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Monday 10am - 4pm Tuesday 10am - 5pm Wednesday 10am - 5pm Thursday 10am - 5pm Friday 10am - 5pm Saturday 9am - 4pm Sunday 10am - 4pm

Sonic Sherpa, 12/360 Logan Road (CNR Stoneham St behind the pubs car park), Greenslopes (2026)

Q: What is the address?

12/360 Logan Road (CNR Stoneham St Behind The Pubs Car Park)

11/09/2026

CATCH O’ THE DAY!
Way back in 1989, when Manchester was still Madchester and baggy reigned supreme, The Stone Roses released their eponymous debut album that galvanised the national scene and in a lot of ways set the tone for rock music in the ‘90s. It was a big hit at the time but its legacy has only magnified over the years - AllMusic’s 5-star review reckons, “What made the Stone Roses important was how they welcomed dance and pop together, treating them as if they were the same beast” - so grab a copy of ‘The Stone Roses’ and dance like the whole world’s watching!

11/09/2026

ON THIS DAY in 2006 - 20 years ago exactly - Brooklyn indie rock outfit TV On The Radio released their second album 'Return To Cookie Mountain' on Touch and Go/Interscope. Since their debut 'Desperate Youth, Blood Thirsty Babes' (2004) the band's line-up had been bolstered by the addition of keyboardist Gerard Smith - drafted into the lineup by frontman Tunde Adebimpe - and the album was recorded at Stay Gold Studio and Head Gear Studio (both located in Brooklyn) with guitarist David Sitek producing. The album featured some prominent guest vocalists - including David Bowie, an avowed fan of their debut, who sang on 'Province', as well as Blonde Redhead's Kazu Makino who sang on 'Hours' - and it housed two strong singles in 'Wolf Like Me' and the aforementioned 'Province'. Critics loved the record from the get-go, with AllMusic's 5-star review reckoning, "As passionate as ever, but with a little more polish, TV on the Radio give their unapologetically ambitious sound room to breathe with a lush, expansive production on 'Return to Cookie Mountain'. The sonic depth throughout the album is a sharp contrast with the density of their first full-length, 'Desperate Youth, Blood Thirsty Babes', which was so jam-packed with sounds and ideas that it was nearly suffocated by them... the most complete representation of the hopes, joys, and fears within TV on the Radio's music" and Rolling Stone's 4 1/2 star review stating, "Evoking 'Fear of Music' Talking Heads, 'Station to Station' David Bowie and 'Sign ‘O’ the Times' Prince, the resulting disc might be the most oddly beautiful, psychedelic and ambitious of the year. (If you don’t own a good set of headphones, get one)". The album rose to #41 in the US, #50 in Australia and #90 in the UK but featured prominently in many 'end of year' lists, named the album of the year by Spin for 2006, leading to the band's appearance on the magazine's cover, was well as being ranked second on Pitchfork's list of Top 50 Albums of 2006 (Rolling Stone, Slant Magazine, and Stylus Magazine each named the album as the fourth best of 2006). The album has stood the test of time wonderfully and remains critically beloved, with a Stereogum retrospective for the album's 10th anniversary arguing, "So rather than facing down a sophomore slump, TVOTR were still in search of their defining statement as LP2 approached. With the preposterously titled 'Return To Cookie Mountain, they found it big time. Yes, the Super Mario World-repping album includes 'Wolf Like Me', their signature song and one of the greatest singles in rock history. But just as importantly, it's a thrill from start to finish. This was the album that established once and for all that TV On The Radio were more than just a great idea for a band; they were a great band, period".

10/09/2026

CATCH O’ THE DAY!
Despite barely recalling what I’ve done this morning I can clearly remember 20 years ago interviewing Jebediah frontman Kev Mitchell about ‘Suburban Songbook’ - his second solo album under the Bob Evans moniker - and him gushing about the experience of recording in Nashville with respected producer Brad Jones, all the while summoning imagery of life in Aussie suburbia with its inherent ups and downs. The album was a smash hit, going Gold and being nominated for both the Australian Music Prize and Album Of The Year at the J Awards - The Age offered, “Recorded in Nashville last year with piano, lap steel, horns and strings, this is a major step beyond Jebediah’s generic guitar sound, showing Mitchell’s growth as a songwriter and singer” - and the new 20th anniversary reissue is on limited edition gold vinyl, so get back to suburbia pronto with your mate and mine Bob Evans!

10/09/2026

ON THIS DAY in 2001 - 25 years ago exactly - NYC anti-folk outfit The Moldy Peaches released their eponymous debut album on Rough Trade. Comprising singer-songwriters Adam Green and Kimye Dawson - augmented by a revolving band (which at junctures included Chris Barron from The Spin Doctors) - the lo-fi debut was recorded in a basement in Port Townsend, Washington. Containing a suite of softly juvenile but extremely catchy songs, 'The Moldy Peaches' got early traction when its initial 7" 'Who's Got the Crack' was named 'Single of the Week' in NME. Unfortunately being released on the same day as the 9/11 terror attacks rocked their city (and by chance including a track titled 'NYC’s Like a Graveyard' which caused minor controversy), the album came out to completely polarising reviews, with The Guardian gushing, "While the naive wisdom of childhood is eroded in most of us by responsibility and respectability, Adam Green and Kimya Dawson have not only clung to the surreal images and outspoken brashness of youth but distilled it into an artform. Using Sesame Street singalongs as a template, Moldy Peaches sing about the bare essentials and fleeting emotions of life with New York cool and laughter in their voices... an album that is sweetly crazy and completely memorable", while conversely AllMusic gave it 1 1/2 stars and sniffed, "Picture Beat Happening without the charm and wit (and with even less musical talent). The Moldy Peaches attempt to be humorous and fail miserably, thinking that using "turd" in their songs is tantamount to being funny... [they] have a great lo-fi approach to music which is too often spoiled by poor lyrics; maybe their live performance - in which the duo dresses in a rat costume and a sailor outfit - simply doesn't translate well into recorded media" (by sitting on the fence Rolling Stone probably captured the prevailing mood when they offered, "This New York City duo plays low-fi, potty-mouthed indie rock that most closely resembles self-styled misfits on the order of Jonathan Richman and acoustic Beck. You will likely find it either hilarious or stupid"). Mojo magazine ranked it 29th on its list of 2001's best records and legendary The Village Voice critic Robert Christgau later named 'The Moldy Peaches' the 11th best album of the 2000s, while in 2021 a 20th anniversary retrospective piece on Stereogum offered, "Dreaming might not be political action per se, but it is a kind of hard work that any successful, engaged collective needs to take on. I don’t think the Moldy Peaches were any kind of conventional activists, but they sure did want us to think about how another world is possible. This whole record operates in a kind of alternative universe, one in which Dawson and Green are main characters. Sweet, raunchy, baffled, slapstick, melancholic - together these two mapped a complex imagined world... 'The Moldy Peaches' was a remarkably sophisticated record - full of sly intertextual lyrical and musical references and plenty to say about the personal, economic, and social challenges of living in the modern world. It is stuffed to the gills with words ("I opened my mouth and I tried and I tried," Dawson sings) that again and again return to the question of how to invent yourself in a culture that does not necessarily want you to step outside the narrow spaces you are supposed to occupy. It is an art record and a political record and a family record, as long as you understand "family" to mean the people you choose to make a world with".

09/09/2026

CATCH O’ THE DAY!
Back in 2000 excellent Scottish rockers Primal Scream released their particularly fearsome sixth album ‘XTRMNTR’, the sonic assault no doubt helped by the fact that Kevin Shields (of My Bloody Valentine fame) both co-produced - with a stellar array of studio icons - and played on the album, as well as Mani from The Stone Roses joining full-time on bass. The formidable racket was augmented by some deeply political and sociological-political lyrics - AllMusic’s 4 1/2 star review reckons, “The album is not the flawless statement against complacency the band seemed to strive for, but it succeeds at tearing heads off, shooting fascists, and quickly asking questions later with unbelievable fury. For these reasons alone, it easily serves as one of the band’s highest marks” - and the new reissue is on limited edition 2-LP red vinyl including a curated selection of B-sides and rarities including 2 previously unreleased tracks, so it’s a great time to get angry with Bobby and the gang!

09/09/2026

ON THIS DAY in 1996 - 30 years ago exactly - Australian instrumental trio Dirty Three released their third album 'Horse Stories' on esteemed US indie Touch and Go Records. The band's star was firmly on the ascent - since previous album 'Sad & Dangerous' (1995) they'd signed to Touch and Go and been to the States five times, as well as playing Europe and touring Israel with Nick Cave and scoring Australian supports for Sonic Youth, John Cale and Pavement before performing on the national Big Day Out tour - reconvening to record 'Horse Stories' in London's Maison Rouge Studios (as usual self-producing the sessions). Released on CD and 2-LP with beautiful cover art courtesy guitarist Mick Turner, the album came out to strong reviews with US Rolling Stone's 4-star review gushing, "The problem with a lot of the so-called post-rock bands, though, is that they just don't actually rock. Dirty Three rock. On their third and best album so far, the Melbourne, Australia, trio - violinist Warren Ellis, guitarist Mick Turner and drummer Jim White - moves through some of the grittiest, most mesmerising music you'll hear this year, bending simple, melodic themes into turbulent improvisations that stretch across a vast sonic and emotional terrain. Over a backdrop of muscular, tug-of-war rhythms and subtle waves of guitar distortion, Ellis' vividly demented violin drives the band from a Gypsy funeral march in 'I Remember a Time When Once You Used to Love Me' to a forlorn country groove in 'Sue's Last Ride' to the instrumental brawling of 'Red'", while the LA Times reckoned, "It’s probably safe to say there is no other band like Australia’s Dirty Three. The violin-fronted instrumental trio mixes old-world sentiments with the manic energy of punk rock and comes up with a blend so romantically intoxicating, it’s hardly noticeable that there’s no singer. The bass-less band, whose only other accompaniments are guitar, drums and organ, has been around for three years but is just now rising from total obscurity into America’s rock underground". In January 1997 the American edition of Rolling Stone voted 'Horse Stories' among the top three albums of 1996 (ahead of discs by R.E.M. and Nirvana) and the album helped consolidate Dirty Three's position as a serious player on the scene - setting them up perfectly for both the following masterpiece 'Ocean Songs' (1998) and their enduring career which followed - but it remains revered in its own right to this day, with AllMusic's 4 1/2 star retrospective review stating, "Dirty Three have a gift for creating unforgettably emotive instrumental soundscapes, and Horse Stories demonstrates this to great effect. The versatility of Warren Ellis' violin playing is what drives 'Horse Stories', but although the violin is the focal point, Mick Turner's guitar and Jim White's drumming are vital elements in making Dirty Three's sound so compelling. The tracks here are widely varied, from slow, languid pieces like '1000 Miles' and 'At the Bar' and wild dances like 'Red' and 'I Remember a Time When Once You Used to Love Me' to stunningly beautiful tracks like the aptly titled 'Hope'. It is fitting that 'Horse Stories' helped Dirty Three reach a wider audience than they had with their earlier efforts, as it was an album that saw them reach new heights in creativity".

09/09/2026

CATCH O’ THE DAY!
Having owned Paul Kelly’s landmark album ‘Gossip’ since it first came out in ‘86 (first on tape, then vinyl, then CD) it’s still weird seeing the cover art on the new reissue refer to his band by their current name The Messengers rather than The Coloured Girls (as they were called at the time), but that’s irrelevant once you drop the needle and settle in to this timeless Aussie classic! It made a huge impact at the time and still resonates through the ages - AllMusic’s 4-star review reckons, “‘Gossip’ bursts at the seams with blustery, distinguished tunes captivating both the somberness and the intrigue thrown forward from this fine Australian storyteller… a select group of absorbing songs“ - and the reissue is on limited edition 2-LP blue/yellow vinyl (with each copy including one of several replica handwritten lyric sheets), making it a great time to indulge in some good ol’ fashioned ‘Gossip’!

08/09/2026

ON THIS DAY in 1996 - 30 years ago exactly - Mornington Peninsula rockers The Fauves released their third album 'Future Spa' on Polydor Records. The four-piece had been signed to the major in 1993 during the post-Nirvana alternative boom but their first two albums - 'Drive Through Charisma' (1993) and 'The Young Need Discipline' (1994) - had sold poorly, so they were on thin ice with the label when approaching album number three. They recorded with producers Wayne Connolly and Greg Wales between studios in Melbourne and Sydney, the sessions resulting in a melodic batch of songs with more traditional structures that their earlier fare, while co-frontman Andrew Cox later told the ABC, "The lyrics got a lot simpler, a lot more direct, but consequently a lot more meaningful. There is that sense of growing up in suburban Australia through the ‘70s. My memories of what that was like does come out pretty strongly in the lyrics.” The record's 14 tracks were augmented by a hidden track featuring 1995 single 'Everybody's Getting a 3 Piece Together' - which the band didn't want on the album proper because it had already been used as a b-side prior to the label releasing it - as well as a recording of a ma*****na arrest and caution by police during a tour stop in Queensland. The album's two singles 'Dogs Are The Best People' both got strong traction - landing at #20 and #30 respectively in the 1996 Triple J Hottest 100 - and it came out to strong reviews, with Rolling Stone's 3 1/2 star critique concluding the “[The Fauves’] time is now”. 'Future Spa' was nominated for Best Alternative Album in the 1997 ARIA awards (losing to Spiderbait's 'Ivy and the Big Apples') but it remains the highest-selling album of The Fauves' almost 40-year career and is still loved from a critical perspective, with AllMusic's 4-star retrospective review offering, "On 'Future Spa', in contrast to their previous outings, the band had modified their sound somewhat, allowing their pop sensibilities to become more obvious. And it works. 'Future Spa' is a great album, full of guitar hooks and catchy melodies, although it's hard not to get the impression that the Fauves are just trying a bit too hard to be funny. Several tracks from this album became, amazingly, mainstream Australian hits. 'Dogs Are the Best People' and 'Self Abuser' are guitar pop at its best, despite the latter's questionable subject matter", while a Rolling Stone piece for the album's 25th anniversary posited, "for diehard supporters of the Victorian outfit, The Fauves have remained one of the most consistent and impressive groups to ever grace the local scene and, for a brief moment in the mid-’90s, it felt like The Fauves might just have received their ticket to the big time... Named for the 1979 model of pinball machine, the record features the sleekness of a Wayne Connolly-produced affair, but content-wise, it felt like an album of contradictions.The dirty down-tuned nature of some tracks hid an almost poetic sweetness to them at times, while other songs would feature a sunny-eyed sense of nostalgia as it sat alongside tracks that would reference self-gratification and marital aids. Rough rock songs shared space with more reflective numbers, yet it still felt seamless and accomplished, with the record ultimately highlighting what was once called the group’s 'newer pop angle'. In theory, an album as equally dark and dryly humorous as this shouldn’t have worked, but like many of their contemporaries in the Australian rock scene of the ’90s, music that went against the grain tended to be what worked".

08/09/2026

CATCH O’ THE DAY!
In the very early days of Sonic Sherpa we were lucky enough to host not one but two brilliant instores by esteemed Riverina-bred singer-songwriter William Crighton, who’s since (no doubt due to our support) gone on to win an ARIA and release four acclaimed albums the most recent of which being the killer ‘Colonial Drift’ (2026)! Working in conjunction with both his wife Julieanne and the late great Rob Hirst, ‘Colonial Drift’ (out through ABC Music) finds him honing his ‘Bush psych’ aesthetic to perfection as he spins his uniquely Aussie narratives - Double J reckoned, “It’s all set to a heady mix of rock, blues, folk and psych, a melange that Crighton expertly weaves together in a way that feels effortless, but is really the result of years of hard graft both on the road and in the studio” - so grab a copy and bunker down for a compelling yarn with one of our country’s great modern storytellers!

08/09/2026

ON THIS DAY in 2001 - 25 years ago exactly - Oz pop star Kylie Minogue released her worldwide smash single 'Can't Get You Out Of My Head' on Parlophone Records. The lead single from her eighth album 'Fever' (2001) was written and produced by Cathy Dennis and Rob Davis, lyrically dealing with topics of lust and obsession. The super-catchy dance-pop number - widely known for its "la la la" hook - with Pitchfork writing that the song that the song "exudes a catchiness that belies its inherent simplicity, so reassuring during an era when chart acts sound increasingly baroque and producers race to see who can ape electronic music trends first". It was a massive global hit, rising to #7 in the States (Kylie first Top 10 hit since 'The Locomotion' back in 1988) as well as #1 in the UK and Australia en route to sales in excess of five million copies. At the 2002 ARIA Music Awards ceremony, it won the awards for Single of the Year and Highest-Selling Single, and Minogue won the Outstanding Achievement Award, and it's stood with the test of time with Rolling Stone in 2011 placing it at number 45 on their 100 Best Songs of the 2000s list, noting Minogue "seduced the US with this mirror-ball classic", while in 2013 NME ranked the song at #74 on their 100 Best Track of the Noughties list, saying it "encapsulated everything enviable in a well-crafted song" and that it is Minogue's best single.

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Monday	10am - 4pm
Tuesday	10am - 5pm
Wednesday	10am - 5pm
Thursday	10am - 5pm
Friday	10am - 5pm
Saturday	9am - 4pm
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