Mention Noiseworks to any Australian and they will almost certainly burst into song. They will be taken back to a time when the country’s live music scene was on a rapid incline, a time when they could turn on the radio or go to a pub and hear the authentic Aussie rock they have come to know and love. As one of the greatest icons of a generation, Noiseworks have built their reputation on sensational songwriting and dynamic live shows. The first taste of what was to come arrived in 1986, when their debut single No Lies was unleashed and shot up the ARIA Top 20 charts. This was quickly followed up with Take Me Back, Love Somebody, Welcome To The World and Burning Feeling. Their first self-titled album went multi-platinum, charting for over a year, and brought them greater success and recognition. The 1988 follow-up album ‘Touch’, with its anthemic title track, immediately made an impact by reaching the ARIA Top 10. Noiseworks toured relentlessly around Australia, playing to packed houses wherever they roamed, and before long they ventured overseas with a European tour. Noiseworks took a break from touring in 1991, and began work on the album that would round out their trifecta and push them to their creative limits. The result, ‘Love Versus Money’, went straight to the number one spot on the charts and delivered such diverse tracks as Hot Chilli Woman, Freedom, R.I.P. (Millie), Miles & Miles and a cover of the Sly & The Family Stone hit Take You Higher – accompanied by illustrious INXS former frontman Michael Hutchence and the Black Sorrows soul sister Vika Bull. Noiseworks announced an indefinite break in 1992, ending their triumphant run with their swansong single, a cover of The Beatles’ Let It Be. All five embarked on different projects – Jon Stevens pursued a solo career and dabbled in stage acting; Steve Balbi and Justin Stanley formed the Electric Hippies; Stuart Fraser became the ‘man in demand’ to perform with such artists as John Farnham, Kylie Minogue and Olivia Newton-John; and Kevin Nicol mentored a fresh crop of talent in the Canberra music scene. The dedicated fans that had followed them around Australia were crushed. They hoped against hope that the band would come together once more and do what they did best. It took fifteen years for the fans to get their wish. In 2007, Noiseworks reunited (without Justin Stanley) for a national tour. The response was extraordinary, and the band garnered a following from a new crop of fans who were unable to have the live Noiseworks experience in their heyday. Now, in 2008, Noiseworks are ready to do it all again. With plans for another tour already in motion, they are heading back into the studio to record their next long-awaited album. Audiences at their 2007 shows were lucky enough to hear a sample of their new material, Let It Go, which has whet a nation’s appetite for the next phase in the life of Noiseworks. These are exciting times for Australian rock. As well as their long-time fans, a new wave of ardent music lovers will have the chance to see for themselves why Noiseworks have remained in the hearts and music players of people the world over.