Brag#589

ISSUE NO. 589 NOVEMBER 19, 2014

FREE Now picked up at over 1,600 places across Sydney and surrounds. thebrag.com

MUSIC, FILM, THEATRE + MORE

INSIDE This Week

S A N CIS C O

The Perth darlings are doing another ‘Run’ around the country.

CYPRESS HILL EST.

1988

GEORGE E Z R A

Don’t be fooled by his boyish looks – this fella packs a punch.

BROK EN DOL L

Tokyo’s most colourful band brings the mayhem Down Under.

DI VORCE, T HE MUSIC A L!

Comedian Em Rusciano takes heartbreak and makes it catchy.

THREE OF AWOODS KIND OUT OF THE

Plus

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

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THE BRAG

songwriters’ secrets WITH

LIZ STRINGER

The First Song I Wrote Apparently I used to make 1. songs up while my dad played the

delightfully quick or painfully slow, requiring more drafting.

The Song That Changed My Life 5.

I listened to Woodface by Crowded

guitar when I was tiny. My greatest hit was something about ‘The Cat and The Fiddle’, I believe.

The Song That Makes Me Proud 4.

I think ‘hit’ may be a stretch but a

House quite a lot in my early teens.

We didn’t have heaps of current music in the house but my brother bought the album and I listened to it obsessively. There’s a few songs on that record that informed me as a songwriter but ‘How Will You Go’ I found particularly beautiful. The Finns write with deep musicality and poetic sensibility and it offered me escape and refuge from the realities of life at the time, which is the powerful thing about music. I still love Crowded House. And Neil Finn is an absolute top-shelf writer and musician.

2.

The Last Song I Released I released a live clip from my latest release, Live At The Yarra, for a song called ‘Children’ that I also recorded for my third studio album Tides Of Time, released in 2010. The song was inspired by realising how little I (still) know as I get older. It’s the idea that we’re all still children trying to find our way, regardless of how old or experienced we are.

Songwriting Secrets I’m a chords/music first kind 3. of gal, usually, with the exception of

Gruff Rhys

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NEW ACTS FOR FALLS

Following Röyksopp and Robyn’s cancellation of their scheduled collaborative performances, Falls Festival has added two big names to fill the gaps on the 2014/15 lineup. Australia’s larger-than-life alt-electronic pioneers Empire Of The Sun will return to the stage following a worldwide tour, while Britain’s indie-pop diva La Roux will also join the bill. Falls will take place in Lorne from Sunday December 28 – Thursday January 1, Marion Bay from Monday December 29 – Thursday January 1 and Byron Bay from Monday December 30 – Saturday January 3.

GRUFF GRUFF

Perhaps our favourite thing about Wales apart from Shirley Bassey and the town named Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch, Super Furry Animals frontman Gruff Rhys is making his way Down Under next year. The indie icon’s latest solo effort, American Interior, dropped in May, and marks the latest addition to a discography that includes nine albums with Super Fury Animals and collaborations with Mogwai, De La Soul and Boom Bip (as Neon Neon).

The new record will even help teach you Welsh, with the song ‘Allweddellau Allweddol’ sung entirely in Rhys’ native language. Get practising and sing along at Newtown Social Club on Friday March 6.

The Soda Factory’s quarterly covers night Covers for a Cause is doing something a little different for its final event this year. Drawing on the wealth of the venue’s in-house entertainment talent of musicians and special guests, this one-off night is paying homage to moustache-powered hits throughout history.

Think Lionel Richie, Freddie Mercury, Jimi Hendrix, The Beatles, Craig David and George Michael, and you start to get the picture. A gold coin from every food or drink item sold over the evening will be donated to Movember. The Covers for a Cause Movember special is on Wednesday November 26.

What: Live At The Yarra out now independently Where: Venue 505 / The Junkyard, Maitland / The Manly Fig When: Wednesday November 19 / Thursday November 27 / Friday November 28

xxxx

a handful of songs that I’ve written from poems or already penned lyrics. The songs usually come while I’m playing guitar and the process following the initial idea can be

consistent crowd favourite is a song called ‘High Open Hills’, a live solo version of which is also on Live At The Yarra. The story follows a young woman who falls in love with a man who has been moving around all of his life and who struggles to settle down, which makes things particularly hard after they have a child together. It’s a sad song and covers a large geographical distance in Australia. I’ve spent a lot of time touring around the country and this song is the combination of a few stories I’ve been told after spending time in various places, particularly in the Top End of Australia. People seem to connect with the song in different ways but I find that for parents, particularly new parents, it tends to tug at the heartstrings.

while taking a more adventurous direction.

Reports from the group’s live shows so far suggest there’ll be plenty of the same at the Enmore Theatre on Wednesday January 7.

Tickets go on sale to the general public at 10am Monday November 24.

MEWITHOUTYOU

Mewithoutyou have announced they will be heading to Australia for a run of shows in January. The tour marks the first time the American rockers have graced our shores in nearly seven years. Support across the eight-stop tour will come from Central Coast outfit Elliot The Bull. The last time the fivepiece Mewithoutyou took over our stages was for Soundwave 2008, playing acoustic sets throughout the festival, and this tour follows their new self-released album Ten Stories.

Mewithoutyou play Studio Six in Sutherland on Monday January 26, Baker St in Gosford on Thursday January 29, UTS Underground on Friday January 30 and Newcastle’s Small Ballroom on Saturday January 31.

JULIAN CASABLANCAS +THE VOIDZ

The voice of The Strokes, Julian Casablancas, is bringing his new project The Voidz to Australia this summer for Falls Festival and a freshly added run of sideshows. The band released its debut album Tyranny in September, carrying all of the attitude that made Casablancas’ name

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MICHAEL FRANTI YOGA TOUR

ARCHITECTS ON TOUR

For the first time in five years, Architects will return to Australia in 2015 for a full national headline tour. The British metalcore boys played a limited capacity show in Sydney only a few months ago, but after selling out that one in a hurry, the foursome will play UNSW Roundhouse on Thursday April 16 and Newcastle’s Cambridge Hotel on Friday April 17. Lost Forever // Lost Together is Architects’ sixth full-length release, praised as a return to their hard-rocking roots, and led out by single ‘Naysayer’. Joining Architects on tour will be US acts Stick To Your Guns and Being As An Ocean, plus local act Stories. Tickets go on sale Thursday November 27.

Michael Franti is hosting a music and yoga mini-festival tour across Australia next year, because of course he is.

The Soulshine tour will feature Franti and his band Spearhead headlining a five-hour event that’ll kick off with a yoga jam session (BYO yoga mat), at which Franti will perform acoustically.

Soja and Trevor Hall complete the lineup, so there’ll be positive vibes and groovy energy all round. Soulshine is on Sunday April 5 at the Enmore Theatre, before Franti takes it up to Bluesfest at Byron Bay.

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Architects photo by Jon Weiner

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Michael Franti

BRAG :: 589 :: 19:11:14 :: 9

live & local

free stuff

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

five things WITH

The Black Seeds

TOM HUME FROM THE RIDER folk singers and sometimes jazz, though I’ll listen to a lot. Just don’t put Lil Jon on when I’m around.

Your Band The Rider has always been 3. three core members; Henry Manuell, myself and Calum Nicholson. We’ve always talked of the drummer we want, the qualities they’ll have and how important their role will be, but somehow we’ve arrived at a Spinal Tap kind of arrangement, switching drummers a few times a year. It’s just poor luck, is all.

Growing Up Inspirations I grew up in a household I like musicians whose 1.

2. where music was always played, music I believe, when it sounds organic, unforced and honest.

To hear an album – I love albums – and try to step into the songwriter’s mind or the band rehearsal space and tap into that original idea is something that can be special. For me that tends to be a lot of experimental bands,

come down to our songwriting style and the vibes we try to evoke. We aim for musically diverse and compelling structural elements and chordal patterns while creating a sound that’s familiar and catchy. Sometimes it works, and that connection is enough to keep us going. We tend to describe our music as psychedelic rock’n’soul – a mix

of lively grooves tied in with catchy melodies.

Music, Right Here, Right Now 5.

The music scene right now is saturated with bands giving it their best and that’s great, though it makes it hard to shine through when the forest is so dense. We’ve been lucky in that we’ve managed our funds pretty well from the outset and having funds has defi nitely helped us achieve some of the goals we’ve set for ourselves. We only know a handful of bands in our sort of position who break even – most are subsidising their musical career with cash from other avenues. So yeah, it’s an expensive hobby, and Sydney is an expensive city, but we love it.

What: Songs From Side A out now independently Where: The Lass O’Gowrie, Newcastle When: Wednesday November 26

XMAS WITH RHYTHM SECTION

VIOLET SWELLS

In support of new single ‘Here Comes Yesterday’, Violent Swells will be heading off on a run of east coast shows this November and December. The single is the first taste of the band’s forthcoming second EP, due out next year. The tour will see the Hobart natives play shows across Queensland, Tasmania, New South Wales and Victoria, finishing up at the end of December with a set at Marion Bay’s Falls Festival after winning the triple j Unearthed competition. Violent Swells will take over The World Bar on Friday December 5.

Violent Swells

Rhythm Section Management has put together a lineup of some of its finest artists for its annual Christmas Party. Acoustic, country and blues performers Lloyd Spiegel, The Widowbirds and Cass Eager are some of the many who will be performing at this year’s event. Most importantly, plenty of space for dancing and general foot stomping will be provided. The Rhythm Section Christmas Party will be happening on Thursday December 11 at The Vanguard.

GYPSYS GIFT

Alternative chamber rock duo Gypsys Gift, who made their name through singles ‘The Fight’ and ‘Flowing’ alongside a heap of airplay on community radio across Australia, are gearing up towards an album release by way of lead single ‘Lullaby’. The record itself was recorded entirely live in the Blue Mountains, and while Gemma Ameera and Jimi May prepare to share it with the wider world, they’ll offer a sneak peek at Lizotte’s Dee Why’s own Live N Local night this Wednesday November 19. Also on the bill are Handasyd Williams, Josh Needs and Jonathan Devoy.

THE BLACK SEEDS

With the year drawing to a close and the prospect of the holiday madness creeping up, no-one would blame you if you just wanted to let loose for a night. Thankfully, The Black Seeds have you covered.

The funky, soulful, reggae-influenced and rhythm-heavy Kiwis are renowned for their high-energy gigs and are no strangers to the touring circuit, having been making audiences dance their hearts out since forming in 1998. The energetic lads will be making the Metro Theatre come alive on Friday November 28, and we have four double passes to give away. To go into the running, head to thebrag.com/freeshit and let us know what song always gets your feet moving.

The Black Seeds photo by David James

The Music You Make The core musical ideas 4. which unite the band really

celebrated, appreciated. But my parents weren’t musos and they never learned to play an instrument. My brother got me into learning guitar when I got jealous hearing him playing Oasis and Nirvana songs. I had to do it too.

head to: thebrag.com/freeshit

THE RIPTIDES AT LAST

This one takes the term ‘much anticipated album’ to the extreme. The Riptides recorded their debut Tombs Of Gold in 1981 and 1982 after signing a record deal, but it never saw the light.

Until last month, that is, when a crowdfunding campaign culminated in songwriter Mark Callaghan being able to share his nuggets of gold at last. Callaghan learned more about the trials and tribulations of the music biz in his time with Gangajang, of course, but this DIY effort uncovers some forgotten gems from his earlier career. Now, Callaghan will launch Tombs Of Gold at Red Eye Records this Friday November 21.

AS IT HAPPENS

The crew behind The World Bar’s Mum parties has taken over the Saturday night slot at Bondi’s Beach Road Hotel, and a bumper November lineup continues this week. Young Townsville talent Atticus Beats will headline proceedings, having performed at this year’s Groovin The Moo festival and generally been working hard on his indie beats throughout the year after making an initial splash online.

Joining the fun are the even younger Close Counters on the back of their self-titled debut EP release. All this and more at Bondi this Saturday November 22.

Infinity Broke

SYDNEY PSYCH FEST SECOND LINEUP

This year’s Sydney Psych Fest has gotten even bigger with the release of a whole new round of acts. Returning for its second event, the festival has announced the likes of Wild Cat Falling, The Dandelion, The Grease Arrestor, Spirit Valley, Dead Radio, Sounds Like Sunset, Black Springs, Psychlops Eyepatch and Bad Valley to join Immigrant Union, Dead China Doll and many more. Sydney Psych Fest 2014 will be held at the Factory Theatre on Saturday December 13.

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INFINITY BROKE

Local quartet Infinity Broke will be playing their last Sydney show of 2014 this December.

Having completed a successful Australian and French tour earlier this year, Infinity Broke are back in town and set to fill the floor with their loud, hypnotic sounds, with support from Sounds Like Sunset. This gig will also be the last for Infinity Broke drummer Jared Harrison, making it a must-see for all fans. Catch Infinity Broke at Goodgod Small Club on Friday December 12.

thebrag.com

Infinity Broke photo by Hadassa Haack

Immigrant Union

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Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR * Which ex-music press publisher is up to their wellknown litigious tricks in their new industry? * Which music journo and the boyfriend of a music columnist were discreetly playing card games under the table during a very long speech at a function? * Which singer’s friends are concerned that her new boyfriend, an avid photographer, is posting too many candid photos of her online?

* Hamish & Andy are radio’s highest paid presenters, said the Sunday Telegraph, jointly offered $8 million to do drive for the Today network next year. This beats Alan Jones ($5m), Ray Hadley ($4m), and Kyle Sandilands and Jackie O ($2m each). * AC/DC have distanced themselves from drummer Phil Rudd, alleging sessions for the new album were “difficult�. * Bluesman C.W. Stoneking had an unusual demand for fans that attended his NZ shows: dress up as zombies.

Thankfully, it was for music video purposes.

APRA AMCOS ELECTS NEW BOARD

Karma County’s Brendan Gallagher has joined the APRA board as its new writer/ director. The election at the AGM in Sydney saw the return of writer/director Nigel Westlake, publisher/director David Albert, Bob Aird (Universal Publishing), Marianna Annas (ABC Music Publishing), Damian Trotter (Sony/ATV Publishing) and Matthew Capper (Warner/Chappell Music Australia).

Performer Jenny Morris was returned as the chair of the APRA board, her second year in the role, while Mushroom MD Ian James was returned as deputy chair. James and Peermusic’s Matthew Donlevy were returned as chair and deputy chair of the AMCOS board, respectively. During the AGM, Morris acknowledged the work of departing APRA board member Eric McCusker, who served on the APRA board for over 20 years.

MUSICIANS LAUNCH FAIR TRADE CAMPAIGN The NSW-based Australian Freelance Musicians Alliance (AFMA) is launching a Fair Trade campaign to recognise businesses, venues, organisations, agents and musicians

* The third Sydney International Women’s Jazz Festival sold out all its shows. * Tim Finn’s new opera Star Navigator, about Tahitian star navigator Tupaia, who sailed with Captain Cook on the Endeavour’s first voyage in the South Pacific, will be staged by the WA, Victoria and NZ opera companies. * George Maple, whose debut single ‘Talk Talk’ got over two million SoundCloud plays, has been invited to perform a festival in England, where her new single ‘Vacant Space’ made its world premiere on BBC Radio 1.

that treat musicians fairly, understand the value of live music, adhere to payment guides and offer a safe place to work. AFMA is part of the Media, Entertainment and Arts Alliance.

A campaign launch will be held at 6pm on Monday December 8 at Venue 505.

WONDERLICK SIGNS MONTAIGNE Wonderlick Entertainment and Sony Music Entertainment Australia have signed Montaigne (AKA Jessica Cerro) to their joint venture Wonderlick Recording Company. The 19-year-old singer/songwriter was a triple j Unearthed High finalist in 2012.

MLHLND LANDS RECORD DEAL

Rising pop, electronic and neo-soul producer Mlhlnd has signed with Personal Best Records. After appearing on Troye Sivan’s EP, he’s dropping a new single that runs for four minutes to capture all his elements.

NEWLY ANNOUNCED RECORDING GRANTS PPCA and the Australia Council are offering a new round of $15,000 grants to help acts with new recordings. The deadline is Tuesday November 25. See australiacouncil.gov.au.

E HIFI 1300 THO M.AU

THEHIFI.C

LANEWAY TO STAY AT CALLAN PARK

The St. Jerome’s Laneway Festival has been given approval by Leichhardt Council to stay at Callan Park for three years. Despite protests from some residents, outgoing Leichhardt Mayor Darcy Byrne said the 12,500-capacity event provided great cultural and economic benefits. Callan Park was once the Callan Park Hospital for the Insane but is now used by the Sydney College of the Arts.

Sun 25 Apr All Ages

Tue 25 Nov

Thu 27 Nov

Kerser

Nahko & Medicine For The People

Triple J Showcase: Halil Sezai Kingswood, Meg Mac, LFresh The Lion

Sat 29 Nov

Fri 5 Dec

Fri 12 Dec

Sat 13 Dec

Tue 6 Jan

The Preatures

The Herbs (NZ) with Annie Crummer & Paua

Blackstreet

Cold War Kids

Bandcamp, where acts can sell their music directly to fans, will now allow artists to also set up personalised subscription services for those wanting everything related to the act.

The artists will decide what to charge monthly and offer bonuses such as merch discounts and exclusive tracks, news and pics.

NEW TEAM FOR GOODGOD SMALL CLUB

MOST OF ITUNES’ REVENUE GOES UNTAXED

Meanwhile, if you want to be in the running to open at Laneway, upload your tracks to triplejunearthed.com by midnight Sunday November 30.

BANDCAMP’S NEW ARTIST SUBSCRIPTION SERVICE

Goodgod Small Club GM Jimmy Sing has a new team. Maggie Collins is the new bookings and production manager. She’s worked in Brisbane on radio (triple j, 4ZZZ), management (DZ Deathrays, The John Steel Singers) and booking (Fans Group).

Andrew Levins is the new music director in addition to his work as DJ and co-founder of Heaps Decent. Meg Williams, co-director of management/PR firm Spark & Opus, is the new communications and PR coordinator.

Departing booker Adam Lewis is now manager of entertainment at Opera Bar in Circular Quay.

RICHIE NEWMAN AND GREG STACE SET UP PRODUCTION TEAM

Buried In Verona songwriter and guitarist Richie Newman and ARIA-nominated producer Greg Stace have set up a production team focused on metal, hardcore and hard rock within Oxygen Music’s studios in Alexandria. Their first project is the next Verona album. They are looking for new acts. For more info, email sonia@ oxygenmusicgroup.com or chris@ maricmedia.com.au.

BALD FACED STAG CHANGES HANDS

One of Sydney’s major music venues, Leichhardt’s Bald Faced Stag, has changed hands. Another inner city venue that showcases music, the White Cockatoo in Petersham, also has a new owner.

The Community Radio Network’s HomeBrew Radio, which champions Aussie indie music via 75 stations around the country, is looking for new presenters, producers and contributors. You need two years’ experience in community radio, proficiency with audio editing software and interviewing skills. Email a CV and air check (maximum five minutes and in MP3 format) to info@ homebrewradio.com.au.

TWO-DAY FORMAT FOR SYDNEY COUNTRY MUSIC FEST

Next year’s Sydney Country Musical Festival will switch to a two-day format, with Adam Brand and The Wolfe Brothers among those playing Bella Vista Farm Park.

This year’s event drew 6,500 and injected $1.4 million into the local economy. Hills Mayor Andrew Jefferies said the two-day format would double this figure with minimal addition to the event’s production costs.

STUDY: WANT TO CURB ILLEGAL DOWNLOADING? Wed 7 Jan

Fri 9 Jan

Sat 10 Jan

Sat 17 Jan

Joey Bada$$ & Run The Jewels

Glass Animals

Tycho Live

Marduk & Inquisition

Wed 4 Feb

Fri 13 Feb

Sat 28 Feb

Thu 12 Mar

Vic Mensa

Modeselektor

Deltron 3030

DJ Shadow & Cut Chemist

BLUESFEST, DENI MUSTER, FALLS, VIVID WIN AWARDS

The 25th Bluesfest took out the award for Best Cultural, Arts or Music Event at the Australian Event Awards in Sydney. Other winners were Deni Ute Muster (Best Regional Event), Vivid Sydney (Best Tourism Event), Falls founder Ash Sounds (Best Achievement) and Optus RockCorps (Best Charity Or Cause-Related Event). Bluesfest director Peter Noble said, “Once again we show that regional events in Australia can also win major awards, even up against those fully funded by bodies such as Destination NSW.� Bluesfest recently won an International Greener Festival Award for the eighth time. It is also nominated again for Best International Music Festival at the Pollstar Awards, and for the Major Festival and Events category at the NSW Tourism Awards on Thursday November 27.

HOMEBREW RADIO LOOKING FOR NEW PRESENTERS

Just Announced Coming Soon

push prices up. Three-quarters believe pirates will find ways around regulations. Up to 60% think that if ISPs are compelled to police infringements, rights holders should reimburse them for it.

While the entertainment industry and Federal Government discuss taking a regulatory approach to cut down illegal downloading of audiovisual media, a survey by telecommunications body the Communications Alliance, undertaken

by JWS Research, claims many Aussie consumers don’t agree it’s the way to go.

In the survey of 1,500 people, about 55% agreed illegal downloading is a problem and unfairly hits content creators. But 66% also thought it would be curbed if distributors offered fairer and cheaper pricing, while 60% cited the fact content is available too slowly as a major factor driving illegal downloads. Less than 20% are confident regulation will work and think it will only

Two-thirds of revenue Apple makes out of iTunes music and films outside of North America are not taxed, according to leaked documents. That’s because the revenue flows through to iTunes Sà rl, Apple’s holding company in Luxembourg, where the money is not taxable.

Of the â‚Ź2.05 billion iTunes SĂ rl turned over last year, a third was gross profit. Apple moved the US holding company of iTunes SĂ rl to Ireland last December, where it reportedly pays less than 1% tax.

Lifelines Ill: top-earning DJ Calvin Harris, 30, pulled out of opening the MTV European Music Awards due to a heart scare.

Ill: a polyp found in Boy George’s throat led to the reunited Culture Club cancelling their US and UK tours while he rests.

Hospitalised: Poison’s Bret Michaels underwent kidney surgery after being admitted to six hospitals during a US Midwest tour.

Hospitalised: Pete Doherty entered a rehab center in Thailand to beat his smack addiction, two years after being kicked out of another rehab place.

Divorcing: Emeli Sande from childhood sweetheart Adam Gouraguine after a year of marriage.

Arrested: Mac DeMarco by a campus cop at a University of California gig for “disorderly conduct� – crowd-surfing and climbing to the venue ceiling.

Jailed: two UK men who ran file-sharing website Dancing Jesus, for four years, for selling pre-release music to its 70 million users.

In Court: Ghostface Killah lost the suit taken against him by a US composer Jack Urbont, who claimed he’d sampled his 1960s Iron Man theme on two cuts.

Died: Henry Jackson AKA Big Bank Hank of the pioneering Sugarhill Gang (‘Rapper’s Delight’, the first mainstream rap hit), from cancer, 57.

Died: Gulliver Smith, best known for his work with ’70s Aussie band Company Caine, after a long illness in Sydney.

Died: New Zealand DJ and producer Soane Watkins, who in the ’90s was based in Sydney, of a heart attack in Auckland.

Died: British drummer Johnny Elichaoff (League Of Gentlemen), who later managed Tears For Fears and Fairground Attraction, plunged from the roof of a London shopping centre. He was 55.

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CYPRESS HILL

hey’re back in the saddle and they mean business: after ten years, the core trio of legendary bongripping South Gate hip hop act Cypress Hill has reunited.

Mainstay MCs B-Real (AKA Louis Freese) and Sen Dog (AKA Senen Reyes) remain in the fold, but founding member DJ Muggs (AKA Lawrence Muggerud) is back in the picture for the first time since 2004’s Till Death Do Us Part LP. It’s made a world of difference to not only the band’s morale, but the direction of the forthcoming as-yetuntitled ninth studio album.

“Muggs is such a talented guy, and he’s very deep with his thoughts about music and the way we make it,” says Sen Dog, taking some time away from the studio to discuss the reunion. “Cypress Hill has always been the three of us – when the three of us come together, it’s this strong universal thing that just takes force. When he wasn’t there, of course, there was an element missing. No matter what transition the group was going through, the group has to continue and move forward.

We defi nitely recognised that we were missing one of our original elements, but the goal was to keep the mothership moving until all of the original pieces and cogs were back together in motion. We got to a stage – not just as artists, but as friends – where we could move forward again.”

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songs, and then we’ll pick the best from that.”

As for what we can expect – whether it be the old-school vibe of Black Sunday or the rap-rock style of Skull & Bones – Sen says fans should expect the unexpected. “I don’t think it’s headed in any of those directions.

Cypress Hill as it is right now … it’s its own planet, its own galaxy.

I can’t really say that we’re taking any particular direction. All I can say is that we’re moving into the future, man. That’s really the best way to put it. When the album comes out, people will be like, ‘Oh, now I know what he meant.’

We’re moving in a direction that is somewhat uncharted for us, but we like what we’re gathering.”

The new album will follow the release of 2010’s Rise Up, which saw Cypress collaborating with a myriad of artists. The guestlist featured cameos as varied as Rage Against The Machine/ Bruce Springsteen guitarist Tom Morello, Latin-American crooner Marc Anthony, Linkin Park’s Mike Shinoda and Mr. Worldwide himself, Pitbull. Don’t come to the new album expecting any collaborative efforts of this sort, however, as Sen confirms that it’s strictly back to the three of them this time around.

“That last record was at a point where we wanted to do that – we wanted to open up the gates so that we could include our brothers, musicians that we respect, in the creative process,” he explains.

“I don’t think you’ll ever hear a Cypress Hill album like that again. So far, there hasn’t been any conversation about including anyone else in the recording of this new album. Right now, it’s about the nucleus of the original band – we’re not really thinking beyond that right now.”

An Australian theatre tour is set for December, which will see Cypress taking in four capital cities just shy of two years after their previous visit as a part of the Soundwave Festival. One would have thought that performing on the same bill as bands such as Metallica, Blink-182, Slayer and Paramore would have had the trio feeling out of place – perhaps for the first time since they shared a festival bill with the likes of Smashing Pumpkins and Peter Frampton on The Simpsons’ Hullabalooza. Hell naw, says Sen. It was far from their first rodeo.

“That particular tour, people might have thought that we were out of place or something like that, but that’s what we do around the

world,” he says. “We play with those kind of bands everywhere we go, even OG classic bands, so we know how to come across.

We’re going out there and Metallica’s on the bill, Linkin Park’s on the bill, Slayer’s on the bill, I could go on and on and on… we know that we will stand out.

People will remember Cypress Hill being there. It comes into your mentality. It’s like being a football player or something – you and your team wanna show that you can run with the best of them and make a bit of noise while you’re doing it.

“We grew up listening to everything, man – not just hip hop,” Sen continues. “We were into heavy metal, we were into classic rock, we were into jazz, we were into soul – all kinds of stuff.

We know what’s up. We used to fuck with Iron Maiden and Thin Lizzy back in the day. We know how to put out that kind of energy, and that’s why Cypress Hill is something special.”

Cypress Hill’s upcoming Australian shows will no doubt see the trio delivering all its major hits – as well as, potentially, some tastes of what’s to come for the next album, which is slated for a first-quarter release in 2015. “We haven’t

“IT COMES DOWN TO THE QUESTION OF HOW MUCH OF A BADASS YOU REALLY ARE. I CAN GET YOU TO COME IN AND GO CRAZY FOR ‘INSANE IN THE BRAIN’, ‘AIN’T GOIN’ OUT’ AND ‘HAND ON THE PUMP’, BUT CAN I MAKE YOU FEEL THIS NEW STUFF THAT I’VE GOT FOR YOU?”

gotten to rehearsals yet, but that’s one of the things I want to bring up – I really want to do a few new songs,” says Sen. “I want to see how it goes down with our Aussie fans, to see if they dig it.”

He adds that he’s quite the fan of the challenge of getting audiences onside for new material, especially if they’re hungry for the hits. “It comes down to the question of how much of a badass you really are,” he says. “I can get you to come in and go crazy for ‘Insane In The Brain’, ‘[I] Ain’t Goin’ Out [Like That]’ and ‘Hand On The Pump’ and all them, right? But can I make you feel this new stuff that I’ve got for you? Can I make you vibe on this when it’s the first time you’re hearing it, right here, right now? There is a challenge – of course you want to show people the classics, but you always want to show growth as far as what you do in the studio. We’ve evolved, and we’re able to freak this out just like our old stuff.”

It’s as though Cypress Hill still feel that there’s something left to prove – not only to themselves, but to their long-serving fan base.

They’re certainly very excited to be returning to Australia once again, with the kind of praise that doesn’t feel like lip service. “It’s always a great experience to travel and go to your country,” says Sen. “We love Australia. We’ve always been received well there in the 20-odd years we’ve been coming there. I don’t see that changing anytime soon.”

With: Coin Banks, Ivan Ooze Where: Enmore Theatre When: Monday December 8

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xxx

Reports from the studio suggest things are going swimmingly as the new album takes shape.

“We’ve got about 15 songs at the moment,” reports Sen. “There’s a bunch of tracks that are still developing, but we’re defi nitely putting effort into a high amount of

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San Cisco Running The Show By Mina Kitsos electro soundscapes. Stevens insists, however, that they haven’t abandoned their lo-fi roots. “A lot of the songs started off being written on an iPad. We were definitely [making] the most of technology and I think that’s altered the sounds a little bit, but it’s still pop music and there’s still the jangly guitar riff and it’s still very upbeat. Jordi was listening to a lot of Frank Ocean and Kanye West and Justin Timberlake, so there’s a bit of an R&B [and electronic] vibe on some of the songs. All the key elements are there, it’s just a bit more of a progression, a step up.”

The album’s lead single ‘Run’ has already been making waves, and as for the mention of a certain ‘Isabella’ in the lyrics, Stevens hints that there may be some Swiftian shaming behind it. “Jordi will always draw on people around him and things he’s seen or nuances in people he doesn’t like. [He’s] really good at telling stories, and that’s always been a big part of what we do. [‘Run’ is] a bit made up and also based on an Isabella we know. Yeah… she’s a bad gal,” Stevens laughs.

I

Drummer-cum-vocalist Scarlett Stevens says preparations for album

number two have not been any easier, despite the experiences under their belt. “The dynamics have definitely changed a little bit and we’ve all had to adjust,” she says.

“After touring non-stop last year, it had been ages since we had actually recorded with each other. This time round, it was like, ‘What did we do?

What was our formula?’ So it was actually hard to find our feet and figure out how we do things.”

Trying to recreate their tried, tested and well-loved methods of creativity was simply not going to cut it, Stevens says. “The old formula was, like, all getting into a room and

jamming and coming up with songs.

It didn’t work anymore. It was more a case of Josh [Biondillo, guitar] and Jordi [Davieson, vocals] sitting down and showing each other song ideas and recording ideas. It was definitely more drawn-out and not as raw as getting together in the garage and jamming it out. It was more calculated – experimenting with different guitar tracks and sounds and getting inspired by those recordings.”

Last year’s ARIA Awards saw San Cisco receive a trifecta of nominations for their inaugural album, but it was the quirky call-and-

response, ode-to-stalkers hit ‘Awkward’ that propelled them through the industry atmosphere.

The song was written in just two hours, and Stevens says they are still pinching themselves over its success.

“It definitely took us by surprise. It’s a funny song and we were glad that it came together and it happened because it gave us a leg up. It was just this freaky one-off thing. [It’s] cool that the video was a bit of a hit on YouTube.” And she’s right, with the view count now numbering 6.7 million.

San Cisco’s sophomore effort is set to see their clean melodies intersect with some snazzy sampling and

With: Gunns, Montaigne Where: Metro Theatre / Small Ballroom, Newcastle When: Thursday November 27 / Friday November 28

George Ezra A Wanted Man By Augustus Welby

L

ooks can be deceiving. At least that’s the case with UK songwriter George Ezra, whose unassuming and boyish looks belie his brawny vocal capacity. However, this incongruity hasn’t been offputting for listeners around the world. In the last 12 months, Ezra’s gone from being a relative unknown to having a top ten single in 11 countries and subsequently marking a trail of sold-out shows across the globe. While Ezra’s auspicious career beginnings might read like an overnight success story, lengthy preparations preceded his public launch.

“I’m aware that in the public eye this has happened really quickly for me,” he says, “but there was three years’ worth of work that went into it between me and my manager. I’m actually probably gigging as much as I have been for years, but it’s just that there’s actually people at the gigs now.”

Ezra’s first EP Did You Hear The Rain? came out just over a year ago. It was this set’s second single ‘Budapest’ that had a breakthrough impact across the globe, reaching double platinum sales in Australia.

Then, in June this year, he delivered his debut full-length Wanted On Voyage.

Even after Ezra spent those three years honing his craft prior to releasing the album, Wanted On Voyage isn’t a compilation of tracks written throughout that entire period. Rather, the record was developed in two key stints. The first of these involved a solitary songwriting escapade. “An album isn’t just 12 songs that go together,” Ezra says. “They have to have

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come from the same place. I went travelling around Europe and the best thing about that is that all the songs came from the same place.

I was writing down everything I saw, the people I met. I spent a month by myself and I don’t think people actually get the opportunity to spend a month by themselves.

It was amazing. I was massively inspired.”

write with other people and I think they’re scared that people are going to go, ‘Well, you didn’t write the album.’ That doesn’t bother me. I love the fact that I learnt to write with other people.”

Armed with a travelogue full of fresh song ideas, Ezra returned to the UK to get down to the nitty gritty. The album itself was written alongside prominent songwriter and Athlete frontman Joel Pott.

Welcoming in others to augment his compositions wasn’t always Ezra’s preferred method of working. “I studied music for a year in Bristol,” he says, “and the lecturers were always saying, ‘The best way to work is to write with each other.’ Of course, at 18 years old my songs were the most precious things to me and the idea of working with anyone on them was just a joke.”

“I was introduced to [him] in a pub and he said, ‘We should write a bit together,’” Ezra explains. “We found this little barn in Wales and you had to have the fire on for hot water and there was no phone signal and you couldn’t see another house. We’d go up there for a week at a time.

We’d get there late Sunday night, go to our own rooms and swap our little notebooks. Then the next day, come out and go, ‘This was interesting, this was cool.’ Then we’d drink some red wine and see what happened. Normally we’d finish with about five songs in a week, which was great.

In addition to fronting Athlete, Pott has recently teamed up with several other UK alt-pop artists, including London Grammar and Chlöe Howl. His influence is evident in the way that Wanted On Voyage not only emphasises Ezra’s robust vocals and eye for curious narrative detail, but also harnesses audiencepleasing immediacy.

Ezra explains a key lesson he took away from his collaboration with Pott.

“It wasn’t like we were necking two bottles each and just sitting around,” he adds. “It was more like a lubricant. We used it wisely, I think [laughs].”

“He taught me to put songs down. Even if all you have is one verse and one chorus, put it down and go onto the next thing. With time away from it, the next time you come back to it, it will make so much

It might come as a surprise to learn Ezra fashioned the record with help from a co-writer. However, he highlights the value of the collaborative scenario. “Some people try to pretend like they don’t

sense. It takes pretending the songs aren’t there to write them.”

After wrapping up a sold-out run of European dates, Ezra will make his debut Australian appearance over the New Year’s period, playing the Falls Festivals and a couple of sideshows. He’s barely had a chance to take a breath since releasing Wanted On Voyage, so a follow-up release isn’t in the pipeline just yet.

He’s in no rush to churn one out either.

“This came along without me really planning it, so I don’t really plan much about the future,” he says.

“This is a pretty good thing to have not have planned. I’ve done pretty well here. Album two, it’s going to

have to happen of course, but I’m not stressing myself about it. I’m not just going to release an album. It has to have come from something.”

What: Falls Festival With: Alt-J, The Temper Trap, Run The Jewels, John Butler Trio, Jamie xx, SBTRKT and many more Where: Lorne, Marion Bay and Byron Bay When: Sunday December 28 – Saturday January 3 And: Also appearing at the Metro Theatre on Monday January 5 with Eves More: Wanted On Voyage out now through Sony

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San Cisco photo by Matt Sav

t was just three years ago that fresh-faced Freemantlers San Cisco burst onto the radio with their crispy garage-pop cut ‘Golden Revolver’. Since then, the fourpiece have all outgrown their high school uniforms, becoming the first Australian band to sign to renowned American music label Fat Possum Records (Dinosaur Jr., The Black Keys, Wavves), releasing two EPs and a debut self-titled album, and trading Australia’s west coast to play sold-out shows at iconic venues around the US and Europe.

With the new release due early next year, the band’s upcoming single tour will be everyone’s chance at a sneak peek. Though Stevens admits she can’t take credit for the catchy panting hook on the track, her saccharine vocals will be more present on this album than ever. “I was really bad at it. Jordi nailed it, but there’s a lot more of my voice, which is kind of cool. I’m excited about doing those songs live. I don’t know how I’m going to do them. I might have to get off the drum kit.”

BRAG :: 589 :: 19:11:14 :: 17

Little May Big On Talent By Adam Norris acts, the greatest measure of their success is the strength of their misheard lyrics. Fans taking to social media with favourite (if inaccurate) lines is one thing, but Little May take things up a notch with their own bass player truly hearing lyrics out of left fi eld.

“It’s funny,” says Hamilton. “On the one hand it’s, ‘Arrgh, they’ve got the words wrong!’ But then you start thinking if that’s just how they interpreted it, maybe it means something different, something better for them. And that’s great!

There’s one line in ‘Hide’: ‘I feel so haunted in your bed’. And for some reason, all over the internet people are writing it as ‘I feel so wise in your bed,’ and I really can’t tell why, they sound nothing alike. Our bass player, Mark, is always playing along with the songs and you can’t always hear what everyone is singing. So Mark always comes up with the most ridiculous lines.

There was one in ‘Fire’ – ‘Better light a match now baby’ – that he thought was ‘Better lie to Ashton’s baby’. I liked that one.”

T

his is shaping up to be the summer of Little May. Over the last few months their profile has grown through word-of-mouth recommendations and an online presence that is swelling day by day. While many bands claim their careers began in earnest, simply mucking around in a mate’s garage, from the beginning Little May had every intention of getting their music out there. Chatting with Annie Hamilton – a bright, charming speaker quick to laugh at the winding path to their self-titled debut EP – what is most apparent is the hard work and savvy determination that fuels the trio. That, and a healthy dose of Toto’s ‘Africa’.

The band – completed by Liz Drummond and Hannah Field – is already being heralded as a sudden success story. But that is such a hollow phrase, suggesting it’s something of a surprise that critics and fans have begun to take notice, or that the trio simply stumbled upon musical talent the same way one would fi nd a fi vedollar note lying in the street.

“It’s funny, because even though it seems relatively quick, it still feels like we’ve been doing it for a long time,” Hamilton says. “We’ve been working together for about three years now, and before that Liz and Hannah had been writing together.

Then I became involved, and we did a lot of covers for a while. I remember Liz and I did a cover of ‘Moth’s Wings’ by Passion Pit, which might have been our first cover. But the first song that we worked on as Little May was ‘Boardwalks’. Liz had written that song a few months previously before taking it to Han and I. We all worked on it, I added my guitar part and some harmonies, Han worked on the structure. But that was the start, and from there we really started seeing people connecting and having fun.”

They have since been gaining fans at a rapid rate, and like all popular

Little May’s eponymous EP has taken a while to arrive, if only because throughout the course of recording the trio was still fi nding its feet musically and uncovering just what kind of sound it really wanted to embrace.

“It always takes so much longer than you expect,” Hamilton admits.

“We were originally going to release the EP a year and a half ago, and it’s lucky that we didn’t because it’s changed so much for the better since then. We dropped two songs and added more. But it’s defi nitely getting to the point where it’s like, ‘Alright, let’s just release this thing so we can move on!’” She laughs.

“It’s been such a long time coming that we’re already planning on releasing an album early next year.

“Most of the songs that we play live now will go on the album, and I’m really excited to start recording again. Our sound has changed so much since the beginning, so after two years of pulling something together it’s going to be really fun to start laying down something new.”

Little May’s work ethic is impressive, and goes a long way to ensuring not only the quality of their recordings, but the enjoyment the trio feels when playing live. They are not an act to take the stage and hope for the best; rather, they put long hours into fashioning the best performance they can. Plus, a healthy pre-gig sing-along doesn’t hurt.

“Our very first gig was at a pizza restaurant in Bathurst in the middle of winter. My hands were frozen because it was so cold. I was so nervous, I was shaking, but it was so much fun being up there. Now, I think I still get nervous, but as long as I know that I’m prepared, that we’ve been rehearsing … Before Splendour, we locked ourselves in a studio for three months and just rehearsed almost every day until we felt confi dent. Right before we played, we were all standing backstage singing and dancing to Toto’s ‘Africa’,” Hamilton laughs.

“And so it wasn’t a nerve-wracking moment. Instead there was this weird sense of calm and excitement. If I feel underprepared, I get nervous. But as long as we keep working hard, you know, I think we’ll keep that sense of excitement.”

What: Little May out now through Dew Process/Universal Where: Newtown Social Club When: Thursday November 27 and Friday November 28

Inventions Emotional Rescue By Augustus Welby

I

s it possible to write songs containing heartfelt emotion while also being upfront with your commercial intentions? For Melbourne collective Inventions, melding memorable melodic hooks with tangible emotional content is the primary focus.

“My biggest influence is a band called Evanescence and other bands in that slightly alternative but commercially successful genre,” says the band’s frontman and songwriter Jake Leaney. “Like Paramore, Avenged Sevenfold and stuff like that. I wanted to have heavy rock/punk music that still has a really strong way to emotionally connect with people and really understands humans.”

Inventions formed in late 2013 and wasted no time getting to work on original material, as well as gigging at any given opportunity.

Prior to recruiting the rest of the band, Leaney already had a detailed plan for how the project would develop.

“The music had been something that I’d been working on for quite a long time,” he says. “I definitely had a really strong idea of the music I wanted to play, how I wanted it to fit in, where I saw it going in the Australian music industry and around the world – where it fits in today’s music and how it can be relevant.”

Whether artistic integrity and commercial success can coexist is an ongoing point of dispute. Songwriters generally cop abuse if they’re seen to be working according to populist intent. But it’s important to note that the ‘commercial’ classification derives from the fact that something sells. And there’s not simply one style of music that finds mass appeal.

“There’s definitely a large portion of commercially successful songs that are written for the sole purpose of being commercially successful and making people money,” Leaney says. “But it doesn’t matter what the song is written for – if the lyrics 18 :: BRAG :: 589 :: 19:11:14

or the music itself makes an emotional connection to someone, then I think that’s beautiful no matter what the reason for the song existing was.”

the modern rock ilk who’ve maintained devoted followings along with considerable commercial success. But that’s not the only connection between the acts.

Meanwhile, Inventions aren’t too bothered about any possible backlash. “As a songwriter I find that you really need to write what you want to listen to,” Leaney says. “The whole band wants to write music that we want to listen to, that we love and we can be passionate about.”

“Our drummer Ryan [Fallis] used to live in Perth and he used to play in Amberdown,” Leaney says. “So he’s friends with all of the guys and they wanted to come over here and we were like, ‘Why don’t we do shows together? We can help them out and then when we go over to Perth they can help us out.’”

This Thursday evening, Inventions launch their self-titled debut EP at Valve. They’re bringing Perth’s Amberdown along for the ride, who also have a new EP, Miss Mediocrity. In a similar manner to Inventions, Amberdown take cues from bands of

This show wraps up a two-month tour for Inventions. Afterwards they’ll get stuck into writing for a planned 2016 album release. And there’s plenty more on the horizon. “We’re going to head off on another tour at the

beginning of next year,” says Leaney. “We’re heading over to New Zealand as well, which is cool. In 2016 we’ll be going overseas to do some showcase gigs and seeing how we can fit in to other countries. We definitely want to hit Germany.

“For all of us, music is the only thing we want to do with our lives. We’re just so excited to be touring and to be having the full-on music lifestyle.”

What: Inventions out now independently With: Amberdown, Lion Calamity, Hey Horze, Ride For Rain Where: Valve Bar, Agincourt Hotel When: Thursday November 20

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GLASS OCEAN, JOVA, ICE ON MERCURY

9 TH

ARCHAIC REVIVAL, KING OF THE NORTH (SA)

23 RD 26 TH

WAXHEAD, BORNEO, THE NICE FOLK 30TH KENTCORE METALFEST

frankiespizzabytheslice.com • facebook.com/stcfrankiespizza 50 HUNTER STREET, SYDNEY BRAG :: 589 :: 19:11:14 :: 19

Broken Doll Kawaii Kids By Augustus Welby

A

s you can see, Tokyo’s Broken Doll have a very loud image. Along with being 1980s rock and pop enthusiasts, the band manages a Kawaii fashion store where it sells its own designs. The fashion brand isn’t simply a sideline to help Broken Doll stay afloat while plotting music industry domination.

Rather, guitarist Kensuke Ba explains that the fashion interests are an essential part of the band’s identity.

“It’s very important, because Broken Doll is an artist that makes music and clothes,” he says.

“Even though a lot of bands just write music, a concert just wouldn’t be the same without the fashion. My idea is that during a concert, when we wear the clothes, the fans get to see that too, and it can inspire them to dress in their own individual fashion too. That is the idea of Broken Doll.”

Japanese Kawaii is pretty far removed from the ‘sex sells’ American fashion model. Instead of skimpy, suggestive wear, it embraces cartoonlike adornments (giant bows, pom-poms and fairy skirts) and a vivid exploration of the colour wheel. Yet while Broken Doll’s image is distinctly Japanese, their major musical influences are anything but. “We were heavily influenced by ’80s music,” says Kensuke. “For example, artists like Madonna, Cyndi Lauper, Culture Club, Sex Pistols, Poison.”

Something grouping all of these artists together is a striking visual aesthetic, which contributed to their appeal. Broken Doll subscribe to a belief that when bands look fantastic as well as sound great, it will make a bigger impression on audiences. “I admire it, of course,” Kensuke says. “Being unique is always a good thing. I love unusual style and vivid colour. I love ’80s Cindy Lauper fashion.”

Of the aforementioned artists, Lauper’s flamboyant fashion is perhaps the closest to Broken Doll’s own style. However, Kensuke says the Sex Pistols had a particularly significant influence on the development of the burgeoning Broken Doll empire.

“[Broken Doll] started when I began listening to Sex Pistols. Their fashion was so cool. I wanted to become a band and fashion brand like Pistols and make my own clothes and play music. So I created Broken Doll.”

Given that Broken Doll’s identity is rooted in a uniquely Japanese visual style and a proud embrace of ’70s/’80s rock music, one wonders if many other bands in Tokyo are doing a similar thing. According to Kensuke, they’re not.

“The sound is Japanese Kawaii rock. There are no bands playing Kawaii rock in Japan, only Broken Doll.”

Broken Doll might be an anomaly in their home country, but Kensuke says they’ve had no trouble attracting fans. “Because our fans are mostly from around the world and online, we didn’t really have a lot of issues with opposition.”

That’s not to say people at home aren’t interested. “It’s the same as it is in England or America,” he says. “The people who love Harajuku-Kei [visual style music] are everybody cool and cute and also crazy, sick, a little Otaku [ie of obsessive interests]. I love them all.”

While Broken Doll have been together for a few years now, they hadn’t stepped beyond Japanese soil until quite recently. Following on from a visit to London earlier this year, Broken Doll head down to Australia this month.

Kensuke is thrilled about the way things are taking shape.

“We have a lot of fans and friends in UK, Europe. They came to Hyper Japan [to meet] us. We hope [for the] same things in Australia.

Finally my dream came true that we [will perform a] concert in Australia. We have a lot of fans in Australia. It’s amazing!”

What: 2014 Australian Tour EP out now through Valve/MGM Where: Factory Floor When: Saturday November 22

Winters End A Band For All Seasons By Augustus Welby

L

iam Gallagher’s hapless post-Oasis outfit Beady Eye split up a few weeks ago. This prompted speculation – from anyone who cared to notice – about an Oasis reunion. It seems fated for this to happen, but there’s just one problem. The band’s two primary constituents, Liam and his brother Noel, have been engaged in a sibling cold war for more than half a decade.

Given that the intricate relationship between siblings tends to incite plenty of irrational arguments, working together creatively is highly likely to provoke tension. Sydney’s Winters End is composed of brother/sister duo Marissa and Christopher Pinto. Since forming in 2011, it’s been fairly smooth sailing.

However, there was some apprehension for the pair prior to working together.

“The band that I was in before Winters End, I’d actually approached my brother and said, ‘Do you want to play the drums?’” Marissa says. “He flat out refused and said, ‘I don’t think we can work together.’ I think he probably regretted his decision, so when that fell apart I said to him, ‘I’d like you to play the drums,’ and he was in.”

After Christopher overcame his reluctance and the pair got stuck into making music, their shared history actually proved beneficial. “Being ’80s children probably has a lot to do with our stylistic influences,” Marissa says. “We both really have a love of the ’80s electronic synth sound. When we formed Winters End, we didn’t have a real clear plan of what we were going to do – we just knew that we wanted the ’80s incorporated in there somewhere.”

Just to make it clear, when Marissa says “’80s electronic music”, she’s not referring to Giorgio Moroder or Paul Hardcastle. Rather, major influences for Winters End include “Divinyls, Stevie Nicks, The Pretenders, Phil Collins, Genesis – all those sorts of bands.

We grew up listening to them.”

Phil Collins mightn’t be a particularly fashionable influence, but he excelled at winning over mass audiences, even when

his music didn’t match their more self-serious tastes. Channelling sounds from this era has achieved a similar effect for Winters End. “We used to play at the Annandale Hotel quite a bit when we first formed,” Marissa says. “It was called Screaming Sundays and they’d have all these death metal bands on and then we’d get on with our ’80s electronic sound and we’d still manage to get people interested. It was really quite funny, because we felt so out of place.”

Winters End have just completed their maiden overseas voyage, playing five shows in Toronto during last month’s Canadian Indie Music Week. Here again, the homage to the music of their youth made a strong impression.

“They really seemed to dig the ’80s electro stuff,” Marissa says. “We have a few piano ballads as well that are sort of power ballad/’80s-influenced. But the electronic music was really what they responded to very well.”

It’s not as though Winters End are averse to contemporary music. They’ve recently added guitars to their arsenal, and Marissa explains what instigated this progression.

“Similar to Beach House, I actually play a bass pedal with my feet and the guitar at the same time and I sing. Beach House are a massive favourite of mine. They’re probably my favourite band.”

Sydneysiders can preview this latest development when Winters End headline Oxford Art Factory’s Gallery Bar this Thursday evening.

“It’s a big celebration of the fact that we’re back home and we’ve gone on this amazing adventure,” Marissa says. “[It’s a] thank you to all our fans and our friends and family who’ve just supported us so much. It’s going to be a huge bash.”

With: Cartoon, Alaskan Poetry Where: Oxford Art Factory When: Thursday November 20

Sondre Lerche Eager To Please By Adam Norris

P

lease is the seventh full-length studio release from Norway’s Sondre Lerche, following ten EPs and a much-lauded foray into film scoring. To call his output ‘prodigious’ is selling things a little short – Lerche is clearly from the Frank Zappa school of recording. He has travelled the world extensively, though is yet to perform in Australia (frightened as he is of snakes hiding in our toilets – a completely rational fear, I assure him, though it’s really the pillow scorpions you need to worry about). The prospect of performing for a new audience, though, has him galvanised.

“Performances change when you don’t have a history with the audience,” he says. Lerche is a rapid, pensive talker; looking back over our conversation, the trick is unravelling the many threads of ideas and reflections that tangle his thoughts. “There are people here and there who have been getting hold of the record and have their own stories attached to it, but I have not been there to participate. So it definitely changes, especially that first introduction. I get excited, because you’re starting over. I’ve never been to Australia, so now I get to go and sort of start as a new artist. A debut artist who just happens to have a lot of songs already there,” he laughs.

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Now 32, Lerche released his first album, Faces Down, when he was a wizened 19 years old.

Since then success has steadily bloomed, though his musical accomplishments have not come without their share of distress. Please emerged in the wake of his divorce from Norwegian director Mona Fastvold, and the bewilderment of a collapsed love is the leitmotif of the record.

“When there’s a turbulent, relatively sudden shift, you’re trying to understand what is going on, why it’s happening, and I certainly have taken advantage of the process behind the record to try to see myself from different angles,” says Lerche. “The truth can be a very flexible thing. Certainly in a dramatic situation like a divorce or break-up, you’re constantly assessing the situation and trying to understand it, though if you look through the lyrics there are certainly no specifics. It gives you the process of understanding, of turning every stone, and also honouring the past and celebrating the future. I think there’s a lot of joy in it. But there are a lot of irrational thoughts as well, trying to create order from chaos. Most of the time that probably fails, but it’s still constructive to at least try. The effort alone is worth the admission.”

Lerche’s recent releases have certainly seen a strong, arguably darker development from his early work. We cannot help but change as we grow – even the word ‘stagnant’ looks somehow blunt and mouldering – though measuring ourselves against our former merits has its own pitfalls.

“The job is to document wherever you are, whatever you’re striving for at the time. This [album] is a document of that, for all its flaws, all its strengths. Hopefully that makes it more compelling. As much as I feel there is good stuff in a record like Faces Down, you can never achieve it again. There were certainly qualities that I had back then that I will never have again, and there are certain flaws or indulgences that I cringe over now that also thankfully I don’t have now. But that’s the name of the game, that’s any record. I’m sure when looking at Please through the rear-view mirror I’ll start seeing that from a different regard, but for now, you know, it feels like a pretty strong album. I’m happy.”

What: Please out now through Kobalt Where: Newtown Social Club When: Tuesday November 25 thebrag.com

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

arts in focus

divorce, the musical! in and out of love also inside:

T R A N S M I S S I O N / T H E D A R K H O R S E / A R T S N E W S / A R T S G I V E AWAY / R E V I E W S thebrag.com

BRAG :: 589 :: 19:11:14 :: 21

arts frontline

free stuff

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

head to: thebrag.com/freeshit

five minutes WITH

Next To Normal

THE ABORIGINAL CENTRE FOR PERFORMING ARTS We get the likes of Michael Attenborough from the RSC to come in, Missy Higgins in music.

We have three wonderful heads of school – Stella Majewsky is our international head of acting; she has taught all over the world and arrived a couple of years ago from Ireland.

Nathaniel Andrew is our head of music and Bradley Chatfield our head of dance. Bradley is one of the best ballet dancers this country has ever produced and has won best dancer in Australia many times; Nathaniel has been on over 40 albums as a world-class bass player.

Currently, ACPA is based in Brisbane. Are there plans to expand across Australia?

Not at the moment – but who knows?

Who are the performers involved, and

ACPA doesn’t only concentrate on dance – what other programs does it run?

Students can study acting and music as well.

TURN THE PAGE

As part of the upcoming Corroboree Sydney 2014 festival, Bangarra Dance Theatre is presenting Page 8. Premiering in 2004 with sold-out seasons across Australia and a seven-week tour in the UK, Page 8 makes its return to the Australian stage this month. Performed by multiaward winning artist and composer David Page, the show is a poignant, personal and autobiographical oneman performance. Page 8 is on at the Studio Theatre in Walsh Bay from Friday November 21 – Sunday December 14.

What: Homeground Where: Sydney Opera House When: Saturday November 22 – Sunday November 23

Each year, the Pulitzer Prize for Drama is awarded to a stage production of outstanding merit. There have been eight musicals in the history of the award to win the commendation, and in 2010 Next To Normal was added to the list. In 2015, it’s coming to Sydney. Applauded for its brutal honesty and insight into the reality of living with mental illness, and its poignant commentary on social mores, Next To Normal follows the story of Diana, a woman in danger of being swallowed up by her own troubled mind. The musical stars Natalie O’Donnell, Anthony Harkin, Brent Trotter and more.

Xxx

T

where do they come from?

We are from all over Australia – every state – we think of ourselves as one mob, though. At ACPA we are a very tight-knit community.

he ACPA dancers are coming to the Sydney Opera House for Homeground.

What should audiences expect?

A sizzling fusion of traditional Aboriginal and contemporary – Australia’s First Nation’s dances recontextualised for the 21st century.

How important is it for Aboriginal and Torres Strait Islander people to explore their culture in performance? What about the non-indigenous community?

We are the world’s oldest living culture – we’ve been around since the Dreamtime – and hopefully will be here for a long time to come.

It’s in our blood; that should be shared with the whole of the world.

NEXT TO NORMAL

Next To Normal’s Sydney season runs from Thursday January 8 – Sunday February 1 at Hayes Theatre Co, and we’ve got three double passes to give away to the Friday January 9 show. To be in the running, head over to thebrag.com/ freeshit and tell us why there’s no such thing as normal.

CARRIAGEWORKS 2015 PROGRAM

Sydney’s own hub for all things contemporary art, Carriageworks, has announced full details of its 2015 artistic program. The year will begin with a number of Sydney Festival events at Carriageworks, including Zhang Huan’s Sydney Buddha, Nothing To Lose and the Spongebob-inspired Spongebob Squaretimes.

Other big-ticket events for the calendar are Mercedes-Benz Fashion Week, celebrating its 20th year in April, and Sydney Contemporary, running Thursday September 10 – Sunday September 13. Bangarra will make its debut at Carriageworks in its 21st anniversary return season, producing Ochres from late November. Meanwhile, music lovers can enjoy At First Sight, a day celebrating vinyl and live performance on Saturday November 14. For the full Carriageworks 2015 program, visit carriageworks.com.au.

Ad Nauseam

MOONLIGHT CINEMA’S POPUP PICNIC

David Page in Page 8

Fast becoming a favourite on the Sydney summer calendar, Moonlight Cinema will launch its 2014/15 season with a pop-up picnic cinema event in Martin Place this week. It’ll be the perfect way to kick back on a lunch break, as trailers of all the films to show at this summer’s season are aired on the silver screen and the Moonlight food truck serves street food. Alongside the usual lineup of new release and classic films at the stunning Belvedere Amphitheatre location in Centennial Park, Moonlight Cinema will this year feature Saturday night live music sessions, Doggie Nights for pooch pals and food trucks. The Moonlight Cinema pop-up picnic launch is in Martin Place on Wednesday November 19. The season runs from Thursday December 11 – Sunday March 29.

Towers Of Tomorrow

AD NAUSEAM

Bondi Hipster Nick Boshier, comedians Sam Simmons and Heath Franklin and actor Renee Lim are among the cameos in Ad Nauseam, a new independent feature by Nikos Andronicos shot in Sydney. The film explores whether young artists have any choice but to sell out, blaming the advertising industry for those pervasive terms like ‘viral advertising’ and ‘branded content’. The film is out Friday November 21 – visit adnauseamthefilm. com for details.

CULTURE BEATS

The best bits of Sydney’s multicultural society will be on show this December with two free festivals in Tumbalong Park. Art, dance, theatre, music and food from across the globe are being showcased at this year’s Darling Harbour Culture Beats. The festival has been running steadily since September, and

TOWERS OF TOMORROW

An exhibition of the world’s finest skyscrapers with a playful twist is making its worldwide debut at the Museum of Sydney next month.

Towers Of Tomorrow features a lineup of iconic towers including Taipei 101, Tokyo Skytree and Singapore’s Marina Bay Sands, as well as Australian skyscrapers the Infinity Tower (Brisbane), Q1 (Gold Coast), Eureka Tower (Melbourne) and Sydney Tower.

For the exhibition, replica towers have been completely handmade from Lego bricks by Ryan McNaught, who spent 2,000 hours and more than half a million Lego pieces to complete the project. The Towers Of Tomorrow exhibition opens at the Museum of Sydney on Saturday December 13 and runs till Sunday April 19.

APPLY TO NIDA

Looking for your start in the theatre industry? The National Institute of Dramatic Art (NIDA) is this week sending its teachers around the country to interview applicants for the Bachelor of Fine Arts (Technical Theatre and Stage Management) degree. The course provides education and training to help you become a leading technical theatre practitioner or stage manager of the future.

“The major characteristic we are looking for is a genuine passion and interest in theatre, live performance and events,” said head of production Graham Henstock. There’s still time to apply – visit nida.edu.au/courses.

TELL ME AGAIN

Jeanette Cronin’s challenging play Tell Me Again is gearing up to get Sydney audiences thinking about life, the universe and everything.

In a work that’s existential, thought-provoking and all-round mind-boggling, reality is turned on its head and the audience is thrown into a world of uncertainty. Tell Me Again aims to leave you scrambling for a shred of recognition and questioning the nature of existence. It runs at the Old 505 Theatre from Wednesday December 3 – Sunday December 21. thebrag.com

xxx

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will continue to do so in 2015. Next month, Japanese culture will be celebrated with a lineup of performances, and there’ll be the chance to experience a Polish Christmas.

Experience a slice of Japan at Tumbalong Park on Sunday December 7 and check out a Polish Christmas on Saturday December 13.

queer screen presents the

nd

FEB19 MAR 5 GAY SHORTS

SAT 21 FEB 9:30PM

LYLE

Billed as a “lesbian Rosemary’s Baby ”, Gaby Hoffmann (Girls, Transparent ) is a pregnant woman whose first child dies under suspicious circumstances while she’s pregnant with her second.

Her paranoia shifts to her partner and friends, making this film a tense thriller.

A new collection of great international short films including hilarious comedies, quality dramas and entertaining documentaries. This session includes Wham, Bam Mr. Pam, a portrait of a former catholic schoolgirl who became a superstar director of gay porn.

NAN GOLDIN: I REMEMBER YOUR FACE

SAT 21 FEB 2PM Celebrated photographer Nan Goldin documented the hedonistic and extraordinary lives of queers, artists, sex workers and drug users in the 1970s, 80s, and 90s. Now, we join Goldin as she rekindles old relationships and mourns those who have passed.

FRI 20 FEB 9PM

BOYS

FRI 20 FEB 7PM Boys is a tender coming-ofage story about two teenagers whose relationship blossoms when they are paired together for relay training. Their flirtations compel each other to face their true feelings. This touching film celebrates the unmistakable feeling of first love.

QUEERSCREEN.ORG.AU The State Library of NSW presents

MELISSA GIARDINI, DOPPELGANGER HAIR, 31 ENMORE ROAD, 2012, NIC BEZZINA, a8817 ONLINE NO. 19

A free exhibition until 10 May 2015 Galleries open daily – 8 pm on Thursdays

P&D-4311-11/2014

From rubber-wear designers to cookie makers, photographer Nic Bezzina captures the colourful characters behind some of the most iconic businesses in this vibrant inner city suburb.

Nic Bezzina’s Newtown Shopkeepers, Sh along wi with an extensive ra range of photography b books, prints and gifts, is available from the Library L Shop.

Macquarie Street Sydney (next to Parliament House) (02) 9273 1414 www.sl.nsw.gov.au Find us on

BRAG :: 589 :: 19:11:14 :: 23

Transmission

The Dark Horse [FILM] The Story Of Genesis By Travis Johnson

[FILM] Bridging ‘Us’ And ‘Them’ By Adam Norris

F

or his second feature film, young New Zealand director James Napier Robertson chose to tell the story of troubled Maori chess prodigy Genesis Potini, whose battles with bipolar disorder did not keep him from inspiring a group of disenfranchised children through his chosen art. Robertson himself started out as a child actor, but disappointingly, IMDb seems to be mistaken about his most notable role – he was never, he tells us, in Mad Max Beyond Thunderdome. “I think that’s a bit of a muckup on their part, actually,” he laughs. “I think there are a few things out on the internet about me that I’m not sure where they’ve come from, so put that one in that category.”

Transmission

O

rdinarily the temptation is to try to instil interviews with a certain degree of conviviality, especially when the subject matter is not particularly humorous or its themes are dark. Not in any effort to undermine the seriousness of the topic, but as a means of coaxing readers to follow a discussion into something they might not ordinarily find themselves drawn towards. But so compelling and tragic is Staffan Hildebrand’s documentary about the shifting attitudes towards HIV and AIDS throughout Australia and Cambodia – a film almost 30 years in the making – that playing the piper seems disingenuous.

Transmission is an arresting portrait of the prejudice and ignorance not only faced by those infected with the disease, but also in how the disease is perceived in the public eye. When Hildebrand first began documenting the face of AIDS – both its sufferers and those actively involved in the education and support of the community – access to information was nowhere near as prevalent as today. Yet although much has changed, the attitudes of Australia’s information-saturated youth seem dangerously cavalier.

“I think there is a lack of concern and some kind of indifference among the young,” Hildebrand explains. “When I started filming all those years ago, you could see these people dying. You would be in a restaurant and you could tell, ‘Oh, that’s a guy with full-blown AIDS.’ But now you don’t see it because everyone is on medication.

It’s good in one way, because it takes away some of the discrimination and stigma, but it’s also dangerous in another way, because without awareness the infection rate can go up if people don’t take responsibility, don’t use condoms or practise safe sex. People again think, it’s not ‘us’, it’s ‘them’. That was a big, dangerous thing in the ’80s. To divide people into ‘we’ and ‘them’.

“‘They have AIDS. We don’t have HIV.’ So there was a separation, an exclusion. So I think that maybe some of the young gay men don’t take enough precaution, but also other young people don’t see HIV in their daily lives so they don’t think about it. These two aspects make it important to renew the HIV campaign in Australia.”

From the outset, Transmission presents a harrowing narrative of the reality of AIDS. Lyle, the very first patient Hildebrand met, waits painfully in his hospital bed to die: “I thought I was dying, but I couldn’t find the switch,” he says. Ten hours later he passes away – due in some measure, according to his doctor, to the energy it took to undergo the interview. “He wanted to do it, though,” Hildebrand says. “It was his last contribution as an AIDS activist.

“He was instrumental in making me. That evening when I went to bed I made a kind of decision. I’d like to devote a big part of my life to documenting this process, in how to stop HIV and AIDS. To tell young people about the history, because they don’t know. I noticed this very much while filming, meeting young people who don’t know the history of HIV and AIDS in Australia, and I think that’s a very important story to tell. Not to scare them, but to give them the information and knowledge so that young people in Australia today can make their own decisions about sexual practice based on knowledge, not on prejudice and indifference. To tell the story based on facts. That’s the best way of fighting stigma.”

It was producer Tom Hern who stumbled across the true story of Genesis Potini. “He saw a documentary that had been made about this guy,” says Robertson. “It wasn’t very well-known, he just saw it on TV one day and thought, what an amazing story, and particularly what an amazing character, Genesis. I was in LA at the time with the film that we’d just finished making, getting it seen, and he called me and said, ‘I found our next film. You’ve gotta see this.’ About 20 minutes into it I was booking my flight back to New Zealand, because I was completely won over

by Genesis.

“We met up with Genesis and kind of got to know him and that’s what kind of kicked it off.

I ended up playing chess with him, because I’d played chess for quite a long time, and he basically started kicking my arse at chess and I started writing the script. It kind of all went on from there.”

It was a long process, though. “It was about three years of pretty solid writing, working on it. There was the odd other script that I was

working on in that period, but it was primarily this. It was interesting – I hadn’t made a film before that involved working with real people and a real story, and people that were alive and would see this film and would hate you if you didn’t tell this story right or if you made their character something other than what they actually are, but you’ve still got to tell the story in a strict narrative medium that can’t really be longer than two hours. So it was really quite challenging, capturing it all.”

One thing Robertson couldn’t have predicted is that the resulting script would attract the attention of Cliff Curtis, who first came to prominence in Once Were Warriors before becoming a familiar face in a number of domestic and American productions.

“Cliff got given the script by another actor without us knowing, and out of the blue called Tom from LA and said he wanted to talk about it. That kicked off a series of conversations. It was quite a scary role for him, quite risky, and he wasn’t sure which way we wanted to take it, what we wanted to do with it. And for us, he was this svelte, good-looking leading man, this Hollywoodlooking good, and Gen was this overweight, toothless guy – how do we get from there to there? I needed Cliff to do two things – one was to put the actual weight on, and two was to method act the role. He wasn’t too keen on doing either of those things, but once he got his head around it, that was a massive way in for him to actually get into his character. But his wife couldn’t stand me for ages after that!”

What: The Dark Horse (dir. James Napier Robertson) Where: In cinemas Thursday November 20 The Dark Horse

What: Transmission: The Journey From AIDS To HIV (dir. Staffan Hildebrand) Where: Event Cinemas, George Street When: Wednesday November 19

Divorce, The Musical!

W

ith the aid of songs, glitter and sometimes uncomfortably candid anecdotes, Em Rusciano has turned her heartbreak into comedy in Divorce, The Musical! “‘Legally separated’ didn’t have the same ring to it so I went for something a little more dramatic,” she quips. “I started writing straight away after he moved out – I felt the need to write it all down and it made me feel better and I thought, ‘Surely there are other people who have felt like this.’”

Divorce, says Rusciano, is actually “a really positive show – I know people might be worried that it might be a bitter woman crying in the foetal position on the stage for an hour, but it’s not.” She reveals that the final two Sydney performances of the show will be especially unique, as “I’ll talk about us getting back together, which hasn’t been done before.”

24 :: BRAG :: 589 :: 19:11:14

The line between playing herself and playing a version of herself onstage isn’t always clear for Rusciano. “I’m Em for real, but dressed like a drag queen: glitter, leotards, headpieces, the whole lot,” she says. “If people are paying for a show, I’m going to fucking dress up and give them a show. I’m not going to get onstage in jeans and a T-shirt – I’m going to be in false eyelashes, nine-inch heels, sequins, feathers, the whole thing.

So that juxtaposition of polished showgirl and tragic single mother, which I really enjoy fusing.”

In order to fulfil the musical aspect of the show, Rusciano’s father Vince joins her onstage playing the guitar. “[He] has to sit through a lot of things a father probably shouldn’t,” she says. Indeed, Rusciano’s work is raw, candid and sometimes controversial.

“I’m a walking open wound, basically, so I don’t hold a lot of things back.

I don’t set out to ruffle feathers … I like to tell the truth; I think it helps people like me, or dislike me, and it makes people know I’m authentic,

which is a good way for a performer to be.”

This attitude has certainly won Rusciano plenty of support – her Facebook page alone has 57,000 fans.

“That’s my community,” she says. “For so long I’ve been trying to fit in – I’m told to grow my hair or don’t be such a loudmouth or don’t be demanding, and I’ve spent the majority of my career in and out of commercial radio and television, and I got to the point that I thought, ‘Fuck it, I’m going to find my own tribe and start doing stand-up.’”

After working on radio, television, print and stage, does she have a favourite medium? “It changes – it’s like my favourite kid changes, my favourite media changes. I retreat to write after long times on the road. Writing is the least demanding of all the things I do and the most cathartic, and I’ll probably end up doing that when I become a strange hermit living on a hill. I just say, ‘Do what you love doing and pay the bills any other way, but don’t stop doing what you love doing.’”

What: Divorce, The Musical!

Where: The Comedy Store When: Friday November 21 and Saturday December 13

thebrag.com

xxxx xxx

Em Rusciano

For all the sadness of a break-up, Rusciano says it was never hard to find humour in her situation. “I’m ridiculous when I’m heartbroken. You know, like, family-size pizzas with Nutella on top and then going to clubs and trying to pick up 20-year-olds and then hating yourself and crying in the toilets somewhere in the club because you’re ten years older than everyone

else … you just get desperate and you get so confused with sadness and pity that you just try stupid shit, which, thankfully, makes good material for onstage.”

xxx

[COMEDY] Going Solo By Kate Robertson

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

DAYLIGHT SAVING

Daylight Saving

Set on Sydney’s Northern Beaches on the final eve of summer, the play revolves around a corporate married couple – restaurateur and chef Felicity (Rachel Gordon) and sports agent Tom (Christopher Stollery) – whose highprofile, jet-setting life is clearly beginning to take a toll on their relationship.

When Tom leaves for LA on yet another business trip to chaperone his tennis-playing client, wedding vows and morals are put to the test as an old flame from America, Joshua (Ian Stenlake) visits Felicity for one night and attempts to recreate the passion they once shared in 1969.

Although Daylight Saving is light in terms of the content and the themes it addresses, it is without a doubt highly entertaining. The sharply executed and polished performances of the cast, along with the snappy and laugh-out-loud rapport between the characters, is characteristic of Enright’s work.

Playing at The Showring, Entertainment Quarter until Sunday January 4

In fact, it’s the characters that really make Daylight Saving an enjoyable show.

Belinda Giblin’s performance as Felicity’s enigmatic and slightly batty mother is truly outstanding; then there’s the sex-crazed and broken-hearted neighbour Stephanie (Helen Dallimore), whose fiery presence, desperation and sharp dialogue leave you remembering that crazy neighbour we’ve all once had. Jacob Warner is also fabulous as the hairsprayed peroxide blonde Jason Strutt, the world number one tennis player whose self-obsession and dimness provide much comic relief.

Daylight Saving is a play about turning back the clock – to the last night of summer, to a night in 1969 and to forgotten wedding vows. Not only does it want us to reflect on our present-day selves, but it’s also a subtle reminder that when trying to recreate a time or experience from the past, the result is not always what we had hoped it to be.

Prudence Clark

■ Film

THE DROP In cinemas now

Daylight Saving photo by Helen White

The Drop will most likely be remembered as James Gandolfini’s final movie role.

Released more than a year after his death, the film is something of a surreal experience – and a sad one, considering the calibre of Gandolfini’s performance.

While the actor’s role in the film may be its claim to fame to some extent, even beyond this, The Drop is a gripping watch.

The film comes from director Michaël R. Roskam, whose Bullhead was nominated for Best Foreign Language Film at the Academy Awards in 2011. Written by the legendary Dennis Lehane of Gone Baby Gone and Mystic River fame, The Drop tells the story of Bob Saginowski (Tom Hardy) and cousin Marv (Gandolfini), who run a bar in downtown Brooklyn. When their bar is robbed, Bob and Marv find themselves mixed up in the underbelly of their town, and at odds with the gangsters who own the bar.

There are a lot of converging storylines in The Drop, which occasionally interact jarringly. However, none of these storylines go to waste, and rather than

Totem

TOTEM

Playing at the Eternity Playhouse until Sunday November 30 Written in the early 1990s by the dearly missed Australian playwright Nick Enright, Daylight Saving is a lighthearted romantic comedy that delves into the loneliness of marriage, middle-aged life and the heart.

■ Circus

The circus is in town (not that you could really miss it – Cirque du Soleil are nothing if not masters of promotion), and despite the soaring expectations you inevitably bring along to troupes of such renown, you won’t leave disappointed.

At first glance the stage seemed to be mostly composed of a giant clam, or perhaps a deflated air balloon. Having seen the various uses of this ultimately insectile structure, I am still uncertain just what it was supposed to represent. But then, comprehension isn’t really called for here. Like most magic, the less your audience understands, the more likely they are to be charmed, and boy, were we ever charmed.

The physicality of these performers notwithstanding (the incredible strength they must possess; the great exertion on their bodies), the Cirque du Soleil players delivered a show that found me literally agape.

Of course, for every act that leaves you amazed, there will be one who suffers for not quite reaching the same dazzling heights. A quartet of unicyclists juggling

bowls on their head was the highlight of the evening, and a Native American couple’s roller-dancing courtship was enthralling (a second pair of Native American hoop dancers were also outstanding performers).

But subsequently, some of the more traditional (which is to say, anticipated) acts appeared less impressive.

This has entirely more to do with the temperament of an audience than it does the skill of the performer, but skilful as aerial and balancing contortions may be, they didn’t excite in quite the same way.

If there is a theme to Totem, it has been rendered so universal it is indistinguishable. No surprise given the number of countries this show must entertain, but for a company that takes great pride in the strength of its story and tone,

Totem feels cobbled together, a miscellany of visually stunning entertainment that didn’t fit anywhere else. But my oh my, what entertainment it is.

Adam Norris

The Drop confusing the viewer, the complexity of the plot instead helps to add further intrigue.

The casting of The Drop, while sometimes puzzling (i.e. uber-British Hardy playing a native Brooklynite), is spot on, and there are no disappointing performances. Hardy absolutely kills it as nice-guy bartender Bob, and the amount of shots of him holding a tiny puppy is overwhelmingly awesome. Noomi Rapace is fantastic in the role of Nadia, Bob’s potential love interest, and Matthias Schoenaerts is flawless, as per usual. Gandolfini is well placed within this cast, and his performance is only disappointing in its finality.

I MAG I N E BE I NG MAD E TO

Louisa Bulley

See www.thebrag.com for more arts reviews

Arts Exposed

FEEL L IKE CRAP JUST FOR

What's in our diary...

Corroboree Sydney 2014

Corroboree Sydney photo by Jamie Williams

Thursday November 20 – Sunday November 30 Corroboree Sydney celebrates Corroboree Sydney the art, culture, history and creativity of the Aboriginal and Torres Strait Islander people who first inhabited our nation. This year, over 100 events will be taking place across Sydney, all created and delivered by indigenous people with the intent of sharing their stories with the wider community. Everything from storytelling, art and craft workshops, guided tours, markets, performances and film screenings will be included, making this event a significant, stunning and fascinating experience for all.

For more information about visit corroboreesydney.com.au.

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 :: 589 :: 19:11:14 :: 25

When you think about it, ‘Happy Hour’ is a pretty wellnamed Australian pastime. There’s nothing that draws a smile better than a cheap drink and bite to eat with friends after work – and while we admit most Happy Hours these days last much longer than an hour,

TH E BR AG GU I DE TO

doesn’t that make them all the more happy? We quizzed some of Sydney’s happiest venues on what deals will put a smile on your dial.

So grab a copy of the BRAG from the front bar (if you haven’t already) and kick back with a drink…

The World Bar The Palace Hotel Get happy: On Fridays, $4 selected schooners – James Squire range, Little Creatures and Tooheys New, plus house wines and sparkling between 4-7pm.

What to see and do: When you’re not in on Fridays, check out Mexican Wednesdays with a chilli challenge.

For our ears: Acoustic soloists Fridays and Saturdays from 7pm.

The vibe: Great food, great beer and wine and a great place to unwind with friends.

Where: 730 George Street, Haymarket – Capitol Theatre light rail stop is at the door.

Get happy: Happy Hour 5-7pm, seven days a week, with $5 house drinks and $7 top shelf.

What to see and do: Enjoy gourmet pizzas and top shelf at bottom dollar on our leafy Bayswater Road terrace. Email hello@theworldbar.com to reserve a table.

from Australia and overseas.

Monday is Latin and jazz night; there’s fun and dancefl oor action for Coyote Tuesday; get your bass fix every Wednesday with The Wall; it’s indie tunes on Thursday for Kicks; live bands on Friday for Mum; the best in dance music production on Saturday for Cakes; and Terrace Comedy each Sunday.

For our ears: Check out the regular weekly events, full of talent

Where: 24 Bayswater Road, Kings Cross

Ruby L’otel Get happy: Monday to Friday, get the most value for your money with Happy Hour 4-6pm and Friday’s $10 cocktail or $30 jug of the week. Don’t miss a bargain drink offer of a $10 jug of ale or $10 cleanskin bottle of wine with any meal purchase Monday through Friday.

What to see and do: Food, music and alcohol, that’s our motto. Fine food, fine wine and fine company is what we strive for with an extensive menu that goes above and beyond just standard pub fare. Come and enjoy live entertainment six nights a week from Tuesday to Sunday and dive into our new wine list, which features Beelgara Estate’s The Vines as our hew house range as well as the Pepperton collection which is sold exclusively at Ruby L’otel.

For our ears: Live music Tuesday through Sunday starting with Ruby Tuesdays, an eclectic mix of original music hosted by Scott Gibson of The Fallen Gentry. Wednesday highlights local bands while Thursday boasts open mic night. Fridays boast a threeband special called Bands on Stage

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while Saturday rocks out with one feature artist every week. Sunday rounds out the week with legendary rockers such as Chris Turner, Mick O’Shea and MMM, otherwise known as Matt Ross, Mark Evans and Mick O’Shea… you don’t want to miss Sunday nights.

The crowd: Ruby’s has a bit of everything for everyone. We are a family-friendly pub and hotel with a mix of patrons from local businessmen to young families and local punters. Our craft beer selection brings in a younger crowd who want a good place to drink with the right selection of beer.

The vibe: Ruby’s is a great place to have a good lunch or dinner, or hold your next function or event in our back bistro and beer garden. The front bar is a place to enjoy the live music and spend the night with family and friends.

Where: 68 Victoria Road, Rozelle When: Happy Hour is Monday-Friday 4-6pm.

The Workers Bar & Kitchen Get happy: Beers are only a fi ver on Wednesdays, cocktails are two for one from 5-9pm on Thursdays, and every Friday from 5-7pm all local tap beer and cider is $5, all house wines are $5 and our premium house spirits are only $6.50.

3pm to help you relax while you play giant chess on the rooftop.

What to see and do: Every month on Anything Can Happen Wednesdays we’ll have something on, be it comedy, live music, bingo, trivia, films… and on Sundays? Think chilled: a lazy rooftop lunch, with giant Jenga, ping pong and sport on the big screen. Every other night is a regular dance party.

The vibe: We can do it all – perfect for an after work cocktail, a lazy weekend lunch or a dance until the wee hours (we have the latest licence in Balmain).

For our ears: We have live music once a month, DJs from 9pm every Friday and Saturday and sweet acoustic tunes every Sunday from

The crowd: Relaxed. If they’re keen for a bite to eat (our new burger menu is awesome), a fancy cocktail from our rad bartenders and a bit of a dance, you’ll find them here.

Where: L1/292 Darling Street, Balmain When: Every Wednesday from 5pm for $5 beers and $1 wings, every Thursday from 5-9pm for two for one cocktails and every Friday from 5-7pm for our regular Happy Hour.

thebrag.com

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Album Reviews

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

ALBUM OF THE WEEK FOO FIGHTERS

xxx

Sonic Highways Roswell/Sony

Foo XxxxFighters’ jaunt across America delivers a diverse and captivating record.

PRIMUS

Primus And The Chocolate Factory With The Fungi Ensemble ATO/Prawn Song A tribute album is always going to be a hit-and-miss affair, particularly when it involves several artists tackling the extensive career of another artist or band. It’s when we get into the specifics – one band, one album – that the fencesitters clear out and you’re either completely on board or throwing yourself over.

We’ve arrived at Primus’ eighth studio album, which sees them (and some friends) recreate the soundtrack to the 1971 classic Willy Wonka & The Chocolate Factory.

Because… reasons? Who knows.

Putting your name to anything involving a recreation of Wonka is already risky territory (Hi, Johnny Depp!), and yet there’s a point where it all starts to click. What other band can truly bring out the dark, borderline psychotic aspect of Wonka’s Stockholm syndrome?

Who else can make the already terrifying ‘Wondrous Boat Ride’ even scarier? Who can properly justify warping the foundations of what’s widely regarded to be one of the greatest soundtracks of all time?

The answer, of course, is not the Candy Man. Primus are the answer to the questions you didn’t even realise you should be asking.

The best clue as to what makes Foo Fighters’ eighth studio album such a great listen comes from the title of their second, which came out in 1997 – The Colour And The Shape. For Sonic Highways, Dave Grohl, Chris Shiflett, Pat Smear, Nate Mendel and Taylor Hawkins gave the album shape by limiting it to eight songs about their eight favourite cities in the US – Austin, Chicago, Los Angeles, Nashville,

New Orleans, New York, Seattle and Washington, D.C. They gave the album colour by writing and recording each of the eight songs in one of the aforementioned cities – letting the literal and conceptual flavours of each metropolis seep into the songs.

Opener ‘Something From Nothing’ begins super-chill, with Grohl almost whispering the opening lines. Then, at exactly 30 seconds in, the song takes shape and builds before ending on the frantic rock-out that only Grohl and co. can pull off.

The standout track, however, is ‘Outside’. Driven by icy guitar and a

THE OCEAN PARTY

RÖYKSOPP

Cedric Bixler-Zavala and Omar Rodriguez-Lopez are still tagged as ex-At The Drive-In. This isn’t appropriate, because although they were members of that band, there are now six Mars Volta albums since those days. In turn, the debut LP from the pair’s Antemasque project is an obvious departure from The Mars Volta’s fiddly future-prog.

There’s a wave of sexy electronica that’s currently sweeping the world. From the alternative sounds of FKA Twigs and Jessie Ware to more mainstream artists like Tinashe and even Ariana Grande, there are female artists across all levels who are absolutely killing it.

Montgomery has emerged as the next artist to really fly the flag.

It’s unclear what exactly the issue was, but it’s fairly obvious RodriguezLopez despised At The Drive-In. This record’s been touted a return to Cedric and Omar’s punk roots. In some ways it is – many songs feature fast, consistent tempos and are over in a jiffy, plus there’s not a huge amount of messing around on the guitar – but it’s entirely without At The Drive-In’s loose, manic delivery.

Shrouded in mystery, Montgomery got signed to I Oh You off the back of some SoundCloud momentum with two self-released tracks. At a generous six tracks long, her debut EP New Clear War gives us a good idea of her range and talent.

There’s an assuredness and polish to The Ocean Party’s fourth LP that raises the bar from previous releases. Not to say past efforts particularly lacked anything in terms of songwriting or production, but this record has a new focus on texture and arrangements, which makes for an evocative listening experience.

This is no experimental jam either – the song structures are tight, every note is in its place, and most of these well-crafted songs barely scratch the three-minute mark.

Despite the seeming simplicity, though, this album reveals deeper layers with repeated listens.

Few acts helped to define the potential of deep, explorative electronica as it progressed into the 21st century quite like Röyksopp did – from their standard-setting debut, Melody A.M., up to their previous album efforts, Junior and Senior, there has always been something drawing listeners back into their brightly coloured and endlessly expansive universe.

The main connection between them is that At The Drive-In’s name comes from a line in Poison’s ‘Talk Dirty To Me’. Here, ‘50,000 Kilowatts’ is an ode to glam metal power ballads, featuring an appropriately cheesy us-against-the-world chorus. Album highlight ‘Drown All Your Witches’ is an earnest homage to acoustic Zeppelin, which is admittedly an incongruous inclusion.

David James Young

Augustus Welby

New Clear War I Oh You

Kicking off with ‘Dust’, we get a feel for her synth soundscapes and delicate voice. Like a more blissedout Chvrches and a less douchey Lorde, Montgomery gives us superpalatable pop songs without being bland. Bringing up the rear of New Clear War are the two strongest songs of the EP: ‘Piñata’ and ‘War Cry’, which introduces melancholy synth chords akin to Arctic Monkeys’ ‘505’, accompanied by a palpitating, synthesised heartbeat.

Simultaneously vulnerable and powerful, Montgomery opens us to the truth that while a person can break hearts, that same individual can also have their heart broken.

Raf Seneviratne

Perhaps the most enticing aspect of being a Jack Ladder fan is the element of surprise. It’s as if the man himself is uncertain which Jack Ladder he will be next – after humble beginnings in coffee-shop balladry, a shift into the avantgarde swiftly followed, itself leading into waves of icy electronica and cavernous ambience.

Constant, fruitful reinvention is the name of the game – and that’s not about to change, ironically enough, on Ladder’s fourth. With his all-star band – Kirin J Callinan, Donny Benet and Laurence Pike – guiding his unmistakable baritone, Playmates is a record that’s often immersed in kitschy ’80s pop touchstones, as well as

Soft Focus Spunk

In terms of both lyrical ambition and its varied sonic palette, Soft Focus is reminiscent of prime-era Triffids. It’s no rehash homage, however – The Ocean Party have already carved a bit of a niche, but with the richness of this release, they could fairly claim a place among the best of spacious Australiana jangle like The Church and The Go-Betweens. There’s a lot to be said for ambition, and it seems The Ocean Party are thinking bigger than just being one of inner Melbourne’s favourite indie bands.

I’d recommend getting your hands on a copy of Soft Focus ahead of their upcoming Sydney show so you can enjoy your new favourite songs in still-intimate settings – the secret won’t last much longer.

Julian Douglas

INDIE ALBUM OF THE WEEK

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Denver Maxx

MONTGOMERY

Antemasque Nadie Sound/Caroline

Oompa loompa doompety doo. If you like Wonka weirdness, then this is for you.

Playmates Self Portrait/Inertia

The finale, ‘I Am A River’, is an impressive farewell from an excellent record. From a deep organ that’s

caressed by a softly picked guitar, to the effortless pre-chorus, this song represents all the best parts of Foo Fighters with a little bit of extra depth.

ANTEMASQUE

Antemasque welcomes back conventional song structures and nearly legible lyrics. However, like The Mars Volta’s recent releases, it ultimately fails to excite.

JACK LADDER & THE DREAMLANDERS

huge chorus, this is sure to be fan favourite.

hints of Leonard Cohen that recall more ‘Dance Me To The End’ or ‘Everybody Knows’ than ‘Bird On The Wire’ or ‘Famous Blue Raincoat’. Even still, Playmates never comes across as daggy or anachronistic. Perhaps it’s the sting in the tail that comes with Ladder’s mournful, affected lyricism or his occasional snaps into manic howling. Whatever the case, Playmates is an endlessly intriguing, delightfully dark affair.

It’s always a three-year wait between Jack Ladder albums.

Playmates will make you feel as though no time has passed at all.

The Inevitable End POD/Inertia

The Inevitable End is, as its title suggests, the band’s final studio album, and we are presented with one last chance to take it all in on a grander scale. It’s an album that’s fully aware of its mortality, and it makes no bones about the pain that comes with acceptance. See the heartbreaking ‘You Know I Have To Go’ for perhaps the best example of this, or the tightened, punchier rendition of ‘Monument’ which first appeared at twice the length on Do It Again, their collaborative EP with Robyn from May. It’s occasionally exhausting given its hour-plus runtime, and some tracks could have either been edited down (‘Compulsion’) or removed entirely (‘Rong’). Its greater moments, however, far outweigh the cons.

Although they will continue to make music, Röyksopp claim they are done with the album format. As such, they’ve given us quite the curtain call.

David James Young

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

BEN FOLDS & NICK HORNBY - Lonely Avenue THE ROLLING STONES - Exile On Main St. CROWDED HOUSE - Woodface

PIXIES - Trompe Le Monde GLASS ANIMALS - Zaba

David James Young

thebrag.com

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BRAG :: 589 :: 19:11:14 :: 29

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live reviews

up all night out all week . . .

What we've been out to see...

Sydney Opera House Saturday November 15

Part of the great appeal of watching Ben Folds is your certainty that by concert’s end, you and he are going to be best friends. His eyes will light up at your suggestion he join you for a mate’s housewarming over in Marrickville, and once there he’ll charm the entire party with amusing anecdotes about Adelaide while offhandedly playing a sprightly jazz standard, occasionally trailing off from his story to point at you and say, “This guy!” before high-fiving Dennis Rodman and mixing everybody killer mojitos.

In short, he’s an engaging performer.

Folds appeared alongside the Sydney Symphony Orchestra, and it was a curious point of comparison since a few days earlier Tori Amos had performed with these musicians in the very same room. The difference was striking. In both instances the orchestra was firing on full cylinders, but while the Amos performance utilised it as grand adornment, Folds revelled in the potential of having an entire freakin’ orchestra to play with. This was most evident during the second set when, following an epic ‘Zak And Sara’, he launched into ‘Rock This Bitch’, the

customary composed-on-the-spot song Folds is now happily obliged to play at every gig. Beginning with the violas (“Violas always get screwed over in an orchestra,” he observed), Folds added instrument on instrument until we arrived at ‘Rock This Bitch In The Morning’. The SSO was not simply a blanketing support to this set; rather, Folds and the orchestra entwined to bring entirely new perspectives to the songs.

The gig was a fairly comprehensive crosssection of Folds’ work over the past 17 years. His more recent output (‘Picture Window’ from the Nick Hornby collaborative album, Lonely Avenue, or 2008’s ‘Cologne’ – pleasant, if far from the top of the pile) weaved in superbly with early-day favourites such as ‘Brick’. I was also able to cross an item off my bucket list by at last hearing a medley of ‘Cigarette’ and ‘Fred Jones, Part 2’, which, with the cello-rich heartbreak of the latter, left me stunned.

Towards the end, Folds gave a splendid message of support to the SSO (great orchestras make great cities), and encouraged his audience to return and check out the real masters – Debussy, Ravel, et cetera. Giving the stunning landscape our orchestra is able to shape, I’ve no doubt many folk will be doing just that.

Adam Norris

tori amos

PICS :: AM

BEN FOLDS WITH THE SYDNEY SYMPHONY ORCHESTRA

betty & oswald

PHOTOGRAPHER :: ASHLEY MAR

30 :: BRAG :: 589 :: 19:11:14

PICS :: AM

11:11:14 :: Sydney Opera House :: Bennelong Point, Sydney 9250 7111

15:11:14 :: Brighton Up Bar :: 1/77 Oxford St Darlinghurst 9361 3379 thebrag.com

WITH SPECIAL GUESTS

THURSDAY 29 JAN THE BASEMENT ON SALE TUESDAY 11 NOV TICKETS THROUGH THEBASEMENT.COM.AU

FOR EXCLUSIVE PRE-SALE INFO GO TO FRONTIERTOURING.COM SO IT GOES IS OUT NOW VIA HOT CHARITY / REMOTE CONTROL

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WITH SPECIAL GUESTS

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THURSDAY 29 JAN OXFORD ART FACTORY ON SALE MONDAY 10 NOV FOR EXCLUSIVE PRE-SALE INFO GO TO FRONTIERTOURING.COM SOHNMUSIC.COM FRONTIERTOURING.COM

TREMORS IS OUT NOW VIA 4AD / REMOTE CONTROL AVAILABLE ON CD, LP, ITUNES AND STREAMING SERVICES

BRAG :: 589 :: 19:11:14 :: 31

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live reviews

up all night out all week . . .

What we've been out to see...

JACK LADDER & THE DREAMLANDERS Newtown Social Club Thursday November 13

Back in 2011, when Jack Ladder was touring his third album Hurtsville, the two guys either side of him onstage were chiefly recognised as members of his band The Dreamlanders. Fast-forward to the launch of Ladder’s gut-punching new LP Playmates, and these two men – guitarist Kirin J Callinan and bass player Donny Benet – have become veritable cult figures.

But even with the added might of drummer Laurence Pike (PVT) and keyboardist Neal Sutherland (ex-Bertie Blackman), this was Ladder’s show all the way. More to the point, the stars of the show were Ladder’s songs and his bass-tempting baritone.

People tend not to be casual fans of Jack Ladder. There’s not a whole lot of, ‘Oh yeah, he’s alright.’ Rather, his followers have signed on the dotted line, pledging allegiance, ashes to ashes, fun to funky.

‘Funky’ is an apt way to describe latest single ‘Her Hands’, which came early in the set. It was one of several Playmates cuts to get an airing, many featuring a similarly devilish essence. The record appears to be synth-driven, but it turns out a lot of these sounds are miraculously cooked up in Callinan’s guitar effects lab.

hardcore sausagefest

Ladder towered over the room. In a certain light, he’s poster-boy handsome. But there’s no escaping that he’s an unusual being, which helps background the singularity of his songwriting perspective. He seemed to become increasingly defeated by melancholy as the gig progressed, which suggested that going through the emotional tension of his songs doesn’t get any easier.

It wasn’t until the encore that we heard anything from Love Is Gone. ‘The Barber’s Son’ retained its backbeat, while the night’s final triumph ‘Case Closed’ was remodelled into a slick ’80s ballad, a soothing send-off from a nonpareil artist.

Augustus Welby

PICS :: AM

Callinan’s guitar work has been a major influence on Ladder’s latest two records.

Shortly after releasing 2008’s Love Is

Gone, Ladder and Callinan performed a series of duo gigs. Anyone who was at one of those gigs will attest to having witnessed something shocking. Introducing drum programming and K.O. punches of guitar noise, it was clear Ladder and his new offsider were making a seismic direction shift. By the time Hurtsville rolled around, Ladder had learned to put his bandmate’s eccentric skill towards enhancing a collection of heartbreaking, and mostly heartbroken, songs. Tonight, that album’s title track brought the room to a total standstill. Drenched in levitating guitars, it was seven minutes of rumbling emotion – luring you in with quotidian details (“I’ll flip the burgers while you work the till”), then placing you smack-bang in the middle of the action.

15:11:14 :: Spectrum :: 34 Oxford St, Darlinghurst 9360 1375 32 :: BRAG :: 589 :: 19:11:14

husky

PICS :: AM

drunk mums

PICS :: KC

16:11:14 :: Frankie’s Pizza :: 50 Hunter St Sydney

13:11:14 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711 OUR LOVELY PHOTOGRAPHER

MAR :: S :: KATRINA CLARKE :: ASHLEY

thebrag.com

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up all night out all week . . .

THE ROLLING STONES Allphones Arena Wednesday November 12

At a median age of 71, and more than half a century into their touring career, The Rolling Stones are still sounding great. But of course they are – with a stadium-sized PA system, anything but white noise sounds massive, even blues-infused rock’n’roll played by pensioners. Yet the Stones build their wall of sound differently to other bands. Keith Richards and Ronnie Wood deliver a twin guitar attack that’s relentless, even atomic, but never a big, ugly or impenetrable behemoth. Richards solos in the space between the notes these days, like a blues guitarist from the heyday, and it all stands strong upon Charlie Watts’ unflappable groove.

Thankfully, Mick Jagger has recovered from the throat illness that ruled him out of the Stones’ Hanging Rock show to appear at what he says is their 20th show in Sydney,

and he’s grateful we’re still coming back. Some in tonight’s capacity crowd have been around since the start, no doubt; others are ticking the Stones off their bucket list of rock bands to see before it’s too late. The show takes a little time to get going, but not too much: after ‘Jumpin’ Jack Flash’, ‘It’s Only Rock ’N’ Roll (But I Like It)’ and ‘Respectable’ comes the excellent ‘Tumbling Dice’ and later the unforgettable 1966 classic, ‘Paint It Black’.

Jagger is as energetic, lithe and captivating as ever, and there’s little evidence of his sickness until Richards gets a three-song interlude on lead vocals – it’s the first time he’s done three in a set, the aficionados reckon, since 2006, and only the second time ever. “Evening Sydney, good to see you… good to see anything,” grins the agedefying rocker. When Jagger returns, it’s alongside former member Mick Taylor for a long jam over ‘Midnight Rambler’, and then the set goes into the stratosphere with all the hits: ‘Gimme Shelter’, ‘Sympathy For The Devil’, ‘You Can’t Always Get What You Want’ and more.

The Stones circa 2014 have perhaps surrendered the element of danger that once defined them, but there’s plenty of the rock star left in them all – especially Wood, who runs multiple laps of the stage over two hours and at one point plays a slide guitar solo with a cigarette between his fingers. It’s all mighty good fun. And while this could be the last time, this could be the last time, may be the last time, I don’t know… you couldn’t safely bet against these ineradicable Stones coming back to do it all again.

Chris Martin PHOTOGRAPHER :: ASHLEY MAR

SARAH MCLEOD & MICK SKELTON 26 NOV | 8PM | FREE ENTRY

thebrag.com

BRAG :: 589 :: 19:11:14 :: 33

g g guide gig g

send your listings to : gigguide@thebrag.com

pick of the week Ash Grunwald

SUNDAY NOVEMBER 23

Enmore Theatre (And Other Venues)

Rock The Gate

Pete Murray + The Herd + Ash Grunwald + Tex Perkins And The Dark Horses + Natalie Pa’apa’a Trio + Nahko + many more 2pm. $77.10.

WEDNESDAY NOVEMBER 19 ACOUSTIC, COUNTRY, BLUES & FOLK Mitch Anderson & His Organic Orchestra Coopers Hotel, Newtown.

8:45pm. free.

Rodney Fritz - feat: Peter W Jones + Bradley Allen + Geoff Drover + Julia Plume Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Lionel Cole Imperial Hotel, Paddington.

8pm. free.

The Social Jam - feat: Gang Of Brothers Spring Street Social, Bondi.

9pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Angelena Locke Coogee Bay Hotel, Coogee.

9pm. free.

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

Carl Fidler Observer Hotel, The Rocks.

7:30pm. free.

Elana Stone + Lisa Caruso Lansdowne Hotel, Chippendale. 8pm. free.

Fat Bubba’s Chicken 34 :: BRAG :: 589 :: 19:11:14

Wednesdays Soda Factory, Surry Hills. 5pm. free.

Noisey Presents: Gloss Goodgod Small Club, Sydney.

8pm. free.

Prong + Segression Metro Theatre, Sydney.

7:30pm. $60.

Rick Astley Revesby Workers Club, Revesby. 6pm. $69.90.

The Happy Hippies Ettamogah Hotel, Rouse Hill.

6:30pm. free.

THURSDAY NOVEMBER 20 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Kinetic Jazz Festival - feat: 2@1 + Polymorphic Orkestra St Luke’s Church And Hall, Enmore. 7:30pm. $15.

Milko Foucault-Larche Revesby Workers Club, Revesby. 12pm. free.

ACOUSTIC, COUNTRY, BLUES & FOLK Amanda Easton Revesby Workers Club, Revesby. 12pm. free.

Bongeziwe Mabandla + Sarsha Simone Foundry616, Ultimo. 7:30pm. $27.50.

Dee Donovan Revesby Workers Club, Revesby. 12pm. free.

Ensemble Offspring

Sydney Town Hall, Sydney.

8pm. $40.

That Red Head The Wild Rover, Surry Hills.

7pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

10 O’Clock Rock Frankie’s Pizza, Sydney. 10pm. free.

A Team Duo Crows Nest Hotel, Crows Nest.

9pm. free.

Alex Hopkins Dee Why Hotel, Dee Why. 7pm. free.

AM 2 PM Brighton RSL, Brighton Le Sands. 7:30pm. free.

Amberdown - feat: Inventions + Lion Calamity + Hey Horze + Ride For Rain Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

Anthems Orient Hotel, The Rocks. 9pm. free.

Black Diamond Hearts Soda Factory, Surry Hills.

10pm. free.

Brad Johns Observer Hotel, The Rocks.

7:30pm. free.

Dave White Duo Maloney’s Hotel, Sydney.

9:30pm. free.

David Agius Hillside Hotel, Castle Hill. 7pm. free.

Del Barber Brighton Up Bar, Darlinghurst.

8pm. $15.

Flight Facilities + Client Liaison Enmore Theatre, Newtown.

8pm. $44.80.

Gay Paris + Hattie Carroll Moonshine Cider & Rum Bar, Manly. 9pm. free.

Glenn Esmond Fortune Of War, The Rocks.

7pm. free.

Greg Agar Scruffy Murphy’s Hotel, Sydney. 10pm. free.

Grooveworks Revesby Workers Club, Revesby. 12pm. free.

Jess Dunbar Northies Cronulla Hotel, Cronulla. 7:30pm. free.

Kaleidoscope Lo-Fi, Darlinghurst. 5pm. free.

Kimbra Metro Theatre, Sydney. 8pm. $54.90.

King Parrot Exchange Hotel, Darlinghurst, 8pm. $10.

Main Beach + Jouk Minstrow + The Maze Lansdowne Hotel, Chippendale. 8pm. free.

Matt Jones Northies Cronulla Hotel, Cronulla. 8pm. free.

The Chosen Few Pendle Inn, Pendle Hill.

7:30pm. free.

The Late Night Soda Social Soda Factory, Surry Hills. 5pm. free.

Trivia Riverwood Inn, Riverwood.

7pm. free.

Winters End - feat: Cartoon + Alaskan Poetry Oxford Art Factory, Darlinghurst. 8pm. free.

FRIDAY NOVEMBER 21 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Funk Machine Revesby Workers Club, Revesby. 8:30pm. free.

Jazz Hip-Hop Freestyle Sessions Foundry616, Ultimo. 11:30pm. free.

Kinetic Jazz Festival - feat: Kevin Hunt Trio & Brenda Gifford + Kinetic Jazz Orchestra St Luke’s Church And Hall, Enmore. 7:30pm. $15.

The Rebirth Of Fresh (Babyface) - feat: Glenn Lumanta + DJ Makoto Oxford Hotel, Darlinghurst.

8:30pm. $5.

ACOUSTIC, COUNTRY, BLUES & FOLK Aleyce Simmonds Town Hall Hotel, Balmain.

4:30pm. free.

Blake Tailor The Oriental Hotel, Springwood. 8pm. free.

Cath & Him St George Leagues Club, Kogarah. 9pm. free.

DJ Town Hall Hotel, Balmain.

7:30pm. free.

Eddie Boyd And The Phatapillars + Claude Hay & The Gentle Enemies Old Manly Boatshed, Manly.

9:30pm. $10.

Ensemble Offspring Sydney Town Hall, Sydney.

8pm. $40.

Melody Rhymes Quakers Inn, Quakers Hill.

8pm. free.

Sydney Music Presents Blues Rock Show - feat: Devil’s Crossroads With Dave Blight Harmonica + Ray Beadle Band + Big Blind Ray + The Good Time Rhythm & Blues Band + Dr Don’s Double Dose Valve Bar, Agincourt Hotel, Ultimo. 9pm. $15.

INDIE, ROCK, POP, METAL, PUNK & COVERS

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

AM 2 PM Padstow RSL Club, Padstow.

8pm. free.

Andy Mammers Duo Kirribilli Hotel, Milsons Point.

8pm. free.

Antoine Observer Hotel, The Rocks.

6pm. free.

Armchair Travellers Duo Pittwater RSL, Mona Vale.

8pm. free.

Aust. Guns N Roses Show Bull & Bush Hotel, Baulkham Hills. 10pm. free.

Ben Finn Castle Hill RSL, Castle Hill.

9:30pm. free.

Big Way Out Richmond Club, Richmond.

8:30pm. free.

Black Diamond Hearts Soda Factory, Surry Hills.

8:15pm. free.

Brad Johns Band Colonial Hotel, Werrington.

8:30pm. free.

Claude Hay And The Gentle Enemies Old Manly Boatshed, Manly.

9pm. free.

Dave Phillips Harbord Beach Hotel, Harbord.

7pm. free.

Dave White Ettamogah Hotel, Rouse Hill.

8pm. free.

David Agius Coogee Bay Hotel, Coogee.

9pm. free.

DJ Marty Wentworthville Leagues Club, Wentworthville. 9pm. free.

Endless Summer Beach Party Canterbury League Club, Belmore. 8pm. free.

Food Court Waywards, Newtown. 10pm. free.

Get The Party Started - The Pink Show Commercial Hotel, Parramatta.

8:45pm. free.

Glenn Esmond Crown Hotel, Sydney. 8pm. free.

Greg Agar Duo Hillside Hotel, Castle Hill. 8pm. free.

Greg Byrne Crows Nest Hotel, Crows Nest.

7pm. free.

Hamish Anderson Oxford Art Factory, Darlinghurst. 8pm. free.

Hand Of Mercy + Hellions + Void Of Vision Bald Faced Stag Hotel, Leichhardt. 7:30pm. $19.

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

Hello Cleveland Time & Tide Hotel, Dee Why. 7:30pm. free.

Hooray For Everything Sutherland United Services Club, Sutherland. 7:30pm. free.

Jess Dunbar PJ Gallagher’s, Enfield. 9pm. free.

Joe Echo PJ Gallagher’s Whisky Bar, Jacksons On George, Sydney.

5:30pm. free.

Joe Echo Duo PJ Gallagher’s, Leichhardt.

10pm. free.

Katy Perry + Betty Who + Tove Lo Allphones Arena, Sydney Olympic Park. 7:30pm. $40.68.

Kazaam Ramsgate RSL, Sans Souci.

7:30pm. free.

Kris McIntyre Mona Vale Hotel, Mona Vale.

6pm. free.

Krishna Jones Wentworth Hotel, Homebush West. 9pm. free.

Leon Fallon Cronulla RSL, Cronulla. 4pm. free.

Live Music At The Royal The Royal, Leichhardt. 9:30pm. free.

Luke Dixon Duo Emu Sports Club, Leonay.

7:30pm. free.

Martys Place Club Windang, Windang.

7:30pm. free.

Matt Jones Parramatta Rsl, Parramatta.

5pm. free.

Matt Toms Mill Hill Hotel, Bondi Junction.

7:30pm. free.

Max Power Kareela Golf Club, Kareela.

6:30pm. free.

New Navy Newtown Social Club, Newtown. 8pm. $15.

No Further Questions - feat: Speedball + Burdens + The Colytons + Heroine + Guests Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

Ocean Alley Moonshine Cider & Rum Bar, Manly. 7pm. free.

Papa Pilko And The Binrats + The Mountains + Mad Dog + Los Tones + Mightiest Of Guns + DJ Jack Shit Lansdowne Hotel, Chippendale. 9pm. free.

Pat O’Grady Chatswood RSL, Chatswood.

5pm. free.

Rapture Overlander Hotel, Cambridge Park. 7pm. free.

Reckless Orient Hotel, The Rocks.

9:30pm. free.

Riley Beech Manly Leagues Club, Brookvale. 9pm. free.

Rob Eastwood Castle Hill RSL, Castle Hill.

6:30pm. free.

Rob Henry The Grand Hotel, Rockdale.

5:30pm. free.

Russell Nelson Orient Hotel, The Rocks.

4:30pm. free.

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

Screaming Jets Panthers, Penrith. 7:30pm. free.

Self Is A Seed Spectrum, Darlinghurst. 8pm. $12.

Shannon Noll + Ollie Brown Rooty Hill Rsl Club, Rooty Hill.

7:30pm. $40.

Skyz The Limit Penrith Gaels, Kingswood.

8pm. free.

Soft Kitty Vineyard Hotel, Vineyard.

9:30pm. free.

Step-Panther + Bearhug Goodgod Small Club, Sydney.

8pm. $12.

Sugar Reef Windsor Leagues Club, Windsor South. 9pm. free.

Sunlovers St Old Manly Boatshed, Manly.

8pm. $40.

The Shrooms Crows Nest Hotel, Crows Nest.

10:30pm. free.

The Stiffys + Dividers + Bad Bitch Choir Factory Theatre, Marrickville.

8pm. $15.

The Tribe Marlborough Hotel, Newtown.

10:30pm. free.

Tim Conlon Duo The Mean Fiddler, Rouse Hill.

6:30pm. free.

Wildcatz Bayview Tavern, Gladesville.

10:30pm. free.

SATURDAY NOVEMBER 22 ACOUSTIC, COUNTRY, BLUES & FOLK Eddie Boyd & The Phatapillars + Gay Paris Tattersalls Hotel Penrith,

thebrag.com

g g guide gig g

send your listings to : gigguide@thebrag.com Penrith. 8pm. free.

Ensemble Offspring Sydney Town Hall, Sydney.

8pm. $40.

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

Stormcellar Town Hall Hotel, Balmain.

10pm. free.

The Reunion Festival - feat: Claude Hay + The Gentle Enemies Entrance Leagues Club, 10pm. $35.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Chich Batch Brewing Co, Marrickville.

4pm. free.

Homeground - feat: Dan Sultan + Digging Roots + Richard Frankland + The Charcoal Club Sydney Opera House, Sydney.

12pm. free.

Kinetic Jazz Festival - feat: Urban Gypsies Quartet + Waldo Fabian Quintet St Luke’s Church And Hall, Enmore. 7:30pm. $15.

Xxx

INDIE, ROCK, POP, METAL, PUNK & COVERS

AC/DC & Angels Tributes Macarthur Tavern, Campbelltown. 8pm. free.

Alex Hopkins Cronulla Leagues Club Sharkies, Woolooware. 7pm. free.

AM 2 PM Petersham Bowling Club, Petersham. 8pm. free.

Andy Mammers + Crash Avenue Castle Hill RSL, Castle Hill.

10:30pm. free.

Angelo Pash Duo Coogee Bay Hotel, Coogee.

12am. free.

Angie Dean Castle Hill RSL, Castle Hill.

5:30pm. free.

Armchair Travellers Duo Manly Leagues Club, Brookvale. 9pm. free.

Ben Finn Trio The Mean Fiddler, Rouse Hill.

9pm. free.

Big Way Out Epping Hotel, Epping. 10pm. free.

Black Diamond Hearts Rock Lily, Pyrmont. 9:30pm. free.

Blaming Vegas Crown Hotel, Camden. 9pm. free.

Broken Doll Factory Theatre, Marrickville.

7pm. $23.

Broods Metro Theatre, Sydney. 7:30pm. $34.90.

Cabin Fever - feat: The Fck Ups + Family Values + Obat Batuk Valve Bar, Agincourt Hotel, Ultimo. 12pm. $10.

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

10pm. free.

Carl Fidler Observer Hotel, The Rocks.

5:30pm. free.

Cover Me Crazy Campbelltown RSL Club, Campbelltown. 9:30pm. free.

Damage Inc - Metallica Show Pioneer Tavern, Penrith. 9pm. free.

Dave White Experience Crows Nest Hotel, Crows Nest.

10:30pm. free.

David Agius Duo The Mean Fiddler, Rouse Hill.

6pm. free.

DJ Marty Wentworthville Leagues Club, Wentworthville. 9pm. free.

Endless Summer Beach Party Orient Hotel, The Rocks.

9:30pm. free.

Evie Dean

thebrag.com

Crows Nest Hotel, Crows Nest.

7pm. free.

Fallon Bros Brewhouse Marayong, Kings Park. 8pm. free.

Four’s A Crowd Kareela Golf Club, Kareela.

8pm. free.

Franky Valentyn Club Five Dock, Five Dock.

4pm. free.

Gareth Jay Hunters Hill Hotel, Hunters Hill.

7pm. free.

Gay Paris Tattersalls Hotel Penrith, Penrith. 8pm. free.

Glenn Esmond O’Donoghues Irish Pub, Emu Plains. 9pm. free.

Heath Burdell Harbord Beach Hotel, Harbord.

7pm. free.

Hooray For Everything Springwood Sports Club, Springwood. 8:30pm. free.

Iconic Vivisect - feat: Brutonomy + Festering Drippage + Gutter Tactic + Burial Chamber + Exekute + 13 Gates + War Of Attrition Valve Bar, Agincourt Hotel, Ultimo. 6pm. $15.

Iron Lion R.G. McGees, Richmond. 9pm. free.

Jconnexion Carousel Inn Hotel, Rooty Hill.

8pm. free.

Jed Zarb PJ Gallagher’s, Enfield, Enfield.

9pm. free.

Jimmy Eat World + My Echo Enmore Theatre, Newtown.

7pm. $84.10.

John Milligan New Brighton Hotel, Manly.

10pm. free.

John Vella Panania Diggers, Panania.

8pm. free.

Katy Perry + Betty Who + Tove Lo Allphones Arena, Sydney Olympic Park. 7:30pm. $40.68.

Keith Armitage Le Pub, Sydney. 9pm. free.

Krishna Jones Time & Tide Hotel, Dee Why. 7:30pm. free.

Lawrence Baher Duo Horse & Jockey Hotel, Homebush. 7:30pm. free.

Little Coyote Gladstone Hotel, Chippendale.

8pm. free.

Luke Zancanaro Duo Northies Cronulla Hotel, Cronulla. 9pm. free.

Macson Northmead Bowling Club, Northmead. 8pm. free.

Martys Place Kelly’s On King, Newtown.

9:30pm. free.

Matt Jones Castle Hill RSL, Castle Hill.

9pm. free.

Mere Women + Kiri + Canine + Burlap Record Crate, Glebe. 8pm. free.

No Secrets - The Angels Show Lone Pine Tavern, Rooty Hill.

9pm. free.

One Hit Wonders PJ Gallagher’s, Parramatta.

9pm. free.

Palms Lansdowne Hotel, Chippendale.

9pm. free.

Portugal. The Man The Bucket List, Bondi. 2pm. free.

Portugal. The Man Manly Wharf Hotel, Manly.

10pm. free.

Rapture Oxford Hotel, Darlinghurst.

9pm. free.

Rob Henry PJ Gallagher’s, Moore Park.

7:30pm. free.

Russell Nelson Wentworth Hotel, Homebush West. 9pm. free.

Ryan Thomas Orient Hotel, The Rocks.

4:30pm. free.

Sarah Paton Sir Joseph Banks Hotel, Botany. 8pm. free.

he said she said WITH

TREVOR HALL

U

S songwriter Trevor Hall plays in Newtown this weekend at the Rock The Gate anti-fracking extravaganza. We took five to get to know him ahead of the show.

Did you grow up in a musical family?

What are your earliest musical memories?

My dad is a musician. He plays the drums and percussion. Growing up we always had music in the house. My dad had a massive record collection. As a kid I would pull out records that had cool covers and put them on the machine. I was exposed to so many different types of music early on, which was a blessing.

When I was 11 years old, my dad let me sit in with him at a local club he used to play at. From the beginning, he always supported me. I’m grateful for that.

How would you describe your sound to listeners who are new to your music?

I’ve been trying to answer this question for ten years! I’m still figuring it out.

Overall, it’s a blend of acoustic rock, reggae and folk, with a spiritual theme. I wish I could make it sound cooler!

You’re performing at the anti-fracking Rock The Gate event. How powerful is music when it comes to making a political and social stand?

It’s extremely humbling to be a part of such an amazing event. Music is the string that ties everyone together from all walks of life. We can use it to destroy or we can use it to build. To be a part of something with so many other great artists that want to use music to build and heal is such an honour.

Seth Troxler Greenwood Hotel, Sydney North. 7pm. $30.

Shane Flew Observer Hotel, The Rocks.

4pm. free.

Sons Of Mercury Scruffy Murphy’s Hotel, Sydney.

10pm. free.

The Lonely Boys The Mercantile Hotel, Sydney.

8:30pm. free.

The Secret Noise Sydney Town Hall, Sydney.

8pm. $20.

The Smith Street Band + The Front Bottoms + Apologies + I Have None Manning Bar, Camperdown.

8pm. $30.

The Spit Roasting Bibbers Riverwood Inn, Riverwood.

8pm. free.

The White Brothers Ettamogah Hotel, Rouse Hill.

7pm. free.

They Call Me Bruce St George Rowing Club, Wolli Creek. 7:30pm. free.

Three Rams Penrith Gaels, Kingswood.

7pm. free.

Tim Conlon Greystanes Inn, Greystanes Inn. 8pm. free.

Tony Williams Kirribilli Hotel, Milsons Point.

8pm. free.

Victoria Avenue Bull & Bush Hotel, Baulkham Hills. 10pm. free.

You’ve toured with some very community-oriented artists – Michael Franti and now Nahko. What’s the experience been like?

Music has introduced me to a lot of my idols. Some of those idols have become my best friends. I learn from them, heal with them, grow with them and laugh with them. It’s been an incredible journey.

It seems these days there is a surge of conscious musicians like Michael and Nahko. We need more storytellers and warriors like them. We all have to come together in order to make positive change.

The songs on your album Chapter Of The Forest came about on a yearlong sabbatical. Tell us about your inspirations.

Chapter Of The Forest was an extremely healing process for me. During that time, I retreated back to India and Nepal, to the places I love. That’s where I recharge and get the juice. After I returned, I still

wed

wasn’t ready to jump back on the road.

My wife and I went up into the woods in Vermont and Maine and spent a lot of time in solitude there. Chapter Of The Forest is what was born from that time.

It’s about returning to the source, going inside, healing and reflection.

What: Rock The Gate With: Pete Murray, The Herd, Ash Grunwald, Tex Perkins and The Dark Horses, Natalie Pa’apa’a Trio and more Where: Enmore Theatre When: Sunday November 23 And: Also supporting Nahko and Medicine For The People at The Hi-Fi on Tuesday November 25 and the Cambridge Hotel, Newcastle on Wednesday November 26 More: Chapter Of The Forest out now through Vanguard/Caroline

thu

19

20

Nov

Nov

(9:00PM - 12:00AM)

(9:00PM - 12:00AM)

fri

21 Nov (4:30PM - 7:30PM)

(9:30PM - 1:30AM)

SATURDAY AFTERNOON

SUNDAY AFTERNOON

(4:30PM - 7:30PM)

sat

sun

22

23

Nov

(9:30PM - 1:15AM)

SUNDAY NOVEMBER 23 ACOUSTIC, COUNTRY, BLUES & FOLK

mon

24 Nov

(4:30PM - 7:30PM)

Nov

(9:00PM - 12:00AM)

(8:30PM - 12:00AM)

tue

25 Nov

(9:00PM - 12:00AM)

Josh Cashman The Wild Rover, Surry Hills.

5pm. free.

Machine Translations + North Arm + Patrick Lyons And The American Creek Band

BRAG :: 589 :: 19:11:14 :: 35

g g guide gig g

send your listings to : gigguide@thebrag.com

Newtown Social Club, Newtown. 5:30pm. $10.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Homeground - feat: Dan Sultan + Digging Roots + Richard Frankland + The Charcoal Club Sydney Opera House, Sydney. 12pm. free.

Kinetic Jazz Festival - feat: Dave Ellis’ Jazz Liberation + Marc Isaacs Solo St Luke’s Church And Hall, Enmore. 5:30pm. $15.

INDIE, ROCK, POP, METAL, PUNK & COVERS

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

Andy Mammers Harbord Beach Hotel, Harbord. 6pm. free.

Angelena Locke Fortune Of War, The Rocks. 1pm. free.

Broods Metro Theatre, Sydney.

8:30pm. $34.90.

Cambo Observer Hotel, The Rocks. 8pm. free.

David Agius Summer Hills Hotel, Summer Hill. 2pm. free.

Glenn Esmond Fortune Of War, The Rocks. 6pm. free.

Jaded Vanities Burlesque The Vanguard, Newtown.

6:30pm. $40.

Jess Dunbar Buena Vista Hotel, Mosman. 2pm. free.

John Vella

Macarthur Tavern, Campbelltown. 2pm. free.

Kotahi Groove Time & Tide Hotel, Dee Why. 2pm. free.

Krishna Jones Waverley Bowling Club, Waverley. 3pm. free.

Leroy’s Layabouts Botany View Hotel, Newtown. 7pm. free.

Luke Dixon Pritchards Hotel, Mount Pritchard. 1pm. free.

Mandi Jarry Duo Commodore Hotel, Mcmahon Point. 2pm. free.

Mark Travers Ettamogah Hotel, Rouse Hill. 1pm. free.

Marty Stewart Ambarvale Tavern, Ambarvale. 2pm. free.

Matt Jones For Reels The Mean Fiddler, Rouse Hill. 1pm. free.

Matt Price Woolwich Pier Hotel, Woolwich. 2pm. free.

Pat O’Grady Ingleburn Hotel, Ingleburn.

3pm. free.

Penny Lane Hunters Hill Hotel, Hunters Hill. 3pm. free.

Portugal. The Man Watsons Bay Hotel, Watsons Bay. 3:30pm. free.

Rhiannon Oxford Hotel, Darlinghurst.

2pm. free.

Riley Beech Moorebank Hotel, Moorebank. 2pm. free.

Rock The Gate - feat: Pete Murray + The Herd + Ash Grunwald + Tex Perkins And The Dark Horses + Natalie Pa’Apa’A Trio + Nahko + Trevor Hall + Diesel N’

Dub Enmore Theatre, Newtown.

2pm. $77.10.

Scorcherfest Valve Bar, Agincourt Hotel, Ultimo. 12pm. $20.

Six Ft Hicks + Spurs For Jesus + Hanks Jalopy Demons Manning Bar, Camperdown. 10:30am. free.

Sugar Reef Moorebank Sports Club, Sydney. 1:30pm. free.

Sydney Rock ‘N’ Roll & Alternative Market - feat: Six Ft Hick + Spurs For Jesus + Hanks Jalopy Demons + Rod Almighty + The Crimplenes + Solid Gold Hell + Brian Manning Bar, Camperdown. 10:30am. $5.

Ted Nash The Mill Hotel, Milperra.

12pm. free.

The Secret Noise Sydney Town Hall, Sydney.

8pm. $20.

Three Wise Men Observer Hotel, The Rocks. 4pm. free.

White Bros Orient Hotel, The Rocks.

8:30pm. free.

Zoltan Northies Cronulla Hotel, Cronulla. 6pm. free.

MONDAY NOVEMBER 24 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Latin & Jazz Jam Open

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

Mic Night World Bar, Kings Cross.

7pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Bernie Segedin Observer Hotel, The Rocks.

7:30pm. free.

Katy Perry + Betty Who + Tove Lo Allphones Arena, Sydney Olympic Park. 7:30pm. $40.68.

The Secret Noise Sydney Town Hall, Sydney.

8pm. $20.

The Smith Street Band + The Front Bottoms + Apologies + I Have None Factory Theatre, Marrickville.

7pm. $30.

TUESDAY NOVEMBER 25 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Swingtime Tuesdays The Basement, Circular Quay.

7pm. $9.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Carl Fidler Observer Hotel, The Rocks.

7:30pm. free.

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

Katy Perry + Betty Who + Tove Lo

WEDNESDAY NOVEMBER 19 Elana Stone + Lisa Caruso Lansdowne Hotel, Chippendale. 8pm.

Free.

Noisey Presents: Gloss Goodgod Small Club, Sydney. 8pm.

Free.

Prong + Segression Metro Theatre, Sydney. 7:30pm. $60.

THURSDAY NOVEMBER 20

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 15 days recording/mixing/mastering and manufacturing

Kimbra

Del Barber Brighton Up Bar, Darlinghurst. 8pm. $15.

The Charcoal Club Sydney Opera House, Sydney. 12pm. Free.

Ensemble Offspring Sydney Town Hall, Sydney. 8pm. $40.

Broken Doll Factory Theatre, Marrickville. 7pm. $23.

Flight Facilities + Client Liaison Enmore Theatre, Newtown. 8pm. $44.80.

Broods Metro Theatre, Sydney. 7:30pm. $34.90.

Kimbra Metro Theatre, Sydney. 8pm. $54.90.

Jimmy Eat World + My Echo Enmore Theatre, Newtown. 7pm. $84.10.

Mere Women + Kiri + Canine + Burlap Record Crate, Glebe. 8pm. Free.

Portugal. The Man The Bucket List, Bondi. 2pm. Free.

Sydney Music Presents Blues Rock Show - Feat: Devil’s Crossroads With Dave Blight Harmonica + Ray Beadle Band + Big Blind Ray & The Good Time Rhythm & Blues Band + Dr Don’s Double Dose Valve Bar, Agincourt Hotel, Ultimo. 9pm. $15.

The Smith Street Band + The Front Bottoms + Apologies + I Have None Manning Bar, Camperdown. 8pm. $30.

Hand Of Mercy + Hellions + Void Of Vision Bald Faced Stag Hotel, Leichhardt.

7:30pm. $19.

Broods Metro Theatre, Sydney. 8:30pm. $34.90.

New Navy Newtown Social Club, Newtown. 8pm. $15.

EP DEAL

Blues Tuesdays Spring Street Social, Bondi.

7:30pm. free.

up all night out all week...

Katy Perry + Betty Who + Tove Lo Allphones Arena, Sydney Olympic Park.

7:30pm. $40.68.

SINGLE DEAL

ACOUSTIC, COUNTRY, BLUES & FOLK

gig picks

FRIDAY NOVEMBER 21

2 days recording/mixing/mastering at reduced rates

Allphones Arena, Sydney Olympic Park. 7:30pm. $40.68.

Nahko And Medicine For The People + Trevor Hall The Hi-Fi, Moore Park. 7pm. $45.50.

Rick Astley Enmore Theatre, Newtown.

8pm. $79.90.

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

8:30pm. free.

Step-Panther + Bearhug Goodgod Small Club, Sydney. 8pm. $12.

The Stiffys + Dividers + Bad Bitch Choir Factory Theatre, Marrickville. 8pm. $15.

SATURDAY NOVEMBER 22 Homeground - Feat: Dan Sultan + Digging Roots + Richard Frankland +

SUNDAY NOVEMBER 23 Machine Translations + North Arm + Patrick Lyons And The American Creek Band Newtown Social Club, Newtown. 5:30pm. $10.

Sydney Rock ‘N’ Roll & Alternative Market - Feat: Six Ft Hick + Spurs For Jesus + Hanks Jalopy Demons + Rod Almighty + The Crimplenes + Solid Gold Hell + Brian Manning Bar, Camperdown. 10:30am. $5.

TUESDAY NOVEMBER 25 Nahko And Medicine For The People + Trevor Hall The Hi-Fi, Moore Park. 7pm. $45.50.

Rick Astley Enmore Theatre, Newtown. 8pm. $79.90.

MCI JH 24 Track 2” Tape/Pro Tools v10.0/Classic Analog

36 :: BRAG :: 589 :: 19:11:14

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brag beats

BRAG’s guide to dance, hip hop and club culture

dance music news Royksopp & Robyn photo by Kacper Kasprzyk

club, dance and hip hop in brief... with Chris Martin and Tyson Wray

five things WITH

Frenzie

LAURA JONES

FEEDING FRENZIE

The always hard-working local selector Frenzie has recently been off showing the world why Sydney loves him – the long-time 2SER Groove Therapy host has been on a world tour playing exclusively 45s at destinations like New York, London, Berlin and Manila. The veteran DJ is the star of a homecoming party at Play Bar this Saturday November 22, where he’ll be joined by Cman and Juzzlikedat to heat up the floor with all manner of soul, funk, deep house, boogie, R&B, hip hop and party anthems.

Growing Up A large part of my childhood was based 1. around playing the piano. I started taking lessons at age four and carried them on right through school, taking in as much as I could about classical and jazz piano. The only issue was I hated playing to people; my piano teacher was about the only person who could get away with it. My parents would ask me to play and I’d wait for them to leave the house before I’d let loose. That’s probably the craziest thing about what I do now: standing up in front of hundreds, sometimes thousands of people by the weekend and performing. I thought fears were supposed to get worse as you clock up the years.

2.

Inspirations In life, Stevie Wonder is my biggest inspiration. I saw him perform at Glastonbury’s 40th birthday for the first time and it was around the time when life was a little on the stressful side; I was struggling to come to terms with a rare eye disease I’d been diagnosed with two years previously and he blew my mind so much, so it gave me determination and courage I never knew existed inside. I can’t obviously say whether I’d still have got to where I have if I hadn’t been there to witness it that day, but I can make a safe guess.

Your Crew I’ve been releasing on Visionquest 3. and Leftroom since starting out producing – they’re a great bunch and I’m eternally

CHET FAKER RETURNS

Melbourne native and production wiz Chet Faker has announced a national homecoming tour for next year. It will be his biggest national tour to date, marking the final run of shows in support of his debut album Built On Glass. It follows a massive year for Faker, who sold out three dates at the Enmore Theatre in July. Joining Faker on the tour will be Melbourne producer Roland Tings and cosmic funk outfit GL. Catch Faker on Friday February 13 at the Hordern Pavilion. Tickets go on sale Thursday November 20.

grateful for the support they’ve shown me since the start. When we do get the opportunity to all do label showcases together it’s great. We hosted Room One at Fabric all night long recently, which was perfect, and there’s a ten years of Leftroom tour upcoming so it will be great to be back behind the controls with Tolfrey again.

The Music You Make The music I’ve produced or remixed 4. and released so far has been a mix of deep, melodic and musical house and hypnotic deep techno, occasionally spliced with my own vocals. I’m very excited about my forthcoming EP on Visionquest – it’s a twotrack original with a remix from one of my favourite producers of the moment, Och. It displays a harder, more clubbier side to what I do and is more in the vein of what I play in my DJ sets.

Music, Right Here, Right Now I’m often loving a whole heap of stuff 5. at any given time so questions like this are never the easiest. Currently I am loving Joey Anderson, Och, Brooks Mosher, Ryan Elliott, Stephen Brown, Redshape, the list goes on…

The latest releases from Och on Autoreply, Brooks Mosher on Steffi’s label Dolly and Stephen Brown on Artless are incredible.

OUTSIDEIN AFTERPARTY

The official OutsideIn afterparty will land at Goodgod this month, with headliner HNNY joined by Tornado Wallace and Ben Fester.

The Goodgod event will follow the Astral People festival being held across town at Sydney University’s Manning House, and will feature the debut Sydney club set by Swedish producer HNNY. OutsideIn and its afterparty are on Saturday November 29.

NORTHERN SONGS AT SPICE

It’s impossible to underestimate the influence of Manchester on music scenes around the globe.

It was in the Madchester era of the Haçienda and The Stone Roses when the DJ became the rock star and Es became the currency of choice – would dance music today be anywhere near where it is without those formative years?

For a taste of the musical talent Manchester is producing these days, look no further than The Spice Cellar this Saturday November 22 and its headliner Tom Craven, who’ll be exploring house in all its forms. Support from Sam Francisco and Mesan.

GOLDEN FEATURES

The big-name arrivals at Chinese Laundry continue this weekend with none other than Golden Features, the Aussie talent who came from nowhere earlier this year to capture the attention of all the tastemakers, armed with nothing but an anonymous SoundCloud account and some massive tunes. Within months, Golden Features was wowing crowds at festivals around the land, but you can catch up with the masked crusader – alongside a slew of locals including Hatch, Acaddamy, Natnoiz, Eluize, Michelle Owen, Cassette, Nightwalkers, GG Magree, Fingers, DJ Just 1 and Coda – this Saturday November 22.

BROOKE EVERS

If you like your beats with a side of, erm, celebrity, then check out Home Nightclub this Saturday November 22. Model, reality TV personality, brand ambassador and now DJ Brooke Evers will be choosing the choones for the Homemade party night, joined by residents Royaal, Venuto, Rees Hellmers, DJ Iko, DJ Seiz, J Reyes, Nick Arbor and Simon Lovell.

MC Suga Shane will oversee proceedings.

What: S.A.S.H Sundays With: Gavin Herlihy When: Sunday November 23

RIBOGNIA

Local Afro-juke/footwork producer Ribongia was one of October Records’ maiden signings, dropping his It Began EP last month and turning his attentions from the radio, where he’d already received airplay, to the nightclub dancefloor. After a handful of dates between Brisbane and Melbourne, Ribongia returns home this weekend for a launch party, joined by guests Shantan Wantan Ichiban, B.O.O.M.A, Melty and Klue. Catch the vibe at Club 77 this Friday November 21.

Safia

FKA Twigs

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FKA Twigs has locked in a Sydney headline show to accompany her appearance at Laneway. The Britishborn 26-year-old trip hop producer and singer-songwriter will make her debut Australian visit following the release of her Mercury Prize-nominated debut album LP1. Catch her on Wednesday February 4 at the Metro Theatre.

EMC PLAY PROGRAM

The new Kings Cross iteration of the Electronic Music Conference will feature a lineup of more than 120 artists showcasing at EMC Play, with the full details and venues now confirmed. Four official EMC Play venues will host 14 showcases, featuring the likes of Safia, Wave Racer, Yolanda Be Cool, Cassian, KLP, Ivan Gough, Cosmo’s Midnight, Rainbow Chan and many more. The locations include the new X54 club, Kings Cross Hotel, Soho and The World Bar. EMC Play takes over Kings Cross on Wednesday December 3 and Thursday December 4.

BRAG :: 589 :: 19:11:14 :: 37

xxx

Sohn photo by Amelia Troubridge

FKA TWIGS

Young Magic Breathing Easy By Ali Hawken things this time around, trying new things like blind recording,” explains Emmanuel. “If I make a track, the first time Melati would hear the song she’d have headphones on and the microphone record light on so that the very first thing she could respond to was her singing whilst hearing the song for the first time.

“It’s about getting a really spontaneous response. It’s a really beautiful thing to craft something and make something over time, but there’s also something really nice when you’re first responding to something, too – something unique and very idiosyncratic like that. It was really fun doing things that way.

I felt somehow like they were more honest responses.”

M

y first attempt to chat with Young Magic’s Isaac Emmanuel was inadvertently cut short due to a power blackout at their Upstate New York ranch.

“Sorry about that, the power went out on the mountain last time – it happens every three or four months out here,” he explains. “So we pretty much just lit a bunch of candles. Kind of spooky and all because it was Halloween. It was my brother’s last night here, so we were playing poker and chess under candlelight all evening just waiting for everything to come back on.”

When not on the road, Australian producer Emmanuel and the duo’s other half, Indonesian vocalist Melati Malay, divide their time between Brooklyn and Upstate, though it seems the countryside has become something of a stronghold for the pair. “We’ve been Upstate most of the time, in and out, for the last year or so. We came up to do the album, but then we fell in love a little bit and ended up spending most of our time up here.

“It’s a modest bedroom studio set-up here, it works for us. We record everything ourselves. We’ve always

done it that way – we just find it a lot easier to get ideas down quickly and in the moment. It also means you can travel with a portable setup as well, which is something we’ve always really enjoyed – being able to do things while we’re moving and not being locked to one space and time.”

Their sophomore full-length, Breathing Statues, sees Young Magic step away from the traditional musical processes of writing and recording an album to experiment with the element of spontaneity.

“We were trying all these different

Young Magic’s videos have also taken on an experimental path of their own, and serve well to illustrate the fine line that’s often trodden between music and art. A standout that comes to mind among their clips is the journey taken on ‘Fall In’. The video was shot in Las Pozas – something of a fairytale garden built in the mountains of Mexico by Edward James (a patron of the arts who supported artists like Salvador Dali and Max Ernst), where natural waterfalls are juxtaposed with surrealist sculptures in a tropical rainforest setting.

“We had this long dream to visit Las Pozas, this eccentric entrepreneur’s palace that he built there in the middle of the jungle,” Emmanuel says. “We had this last-minute show offer to do a festival in Mexico and were going to be a couple of hours away from [Las Pozas], so we jumped at the opportunity to shoot a video there. We messaged [videographer] Angus Borsos on a whim – I’m a big fan of the work he’s done with Julia Holter and Braids – and he was keen to work with us on the clip.

“The first time we actually met him was at 5am in the middle of the jungle in Mexico, and I can’t explain how weird it was, how difficult it was to get to this place. We said, ‘You’ve got to fl y into Mexico City and then get a bus for ten hours, and then get another bus for six hours, and then another shuttle in the middle of the night and then get the taxi driver to drive all the way up the hill and jump out at this little spot and we’ll be waiting there.’ And somehow he found it!” Emmanuel laughs.

Whether it’s working on videos with Montreal’s Borsos or artwork with Melbourne-bred and London-based visual artist Leif Podhajsky, Young Magic have been casting their creative net far and wide. This has seen them embark on an impressive number of collaborations and remixes in recent times, with homegrown talents like Banoffee and Oscar Key Sung to international acts The Acid and Purity Ring.

“We always try to work with people whose work we really admire,” says Emmanuel. “Since we’ve been back from tour, we’ve been doing a bunch of remixes over the last three or four weeks, which is kind of new for us but also a really interesting process. You’ve got to keep it fresh.”

With their take on Banoffee’s ‘Ohhhh Owwww’ dropping last week, and remixes of Oscar Key Sung and The Acid slated for release in the coming weeks alongside an Australian tour, Young Magic keep rolling on.

What: Breathing Statues out now through Strange Yonder With: Moon Holiday, Avivva, Phondupe Where: Oxford Art Factory When: Friday November 21

Marlo Setting It Up By Jacob Mills

F

or a DJ, having your tracks played by the haut monde of techno may or may not be an aspiration from day one. Marlo Hoogstraten has seen his tracks like ‘Barracuda’ get airtime in the setlists of none other than Armin van Buuren – a positive addition to what has been a hectic last few months for the Dutch-born Australian producer who was recently named the number two trance DJ and 11th best Australian overall in a poll by inthemix.

“It’s been an amazing six months for me,” he says. “I was lucky enough to spend most of the European summer touring overseas and playing festivals that I’ve wanted to play ever since I started out in the game.”

The recent run of festival appearances he’s referring to is an unbelievably prolific list which includes sets at Tomorrowland, Creamfields and Ultra, to name a few. “Tomorrowland was a personal milestone for me. It was one of those festivals that you want to play from the moment you start out, and to be a part of it was amazing. Pictures and videos of Tomorrowland can’t give you the real experience of actually being there. The level of production that goes into it is unbelievable – even if you didn’t like that style of music you could lose yourself in the architecture alone.”

The shift from playing a small set to mostly stoned teenagers in a sweaty

club to performing at festivals is an inherent rite of passage for DJs on their way to the top, but the distinction between the two from the inside looking out reveals that both settings have their merit. “Smaller, more intimate gigs give you a much more personal experience with the crowd,” says Marlo. “You can see people in the crowd vibing on every beat as you work through your set. Festivals provide this amazing energy and the crowds are overwhelming, but it can get to a point where everybody in front of you just becomes a fleshcoloured wave.”

to be playing to a crowd at all – I may as well be spinning tracks alone in my bedroom.”

Having been in the game for over a decade, Marlo has noticed one particular way that his audience has changed over time. “Back when I was starting out, people used to ride a track more consistently, [from] its intro through to its outro,” he says. “These days I tend to see that people are more often waiting for the breakdown in a song.”

It’s a sentiment that is evident through his work ethic, with over 30 appearances at Marquee – including sets in its Las Vegas venue – and perennial attachment to the Stereosonic festival. “The most important thing is creating a platform for all producers and DJs to benefit from, that allows the scene to stay alive at home base,” he says.

His sentiments on his audience ring true to the immortal Bobby McFerrin quote on playing the audience like an instrument, and it’s something that carries all the way through to the construction of his sets. “You don’t want to alienate anybody in the audience. You have to create a journey of emotions and experiences in as small a setlist as you can and try your hardest to involve the audience in what you’re doing.

Otherwise, there’s no reason for me

What: Stereosonic 2014 With: Tiësto, Scuba, Duke Dumont, Skrillex, Alesso, Steve Aoki and many more Where: Sydney Showgrounds When: Saturday November 29 – Sunday November 30 And: Also appearing at Marquee on Saturday November 22 More: Visions out now through Armada

For Marlo, spreading the love is the name of the game. His new Visions compilation features more tracks from Australian techno up-and-comers than it does his own. “For me, it’s about fostering the Australian scene.

Aussie producers are doing great things overseas at the moment and it all starts from home. I want to help create a scene that keeps on thriving if we go overseas rather than it die out until certain DJs come home.”

“You don’t want to alienate anybody in the audience. You have to create a journey of emotions and experiences in as small a setlist as you can”.

38 :: BRAG :: 589 :: 19:11:14

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Off The Record

Stimming

Dance And Electronica With Tyson Wray

Sample Size By Adam Norris

D

etroit techno and house royalty Mike Huckaby is returning to Australia later this month. Already playing Subsonic, now he’s announced an intimate Sydney headline show. Huckaby has been on the scene for well over 20 years, and if his most recent release is anything to go by (a remix of Motor City Drum Ensemble’s killer Raw Cuts), he’s still at the very top of his game. He’ll hit the Burdekin Hotel on Friday November 28.

Mike Huckaby

Iranian-American Dubfire (AKA Ali Shirazinia) will return to Sydney next month. Last seen in Australia for Future Music Festival, this time around he’ll be performing a series of intimate club shows. He’s one half of the Grammy Award-winning duo Deep Dish, his SCI+TEC imprint is recognised as one of the top techno labels in the world, and he’ll be hitting the Greenwood Hotel on Saturday December 20.

Two of the biggest names on the 2014 OutsideIn bill have locked in a last-minute Sydney headline show. Giraffage and Brenmar will be taking to the Oxford Art Factory this Thursday November 20 joined by local heroes Polographia and Mike Who. Be quick.

Tour rumours: thought that all of the parties taking place over the NYE/NYD period had been announced? Think again.

Word on the grapevine is that a few more heavy-hitting internationals still have tours to be announced, including Oliver $, Franky Rizardo and Crazy P. Stay tuned.

For the DJs out there, Pioneer has just announced a brand new digital deck.

Dubbed the XDJ-1000, it comes with a

M

artin Stimming seems like a nice guy, but there was a lot working against this conversation. For ridiculous reasons the interview had to be conducted next to the world’s loudest elevator at the Sydney Opera House; at one point a drunk guy stumbled from it and tried to hijack the phone. Further to this was the usual delay in long-distance calls, plus the fact that while he is certainly comprehensible, Stimming has a rather peculiar grasp of English.

The relationship between house music and its listeners is something that almost transcends the music itself; it can be as dependent on physical movement as it is on any aural quality. Stimming is different, however – there is something compelling to his sound that makes him stand out amongst similar musicians. However, when I question him about a past remark – that he “[wants] people to see me as an evolving artist, where you never know exactly what you get”, and if he still feels the drive to keep pushing now that he has become established – I am met with a lengthy silence.

“Mmmmm,” he says at last, and another pause. “Well, the good thing about dance music is that as long as you play something danceable, you can pretty much do whatever you want.”

It’s to the point, but certain. Asking him about the response of his audience when he tries to take his music into new areas or branch into different genres finds a similar reply. “I feel that the quality in terms of being danceable, if there’s this moment happening when you feel they understand what it is you’re doing, then you can pretty much do what you want.”

With Stimming clearly reluctant to speculate on his performance appeal – which is fair enough, since the mark of a good artist isn’t their evaluation of their own popularity, but rather the quality of their art – we shift focus to the production and history of his rather distinct sound. Here he at last opens up, and the early development of his musical expression provides an interesting window into what he produces today.

“I have been wanting to find new music from the moment I could think,” he says. “I remember sitting in the garden, drumming on kitchen equipment and building my first drum set with the things I found lying around the house and yard. This wish to express myself musically has always been there. In [Butzbach, Stimming’s German hometown] there was a very good radio station in my area, and they really took care to play underground music. So I got to know the interesting parts of techno, and it was interesting because of the energy. This kind

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of was my musical education. This is what we call really hard techno – this was ten years ago, so it was basically about youth.

Create this really massive, tribally parttechno. I’m pretty lucky – or at least, I admit I never went to Frankfurt to go out, because I was young and afraid of getting into clubs, so I didn’t learn the rave side of it, including drugs, including going completely crazy. I was just having the music. I was lucky, because otherwise things would have been very different, but for me it wasn’t too excessive.”

major difference to its standard CDJ line – it’s the first deck that won’t play CDs. Yep, only USBs. Sure to be the most divisive release on the market this year, it’ll also feature a touch screen with a QWERTY keyboard for track searching.

It’ll be available for purchase next month.

Best releases this week: Atom™’s Ground Loop (on The Bunker New York) is slaying me. It’ll crush a lot of dreams if he does not play a Sydney show when he visits for Adelaide Festival next March. Other highlights include Locked Groove’s Enigma (Hotflush), Blacknecks’ 006 (Blacknecks) and Plant43’s Scars Of Intransigence (Shipwrec).

Dubfire

A hallmark of Stimming’s work is his reputation for never using the same sample twice, and incorporating everyday, unexpected sounds. It’s an admirable approach that gives the tracks more integrity, knowing they’re crafted at least partly in the real world. In my mind I’ve been picturing Stimming wandering the streets of Berlin with something that looks like a giant metal detector, honing in on unusual sounds here and there and storing them in little glass test tubes attached to his belt.

“What exactly I record can be very, very different,” he explains. “It ranges from using a portable speaker and playing stuff from that in a parking lot, then recording that with a good microphone, to a very small portable recorder which I always carry with me [and with which] I can just open the window and suddenly hear a woman singing in the street and can record it and hope that I can reuse those vocals. But also on the digital side, this ranges from simple presets on a software synthesiser to handmade tracks. That’s basically what I do.

It’s important to combine digital sound with analogue ones. Basically it’s the combination that creates a complex texture.”

Creating that fusion is no simple act, either.

For every ten hours of work, Stimming suspects he might fashion 30 minutes of decent sound. The end result, however, is truly striking, and is not something you need to put in front of an audience to appreciate.

“The basic approach I have about everything I do is finding something cool, something radical, something new, fresh, and it’s nothing specific really. It can be one little sound that catches me, and then I create a loop, tweak it, find out how it works, tweak it somewhere else, see if that doesn’t work. It’s hard, because it always feels like a fight between the music itself and the fucking music program not doing whatever it is I want it to do. In the end, though, I win the fight,” he chuckles. “That’s the important thing.”

Where: The Spice Cellar With: Murat Kilic When: Sunday November 23

RECOMMENDED THURSDAY NOVEMBER 20 FRIDAY DECEMBER 5 Giraffage, Brenmar Oxford Art Factory

Move D The Spice Cellar

FRIDAY NOVEMBER 21

SATURDAY DECEMBER 13

Jonas Kopp Burdekin Hotel

Robag Wruhme The Spice Cellar

SATURDAY NOVEMBER 22 SUNDAY DECEMBER 14 Lost Disco: Seth Troxler, Âme, Pachanga Boys, Optimo Greenwood Hotel

Vakula National Art School

SUNDAY NOVEMBER 23

Lido, Sophie, Nadus, QT Metro Theatre Dubfire Greenwood Hotel

Stimming The Spice Cellar Laura Jones, Gavin Herlihy S.A.S.H

FRIDAY NOVEMBER 28 Powell The Imperial Hotel Mike Huckaby Burdekin Hotel

SATURDAY NOVEMBER 29 OutsideIn: Pantha Du Prince, Seekae, Client Liaison Manning House, Sydney University

SATURDAY DECEMBER 20

SUNDAY DECEMBER 21 House Shoes Sydney’s National Art School

THURSDAY JANUARY 1

Spice Afloat: Space Dimension Controller, Trus’Me, Oliver Koletzki, Niko Schwind Sydney Harbour

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

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

BRAG :: 589 :: 19:11:14 :: 39

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

club pick of the week FRIDAY NOVEMBER 21

8:30pm. $5.

Marlo Marquee, Pyrmont. 10pm. $28.60.

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

Pacha Sydney - feat: Timmy Trumpet + Reecelow + Glover + Ben Morris + Chris Arnott + Fingers + Jace Disgrace + Nanna Does + DJ Just 1 + Elroy + E-Cats + Eko + Mike Hyper + Nad + Jade Le Flay + Trent Rackus Ivy Bar/lounge, Sydney.

4:30pm. $35.

Pachanga Boys Greenwood Hotel, North Sydney. 12pm. $69.

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.

Something Else At The Burdekin - feat: Red Rack’Em & Simon Caldwell + Ian Pooley + Mr. C + Set Mo + Max Graef Burdekin Hotel, Darlinghurst.

4pm. $20.

Spice 22.11 - feat: Tom

Craven + Sam Francisco + Mesan The Spice Cellar, Sydney.

10pm. $25.

Sydney Underground Industry Party - feat: Jonathan Devoy + Nasjap + Vayu + The Abyss Collective + DJ Buddha Valve Bar, Agincourt Hotel, Ultimo. 9pm. free.

SUNDAY NOVEMBER 23 CLUB NIGHTS

Beach Burn #3 - feat: Jopln + Andosound + Haptic + Xan Muller + Standard Behaviour Coogee Beach, Coogee. 2pm. free.

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

8pm. free.

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

Sunday Sessions - feat: Cadell + Tom Kelly + Ocky

Goldfish, Kings Cross. 4pm. free.

Sunday Spice - feat: Stimming + Murat Kilic The Spice Cellar, Sydney.

9pm. $15.

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

MONDAY NOVEMBER 24 CLUB NIGHTS

Crab Racing Scubar, Sydney. 7pm. free.

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

TUESDAY NOVEMBER 25 CLUB NIGHTS

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

send your listings to : clubguide@thebrag.com Young Magic

Oxford Art Factory

Young Magic 8pm. $28.70.

WEDNESDAY NOVEMBER 19 CLUB NIGHTS

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 NOVEMBER 20 HIP HOP & R&B

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

CLUB NIGHTS

Crate Digger Thursdays feat: David Jacyna + Fifi La Frug Play Bar, Surry Hills. 7pm. free.

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

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

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

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

40 :: BRAG :: 589 :: 19:11:14

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

FRIDAY NOVEMBER 21 HIP HOP & R&B

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

CLUB NIGHTS

Bassic - feat: Aryay + Spenda C Chinese Laundry, Sydney.

9pm. free.

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

10pm. free.

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.

G-Wizard Marquee, Pyrmont. 10pm. $18.40.

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

Soul Control 21.11 - feat: Ben Fester + Preacha The Spice Cellar, Sydney.

10pm. $15.

Thank Funk It’s Friday The Ranch, Eastwood.

9:30pm. free.

Wax Wars (Round Three) feat: Cost Vs U-Wish Play Bar, Surry Hills. 8pm. $5.

THURSDAY NOVEMBER 20

Pachanga Boys

Crate Digger Thursdays - Feat: David Jacyna + Fifi La Frug Play Bar, Surry Hills. 7pm. Free.

FRIDAY NOVEMBER 21 Bassic - Feat: Aryay + Spenda C Chinese Laundry, Sydney. 9pm. Free.

Young Magic Oxford Art Factory, Darlinghurst. 8pm. $28.70.

SATURDAY NOVEMBER 22

G-Wizard Marquee, Pyrmont. 10pm. $18.40.

Soul Control 21.11 - Feat: Ben Fester + Preacha The Spice Cellar, Sydney. 10pm. $15.

Wax Wars (Round Three) - Feat: Cost Vs U-Wish Play Bar, Surry Hills. 8pm. $5.

CLUB NIGHTS

Brooke Evers - feat: Royaal + Venuto + Rees Hellmers + DJ Iko + DJ Seiz + MVP + J Reyes + Nick Arbor + Simon Lovell + MC Suga Shane + MC Bones Home Nightclub, Darling Harbour. 9pm. free.

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

Frenzie + C’Man + Juzzlikedat Play Bar, Surry Hills. 8pm. free.

Golden Features Chinese Laundry, Sydney.

9pm. $32.90.

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

Jiggy, Jujubee And April Midnight Shift Club, Sydney.

10pm. $25.

Just Dropped Oxford Hotel, Darlinghurst.

SATURDAY NOVEMBER 22 Golden Features Chinese Laundry, Sydney. 9pm. $32.90.

Marlo Marquee, Pyrmont. 10pm. $28.60.

Pacha Sydney - Feat: Timmy Trumpet Mr. C

+ Reecelow + Glover + Ben Morris + Chris Arnott + Fingers + Jace Disgrace + Nanna Does + DJ Just 1 + Elroy + E-Cats + Eko + Mike Hyper + Nad + Jade Le Flay + Trent Rackus Ivy Bar/Lounge, Sydney. 4:30pm. $35.

Pachanga Boys Greenwood Hotel, North Sydney. 12pm. $69.

Something Else At The Burdekin Feat: Red Rack’em & Simon Caldwell + Ian Pooley + Mr. C + Set Mo + Max Graef Burdekin Hotel, Darlinghurst. 4pm. $20.

Spice 22.11 - Feat: Tom Craven + Sam Francisco + Mesan The Spice Cellar, Sydney. 10pm. $25.

SUNDAY NOVEMBER 23 Beach Burn #3 - Feat: Jopln + Andosound + Haptic + Xan Muller + Standard Behaviour Coogee Beach, Coogee. 2pm. Free.

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

Sunday Spice - Feat: Stimming + Murat Kilic The Spice Cellar, Sydney. 9pm. $15.

thebrag.com

TICKETS ON SALE NOW WWW.MOFO.NET.AU

SWANS, MARDUK, FAUX MO, ZAMMUTO, LI BINYUAN, THE CLEAN, AMIR FARID, BEN FROST, TIM HECKER, JIM MOGINIE, NEIL GAIMAN, DAN DEACON, AVA MENDOZA, ALVIN CURRAN, SHONEN KNIFE, XYLOURIS WHITE, GENEVIEVE LACEY, GABRIELLA SMART, OMAR SOULEYMAN, PHILLIP JOHNSTON, ROBYN HITCHCOCK, ARCHITECTS OF AIR, ATTICUS J. BASTOW, SPEAK PERCUSSION, ANNA VON HAUSSWOLFF, MICHAEL KIERAN HARVEY, SENYAWA + LUCAS ABELA, DEBASHISH BHATTACHARYA, JOHANNES S. SISTERMANNS, ALLAN HALYK & ADAM WOJCINSKI, MOFO SIDESHOW: VIOLENT FEMMES, PAUL KELLY PRESENTS THE MERRI SOUL SESSIONS - FEAT. DAN SULTAN, CLAIRY BROWNE, KIRA PURU & VIKA AND LINDA BULL, YOUNG WAGILAK GROUP & AUSTRALIAN ART ORCHESTRA, AMANDA PALMER & THE TASMANIAN SYMPHONY ORCHESTRA + MORE MEDIA PARTNERS:

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PL Y BAR SYDNEY

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2PM – 3AM HOME TERRACE 101/1-5 WHEAT ROAD, DARLING HARBOUR WWW.SASH.NET.AU BRAG :: 589 :: 19:11:14 :: 41

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15:11:14 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711

wax wars

PICS :: AM

yacht club djs

PICS :: KC

up all night out all week . . .

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john digweed garden party

15:11:14 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999

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s.a.s.h sundays

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14:11:14 :: Play Bar :: 72 Campbell St Surry Hills 9280 0885

16:11:14 :: Home :: 101/1-5 Wheat Rd Darling Harbour 9266 0600 MAR S :: KATR INA CLA RKE :: ASH LEY OUR LOV ELY PHO TOG RAP HER

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LAUNCH YOUR CAREER IN TECHNICAL THEATRE

Have you always dreamed of a career in stage or production management?

How about a career in entertainment lighting or audio?

You could pursue that dream through NIDA’s Bachelor of Fine Arts (Technical Theatre and Stage Management).

APPLICATIONS ARE STILL OPEN. To apply visit www.nida.edu.au/production or contact applications@nida.edu.au

Free Live Shows in New South Wales Saturday November 15 Hotel Brunswick (Brunswick Heads) 3.30pm Saturday November 15 Beach Hotel (Byron Bay) 7.30pm Sunday November 16 Park Beach Hotel (Coffs Harbour) 5pm Thursday November 20 UNSW Roundhouse (Kensington) 7pm Friday November 21 Towradgi Hotel (Towradgi) 7.30pm Saturday November 22 The Bucket List (Bondi Beach) 2pm Saturday November 22 Newport Arms (Newport) 5.30pm Saturday November 22 Manly Wharf Bar (Manly) 10pm Sunday November 23 Watsons Bay Hotel (Watsons Bay) 3.30pm Sunday November 23 Coogee Bay Hotel (Coogee) 7.30pm

for more information www.coronaextra.com.au/livemusic National Tour Partners

facebook.com/coronaextraaustralia

coronaextra.com.au