If you want to understand what makes Australian punk so ferociously alive right now, you need to sit with the best Cable Ties songs and let them work you over. This Melbourne trio — Jenny McKechnie on vocals and guitar, Nick Brown on bass, and Shauna Boyle on drums — has spent the better part of a decade turning righteous anger into something you can genuinely dance to. I’ve followed this band from their scrappy 2017 self-titled debut through the widescreen ambition of All Her Plans, and every listen still gives me chills.
Cable Ties formed in Melbourne in 2015 and quickly found a home in the city’s DIY scene, releasing music through the independent label Poison City Records, with Merge Records handling international releases from Far Enough onward. Producer Paul Maybury has been behind the board for all three studio albums, and his fingerprints — raw, warm, unfussy — are all over the songs below. What follows is a track-by-track walk through the songs that define this band, pulled from their 2017 debut Cable Ties, 2020’s Far Enough, and 2023’s All Her Plans.
The Producer
The opening salvo from the band’s 2017 self-titled debut, “The Producer” is a six-minute slow-burn that tells you everything about Cable Ties before you’ve even caught your breath. McKechnie’s vocal starts almost conversational before erupting into full scream, riding a bassline from Nick Brown that just refuses to let go. On headphones, the mix lets Shauna Boyle’s drums breathe in a way that feels almost live-room raw, which makes sense given the whole record was tracked with producer Paul Maybury in a cold Melbourne warehouse. It’s the perfect thesis statement: tension, release, tension again. If punk and post-punk are your thing, it’s worth browsing more song roundups like this one for similar deep dives.
Cut Me Down
Where “The Producer” simmers, “Cut Me Down” snaps. This is Cable Ties in full garage-punk mode, with Brown’s bass and Boyle’s drums locking into a groove that never loosens its grip. McKechnie’s guitar tone here has that gritty, unpolished character that punk purists live for — nothing over-mastered, nothing sanitized. In the car with the windows down, this track hits like a shot of adrenaline, and it’s a great entry point if you’re new to the band’s catalog.
Can’t Hold My Hand
Barely two minutes long, “Can’t Hold My Hand” is proof Cable Ties can say everything they need to say without overstaying their welcome. It’s a blast of frustrated energy, McKechnie’s vocal delivery somewhere between spoken-word rant and full-throated punk holler. The brevity is the point — there’s no bridge, no big finale, just a direct hit and then it’s gone. I love throwing this one into a live-set style playlist because it captures that raw stage energy so well.
Say What You Mean
At over six minutes, “Say What You Mean” is one of the most ambitious tracks on the debut, and it was actually the second single released ahead of the album back in 2017. McKechnie’s vocal range is on full display, moving from a seething, almost spoken cadence into commanding screams by the song’s climax. The production from Paul Maybury keeps things spacious enough that the dynamic shifts really land, especially through a good pair of headphones. If you care about how a mix translates across gear, it’s worth comparing this one on a few different setups — this site’s headphone comparison guide is a solid place to start.
Paradise
Clocking in at nearly ten minutes, “Paradise” is the debut album’s centerpiece and its biggest risk. Cable Ties stretch a simple riff out into something closer to a kraut-rock jam, letting the rhythm section hypnotize you before McKechnie’s vocals cut back through. It’s not a song for casual background listening — it demands your attention, and in a live setting I imagine it turns into something genuinely transcendent. This is where you really hear the “3-minute punk burner stretched past breaking point” ethos that critics have used to describe the band.
Wasted Time
Closing out the 2017 debut, “Wasted Time” brings the energy back down to earth after the sprawl of “Paradise.” There’s a weary, reflective quality to McKechnie’s delivery here that contrasts nicely with the album’s more explosive moments. It’s a smart sequencing choice, and it shows a band already thinking carefully about pacing and emotional arc on their very first record.
Hope
Jump forward to 2020, and “Hope” opens Far Enough with a lyric about a baby boomer’s message drifting through a screen — instantly signaling that Cable Ties had sharpened their political and social commentary. Released as one of the singles previewing the album, “Hope” also won recognition when Far Enough took home Best Rock/Punk Album honors at the Music Victoria Awards. The production feels noticeably more layered than the debut, a sign of the band’s growing confidence in the studio with Maybury again behind the desk.
Tell Them Where To Go
“Tell Them Where To Go” is exactly as confrontational as its title suggests, built on a driving rhythm that never lets up. McKechnie’s guitar work here has real bite, and the song’s structure gives Brown’s bassline plenty of room to push the momentum forward. It’s a great example of how Cable Ties can be direct and political without sacrificing melodic hooks.
Sandcastles
There’s a vivid, almost storybook lyricism in “Sandcastles,” with McKechnie painting images of building something only to watch it wash away. Musically, the song sits in that sweet spot between the band’s punk instincts and a newfound melodic patience. On repeat listens, the way the guitar and vocal melodies intertwine really starts to stand out.
Self-made Man
Released as one of the advance singles for Far Enough, “Self-made Man” is a pointed, almost sardonic character study, with McKechnie repeating the title phrase like she’s turning it over and examining it from every angle. The rhythm section drives hard here, giving the song a confrontational energy that suits its subject matter. It’s one of the catchier moments on the record, proof that Cable Ties can write hooks without dulling their edge.
Anger’s Not Enough
The title alone tells you where this one’s headed — a meditation on the limits of pure rage as a tool for change. Musically, it’s one of the more dynamically varied songs on Far Enough, shifting between tense, quieter passages and full-band eruptions. McKechnie’s lyricism here feels especially mature, wrestling with big ideas without losing the personal thread.
Pillow
“Pillow” opens with an image of biting feathers face-down in a pillow, and that raw physicality carries through the whole song. It’s a more intimate, vulnerable entry in the Far Enough tracklist, and the production leaves plenty of space for McKechnie’s voice to sit right up front in the mix. Listening on a good set of earbuds really brings out the small details in the vocal performance — if you’re curious how different in-ear options handle vocal-forward punk mixes, this earbuds comparison is worth a look.
Crashing Through
Fast forward to 2023, and “Crashing Through” kicks off All Her Plans with Nick Brown’s bassline out front and Boyle’s drums hitting with real adrenaline. McKechnie’s vocal oscillates between a drawl and a full howl, and the song captures the band’s growing range — equal parts exhilaration and controlled panic, wrapped in a surprisingly pop-adjacent structure. Recorded and mixed by Paul Maybury, the track set the tone for what critics called the band’s tightest and most adventurous record yet.
Perfect Client
Released in February 2023 as the lead single from All Her Plans, “Perfect Client” is sharp, wry, and immediate — a great introduction to the album’s more melodically confident direction. The song’s structure gives McKechnie room to needle at bureaucratic frustration while the rhythm section keeps things moving at a brisk clip. It’s one of the most streamed tracks from the album and a highlight of the band’s live sets in support of the record.
Time For You
“Time For You” was the second single from All Her Plans, and it captures that exhausting, never-enough-hours feeling that McKechnie has spoken about in interviews around the album’s release. The arrangement balances tension and warmth, with guitar lines that feel more melodic than the band’s earlier, rawer output. Fans on Bandcamp have singled this one out as a favorite, and it’s easy to hear why — it’s one of the record’s most emotionally direct moments.
Too Late
“Too Late” leans into a moodier, more brooding atmosphere, with the rhythm section pulling back just enough to let tension build before the song opens up. McKechnie’s vocal performance here shows real restraint, which makes the eventual release that much more effective. It’s a good example of All Her Plans trading some of the band’s earlier volume for dynamic sophistication.
Mum’s Caravan
“Mum’s Caravan” is a wonderfully specific piece of storytelling — a caravan that’s barely moved in fifteen years becomes a stand-in for stalled dreams and deferred plans. The music matches that reflective mood, with a slower build and more space in the mix than some of the record’s punchier tracks. It’s this kind of lyrical specificity that makes McKechnie’s writing so consistently compelling.
Silos
Bandcamp commenters have called “Silos” a genuine “choon,” and it’s easy to hear why — the song has an infectious quality that sneaks up on you after a few listens. The arrangement is tight and purposeful, with Brown and Boyle’s rhythm section doing a lot of quiet heavy lifting under McKechnie’s melody. It’s one of the album’s most replayable tracks, the kind of song that ends up on repeat without you quite noticing.
Change
“Change” is one of the album’s rawest, most cathartic moments, with a repeated refrain that fans have said they wish would stretch on for several more minutes. McKechnie reflects on where things went wrong with a mix of frustration and hard-won clarity, and the song’s instrumental intensity builds right alongside the lyrical tension. It’s a fan favorite for good reason — the kind of track that translates enormously well to a live setting.
Deep Breath Out
Closing All Her Plans, “Deep Breath Out” is a tribute to a sibling dealing with addiction and delusion, and it’s arguably the most emotionally weighty song in the band’s entire catalog. It opens with chorus-dabbed guitar chords and supple bass work before growing more tension-filled as McKechnie reflects on the relationship’s precariousness. Recorded and mixed by Paul Maybury at his studio, the song closes the record on a note that feels less like resolution than honest exhaustion — and that honesty is exactly what makes Cable Ties so essential.
Frequently Asked Questions
Who is in the band Cable Ties?
Cable Ties is a Melbourne punk rock trio made up of Jenny McKechnie on vocals and guitar, Nick Brown on bass, and Shauna Boyle on drums. The band formed in 2015 and has released three studio albums through Poison City Records, with Merge Records handling international distribution since 2020.
What is Cable Ties’ most acclaimed album?
All Her Plans, released in June 2023, is generally considered the band’s most acclaimed record, scoring 84 out of 100 on Metacritic and earning a Best Album nomination at the 2023 Music Victoria Awards. Critics praised its blend of melodic confidence and the band’s established punk intensity.
Who produces Cable Ties’ music?
Paul Maybury has produced and mixed all three of Cable Ties’ studio albums — the 2017 self-titled debut, Far Enough (2020), and All Her Plans (2023) — giving the band’s catalog a consistent, warm, live-room sound.
What genre is Cable Ties?
Cable Ties are generally classified as punk rock and post-punk, though their sound also draws on garage rock and even krautrock-influenced jamming, particularly on longer tracks like “Paradise.”
Where should a new listener start with Cable Ties?
“Hope,” “Self-made Man,” and “Perfect Client” are strong entry points if you want accessible, hook-driven songs, while “Paradise” and “Deep Breath Out” reward listeners ready for the band’s more ambitious, exploratory side.