Palace Flophouse
Gig Seeker Pro

Palace Flophouse

Band Blues


This band has not uploaded any videos
This band has not uploaded any videos



This band has no press


Infidelity Blues EP



The Palace Flophouse. Since March 2007.

The trio, comprised of Tim Neilson (guitars/vocals), and the dual Chris' Hausler (bass) and Absell (drums), shared mutual friends and, when the grand ol' mistress Fate decreed, they united over a shared passion for Tom Waits, booze and blues music. Recently relocated from Brisbane, Absell bunked up with Hausler amongst the trendy Bohemia of Fitzroy and together the pair spoke of forming a band, fingers itchy for their respective instrumental devices. Unbeknown to them, and within staggering distance, lived Neilson, a prodigious talent with a penchant for feathered hats.

As stars may collide somewhere in a galaxy far away, so an instant chemistry was borne from the first rehearsal. The trio quickly developed a wealth of material consisting of songs written by all three of them (comparisons to the Beatles are welcome) as well as the songs of such luminaries as the Black Keys, Bill Withers, Bob Dylan, Cream and, of course, Tom Waits.

The band's first EP, Infidelity Blues, captures the intensity of their performance and veracity of their conviction. Recorded and mixed by David McCluney in two days upon the onset of summer at Atlantis Studios, the band stomped out self-defining renditions of a small sample of their repertoire. Opener (Bring Back the) Frank sets the tone for the record, an infectious groove which demonstrates the individual talents of the band. Don't Let the Wind Catch You cavorts along at a rabid pace, frothing at the mouth like some amphetamine addled lovechild of Bob Dylan and Stevie Ray Vaughan. The End of Misery is epic in every sense of the word, described as "an extended exploration of political and personal disambulation, complete with Led Zeppelin-esque guitar histrionics." The title track amps up with a tale of love gone Satanic. Love Oh! Love Careless Love, a traditional tune reinvented by Neilson for the record, cowers from the preceding viciousness with a gentle banjo quiver. Closing track, In the Dark, Out of Sight, finds the band exploring unfamiliar terrain and discovering a sound deep inside a film noir smoking profusely in a jazz bar at 3am.

With history as muse, the Palace Flophouse pursue.