In 2007, while the blogosphere was busy anointing Arctic Monkeys and clapping for Clap Your Hands Say Yeah, a Melbourne band quietly dropped a genre-smashing, soul-garage-dance-punk explosion that barely made a ripple. You wouldn't find them on MTV2 or Pitchfork's front page, but if you'd been lucky enough to stumble into a Melbourne club that year, you might've caught their set—equal parts sermon, sweat, and sonic chaos.
An Eye for a Brow, A Tooth for a Pick deserves a second spin. It captures everything rock was reaching toward in the mid-2000s: groove, grit, and a willingness to mash past and present into something unpolished but urgent.
A Band With the Right Vices
The band’s only LP feels like a bootleg from a parallel universe where Deep Purple, Gang of Four, and The Faces played side by side in a warehouse. It’s messy and inspired in the best ways.
“You hear a really deep understanding of 60s and 70s rock, soul, and dance music.”
Vocalist Joe McGowan testifies on every track. His voice is raw and direct, propelled by conviction. When paired with the band’s dynamic interplay—especially between the bass and organ—the result is a sound drenched in sweat, filled with tension, and full of unexpected sophistication.
Mid-album burners like “Head in the Sand” and “Our Sunshine” radiate kinetic energy. They feel like the soundtrack to a house party that’s just about to tip into chaos. These songs know how to groove, and they aren’t afraid to let loose.
Still, underneath the surface grime is precision. The rhythm section locks in with sharp instinct, creating space for the organ to wander or land a chorus with weight. It’s music that sounds spontaneous, but reveals its structure with repeat listens.
Weird, Wild, and Wonderfully Unpolished
Every track brings a surprise. One minute you’re bouncing in garage rock church, then a rap verse from Macromantics hits. There’s even a mariachi-style horn section tucked into the mix. And then there’s their take on Bob Dylan’s “It’s Alright Ma, I’m Only Bleeding”—recast as a fractured, noise-punk sermon.
“That was one of the first twists that I was not expecting… it was going to be such a different sound from what the album cover is going to be.”
This band didn’t aim for commercial success. They landed with listeners who like their records a little scuffed, a little risky. The track list could be reshuffled for better momentum, and McGowan’s delivery isn’t exactly soothing. Still, the music grabs you. You lean in.
The ballad “As the Winter Months Approach” strips back the band’s usual bravado, leaving acoustic guitar and McGowan’s raw vocal. It’s a quieter moment that reveals a different side of their identity. Not perfect, but heartfelt.
You get the sense that the album was recorded quickly. There’s little polish, but a lot of intention. Transitions are jagged. Ideas flash by without getting tied in a bow. This is a band uninterested in fitting into a scene.
The Kind of Band Other Bands Borrowed
Before their 2007 split, Ground Components earned a rep among touring acts. My Morning Jacket, M. Ward, and The Microphones tapped them while passing through Australia. Not many bands can shift from punk chaos to soul groove in the same set, but these players could.
Their versatility shows on every track. The band could adapt, blend, and surprise. Each song moves with a sense of discovery, refusing to repeat the last.
“It’s so damn unique… the overall presentation isn’t really like anything else.”
An Eye for a Brow, A Tooth for a Pick never charted. It’s barely a blip in the algorithm age. But for those who find it, the album hits like a secret handshake. It lingers.
This isn’t just a curious relic. It’s a reminder that rock still had room to stretch out, to sweat, to surprise. That music can be messy and meaningful at the same time.
To hear our full breakdown of Ground Components' only album—including the tracks we think should have led the album, debates about the vocal delivery, and more connections to forgotten garage-punk peers from the 2000s—listen to the complete podcast episode. We also explore how this band could have fit into the dance-rock wave that almost was, and why it all disappeared.
Songs in this Episode
Intro - Hands In The Air
15:27 - Stale Thoughts
20:43 - On Your Living Room Floor
28:01 - Head In The Sand
38:23 - Fistful of Dallas
Outro - Coming In from All Angles
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