By: David Schultz

Their story of the Australian band Radio Birdman tends to be an oft-told tale in the annals of seventies-era punk rock: their label poorly promoted their first record; it never released their second and the band's real recognition came when fans found them long after they broke up. Formed in 1974 by Detroit native and navy pilot Deniz Tek (guitar) and Australia's own Rob Younger (lead vocals), Radio Birdman embodied the burgeoning punk attitude of the era with the same fury of bands like the MC5. Their original lineup, which included Chris Masuak (guitar), Pip Hoyle (keys), Warwick Gilbert (bass) and Ron Keeley (drums), burned brightly; their impassioned energy resulting in a mythical history of raucous concerts marred by audience outbursts. Unfairly blamed for the violent antics of their fans, the band finally called it quits in 1978. Although their fame never quite spread to America, Radio Birdman remains one of the seminal punk rock bands in Australia.

In 1996, Radio Birdman reunited at the Big Day Out, remaining together for sporadic live performances. Bragging that they owe nothing to no one, Radio Birdman has returned to the studio for the first time in more than 25 years to record Zeno Beach, their completely independent, self-produced and self-financed new album. Despite the passage of time, Birdman's lineup remains relatively stable. With Gilbert employed as an animator by Walt Disney, the band's longtime friend Jim Dickson has stepped in on bass, joining original members Tek, Younger, Masuak and Hoyle. Completing the group, Radio Birdman has picked up the talented Russell Hopkinson, one of Australia's top drummers.

Age may have refined Radio Birdman's sound but it hasn't blunted their edge. Tek and Masuak resurrect their dual guitar style, imbuing Zeno Beach with simple yet intense guitar riffs that give the album a timeless sound. Opening with the appropriately titled "We've Come So Far (To Be Here Today)," Zeno Beach goes from one three minute burst to the next, building on Tek and Masuak’s irresistible guitar licks; some tracks venture towards sinister surf rock others drift towards punk. Hoyle's keyboards transform the album into something special, keeping Zeno Beach from becoming one barebones punk rock guitar assault after another. The solos on the album are short but they are powerful and to the point. Younger’s voice, too often drowned in the mix, remains sonorous and deep, becoming an instrument all its own.

"Connected," "Subterfuge" and "Locked Up" show that Radio Birdman haven't lost their touch in crafting undeniably catchy hooks; these hits could have originated in any era. On "The Brotherhood of Al Wazah" they stray from the formula with astonishing results: Hopkinson beautifully connects Younger's eighties-style verses to a jam with Hoyle and Dickson that sounds delightfully out of place but no less wonderful despite the anachronistic quality.

In 1977, The Ramones hitched a ride to Rockaway Beach. Close to thirty years later Radio Birdman catches a wave to "Zeno Beach" finding the future out of reach; a sentiment that may have seemed more apropos in their heyday. Radio Birdman's return begs the question of whether punk rock or surf rock can be played by those who have outgrown the youthfulness that fuels the genre. On Zeno Beach, Radio Birdman shows that you can clean it up, present it in a more mature form and still create one of the freshest, most energetic records of the year.

Labels: Radio Birdman