Icecream Hands
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Icecream Hands – Spiritlevel Windowsill
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Biography
The Australian power-pop band Ice Cream Hands comprised singer/guitarist Charles Jenkins, guitarist Marcus Goodwin, bassist Douglas Lee Robertson and drummer Derek Smiley. Debuting in late 1992 with a self-titled EP, the group issued their first full-length release Travelling…Made Easy a year later. After 1994’s Supermarket Scene EP, Ice Cream Hands issued another stop-gap single release, Olive, before finally resurfacing with their sophomore LP Memory Lane Traffic Jam in 1997.
Michael Witheford, Melbourne January 2000
My introduction to the music of the Icecream Hands was a highly unlikely, and fortuitous one. I had a friend who had seen the group backing Ward Dotson (otherwise known as The Liquor Giants) and tipped me off. As I was spending a year in Tasmania, it surprised me that the band were visiting Launceston, and confused me that they’d been booked to play at a hotel which I knew only as the habitat of blue collar punters, and possibly the occasional strip show, or monstrous cabaret act (always favouring a drum machine sounding like a large trout being thwacked onto a table, and many Billy Joel songs.)
The year was 1994, and there was no way I could have guessed that the enthusiasm I felt about the band’s music that night would continue undimmed right up to the present.
Facing an audience consisting of my friend and I, plus a table of three girls, Icecream Hands played a plethora of clever, melodic, effortlessly mature guitar-pop tunes, and I became an instant fan.
Michael Witheford, Melbourne January 2000
My introduction to the music of the Icecream Hands was a highly unlikely, and fortuitous one. I had a friend who had seen the group backing Ward Dotson (otherwise known as The Liquor Giants) and tipped me off. As I was spending a year in Tasmania, it surprised me that the band were visiting Launceston, and confused me that they’d been booked to play at a hotel which I knew only as the habitat of blue collar punters, and possibly the occasional strip show, or monstrous cabaret act (always favouring a drum machine sounding like a large trout being thwacked onto a table, and many Billy Joel songs.)
The year was 1994, and there was no way I could have guessed that the enthusiasm I felt about the band’s music that night would continue undimmed right up to the present.
Facing an audience consisting of my friend and I, plus a table of three girls, Icecream Hands played a plethora of clever, melodic, effortlessly mature guitar-pop tunes, and I became an instant fan.
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