Unreleased Tracks by Late Divinyls Icon Chrissy Amphlett Unearthed in Garage

News Desk
SYDNEY: A collection of unreleased recordings by the late Chrissy Amphlett, the revered frontwoman of legendary Australian rock band Divinyls, has been discovered inside a residential garage decades after they were first laid down.
The recovered analogue tapes document a rare 1998 creative collaboration between Amphlett and New Zealand singer-songwriter Tim Finn, celebrated founding member of Split Enz and Crowded House, bringing unexpected material from two of the region’s most prominent musical figures to light.
The recordings, which had remained tucked away in storage boxes and presumed lost for over a quarter of a century, date back to an informal studio partnership in New York where both artists resided during the late 1990s.
Amphlett, renowned globally for her visceral vocal delivery and chart-topping anthems like “I Touch Myself,” passed away in 2013 at the age of 53 following a protracted battle with breast cancer and multiple sclerosis. Colleagues familiar with the unearthed sessions described the material as an intimate departure from Divinyls’ punchy rock style, showcasing nuanced melodic exchanges and vocal harmonies.
The discovery represents a significant development for Australasian cultural heritage, emphasizing the precarious condition of historical analogue media in private collections. For music historians and collectors, the tapes provide a vital bridge between two distinct musical movements: the fiery Australian post-punk pub-rock circuit and the sophisticated art-pop sensibilities pioneered by Finn.
The surviving tracks offer an unfiltered glimpse into Amphlett’s experimental creative pursuits outside the commercial expectations of major record labels.
Audio engineers and estate representatives are currently conducting physical assessments to determine the stability of the master reels before commencing digital restoration procedures. Plans regarding an official public release, potential documentary inclusion, or archival curation through national sound heritage institutions are anticipated in the coming months as legal representatives finalize preservation rights.