dirty York, and if the year were 1974, then these guys would be duelling for blues infused rock 'n' roll supremacy with the Rolling Stones.

In a nutshell, Dirty York sounds eerily similar to the Stones, circa early '70s, but with a bit more pump, a lot of te riffage reminiscent of AC/DC, and to a smaller extent Rose Tattoo, but the similarity to Mick & Co, well, it's quite astounding. Don't get me wrong here however, this isn't a blatant rip-off, it's more in the vein of taking the style - that very English blues sound that the Stones made so famous, the Keef-esque guitar runs in between vocal lines - and adding something extra to it, more pump as I mentioned earlier, which makes this as relevant now, as it would have been back in it's heyday.

To boot, the five musicians making up Dirty York are solid, they're tight, they know the score, so this isn't a shoddy pub rock jaunt that'll inevitably end face down in the men's room. The musicianship of these cats holds it together as tightly as Charlie Watts' drumming and Mick's pants, as scattily as Keef and Ronnie's six-string chops - this is a jaunt that'll end with everyone, band included, drinking at the bar singing songs until the early hours. Waiting On St George, Dirty York's debut, is a winner. I heavily recommend you charge your glass and get on board. - Sam Fell, Rhythms Magazine, July 2009. - Rhythms Magazine