Australia
and Ireland both have great rock and roll traditions. In Oblivia
they come together. The story starts with songwriter/guitarist Tony
Juke and his friend Pete Banner hard at work on a bunch of Tony's
songs with various musicians. Those songs reached the ear of Harry
Vanda, former Easybeat and one half of the Vanda/Young songwriting
and production team. Harry signed them to a song publishing contract,
and the search began for a singer. He came in the shape of Josh
Orange, recently arrived from Ireland, after experience (but no
notoriety) with various bands back at home. By the time what we
now know as Oblivia was booked into the recording studio several
years had already been put into the music. Josh Orange was the final
piece of the jigsaw. In the studio those years of refinement came
headlong with Josh's fresh look. Steering the band through was producer
Steve James (Sex Pistols, Mental As Anything, Screaming Jets). James'
credentials suggest power pop with an edge, and that's exactly what
you get with Oblivia. These guys aren't fresh young kids. They know
what they're doing. Know what they want. Know this is their shot.
This has nothing to do with fashion or trying to break the mould.
Oblivia want to get the best out of a set of songs they know have
a lot to offer; strong melodies, interesting words, powerful performances.
They put to shame a lot of the blatantly radio friendly American
bands that are so much part of what we're hearing on radio these
days, up there and more like British bands like Muse, Stereophonics
and Ash. The name Oblivia refers to a state of mind. The songs try
to take us there. (RCA/BMG)
Australia
and Ireland both have great rock and roll traditions. In Oblivia
they come together. The story starts with songwriter/guitarist Tony
Juke and his friend Pete Banner hard at work on a bunch of Tony's
songs with various musicians. Those songs reached the ear of Harry
Vanda, former Easybeat and one half of the Vanda/Young songwriting
and production team. Harry signed them to a song publishing contract,
and the search began for a singer. He came in the shape of Josh
Orange, recently arrived from Ireland, after experience (but no
notoriety) with various bands back at home. By the time what we
now know as Oblivia was booked into the recording studio several
years had already been put into the music. Josh Orange was the final
piece of the jigsaw. In the studio those years of refinement came
headlong with Josh's fresh look. Steering the band through was producer
Steve James (Sex Pistols, Mental As Anything, Screaming Jets). James'
credentials suggest power pop with an edge, and that's exactly what
you get with Oblivia. These guys aren't fresh young kids. They know
what they're doing. Know what they want. Know this is their shot.
This has nothing to do with fashion or trying to break the mould.
Oblivia want to get the best out of a set of songs they know have
a lot to offer; strong melodies, interesting words, powerful performances.
They put to shame a lot of the blatantly radio friendly American
bands that are so much part of what we're hearing on radio these
days, up there and more like British bands like Muse, Stereophonics
and Ash. The name Oblivia refers to a state of mind. The songs try
to take us there. (RCA/BMG)