Suffering Jukebox

Multiple interviews again this week!

This morning's episode features an interview with Andrew Tuttle, who just released AT/DC, a collaborative album with Darren Cross that was released last Friday, October 2nd, via Lawrence English's Room40 label. Andrew Tuttle and Darren Cross will be performing at Basket Of Hammers' Samhain event at The Old Ambulance Station in Namba on Saturday October 31st, alongside Primitive Motion, Tralala Blip, Unregistered Master Builder and more. Find out more about Andrew Tuttle (and purchase his music) here: https://andrewtuttle.bandcamp.com/

This week's show also features an interview with J. Mascis from Dinosaur Jr. There, Near, Dinosaur Jr.'s latest record, was released on August 28th through Jagjaguwar and there is a chance they may be touring early enxt year. Find out more about Dinosaur Jr. (and purchase their music) here: https://dinosaurjr.bandcamp.com/

Nick's Pick of the Week is Spike Fuck's Evidence, you can hear it in all the usual places, or purchase it here:https://spikefuck.bandcamp.com/album/evidence and my review can be read below.

Spike Fuck: Evidence (Sacred Bones)

Released 2nd October 2026

Spike Fuck, most people know the story by now. The Smackwave EP, released to critical acclaim in 2016, some sporadic singles up until round 2019 and then silence. Rumours, mystery, intrigue and more, the spectre of Spike Fuck (and their bright but brief period of activity) continued to loom large over the Australian underground. Then, at the end of 2024, new music, shows and the promise of an album, Pure O, which would eventually be scrapped and —finally— replaced with Evidence.

Sonically, Evidence bears no small similarity to Spike’s breakthrough release, Smackwave, only with more bombast, higher production values and a touch more rock and roll swagger. It opens with Can’t Get It Up, a lively musing on either masculinity, performance anxiety, or both, which seamlessly eases into the mellow and melancholy, Had Your Way —one of the album’s pre-release singles.

Across Evidence’s eight tracks, Spike is in particularly fine form lyrically. Lead single All By Myself contains the following vignette which muses on the power and influence an individual has on their own surroundings “And I'm sat here as I stare into my cup of tea / The milk goes in, clouds form, It reminds me / I’m the master of this kitchen! / Commanding storms with ease!” Elsewhere, with poison-pen precision, Bored To Death contains the gleefully spiteful, “When I look up at the sun it makes me so happy / Cause I know one day it’s gonna kill me, and it’ll kill you too!” These are but two memorable moments across an album that is generously littered with many similarly astute lines and phrases.

Before drawing the curtain, Spike delivers (perhaps) the album’s finest moment, Hate Me, a seven-minute love song cum ballad that dwells on the darkness within an individual. It’s a brilliantly self-effacing closer that bears a striking similarity to the highest points of late 60s/early 70s Elvis Presley.

The fact that Evidence, Spike’s debut LP, exists at all will be a shock to many. To release anything at all following years of silence is (to put it lightly) a massive challenge, for, given Spike’s reputation as a cult icon, audience expectations were high. Evidence, however, rises to the challenge, delivering a strong suite of songs that are as engaging as they are enjoyable and which establish Spike Fuck as a serious artist who doesn’t take themselves too seriously.

Nick Stephan