Brag#582

ISSUE NO. 582 OCTOBER 1, 2014

FREE Now picked up at over 1,500 places across Sydney and surrounds. thebrag.com

MUSIC, FILM, THEATRE + MORE

INSIDE This Week

GER A R D WAY

The ex-My Chem man says going solo is about freedom.

C OUR T NE Y B A R NE T T

Melbourne’s favourite daughter is preparing an album.

BONDI HIP S T ER S

Dom and Adrian are playing a hometown DJ set. Sah hipster.

A LITTLE ROCK

A LOT OF SOUL

MONK E Y... JOUR NE Y T O T HE W E S T The magic is reborn in 2014.

Plus

MAYHEM AUGIE MARCH THE AQUABATS

99% GENRE FREE

OCT

FRE

E

M I AMI HORRO R

1ST OCT + YACHT CLUB DJ'S (FAREWELL SHOW) + DEJA (MELB) + I KNOW THE CHIEF WWW.BEACHROADHOTEL.COM.AU

BRAG :: 582 :: 01:10:14 :: 3

rock music news welcome to the frontline: the latest touring and music news...with Chris Martin, Tyson Wray and Roger Ma

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THE BRAG

on the record WITH

SARAH MCLEOD FROM THE SUPERJESUS The First Record I Bought Paul Young, a seven-inch vinyl of the 1. song ‘I’m Gonna Tear Your Playhouse Down’.

broke a string on the first song. I sang ‘Hey, Good Lookin’’ by Hank Williams and ‘Under The Boardwalk’ by The Drifters.

I remember it had a sticker on the back that read, “This record must be played loud.” I thought that was totally cool and showed Mum on several occasions when met with noise complaints.

The Last Thing I Recorded I’m in the middle of recording one now 4. but the last thing I released was an EP called

The Last Record I Bought Percy Mayfield – The Ultimate Collection 2. was the last record I downloaded. I found him because I liked the cover of his song ‘Please Send Me Someone To Love’ when I heard Johnny Diesel do it in the film The Delinquents.

It’s my Sunday arvo, hangin’ round the house record. The mood rarely changes and it goes forever; it’s like a blues trance, a big bad blues trance, it’s great.

The First Thing I Recorded The first thing I recorded was in a jingle 3. studio in Adelaide. My mum knew a lady who worked there and she let me go in and record something. I can’t remember how old I was, maybe 14? I was a crap guitar player and I

96% Love Songbook. I recorded it with Stuart Hunter. I wrote it in the style of my favourite sounds of the ’50s and ’60s. I even wrote a full a capella barber shop number. I love it!

The Record That Changed My Life Every time I learn something new from 5. a record I get excited and it sends me in a new direction. So I’ve had many records that change my many musical lives and every time it happens it feels just as exciting as the first.

Lately I’ve been learning a lot about vocal phrasing from Frank Sinatra. So look out...

‘Luck Be A Lady’!

Where: Supporting The Tea Party at the Enmore Theatre When: Wednesday October 15

MANAGING EDITOR: Chris Martin chris@thebrag.com 02 9212 4322 ONLINE EDITOR: Tyson Wray ONLINE COORDINATOR: Emily Meller SUB-EDITOR: Emily Meller STAFF WRITERS: Adam Norris, Krissi Weiss, Augustus Welby NEWS: Lauren Gill, Roger Ma, June Murtagh, Tyson Wray ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: James Ambrose, Ashwin Arumugam, Katrina Clarke, Ashley Mar, Ivanna Oksenyuk ADVERTISING: Georgina Pengelly - 0416 972 081 / (02) 9212 4322 georgina@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 les@thebrag.com PUBLISHER: Furst Media MANAGING DIRECTOR, FURST MEDIA: Patrick Carr - patrick@furstmedia.com.au, (03) 9428 3600 / 0402 821 122 DIGITAL DIRECTOR/ADVERTISING: Kris Furst kris@furstmedia.com.au, (03) 9428 3600

Yellowcard

LOOK, THE KOOKS

GIG & CLUB GUIDE COORDINATORS: Emily Meller, June Murtagh, Debbie Shankar - gigguide@thebrag.com (rock); clubguide@ thebrag.com (dance, hip hop & parties)

The Kooks have locked in their biggest-ever Australian tour. No strangers to Australian shores, the band was last here on a sold-out tour around Groovin The Moo in 2013. Their 2015 visit follows the release of their latest studio album, Listen.

They’ll be joined on these dates by The Griswolds and Catfish And The Bottlemen.

Catch ’em at the Hordern Pavilion on Tuesday January 20. Tickets go on sale 9am Friday October 3.

AWESOME INTERNS: Roger Ma, Debbie Shankar, Jacob Mills, June Murtagh

ALL YOU NEED IS LOVE

REGULAR CONTRIBUTORS: Nat Amat, Ian Barr, Prudence Clark, Keiron Costello, Marissa Demetriou, Christie Eliezer, Blake Gallagher, Fergus Halliday, Cameron James, Tegan Jones, Lachlan Kanoniuk, Mina Kitsos, Emily Meller, Adam Norris, Kate Robertson, Erin Rooney, Raf Seneviratne, Leonardo Silvestrini, Amy Theodore, Rod Whitfield, Harry Windsor, Tyson Wray, Stephanie Yip, David James Young

A new Beatles tribute concert, All You Need Is Love, is opening in Sydney early next year.

The show has been produced exclusively for Sydney and features vocalists Jack Jones, Ciaran Gribben, Darren Percival and Jackson Thomas. The concert’s setlist has been hand-

picked to deliver and make the best use of a 50-piece orchestra. Rest assured there will be nothing played that wasn’t there already, nor will anything be watered down on the night. All You Need Is Love is on at the Concert Hall, Sydney Opera House from Friday January 2 – Sunday January 4.

ARIA AWARDS 2014

The ARIA Awards will return to The Star in Sydney this year for a mid-week event. The music industry’s red carpet event is back in Sydney through the efforts of Destination NSW and the NSW Government, and the 2014 instalment is sure to highlight the efforts both domestically and overseas of some high-achieving Australian artists, from Sia to Vance Joy and Iggy Azalea. The 28th annual ARIA Awards will be held at The Star on Wednesday November 26.

Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 fax - (02) 9319 2227

It’s seven times a charm for Florida rockers Yellowcard, whose seventh album Lift A Sail is out next Friday October 10, and they’ve announced an Australian tour to celebrate. Their previous visit Down Under was to mark the tenth anniversary of their massive Ocean Avenue record, but they’ll return with fresh tunes inspired by love and life.

Ryan Key, Sean Mackin, Ryan Mendez and Josh Portman arrive at the Hordern Pavilion on Friday July 10, with support from local five-piece Mayday Parade.

Tickets go on presale to Frontier Touring members at 12pm Wednesday October 8, and to the general public at 10am Friday October 10.

PAUL DEMPSEY SOLO

Something For Kate frontman and occasional solo artist Paul Dempsey will shoulder his guitar case from Sydney to Brisbane and Melbourne on his 3 Cities acoustic tour this November. Dempsey has booked the tour with a view to showing off new material alongside Something For Kate classics and songs from his first solo record, Everything Is True. See Dempsey at the Factory Theatre on Friday November 7.

TIME FOR T

High-velocity London songwriter Jamie T will return to Australia in 2015. T’s visit comes off the back of his justreleased album, Carry On The Grudge, which follows up 2009’s impossibly infectious Kings & Queens. The hip hop influences are a little less obvious this time around, but there’s no curbing T’s wit or attitude, evident on current single ‘Zombie’. Jamie T plays the Metro Theatre on Wednesday January 21. ‘If You Got The Money’, tickets go on sale 9am Thursday October 2.

EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG. ACCOUNTS RECEIVABLE: Luke Forrester: accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121 DEADLINES: Editorial: Thursday 12pm (no extensions) Ad bookings: Friday 5pm (no extensions) Fishished Art: No later than 2pm Monday Ad cancellations: Friday 4pm Deadlines are strictly adhered to.

Published by Furst Media P/L ACN 1112480045 All content copyrighted to Cartrage P/L / Furst Media P/L 2003-2014 DISTRIBUTION: Wanna get the BRAG? Email distribution@ furstmedia.com.au or phone 03 9428 3600 PRINTED BY SPOTPRESS: www.spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204

4 :: BRAG :: 582 :: 01:10:14

The Temper Trap

FALLS FESTIVAL SIDESHOWS

If you’re not making the trip to Falls Festival in Byron, Marion Bay or Lorne this year, there’s no need to fret. Details have begun to emerge for a slew of Sydney sideshows featuring some of the festival’s best and brightest. Ásgeir will light up the Sydney Opera House on Wednesday January 7; Big Freedia & The Divas will hit Oxford Art Factory on Friday January 2; The Black Lips play the same venue on Wednesday January 7; Cold War Kids make a return to our shores and hit The Hi-Fi on Tuesday January 6; Glass Animals do The Hi-Fi on Friday January 9; George Ezra plays the Metro Theatre on Thursday January 8; Joey Bada$$ and Run The Jewels will share the bill at The Hi-Fi on Wednesday January 7; Milky Chance visits the Metro Theatre on the same night; SBTRKT headlines the Enmore Theatre on Thursday January 8; and The Temper Trap play something of a homecoming show at the Metro Theatre on Tuesday January 6. For more info and ticketing details, visit thebrag.com.

Jamie T

thebrag.com

Yellowcard photo by Katie Hovland

YELLOWCARD

BRAG :: 582 :: 01:10:14 :: 5

live & local

free stuff

welcome to the frontline: what’s goin’ on around town...with Chris Martin, June Murtagh and Lauren Gill

five things WITH

GREEN MOHAIR SUITS

TINA BANGEL AND VAN SERENO VS: My fave artists are John Mayer for his guitar playing and clever songwriting abilities, Babyface for his melodies, Prince for his funk, Jamiroquai for their disco and Dave Matthews Band for their genius.

Your Band VS: I normally work in solo 3. format but I regularly work with

Growing Up VS: Growing up in inner 1. western Sydney I was exposed to a wide variety of music. I was into R&B and Motown, though I didn’t mind a little Guns N’ Roses once in a while to let my hair down.

It wasn’t until I heard Extremes’ ‘More Than Words’ and Tommy Emmanuel when I decided to learn the guitar seriously.

Inspirations TB: My first ever record was 2.

Lea Salonga’s, which I bought at the age of seven when I was on holiday in the Philippines. I played the record every day; my parents never told me to turn it off or turn it down. She is a musical icon – she lends her voice to many Disney songs such as Mulan and Jasmine in Aladdin.

Byron Mark, Luke Koteras, Carlo Tapia, Eric Fortaleza and Tully Ryan (all friends that are working the scene at the moment). For my launch I shall have Dauno Martinez on bass and Buddy Siolo on drums, both extremely talented and accomplished artists on their own right.

TB: The launch will include special guest performer Lionel Cole, who was recently on The Voice and is part of the legendary Cole family, One Voice Choir and award-winning Latin dancers Brian Lorenz and Wendy He. The Music You Make VS: I play urban roots 4. groove music – storytelling

with a funky pop mentality. My latest album Hey Wait Stay was recorded and mixed at my friend Luke Koteras’ studio, mastered by Chris Sebastian.

Music, Right Here, Right Now 5.

TB: I am a vocal teacher as well as a professional vocalist and session singer. There has never been a better time to create and collaborate with musicians and artists. We have more technology, knowledge and connections at our fingertips with the help of social media and computers.

VS: For the best music in Sydney go to Frankie’s Pizza on a Monday night, then when that closes go to Ginger’s on Oxford Street for the Monday night jam. On Wednesdays go to Spring Street, Bondi Junction – awesome music there.

Garage-grass pioneers and local Sydney favourites Green Mohair Suits have made their belated arrival as a headlining unit, having functioned for much of the past seven years as a side project for their prolifi c members’ various other bands. Brian Campeau, Richard Cuthbert, Jason Mannell and Ben Romalis have released their third album, Wooden Duck, which features three songs apiece from each of the songwriters (and one extra). Falling somewhere between alt-country, bluegrass and indie rock, its highlights include ‘Aubergine’ and ‘Open Door Metaphor’. The Mohairs are launching their new record on an east coast tour, stopping by The Vanguard on Saturday October 11. We’ve got two double passes to give away to the show – for your chance to win, head to thebrag. com/freeshit and tell us your favourite country song.

Green Mohair Suits

Xxx

TB: I grew up within the FilipinoAustralian community where it was the norm to sing or perform in front of the community. I remember gathering the kids around the neighbourhood and

organising singing and dancing concerts for our parents to watch. We would charge 20 cents for entry. I guess at that age I knew I wanted to create a singing school.

head to: thebrag.com/freeshit

What: Tina Bangel and Van Sereno double album launch Where: Burwood RSL When: Friday October 3

Jay Brannan

OKA

Oka

LISTEN TO YOUR HEART

London-born, Sydney-based Harry Heart has announced a new run of shows for his band, The Harry Heart Crysalis. The five-piece has had a busy 2014, supporting the likes of Glass Towers and The Delta Riggs, and just released

Well-travelled trio Oka are bringing their blend of folk and dance back to Sydney and the Paddington Chapel as part of the One Space evening on Saturday October 18. It’s a pop-up night market and music event that’s sure to please. Oka have been busy around the world this year, playing UK and Canada dates including a support slot for George Clinton and Parliament Funkadelic, and are currently on their way back from Western Australia where they played a run of headline dates. new single ‘Vex’. The single tour covers the second half of October, reaching El Topo Basement at The Eastern in Bondi on Friday October 17, Newcastle’s Lass O’Gowrie on Saturday October 18 and The World Bar on Friday October 24.

JAY BRANNAN

After the recent release of his new album Always, Then, & Now, New York based singersongwriter Jay Brannan has announced he will tour Australia this December. Brannan released his debut album goddamned in 2008, but first gained attention with his role in John Cameron Mitchell’s 2006 indie film Shortbus, where he performed his original song ‘Soda Shop’. All of his albums since have topped the iTunes Singer/Songwriter and Billboard Heatseekers charts.

Brannan will play Newtown Social Club on Wednesday December 10.

THE MORNING NIGHT

Western Australian foursome The Morning Night are setting up camp on the east coast for October, touring in support of fresh single ‘Everything I See’ from second LP Amberola.

The psych rockers, fronted by Adrian Hoffman, recorded the album with Ricky Maymi from The Brian Jonestown Massacre. They’ll play Captain Cook Hotel on Saturday October 11 alongside Black Springs and Lisa Caruso before an acoustic set at Café Lounge on Sunday October 12.

GRRRLS TO THE FRONT FESTIVAL Kingswood

HALLOWEEN WITH KINGSWOOD

Melbourne rock men Kingswood will bring their best ghoulish tunes to Newtown Hotel’s combined Halloween/Birthday Party this year. On the back of their debut album Microscopic Wars, released in August to plenty of popular acclaim, Kingswood will be joined at the spookiest of birthday parties by local songsmith Andy Golledge. It all happens on Thursday October 30.

Sydney pop/punk band Pulse Mavens will lead the line at the Grrrls To The Front Festival this month. The event is all about the celebration of women in music, and femalefronted Pulse Mavens have been added atop the list of bands that will be hitting up the event this year. The non-for-profit festival, which showcases a number of local acts, will be held at The Red Rattler on Saturday October 18, and all proceeds go towards Sydney women at risk.

DAVEY LANE

You Am I’s Davey Lane has revealed a string of shows in support of his debut album, Atonally Young. Due out this Friday October 3, the 11-track LP marks the first solo project for Lane, who has previously cut tracks with The Pictures and The Wrights alongside his work with You Am I. The five-date tour will kick off in Ballarat late next month before making its way up the coast. Lane will hit Newcastle’s Cambridge Hotel on Friday November 7 and Newtown Social Club on Saturday November 8.

REAL ESTATE

Brooklyn’s Real Estate will bring their brand of sunny suburban guitar pop to our shores for three very special shows next February. The five-piece is currently touring on the back of latest album Atlas, which was released to widespread critical acclaim last March. February’s tour will marks the band’s first headline shows here since its sold-out debut visit in 2012, which was followed by an appearance on the Laneway circuit in 2013.

Real Estate will play Oxford Art Factory on Thursday February 26.

YARDFEST

Richard In Your Mind

6 :: BRAG :: 582 :: 01:10:14

The ever-chirpy Richard In Your Mind have curated a crowd-pleasing lineup for the Yardfest event at Jam Gallery this weekend. Alongside Dick’s groovy, sitar-infused dream-pop, there’ll be psychedelia and pedal work from Dead Radio and the unrelenting dirge of Dead Brian. In other words, we’re dead keen. It’s all happening Friday October 3 from 7:30pm.

thebrag.com

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BRAG :: 582 :: 01:10:14 :: 7

Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR * Which club is quietly dealing with the theft of thousands of dollars by one of its managers‌ who allegedly also did the same thing with a former employer? * Is Jay Weinberg, son of Bruce Springsteen’s sticksman Max, the new Slipknot drummer? * Which new band told its agent it has dropped its proposed name of Isis because of fears of links with Islamic State? * A group of British Foo Fighters fans has begun a Kickstarter campaign to raise £150,000 (AU$280,000) to get the band to play a gig in

Birmingham. After five days they got half the target, with 800 fans pledging ÂŁ50 each. * Flume used his Listen Out set at Centennial Park on the weekend for the Australian debut of his remix of Lorde’s ‘Tennis Court’, receiving an exhilarated response from the crowd. * After their exhausting world tours, Sticky Fingers have begun morning boxing classes to release their stress. * Sell-outs: The second Falls Byron Bay joined Falls Lorne in selling out all tickets in record time. Meantime, all 3,000 tickets for the tenth Festival of the Sun in December in Port Macquarie sold out – half going in the first 24 hours. * The Golden Sheaf Hotel in

KILTER, TKAY MAIDZA JOIN WORKSHOP AT DETENTION CENTRE Electronic producer Kilter and MC Tkay Maidza joined Charlie Chux and Adam Bozzetto from Heaps Decent for a 90-minute beat workshop at the Juniperina Juvenile Justice Centre for female minors. In a makeshift studio they worked with ten inmates. “Everybody seemed genuinely interested in what we were working on with a few girls having already prepared some lyrics for the session,� Kilter said. He chose a twerky 808-driven rap beat to work on their lyrics. Maidza, who did an impromptu rap, added, “Everyone shared the same goal of coming up with a cool song and getting their message through music. It was pretty inspiring in a way but mostly all fun.� Heaps Decent was set up in 2007 by Nina Las Vegas, Andrew Levins and America’s Diplo.

ARIA PARTNERS WITH TELSTRA ARIA has partnered with Telstra as a sponsor for the ARIA Awards. Returning are Qantas and the NSW Government, through its

Double Bay, another venue that showcases music, is up for sale for a reported price tag of around $80 million. Meanwhile, The Coach and Horses in Randwick is celebrating its 150th year with giveaways, and The Australian Heritage Hotel in The Rocks celebrates its 100th in November. * Robbie Williams was apparently offered $1 million to do three shows at the weekend’s AFL Grand Final events but turned it down.

No-one’s saying why. * Melbourne authorities have agreed to officially include the slash for AC/DC Lane on its street sign. * Slayer’s “aggressive� style inspired Toyota division Scion to create a special edition Slayer

tourism and major events agency Destination NSW. The awards, now in their 28th year, are again being held at the Event Centre at The Star on Wednesday November 26. They will be broadcast by the Ten Network. Telstra GM of brand marketing Toby Dewar said, “We look forward to harnessing the power of our network to deliver a truly interactive and exciting experience for music fans.�

AUSSIE FESTIVALS ARE GLOBALLY INFLUENTIAL A Spotify survey of global festivals estimated worldwide stream numbers for headliners two weeks before and after the event. The resultant Most Influential Festivals list saw Future Music coming in at number two after the UK’s Glastonbury, and Laneway at number seven. The top ten most globally streamed festival headliners saw Australian events take an awesome first three spots. Top of the list was Pharrell Williams’ headlining of Future Music in March (global streams up by 90%, Australian streams by 102%) followed by deadmau5 at Future Music and James Blake at Laneway.

E HIFI 1300 THO M.AU

THEHIFI.C

Just Announced

Mobile Amp tC sports car aimed at a younger audience.

The multimedia interior comes with amps, towers of speakers, a custom mixer and a 32-inch monitor for media playback. * South Australia’s Fire! Santa Rosa, Fire! have announced they’ve broken up. * Tamworth’s music community played a benefit for singer/ songwriter Wendy Wood of Those Gals and Two Gals.

Her daughter has cystic fibrosis and she has to make regular and expensive trips to Brisbane by car to be with her when she has treatments.

The Southgate Inn gig raised $1,500. The next day, an anonymous attendee donated a one-ounce nugget of pure gold valued at $1,300.

YOUNG AUSSIES MAKE IMPACT IN AMERICA In a year when a myriad of Aussies charted, signed record and booking deals and toured America, the young ’uns also did well. Three Aussies made Billboard’s 21 Under 21 list, charting the most powerful musical young minors. New Zealander Lorde topped that list (no surprise there), while at number two were 5 Seconds Of Summer, at 13th was the Gold Coast’s Cody Simpson, and at 17th was Perth’s Troye Sivan.

NEW SIGNINGS #1: JOSH PYKE WITH WONDERLICK After being managed by Gregg Donovan and Stu MacQueen’s Wonderlick Entertainment for eight years, Josh Pyke has signed to Wonderlick’s record label. A joint venture with Sony Music Entertainment in 2012, it launched Max & Bianca, Holy Holy, The Paper Kites and Jackson McLaren.

NEW SIGNINGS #2: VICES AT RESIST Sydney hardcore act Vices are now with Resist Records, joining a roster with Parkway Drive, I Exist, Confession, La Dispute and The Gaslight Anthem. Vices, who played America last year, drop their second album We’ll Make It Through This on November 14, touring locally from now to end of December through their management and booking Virtue Agency.

NEW SIGNINGS #3: HAU JOINS FMG Australian hip hop performer Hau Latukefu has joined New Zealand urban label Frequency Media Group (FMG). Best known as frontman for ARIA-winning duo Koolism and for hosting triple j’s Hip Hop Show since 2008, he released a solo mixtape this year with more coming in the next few months.

NEW SIGNINGS #4: JOSEF SALVAT CHOOSES LIBERATION Fri 14 Nov

Tue 6 Jan

Wed 7 Jan

Ten Walls Live

This Week

Coming Soon

Fri 9 Jan

Mon 29 Sep

Sun 5 Oct

Sat 11 Oct

Glass Animals

Rebooted 9

"

Sat 18 Oct

Sat 25 Oct

" ( feat: The Upbeats

!"#$#!" %& '

Tue 25 Nov

Sat 13 Dec

Fri 5 Dec

Sat 17 Jan

!

* The People

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Inquisition

Fri 7 Nov

Sun 9 Nov

Anvil

Sydney-born, London-based singersongwriter Josef Salvat has chosen Liberation Music to release his music in Australia and NZ. Following his new single ‘Open Season’ (number one on Hype Machine just one day after release) comes his debut EP. Salvat is a buzz name among UK radio and global tastemaking media.

NEW SIGNINGS #5: UNIFIED ENTERS FEARLESS FACTORY Unified has officially announced its distro partnership with California’s Fearless Records in Australia and NZ. Already Motionless In White’s ‘Reincarnate’ cracked the ARIA chart. Set up in 1994, Fearless launched Plain White T’s, At The Drive-In and The Aquabats and is home to Pierce The Veil, Mayday Parade, Blessthefall, August Burns Red and Breathe Carolina.

APPLE TO MODIFY BEATS MUSIC? Apple has officially denied rumours it is shutting down the Beats Music streaming service it acquired in August in a US$3 billion buy. But speculation is that it will modify Beats Music to fit into its other services and products and roll it into iTunes, the way it did with streaming service Lala three years ago.

ENTERTAINMENT QUARTER, BUILDING 220, 122 LANG RD, MOORE PARK, SYDNEY

8 :: BRAG :: 582 :: 01:10:14

DRE IS HIP HOP’S WEALTHIEST Dr. Dre’s sale of Beats Music to Apple puts him at the top of US business magazine Forbes’ Hip Hop Cash Kings list. His

estimated pre-tax income of US$620 million is more than all the other names on the top ten list combined. Second place was a tie by Jay Z and Diddy ($60m), with Drake (who rapped about being on the list previously on ‘5am In Toronto’) at $33m. Rounding off the top five were Macklemore & Ryan Lewis with a combined $32 million.

NSW LGBTI LIST HONOURS Among those recognised at the 2014 Honour Awards for achievements within or contribution to NSW’s LGBTI communities were singer, writer and broadcaster Brendan Maclean (Young Achiever), theatre producer John Frost (Arts and Entertainment) and Hellfire Club (Business).

INDENT OPENS GRANTS Applications are open for the 2015 Indent Partnership Grants, developed for young people to stage youth music events. The Grass Roots Grant (maximum $2,500) is for entrylevel events like band comps and open-mic nights. Event Development Grants, for those which engage the professional music industry, have a maximum of $5,000. The deadline is Friday October 24; details at indent.net.au.

CITY OF SYDNEY OFFERS FREE/ REDUCED RENTS The City of Sydney is offering reduced or free rent for five facilities for a range of non-profit community and cultural organisations. The venues are Alexandria Town Hall, Benledi House, Glebe Town Hall classroom, St Helen’s Community Centre and Walter Burley Griffin Incinerator. Email communitygrants@ cityofsydney.nsw.gov.au.

Lifelines Split: R&B singers Jordin Sparks and Jason Derulo after three years.

Divorcing: model Amber Rose filed against rapper Wiz Khalifa after one year of marriage citing “irreconcilable differences� – two weeks after she posted a pic of them on his 27th birthday with the caption “I’ll love u forever.�

Hospitalised: Def Leppard guitarist Vivian Campbell will be “out of action� until Christmas as he will be undergoing stem cell surgery in his cancer fight.

Hospitalised: as reported in the mainstream media, former AC/DC guitarist Malcolm Young is in full care in Sydney for dementia. It’s been a close-kept secret in the music biz since his condition was leaked during their Black Ice tour.

Ill: season eight American Idol alum Scott MacIntyre, 29, requires a second kidney transplant within six months.

Arrested: a 30-year-old Adelaide man faces court on October 15 on charges of selling fake Justin Timberlake tickets for his Adelaide concert. Fans who bought the tickets online found they were refused entry.

Suing: Mostafa Kashe is taking action against Rod Stewart, saying his nose was broken when the singer kicked footballs into the audience at a 2012 Las Vegas show. “It’s a contact sport,�

Stewart said, unhelpfully. Kashe is claiming damages for lost wages and cosmetic surgery.

In Court: nine alleged members of the Finks bikie club appeared at Ballarat Magistrates Court charged with barging into the Haida Bar nightclub, attacking staff and patrons and stealing cash from a register.

In Court: a Sydney judge declared that Rose Tattoo drummer Paul DeMarco would be a “risk to the community� and refused bail on charges of being part of a gun syndicate.

Died: radio and TV executive Tony ‘Dicko’ Dickinson (4BH, 2UE, 2UW, 10 Adelaide) after a battle with cancer.

thebrag.com

ABSTRACT ENTERTAINMENT

PROUDLY PRESENTS

DIRECT FROM LONDON

Performing their classic hits It Started With A Kiss, So You Win Again, Brother Louie, Emma, Every One’s A Winner, You Sexy Thing and more

thursday

saturday

sunday

Rooty Hill RSL, Sydney

Enmore Theatre, Sydney

Revesby Workers Club, Sydney

friday

saturday

oct 3

oct 4

with

John Paul Young

with

John Paul Young

Bookings:

Bookings:

Bookings:

1800 014 014 or twintowns.com.au

(07) 3852 1711 or ticketmaster.com.au

(02) 9625 5500 or rootyhillrsl.com.au

Twin Towns Auditorium, Tweed Heads

The Tivoli, Brisbane

oct 9 oct 11 oct 19 with

John Paul Young Bookings:

Bookings:

132 849 or (02) 9772 2100 or www.ticketek.com.au www.ticketek.com.au

And completing the bill, at selected venues

JOHN PAUL YOUNG bringing you the best of his 42 year career from Yesterday’s Hero to Love Is In The Air and everything in between

BRAG :: 582 :: 01:10:14 :: 9

ANGIE STONE SING IT WITH S OUL

BY AUGUSTUS WELBY

I

n case you weren’t already convinced, the lineup for this month’s inaugural Soulfest proves that the mid-to-late-’90s was primetime for neo-soul and conscious hip hop. At the top of the bill are ’90s game-changers Maxwell, D’Angelo and Common, but perhaps the most experienced artist on the lineup is Angie Stone.

The South Carolina-born, Atlantabased singer kicked off her career way back in 1979 as part of protohip-hop trio The Sequence. Stone subsequently transitioned into R&B and in recent years she’s achieved consistent success as a solo artist, as well as dipping into film and television.

“For me it’s 35 years,” she says.

“I’m still doing my thing and I’m just grateful to God, I’m grateful to my fans.”

“IN ORDER FOR ME TO STAY RELEVANT, I HAVE TO KEEP LOOKING FORWARD. I NEVER REALLY DWELL ON YESTERYEAR, BECAUSE QUITE A FEW ARTISTS HAVE BEEN KNOWN TO BE STUCK IN TIME.” 10 :: BRAG :: 582 :: 01:10:14

Staying afloat in the music world for 35 years is an astonishing feat by anyone’s standards. And it far surpasses the modest aims that Stone had at her career’s outset.

“There was no long-term plan. I don’t think there was a short-term plan either,” she says. “Things evolved and as they went up and down I found myself on a boat sailing. I’ve got to watch the waves and that’s what I’ve been doing. I look back sometimes, but in order for me to stay relevant, I have to keep looking forward. I never really dwell on yesteryear, because quite a few artists have been known to be stuck in time.”

It’s precisely this attitude that’s led Stone through a non-stop succession of interesting projects for over three decades. Following the dissolution of The Sequence in the mid-’80s, she released two records with R&B trio Vertical Hold and teamed up with famed pop songwriter Gerry DeVeaux for a record under the name Devox.

Then in 1999 – 20 years after The Sequence’s first single ‘Funk You Up’ – came Stone’s debut solo LP, Black Diamond.

“I think every fresh opportunity should bring fresh ideas,” she says.

“When I look back on my career I have to look at, ‘OK what have you not done?’”

The singer has now released six solo albums, sold upwards of five million records worldwide and received numerous Grammy nominations. Yet despite this prosperous 15-year stretch, Stone’s Soulfest appearance is her first visit to Australia.

“You guys never invited me,” she says. “I love the fact that this is

finally happening – it’s overdue.

And I’m excited with the lineup of artists that they have.”

Indeed, when she arrives down here, Stone will be surrounded by plenty of familiar faces. First there’s D’Angelo, an ex-lover and the father of her second child. Stone actually has co-writing credits on both of D’Angelo’s classic LPs, Brown Sugar and Voodoo, as well. Additionally, there’s fellow Atlanta resident Musiq Soulchild, who features prominently on ‘The Ingredients Of Love’ from Stone’s second LP, Mahogany Soul.

“I don’t think any of us has ever been this excited,” she says. “It’s definitely one of the most amazing things I’ve ever been a part of. So, with that being said, I really truly am looking forward to this. I had no idea that I was so well received in Australia.”

Seemingly there’s been a communication breakdown, because Stone’s slinky R&B made a rumble Down Under right away.

In fact, after grabbing attention with Black Diamond’s lead single, ‘No More Rain (In This Cloud)’, her 2002 single ‘Wish I Didn’t Miss You’ cruised into the ARIA Top Ten. It’s been a desperate wait, but Australian fans can take comfort in the news that Stone’s tour setlists will be something of a career retrospective.

“We go all the way back to Black Diamond and we work our way up,” she says. “When I do ‘Green Grass Vapors’, or I do ‘Bone 2 Pic’, or I do ‘20 Dollars’, it evokes a memory of a great time in my career. So when I do it I immediately adapt to that space and that time. That’s the only way it could be an exact

duplicate of what you guys are waiting to hear.

“You don’t want to hear ‘20 Dollars’ sung at a hundred miles an hour,” she explains. “You really want what you heard and you loved so much.

I’m a person that sticks to what you’re expecting. If you want to hear ‘No More Rain (In This Cloud)’ you’re going to get ‘No More Rain (In This Cloud)’ that you heard on the radio.”

Even though Stone has managed to keep nostalgic inertia at bay for 35 years, she’s clearly still enthusiastic about the earlier stages of her career. It seems apt to find out if there are any periods that she feels particular affection towards.

“I look at Mahogany Soul and the state of mind that I was in. I’d just had my son and when I think about the headspace I was in – I was in a space and I allowed that space to dictate every song. As a result we created one of the best albums I’ve ever done.”

Like so many artists who spend a lengthy amount of time hawking their wares in the music industry, Stone’s career hasn’t been an entirely unfettered flow of positive inspiration. Over the years, she’s dealt with handful of record labels, including Arista and Stax. She admits that her five-year stint with the now-defunct J Records left a rather nasty taste in her mouth.

“I’m very candid about when they did The Very Best Of Angie Stone [in 2005]. I was in the middle of creating probably one of the best albums that I would ever make in my life and time and I was put to a dead halt – the humiliation I felt

with that [best of] album coming out. They were so eager to get to whatever they were trying to get to that they forgot to put ‘No More Rain’ on the album. That was the stupidest thing.

“But when I look back in hindsight,” she adds, “I realise that God was like, ‘They’ll make the mistake and we’ll rectify it.’ As a result – how can you have a ‘best of’ album with Angie Stone and ‘No More Rain’ is not on it? That song changed the game for me on several levels, so when they forgot the song it was just God saying, ‘Angie, I got your back,’ because he knew I still had work to do.”

Despite any frustration this might’ve caused, Stone refused to let the label’s mishap encumber her otherwise unflagging productivity.

She’s since released three further records, and with 2009’s Unexpected and 2012’s Rich Girl in particular, her on-record temperament has never possessed such a carefree lilt. And in case you’re worried, Stone confirms that the journey is far from over.

“I’m actually getting ready to go back into the studio. We got together [three weeks ago] and decided, ‘OK, we need to lockdown before we go to Australia and bang out this album.’ We’re maybe going to do one or two [new songs] live.

Let’s wait and see.”

What: Soulfest With: Maxwell, D’Angelo, Common, Aloe Blacc, Mos Def, Anthony Hamilton, Musiq Soulchild and more Where: Victoria Park, Broadway When: Saturday October 18

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Tafelmusik: House of Dreams Goldner String Quartet Steven Isserlis with Connie Shih I Fagiolini Paul Lewis Modigliani Quartet Eggner Trio

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Jamie T Holding Grudges By Augustus Welby

W

hen his debut record Panic Prevention came out in 2007, London tunesmith Jamie Treays was just 21 years old. Based on Treays’ wry wit and colourful storytelling ability, you’d be forgiven for thinking it was the work of someone with several more years of living behind them.

Album number two, Kings & Queens, followed in 2009, featuring an even broader outlook and proving that Jamie T was no one-trick pony.

However, shortly after this release, Treays cancelled a string of live dates and essentially put his career on hold. By the time 2014 rolled around, the likelihood of another Jamie T album looked decidedly dim.

“There were times when I was wondering whether I was really going to do it again,” Treays says. “I’ve been doing it since I was really young and I’d been on the road a long time. I’d never had a moment to stop and think, ‘Wait a minute, do I really want to fucking do this?’ I just decided it was time to think about it all and work out if it was something I wanted to do.”

It might’ve taken a while, but in July this year the outcome of Treays’ career re-evaluation at last became clear. First there was the brand new single ‘Don’t You Find’, and then came the announcement of Jamie T’s third record, Carry On The Grudge.

Right from the get-go, Jamie T garnered critical acclaim and commercial success all over the world. Treays’ tunes are rooted in punk rock attitude and possess a street-hardened edge, but the extent of his immediate impact prevented him ever qualifying as an ‘underground artist’. Aside from the financial security, gaining swift success in the music industry isn’t always an ideal scenario.

“[When you’re young] you just don’t know what anything is and no-one really explains anything to you, because it’s assumed that you know what’s going on,” Treays explains. “Before you know it, you’re in a situation where it’s like, ‘I don’t want to fucking do this. This is bullshit.’”

Song-wise, Carry On The Grudge isn’t a radical departure from its two predecessors, which suggests Treays’ past frustrations haven’t impinged upon his creative freedom. Granted, it’s a more melancholy work and the hip hop influence is fairly subdued this time around. But Treays’ cunning lyrical flair, combined with that unmistakable South London accent, remains the main attraction. “At one point the album was sounding completely alien to the past two records I’d done,” he says. “I had no want to shun those records at all. I’m very proud of them and I didn’t want to come back into music with some brand new fucking album and be like, ‘No man, I don’t do that anymore.’”

Carry On The Grudge comes out this weekend and it’s fair to assume that Treays would feel a sense of ambivalence about diving back into the circus. Of course, it’s unlikely he’ll completely avoid the less inspiring aspects of the music industry, but at least he’s now confident this is what he wants to be doing. “It is kind of in my identity. Since I was a kid I’ve been writing songs and if you take that away from me, I can get a bit lost. It took me a while to get the ball rolling, but by the end of it I was writing three or four songs a day. I just took some time to work out how I wanted to do it and whether I wanted to do it forever or not.

And I’ve decided I’d really like to do it for years to come.”

What: Carry On The Grudge out Friday October 3 through Virgin/EMI Where: Metro Theatre When: Wednesday January 21

Émilie Simon Speaking In Tongues By Adam Norris

É

milie Simon is a difficult artist to categorise. Having released her self-titled debut album back in 2003 – an electronic record whose success saw it still charting three years later – the French singer’s subsequent releases have seen her embark on vastly different paths. Her soundtrack for March Of The Penguins was geared towards the cold, replete with the sounds of splintering ice and winter weather.

2006’s Vegetal drew its inspiration from fl owers and vegetation, while still retaining her electronic roots.

Now, with the release of sixth album Mue, we see Simon move in another direction again with a stripped-back, acoustic sound. To term her output ‘prodigious’ is an understatement.

While each of Simon’s releases explores a different fl avour, the idea of the concept album seems to have dropped out of vogue to a certain extent these days. So when Simon refl ects on the shape of her music thus far, you get the sense that the concept album is pretty far from her thoughts.

While ‘puzzling’ is not entirely the word to describe Mue – which translates, rather appropriately, to ‘morph’ – there is certainly a level of pleasant ambiguity to the record, chiefl y due to the fact the majority of it is in French. Simon says the ideas translate.

“There’s not really a language barrier. I feel like my music is not really built [as much] on lyrics as it is on the sound, on the production and melody – it’s something that is beyond language. Sometimes it doesn’t even seem to matter if it’s in French or English. It’s a whole: it’s not just about words, it’s about a whole poetical world. The language is a part of it, of course, but the melody and voice are the main elements, are always the core. All the sounds, the environment in a song are important – a little bit like a movie, something that you experience as a whole. Sometimes people get it, even if they don’t understand it. And my music isn’t really telling a narrative story, so it’s very poetic. Even if you understand French, it’s more about poetic images, it’s very visual.”

An exception to this is the sweetly sad ‘The Eye Of The Moon’. It is an evocative song with its feet planted firmly in folk, but adding to the accessibility is the fact it sung in English and written by British speculative fi ction author Graham Joyce. There is an added poignancy to the song, given that very recently Joyce passed away aged 59.

“I’m glad to talk about these beautiful lyrics, because Graham actually just passed away last week,” says Simon. “It’s very sad.

He wrote songs for me, in English.

We met years ago and collaborated on a few songs for The Big Machine and Franky Knight. ‘The Eye Of The Moon’ is something he sent me for Christmas, and he said, ‘I wrote that for you, and one day perhaps it will become a song.’ So it was a present. I had this melody in mind that I thought was quite beautiful, and when I got the lyrics it made sense, they fi t in perfectly.

It’s a very powerful song onstage, and even on the album it’s one of my favourites.”

Suffice to say, throughout Mue there is great variety and much room for interpretation. Like a choose-your-own-adventure story, the precise shape of each song is left up to the individual to

determine. Meaning can be teased from the lyrics, or the tone alone can conjure subjects unique to the listener. This is a characteristic that can perhaps be applied to Simon’s entire body of work, and that’s the way she would like it to remain.

“I create something, and I give it to the world. From there, it has its own destiny, and I like the fact that people understand something differently; I like the fact that everyone has their own interpretation. I love the fact that some people don’t even want to know what I’m talking about – it’s true! It happened to me as a child. I wasn’t speaking fluent English, but I was listening to so many English and American songwriters, and it didn’t matter. I didn’t need to know what they were saying; to me it was

magical. It was like making your own story, or like reading a book and then seeing the movie. Maybe you’ll be disappointed, because your movie was better, you know?”

She laughs. “I like to see things that way. I like the fact that not everyone will understand the language and get what’s going on, that instead it’s completely conceptual. I love that.”

What: So Frenchy So Chic In The Park 2015 With: La Femme, Frànçois & The Atlas Mountains, The Dø Where: St John’s College, University of Sydney When: Saturday January 17 And: Mue out now through Cartell

“A hungry little boy with a runny nose plays in the street as the cold wind blows in the ghetto.” - ELVIS 12 :: BRAG :: 582 :: 01:10:14

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xxx

“It’s a very strange thing,” she says.

“The songs always happen in a very different way. A lot of the time things just come together, and it appears to me very suddenly that I’m writing about a certain theme.

For example, with Vegetal, I started to write completely freely, without any theme, and after around four songs there was the name of a fl ower in every song. So I just started calling the folder on my computer Vegetal, because it seemed to be the link, which then inspired new songs that were really playing with the theme. So sometimes it’s real organic, it’s not me deciding on something and then I’ll write about it. The songs come that way, and they kind of put me on

the track, and then it’s a lot like working out a puzzle until you fi gure out where you’re going.”

The Aquabats The Birthday Boys By David James Young

G

et on your paper hats! Blow into those party horns! Stuff yourself silly with cake!

This year marks 20 years since The Aquabats first pulled on their spandex, plugged in their guitars and attempted to fight crime and save the world with arse-kicking rock’n’roll. It’s a huge milestone, and one that few bands get to achieve. So what does it feel like to be two decades deep?

“I don’t know whether to laugh or cry!” exclaims The MC Bat Commander, lead vocalist and fearless leader of The Aquabats. “Where did the time go? It doesn’t seem like that long ago – when I think about the bands that had been around for 20 years when I was a kid, they were old! That was bands like The Rolling Stones, Devo, The Who… they’d been

around forever! Thinking about matching that time, it’s really strange.

“I think our attitude back when we started and our attitude now – I mean, it’s kind of different, but I think it’s essentially the same. It’s basically always been to have fun and see what we can get away with. We’ve always been the class clowns – every tour we’ve done, every festival that we’ve been on, we’ve been expected to be kicked off at any moment. Not for doing anything inherently bad, but just for being the nerds that we are. It’s been a pretty fun thing to just keep doing.”

Over the years, the Californians have expanded their

empire significantly. They were the stars of The Aquabats! Super Show! – a live action children’s program that incorporated new songs and ran for nearly two years. They’ve also produced five studio albums, with the most recent being 2011’s Hi-Five Soup! One could say that the band members, who have remained unchanged for eight years, have been married to their job. Sure, but don’t think that’s gotten in the way of the performers’ romantic endeavours – well, more than it already has, at least.

“The early days were a little more fancy-free,” recalls Bat Commander. “We were all single and out there, ready to mingle – and all the girls would run away the second we put our costumes on. My wife, who I’ve been with for a long time, originally didn’t know about the band when we were first going out. That almost ruined it, so I tried to keep her away from it as much as possible. I had to prove to her that I had other ambitions and other plans – I wasn’t just going to go to my own private Comic-Con every day.”

The Aquabats are bringing their spandex, guitars and assorted weapons back to Australia in February as part of the Soundwave festivities, and they couldn’t be more excited to extend their 20-year celebrations into 2015. They also have some very peculiar extra-curricular plans. “I’m not just brown-nosing here,” says Bat Commander, “but I would totally love to move to Australia.

We all love it down there – we’ll even take out a few cane toads for you guys while we’re in town. We’ll just stay there, in costume, exterminating cane toads for weeks and weeks to pay for the shows. That could also be a really good episode of the show, now that I’m thinking...”

On the subject of the TV show, 2014 started on a bum note for the band as it was revealed that Super Show had not been renewed. In spite of

this, Bat Commander is certain the program is not going to go down without a fight. “I think the independent nature of the band and the punk rock ethos has inspired us to keep making it,” he says. “It’s a little bit of a setback, but we’ve been trying to do this for so long. It’s been such a dream come true, and the show has actually turned out pretty well – I watch the show and I sometimes can’t believe it. We actually pulled it off. We’ve definitely got to keep doing it.”

So the dream is still very much alive for The Aquabats – there are still arses to kick and names to take for Bat Commander and co. It begs the question, what is the key to the band staying together for all this time? Is it because they’re the heroes that the world of music needs right now?

“I think the reason we’ve been able to kind of hang in there is, at the heart of The Aquabats, it’s just fun,” says Bat Commander. “It’s just entertainment. It doesn’t really mean anything too deep. At the same time, we really care about our fans and want everyone to have a great time together. We’re all really good friends in this band, and I think that’s been a major part of what’s kept us together. We’ve shared this fun trip, and we’ve expected it to end so many times.

We’ve been really grateful that we’ve been able to keep doing it.

“We’ve never had any major expectations – if you set out to be U2, regardless of who you are, odds are it’s not gonna work out. We set out to be a bunch of dudes just sneaking into shows and having fun – and that’s worked out just fine for us.”

What: Soundwave Festival 2015 With: Slipknot, Faith No More, Soundgarden, Slash, Marilyn Manson, Incubus, Lamb Of God, Fall Out Boy, Judas Priest and many more Where: Sydney Olympic Park When: Saturday February 28 and Sunday March 1

Death From Above 1979 Let’s Get Physical By Dan Watt

C

anada’s Death From Above 1979, otherwise known by the contraction DFA 1979, might be the most widely known and talked about underground punk rock band in the world. All the hype and adoration around the Montreal two-piece, comprising bass player Jesse F. Keeler and drummer/vocalist Sebastien Grainger, emerged from the release of only one album, 2004’s You’re A Woman, I’m A Machine. Just last month, and almost exactly ten years since the release of their debut, DFA 1979 dropped an unanticipated follow-up, The Physical World. The record came as an extra surprise, because the band officially broke up in 2006.

“It wasn’t always going to happen,” confirms Keeler. “The way we’re working these days is by just playing it by ear.” Alongside other activities, Keeler’s words reflect the occasion when DFA 1979 reformed for South By Southwest in 2011 and followed it up with a world tour, seeing them visit Australia for the Parklife festival.

“We don’t want to trap ourselves into anything that we’re not sure of or make any promises we don’t think we can keep,” explains the bassist.

“We wanted to see if [after the reformation] we would be happy just playing again, and we were. The shows just kept coming and we just had to say, ‘No, we don’t want to play any more reunion shows,’ because we had done almost a year of them.

“In the end we decided that we’re either going to make new music and be a band again, or we’re going to stop playing these shows because we didn’t want to sully our good name.

So we decided to make music again.”

While DFA 1979 had written an array of new material, Keeler admits the band wasn’t quite ready to perform the new tracks live. Instead, the pair opted to play tracks from its back catalogue while on the touring circuit. “We started writing all this new stuff, but we didn’t feel like it was ready to play out in front of people yet,” he says. “Then it got to a point where we were playing these shows, and [we had] all these other songs we wanted to

play but we didn’t pull them out because they weren’t done. So we stopped playing, to make music.

“That’s what screwed our band in the first incarnation,” he admits. “We were on tour so much that we didn’t get the chance to make music, so it just started to lose all its point.”

Keeler now turns his attention to the writing process behind the songs on The Physical World. “The first song on the record [‘Cheap Talk’] is the first song that we wrote for the album, but the funny thing is it was just an instrumental. I wrote that song in 2005 and we never got around to finishing it. When we got back together in the studio we were like, ‘Let’s try and finish that one we never finished off.’

There were minor changes and Sebastien wrote the lyrics – that song was actually originally called ‘The Physical World’.

“While the lyrics changed and the title was given to the last track on the record, that song guided the rest of the album in both sound and concept,” explains Keeler. However, in recognition that the whole process sounds quite intense, he adds, “They were all really easy [songs to write]. Usually, I will have a bunch of riffs and I will say, ‘I think this is a song,’ and we will get together and figure out what the arrangement would be and Sebastien will freestyle vocals over the top of it and we will see if there is anything exciting in there off the bat.”

Keeler closes our chat by talking about the last song on the record, the one that ended up with the name ‘The Physical World’. “This was different in that I had a concept for what would be at the end of the record and had this idea that was a arpeggio-ing chord on a Juno 16 and I was like, ‘Let’s just play to that, let’s use it as the master clock,’ and we got into it and the song wrote itself.”

What: The Physical World out now through Last Gang/Warner

“I gave a letter to the postman, He put it his sack. Bright and early next morning, He brought my letter back.” - ELVIS thebrag.com

BRAG :: 582 :: 01:10:14 :: 13

Mayhem Black Days Behind Them By Augustus Welby “They did some really amazing albums; Grand Declaration Of War [in 2000] and Chimera [in 2004].

Grand Declaration Of War was very important I think, as an artist, because they managed to kick some boundaries. They managed to get out of the box of black metal itself and just push it a little bit wider. It was a really important step for the band.”

While he was admittedly shaken up by the craziness he experienced during his time with Mayhem, Csihar didn’t opt to step away from black metal. Rather, he went on to release albums with Italian band Aborym and Norwegian outfit Keep Of Kalessin, as well as enacting an ongoing partnership with drone metal gurus, Sunn O))). And it’s not as if he kept his distance from Mayhem, either.

“Of course in ’93, yes, because everything just went down,” he says.

“But then we got back in touch in a few years after that. Necro asked me, ‘If something happens, [would you] be interested [in rejoining]?’ I told him, ‘Hey man, of course I am,’ because the band is important for me. But I told him, ‘Don’t expect me to sit here at home and do nothing,’ so I did my other bands.”

R

ock music has plenty of sinister offshoots, but there’s no genre that feels more like a direct broadcast from the dark side than black metal. To conjure such pervasive darkness, it seems necessary that the creators be subsumed by morbidity.

Norwegian black metal pioneers Mayhem are responsible for some of the genre’s most brilliantly scary music, but embracing ghoulish transgression for creative purposes has had some particularly devastating side effects.

“We were ahead, we pushed the boundaries – and the guys too,” says Mayhem vocalist Attila Csihar.

“Some guys went into the wrong direction, I believe, and they kind of stepped over.”

Mayhem formed in 1984, and like the majority of bands with a tri-decade career, many members have come and gone since that time. Only, Mayhem’s backstory contains some uniquely frightening plot twists.

Himself a Hungarian native, Csihar (pronounced chee-har) joined the band in 1992 after former vocalist Per Yngve Ohlin (better known by his stage name, Dead) committed suicide. Csihar was invited in by founding guitarist Øystein ‘Euronymous’ Aarseth specifically to sing on Mayhem’s debut fulllength release, De Mysteriis Dom Sathanas. The album has since been certified a black metal classic, but prior to its release Euronymous was brutally murdered by bass player Count Grishnackh (who was recruited at the same as Csihar).

“It’s always hard to find your own borderline,” Csihar says. “A balance of how far you can go and you shouldn’t go further, because that’s madness with a capital M. Of course, it happened to us, because we were the first to deal with this and the shit hit the fan and the band got ruined.”

Indeed, by the time of the record’s May 1994 release Mayhem had, unsurprisingly, split up. But the period of inactivity didn’t last long.

In 1995, the band’s drummer Hellhammer took it upon himself to put Mayhem back together, re-enlisting the band’s original singer and founding bass player, Maniac and Necrobutcher respectively, as well as new guitarist Blasphemer.

“Luckily the guys kept going on, they built it up again,” Csihar says.

Thus, when Maniac decided he could no longer endure the touring lifestyle, in 2004 Csihar resumed his post as Mayhem’s imposing frontman. Since his re-entry, there have been two new Mayhem records – Ordo Ad Chao in 2007 and Esoteric Warfare, which came out this June.

“We are a 30-years-old band and I think we have five or six full-lengths and maybe two EPs or something like that. It’s almost like every four or five years something happens. And every album it could be almost another band. If you put them side by side, if you listen you realise the Mayhem tone, but it’s always a completely different aspect or context. With the new album, it’s kind of different from the other albums.”

In addition to releasing Esoteric Warfare (which is in fact the band’s fifth studio album), Mayhem have spent the majority of 2014 on a 30th anniversary tour. Considering the band’s exceedingly chequered history, this achievement is certainly worth celebrating.

“It’s amazing, it really is,” says Csihar. “It’s unbelievable. To play heavy metal for 20 years, I couldn’t dream that. It’s really amazing. The band itself – they formed in ’84.

I had my first band Tormentor, in Hungary, which was from ’85. I was like 16 when I was [the] first time onstage, now I am 43 – so it’s like 29 years onstage.”

On top of the group’s determined perseverance, Mayhem remain a chillingly distinct force in heavy music. So is Csihar surprised that Mayhem’s significance has endured for this long?

“When they sent me the new stuff, which was supposed to be De Mysteriis Dom Sathanas, I was like, ‘Wow,’” he recalls. “That was a huge step ahead. That was like different compositions and the drumming just blows my mind away.

Still today actually, I can’t really understand how Hellhammer can pull this off. I was totally blown away by that, when they could combine the slow rhythmics – it’s a blast beat going on but it’s a very slow-motion [rhythm] also going on in the background somehow in the structure of the music. I was very, very impressed by that.”

What: Soundwave Festival 2015 With: Slipknot, Faith No More, Soundgarden, Slash, Marilyn Manson, Incubus, Lamb Of God, Fall Out Boy, Judas Priest and many more Where: Sydney Olympic Park When: Saturday February 28 and Sunday March 1 And: Esoteric Warfare out now through Season Of Mist xxx

Augie March Five From Five By Augustus Welby

T

his weekend Augie March will unveil their fifth record, Havens Dumb. It’s about bloody time, too. Watch Me Disappear, the band’s superb fourth LP, came out precisely six years ago. While this lengthy interval caused fretful speculation about the future of the Victorian fivepiece, it seems that no such worries afflicted the band members.

“It never really came up,” says Augie March guitarist Adam Donovan.

“It was more of a question of time, rather than whether we would or wouldn’t. We probably always knew we would.”

Listeners’ sincere concern about whether Augie March would make another record draws attention to the proud sense of ownership that many feel towards the group. This ties in with the fact that several Augie March compositions have been anointed modern Australian classics. Such a reputation could surely weigh down on a band, but Donovan says it wasn’t a present consideration during the making of the album.

“Mainly the duty is to yourself and to do something that you can be proud of. I think our fans would expect us to do something that we like and it’s up to them to interpret it any way that they want,” he says.

“The way we operate is just trying to treat each song on its merits – let the song take you where it wants to go and not try to steer the ship in another direction. Try to basically be a bit of a slave and do what you’re required to do.”

14 :: BRAG :: 582 :: 01:10:14

As has been the case with Augie March’s previous four releases, vocalist/guitarist Glenn Richards penned all of Havens Dumb’s 14 tracks. Each song deftly balances instrumental elegance, contemplative melodies and intricately wrought lyricism, which itself could take several years to craft. Astoundingly, the final collection was whittled down from a far greater batch of songs.

“There was probably somewhere around 50,” Donovan says. “We worked on the first bunch and then another collection of songs and another one. The songs sort of select themselves – the ones that are most suited to our outfit to go after and make progress with.”

Havens Dumb is Augie March’s first record done without the backing of major label Sony Music (formerly BMG). Instead of chasing down another record deal, the band chose to embrace its newfound independence.

“I think not having a deadline is a good thing and we could go at our own pace,” Donovan says. “Having said that, there is always a deadline and that’s usually your own sanity.

There are things there that we could have done differently, but nobody will ever know that.”

Approaching the record as a listener, it’s hard to identify much in need of revision. Havens Dumb isn’t a major departure from the classic Augie March sound, but it does step into some novel territory, sonically and thematically.

Succinctly articulating exactly what constitutes the ‘Augie March sound’ is nigh on impossible, but Donovan underlines one leading aspect.

“Glenn’s voice is pretty distinctive and as soon as you hear it, I think that’s our sound. I would say it’s defi nitely Glenn’s voice.”

Richards doesn’t just possess an unmistakable croon – he’s also a wonderfully incisive poet. Havens

Dumb is full of arresting lyrical content, which is yet another reminder of Augie March’s cultural significance. For instance, the chorus of album centerpiece ‘Definitive History’ features this pointed barb at contemporary Australia: “One for the mother, one for the dad / One for treasurer, one for the plasma screen / And don’t forget the developer’s dream / A tumour for them all in the belly of the sprawl”.

“Glenn’s always got songs that require and demand your attention,” Donovan says.

“As a songwriter I think you’re allowed to bring up those things.

You have to have a message.”

What: Havens Dumb out Friday October 3 through Dark Satanic/ Caroline thebrag.com

S E C R E T

Gerard Way Breaking Out By Lachlan Kanoniuk

I

t came as a right shock when My Chemical Romance, a band riding high with an undiminished and ever-fervent fan base, announced their sudden split in March 2013.

After the band bowed out on top, there were no sure answers as to what was next for frontman and renowned comic author Gerard Way. The answer came relatively swiftly, however, with the announcement of Way’s first solo LP, Hesitant Alien. Speaking from his makeshift art studio in LA, Gerard details his transformation into fully-fledged solo artist.

“It took me quite a while to get to the point where I realised there was going to be a solo album. I think the initial plan was to run as far away as I could, erase my identity and change states, play guitar and sing and not talk to the audience in a small fuzz-rock band. That was the initial plan. But time passed, the songs started to feel more ambitious. I didn’t even know I was making an album until around six songs in. I was just making music for the sake of making music, which is something I had not done in a long time.

“I don’t think I had anything to prove. I think proving stuff can be scary. I kind of went through my proving years in My Chem.

Not that I had anything to prove with what I accomplished in My Chem, but I think My Chem was all about proving something, and I wasn’t going to challenge myself with that.

There’s an invisible, imaginary resistance you can create for yourself by feeling there’s something you need to prove, even if you’re fighting against yourself. It’s a crutch you can fall on. But if you don’t have that, you’re not angry about anything. I was out to share.

When you’re out to prove something, it becomes calculated; you use your art as a weapon. I wasn’t trying to do that, I was simply trying to share pieces of me that I’ve never shared, sonically, before.”

In creating a solo album, Way was not so much emboldened by freedom, but guided by a maturity within his own constraints. “Anyone can put themselves in a prison pretty easy, is what I’ve learned. One of the biggest points of maturity for me in this whole process was truly understanding that I was my own jailer.

My Chem wasn’t a prison, it was maybe part of the problem and maybe what was suffocating me creatively. But you put yourself in that jail. I could have easily done it again with this album, and put myself in a prison again. I had to face that. Freedom was always up to me, and I came to realise that. That’s when I began to have fun.”

The final two My Chemical Romance albums were defined by sprawling, character-rich conceptual narratives. Though the title Hesitant Alien might invoke sci-fi visions, the album presents itself as a grounded rock manifesto.

“It was super-challenging,” Way says. “There thebrag.com

was no concept, there were no strong characters – the character ended up being myself. The only thing I felt like I created was a visual language for this record, I don’t think I created a character. Or in the end, I created myself. I put pieces together to make myself.

Not having a story, not having a title long before the album was finished, not having any of that stuff in mind was extremely challenging.

And that’s what I wanted. I was challenging myself sonically, trying one vocal track instead of quadruple harmonising. I was very resistant to harmonies on this record.”

S O U N D S

P R E S E N T S

WEDNESDAY 7 JANUARY METRO THEATRE ticketek.com.au

TICKETS ON SALE NOW

The foremost influences found on Hesitant Alien pertain to strains of early ’90s alternative rock, venturing into vivid Britpop territory at times, which are signifiers not exactly present in the My Chemical Romance back catalogue.

“They were always on my mind, I was always listening, and every now and again they would pop into My Chem songs,” says Way. “I had a tremendous understanding and respect for what we did in My Chem, that I was always fully aware that this is our sound. I’m not gonna resent it, I’ll bend it to a certain point, but I’m not going to break it past that. Even if I had a strong desire to write a Britpop song, it was never going to be that. So this was always in my repertoire. Stuff you listen to when you’re 12 years old, stuff you listen to in your formative years. Luckily it was a sophisticated type of music – Britpop is extremely complex, so it’s stuck with me, even when I’m nearing my forties.”

Way’s recent sets, including festival appearances at Reading and Leeds, have strictly focused on Hesitant Alien, with material from My Chemical Romance nowhere to be seen. Don’t expect that to change by the time Soundwave rolls into Australia next year.

“I think it would have to be some time passing, it would have to be years, to the point where I truly miss the songs and they mean something to me again. When the band ended, I was at a point where the songs still meant something to me. But if I were to go one minute more they would stop. To play them again, firstly, I would need to reimagine them completely into whatever I’m doing at the time, even if it’s free-form jazz. On top of that, I need to have a strong desire to do them. The desire just doesn’t exist. It might take years.”

What: Soundwave Festival 2015 With: Slipknot, Faith No More, Soundgarden, Slash, Marilyn Manson, Incubus, Lamb Of God, Fall Out Boy, Judas Priest and many more Where: Sydney Olympic Park When: Saturday February 28 and Sunday March 1 And: Hesitant Alien out now through Warner

SADNECESSARY OUT NOW S E C R E T- S O U N D S .C O M . AU | M I L K YC H A N C E O F F I C I A L .C O M

BRAG :: 582 :: 01:10:14 :: 15

Courtney Barnett x Humble By x Heroine By Paul McBride

M

usician interviews are often challenging affairs, ranging from something like drawing blood from a stone to verbally wrestling a Herculean ego. Chatting with Courtney Barnett, however, is a joy from start to finish, such is the Melburnian singersongwriter’s honest and down-to-earth nature.

This is especially refreshing given Barnett has had two massive years since her debut EP was released in 2012, including North American tours and an appearance on The Tonight Show Starring Jimmy Fallon.

“I have a little moment every now and then, and think how far from this time two years ago my life has changed,” she says. “I try to go away a lot as well, to be myself and collect my thoughts.

Playing huge festivals like Glastonbury has been pretty surreal, as has doing TV shows and shit like that – it’s kind of weird and out of my normal world. Even travelling overseas is a big deal for me. I’d never travelled before – I could never afford it, not even for a holiday. But it’s fun; it doesn’t just feel like work. Obviously it is part work, part fun, but it’s pretty cool. We get to experience a bit of the local stuff – I try to go to galleries and go to parks and stuff like that.”

Being labelled a saviour of Australian indie music by certain sections of the music press isn’t something Barnett is keen to take seriously.

“I think there are plenty of great Australian musicians,” she says. “It’s nice when people say stuff like that about me, but there are so many other great bands and great songwriters. I don’t at any point think I’m some weird saviour for Australian music. I’ve got great friends and people who help me and don’t treat me any different and shit like that. I feel like my feet are on the ground, I don’t feel like I’m some sort of amazing superhero or anything; that’s kind of ridiculous. Coming from here, where everything is smaller, I’ve realised how much I’ve loved being home since I’ve been here.”

Barnett and her band have just embarked on their first proper Australian headline tour, but don’t expect her to be getting complacent just because it’s home turf.

“We’ve always been supporting someone else or doing festivals or something, so it’s kind of exciting to finally be able to do that,” she says.

“But I treat every show exactly the same – it’s about the music, not who you’re playing to. I feel lucky to go onto any stage and have people listen to my music. It’s actually kind of more nerve-wracking playing to a home crowd or playing to friends and people who know you – I find that way more nerve-wracking than playing to complete strangers. It’ll probably be a really stressful tour [laughs].”

A recent crowdfunding experiment in support of Barnett’s own Milk! Records label led to the target being reached in double-quick time.

“I treat every show exactly the same – it’s about the music, not who you’re playing to. I feel lucky to go onto any stage”.

12 plays, 7 Australian works, celebrating 30 years.

“I was so blown away by that,” she says. “I’ve never done one of those Pozible things, so wasn’t sure if it would work or what, but I was blown away by the support. I never thought that Milk! Records would grow into this real community-driven project, and I’ve witnessed so many of the same people buying stuff when we release stuff and coming to the shows and supporting each band that we pick up along the way. It’s become this beautiful little community family thing, so I was pretty moved when it happened straight away – it was very cool. We were in a position where we had already recorded our songs as we had money from a Christmas show we did last year, but then we needed the money to do the pressing. We had already created the actual thing, so there was less pressure with creation, and it was more like a pre-order – we just didn’t have enough money to print vinyl.”

Radiance 3 JAN – 8 FEB

Kill the Messenger 14 FEB – 8 MAR

Blue Wizard 19 FEB – 15 MAR

Elektra / Orestes 14 MAR – 26 APR

The Wizard of Oz 2 MAY – 31 MAY

Samson 7 MAY – 31 MAY

Mother Courage and Her Children

A record company that existed for a long time only on paper, Milk! has become one of the hottest names in Australian indie music right now.

6 JUN – 26 JUL

The Dog / The Cat

“I started it just for my own release,” Barnett says.

“Just so my CD looked more professional, so more people would listen to it and more people would review it. Nobody took much notice at first and it took a while, then we started helping other musicians and friends and other people started joining in. When we had the Christmas party last year and sold out the Tote [in Melbourne], I realised we’d opened up a little door for a community of people who liked the same bands – it was a very special moment.”

18 JUN – 12 JUL

Seventeen 1 AUG – 13 SEP

La Traviata 27 AUG – 20 SEP

Ivanov 19 SEP – 1 NOV

Mortido

With two critically acclaimed EPs under her belt, now is the time for the long-awaited debut album.

7 NOV – 23 DEC

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Hunter Page-Lochard. Illustration: Julian Meagher

What: The Double EP: A Sea Of Split Peas out now through Milk! Records With: D.D Dumbo Where: Oxford Art Factory When: Wednesday October 8 – Friday October 10 thebrag.com

Courtney Barnett by Leslie Kirchhoff

2015 Season now on sale belvoir.com.au

“It’s all recorded and pretty much finished,” she says. “We’re going to release it early next year.

I’m just drawing a whole bunch of pictures for the artwork and stuff. I’m really proud of it – I really challenged myself, tried different things and pushed myself to step out of my comfort songwriting zone and lyric-wise. I’m really happy with it; I feel that it’s the next logical step from the last bunch of songs I wrote. We’ve been playing a bunch of the songs on tour, but we want to save a bunch for the actual release.”

BRAG’s guide to film, theatre, comedy and art about town

arts in focus

The

The Australian Ballet - Giselle photo by Georges Antoni

Australian Ballet

season 2015 in preview also inside:

xxx

MONKEY… JOURNEY TO THE WEST / ROSS GRAYSON BELL / ARTS NEWS / ARTS GIVEAWAY / REVIEWS thebrag.com

BRAG :: 582 :: 01:10:14 :: 17

arts frontline

free stuff

arts news...what's goin' on around town...with Chris Martin, Jacob Mills and Roger Ma

head to: thebrag.com/freeshit

five minutes WITH

ROMAN STILLS, DIRECTOR OF DIXIELAND

Dixieland

S

ydney filmmaker Roman Stills spent the last three years based in the US, where he made the short film Dixieland about the influence of Dixieland jazz on the city of New Orleans. We asked him to talk us through the experience.

JUST FOR LAUGHS: STAND UP SERIES

How important is Dixieland music to the New Orleans identity?

In my opinion, conversations about New Orleans’ identity cannot exist without Dixieland music. What I find particularly interesting is the relationship that Dixieland music had with the African-American Civil Rights Movement.

Dixieland was a negative term for AfricanAmericans, as its usage defined any area of the south where slaves remained oppressed.

Matt Okine

Today, the term Dixieland is used to describe of any form of jazz that is derived from early New Orleans jazz.

Dixieland plays with the idea of time and chronology – how did this help tell your story?

I wanted to acknowledge New Orleans’ sordid racial history in the film, while also referencing the city’s present and future. To do this, I imploded all traces of sequential time. The audience cannot tell if time moves forwards, backwards or loops.

Did you hope to capture an overview of life in New Orleans, or a specific musical aspect of it?

I didn’t think about it on those terms, but I guess, a specific musical aspect of life in New Orleans. More specifically, it is about the role Dixieland music had, has, and will continue to have, on community building in New Orleans.

What: Dixieland (dir. Roman Stills) Where: Screening at Blacklisted Gallery, Surry Hills When: Tuesday October 7

SON OF A GUN

Son Of A Gun is the debut feature by Aussie director Julius Avery (Jerrycan), but he’s sure recruited a big gun to play the starring role: the one and only Ewan McGregor, who appears alongside newcomer Brenton Thwaites. The film tells the story of young JR (Thwaites), serving six months in prison for a minor offence when he’s dragged into the world of hardened crime boss Brendan Lynch (McGregor). When JR gets out of jail, he must orchestrate Lynch’s escape from prison, and is inescapably wrapped up in the business of crime from there on in.

Son Of A Gun opens in cinemas around Australia on Thursday October 16.

We’ve got ten in-season double passes to give away – for your chance to win one, head to thebrag.com/freeshit and tell us your favourite Ewan McGregor flick.

xxxx

Did you travel to New Orleans with the express intention of shooting a film, or did the idea come about when you arrived?

My goal was to create video content while I was in the Deep South, but had no concept or film outline. Dixieland was inspired by my time with local actor Darius Raymond, who stars

in the short film. After we met, he took me on a wild journey through the outskirts of New Orleans. Our first stop was his grandmother’s home, which was made of white weatherboard that had buckled over the last 100 years. I learnt that his parents, grandparents and great-grandparents had never left Louisiana. Darius’ concept of home is tied to physical space, and Dixieland music is a part of that space. It spurred me to think about how we build connections with private spaces and the cultural forces that shape those connections. This is fundamentally what Dixieland is about.

Robyn Hendricks in La Bayadère

Sydney’s Just For Laughs lineup has grown even bigger, with The Stand Up Series gigs confirmed throughout the October festival of lols. Over six shows and three nights, 29 of the best comics around will play The Studio at the Sydney Opera House in filmedfor-TV sets. The Stand Up Series, running Thursday October 16 – Saturday October 18, will feature the likes of Tom Ballard, Tommy Dean, Rhys Nicholson, Fiona O’Loughlin, Matt Okine, Ronny Chieng, Luke McGregor, Denise Scott, Peter Berner and many more.

THIS IS NOT ART

LA BAYADÈRE

The Island Of Doctor Moron

Sydney will host the latest Australian Ballet production from early November. Stanton Welch’s production of La Bayadère has been described as ‘Bollywood meets ballet’.

Having already wowed crowds in Melbourne, the new production makes its way to Sydney, telling an epic story of forbidden passion as a beautiful temple dancer and a heroic warrior fight for their love against a backdrop inspired by 19th century visions of the exotic East. La Bayadère will run from Thursday November 6 – Saturday November 22 at the Joan Sutherland Theatre, Sydney Opera House.

SPECTRUM NOW

The Sydney Morning Herald’s Spectrum section, long a staple of Saturday morning breakfasts, will come to life at the inaugural Spectrum Now festival in March 2015. Announced by Australian actor and Spectrum Now creative director Richard Roxburgh at an event last week, the festival will celebrate Sydney’s music, film, dance, theatre, art and design scenes, among others, with over 150 exhibitions, gigs, talks and events. Spectrum Playground kicks off the event on Wednesday March 11 next year, transforming The Domain into a creative hub. Spectrum Now will take place from Wednesday March 11 – Sunday March 29. To get involved or for more details, head to spectrumnow.com.au.

WORD TRAVELS

THE DOCTOR IS IN

The Island Of Doctor Moron, opening at The New Olympia Theatre next month, tells the story of a reclusive mad scientist and his voodoo experiments designed to “bring out the beast inside of us”. Written by Chris Dockrill, the former English Master of Kempsey High School, and boasting an international cast of over 30 artists, The Island Of Doctor Moron promises a show of Rocky Horror energy and thrill. The Island Of Doctor Moron will be running five shows a week from Tuesday November 4 – Saturday December 6.

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Word Travels Story Festival is back for its second round of poetry slammin’, word speakin’, live literary competitive monologue mayhem. Over three days this month, the festival will honour the tenth year of the Australian Poetry Slam by inviting wordsmiths from all over the country to fill The Rocks, the Opera House and the Sydney Dance Lounge with probing ideas and powerful new voices to a cheering audience. Word Travels will run from Friday October 10 – Sunday October 12 at different pop-up venues around the city. Scheduling and ticketing

information can be found at wordtravels.info/ wordtravelsfestival.

BLACK BEAUTY

New art exhibition Black Beauty celebrates Aboriginal heroes and role models. Germanborn artist Nana Ohnesorge expresses her utmost respect and admiration for Australia’s First Peoples in a series of paintings, works on paper and sculpture at her second solo exhibition at Galerie Pompom. The exhibit will show from Wednesday October 15 – Thursday November 9.

LITTLE EGYPT’S SPEAKEASY

Little Egypt’s Speakeasy, a rhythm and blues burlesque concert drama, is making a return to Sydney’s Inner West. Speakeasy takes its cues from the 2010 rhythm and blues revue that premiered at Sydney Fringe Festival. With the original cast returning, the new show tells the tale of exotic dancer Little Egypt and her infamous club in 1950s Phoenix, Arizona. The Django Bar in Camelot Lounge will be completely transformed to emulate the inside of a 1950s speakeasy for a night of comedic narration, rhythm and blues, dance, and burlesque routines. The show is running Thursday November 6 – Sunday November 9. thebrag.com

La Bayadère photo by Georges Antoni

Newcastle’s festival for emerging artists, This Is Not Art, gets underway this week. After 17 years at the forefront of Australia’s artistic fringe, TiNA returns this year to showcase more than 400 artists from here and overseas. Highlights on the program include the Epic Word Nerd Battledome with SBS personality Lawrence Leung, Mandatory Attention: The State Of Immigration In Australia (presented as part of the National Young Writers’ Festival) and Crack Theatre Festival’s Theatre Of The Found: The Frankensteined Monologues.

TiNA takes place in Newcastle from Thursday October 2 – Sunday October 5. For full details, head to tina2014.floktu.com.

Monkey… Journey To The West [THEATRE] The Magic Returns By Kate Robertson

M

onkey… Journey To The West is a live action reimagining of the 16th century Chinese legend about a pilgrimage to India, which itself was popularised for Australian audiences in the cult ’70s Japanese television series Monkey Magic. The BRAG spoke to Darren Gilshenan (AKA Uncle Terry from The Moodys) during the first week of rehearsals about his role in the show named after everyone’s favourite irrepressible monkey.

“You’ve got a great spiritual story in there, really – a classic hero quest story and characters that are willing to sacrifice themselves in order to achieve a greater good for humanity,” says Gilshenan. “So at its centre you’ve got a very strong, noble idea, but then the way in which we play around that is full of colour and comedy and brashness. What you witness in the theatre should be something fun and playful and very dynamic and surprising.”

Though this production will certainly elicit a nostalgic response from many audiences – and Gilshenan was a fan of Monkey Magic – the actor points out that Journey “is certainly different to the what the TV show was. It’s more of an Australian, larrikin kind of take on the story. It has to be of our voice.”

Gilshenan reveals that the robust and often cheeky characters familiar from the TV show are at the centre of the Journey narrative, with Gilshenan playing Pigsy – a rude and flirtatious monster whose lust and gluttony saw him banished to earth. “He wants to pretty much eat everything and jump into bed with everything, so of the four pilgrims he represents the carnal appetite,” Gilshenan explains. “Sandy represents the philosophical way of thinking and Monkey is the irreverent, cheeky element within it that keeps causing mayhem wherever he goes, and then Tripitaka, who is the main pilgrim who the three of us are sent to protect, she holds the story down.”

the rehearsal room as a collaborative hub, with the actors working alongside co-directors John Bell and Kim Carpenter to express the stories of the adventurers.

“Because it’s a new piece we’re doing an enormous amount of devising, so we have a blank canvas. We have a script which has a great shape to it and a great story within it. The way we’re evolving it is in intuitive layers, where the first layer is we work out pathways and then we add the music and rhymes to that and then we add the tricks and the characterisation to that, so it’s a gradual and enriching process … It is visual and physical theatre as much as there’s a script to it, so there’s an enormous amount of creativity in the rehearsal room, and I’m finding that very exciting.”

Gilshenan also highlights the visual appeal of Journey, with its beautiful sets, puppets (“some so huge they don’t fit in the rehearsal room”) and an emphasis on movement. “I would describe it as a spectacle,” he says. “Stylistically it has a lot of different forms within it – puppetry, kung fu, vaudeville, slapstick; we have lots of music, movement sequences, dance.”

The show features the parkour and martial arts group Team 9Lives and all of the actors have highly physical roles. “I’ve got a background in acrobatics and I’ve done a lot of physical comedy and commedia and slapstick in my time as well, so I’m learning kung fu and stick spinning,” says Gilshenan. “There’s a very disciplined sense of physicality in the room. This is really a celebration of theatricality in all its forms.”

Monkey photo by Branco Gaica

As this is a new production, Gilshenan describes

Lia Reutens, Aljin Abella and Ivy Mak in Monkey…

Journey To The West

Ross Grayson Bell [BOOKS] The Art Of Writing By Tegan Jones n good news for aspiring novelists, Faber Writing Academy and Allen & Unwin are this month running a five-day intensive workshop titled Start Your Novel In A Week. Awardwinning Australian novelist Kathryn Heyman will be heading the workshop, joined by special guest Ross Grayson Bell. In addition to being the producer of the cinema classic Fight Club, he has an abundance of experience in adapting novels for the screen.

I

is a favourite among critics now, this wasn’t always the case.

Anyone who is trying to break into the film or writing industries will be aware of the financial burdens it can carry. Grayson Bell’s story is testament to the fact that you’re not alone. “The inspiration to start writing came from a financial imperative,” he says. “As a producer, it was cheaper to hire myself as a writer because I would work for free. I adapted Tom Spanbauer’s epic novel The Man Who Fell In Love With The Moon for free and it landed me on the Brit List for best unproduced screenplays in the UK. That put me on the map in terms of writing.”

“I got a group of unknown actors together and did a read-through of the book and then taped the highlights. It was this 50-minute book on tape that convinced 20th Century Fox to option the book and landed me an exclusive producing deal with the studio – even though I was yet to produce a movie.”

The process sounds a great deal easier than it really was for the producer, and for any aspiring writer who has to try and stay motivated. “You have to look at why you are writing in the first place,” says Grayson Bell. “If it is to impress or prove something you might be on the wrong track. Writing is hard. You doubt yourself constantly and still you have to keep going.

What: Monkey… Journey To The West Where: Riverside Theatre, Parramatta When: Thursday October 2 – Saturday October 11

“The best advice I can give is this: recognise that the road blocks that you hit creatively are your friends. It is in overcoming those obstacles, finding new ways to solve a problem, that creation happens.”

This advice is relevant to Grayson Bell’s biggest success, Fight Club. Although the film

The Australian Ballet

“Fight Club is the ultimate achievement in bringing new ideas to the world,” Grayson Bell says. “Everyone had passed on the book in galley form when it was circulated in Hollywood. It was too dark, too unconventional. I read [it] in one sitting and knew the book was going to change the world.

If there was ever evidence that hard work and passion can pay off, it’s the story of how that movie came to be. “Working on Fight Club was a defining moment in my life and career.

Everything I stood for – bringing bold new ideas to the world, never giving up, believing in myself – all came together in a perfect storm.”

The final world of advice that the writer/ producer leaves us with is one that will no doubt be reinforced by himself and Heyman during the upcoming workshops. “Write often. Writing is a muscle that needs to be exercised. The more you write the fitter you become.”

What: Start Your Novel In A Week Where: Allen & Unwin, Crows Nest When: Monday October 20 – Friday October 24

Lana Jones in The Sleeping Beauty

[DANCE] 2015: A Year Of Beauty By Liza Dezfouli

The Sleeping Beauty photo by Georges Antoni

“S

leeping Beauty is one of the iconic ballets,” says David McAllister, artistic director of The Australian Ballet. “It is the ultimate beauty.” McAllister’s reimagining of one of the world’s bestloved ballets is the crown of the flagship ballet company’s 2015 season, dubbed ‘A Year of Beauty’.

Next year dance lovers will see, along with The Sleeping Beauty, productions of other traditional ballets including Swan Lake (directed by Graeme Murphy), Giselle and Cinderella. The Year of Beauty will also include a night of modern ballet, 20:21, with a world premiere by resident choreographer Tim Harbour presenting two significant 20th century works, Balanchine’s Symphony In Three Movements and Twyla Tharps’ In The Upper Room.

’80s production from The Australian Ballet, but we hadn’t really nailed it yet. We needed to do something new.

Sleeping Beauty can become one of those dances which are always about the steps. With our 2015 production we’re moving it along a bit, moving it forward for modern audiences. The dramatic elements are now more to the front and the centre of the dance.

Our show is about telling the story, about the drama in the dance, so it’s about the story as much as it’s about the choreography.”

As for The Sleeping Beauty, this much-anticipated production of Tchaikovsky’s major work will see its world premiere in Melbourne next September before arriving in Sydney.

“It’s an iconic classic,” says McAllister.

“People want to see it. It’s been on my mind a long time. I’ve come a long way and I feel like I know what I want to do with it.

Along with story and dance, McAllister says design will be an important element in his production.

“Sleeping Beauty is always staged in an opulent ‘big’ way; always known for its outrageous and lavish designs. Diaghilev’s production for the Ballets Russes in the 1920s sent the company broke. Gabriela Tylesova is our designer and we’re on the same wavelength. I sent her images, wrote the whole synopsis; she did her own research, now it’s even better than I thought it would be, filled with the magical majesty of the dance. It’s all set in the 1700s, 1900s, the whole baroque period – it’s really appealing and engaging.”

“It’s my first full-length choreography,” he continues. “There was a beautiful

The Sleeping Beauty is famously demanding of its principal ballerina.

thebrag.com

“This is an incredibly difficult dance for ballerinas; it’s physically one of the most demanding of roles,” McAllister says. “Principal artist Lana Jones is the right one for this dance at this moment. She has an incredible attack, an incredible dynamic technique.”

Speaking to the BRAG, Jones says it’s a great honour to be asked

by McAllister to dance Aurora.

“David McAllister really knows his ballet. He’s an extraordinarily gifted choreographer. He’s got his own vision for this piece.”

What makes The Sleeping Beauty so difficult? “There’s a lot of dancing, a lot of balancing on one leg and moves like that,” says Jones. “The audience can see it if you’re not up to it. I could even say it’s frightening.

“I have performed it before,” she adds.

“Now that I’ve got more experience, I have more to bring to the role. Aurora is only 16. I bring a fragility and innocence to the character.”

Jones attributes her success to a mix of natural talent and hard work.

“You have to have natural talent to get this far in ballet. That’s the nature of it. I often get asked to do the difficult parts. And of course, sheer hard work! I try to be the best

dancer I can.” Even though the actual production is a year away, preparing for it is almost dominating Jones’ life.

“I am just going to stay in the bubble till then,” she says.

What: The Australian Ballet Season 2015 More: australianballet.com.au BRAG :: 582 :: 01:10:14 :: 19

Film & Theatre Reviews Hits and misses on the silver screen and bareboards around town

The Equalizer

urine-tinted visual sheen making it boring to look at as well. It goes without saying that Washington carries it effortlessly, but the gravitas he naturally lends just makes the toxicity of the whole package more problematic, at least until it becomes impossible to take seriously during its nutso climax. Bring on the sequel!

Ian Barr

■ Film

THE EQUALIZER In cinemas now Oh man, don’t you just HATE all the corruption and venality in this world? All those crooked, dirty cops? And don’t get me started on the Russian mafia! Don’t you just wanna jam a corkscrew up their jaws? Don’t you wanna power-drill through their heads?

Don’t you wanna hang them with barbed wire?

Here, Washington plays Robert McCall, a likeable blue-collar Boston loner who spends his leisure time in a local diner reading classic literature. There he encounters Teri (Chloë Grace Moretz), a stock hooker with a heart of gold, under the control of abusive Russian mobsters. When she’s brutally beaten by one of them, McCall takes it upon himself to enact revenge on the men responsible, which leads him to a facing off with a Russian mob boss (Marton Csokas) and the complying Boston police force, using skills (equalising skills, you might say) from his Special Forces past.

Charges of xenophobia and a dim view of women aside, The Equalizer is mostly just startlingly dull, with the queasy slasher-film killings diluting any potential revengenarrative satisfactions, and the pervading

IN BLOOM In cinemas now Nana Ekvtimishvili and Simon Gross’ In Bloom is an evocative coming-of-age drama set in a world teetering on the brink of uncertain catastrophe. Taking place in Georgia during the 1992 Civil War, it follows teenage girls Eka (Lika Babluani) and Natia (Mariam Bokeria) as they navigate the perils of growing up in such a tumultuous place.

The story is structured into small vignettes that collectively paint a powerful picture of what life is like for Eka and Natia. Most scenes involve lingering tracking shots that follow the girls through the trials of their daily lives. Each scene adds depth to the ones that came before it and their length is both technically impressive and an effective tool that the film uses to draw you in.

In Bloom’s Georgian backdrop is also used to great effect throughout. The cinematography serves as a constant reminder that the foundations of Eka and Natia’s collective world are just as uncertain as their individual, personal ones. It’s an endeavour aided greatly by the strong chemistry between the film’s leads. Babluani and Bokeria convey the friendship between their characters with a great sense of authenticity, and towards the end, dramatic gravity and sorrow.

Children Of The Sun ■ Theatre

CHILDREN OF THE SUN Playing at the Drama Theatre, Sydney Opera House until Saturday October 25 The Sydney Theatre Company is having a moment of political pointedness. Not quite as hot button as Kryptonite over at Wharf 1, Andrew Upton’s new adaptation of Children Of The Sun at the Opera House is nevertheless after something similar: a portrait of the times in which we live by way of the personal and domestic.

Maxim Gorky’s play of notquite-aristos on the march to ruin, written in 1905, was

eerily prescient. Protasov (Toby Truslove) is a chemist, living with his wife Yelena (Justine Clarke) and sister Liza (Jacqueline McKenzie) in the family home. They’re presided over by Nanny, and a conga line of friends and suitors pass through. In the 21st century we’d diagnose them all with an acute case of arrested development. Liza is consumed with existential dread, and her unease seems vindicated when the household begins to hear ominous rumblings from the local village. The townspeople are agitated and their hostility seems set to spill over.

Upton’s adaptation jettisons some characters from Gorky’s original, but it still feels overstuffed. Players come

on and off at a rate of knots and it’s hard to get much of a purchase on any of them. This is partly down to tone: we flit between the jocular and tragic with frightening speed. Some characters seem dimensional – notably the women – while others are little more than cartoonish. Which is a shame, because there are superb things here: most strikingly the set by David Fleischer, Max Lyandvert’s music, and the performances by Clarke and McKenzie. But Upton’s patented ockerisms hang thickly over all. It’d be a neat trick to veer from the broadly farcical to the deeply felt on a dime; this production hasn’t pulled it off.

Harry Windsor

At its best, In Bloom feels like a fantastically defamiliarised coming-of-age narrative set in a true environment that could all fall apart at any second. The pacing is occasionally a little leisurely but otherwise it’s an entrancing view into an adolescence entirely unlike anything Hollywood has to offer at the moment.

Fergus Halliday

xxx

In Bloom

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Arts Exposed What's in our diary...

Is This Thing On? Belvoir St Theatre, Thursday October 2 – Sunday October 26 What is life as a stand-up comedian really like? Zoë Coombs Marr’s new play, Is This Thing On?, explores the question with the help of five separate actors playing her protagonist Brianna at different stages in her life: Madeleine Benson, Genevieve Giuffre, Fiona Press, Susan Prior and Nat Randall. In this hilarious yet touching look behind the laughter, Brianna battles through the tough times (vomiting onstage, performing to empty rooms) and into maturity.

Tickets are $48. Visit belvoir.com.au for full details and to book.

Right: Susan Prior 20 :: BRAG :: 582 :: 01:10:14

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Children Of The Sun photo Brett Boardman

If you took a moment from tuning your crossbow to answer ‘yes’ to all of the above, chances are you’ll still find The Equalizer’s choice to preface its onslaught of Chuck Norris-esque vigilante porn with a Mark Twain quote to be a bit on the pretentious side. Then again, gussied-up trash is the M.O. of this film adaptation of the popular 1980s TV series, which reunites Denzel Washington with his Training Day director Antoine Fuqua, and makes the latter look like Le Samouraï by comparison.

■ Film

Film & Theatre Reviews Hits and misses on the silver screen and bareboards around town

■ Comedy

GABRIEL IGLESIAS Reviewed at Qantas Credit Union Arena on Saturday September 27 For someone who seems at first like an unknown quantity on these shores, Gabriel Iglesias has certainly made a significant impact. Tonight’s performance as part of his Unity Through Laughter world tour is his third visit to Australia, and is performed in front of a sell-out crowd.

In a day and age when it is common for topflight comedians to parlay their success into film and television careers, Iglesias might represent a throwback to another era. That’s not to say that he’s flown entirely under the radar – he’s appeared on TV with Conan and Jay Leno, had comedy specials on the Comedy Central network and voiced characters for Family Guy and Disney films.

His YouTube page has, at the time of writing, almost two million views. But this following has largely been cultivated the good oldfashioned way. That is, by hitting the road and touring relentlessly.

Iglesias – or ‘Fluffy’ to his devoted fans, is witty, engaging and charismatic – a largerthan-life character that fills out his trademark Hawaiian shirt. A number of fans tonight have even come bearing gifts, delivering him chocolate cakes and Transformers pre-show (a reference to a joke from 1998 that still endures). The show itself is a mixture of artful storytelling, parodies, characters and sound effects that bring many of the Long Beach native’s personal experiences to life.

He riffs on everything from Australia’s laconic sense of humour and the dangers of fictitious drop bears to his travels through Saudi Arabia and the nuances of the couple who run his favourite local Indian restaurant.

It’s very rare to see a comedian play an arena tour and this venue is a significant step up in capacity from Iglesias’ last show at the Opera House in 2012. By now, though, Fluffy has his crowds eating out of his hand.

So much so that many in the audience here are on their feet cheering when he indulges them by retelling old gags from previous tours – some punters are even delivering the punchlines in unison.

No doubt Iglesias’ devoted fans will be playing comedy karaoke with him again soon, probably alongside a few new gags.

Tim Armitage ■ Theatre

THE MOTHERF**KER WITH THE HAT Playing at Eternity Playhouse until Sunday October 19 Profanities ablaze. Tensions are high.

The question remains, just who is the motherf**ker who left his hat? Directed by Adam Cook, The Motherf**ker With The Hat is a dizzying spin through the lives of a series of addicts and ex-addicts.

The play opens with Veronica (Zoe Trilsbach) engaging in some multitasking: cleaning the apartment, talking to her mother on the phone, and snorting lines of coke. In walks Jackie (Troy Harrison). He’s fresh out of jail, getting clean, and about to shower Veronica in all that is good in life. But then he notices a hat that’s not his in their apartment, and accusations of infidelity begin to fly.

Playwright Stephen Adly Guirgis’ characters at first seem to invoke stereotypes – the ex-dealer, the healthsmoothie-wielding mentor, the gym junkie cousin – but their strength lies in the pure depth of humanity and morality (or lack thereof) that emerges. There is nuance to each of these flawed personas. It is a play that feels very American, in accents, dialogue, and its distinctly Nuyorican (New York Puerto Rican) characters, but this never feels distant or out of place; rather another just aspect of the chaotic world of the play.

Everything is fast-paced and high-energy; voices and emotions rise and fall at the drop of the (proverbial) hat. The dialogue is pacey and continually funny, maybe hyperbolic at times, but this play is all about being over-the-top – take the title as a case in point. In sync with the action is the constant movement between the sets, all of which appear clichéd and dingy in their own endearing way.

Overall, it is a story about love and addiction and maybe even humanity, underneath which the classic foul-mouthed slang pervades.

Harriet McInerney ■ Theatre

BROTHER DANIEL Playing at the Tap Gallery until Sunday October 5 They say you should never judge a book by its cover, and while I’m loath to borrow a cliché, Brother Daniel has turned me into a firm believer that you should never judge a play by its poster. With a lowresolution image and a black standard font placed thoughtlessly over dark patches of background, it’s not the most convincing promotional material. But don’t be fooled, because as the characters stomp onto the stage in full force, it isn’t long until you realise the power, talent and dedication behind this piece.

Scraping over the pledge mark of $4,000, Brother Daniel is the result of a crowdfunding project by independent Sydney production company Collaborations Theatre Group. With that in mind, they’ve done pretty damn well for themselves, with an incredibly talented cast of eight and a stage design that, although minimal, just works.

Releases OCT New Welcome to October, ladies and 2014

gentlemen. The time when the gaming bounty is wonderful and plentiful. November is also looking just as good, if not better, but let’s not get ahead of ourselves.

First things first: a little something for the kiddies. That’s because October 2 brings with it Skylanders Trap Team (PS4, Xbox One, PS3, Xbox 360, Wii U, Wii) – the latest in the successful series that introduces physical toys into the actual game. This time you’ll be able to defeat villains and trap them wherever you go using the allnew Traptanium Portal, which looks pretty darn awesome and packs sound effects to boot.

Then, on October 4, Super Smash Bros. for the 3DS lands, bringing the insanely popular fighting franchise to a handheld device for the first time. Expect to be pitting classic mascots like Link, Luigi and Mario against each other while on the go, and loving every minute of it.

Next up on October 7 comes Alien: Isolation (PS4, Xbox One, PS3, Xbox 360). This first-person horror title acts as a semi-sequel to Ridley Scott’s sci-fi classic by throwing you onto an abandoned ship, then forcing you to contend with one massive alien. Best pick up some extra pants for this one.

Wrapping things up, just one day later on October 8 comes Middle-earth: Shadow Of Mordor (PS4, Xbox One, PS3, Xbox 360). Set within J.R.R. Tolkien’s Lord Of The Rings world, you play as Talion, a Ranger of the Black Gate who keeps watch over Mordor. In the blink of an eye, everything is taken from you – your friends, your family, and even your own life. Cue a classic revenge tale with extra Orc bashing. There are more games than we can mention this month, but rest assured you can’t go wrong with any of our recommendations, so get gaming!

The Evil Within…

Queensland

In a rather… shocking move, Warner Bros. Movie World and Bethesda have joined forces to bring survival horror video game The Evil Within to life at its Fright Nights event. Using the game as inspiration, a maze will be created that includes real-life characters from the game roaming around pathways in an attempt to scare the crap out of anyone confi dent enough to enter. The maze will be run throughout October for Movie World’s Fright Nights – an annual after-dark event now in its sixth year. “With the introduction of The Evil Within, for the first time we can create a maze dedicated to bringing the gaming world to life,” said Movie World brand manager Selena Lawson.

“We are ecstatic to be partnering with such a highly-acclaimed interactive entertainment software company.”

Simon Alty, managing director at ZeniMax Australia, shared those sentiments. “We can’t wait for people to both play the game and live the realworld experience this October.”

Activision Achieves Its Destiny Destiny, Activision’s brand new online scifi shooter, has surpassed expectations and reached sales of a whopping US$325 million in its first five days.

That makes the game, created by the masterminds behind the Halo franchise, the biggest new IP launch in video game history. Adding to the impressive stats, Activision publishing CEO Eric Hirshberg claimed, “Destiny fans have played more than 100 million hours of the game in the first week.” It’s good news for the company, which spent a reported $500 million on the title that is said to have a ten-year plan. In a more disappointing turn of events, though, news also surfaced that Bungie is likely to miss out on a $2.5 million ‘quality bonus’, a direct result of underwhelming review scores from major gaming publications. There’s always Destiny 2, right guys?

Review: Destiny

Resting on a script that’s been written, developed and refined over several years, Brother Daniel is the story of a revolutionary hero, Daniel (Adam Hatzimanolis), who is confined to a jail cell and slowly coerced (read: tortured) by his former revolutionaries to return to their side and oppose the student uprising.

In a spate of irony, fighting for his freedom is the idealistic student lawyer, Lucinda (Mel Dodge). Starry eyed over the speeches that Daniel gave during his revolutionary heyday, Lucinda is willing to pull out all stops to save her hero. But it’s not her place to make this decision.

Plagued by the truth of his actions and their consequences, Daniel has chosen his fate, playing the game with full knowledge of its parameters right until his very last move.

Balancing out Daniel’s reticence and reluctance is his inmate Tony, who is played with sheer charisma and astounding energy

by Vincent Andriano. A silent protagonist that holds as much sway on the stage as Daniel, Tony is instigator, antagoniser and commentator in one. He reveals a hidden intelligence in the face of his conviction as a rapist, providing the knowledge and advice required to manipulate Lucinda into acting against her morals for the sake of Daniel’s unasked-for freedom.

The poster, budget and stage might not be much, but the talent and challenges Brother Daniel proposes are more than enough to compensate for any shortcomings.

Stephanie Yip

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Gaming news with Adam Guetti

NEWS

Gabriel Iglesias

Game On

You are a guardian of the last city on Earth, capable of wielding incredible power.

Your mission: explore the ancient ruins of our solar system and defeat Earth’s dastardly enemies. You must discover all we have lost, and become a legend.

That’s the elevator pitch for Destiny, the latest extremely ambitious online-centric first-person shooter from the team behind Halo, but just because it’s already made a tonne of money doesn’t necessarily mean it’s the game for you.

Bungie refuses to call Destiny an MMO, but in reality, it totally is, and that’s perfectly OK. The game acts as the love child of Borderlands, Halo and World Of Warcraft, mixing equal parts levelling, loot chasing and hardcore action. It also attempts to seamlessly integrate cooperative, competitive, public and personal activities into one environment, and for the most part, succeeds with flying colours. Still, though, take our advice and play Destiny with some friends.

As a whole, speeding through the world on a hover bike only to quickly jump off and go toe-to-toe with alien scum is exhilarating, but it can also become highly repetitive.

Many locations are repeated and although the shooting mechanics are some of the finest to grace a console, when you’re running through the same motions time and time again, it can become a little grating.

It doesn’t help that despite the inclusion of Game Of Thrones’ Peter Dinklage, Destiny’s narrative is all but non-existent. Just know that the solution to everything is shooting it in the face and you’ll be fine.

Still, it’s a truly stunning game to look at and one that, despite the repetition, is undeniably addictive. Searching out new loot, upgrading your Guardian and doing battle with other people in the multiplayer Crucible mode will steal weeks from your life. Have no doubt about it – Destiny isn’t going anywhere.

Adam Guetti

BRAG :: 582 :: 01:10:14 :: 21

bread&thread Food & Fashion News...with Chris Martin

THE INTERACTIVE TABLE

Slow Food Sydney is inviting eco-conscious diners to The Interactive Table this month. Tastings of locally and seasonally available foods will be on offer, but the real attraction is the electronic, interactive tablecloth that guides visitors through the process of growing, sourcing, preparing and eating food. Tuck in and find out where food originates, experience different food cultures and meet some of the people who grow, deliver and prepare food. And to think, all that most tablecloths do is absorb spaghetti sauce. The Interactive Table is on at Rathborne Lodge at the Royal Botanic Garden, Saturday October 25 – Sunday October 26.

ROUND SHE GOES

Best Party Bar (nominees: Cliff Dive, Hello Sailor, The Anchor, Frankie’s Fun Room, Mary’s). The Time Out Bar Awards will be held on Sunday November 23.

The Round She Goes market for preloved fashion returns to Marrickville this month. Expect to fi nd a range of vintage women’s fashion and designer selections from the likes of Gucci, Dior, Coach, Karen Walker, Pierre Cardin, Gorman and many more. Over 60 stallholders will be onsite to show their wares to an expected attendance of more than a thousand shoppers. This is the fi nal event of three for 2014 – it’s on Saturday October 18 at Marrickville Town Hall.

SMELLS LIKE SUMMER

WINE ME, DINE ME

LL Wine and Dine at Potts Point has launched its spring menu. Executive chef Jin Kung has crafted a menu inspired by her travels and the tastes of the world, from Asia to the West Coast of the US, so grab a bite of everything from wasabi-infused seafood to mouth-watering burgers.

Selections include crispy almond king prawns tossed with chilli, garlic and shallots; king salmon crudo with wasabi balsamic vinaigrette, fried capers and creamy garlic sauce; and pork belly bun with pickled mustard, chilli ginger mayo, crushed peanuts and coriander. And don’t forget that double cheese beef burger.

VINO PARADISO

Preparations are well underway for Vino Paradiso, the new food and wine festival kicking off in Sydney at the end of this month. Celebrity chef Darren Robertson (Three Blue Ducks, Recipe To Riches) has been appointed Culinary Tastemaker for the three-day event, where he’ll host cooking demonstrations specialising in fresh seafood.

Highlights on the Vino Paradiso schedule include The Great Wall of Wine and Treasure Hunt (an interactive adventure through meeting exhibitors and tasting their wine), grape crushing, live art installations and The Aroma Bar, designed to help visitors train their nose for the full wine experience. Enter Vino Paradiso at the Australian Technology Park in Eveleigh from Friday October 31 – Sunday November 2.

The good folk at the Dove & Olive in Surry Hills are getting into the summer spirit early, because it’s the long weekend and why the hell not?

For this week only – through until

Monday October 6 – they’re doing a mega triple-decker beef and cheese burger with bacon, pineapple, green tomato chutney, shoestring fries and salad. If that doesn’t get your arteries earning their wage, nothing will. Meanwhile, there’s a special on Mountain Goat Summer Ale (licensee Dan Ryan calls it “sessionable”) for the NRL Grand Final on Sunday October 5 and cheap Bloody Marys on Monday to ease those weekend hangovers.

TIME OUT BAR AWARDS

The annual Time Out Bar Awards will return to Sydney this November at a new home. Having grown bigger each year since their inception, the Bar Awards have moved out of the bar and into the racetrack – Wentworth Park Greyhounds in Glebe, that is.

12 awards are on offer to recognise the finest operators on the Sydney bar scene, including the new awards for Best Bar Team (nominees: The Rook, The Baxter Inn, Earl’s Juke Joint, Bulletin Place, Sokyo) and

FRENCH CONNECTION

Visitors to the Slide lounge and cabaret venue on Oxford Street have been living the high life of late, with a tasty French menu on offer alongside the regular Wednesday night Risque Revue burlesque.

The show itself is the stuff of legend, but the food is sure to get those desires pumping as well, starting with the ‘menage a trois’ entrée (escargot, port wine rockmelon salad with smoked duck breast, goat cheese soufflé), the alternate drop mains and the Les Delices de Paris dessert selections. See slide.com.au for more info and to book.

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OCTOBER 2014 MONDAYS FROM 9PM

TRIUMPHANT TUESDAYS FROM 8PM

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FRANKIE’S WORLD FAMOUS HOUSE BAND KEITH MOON CUP PINNIE COMP DAVE EASTGATE’S ROCK&ROLL KARAOKE 1 ST HURST 8 TH LITTLE COYOTE 15 TH STRANGE KARMA 22 ND TINNIE TAKEOVER + LEPPERS&CROOKS 29 TH ADAM ECKERSLEY BAND RED WINE ROSESS

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ROHAN RICK DANGEROUS TWENTY TWO HUNDRED MARSHALL OKELL & THE PRIDE FRANKENSTEIN’S HALLOWEEN

5 TH 12 TH 19 TH 26 TH

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OCT A 4 SAT

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Album Reviews What's been crossing our ears this week...

ALBUM OF THE WEEK AUGIE MARCH

right” and that time “heals a wound / like a crocodile saves its victims for later”.

Havens Dumb Dark Satanic/Caroline

Looking for the perfect soundtrack for deep thought? Augie March have you covered. The music is woozy, dreamy and bright, driven by Keirnan Box’s keys. Above all else, melody reigns supreme, Glenn Richards producing some of his most irresistible earworms yet.

FLYING COLORS

WEEZER

Second Nature Mascot/Warner

Everything Will Be Alright In The End Republic/Universal

Two factors are immediate deciders in whether Second Nature, the sophomore effort from supergroup Flying Colors (not to be confused with psych band Flyying Colours), is the album for you. The first is the pedigree of the band itself – you’ve got Dream Theater, Deep Purple, Spock’s Beard and even Alpha Rev floating about in there. The second is the fact that the album’s opening number is 12 minutes long. Yep, we’re in the world where music is more science and sport than an artistic endeavour; where the technicality of the notes and the degree of difficulty within the time signatures mean more than actually saying anything of substance.

It’s all impeccably crafted and pristinely produced, but Second Nature sleeps when it comes to ideas beyond the construct. This is exceptionally clear when the album moves into ballad territory, especially on the particularly awful ‘The Fury Of My Love’. Of course, this will be music to the ears of those already devoted to this style, so perhaps it’s best to leave it with them.

Claiming that a new Weezer album has any merit to it these days is essentially the equivalent of being the boy who cried wolf: no-one’s going to believe you, and you may well get eaten for your troubles.

Even still, it’s worth the risk now – the band’s long and winding road to redemption has led it here, resulting in its most consistent LP in over a decade.

Everything Will Be Alright In The End is a lean 40 minutes of head-nodding power-pop, goofy hair-metal guitar solos and sparkly choruses that are all raised fists and knowing winks. The Cars’ Ric Ocasek is back behind the boards, as he was for the band’s Blue and Green albums, taking the proclamation of “rockin’ out like it’s ’94” from lead single ‘Back To The Shack’ to heart. Of course, there’s no guarantee that you’ll enjoy this record if you enjoyed those records, but let’s just say there’s a greater chance of it than, say, Make Believe or Raditude.

Perhaps Second Nature can be summed up best by a quote from an ad for popular movie snack Pods: “Impressive? Yeah.

Genius? Hardly.”

This is the album that longserving (and, arguably, longsuffering) fans knew Rivers Cuomo and co. had in them.

It’s a sign of hope that the band isn’t entirely ready to bury itself in past glories. Welcome back, old friends.

David James Young

David James Young

Havens Dumb doesn’t cast as wide a genre net as Sunset Studies or Strange Bird. But unlike their last couple of albums, due to their newfound independence the music isn’t influenced by outside factors. It’s pure, unfiltered Augie March, and it’s glorious.

Leonardo Silvestrini

xxx

Australia’s Xxxx literate darlings are back from the dead with the most consistent album of their career.

The optimism found in the music is contrasted by the world-weary tone of Richards’ always on-point lyrics. The passing of time and mortality seem to be his chief concerns on this outing.

We’re told justice “is a birthright / if you’re born

On the musical front, highlights include ‘St Helena’, a breezy account of a boozer; ‘Villa Adriana’, the explosive lovechild of ‘Vernoona’ and ‘The Offer’; and ‘Never Been Sad’, which features the type of dark ambience that the band has been promising its entire career.

JOHNNY MARR Playland Warner

SBTRKT

RICHARD IN YOUR MIND

Wonder Where We Land Young Turks/Remote Control

Ponderosa Rice Is Nice/Inertia

Despite his more than 30 years of making music, Johnny Marr’s Playland is only the second album to bear solely his name. Perhaps it’s the stigma that comes with being a sideman – and Marr being one of the greats in that respect, from his time in The Smiths to his work with Modest Mouse and The Cribs. A more likely case, though, is that much like Keith Richards, Marr is best when he’s focused solely on his guitar; perhaps occasionally slung a lead vocal every now and then.

The debut album from Aaron Jerome was the record that just about everyone fell in love with. Establishing his own brand of lush electronica that straddled more than a few genre lines, the Masked Man created waves and cemented some future classics.

When strategically placed within the context of an album’s tracklist, an instrumental interlude can serve as much-needed breather or as the perfect segue between stylistic jumps. Interludes do, however, become problematic when it feels like nearly your entire record is based around them.

When it comes squarely down to him alone, it’s more an open display of flaws than a showcase of talents. Not that there is nothing of merit on Playland – or its predecessor, The Messenger, for that matter. It’s full of gorgeous guitar sounds across a myriad of rhythms and styles, but it falls short when it’s ultimately revealed that Marr has precious little to say from a lyrical perspective – and not much of a singing voice to say it with, either.

Diehard fans of Marr and his sound will love what’s on offer here, but even long-time Smiths listeners may find this a little too lopsided and disjointed. Enter Playland at your own risk.

David James Young

Now as we arrive at Wonder Where We Land, there is a marked sense that Jerome has aimed to stretch himself, but there are too many frustrating moments to declare an outright triumph. The first half of the album meanders and jerks about, bypassing the experimental and fastapproaching aimless fidgeting by the time the bizarrely strangled ‘Look Away’ featuring Chairlift’s Caroline Polachek rolls around. Regular collaborators Sampha and Jessie Ware return, along with Ezra Koenig of Vampire Weekend who adds an oddball touch to latest single ‘New Dorp. New York’. Closing track ‘Voices In My Head’, featuring A$AP Ferg, adds some much-needed spice to the mix, a deliciously tight offering where the collaborator pulls equal weight to the composer.

The record might be slow to warm to, but the innovative stamp that landed Jerome on the map in the first place still shines bright.

SBTRKT doesn’t exactly miss the mark here, but look away if you’re after the dancefloor readiness of SBTRKT.

Such is the case for Richard In Your Mind, the vehicle of Sydney muso Richard Cartwright, who returns here for a third album after a couple of years out in the wilderness. So, what do Cartwright and co. have to show for themselves for the three years separating this and 2011’s Sun? Not very much at all, unfortunately.

Not even Spod.

Cartwright’s voice is a little hazier and more Lennon-esque (take your pick of either John or Sean), and the band’s psych elements are pushed as far as their stoned little bodies can take them. Outside of that, however, Ponderosa has too few ideas that are spread thinly across way too many tracks – and even the sub-three-minute tracks feel like overstayed welcomes.

In theory, Ponderosa is the kind of album that wants you to stop and smell the roses for a while.

What it actually achieves is closer to watching grass grow.

David James Young

Marissa Demetriou

INDIE ALBUM OF THE WEEK In typically Aussie fashion, The Gifthorse pulled a John Farnham last year and (forgive the pun) got back in the saddle. Give My Body To This Town, their second studio album, is the endgame of said reunion – a chance to prove that there’s more to getting back together than a couple of shows and some sing-alongs with old friends.

THE GIFTHORSE Give My Body To This Town Poison City

24 :: BRAG :: 582 :: 01:10:14

For all intents and purposes, The Gifthorse have succeeded, managing to recontexualise themselves without sacrificing defining traits and characteristics from previous releases. Frontman Shane Collins is on-point vocally, delivering sharp, dynamic melodies across highlights such as ‘Fault

Lines Forms’ and ‘One More Night in Brisbane’. A major fault, however, comes in the album’s mix – a voice as prominent and unmistakable as Collins’ shouldn’t be buried the way it has been here. Furthermore, a slim 27-minute runtime may be fitting of the band’s punk ethos, but one can’t help but feel that there could have been a little more time to be spent with the record.

Yes, it has its flaws, but one certainly shouldn’t (forgive this pun as well) look a gift horse in the mouth. It’s a warm and welcome return from a band that clearly has unfinished business.

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week...

THOM YORKE - Tomorrow’s Modern Boxes ROBBIE WILLIAMS - Life Thru A Lens SEX PISTOLS - Never Mind The Bollocks...

IMOGEN HEAP - Sparks JIMBLAH - Phoenix

David James Young

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ROBBIE WILLIAMS Allphones Arena Saturday September 27

As arena-sized nostalgia acts go (and Sydney has seen its fair share this year, Queen being the most recent), Robbie Williams is a singular performer. It’s a symptom of both the fact he’s never technically gone away – he had a fall from grace in the mid-noughties, yes, but this is no forgotten-star-out-of-retirement tour – and his aptitude for balancing egotastic bravado with unfaltering selfparody. “Do you remember the me of the ’90s?” he asks the audience early on.

“Like an obese Justin Bieber.” Even in name, his Swings Both Ways concert is one long joke, so by defi nition Williams is in on it.

While he made his name via the pop anthems he co-wrote with Guy Chambers, who’s onstage tonight in a musical director’s role, the ostensible reason for Williams’ latest tour is to perform the jazz standards (and imitation standards) from latest album Swings Both Ways and 2001’s Swing When You’re Winning. The all-so-fabulous opener ‘Shine My Shoes’ sets things up, though Williams has to skip half the second verse to catch up with the lyrics being projected on the enormous stage curtain, before said curtain lifts to reveal a three-storey bandstand and a troupe of dancers.

Not that Williams needs much assistance being, well, Robbie Williams; the all-eyes-on-me entertainer and chaperone he was through the peak of his career in stadium pop. The call-andresponse shtick doesn’t work so well on

these old jazz favourites (see ‘Puttin’ On The Ritz’), but ‘Minnie The Moocher’ rather suits his now slightly croaky 40-year-old voice. ‘No One Likes A Fat Pop Star’ hits the heights of auto-satire, Williams dangling from the ceiling in a fat suit and singing about the travails of the discarded celebrity, before he invites a blonde bombshell up from the crowd for a pash during ‘That’s Amore’ (just like the old days), only this time he’s atoning for past excesses, so they get ‘married’ instead – bridal veil and all.

It’s an over-the-top kinda night; a ‘why not?’ to any and every idea pitched in the production meeting, though not all the songs get the requisite punchline.

A full children’s choir comes on for ‘High Hopes’ (why not?), and Robbie’s dad Peter arrives from nowhere to duet on ‘Do Nothin’ Till You Hear From Me’ (why not?), and neither performance convinces, nor seems to serve any musical purpose.

The second act of the show drags on in this way – Williams otherwise distracted while he accepts audience requests for a) a selfie, and b) to sign a pair of breasts – but the fans who are here for Williams’ pop catalogue (read: most of them) get their way with a medley of his classics, from ‘Millennium’ to ‘Come Undone’.

‘Angels’ is the only hit played straight, and it should be the closer, not the recital of ‘Proud Mary’ that ends a patchy act two. Still, it would defy anyone with a half a sense of humour and a heart not to have had a good time with Robbie once again. This star hasn’t faded yet.

Chris Martin

PHOTOGRAPHER :: ASHLEY MAR

STICKY FINGERS, LYALL MOLONEY Metro Theatre Friday September 26

Four consecutive sold-out Sticky Fingers shows at the Metro mean a rotating cast of talented support acts, but unfortunately tonight the lottery gives us Lyall Moloney.

It’d be unfair to pick on a support were he anything short of blatantly irritating and borderline offensive, but that’s exactly (and only) what this shirtless gimmick offers. Affecting the white-boy Jamaican accent that’s apparently and inconceivably been deemed acceptable to good taste in certain circles – where? Why? – Moloney somehow manages to play his simplistic oomp-chaka-oomp-chaka guitar parts out of time with a generic dub backing track.

He holds the crowd’s attention until about his second chorus.

Bring on Sticky Fingers, then, who open the doors to a ‘Land Of Pleasure’ with that title track from their second album. Between selections from this outstanding 2014 release and its 2013 predecessor, Caress Your Soul, the StiFi boys have the venue throbbing with enthusiasm from their youthful fans. The fivepiece made its name on an urban-Sydneyflavoured style of neo-reggae, but Dylan Frost and friends’ talents aren’t just limited to that – sometimes they channel The Stone Roses, while this evening’s version of the

swaying ‘These Girls’ doubles as a chance for Seamus Coyle to launch into his best ’70s glam rock solo. ‘Gold Snafu’ – one of the year’s best singles, period – sees the first two or three crowd-surfers of the night hurled around the mosh pit.

There’s a long reggae breakdown through the middle of the set, helped along by Jimmy Young from Bootleg Rascal on guitar, though Moloney is back to yammer his way all over ‘Velvet Skies’. The expansive ‘Just For You’ is a highlight, while ‘Liquorlip Loaded Gun’ is the night’s biggest chorus until the closing ‘Australia Street’, which barely requires Frost to sing at all.

Grounded by Paddy Cornwall’s insistent basslines, Sticky Fingers have some properly good songs (‘Gold Snafu’ in particular), but are rarely remarkable.

They don’t have to be. These guys seem to capture the times better than anyone else on the scene right now, especially when it comes to connecting with a certain segment of Sydney’s and Australia’s musicloving youth. Regularly tonight, Frost leans back on his guitar and into an invisible groove, as if everything about selling out the Metro four times in a row is completely normal; as if every band does it. If Sticky Fingers stay this cool, Australia won’t be able to contain them.

Chris Martin

PHOTOGRAPHER :: ASHLEY MAR

“The bellhop’s tears keep flowin’ and the desk clerk’s dressed in black. Well they been so long on lonely street they ain’t ever gonna look back.” - ELVIS 26 :: BRAG :: 582 :: 01:10:14

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g g guide gig g send your listings to : gigguide@thebrag.com

pick of the week Missy Higgins

SATURDAY OCTOBER 4 SUNDAY OCTOBER 5

Evie Dean Cronulla RSL, Cronulla.

7:30pm. free.

Greg Agar Scruffy Murphy’s Hotel, Sydney. 7:30pm. free.

Greg Byrne Dee Why Hotel, Dee Why. 7pm. free.

Grove Street + Jagged Stone + Black Candy Writers + Brew + Daniel Tomalaris The Bald Faced Stag, Leichhardt. 8pm. $16.95.

Jantina And The Jaguars + Capitol + Village Echoes FBi Social, Kings Cross. 9pm. $8.

Justin Timberlake Allphones Arena, Sydney Olympic Park. 8pm. $101.85.

Love Child Bull & Bush Hotel, Baulkham Hills. 9pm. free.

Mia Dyson Newtown Social Club, Newtown. 8pm. $28.

Nikita Rolleston + Charity Turner Brass Monkey, Cronulla. 7pm. $12.

The Late Night Soda Social Soda Factory, Surry Hills.

5pm. free.

FRIDAY OCTOBER 3 ACOUSTIC, COUNTRY, BLUES & FOLK John Vella Chatswood RSL, Chatswood. 5pm. free.

Enmore Theatre

Missy Higgins + Dustin Tebbutt + Jherek Bischoff 7pm. $77.

WEDNESDAY OCTOBER 1 ACOUSTIC, COUNTRY, BLUES & FOLK Mitch Anderson & His Organic Orchestra Coopers Hotel, Newtown.

8:45pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Darren Heinrich Trio Play Bar, Surry Hills. 8pm. free.

Gang Of Brothers + Jeremy Gregory Spring Street Social, Bondi.

9pm. free.

Lionel Cole Imperial Hotel, Paddington.

8pm. free.

The Always Smiling Trio Foundry616, Ultimo. 8:30pm. $21.50.

INDIE, ROCK, POP, METAL, PUNK & COVERS

28 :: BRAG :: 582 :: 01:10:14

THURSDAY OCTOBER 2 ACOUSTIC, COUNTRY, BLUES & FOLK Glen Esmond Fortune Of War, The Rocks.

7pm. free.

Gordi Brass Monkey, Cronulla. 7pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Cole Soul And Emotion feat: Lionel Cole The White Horse, Surry Hills.

8pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS 10 O’Clock Rock Frankie’s Pizza, Sydney.

10pm. free.

Alex Cannings Observer Hotel, The Rocks.

8:30pm. free.

Alex Hopkins Open Mic Night Northies Cronulla Hotel, Cronulla. 8pm. free.

Alkemie Night - feat: Live Music + DJ Sudek Spring Street Social, Bondi.

9:30pm. free.

Black Diamond Hearts Soda Factory, Surry Hills.

10pm. free.

Blake Tailor Hillside Hotel, Castle Hill.

7pm. free.

Dave White Duo Maloney’s Hotel, Sydney.

9:30pm. free.

Evie Dean Northies Cronulla Hotel, Cronulla. 7:30pm. free.

Jazz Hip-Hop Freestyle Sessions Foundry616, Ultimo.

11:30pm. free.

LJ Kareela Golf Club, Kareela.

6:30pm. free.

Ted Nash Fortune Of War, The Rocks.

8pm. free.

Yuki Kumagai + John Mackie Winston Gardens Chinese Restaurant, Winston Hills.

7:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Alex Hopkins Wenty Leagues Club, Wentworthville. 9pm. free.

American Graffiti Ramsgate RSL, Sans Souci.

7:30pm. free.

Justin Timberlake

Mona Vale Hotel, Mona Vale. 5:30pm. free.

Leon Fallon Observer Hotel, The Rocks.

6pm. free.

Live Music At The Royal The Royal, Leichhardt.

9:30pm. free.

Luke Zancanaro Crows Nest Hotel, Crows Nest. 7pm. free.

Melody Rhymes Orient Hotel, The Rocks.

4:30pm. free.

Panorama Duo Time & Tide Hotel, Dee Why. 7:30pm. free.

Peppermint Jam Revesby Workers Club, Revesby. 8:30pm. free.

Pop Fiction Duo Pittwater RSL, Mona Vale.

7:30pm. free.

Red Red Kroovy - feat: Houseviwes + Sweat Tongue + Meat Tray Valve Bar, Agincourt Hotel, Ultimo. 9pm. $10.

Reece Mastin Metro Theatre, Sydney.

7pm. $54.70.

Rob Eastwood Castle Hill RSL, Castle Hill.

6:30pm. free.

Rob Henry PJ Gallagher’s, Enfi eld, Enfi eld. 9pm. free.

Ryan Thomas Greystanes Inn, Greystanes Inn. 8pm. free.

Sandi Thom Mars Hill Cafe, Parramatta.

8:30pm. $20.

Screamfeeder Newtown Social Club, Newtown. 8pm. $25.

Soft Kitty Vineyard Hotel, Vineyard.

7:30pm. free.

Soul Tattoo Mittagong RSL, Mittagong.

8pm. free.

Sound City Collingwood Hotel, Liverpool. 4:30pm. free.

Steve Tonge The Ranch, Eastwood.

5:30pm. free.

The Double Black Campbelltown Catholic Club, Campbelltown.

9:15pm. free.

The Headliners Colonial Hotel, Werrington.

4:30pm. free.

They Call Me Bruce Horse & Jockey Hotel, Homebush. 7:30pm. free.

Thunderstruck - AC/DC Show Bull & Bush Hotel, Baulkham Hills. 10pm. free.

Tim Conlon Parramatta RSL, Parramatta. 5pm. free.

Tom And Dave Show Hillside Hotel, Castle Hill.

8pm. free.

Track City Band Crows Nest Hotel, Crows Nest. 10:30pm. free.

Visions - feat: Secret Headliner + Burn Antares + Flowertruck + Zero Likes DJs (DMA’s) + Deep Sea Arcade DJs Bank Hotel, Newtown. 7pm. free.

White Bros Quakers Inn, Quakers Hill.

8pm. free.

Windhand + Beastwars Hermann’s Bar, Sydney.

8pm. $40.

Yardfest - feat: Richard In Your Mind + Dead Radio + Dead Brian Jam Gallery, Bondi Junction. 7:30pm. free.

SATURDAY OCTOBER 4 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Yuki Kumagai + John Mackie Winston Gardens Chinese

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Andy Mammers Duo Maloney’s Hotel, Sydney. 9pm. free.

Anthropy Magic The Vanguard, Newtown.

6:30pm. $38.80.

Captain Cook Captain Cook Hotel,

Paddington. 8pm. free.

Carl Fidler Observer Hotel, The Rocks.

8:30pm. free.

David Agius Duo Ettamogah Hotel, Kelly Ridge.

6:30pm. free.

Dead Brian + Bad Vibes + Young Docteurs + Special Guests Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

Fat Bubba’s Chicken Wednesdays Soda Factory, Surry Hills.

5pm. free.

Hurst + Vanadium Frankie’s Pizza, Sydney. 8pm. free.

Indie Night Wednesdays feat: Darren Cross + Lily So & The Bellows + Leeli Marble Bar, Sydney. 7:30pm. free.

Justin Timberlake Allphones Arena, Sydney Olympic Park. 8pm. $101.85.

Lepers And Crooks Standard Bowl, Surry Hills.

8pm. free.

Matt Jones Le Pub, Sydney. 7:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Andy Mammers Duo Kirribilli Hotel, Milsons Point. 8pm. free.

Back To The 80s Ettamogah Hotel, Kelly Ridge. 8:30pm. free.

Ben Finn Castle Hill RSL, Castle Hill.

9:30pm. free.

Black Diamond Hearts Soda Factory, Surry Hills.

8:15pm. free.

Bryce Cohen + Guy Delandro Brass Monkey, Cronulla.

7pm. $17.

Craig Thommo Panthers, Penrith. 8:30pm. free.

Dave Phillips Mona Vale Hotel, Mona Vale. 9pm. free.

David Agius Harbord Beach Hotel, Harbord. 7pm. free.

DJ Town Hall Hotel, Balmain.

7:30pm. free.

DMA’s Oxford Art Factory, Darlinghurst. 8pm. $18.50.

Drew The Oriental Hotel, Springwood. 8pm. free.

Etch_music Party - feat: Mill Dread Piece + The Stale Beer Stains + Tmgof + Planktan Sanquin + Cy Mon Jovi + Modus Op + Athrotaxis Chippendale Hotel, Chippendale. 7pm. $10.

Evie Dean Town Hall Hotel, Balmain.

4:30pm. free.

Geoff Rana The Grand Hotel, Rockdale.

5:30pm. free.

Glenn Esmond Trio Bayview Tavern, Gladesville.

10pm. free.

Go Go Fish Captain Cook Hotel, Paddington. 8pm. free.

Greg Agar Ingleburn RSL, Ingleburn.

9pm. free.

Harbour Masters Yardarm Taphouse, Manly.

7pm. free.

Heath Burdell Northies Cronulla Hotel, Cronulla. 9pm. free.

Jamie Lindsay Cyren Restaurant, Darling Harbour. 6pm. free.

Joe Echo PJ Gallagher’s Whisky Bar, Jacksons On George, Sydney. 5:30pm. free.

Joe Echo Duo PJ Gallagher’s, Leichhardt.

10pm. free.

Junior Danger The Bald Faced Stag, Leichhardt. 8pm. $13.95.

Lakyn + Betty And Oswald The Vanguard, Newtown.

6:30pm. $14.

Lauren Azar

g g guide gig g send your listings to : gigguide@thebrag.com

The Vines

Restaurant, Winston Hills.

7:30pm. free.

ACOUSTIC, COUNTRY, BLUES & FOLK

Angelena Locke Coogee Bay Hotel, Coogee.

9pm. free.

Paul Hayward And Friends Town & Country Hotel, St Peters. 4pm. free.

Xxx

INDIE, ROCK, POP, METAL, PUNK & COVERS

A Night In Texas - feat: Enfield + To The Grave + To Engineer An Exorcist + The Evercold + Ever Rest Valve Bar, Agincourt Hotel, Ultimo. 1pm. $10.

Alex Hopkins Kirribilli Hotel, Milsons Point.

8pm. free.

Andy Mammers Trio Mosman Returned Services Club, Mosman. 8pm. free.

Ben Finn Trio The Mean Fiddler, Rouse Hill.

9pm. free.

Blurter Botany View Hotel, Newtown.

7pm. free.

Bobby Fox Revesby Workers Club, Revesby. 8pm. $30.

Cara Kavanagh & Mark Oats Duo PJ Gallagher’s, Leichhardt.

10pm. free.

Cara Kavanagh & Mark Oats Duo Sir Joseph Banks Hotel, Botany. 8pm. free.

Carl Fidler Observer Hotel, The Rocks.

5:30pm. free.

Cath & Him Crown Hotel, Sydney. 8pm. free.

Cauldron Black Ram + Undergang + Bastardizer + Destruktor + Cruciform The Bald Faced Stag, Leichhardt. 8pm. $13.95.

Cavan Te & The Fuss Penrith RSL, Penrith. 9pm. free.

Classic Rock Show Brass Monkey, Cronulla. 7pm. $30.

Craig Thommo Castle Hill RSL, Castle Hill.

9pm. free.

David Agius Panthers, Penrith. 5:30pm. free.

DJ Mounties, Mount Pritchard.

10pm. free.

DMA’s Oxford Art Factory, Darlinghurst. 8pm. $18.50.

Ebony And Ivory Panthers, Penrith. 9pm. free.

Evie Dean Crows Nest Hotel, Crows Nest. 7pm. free.

Glenn Esmond Panania Diggers, Panania.

8pm. free.

Go Go Fish The White Horse, Surry Hills.

8pm. free.

Greg Agar New Brighton Hotel, Manly.

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10pm. free.

Heath Burdell Harbord Beach Hotel, Harbord. 7pm. free.

Ian Moss Ettamogah Hotel, Kelly Ridge.

8pm. free.

Jamie Lindsay Duo The Mean Fiddler, Rouse Hill.

6pm. free.

Jconnexion Carousel Inn Hotel, Rooty Hill.

8pm. free.

Jellybean Jam Castle Hill RSL, Castle Hill.

10:30pm. free.

Joe Echo PJ Gallagher’s, Moore Park.

7:30pm. free.

Jonathon Jones PJ Gallagher’s, Enfield. 9pm. free.

Keith Armitage Greystanes Inn, Greystanes Inn. 8pm. free.

Lawrence Baker Time & Tide Hotel, Dee Why. 7:30pm. free.

LJ Yardarm Taphouse, Manly.

7pm. free.

Main Beach The Sly Fox, Enmore. 7pm. free.

Mandi Jarry Duo Westmead Tavern, Westmead.

8pm. free.

Matchbox Band Ramsgate RSL, Sans Souci.

7:30pm. free.

Matt Jones Band Crows Nest Hotel, Crows Nest. 10:30pm. free.

Matt Price Panthers, Penrith. 5:30pm. free.

Missy Higgins + Dustin Tebbutt + Jherek Bischoff Enmore Theatre, Newtown.

7:30pm. $77.

Original Sin - INXS Show Ocean Beach Hotel, Umina Beach. 10pm. free.

Paradise City Hermann’s Bar, Darlington.

9pm. $10.

Phil Manning + Steve Flack + Matthew Fagan Lewisham Hotel, Lewisham.

8pm. $25.

Polka Kings Trio Woolloomooloo Bay Hotel, Woolloomooloo. 12pm. free.

Pop Fiction Canterbury Hurlstone Park RSL Club, Hurlstone Park.

10pm. free.

Rachael Fahim Le Pub, Sydney. 9pm. free.

Rebecca Johnson Band Kareela Golf Club, Kareela.

8pm. free.

Red Alert Kelly’s On King, Newtown.

9:30pm. free.

Robber Dogs Penrith RSL, Penrith. 2pm. free.

Sharron Bowman Brewhouse Marayong, Kings Park. 8pm. free.

Sound City St George Rowing Club, Wolli Creek. 7pm. free.

Stephen Kiely Castle Hill RSL, Castle Hill.

6:30pm. free.

Steve Tonge Duo Northies Cronulla Hotel,

Cronulla. 10pm. free.

Steve Tonge Duo Observer Hotel, The Rocks.

4pm. free.

The Fabergettes + Food Court + Disgusting People + Bad Bitch Choir Brighton Up Bar, Darlinghurst.

8pm. $10.

The Noxs Revesby Workers Club, Revesby. 8:30pm. free.

Tim Conlon Woolloomooloo Bay Hotel, Woolloomooloo. 9pm. free.

Totall Addiction + Egg Malt + The Furry Lips Roxbury Hotel, Glebe.

7:30pm. $12.

Tori Darke Ettamogah Hotel, Kelly Ridge.

7pm. free.

Toxic Dolls Bull & Bush Hotel, Baulkham Hills. 9:30pm. free.

SUNDAY OCTOBER 5

Glenn Esmond Fortune Of War, The Rocks.

8pm. free.

Greg Agar Duo Coogee Bay Hotel, Coogee.

9pm. free.

Jess Dunbar Woolwich Pier Hotel, Woolwich. 2pm. free.

Joe Echo Duo The Mean Fiddler, Rouse Hill.

1pm. free.

John Vella The Mill Hotel, Milperra. 12pm. free.

Mark Travers Ettamogah Hotel, Kelly Ridge.

1pm. free.

Matt Jones Panthers, Penrith. 3:30pm. free.

Mick Aquilina Ramsgate RSL, Sans Souci.

2pm. free.

Missy Higgins + Dustin Tebbutt + Jherek Bischoff Enmore Theatre, Newtown.

7:30pm. $77.

One Hit Wonders Revesby Workers Club, Revesby. 8:30pm. free.

Pat O’Grady Riverstone Sportsmans Hotel, Riverstone. 12pm. free.

Peppermint Jam Campbelltown Catholic Club, Campbelltown. 9:30pm. free.

Redlight Ruby Northies Cronulla Hotel, Cronulla. 6pm. free.

Rick Robertson Harbord Beach Hotel, Harbord. 3pm. free.

Safia + Grmm Oxford Art Factory, Darlinghurst. 8pm. $15.40.

Sarah Paton Pritchards Hotel, Mount Pritchard. 1pm. free.

Satellite V Marrickville Bowling Club, Marrickville. 4:30pm. free.

Sepultura Manning Bar, Camperdown.

8pm. $59.

The Vines + Chicks Who Love Guns + The Lulu Raes Vic On The Park, Enmore.

1pm. free.

The Worriers - feat: King Colour + The Rider + Montague Valve Bar, Agincourt Hotel, Ultimo. 5pm. $10.

Zoltan Adria, Sydney. 5pm. free.

Zoltan Cronulla Leagues Club - Sharkies, Woolooware.

12:30pm. free.

MONDAY OCTOBER 6 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Latin & Jazz Jam Open Mic Night World Bar, Kings Cross. 7pm. free.

Motown Mondays - feat: Soulgroove The White Horse, Surry Hills.

8pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Alex Hopkins St George Rowing Club, Wolli Creek. 1pm. free.

Carl Fidler Observer Hotel, The Rocks.

7:30pm. free.

Charlie Heart Harbord Beach Hotel, Harbord. 3pm. free.

Steve Tonge

Observer Hotel, The Rocks.

4pm. free.

The White Brothers Ettamogah Hotel, Kelly Ridge.

1pm. free.

Tim McCartney Fortune Of War, The Rocks.

3pm. free.

TUESDAY OCTOBER 7 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Old School Funk & Groove Venue 505, Surry Hills. 8pm. free.

Swingtime Tuesdays The Basement, Circular Quay.

7pm. $9.

ACOUSTIC, COUNTRY, BLUES & FOLK Blues Tuesdays Spring Street Social, Bondi.

7:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Beats 4 Breast Cancer The Star Event Centre, Pyrmont. 7pm. free.

Greg Agar Cock & Bull , Bondi. 7pm. free.

Jess Dunbar Duo Opera Bar, Sydney. 7:30pm. free.

Triumphant Tuesdays - feat: Dave Eastgate Karaoke Frankie’s Pizza, Sydney.

8:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Ted Nash Duo Overlander Hotel, Cambridge Park. 2pm. free.

ACOUSTIC, COUNTRY, BLUES & FOLK Murrumbidgee Jones Shakespeare Hotel, Surry Hills. 5pm. free.

Nathan Cole Ingleburn Hotel, Ingleburn.

3pm. free.

Satellite V Marrickville Bowling Club, Marrickville. 4:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Alex Hopkins Campbelltown Catholic Club, Campbelltown. 2:30pm. free.

Andy Mammers Duo Panthers, Penrith. 9:30pm. free.

Black Diamond Hearts Golden Sheaf Hotel, Double Bay. 9pm. free.

Brad Johns Observer Hotel, The Rocks.

4pm. free.

Dave White Trio Time & Tide Hotel, Dee Why. 2pm. free.

David Agius Horse & Jockey Hotel, Homebush. 3:30pm. free.

David Bridie The Vanguard, Newtown.

6:30pm. $28.80.

Dead Kennedys + The Bennies The Hi-Fi, Moore Park. 8pm. $56.50.

Evie Dean Family Inn Hotel, Rydalmere.

2pm. free.

Glenn Esmond Oatley Hotel, Oatley. 1pm. free.

wed

thu

01 Oct

02 (9:00PM – 12:00AM)

Oct

(9:00PM – 12:00AM)

fri

03 Oct

(4:30PM - 7:30PM)

sat

(9:30PM - 1:30AM)

(4:30PM - 7:30PM)

04 Oct

(9:30PM - 1:15AM)

LONG WEEK-END SUNDAY AFTERNOON

mon

06

(2:00PM - 5:00PM)

Oct

sun

(3:45PM - 6:45PM) (7:00PM - 10:30PM)

05 Oct

tue

(9:15PM till LATE) (9:00PM - 12:00AM)

07

(9:00PM – 12:00AM)

Oct

BRAG :: 582 :: 01:10:14 :: 29

gig picks

up all night out all week...

DMA’s

Mia Dyson

Screamfeeder Newtown Social Club, Newtown. 8pm. $25.

Visions - feat: Secret Headliner + Burn Antares + Flowertruck + Zero Likes DJs (DMA’s) + Deep Sea Arcade DJs Bank Hotel, Newtown. 7pm. Free.

Windhand + Beastwars Hermann’s Bar, Darlington. 8pm. $40.

SATURDAY OCTOBER 4 WEDNESDAY OCTOBER 1

Cauldron Black Ram + Undergang + Bastardizer + Destruktor + Cruciform The Bald Faced Stag, Leichhardt. 8pm. $13.95.

Indie Night Wednesdays - feat: Darren Cross + Lily So & The Bellows + Leeli Marble Bar, Sydney. 7:30pm. Free.

The Fabergettes + Food Court + Disgusting People + Bad Bitch Choir Brighton Up Bar, Darlinghurst. 8pm. $10.

Justin Timberlake Allphones Arena, Sydney Olympic Park.

8pm. $101.85.

SUNDAY OCTOBER 5

THURSDAY OCTOBER 2 Mia Dyson Newtown Social Club, Newtown. 8pm. $28.

FRIDAY OCTOBER 3 T 02 9331 0666 bookings@damiengerard.net www.damiengerard.net Facebook damien-gerard-studios

DMA’s Oxford Art Factory, Darlinghurst. 8pm. $18.50.

David Bridie The Vanguard, Newtown. 6:30pm. $28.80.

Dead Kennedys + The Bennies The Hi-Fi, Moore Park. 8pm. $56.50.

Safia + Grmm Oxford Art Factory, Darlinghurst. 8pm. $15.40.

Sepultura Manning Bar, Camperdown. 8pm. $59.

The Vines + Chicks Who Love Guns + The Lulu Raes Vic On The Park, Enmore. 1pm. Free.

Sepultura

The Fabergettes

SINGLE DEAL 2 days recording/mixing/mastering at reduced rates

EP DEAL 5 days recording/mixing/ mastering plus 500 pro manufacture CDs

MINI ALBUM DEAL

damien gerard

7 days recording/mixing/mastering and manufacturing

soundstudios

ALBUM DEAL xxx

15 days recording/mixing/mastering and manufacturing MCI JH 24 Track 2” Tape/Pro Tools v10.0/Classic Analog

30 :: BRAG :: 582 :: 01:10:14

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five things WITH

CADENCE

head to: thebrag.com/freeshit

CITIZEN KAY

CODE

Off the back of support slots for Danny Brown, Public Enemy and Earl Sweatshirt, and a joint national tour with Tkay Maidza, well-travelled rapper Citizen Kay has added new headline dates around the country. It’s all to launch his new single, ‘Freedoom’, inspired by the violent goings on between police and the public in troubled parts of America. Citizen Kay’s Demokracy tour arrives at The Roller Den on Friday November 28.

The good folk at T1000 events – the same minds behind London’s SW14 outdoor dance festival – are spreading the love to Sydney this long weekend. Hernan Cattaneo and Stacey Pullen headline the Code party at the Greenwood Hotel this Sunday October 5. Cattaneo is making his return to our shores following the release of his Balance 026 compilation, well-received by those in the know, while this will be Detroit techno legend Pullen’s 15th visit to Australia in 16 years. Also appearing are Dillan Joseph, Space Junk, Ben Howard and Cadence. We’ve got a VIP double pass to give away – for the chance to win it, head to thebrag.com/freeshit and tell us the one track you’re hoping to hear on the day.

THE 45 SESSIONS

Sydney’s finest vinyl vigilantes return to Play Bar this Saturday October 4 for the monthly instalment of Funkdafied’s 45 Sessions. The concept was founded in Oakland, California and has brought the funk, hip hop and soul to Sydney town over the past few months. This time around, the decks will be handled by MK-1, Graham Mandroules, JC, Makoto, DJ Jon and Benny Hinn.

Space Dimension Controller

SPICE AFLOAT

Growing Up Music was a very large part of my 1. life growing up, but I think it was most importantly my father who had the biggest influence at a young age. He was an avid vynophile with over 1,000 jazz and classical records. I think it set the passion in very early for me.

Inspirations My musical tastes are quite diverse 2. although I do prefer artists that put some thought into what they create. A couple of standouts would be Trent Reznor and Miles Davis – each had a big impact the first time I heard them. There are many other musicians that have inspired me over the years and not enough space here to do them justice.

The Spice Afloat New Year Sunrise Cruise is returning to Sydney Harbour on Thursday January 1. It’s the party for those who want to welcome 2015 in the ultimate fashion: watching the sun come up over Sydney with a soundtrack by the world’s most respected underground DJs. Space Dimension Controller, Trus’Me, Oliver Koletski, Niko Schwind and Fantastic Man will be on deck to help you dance into the New Year.

SBTRKT

SBTRKT

South London beatmaker SBTRKT will make his return to Australia for sideshows alongside his Falls Festival and Field Day appearances. SBTRKT is returning to our shores with tracks from his self-titled record as well as its follow-up, Wonder Where We Land, which dropped last week.

The masked man plays the Enmore Theatre on Thursday January 8.

Your Crew I’ve been lucky enough to have 3. worked in this business all of my adult life.

OUTSIDEIN ADDS MORE ACTS OutsideIn has added a second round of artists to its November festival in Sydney this year. The Astral People and Yes Please crews, having already announced a lineup featuring The Pharcyde, Seekae, Pantha Du Prince and more, have added seven more acts from Australia and abroad to the Manning House event, led

by Chicago house icon Roy Davis Jr. Also joining the fun are Basenji, Brenmar, Late Night Tuff Guy, Collarbones, Noise In My Head and Chris Barker. OutsideIn takes over Manning House at the University of Sydney on Saturday November 29.

Klevakutz

Sydney has had many amazing DJs over the years and I have been lucky enough to have been friends with many of them. Right now I am quite involved with Bondi Beach Radio and my show with The Real Tony Montana.

Music, Right Here, Right Now In Sydney it’s still all about the 5. lockouts, so many venues have taken

32 :: BRAG :: 582 :: 01:10:14

Big Freedia & Her Divas are returning to Ass-tralia. No stranger to our shores, Freedia has previously performed at Melbourne Festival and the illustrious Meredith Music Festival.

Get your twerk on at Oxford Art Factory on Friday January 2. And we mean literally: there’ll be a bounce class held before the show.

Leave your laptops, USBs and CDs at home – UNDR ctrl is presenting the third instalment of Strictly Vinyl this weekend. As the name suggests, this isn’t your regular DJ night.

Everything played at Strictly Vinyl is played, well, strictly on wax. Following up its excellent Strictly Vinyl 002 edition in June, which featured the likes of Touch Sensitive, John Wall, and Ariane, UNDR ctrl is bringing Sampology, Kato (FBi Radio) and Marcus King together for one night only where they’ll be spinning nothing but vinyl records for their two-hour-long DJ sets.

Strictly Vinyl 003 is on at The Cliff Dive on Sunday October 5.

4.

Where: Code With: Hernan Cattaneo, Stacey Pullen, Space Junk, Dillan Joseph and more Where: Greenwood Hotel When: Sunday October 5

BIG UPS FOR FREEDIA

STRICTLY VINYL 003

The Music You Make And Play Although I’ve played many styles over the years I’m very happy to have settled on deep and tech house right now. These genres have grown in strength and diversity at a rapid rate and there are now so many awesome tunes out there. I have some huge basslines ready to drop and looking forward to hearing all of them on the massive system.

a beating and it’s hard to watch these people who’ve worked so hard struggling as they are. Life is also about change and adversity only makes us stronger so I’m sure this town has plenty of amazing gigs to throw at us this summer.

Big Freedia

URTHBOY LOVES A MIXTAPE

KLEVAKUTZ

The Crown Street Cut Collective represents at Surry Hills’ Play Bar this long weekend, with co-founder Klevakutz leading the line. He’s a regular face on the Sydney scene, having worked at The Record Store and DJ Warehouse while holding down residencies at LoFi, The Backroom, Chinese Laundry, The Argyle, World Bar and more. Raine Supreme will share his latest hip hop, soul and funk favourites, while Benny Hinn joins the fun as well. It all goes down Friday October 3.

Beloved Aussie rapper and Elefant Traks main man Urthboy, AKA Tim Levinson, is celebrating the lost art of making mixtapes. His Make Me A Mixtape show is coming Sydney’s way next month after a great reception at Brisbane Festival. For the performance, he’s created a mixtape to soundtrack the true story of a young Australian on a formative trip overseas. Urthboy will be playing the songs he’s chosen live, with help from Ngaiire, Joyride, Jane Tyrrell, Ev Jones, Rival MC and a live band. Make Me A Mixtape is on at The Basement on Saturday November 8. thebrag.com

BALANCE 026 MIXED BY HERNAN CATTANEO

BALANCE 025 MIXED BY DANNY TENAGLIA

GUSGUS MEXICO

SOLOMUN GU40 : HAMBURG

GOLDIE MASTERPIECE

FRANZ FERDINAND LATE NIGHT TALES

BALANCE SELECTIONS ESSENTIAL ELECTRONIC AND DANCE ALBUMS ALBUMS OUT NOW IN ALL GOOD RECORD STORES

MARCEL DETTMANN FABRIC 77

BALANCEMUSIC.COM.AU BRAG :: 582 :: 01:10:14 :: 33

Bondi Hipsters Not Quite DJs By Emily Meller Hipsters to sell out like that? “Frankly, they’re perfectly reasonable,” says Boshier. “Like, they really let us be as creative as we like, so it’s really, really cool.”

While preparing for their debut in the television world, Boshier and Van Vuuren also had a crack at DJing for commercial radio, taking over breakfasts for a week at triple j. At first, the response from regular listeners was a little mixed.

“When you hear a new breakfast host, it’s a hard one to get your head around – it’s like having a new girlfriend or boyfriend,” Boshier says.

They decided not to do the whole thing in character (“We wouldn’t put anyone through that”) and instead went in as themselves. Even with their combined experience on YouTube, a fertile breeding ground for vexatious internet trolls, nothing properly prepared them for the triple j text line.

T

he Bondi Hipsters are dickheads, and they’re the first to admit it.

Dom and Adrian (Christiaan van Vuuren and Nick Boshier) are pretentious, self-righteous and hypocritical – which is exactly what makes it so much fun to play them.

“When you boil it down we’re being dickheads onstage playing other people’s music – and then we’re being dickheads on camera,” says Boshier.

resistant tuberculosis. To stop himself going insane, he recorded rap tracks about his six-month-long solitary confinement, which went (ironically) viral. When he was finally released from hospital, instead of returning to his job in marketing he teamed up with his brother Connor van Vuuren and Boshier, one of the minds behind another viral YouTube series, Beached Az.

Luckily he and Van Vuuren aren’t nearly as annoying as Dom and Adrian. Given their unconventional entry into the “ahcting” world, their down-to-earth humility about the Bondi Hipsters project is not all that surprising.

Since recording ‘The Life Organic’ as Bondi Hipsters in 2012, they’ve been gaining a fan base and plenty of accolades for their comedic talents.

Lately, things have been getting even busier. They had a recent stint hosting breakfast on triple j, are embarking on a national DJ tour and also promoting their upcoming ABC2 show Soul Mates. “It’s a Seinfeld-y take on cavemen. More observational and

Van Vuuren first rose to prominence as The Fully Sick Rapper in a series of YouTube videos he made while in quarantine for a rare strain of antibiotic-

less ‘ooga-booga’,” explains Boshier.

Co-written and directed with Connor van Vuuren, it weaves together four stories of best mates throughout time. And yes, it features Dom and Adrian. “With Soul Mates, we actually start to take them on the actual journey of trying to launch their own fashion label,” says Christiaan.

“Christiaan and I are used to making whatever the fuck we like,” Boshier adds, “and with the ABC we have to take into consideration some of their editorial policies and their notes.”

Not long ago, they posted to Facebook a screengrab of one of those ‘network notes’ from the ABC. It read, “Seriously, I have said this before and you have ignored it... Don’t use ‘c***’ in your scripts.” Has it been hard for the

“Fuck, it was pretty fun,” says Van Vuuren. “I didn’t think any audience feedback could be more intense than YouTube, but on the triple j text line you get 3,000 texts in three hours.

“You know if you make a mistake the text line fills up with, like, ‘What is this shit?’ and then if you say something funny it fills up with, ‘Oh, you guys are amazing, never leave.’ There were a couple of those [on Friday], which was really awesome.”

When we turn to the subject of Bondi Hipsters’ latest DJ tour, they’re quick to proclaim themselves the first-ever “USB-Js”. Under possibly the greatest stage names in EDM history, ‘DJ Enzyme: Breaking Shit Down’ (Adrian) and ‘DJ Oedipus: The Original Mother Fucker’ (Dom), it turns out that they aren’t actually very confident at

the turntables. “We pretend to turn more knobs than we actually turn. We push the occasional button,” says Van Vuuren.

“We’re shitty DJs,” Boshier confirms.

“Adrian does a lot more dancing. Dom just kind of stands and gets nervous. I tend to lose my shit a bit; I literally tend to lose my brain.” Literally? “Literally I sometimes go a bit crazy.”

While a lot of what Bondi Hipsters do is poking fun at a particular group of people living in a particular place (with a very particular ahccent), the fact the videos are set in Bondi was never meant to be the central theme.

But attaching the characters to such a globally recognisable place ended up being a successful move.

“We actually originally just called it ‘Hipsters’ and we went to a seminar with a guy who said the best thing they did on Bondi Rescue was to call it Bondi Rescue,” Boshier says.

Underneath all of the satire, though, is a genuine affection for the characters.

It means that, as irritating as Dom and Adrian can get, they are also relatable – at least occasionally.

“I think mostly I’m criticising myself,” says Boshier. “The Adrian character is not so far from me. I am less morally ambiguous and maybe slightly less sexually ambiguous – but I eat all that [health food] shit, I’m hypocritical.”

“The joke was always more about two guys, two people who think they are making the world a better place but who are actually part of the problem,” says Van Vuuren. “I definitely think that it’s a parody made with love.”

Where: Beach Road Hotel When: Wednesday October 8 And: Soul Mates is showing on ABC2 from Thursday October 23

TICKETS AND MORE INFO VISIT T1000.COM.AU

AFTERPARTY AT THE CIVIC UNDERGROUND

IN ASSOCIATION WITH TICKETS AVAILABLE THROUGH MOSHTIX ONLY

34 :: BRAG :: 582 :: 01:10:14

thebrag.com

Off The Record Dance And Electronica With Tyson Wray

Trus’Me

ictoria’s Let Them Eat Cake festival has revealed its 2015 lineup, giving us a little bit more of an insight into who we can expect to see coming to Sydney over the NYE/NYD period.

While many of the names have already confirmed appearances at Field Day and Lost Paradise, it looks like you can also lock in visits from the likes of Goldie, Alexander Nut and DJ Vadim.

V

More NYD goodness: Spice has revealed the lineup for its annual sunrise cruise on Sydney Harbour, with international talent Space Dimension Controller, Trus’Me, Oliver Koletzki and Niko Schwind leading the bill. It sets sail from 4am on Thursday January 1.

Detroit techno titan Jeff Mills has finally locked in a Sydney show. He was announced for the 2014 Melbourne Festival yonks ago with a performance of his show Light From The Outside World, which will see him lock horns with the 60-piece Melbourne Symphony Orchestra. Unfortunately that production won’t be coming to Sydney, but you can catch him in DJ mode at Chinese Laundry on Saturday October 11.

More hard-hitting Detroit techno at

Chinese Laundry: ‘The Baron of Techno’ Dave Clarke is returning this month.

One of the first DJs to ever opt to use Serato over the conventional form of vinyl when performing, Clarke has played at Tomorrowland, Awakenings, Pukkelpop and Glastonbury and can boast Underground Resistance, Robert Hood, Basic Channel and Luke Slater among his peers. Saturday October 25 – put it in your diary.

Tour rumours: A little birdie tells me that one of my favourite DJs and producers in the world, Omar-S, will be making a return to Sydney early next year. If you’re near a computer, check out his interview with Resident Advisor from 2009 – in my humble opinion, it still stands as the most entertaining piece of music journalism ever. I’m also told that Evian Christ will be making his debut voyage to Australia next March.

Best releases this week: Maxmillion Dunbar’s Drizzling Glass (on The Trilogy Tapes) gets a big thumbs up from me.

Other highlights include Anno Stamm’s Aqua, Lemon Peel, Violet (Macro), Snow Bone’s Mystic Vision (Lobster Theremin), Andrea’s Space Forma (Ilian Tape) and Draveng’s The Dubious Smink (Allergy Season).

Dave Clarke

I MAG I N E BE I NG MAD E TO

RECOMMENDED FRIDAY OCTOBER 3

SATURDAY OCTOBER 11

FRIDAY NOVEMBER 14

SATURDAY OCTOBER 4

FRIDAY OCTOBER 17

RADIO SLAVE, FUR COAT

SATURDAY OCTOBER 25

FRIDAY NOVEMBER 14 – SUNDAY NOVEMBER 16

Basenji Civic Underground

LXURY The Imperial Hotel

AGWA Yacht Club

SUNDAY OCTOBER 5

Hernan Cattaneo, Stacey Pullen Greenwood Hotel

FRIDAY OCTOBER 10 DJ Spider Club 77

Jeff Mills Chinese Laundry

Peter van Hoesen The Imperial Hotel

Dave Clarke Chinese Laundry

SATURDAY NOVEMBER 1 Sidney Charles Mantra Collective Sasha Chinese Laundry

Ten Walls The Hi-Fi

Return To Rio: Ten Walls, Lake People, Laura Jones, Gavin Herlihy Del Rio Resort

SATURDAY NOVEMBER 22

Lost Disco: Seth Troxler, Âme, Pachanga Boys, Optimo Greenwood Hotel

SUNDAY NOVEMBER 23 Stimming The Spice Cellar

Got any tip-offs, hate mail, praise or cat photos?

Email hey@tysonwray.com or contact me via carrier pigeon. thebrag.com

FE E L L I KE C RAP J U ST FOR

BEING

LEFT

H A N D E D.

Okay, that’s hard to imagine? But being gay, lesbian, bi, trans or intersex is no different to being born left handed, it’s just who you are. So stop and think because the things we say are likely to cause depression and anxiety. And that really is pretty crap.

GO TO LEFTHAND.ORG.AU TO WATCH THE VIDEO

STOP t THINK t RESPECT

BRAG :: 582 :: 01:10:14 :: 35

club guide g send your listings to : clubguide@thebrag.com

club pick of the week

7pm. $15.

Thank Funk It’s Friday The Ranch, Eastwood.

9:30pm. free.

SATURDAY OCTOBER 4

Hernan Cattaneo

HIP HOP & R&B

Halfway Crooks Phoenix Bar, Darlinghurst.

10pm. $10.

CLUB NIGHTS

SUNDAY OCTOBER 5 Greenwood Hotel G

Code

Hernan Cattaneo + Stacey Pullen + Space Junk + Dillan Joseph + Ben Howard + Cadence

Cakes - feat: 4 Rooms Of Live Music + DJs And International Guests World Bar, Kings Cross. 8pm. $10.

Deadly Visions Valve Bar, Agincourt Hotel, Ultimo. 7pm. $10.

El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills.

10pm. free.

El’ Circo - feat: Resident Circus Act Performers Slide Lounge, Darlinghurst.

7pm. $109.

Frat Saturdays - feat: DJ Jonski Side Bar, Sydney. 6pm. free.

Hillbilly Presents Miazma - feat: Carbon Black + Acid Nymph + Autolysis + Trollgasm + Dionysis + The Hazard Circular Valve Bar, Agincourt Hotel, Ultimo. 9pm. $10.

Infamous Saturdays - feat: Live DJs Scubar, Sydney. 7pm. free.

Marcus Schossow Marquee, Pyrmont. 10pm. $28.60.

Masif Saturdays Space, Sydney. 10pm. $25.

Pacha Sydney - feat: Uberjak’D + Tommie Sunshine + Goodwill + Glover + Fingers + Samrai + Jace Disgrace + Danny Lang + Chris Fraser + DJ Just 1 + King Lee + Dylan Sanders + Heke + Mike

Hyper + Trent Rackus Ivy Bar/Lounge, Sydney.

6:30pm. $37.90.

Sienna Saturdays - feat: Resident DJs The Establishment, Sydney.

9pm. free.

Soda Saturdays - feat: Resident DJs Playing Disco And Funk Soda Factory, Surry Hills.

5pm. free.

Spice - feat: DJs Murat Kilic + Robbie Lowe + Michelle Owen + Guests The Spice Cellar, Sydney.

7pm. $25.

Stereosonic Launch Party feat: The Aston Shuffle (DJ Set) + Safia (DJ Set) Chinese Laundry, Sydney.

9pm. $22.60.

The 45 Sessions - feat: Mk-1 + Graham Mandroules + JC + Makoto + DJ JoN + Benny Hinn Play Bar, Surry Hills. 6pm. free.

SUNDAY OCTOBER 5 CLUB NIGHTS

Code - feat: Hernan Cattaneo + Stacey Pullen + Space Junk + Dillan Joseph + Ben Howard + Cadence Greenwood Hotel, North Sydney. 1pm. $55.20.

Danny T & Destroy The Machines Bar100, The Rocks. 3pm. free.

Goodgod’s Fourth Birthday - feat: Ariane + Astral DJs + Champain Lyf + Drongo + Mike Who + Nacho Pop + Power Suit + Shantan Wantan Ichiban + Tyson Koh Goodgod Small Club, Sydney.

9pm. $10.

La Fiesta - feat: Samantha Fox + Agee Ortiz + Av El Cubano + Resident DJ Willie Sabor The Establishment, Sydney.

8pm. free.

Marquee All Stars - feat: I Am Sam + K-Note + L.A.M + Zannon Marquee, Pyrmont. 10pm. $18.40.

S.A.S.H Sundays Home Nightclub, Darling Harbour. 2pm. $10.

Strictly Vinyl 003 - feat: Sampology + Kato + Marcus King Cliff Dive, Darlinghurst. 6pm. free.

Sunday Sessions - feat: Cadell + Tom Kelly + Ocky Goldfish, Kings Cross. 4pm. free.

Sunday Spice - feat: Otologic + Kato + U-Khan + Steven Sullivan + Guests The Spice Cellar, Sydney.

9pm. $25.

Sundays In The City - feat: Various DJs The Slip Inn, Sydney. 12pm. free.

MONDAY OCTOBER 6 HIP HOP & R&B

T-Pain With DJ Nino Brown + Lazy J + YMS + Mistah Mez (feat: DJ Libre) + Flygirl Tee Enmore Theatre, Newtown.

7pm. $86.30.

CLUB NIGHTS

Crab Racing Scubar, Sydney. 7pm. free.

Mashup Monday - feat: Resident DJs Side Bar, Sydney. 8pm. free.

TUESDAY OCTOBER 7 CLUB NIGHTS

Chu World Bar, Kings Cross. 9pm. free.

1pm. $55.20.

WEDNESDAY OCTOBER 1 CLUB NIGHTS

Dead Brian - feat: Bad Vibes + The Young Doctures + Special Guests Valve Bar, Agincourt Hotel, Ultimo. 8pm. free.

DJ Tom Kelly Goldfish, Kings Cross. 9pm. free.

The Wall - feat: Various Local And International Acts World Bar, Kings Cross. 9pm. $5.

Whip It Wednesdays - feat: Various DJs Whaat Club, Kings Cross.

9pm. free.

THURSDAY OCTOBER 2

Goodgod Small Club, Sydney.

8pm. free.

Goldfish And Friends - feat: Regular Rotating Residents Goldfish, Kings Cross. 10pm. free.

Heiress - feat: Grizzly Adams + Ever Rest + Thieves + The Evercold Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

Hot Damn Spectrum, Darlinghurst. 9pm. $10.

Loopy - feat: Drty Csh + Daschwood + Generous Greed + Guest DJs The Backroom, Kings Cross.

10pm. $12.

Pool Club Thursdays - feat: Resident DJs Ivy Bar/Lounge, Sydney. 5pm. free.

The World Bar Thursdays World Bar, Kings Cross. 9pm. free.

Thursday At The Spice Cellar The Spice Cellar, Sydney.

7pm. free.

HIP HOP & R&B

Joyride Lo-Fi, Darlinghurst. 6pm. free.

CLUB NIGHTS

Citizen Of The World + The Right Words + Three Kings Down + Sattwa Arising Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

Fear Of Dawn Goldfish, Kings Cross. 8pm. free.

Full Up! - feat: Mikey Glamour + Nick Toth + Jimmy Sing + Prince Andrew + Guests 36 :: BRAG :: 582 : 01:10:14

FRIDAY OCTOBER 3 HIP HOP & R&B

Dyscothèque - feat: Dugong Jr + Victoria Kim + Zuriakoko + Laprats +1Fm1 FBi Social, Kings Cross. 8pm. $10.

Hustler Fridays - feat: MC Shaba Hustle & Flow, Redfern. 7pm. free.

CLUB NIGHTS

Argyle Fridays - feat: Resident DJs The Argyle, The Rocks. 6pm. free.

Basenji Civic Underground, Sydney.

10pm. $11.

Bassic - feat: Dexter (Avalanches) + Royalston + Samrai + Nemo + Beatslingaz + Bionic + Ellagator + DJ Physical Chinese Laundry, Sydney.

10pm. free.

El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills.

10pm. free.

Ember Marquee, Pyrmont. 10pm. $18.40.

Factory Fridays - feat: Resident DJs Soda Factory, Surry Hills.

5pm. free.

Feel Good Fridays Bar100, The Rocks. 5pm. free.

Frisky Fridays Scubar, Sydney. 5pm. free.

Klubknight - feat: Sir Kendal James + Spacie + Made In Paris Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

Loco Friday - feat: Various Live Bands And DJs The Slip Inn, Sydney. 5pm. free.

Phat Play Fridays - feat: Klevakutz Raine Supreme + Benny Hinn Play Bar, Surry Hills. 6pm. free.

Soft&Slow - feat: Jamie Lloyd + James Cripps + Guests The Spice Cellar, Sydney.

send your listings to : clubguide@thebrag.com

FRIDAY OCTOBER 3 Basenji Civic Underground, Sydney. 10pm. $11.

Bassic - feat: Dexter (Avalanches) + Royalston + Samrai + Nemo + Beatslingaz + Bionic + Ellagator + DJ Physical Chinese Laundry, Sydney. 10pm. Free.

Ember Marquee, Pyrmont. 10pm. $18.40.

Phat Play Fridays - Feat: Klevakutz Raine Supreme + Benny Hinn Play Bar, Surry Hills. 6pm. Free.

SATURDAY OCTOBER 4 Halfway Crooks Phoenix Bar, Darlinghurst. 10pm. $10.

Marcus Schossow Marquee, Pyrmont. 10pm. $28.60.

Pacha Sydney - feat: Uberjak’D + Tommie Sunshine + Goodwill + Glover + Fingers + Samrai + Jace Disgrace + Danny Lang + Chris Fraser + DJ Just 1 + King Lee + Dylan Sanders + Heke + Mike Hyper + Trent Rackus Ivy Bar/Lounge, Sydney. 6:30pm. $37.90.

Stereosonic Launch Party - feat: The Aston Shuffle (DJ Set) + Safi a (DJ Set) Chinese Laundry, Sydney. 9pm. $22.60.

The 45 Sessions - feat: Mk-1 + Graham Mandroules + JC + Makoto + DJ JoN + Benny Hinn Play Bar, Surry Hills. 6pm. Free.

SUNDAY OCTOBER 5 Goodgod’s Fourth Birthday - feat: Ariane + Astral DJs + Champain Lyf + Drongo + Mike Who + Nacho Pop + Power Suit + Shantan Wantan Ichiban + Tyson Koh Goodgod Small Club, Sydney. 9pm. $10.

Marquee All Stars - feat: I Am Sam + K-Note + L.A.M + Zannon Marquee, Pyrmont. 10pm. $18.40.

S.A.S.H Sundays Home Nightclub, Darling Harbour. 2pm. $10.

Strictly Vinyl 003 - feat: Sampology + Kato + Marcus King Cliff Dive, Darlinghurst. 6pm. Free.

Sunday Spice - feat: Otologic + Kato + U-Khan + Steven Sullivan + Guests The Spice Cellar, Sydney. 9pm. $25.

thebrag.com

snap

27:09:14 :: Play Bar :: 72 Campbell St Surry Hills 9280 0885

live review What we've been out to see...

LISTEN OUT 2014 Centennial Park Saturday September 27

In the second year of the Listen Out festival, the lineup was a premium cut selection of emerging Australian EDM. But even in a new venue (Centennial Park) and with its heavy branding as a new type of festival experience (more hip dance party, less bogans in singlets and thongs), it was still hard to separate it much from its predecessors. You know the drill: short shorts, port-a-loos and people losing their minds as soon as the soundcheck guys stepped out onstage.

Hailed as something of a beatmaking prodigy, 18-year-old Tkay Maidza took to the stage early, and delivered one of the highlight sets of the festival. With Maidza blaring energy, it wasn’t exactly a chill way to start the day, but ‘U-Huh’ still went down a treat.

One of Australia’s most talented producers, Ta-ku, showed that his material from Songs To Break Up To translates perfectly well live. Given its lo-fi, spaced-out beats it could have fallen flat, but instead opener ‘I Miss You’ was sharp and easy to be immersed in. If nothing else, Listen Out is a valuable platform if it gives artists like Ta-ku a chance to reach a new audience.

one night stand ft. simon caldwell

PICS :: KC

sydney def jam ft. rus

PICS :: KC

up all night out all week . . .

27:09:14 :: The Imperial Hotel :: 35 Erskineville Rd Erskineville 9557 6962 Chet Faker hit the main stage to a predictably enormous crowd. As promised on Twitter, he played some previously unreleased material, and jammed out on ‘Cigarettes And Chocolate’ just to keep things interesting. ‘No Diggity’, of course, was the main sing-along of the day. Zhu played hidden behind a white gauze screen onto which trippy images were looped, making it feel much more like a club concert than a festival set. Meanwhile, ScHoolboy Q got the crowd so riled with a ferocious set that he had to tell everyone to “chill” before launching into ‘Break The Bank’.

ARU MUG AM :: KATR INA S :: JAM ES AMB ROS E :: ASH WIN OUR LOV ELY PHO TOG RAP HER UK ENY OKS NA IVAN :: CLA RKE :: ASH LEY MAR

Headliner Flume also had some tricks up his sleeve. Pyrotechnics on entrance were just the start, with a guest appearance from Future Classic labelmate George Maple for ‘Talk Talk’ and a soon-to-bereleased mystery track. He played his remix of ‘Tennis Court’ for the first time in Australia, a reminder of why he is one of the pioneers of our thriving EDM scene.

One advantage Listen Out can boast is that dance music lends itself pretty perfectly to a festival format. Boutique it’s not, but it’s got a fresh focus that clearly works and showcases some of Australia’s strongest talent.

Emily Meller

PHOTOGRAPHER :: ASHLEY MAR

thebrag.com

BRAG :: 582 :: 01:10:14 :: 37

snap

grant smillie + piero

PICS :: AA

up all night out all week . . .

s.a.s.h sundays

19:09:14 :: S*A*S*H :: The Hunter Valley 38 :: BRAG :: 582 :: 01:10:14

28:09:14 :: Home :: 101/1-5 Wheat Rd Darling Harbour 9266 0600 PICS :: IO

s.a.s.h sleepout

PICS :: AM

27:09:14 :: Marquee :: The Star Sydney Pyrmont 9657 7737

ARU MUG AM :: KATR INA S :: JAM ES AMB ROS E :: ASH WIN OUR LOV ELY PHO TOG RAP HER NA OKS ENY UK CLA RKE :: ASH LEY MAR :: IVAN

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7-11 January 2015 Parkes, NSW

‘Roustabout’

s t 0 2 n e 1 s v r y e e a v O emed ss 5 d h o t r c s lE vi ows a h s &

TICKETS ON SALE NOW

www.parkeselvisfestival.com.au