# 1 3 • 6 . 11 . 1 3 • B R I S BA N E • F R E E • I N C O R P O R AT I N G
TINIE TEMPAH
W H Y A L B U M # 2 “ WA S L I K E A N I G H T M A R E ”
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ELIJAH WOOD
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LIVID
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THE MUSIC • 6TH NOVEMBER 2013 • 3
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“WE FORGOT WHAT WE WERE – WE WERE ABOUT BRISBANE.”
INSIDE FEATURES
- PETER WALSH RELIVES SOME LIVID MEMORIES (P20)
Tinie Tempah
Livid Exhibition Boy & Bear The Red Jumpsuit Apparatus
web
Superchunk High Tension Nancy Vandal Day Of The Dead Elijah Wood The Break The Kill Devil Hills Mick Medew & The Mesmerisers Jarboe
REVIEWS Album: The Bamboos
Live: The Breeders Arts: The Counselor Games: The Stanley Parable
THE GUIDE
Cover: Dom Miller Drink: Bundaberg Rum Travel: Sailing Croatia Local News Gig Guide The End: Sports For Your Summer
CHECK IN WITH BATTLESHIPS AS THEY REPORT EXCLUSIVELY FOR THEMUSIC.COM. AU FROM THE ROAD WHILE THEY TOUR THE NATION WITH BOY & BEAR.
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WE HAVE THE FULL DISSECTION OF THE SECOND SOUNDWAVE ANNOUNCEMENT; WHO YOU NEED TO SEE AND WHY. CHECK IT OUT THURSDAY AT THEMUSIC.COM.AU.
“IT’S IMMEDIATELY OBVIOUS THAT THIS IS A LAVISH SHOW; IT’S ABOUT GRANDIOSITY, MONEY, POWER – THERE’S VERY LITTLE THAT’S HUMBLE.” - DAN CONDON GETS CRAZY WITH THE ONE AND ONLY BEYONCE (P40)
feature “I’M NEVER ONE FOR BANNING FILMS. IT DENIES THE INTELLIGENCE OF THE VIEWER.” - ELIJAH WOOD ON CREATING A STIR ACROSS THE TASMAN (P28)
“YOU DIVE BELOW THE SURFACE AND EVERY PROBLEM OR THOUGHT YOU’RE HANGING ON TO SIMPLY DISSOLVES.”
travel 6 • THE MUSIC • 6TH NOVEMBER 2013
- BENNY DOYLE LOSES HIMSELF IN THE CROATIAN ISLANDS (P46)
THE MUSIC • 3OTH OCTOBER 2013 • 7
CREDITS PUBLISHER
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THIS WEEK THINGS TO DO THIS WEEK • 6 NOVEMBER - 12 NOVEMBER 2013
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TheMusic.com.au have just launched their brand spankin’ new Win tab with great state-by-state freebies up for grabs. Wanna go to gigs and festivals for free? Walk like a VIP? Want free CDs from Australia’s best local and indie bands? Movie tickets, DVDs, even a book or two, we’ve got them all. Head on over to claim your prize.
When Black Bear Lodge held their inaugural Simpsons trivia night the result was groin-grabbingly transcendent, so they’ve decided to do it all again – introducing Man Vs Bear’s The Simpsons Edition Trivia: Second Bite Of The Donut! Grab a team of Springfield-friendly friends and get ready to revisit all of the good times and whacky adventures, next Tuesday evening from 7pm. Embiggen your horizons, this night promises to be completely cromulent or your money back (it’s free entry)!
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Assuage your vinyl fixation this weekend with the inaugural instalment of the new monthly three-venue Brisbane Record fair, now being held on the second Saturday of every month in West End, spread through The Boundary Hotel, The Hi-Fi and The Rumpus Room. There are sellers from all over the state unveiling their wares so there will no doubt be something for everyone, no matter your musical persuasion. Nothing beats tracking down that aural treasure you’ve been jonesing for, so get amongst the action and grab yourself some wax! BRISBANE
relax
celebrate
Reality TV season is almost over. We now have the non-ratings period/ Christmas to look forward to, where we get to watch an infinite amount of Simpsons reruns, as well as American TV shows that never really managed to pick up steam. Tonight is the Big Brother finale, Sunday is the end of Australia’s Got Talent, last week The X-Factor drew to a close. We’ve still got to deal with Recipe To Riches and The Bachelor, but honestly, no one watches Channel 10 anymore anyway.
play
gong
With his stunning second record Overgrown, 25-year-old Londoner James Blake took out the 2013 Mercury Music Prize ahead of a big name field which included the likes of David Bowie, Arctic Monkeys and Disclosure. If you’ve caught any of his Aussie shows this year you know that the award is more than deserved; seriously, what a voice. Hopefully he gets back our way again soon so we can celebrate in style.
Ladies, prepare yourselves, because you’re about to lose your man, again. You thought you just managed to get him back after he played GTA V for a month straight, but you were wrong. He now has Call Of Duty: Ghosts to satisfy his hunger for guns and apocalyptic themes. Not sex though, because who needs sex when you have video games? Right? Hmm...
respect
After battling in Australia’s longest war, it’s great to finally know that the soldiers representing our country in Afghanistan are going to be coming home, for Christmas and for good. Pay your respects to the men and women serving now, and of course all those that have served before them, by heading to a service or your local RSL this Monday during Remembrance Day. Lest we forget. THE MUSIC • 6TH NOVEMBER 2013 • 9
national news news@themusic.com.au KT TUNSTALL
APPLICATIONS OPEN FOR SYDNEY COMEDY FESTIVAL
If you consider yourself a bit of a funny fucker and want to share the stage with some of comedy’s big names, then head to the Sydney Comedy Festival webpage because applications are open for their program next year. Happening from 22 Apr to 17 May, the event is celebrating its tenth anniversary, so be a part of the action by entering before 18 Nov. You could perform alongside like likes of Jim Jefferies for example, who’s already been announced for the 2014 festival.
ROCK SCHOOL IN SESSION OTHER SIDE OF THE WORLD
Pushing the envelope with her latest alt-country outing Invisible Empire // Crescent Moon, KT Tunstall proudly shows yet another side of her creative mind, this latest collection of tracks walking you deep into the desert with swagger and charm. In our parts next year for Bluesfest, the Scottish songwriter has just announced a run of headline east coast dates, playing 23 Apr, Lizottes, Newcastle; 24 Apr, Lizottes, Central Coast; 25 Apr, Lizottes, Dee Why; 26 Apr, The Basement, Sydney; 29 Apr, Melbourne Recital Centre; and 30 Apr, The Zoo, Brisbane. Proudly presented by The Music.
Longstanding indie favourites Yo La Tengo have just announced a trio of headline shows following their performance at Golden Plains, 8 Mar. The New Jersey trio will present some encore performances of their An Evening With... shows – twin set events that cover the whole gamut of their extensive catalogue – at Corner Hotel, 9 Mar; The Zoo, 11 Mar; and Sydney Opera House, 13 Mar.
A TOAST TO TIME SPENT
Right now The Gin Club are recording a fifth record, but before we get some new music the band want to look back at the past. Help the Brisbane folk rock collective celebrate ten glorious years when they tour the nation next month: Bridge Hotel, Castlemaine, 5 Dec; The Curtin, Melbourne, 6 Dec; Goodgod Small Club, 7 Dec; The Junkyard, Maitland, 8 Dec; Cafe Le Monde, Noosa, 12 Dec; Black Bear Lodge, Brisbane 13 Dec; The Spotted Cow, Toowoomba, 14 Dec; and Mojos Bar, Fremantle, 21 Dec.
FLEETWOOD MAC CANCEL OZ TOUR
Due to illness, the great Fleetwood Mac have had to cancel their 14-date Australian tour, with founding member John McVie now scheduled for cancer treatment during the next few months. If you booked online or over the phone you will receive an automatic refund to the credit card used to purchase tickets sometime in the next couple of weeks. If that credit card has been cancelled since buying tickets, is no longer valid or you bought physical tickets, please contact your point of purchase. We wish McVie a smooth recovery.
YOUTH IN TROUBLE
For all the young peeps – 13 to 17 years – that thought a Future-style dance experience was going to pass them by – think again. Good Life is going national this year, taking place 28 Feb, RNA Showgrounds, Brisbane; 3 Mar, Arena Joondalup, Perth; 7 Mar, Flemington Racecourse, Melbourne; and 9 Mar, Royal Randwick Racecourse, Sydney, and the line-up is class. The full bill features Deadmau5, Macklemore & Ryan Lewis, Hardwell, Rudimental, Knife Party, Kaskade, Porter Robinson, Baauer, Dada Life, Arty, Chuckie, R3hab, Martin Garrix, Will Sparks, Kerser, Toneshifterz, Timmy Trumpet, Uberjak’d, Slice N Dice, Will K and many more, although certain artists won’t appear at Brisbane and Perth.
“BE COOL AS YOU WANT ONLINE, IN REAL LIFE YOUR BREATH STINKS”
HATERS GOING TO RADIATE @MRJACOBBANKS. 10 • THE MUSIC • 6TH NOVEMBER 2013
CARAVÃNA SUN
RUMBLING ALONG
Their music is a gorgeous mash-up of sounds – ska, surf, gypsy, rock – that seem to encapsulate summer, so what better time to check out Sydney’s Caravãna Sun that during the hot season, preferably with a cold one in hand. Proudly presented by The Music, after launching 29 Nov, Oxford Art Factory, Sydney, you can catch the group at one (or more) of their many shows coming up: 9 Jan, The Espy, Melbourne; 10 Jan, The Loft, Warnambool; 11 Jan, Torquay Hotel; 16 Jan, Mojos Bar, Fremantle; 2 Feb, Indi Bar, Perth; 13 Feb, Northcote Social Club, Melbourne; 14 Feb, Transit Bar, Canberra; 15 Feb, Beach Road Hotel, Bondi; 20 Feb, The Rhythm Hut, Gosford; 21 Feb, The Small Ballroom, Newcastle; 28 Feb, Beach Hotel, Byron Bay; 1 Mar, Solbar, Maroochydore; and 2 Mar, Brunswick Heads Hotel.
national news news@themusic.com.au NEKO CASE
THE NERVE
GIVING HERSELF AWAY
Overjoyed by the response given to her latest body of work, The Worst Things Get, The Harder I Fight, The Harder I Fight, The More I Love You, American chanteuse Neko Case will present her new music with a series of dates set to highlight the urgency and longing of the release. Case plays her first Australian shows in four years: 27 Feb, Fly By Night, Perth; 2 Mar, Corner Hotel, Melbourne; 3 Mar, Sydney Opera House; and 5 Mar, The Hi-Fi, Brisbane.
KARNIVOOL
STRIKING IT RIGHT
Melbourne-via-Sydney-via-Prague heavy-hitters The Nerve – featuring the considerable talents of Lucius Borich (Cog), Davarj Thomas (Pre-Shrunk) and Ezekiel Ox (Mammal) – will be taking their debut record out on the road over the coming months. Let the band roar into your life when they perform: 21 Nov, Cambridge Hotel, Newcastle; 22 Nov, Rad Bar, Wollongong; 23 Nov, Annandale Hotel, Sydney; 28 Nov, Karova Lounge, Ballarat; 29 Nov, Ding Dong Lounge, Melbourne; 5 Dec, The Northern, Byron Bay; 6 Dec, The Tempo Hotel, Brisbane; 7 Dec, Kings Beach Tavern, Caloundra; 13 Dec, Barwon Club, Geelong; 19 Dec, Mojos Bar, Fremantle; 20 Dec, Prince Of Wales, Bunbury. The full tour is proudly presented by The Music.
HARDCORE PUB TRASH
Things are going to get messy when King Parrot and Gay Paris treat the east coast to some double headers next month. Expect all sorts of things your mum would hate and give yourself a little spike of adrenalin leading into the holiday season at one of the following shows: 6 Dec, Titanium, Commercial Hotel, Nambour; 7 Dec, Thriller, Coniston Lane, Brisbane; 13 Dec, Karova Lounge, Ballarat; 14 Dec, Northcote Social Club, Melbourne; 19 Dec, ANU Bar, Canberra; 20 Dec, Annandale Hotel, Sydney; 21 Dec, Re-Union Festival, Entrance Leagues Club; and 22 Dec, Hyfest, Dicey Riley’s Hotel, Wollongong. Extreme metal blasts and filthy rock swagger – it’s a match made in heaven.
TWO WORLDS COLLIDE
They’ve both dropped ARIA chart toppers (or thereabouts) this year, are both currently OS playing sold out shows and are both fairly comfortable with their respective places at the top of the Aussie hard rock food chain. Indeed, Karnivool and Dead Letter Circus have a whole lot in common, so it makes total sense that they’d partner up for the Polymorphism tour next year. Twist your mind at the following dates: 8 and 9 Jan, Palace Theatre, Melbourne; 11 Jan, Marquee, Brisbane Showgrounds; 12 Jan, Coolangatta Hotel; 16 Jan, Newcastle Panthers; 17 Jan, Roundhouse, Sydney; 19 Jan, Waves, Wollongong; and 23 Jan, Red Hill Auditorium, Perth.
NO FRILLS NEEDED
Packing light on his next run around the countryside, Josh Pyke is showing his acoustic guitar over his shoulder to walk forward as a one-man wolf pack. The suitably titled Lone Wolf Tour comes off the back of his top ten ARIA album The Beginning And The End Of Everything, and takes place 15 Feb, Old Museum, Brisbane; 22 Feb, The Factory Theatre, Sydney (all ages); 28 Feb, Twilight Series, Melbourne Zoo (all ages); 12 Mar, Live At The Quarry, Perth; 21 Mar, The Small Ballroom, Newcastle; and 22 Mar, Zierholz, Canberra.
“MY EXISTENTIAL ANGST LEVEL JUST WENT FROM SETH COHEN TO LEONARD COHEN” TIME EZRA KOENIG [@ARZE] STARTS WORKING ON SOME SONGS THEN.
UPROOTED SOULS
On the back of their smashing third record From The Ages, San Diego’s Earthless will visit us and play alongside fellow Cali lads, The Shrine, the skate rats from LA who are earning considerable love for their garage rock sounds. They play: 28 Dec, Rosemount Hotel, Perth; 29 Dec, Mojos Bar, Fremantle; 30 Dec, Barwon Club, Geelong; 31 Dec, Eureka Rebellion Trading, Melbourne (meet and greet 12pm-2pm) and NYE Fest, Corner Hotel (evening); 1 Jan, The Basement, Canberra; 2 Jan, TBC, Newcastle; 3 Jan, Crowbar, Brisbane; 4 Jan, The Hi-Fi, Sydney; and 5 Jan, The Hi-Fi, Melbourne.
REIGNING RED FURY
Featuring three current King Crimson members, The Crimson ProjeKCt (see what they did there) will be turning the dials to epic when they roll out their three-hour prog spectacular early next year. The night plays out in three parts – a trio of hour-long sets from Stick Men, Adrian Belew Power Trio and The Crimson ProjeKCt – and happens at the following venues: The Hi-Fi, Melbourne, 9 Jan; Manning Bar, Sydney, 10 Jan; The Hi-Fi, Brisbane, 11 Jan; and Fly By Night, Fremantle, 14 Jan. THE MUSIC • 6TH NOVEMBER 2013 • 11
local news qld.news@themusic.com.au YESYOU
ACTION BRONSON
BRING ON THE BEEF
SAND IN YOUR PANTS
Taking place at Sandstorm Beach Club, situated in the QSAC precinct of Nathan, Beach Day Out is set to make you forget you’re in the city, for one day at least. Featuring the likes of YesYou, Major Leagues, Thelma Plum, Noah Slee, Frankie, Willy Angelo and The Basement Hustle and Palindromes, it offers a solid snapshot of the cool musical shiz coming out of Brisbane right now, while vintage markets and gourmet food and drink stalls will make sure you’ve got plenty to enjoy away from the speakers, too. The brand new event happens 30 Nov, with tickets available now through Eventfinder for $65+BF.
GO ON, CHEAT YOURSELF
After a large first birthday celebration, Cheated Hearts returns to Coniston Lane on the 15 Nov with a deep bill of DJs set to offer the finest cuts of beats from the big spinning wheel. Catch Jane Doe DJ, Frankie Trouble, The Gatling Gun, Cvlt Teens and Virtual Illusion; tenner entry on the door from 9pm.
ASTOUNDING ALIASES
The triple Grammy Award-winning Stuart Price (bet you didn’t know that either), better known to dancefloors as Jacques Lu Cont, will be performing a one-off show in Brisbane at Oh Hello!, 21 Nov. Having produced and remixed for the likes of Madonna, The Killers, No Doubt and our very own Kylie, the British beat man is one of the most in-demand dance names on the planet, continuing to push the envelope with regards to his own sounds and those that are being created around him. Tickets are starting at a barely legal $10 through Moshtix.
LET’S GET LOCAL
As well as all the big names such as The Offspring and Parkway Drive, Warped Tour also likes to showcase some of the epic young talent we have just bubbling under the surface waiting to explode. That’s why every festival date this year will feature three local acts, with Brisbane getting the welcomed additions of Aversions Crown, Take Us To Vegas and D At Sea. Get to RNA Showgrounds early on 29 Nov to catch the acts; tickets still available through Oztix.
DJANGO UNCHAINED
Celebrating the music of Django Reinhardt and Stephanie Grappelli, OzManouche will once again take place at the Brisbane Jazz Club from 28 Nov to 1 Dec. A talented list of local and international names feature on the bill this year, including Lollo Meier from Holland who’ll be partnering up with German-based violinist Fiona Pears, Leigh Jackson, Furbelows ft Kelsey James, Monsieur Swing and the dastardly Date Brothers. Various concerts will be held across the four evenings, as well as a special brunch showing on Sunday, while films, instrument displays, jam sessions and master classes will also take place. Head to the venue website for tickets.
“HAVE YOU TRIED AUSTRALIAN WEATHER? IT COMES IN THREE FLAVOURS: FIREBALL, CLOUDBURST AND ICY BLAST” NONE OF WHICH SOUND THAT INVITING @AARONKEARNEYAUS. 12 • THE MUSIC • 6TH NOVEMBER 2013
Because a bill featuring Eminem, Kendrick Lamar, J Cole and 360 wasn’t sizeable enough, the crew behind Rapture have just announced the addition of your favourite gritty Queens MC Action Bronson, a former XXL Freshman Class cover star and one of the hottest MCs currently clutching the mic. Hear some new AB shit before the release of his official studio debut next year; he joins proceedings at Suncorp Stadium, 20 Feb. Tickets are on sale now via Ticketek.
FLESHGOD APOCALYPSE
THE STENCH OF FLESH
Both bands were birthed from cities of ruins (Rome, Athens), and now Italy’s Fleshgod Apocalypse and Greece’s Septicflesh are looking at ruining Brisbane in 2014. Nothing will prepare you for the sonic assault that will take place 14 May, The Hi-Fi when two of Europe’s finest symphonic death metal exponents rip our city apart. Get ready to get extreme.
BREAKING THE FOLD
After announcing the mind-bending double bill that is Feelings vs Philadelphia Grand Jury, things are now getting a little more streamlined for the tour with The Creases – a band that doesn’t feature either Berkfinger, MC Bad Genius or Dan W Sweat – getting added as the opening act for their show at The Rev, 5 Dec. Proudly presented by The Music.
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MCLEOD ON THE MOVE
DANCE GAVIN DANCE
For those checking out Sarah McLeod this Thursday night, let it be known that the gig has moved from The Manhattan Club to The Tempo Hotel. McLeod will be in town to show off her 96% Love Songbook EP, and will be supported at the show by Bamford Cook and Beth Lucas. Tickets are still available via Oztix for $23.50.
BIG TOP ROCK
They’ve performed to rowdy crowds everywhere from Central Park, NYC to WOMADelaide, and now Babylon Circus are set to light up our region over the new year period. Founded close on twenty years ago in Lyons, France, the reggae collective blend together ska, skank rock and rocksteady, creating a sound that’s quite simply electrifying – a sonic circus if you will. The group perform at Woodford Folk Festival, Woodfordia, 29 Dec to 1 Jan, before playing Solbar, Maroochydore, 3 Jan; The Brewery, Byron Bay, 4 Jan; and Alhambra Lounge, 5 Jan.
ENJOY THE SILENCE
The Big Day Out is excited to welcome back the Red Bull No Noise Nightclub once again in 2014, so get set to grab your headphones and expect the unexpected when special guests from the BDO line-up spin your favourite party jams. The Big Day Out takes place 19 Jan, Metricon Stadium and Carrara Parklands, Gold Coast.
SHIT BE MOVING
The room is going to be spinning at a rate of knots when American post-hardcore experimentalists Dance Gavin Dance perform at Thriller this Saturday. Add to the bill Built On Secrets, With Sunsets and The Brave, an opportunity to win a brand new PS3 with Call Of Duty: Ghosts and some jungle juice cocktails and you’ve got one hell of a shindig on your hands. Tickets on the door. Dance Gavin Dance will also play an all ages gig on Sunday at Tall Poppy Studios.
THE FRIGHT INSIDE
Out of a filthy Adelaide garage emerges Hydromedusa, who are heading to the Sunshine State for the very first time. On 15 Nov, they play Guilt Retreat, Greenslopes Bowls Club, before double dipping on 16 Nov, performing a daytime in-store at Tym Guitars and an evening set at Fat Louie’s prior to finishing a weekend of depravity at Rock N Roll BBQ, 633 Ann with King Kongo and more on 17 Nov.
UNTIL THE SUN GOES DOWN
More than used to a life crisscrossing the globe, Scottish house producer Chris Lake will be jetting into the country next month for a few late nights. Expect to hear a selection of smothering cuts from his imprint Rising Music, as well as choice tunes from his personal catalogue when the 31-year-old plays Family Nightclub, 13 Dec and Platinum Nightclub, Gold Coast, 20 Dec.
PETE MURRAY
FEEL THE LOVE
Another artist that’s getting nostalgic for the past is Pete Murray, who’ll be touring his multi-platinum breakthrough record Feeler, celebrating ten years since the album’s release by running through the full tracklist, as well as chucking in some other fan favourites if you’re nice. Performing with members of his original band The Stonemasons as well as a live string section, you can catch Murray 22 Feb, The Tivoli, Brisbane.
EIGHTH TIME’S A CHARM
The monthly Guilt Retreat night – an extension of 4ZZZ radio show A Guilt – is happening again, 15 Nov at Greenslopes Bowls Club. The Adults, Blank Realm, Dag, Eggvein, Gerald Keaney and the Gerald Keaneys, Hydromedusa, The Real Numbers, Shovels and Tyvek make up the bill for this eighth instalment, with tickets $12+BF via Oztix. 14 • THE MUSIC • 6TH NOVEMBER 2013
“I’M A SUCKER FOR CORNROWS AND MANICURED TOES :)”
@RYANHEMSWORTH, YOU’RE THE ONLY ONE.
ROARING TO THE MOON
Buzz-worthy Canadian act Half Moon Run are coming back to the country where it all began for them 12 months ago, and are set to take part in Woodford Folk Festival, Woodfordia, 27 Dec to 1 Jan before headlining their own shows at Solbar, Maroochydore, 2 Jan; Old Museum, 3 Jan; and The Northern, Byron Bay, 4 Jan. They’re also excited to announce that Sydney’s Tigertown – another band making some serious traction in foreign markets – will support at all dates. Don’t miss out on these special evenings – tickets are on sale now, with the tour proudly presented by The Music.
THE YOUNG AND TALENTED
Like there wasn’t already enough good shit on during Valley Fiesta long weekend, Capulet is throwing open its doors on 24 Nov for a Sunday session of epic proportions, headed up by German wizard David August. Get in from 1pm to also hear the likes of Flex Cop, Adam Swain, Bowtie, Jawgoh, Manesh Magan and Gestalt. Limited first release tickets are on sale now through the Pulse Radio website for $15+BF.
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16 • THE MUSIC • 6TH NOVEMBER 2013
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BOUNCE BACK
Words Cyclone. Photos Supplied by Warner Music Australia.
Although he’s known as “Britain’s smartest rapper”, Tinie Tempah is aiming for the international level. Cyclone also discovers he’d like to maintain some privacy, thank you very much.
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inie Tempah (aka Patrick Okogwu) drove Diplo crazy with his trappy 2 Chainz-sprung comeback Trampoline, insisting the US producer tweak it over 30 times. But the Brit MC’s tirelessness has paid off with him scoring another smash. Now he’s dropping his long-awaited second album, Demonstration. The ever-charming Okogwu, whom a conference administrator comically calls “Tinny”, concedes that his perfectionism delayed the follow-up to 2010’s hit-laden Disc-Overy. He faced logistical challenges, too, working with such guests as Big Sean, pal Emeli Sandé, and Swedish House Mafia singer John Martin – plus studio cohorts old (Labrinth, Naughty Boy) and new (The Chemical Brothers’ nerdy Tom Rowlands). “It was like a nightmare getting everyone together – and getting everyone’s vocals in and beats in,” says Okogwu, just returned from Norway. Nonetheless, he “really, really enjoyed” recording Demonstration. Okogwu, still only 24, was born in South East London to Nigerian immigrant parents intent on leaving behind the council estate. Raised in aspirational middle class surrounds, and attending Catholic schools, he showed academic potential. Yet Okogwu discovered grime – and musical distraction – via So Solid Crew, best remembered for 2001’s UK chart-topper 21 Seconds. The teen rapper built a profile with buzz mixtapes,
was also determined to exhibit his love of diverse genres, indie included. He constantly checks out music, rattling off as current faves Drake, Haim and Lorde. The dubstep kid digs Blake’s remixed Life Round Here with Chance The Rapper – but rates Los Angeles’ indie MC Dom Kennedy. If anything, Okogwu hopes that Demonstration allows him to “transcend” perceptions of his being merely a hip hopper. He’s an artist. “The ambition was just to make some real classic songs that could stand alongside all of my favourite artists from all different types of genres – and that wouldn’t be seen as, ‘Okay, this is called that because it’s from a British rapper or a rapper from the UK or even a rapper in general’.” The Plumstead native repped urban Britannia
Elsewhere on Demonstration Okogwu lets down his guard, with Tears Run Dry a Drake-like confessional. The broody Heroes – among his favourites, with Naughty Boy and Birmingham alt-soulstress Laura Mvula – actually has a social slant. Okogwu accepts that his success means that listeners are curious about him. “It was more than the music – people started to become interested in my life and other aspects.” It’d be “wrong and unfair” not to share his experiences – or “regrets and insecurities” – on record, he says. “I did definitely feel a certain kind of obligation – and it felt good. It wasn’t necessarily an easy thing to do, to be honest, but I’m happy that I did. Hopefully, the more and more I progress as an artist, I can continue to do it more and more.” However, Okogwu, who in 2011 published Tinie Tempah: My Story So Far, is anxious to maintain some privacy. Increasingly, rappers are targeted by paparazzi (ask Kanye West), but Okogwu evades them. “It’s a conscious effort. It all depends on what kind of person you are. I saw that a lot of people who do get that kind of attention do really court it. One thing I heard someone say before is that a lot of problems with people who are in that position, in the initial stage of their career they felt like they needed that – and so they courted the idea of it and really entertained the fame-chasers of the paparazzi. Then they got to a level where they decided it was getting in the way of their life and they decided they didn’t want it any more – but it’s not as simple as that. So I’ve tried to be very cautious from the beginning. I make sure that, if I do get a picture taken, it’s when I’m out and when I’m actually doing something that’s to do with moving myself forward and my career – as opposed to being with a loved one or going shopping or something random, just for people’s perusal. I’ve not really opened
“THE AMBITION OF WHAT I’M TRYING TO DO IS VERY MUCH A GLOBAL THING.” tracks, gigs, YouTube footage, and even a blog, signing to Parlophone. Okogwu’s ascendence was rapid: his first single, the Labrinth-helmed drum’n’bass banger Pass Out, shot to number one in the UK. He cameoed on Swedish House Mafia’s Miami 2 Ibiza. Okogwu won a Brit for Best British Breakthrough Act, with Disc-Overy nominated for the Mercury Prize (which went to PJ Harvey’s Let England Shake). Between LPs, he popped up on hits from Labrinth (Earthquake), Rita Ora (RIP) and Calvin Harris (Drinking From The Bottle). Then there was the stop-gap single – really an American chart bid – Till I’m Gone with Wiz Khalifa. A newly confident Okogwu had extravagant plans for Demonstration, its title suggestive of an “instruction manual” and his self-realisation, rather than anything overtly political. In interviews he speculated about outlandish collaborations with the elusive Adele, picky James Blake, and Aussie Boy & Bear. At the same time, Okogwu wanted his sophomore to have more of a live electronic bent. His ideas evolved – and solidified. “Basically, as I was making the album, it started becoming more and more about an actual song,” he says. Okogwu was struck by how Disc-Overy’s inspirational Written In The Stars, his Australian (and US) breakthrough, “resonated” with audiences, encouraging him to pen numbers like the festival-friendly Children Of The Sun (featuring Martin). “That was one of the first songs that I made that I feel like really touched a lot of different kinds of people all over the world,” he notes of Written In The Stars, executed by Swedish producer iSHi and with Bostonian Eric Turner’s hook. Okogwu, who once toured Australia with Irish rockers The Script, 18 • THE MUSIC • 6TH NOVEMBER 2013
at the 2012 Olympic Games closing ceremony – and does so again on Demonstration, sparring with Dizzee on Mosh Pit. “I feel like that’s one of the big parts of my identity – and I think it’s definitely helped me stand out on an international level. [But] one thing I want everybody to realise is that the ambition of what I’m trying to do is very much a global thing. Any artist – or most artists, anyway, who I really respect or admire – regardless of where they’re from, they’re just seen as international artists. Their name is more important than where they come from – and that’s exactly what I wanna be. You know, I would never, ever consciously think about changing in that sense, anyway... The core of it is always British.”
up that floodgate to kind of let people peer into my life like that. I believe that some things should be private. You should fight for at least a bit of privacy, ‘cause I think that’s all part of having a decent quality of life.” Okogwu has been dubbed “Britain’s smartest rapper” – dude was a speaker at the Oxford [University] Union – and he reads. Today he finished Paulo Coelho’s “amazing” allegorical tome The Alchemist, which prompted him to reflect on his own achievements as that Lucky Cunt. As “a creative person all ‘round,” he’s keen to explore new endeavours. In addition to developing the label Disturbing London, the dapper Okogwu, hailed a fashion icon by GQ, has a clothing line (complete with chinos!) stocked in the UK department store Selfridges. He’s sensible about it. “Obviously music is the main focus of all of this.” Not that it has prevented him from buffing up in the gym... The star will fly back here for Future Music Festival, with a live band. Fans can expect to hear “a lot of new songs,” Okogwu promises. He’s putting together a setlist for a UK tour commencing in December. And Okogwu considers Australia a second home. “Australia’s always been great for me – it’s definitely one of those places internationally that has supported me from very early on.”
WHAT: Demonstration (Parlophone/Warner) WHEN & WHERE: 1 Mar, Future Music Festival, RNA Showgrounds
THE GREAT PROCRASTINATORS Pop artists have long procrastinated with albums. Guns N’ Roses’ Chinese Democracy is infamous, taking the band 15 years and reportedly costing US$13 million. That’s some appetite for distraction... But, even as 2013 closes, there’s no sign of La Roux’s follow-up to 2009’s eponymous debut. Ironically, last year the UK electro-popsters Daft Punk bunkered down in the studio with Chic guitarist Nile Rodgers – and now are receiving all the credit for resurrecting his career. But, really, MCs like Tinie Tempah, who was supposed to drop Demonstration in 2011, have no excuse for delays. After all, in the high-turnover urban world, acts have huge teams of hitmakers to help them. Rihanna puts out an album almost annually. To be fair, Okogwu had to contend with label turmoil as Parlophone was sold to Warner. And he has nothing on other urban legends. G-funk fans are unlikely to ever hear Dr Dre’s Detox – reputedly to be his final album and in the pipeline since 2001. In later years the rapper/producer, again involved in Eminem’s The Marshall Mathers LP 2, has been absorbed in branding his (pricey) headphones. Key neosoul acts have ostensibly burnt out. Lauryn Hill’s 1998 The Miseducation Of Lauryn Hill is a classic but, excepting her MTV Unplugged No. 2.0, with its sketchy (and preachy) all-new songs, she’s never followed it. The mum of six, who’s railed at the industry, served jail time over tax issues this year. Before that, she offered the song Neurotic Society (Compulsory Mix) – and latterly Consumerism, possibly off a comeback entitled Letters From Exile.
exhibition
LIVID UP! The State Library’s Live! Queensland band culture program is curating an exhibition of artefacts and memorabilia from Brisbane’s pioneering Livid Festival. Founder Peter Walsh gives Steve Bell an AAA pass to revisit one of Queensland’s most culturally significant homegrown events.
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and community – and of course brilliant music – that had made it so special from the outset.
And for many years it was Brisbane leading the way in the Australian festival stakes with its trailblazing and iconic Livid Festival. Beginning humbly in 1989 as a small event at the University Of Queensland and featuring a handful of Brisbane-affiliated acts – chiefly The Go-Betweens, Chris Bailey, Ups & Downs and Died Pretty – the Livid Festival quickly became an annual event and a vital part of the Queensland music calendar. It grew incrementally over the years, setting up home at Davies Park in West End for much of the ‘90s before eventually outgrowing that venue and moving to the vast expanses of the RNA Showgrounds in 1997 where it remained until its final instalment (to date) in 2003. It blossomed from around 2,000 punters at the inaugural bash to over 50,000 at its zenith, without ever sacrificing the integral elements of culture
There’s currently a Livid Festival exhibition running at SLQ as part of the ongoing Live! Queensland program, and festival founder and promoter Peter Walsh has been going through his archives to dig up photos and memorabilia from Livid’s entire lifespan, dredging up years of memories in the process. “It’s been really weird,” he smiles. “It’s been a little bit emotional, like looking in a bubble back at yourself. It was a really different time – I think the festival thing now is quite ridiculous, but it was different back then.”
hese days the festival experience has become almost ubiquitous, virtually a rite of passage for any young adult with even a passing interest in music, abetted by a seemingly endless array of diversely focused events for them to choose from. But once upon a time in the not-too-distant past things were vastly different; the Australian music landscape wasn’t yet littered with overpriced and overregulated package experiences, and it was left to a few budding entrepreneurs with intrepid spirit and a vision to forge the way forward.
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Walsh and his then-partner both borrowed money from the UQ Student Council to fund the first Livid – ostensibly for car loans – and worked like Trojans to make it work, Walsh infamously handing out 50,000 flyers himself to get the concept out there. “Looking back I can’t believe that I had the balls to go ahead and do it – you wouldn’t do it now; it would be insanity,” he laughs. “We borrowed that money – 4,000 dollars each – but no one ever asked the question, and I don’t think we asked ourselves the question, we just didn’t think about it; ‘What if we don’t sell enough tickets?’ It was like, ‘Who cares?’ You’re nineteen, you’ve got the rest of your life ahead of you, you’re still at uni – who cares? We got to meet The Go-Betweens!” Importantly, Livid retained its intrinsically Brisbane feel as it grew – always including a strong representation of local bands amongst the starstudded Australian and international line-ups – and also its focus on incorporating art installations into proceedings, giving the festival a heady and esoteric vibe unparalleled in today’s marketplace. “We did pretty well, because there wasn’t 37,000 festivals. We were the first festival in the country, I remember going to see [promoter and eventual Big Day Out co-founder] Ken West back before I knew him well, and by the end of the meeting he was telling me that
I should do a wine and cheese, because a festival just wasn’t viable – ‘It won’t work in this country, it can’t happen.’ All of these people had tried and failed, and for us to be the first was a really big thing. Unfortunately now there’s thousands, and I don’t want to say that the quality’s not as good – even though it’s probably not – but I think there’s been a real change in the motivation. I think why we did it and why we were successful was different to why other people are doing it now and why they’re successful. Money was never the motivation for doing Livid – it was about standing on the side of stage with Lou Reed singing Perfect Day with tears in my eyes, looking at the overflowing crowd all singing along and thinking, ‘I did this?’ It made you feel really good.”
“WHO CARES? WE GOT TO MEET THE GO-BETWEENS!”
In its final years of 2002-3 Livid expanded unsuccessfully into Melbourne and Sydney, and after calling a temporary hiatus in 2003 has failed to rematerialise in the marketplace, much to Walsh’s chagrin. “I don’t recall those final years with a whole lot of fondness,” he admits. “We made a decision that was really stupid, and every motivation I’ve been talking about was thrown out the door. More festivals were coming onto the market, and getting bands was harder, but it was still a bad decision. We were convinced by third parties that to remain in Brisbane would eventually lead to death because we wouldn’t be able to secure the talent anymore to keep the event sustainable. We were starting to get to the point after 15 years where it wasn’t as enjoyable and we were convinced [by others] that it was time to get serious, but it was fucking horrible. “We forgot what we were – we were about Brisbane. I think it was a great event for the time and I’m very disappointed in how it finished because I would have liked to finish it on better terms. Perhaps one day I will. Next year is the 25th year and that’s a milestone, maybe it’s worth a try of having a one-off anniversary just to celebrate the fact that it happened. Who knows?” WHEN & WHERE: Now until 17 Nov, Infozone, Level 1, State Library of Qld, South Bank THE MUSIC • 6TH NOVEMBER 2013 • 21
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BOY & BEAR
It’s no secret that the debut album from Sydney’s Boy & Bear was an absolute behemoth; you would think it would lead to a buttload of pressure for their second album. But as drummer Tim Hart tells Ben Preece, everything was done exactly their way.
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ithin mere weeks of finishing work on their debut album Moonfire, Dave Hosking was hit by what he calls a creative tsunami. As the lead songwriting force behind the internationally renowned juggernaut that is Boy & Bear, it came as somewhat of a relief, especially following what the band would admit to as not a great or incredibly fun personal experience. This time, however, when approaching sessions for what would become their second album – Harlequin Dream – they simplified and looked for recording options closer to home. “We’re really stoked,” Tim Hart reveals. “The record took about eight months to make, but I guess in that time we were able to completely satisfy ourselves. The process was about two or three weeks of pre-production and then we’d work up three or four songs and go into the studio and record those and then have some time off – a week to a week and a half – and then we’d repeat the process. In doing that, we thought we wouldn’t exhaust our creative energy in the studio and we’d be able to reset that every time. As we were at home in Sydney, it gave us the luxury to do that, as opposed to being overseas and having to do it all in one hit. For us, we were still pretty knackered at the end of it but it ended up giving us the freedom to do it like that; to leave nothing in the tank, so to speak, in regards to creativity and to experimentation with different sounds. And to be honest, with different songs also – the first single Southern Son, for example, we recorded it twice because we didn’t feel like we captured it right the first time. That just wouldn’t have happened on Moonfire. “Going home to your own bed at night is a pretty cool thing.” He laughs. “And then getting up and having breakfast at your favourite cafe or even if there was a birthday on, especially doing the overdubs after the tracking was done, if someone had a birthday or whatever, you could shoot away from the studio for half a day.” Keeping the Sydney legacy truly alive on Harlequin Dream, the band jumped into the legendary Alberts Studios at Neutral Bay with equally notorious 22 • THE MUSIC • 6TH NOVEMBER 2013
producer extraordinaire Wayne Connolly. “He is such a good guy,” Hart enthuses. “There was an issue for us on the first album, we felt like Joe Chiccarelli was trying to change too much of what we did and who we were. Wayne, ironically, had a massive
from Hosking as “he’s the guy that’s got to sing them”. “I think he wrote a lot more from personal experience,” Hart reveals. “Not entirely, but far more from that personal experience. I guess the touring lifestyle means that you’re separated from your friends and family back home, so things can become difficult, difficult to manage relationships. It’s a funny trade-off of sorts – it gives you material for songwriting but makes it hard to deal with. “I think it’s the curse of the new band but you’re always going to be compared to someone – fairly or unfairly – because people need to gauge how to describe it. The
“IT’S THE CURSE OF THE NEW BAND THAT YOU’RE ALWAYS GOING TO BE COMPARED TO SOMEONE.” impact on the sound of the album – melodies and counter-melodies – but unlike Joe, didn’t try to force it upon us. It was just there and he’d offer ideas and suggest we at least try them.” Hosking might be the lead songwriter, he will give up one of his tunes for critical assessment by the band. Despite all the others being rather fine tunesmiths themselves, Hart insists that the bare bones of each and every song must come
fact that we were compared to Fleet Foxes probably had a lot to do with the fact that we were big fans of the same sort of music they were – I don’t think that has changed for us. But what has changed is that we’ve moved along, it’s our second record and we didn’t feel a whole lot of pressure to do anything left of centre. We wanted to write nice ‘70s pop music – that’s what we were listening to. We were listening to a lot of The Eagles, Fleetwood Mac and America and all this stuff we were loving – the stuff, for some reason, you keep putting on in the tour van. I guess the curse of the first album had worn off so we just went and made that.” WHAT: Harlequin Dream (Island/Universal) WHEN & WHERE: 7 Nov, Beach Hotel Byron Bay; 8 Nov, Coolangatta Hotel; 9 Nov, The Tivoli.
ONE SIZE FITS ALL
The Red Jumpsuit Apparatus answer to no one, frontman Ronnie Winter tells Mitch Knox.
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en years into his tenure as the vocalist for Floridian post-hardcore four-piece The Red Jumpsuit Apparatus, Ronnie Winter seems sure of one thing: getting rid of his band’s label was the best decision they ever made. Catching up with The Music from the road in the United States, Winter says that not being restricted by any executive expectations has opened up countless doors for the group, not least of which is their upcoming Choose Our Adventure tour, for which the destinations were decided via a fan-driven ticket-purchasing scheme. “We’re kind of a wacky band,” Winter explains of the gimmick. “We don’t have a label and we don’t have
funding or any kind of, like, structure, but we can do whatever we want – and the guy came to us with this idea, which was the whole [Choose Our Adventure] theme behind the tour. We thought it was great, and a lot of bands aren’t willing to risk something like that, because sometimes it might backfire, but we don’t really care – we were gonna give it a shot and see how it goes.” Carefree as he might sound, Winter is in truth the frontman for a diligent group of people who are scheduled to record their fourth full-length album “right after” their impending tour. “We’re always focused,” he says, dismissing the notion
the band’s attentions are spread too thinly. “You need to have a lot of foresight. Some things you can’t foresee – there’s always going to be surprises and hurdles that you’re not prepared for, but in a general sense we’re always looking about two years ahead of the game.”
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Still, Winter maintains, the only reason they’re in a position to do that in the first place is because of their freedom as artists. Looking back on the past ten years, Winter says, “After we left our label, we had 100 per cent control of everything. It’s a lot easier to maintain a plan, because there’s no one telling you what to do. Anyone who’s self-employed understands that. When you’re on a label it’s a little more difficult because they have their interests and we have our interests and everybody’s trying to make everybody happy, which I understand, and they understand, but sometimes the band’s interests don’t match the labels, so that creates a conflict not only in creativity and direction but also just scheduling. “We had to pull out of Soundwave one year because our label wanted us to make a record, but we wanted to do Soundwave – so that’s an example right there of where a band can clash with the label and wind up listening to the label, and then the label didn’t put them in the studio. So we were just sitting at home doing nothing. That was a huge disappointment, not only for our fans but for the band. We’d much rather have been hanging out in Australia. But that will never happen again, because we don’t rely on a label to make our records – we’re self-funded – so there’s an example of how we can think ahead and accomplish our goals, because we’re doing it on our own.”
WHEN & WHERE: 7 Nov, The Hi-Fi
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music
HATERS GONNA HATE Chapel Hill foursome Superchunk are the closest thing that exists to indie rock royalty, and despite their new album’s assertion that they hate music, frontman Mac McCaughan implores Steve Bell that they love it now more than ever despite the hurdles of age.
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hen Superchunk returned to the recording realm in 2010 with ninth album Majesty Shredding many people assumed that they’d reformed; in reality they’d never gone away. Frontman Mac McCaughan and bassist Laura Ballance were running their indie label behemoth Merge Records, and after more than a decade in the van they’d become somewhat tired of the ‘record and release’ cycle after 2001’s Here’s To Shutting Up, so they just took a break from the grind. Superchunk never broke up or went away and still played the odd show every year, but after years of treating the band as a priority the members began concentrating on other pursuits. So when Majesty Shredding was universally lauded there seemed to be a need within the ranks to prove that it was more than a fluke, a notion that’s been well-and-truly put to bed with the release of follow-up I Hate Music, a brilliantly vital collection of classic ‘Chunk songs up there with the best albums of their remarkable career. “With Majesty Shredding back in 2010 there wasn’t really a lot of pressure from anyone but ourselves – I don’t think that anybody was really expecting us to make a record anyway,” creative lynchpin McCaughan smiles. “But then that one was pretty well received, so with this one there was a little bit more expectation just in the sense that, you know, you can make one good record after taking eight years off, but can you make two in a row? That was the clincher.” They didn’t map out an agenda for I Hate Music, although they knew that it was vital to keep the album’s pace up. “I think that with both this record and the last one our main directive was to kind of keep up the energy – maybe the energy that people like from our earlier records – and I think we achieved that with the new albums in the way that we made them,” McCaughan continues. “I was writing songs and sending demos around, but the band didn’t learn the songs until a couple of days before we went to record them, and we’d do them in batches of three of four songs at a time. So before going in to record we’d maybe practice for two days and then go and record three or four songs, and I think that kind of gave the whole 24 • THE MUSIC • 6TH NOVEMBER 2013
thing a little bit of an edge in the sense that we knew the songs well enough to play them, but there wasn’t really any danger of overworking them since it was all still really fresh. “I think that after not making a record for eight or nine years, the worst thing that could
holding music close as you’re getting on in years, which also explains the somewhat misleading title. “I think this record’s a little bit about getting old, but from the standpoint of, ‘What role does music play in your life as you get older?’ and, ‘How do you still enjoy it or live with it in a way that’s not just nostalgia but that still accesses the thing about it that got you interested in it in music the first place?’” McCaughan muses. “It’s not a looking back exercise – not that nostalgia’s not interesting – but it’s more about ‘How can you take what was good about music in the first
“YOU CAN MAKE ONE GOOD RECORD AFTER TAKING EIGHT YEARS OFF, BUT CAN YOU MAKE TWO IN A ROW? THAT WAS THE CLINCHER.” happen is that you put it out and people say, ‘You waited nine years to do that?’ and then just kind of shrug about it, so I think that what we really wanted to do was focus on our strengths and focus on in some ways what’s fun about playing live with the band.” The lyrics on I Hate Music are largely ruminations on
place and keep applying it to your life?’ And the title of the record is in some ways about those moments when you can’t do that and it doesn’t work. “So I think that’s kind of what this record is about – ‘how do you deal with all that?’ – and if you have a moment in your life where maybe you’re 20 and you can put a record on and it will make you feel better or something but that doesn’t work anymore, then I feel that even though that’s a passionate feeling it’s still something to wrestle with.” WHAT: I Hate Music (Merge/Inertia) WHEN & WHERE: 17 Nov, Harvest, City Botanic Gardens
PUNK AIN’T PERFECT Karina Utomo doesn’t analyse things, she just gets it done. The High Tension vocalist talks to Benny Doyle about the laughter and quiet brews behind their debut.
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eath Beat is Aussie punk like you’ve never heard it. The anticipated first album from Melbourne-based four-piece High Tension rips shreds right off you; the full-length brought to us by bodies featured in esteemed acts The Nation Blue and formerly Young & Restless. It’s a collaborative effort that combines back-end muscle with frontline unpredictability, and the results are explosive. The band recorded with Tom Larkin at his HQ, The Studios In The City, the same place Bodyjar cut their latest record, Role Model, “And [they] fucking drank my
beers!” Karina Utomo cries. “So I ate their Le Snaks.” But aside from in-house consumable tit-for-tat the sessions moved forward with no-frills efficiency. The boys – Matt Weston (bass), Dan McKay (drums), Ash Pegram (guitar) – recorded all their instrumental parts prior to Utomo rolling in. The frontwoman then tore through with her own handheld mic, the whole process taking roughly two weeks. “I think the most important part was just not to labour over that shit,” Utomo suggests. “If you’re a perfectionist… well, you can’t be a perfectionist when you
MOVE OVER SATAN
Punk extroverts Nancy Vandal carved a swathe through the ‘90s with their semi-insane rhetoric and penchant for having fun, damn the expense. Guitarist/vocalist Fox Trotsky reveals to Steve Bell just why they’ve decided to revive the inanity. After quite a lengthy layoff, Syndey punk miscreants Nancy Vandal are back with a vengeance to celebrate their 20 year anniversary, armed with brand new album Flogging A Dead Phoenix. Back in the day they shone like a beacon for all things irreverent and disrespectful before calling it quits in 2001, and while they’ve made a couple of subsequent forays back into the limelight, this is their first full-blown reunion since the heady days of that original incarnation.
“Dr Flabio [drums] mentioned last year that this year was going to be our twenty-year anniversary since we got together, so we just started thinking about what we could do commemorate it,” explains Fox Trotsky. “I’m always a bit wary of bands getting back together to play a show and then disappearing, so I wanted to make it a bit more of a commitment on our behalf to ensure people that we’re taking it seriously. “Once we got the ball rolling it all happened pretty fast and we got into the swing of things again. It’s quite a specific mindset
play in a punk band. You’re capturing a moment, and you just have to not look at it too harshly and too closely, because you’ll just never be happy. When you labour over something too much you’re being a bit hard on yourself and you’ll have too many expectations of the moment.
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“But I’m excited because there’s songs on there that I find hilarious and I want some people to hear some of the funny songs! That’s a really bad way of putting it: ‘Hey, we’ve got an album, it’s fucking funny!’ [But] Collingwood, for instance – I guess you can’t hear the lyrics that well – but some of the lyrics, to me they’re quite funny. But I also laugh at my own jokes. And I’m barking in a bit [on the record] and it’s like, ‘Man, it’s so good that I get to get away with this shit.’ It’s fun to be in a band like this, I’m happy about that.” Utomo’s build isn’t really in the standard hardcore vocalist mould, though; she’s a damn sight slimmer and more diminutive that some of the husky forms you see fronting most acts. It means that lengthy vocal sessions in the studio can finish rather uncomfortably. “With my voice, I always use it from the stomach and it’s more of a physical thing – I feel like I have to work a little bit harder. And [my muscles] can be really sore, but we [worked] around it.” How so? “I drank a lot of beer – a lot of beer,” she levels. “Luckily Matt Weston is my neighbour so he’d be the designated driver and give me a lift home after my vocal takes. When we were recording, that was the routine, I’d have a six-pack or Matt would go and get one for me so we could get the vocals done; that’s probably why I sound really wasted in most of the songs.” WHAT: Death Beat (Cooking Vinyl) WHEN & WHERE: 9 Nov, Crowbar
doing Nancy Vandal songs, and I haven’t been in that mindset for a long time so it did take a little bit of coaching to retrain whatever lobe of the brain that is. It’s the musical equivalent of method acting – you have to be the fucking idiot, you can’t just try and write like one. You have to really embrace the persona. ”
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Once the Nancy Vandal crew had fully immersed themselves back into their imbecilic identities, it was just a matter of channelling their inner idiot to come up with new material. “It’s quite hard – when we started the band we were in our early-20s and you’re always like that then, but when you’re a bit older you’ve got to coax it out of yourself a little bit,” Trotsky laughs. “I think the thing was that if we did a new album and it wasn’t really spunky and a bit crazy people would go, ‘What the fuck?’ I know personally with bands that I like when they’re getting on, if they sound like they’re going through the motions you just go, ‘Oh god!’ It’s a bad look. Even with our rehearsing for this tour everyone keeps saying that we’ve got to make sure that we’re not playing songs too slow, that it’s all as it was – it’s hard work. We set a very difficult precedent back when we were young.” “I always liked watching bands who had fun and made you laugh, so that was always one of our priorities. Although that’s probably less of an act and just how we are normally – we don’t mind a bit of foolin’ around.”
WHAT: Flogging A Dead Phoenix (Erotic Volcano) WHEN & WHERE: 8 Nov, The Zoo; 9 Nov, Miami Tavern, Gold Coast; 22 Feb, Soundwave, RNA Showgrounds THE MUSIC • 6TH NOVEMBER 2013 • 25
travel
NIGHT OF THE LIVING DEAD Sarah Reid gets into the party spirit(s) at Mexico’s most famous festival.
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utting the finishing touches to my skeletal make-up and tucking a bottle of mescal under my arm, I’m ready to hit the town. My destination: a Mexican graveyard. At any other time or place, getting sloshed in a cemetery would be disrespectful, at the least. But if you ever have the privilege to experience Dia de los Muertos (Day of the Dead) in Mexico, you just have to go with the flow. Coinciding with the Catholic holidays of All Saints’ Day and All Souls’ Day at the beginning of November, Dia de los Muertos is a quintessentially Mexican tradition that dates back to Aztec times, the belief being that one day of the year spirits return to Earth to be with their families – at midnight on 31 October children (called angelitos or “little angels”) arrive, followed by adults the next day. Little-known outside the Americas for centuries, Dia de los Muertos has been steadily creeping into popular culture during the past few years. It’s almost impossible to walk down the street these days without seeing at least one person with Dia de los Muertos-themed skull motifs emblazoned across their clothing, and while unheard of a few years ago, every good bar in town now serves mescal (Oaxaca’s equally potent answer to tequila). Scarily, Disney went as far as to try and trademark Dia de los Muertos earlier this year in preparation for the release of a forthcoming animated feature. Fortunately, the swift and crushing social media backlash prompted the movie giant to withdraw their filing. While celebrated all over Latin America, Dia de los Muertos is most religiously observed in the city and surrounding villages of Oaxaca, Mexico’s Indigenous heartland. Rolling into town a few days before the pinnacle of the festival on 31 October, the city was a spectacular sight. Life-sized papier-mâché statues of La 26 • THE MUSIC • 6TH NOVEMBER 2013
Calavera Catrina (the skeletal character that has become an icon of Dia de los Muertos) leered out of windows, and the aroma of marigold garlands draped across doorways mingled with the sweet smell of streetside tamale stands.
“MY GRINGO MATES AND I TOOK IT UPON OURSELVES TO LAY MARIGOLDS ON THE FEW EMPTY GRAVES.”
As evening fell, locals took to the streets in ghoulish costumes, passing around bottles of mescal as they wandered between makeshift stalls flogging sugar skulls and glow-in-the-dark critters. Galleries stayed open late displaying the themed handiwork of its local artists and mariachi bands play long into the night. Locals celebrate Dia de los Muertos in different ways, but it’s common to build an ofrenda (altar) for a lost loved one at home, and then head to the cemetery to spend some quality time with them. After an evening joining fellow backpackers in carefully placing
candied sugar skulls, Coronas and pan de muerto (literally “bread of the dead”) on a makeshift altar to entice the departed family members of our hostel owner to get in on the festivities, it was time to hit the graveyard. An easy walk from the centre of town, Oaxaca’s eerily quiet, candlelit cemetery is well worth a look-in. But the real drawcard is Xoxocotlan, a small rural village just a short taxi ride away. I’m not sure what I expected to find at Xoxo (pronounced “ho-ho”). More candles. A few family vigils, perhaps. But when I stepped out of the cab, this usually sleepy little speck of a town was in the throes of an all-out fiesta. Illuminated by a sea of flickering candles, hundreds of families clustered around the crumbling graves of loved ones, some singing, laughing and dancing, while others sat in silence or wept quietly – the general rule is that families should act how their dearly departed would have wanted them to. It’s a pretty creepy concept really, but the mood was markedly more festive than morbid. With no personal ties to the deceased, my gringo mates and I took it upon ourselves to lay marigolds on the few empty graves we could find in the hope that none of the spirits would feel left out. We stopped every now and again to chat with locals, who selflessly offered us food and shots of mescal despite most of them having spent a month’s earnings on the elaborate decoration of their family tombstones. As families began to head home in the wee hours, the rest of us piled into taxis bound for Oaxaca, where the party would rage on until morning. My ride back to town – during which I weathered a car accident and my first experience of being pepper-sprayed – was an adventure in itself. But that’s another story. THE MUSIC • 6TH NOVEMBER 2013 • 27
FRODO-SEXUAL
film
At one point in those unending Lord Of The Rings films – God, didn’t they just go on forever? – there’s a momentarily-thrilling moment in which ‘master’ Frodo (Elijah Wood) and his chubby male-companion, Sam (Sean Astin), stare into each other’s eyes. They lean in, the music swells and – in a fabulous, transgressive antidote to the saga’s swordfight-fatigue – every cinematic signifier is pointing to that most familiar of on-screen acts: a couple about to kiss!
THE UNLIKELIEST SLASHER He’s talked to dogs, journeyed to find a ring and now he’s b d in NZ. NZ Elijah El h Wood W d levels l l with h Anthony A h C banned Carew.
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decade ago, the 32-year-old was essentially an honorary Kiwi, the headliner from Peter Jackson’s The Lord Of The Rings, the trilogy that injected endless cash into the New Zealand film industry and, even, the local tourist economy. Yet now, in July this year, here was the New Zealand Office Of Film And Literature Classification denying classification to Maniac, the nasty, late-night 2012 slasher-flick in which Wood headlined as a psychotic killer with a bent for young ladies. “I find it hilariously ironic,” Wood says, with an attendant laugh. “Coming from this country that I’ve spent so much time in, have such a love for, and famously played a very different character in, there’s just so many funny elements to the fact that Maniac was banned. Like, even though they banned it in New Zealand, it could still be screened exempt from classification. So here was this banned film, yet people could still go to the [New Zealand International] Film Festival and see it.” Though he’s best known for his turn as Frodo Baggins, Wood’s played the creep before – amongst ensembles in Sin City and Paris Je T’aime, for two – but Maniac is something else. Shot from the point-of-view perspective of Wood’s titular sociopath, it invites an audience to be complicit in his scalping killings. Visually, the experience sits somewhere between Gaspar Noé’s cinematic ‘head-trip’ Enter The Void and that cheesy video for The Prodigy’s Smack My Bitch Up, even if Wood sees its cinematic antecedent as Michael Powell’s provocative 1960 thriller, Peeping Tom. “The choice of shooting it in POV,” Wood explains, “was a way to try and experience an interior perspective of a character through watching a movie. To put yourself in the shoes of a character that is as disturbed as this, and is sort of helpless against his own impulses, it can be confronting to people. And when you’re, as a viewer, experiencing something from the first-person perspective that you wouldn’t want to be doing yourself, that’s disconcerting.” The NZOFLC’s verdict claimed that the first-person perspective is a ‘tacit invitation to enjoy cruel and violent behaviour’, yet it’s clearly a case of the opposite. Wood’s 28 • THE MUSIC • 6TH NOVEMBER 2013
character has some pleasingly-creepy mummy issues, and, the actor thinks, there’ll definitely be “sympathy” for him for many audience members. But it stops there. “Hopefully we, as an audience, aren’t endeared to him, but are repulsed by what he’s doing, and are trying to understand where the humanity in him may still exist, and how it can be reconciled with these unconscionable things he’s doing,” Wood says. Does he see any merit in Maniac’s refusal for classification across the Tasman? “I don’t see it as a particularly harmful film. It’s extremely violent, but it’s also deeply psychological, and deeply troubling. I’m never one for banning films. It denies the intelligence of the viewer. It harkens back to this question that has been discussed so much over time: can films be held responsible for people’s violent actions? I truly believe they cannot. One has to have a predilection, internally, that makes them predisposed to committing violence, to actually go out and do it. Someone who isn’t a violent person won’t be swayed, by way of simply seeing a horriblyviolent film, to go out and commit acts of violence. The fault never lies in a movie, but in the psychology of the individual who is taking on that movie.” Of course, Wood sees the flipside to the saga – it’s good publicity. He’s emerged, in recent years, as a proponent – and student – of genre. Maniac is itself a (very loose) remake of a grubby, grimy, no-budget 1980 movie that met the censor’s wrath, too: William Lustig’s original was originally banned in England. There, Maniac was one of 72 films that earned the ire of watchdogs in the UK in the ’80s, becoming a pseudo-genre – Video Nasties – worshipped by cult fans. “There’s some real classics in there. It’s almost an honour to make that list,” Wood laughs.
WHAT: Maniac WHEN & WHERE: 7-10 Nov, Redcliffe Out on DVD (Monster Pictures)
Sadly, the moment passes, unconsummated; despite all those gooey eyes, there’s no pash. But the idea hasn’t proven so ephemeral: there’s more Frodoon-Sam slash-fic on the internet than there is critical appraisals of Peter Jackson’s miseen-scène. So, then, when presented with the conversational opportunity, what else do you ask Wood except: were the homoerotic Hobbits really ‘just friends’? “We saw them as the best of friends, and anything outside of that wasn’t really a part of our discussion,” considers Wood. “But the idea that their friendship could be interpreted that way was not lost on us, because that enters the mind, at some point, of anyone who’s read the book; because in the book it’s an extremely close relationship. And people, with literature, often attach what they want to to a book; so if you’re viewing Sam and Frodo through that lens, everything they say will confirm your suspicions. We see what we want to see. And so if that’s what people see when they watch Lord Of The Rings, who am I to deny their own interpretation?”
SURF’S UP TONIGHT
music
Three-fifths of Midnight Oil are now playing surf instrumentals in The Break, and are relishing the new musical focus. Multi-instrumentalist Jim Moginie tells Steve Bell about freeing one’s mind from the cult of celebrity.
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few years have passed now since Aussie surf supergroup The Break – featuring Midnight Oil alumni Moginie, Rob Hirst and Martin Rotsey alongside Violent Femmes bassist Brian Ritchie – dropped their debut album Church Of The Open Sky (2010) on a then unsuspecting public. Since then there have been a number of changes; Hunters & Collectors’ trumpet player Jack Howard has bolstered the ranks and the novelty of the membership has worn off, leaving just the excellent surf-flavoured instrumental music, as evidenced by their excellent sophomore long-player, Space Farm. “With Space Farm we’re going to take no prisoners and lay waste to everything before us – I hope,” laughs genial guitarist Moginie, who also contributes theremin and keyboards to the new record. “It’s just a really good thing for us to be doing, and we went a little bit more cerebral on this album, kind of a bit more conceptual and containing a bit more art content. At the same time we retained the surf sound, with the surf guitars and all of that stuff, but we added [guest vocals by] monks and Engelbert Humperdinck and layers of things. “I’m having a ball with it, and it’s just great playing with the guys – we really enjoy it. It’s so great working with Rob and Martin again, and Brian too – he’s brilliant. We’re going against the trend of going out there and playing greatest hits, we’re trying to break some new ground really and have a bit of fun at the same time.” It’s rare for an album to exude a tangible feeling that the protagonists are having the time of their lives, but ‘having fun’ seems to be Space Farm’s core motif. “I think part of it’s that we record pretty live, and we can kind of make stuff up on the fly to a certain extent,” Moginie continues. “A few more things on this record were written outside of the studio, but mostly we’d just come in and start playing and go, ‘Let’s just do something ridiculous!’ and start adding things. Going into instrumental music is just so interesting after doing ‘songs’ in inverted commas for thirty years with the Oils. So it’s a really great place to dabble in – we kind of started to do it a little bit with Wedding Cake Island with
the Oils, and a couple of other things – one called Gravelrash and one called Bells And Horns In The Back Of Beyond – but we’ve had this in the back of our minds for a while. It’s the easiest thing we could have done really, seeing we lost our singer – let’s just not have one!
the end. If it’s fresh for you it should be fresh for other people too – whether we’re going to win over stadiums of people with The Break I don’t know, but maybe that’s not the point. The point is to forge ahead and just build something up. I think The Break is a five-album proposition, and it’s evolving as we go. “We just didn’t end up finding anybody [to be frontman], and because we didn’t we found another way of looking at music and another way of making it interesting. It’s very melodic – we have melodic lines and melodic
“INSTRUMENTAL MUSIC IS JUST SO INTERESTING AFTER DOING ‘SONGS’ IN INVERTED COMMAS FOR THIRTY YEARS WITH THE OILS.” “It’s just how it panned out,” he concedes. “We did make some fairly feeble attempts to get a singer – we worked with a few different people – but Pete’s shoes were hard to fill. Not that we were trying to compete with his legacy, but we didn’t want to go back and do the greatest hits in an RSL club with another singer, it’s just not what we’re into. That seems to be the usual course bands take but it just ends up being a bit embarrassing in
sounds, and weird keyboards playing the melodies and surf guitars. Often Brian will chant along and yell out stuff so we have that – there is melody in this instrumental stuff. We’re taking our cues from [‘60s instrumental music], and then adding our own peculiar Australian surf take on the whole thing as well. It’s really evocative, and sometimes the lack of a singer can create a whole 3D world, and if you’re listening you can free your mind a little bit from the cult of celebrity and the cult of the charismatic frontman. Losing that forced us to delve into something else, which is hopefully in a way as charming and as interesting.”
WHAT: Space Farm (Sony) WHEN & WHERE: 8 Nov, Queensland Art Gallery Up Late; 9 Nov, The J Theatre, Noosa THE MUSIC • 6TH NOVEMBER 2013 • 29
music
BREAKING THE DROUGHT They’ve been relatively quiet of late, but WA country rock doyens The Kill Devil Hills are smashing back into the spotlight armed with new live album, Past And Future Ghosts. Frontman Brendon Humphries spins Steve Bell a yarn of adaptation and embracing change.
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or a decade now Fremantle outfit The Kill Devil Hills have been peddling a dark and emotive brand of country rock, their songs covering the full gamut of the human emotional spectrum from tumult to tenderness with consummate ease. While their records have been increasingly strong, it’s in the live realm where they’ve become renowned for their intense and occasionally confronting aural assaults, and now they have a tangible representation of this power in the form of new live album, Past And Future Ghosts. Picking tracks from their three LPs plus some new material too, the record finds the band in typically fierce form, although it’s original raison d’être never panned out. “We’re coming out of a bit of a dormant patch – it’s like a frog hopping across a highway kind of environment, we’ve been really busy,” smiles frontman Brendon Humphries. “The original idea this year had been that – Australia Council grant pending – we were going to go over to Europe again, we had a whole bloody tour booked but we didn’t get the grant so we couldn’t go. But we knew before we found that out that we needed to have something new to take over there and sell at shows, and we decided to do a live record. We’d tried to record gigs in the past and had not been happy with the recording or the performance, so we set aside this time and recorded this special show down at Fremantle Arts Centre, this beautiful big gothic ex-asylum building. “So we went to some effort and we got good takes – we were happy with every song we played. Then when we realised that we weren’t going to Europe we just thought, ‘Fuck it, let’s just put it out anyway’. We’ve been really quiet this year when it comes to playing and touring and everything, primarily because we’re trying to work on another record. It’s been cool though, after ten years of having a relatively heavy foot on the accelerator it’s been nice to have a sabbatical period, and for myself just working on writing and not charging around playing the same old shit, it’s been really peaceful. “Out of those decisions we were happy with the recording, and [a live album] is something that I’ve been wanting to get together for a while. It’s kind of a way of 30 • THE MUSIC • 6TH NOVEMBER 2013
updating – or bringing into the present – some of the older material. Songs like Gunslinger [from 2004 debut Heathen Songs] for example, we don’t play that – and haven’t played it for many years – the way that it is on the original album recording. I think that generally the band sound
ponders of his band’s onstage impact. “That being said, we’re recording another album now so I hope we put that to rest. I’ve never been completely happy as a whole entity with any of the albums we’ve done; nothing has ever seemed perfect or how it’s even supposed to be. It’s almost like recording is sometimes a way of working out the band’s sound and then going out and playing it for a couple of years then coming back and trying to channel it again. I do think that a lot of what we do is worked out live as a band.” And in the short term the newly-reconfigured band are looking forward to once again hitting
“THE BAND SOUND THESE DAYS IS BIGGER AND BROADER AND HEAVIER THAN A LOT OF THE RECORDINGS THAT WE’VE DONE” these days is bigger and broader and heavier than a lot of the recordings that we’ve done – it’s like a way of correcting past mistakes in a way, I guess. I think it sounds good.” Past And Future Ghosts captures both the intensity and intricacy inherent in The Kill Devil Hills onstage, a fine precursor to the impending fourth album. “That’s the energy where the band seems to thrive best,” Humphries
the well-beaten path around Australia, getting back amongst the thick of the live action. “It’s a quick-fire run of shows so it will be a bit of a tiring week, but we’re really looking forward to it,” Humphries enthuses. “We’ve actually got a new member in the band now too, a new keys player called Timothy Nelson who basically joined us for the show that we recorded live [for the album]. This is the first tour with him and what I feel is our tightest line-up. I think the band sounds great with the instrumentation that we’ve got at the moment, so in that respect I’m thirsty to get out there and see how we play.”
WHAT: Past And Future Ghosts (Independent) WHEN & WHERE: 7 Nov, The Zoo
A STAND ALONE After years fronting loud rock’n’roll bands, Brisbane icon Mick Medew recently decided to go the solo route – then ended up putting a band together for the project anyway. He tells Steve Bell about embracing the quieter side of life with new project The Mesmerisers.
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or over thirty years now Mick Medew has been a staple on the Australian music scene, firstly for a dozen years between 1981 and 1993 with Brisbane-bred garage legends the Screaming Tribesmen and in more recent times with his equally powerful rock’n’roll outfit The Rumours. While The Rumours are still an ongoing concern, in recent times Medew has been exploring the more quiet
aspects of the musical spectrum. For this pursuit he’s assembled a crack team of Brisbane musicians and unleashed The Mesmerisers, whose eponymous debut album has just hit the shelves. It’s still as melodic and intense as Medew’s best work and his distinctive voice still holds court, it’s just not as loud as what we’ve been accustomed to in the past. “I’ve always been a bit partial that way, it was just a matter of finding the right people to do it with,” he smiles. “Also with my vocals I can use my lower range a bit – I can
MORE THAN SEX One of the most revered and prolific collaborators in the twin worlds of extreme and avant garde music, Jarboe tells Tom Hersey how her threedecade career has been entirely built on feelings.
“I
t’s just a matter of the right zen or something. If the vibe is right at the time, then it’s right. You can’t really schedule it like a dental appointment.”
Three decades into a lauded career of musical exploration, enduring cult figure Jarboe says she has no secret about the projects she takes on. From her earliest days with the visceral post-punk artiness of famed New York outfit Swans, to work with deathgrind juggernaut Cattle Decapitation and drone pioneer Justin K Broadrick, it’s
always been about relying solely on her instincts – which, over time, have proven impeccable. “It’s funny because early on, people had this idea that I was proving something from a feminist agenda because I joined the loudest, heaviest, most extreme band in the world, Swans, and I didn’t think twice about that. I just worked hard to get in, and worked hard the entire time, even up against all kind of doors being slammed in my face. But I had this moment when I realised that I was on my life’s path, and so I was like a runaway train that couldn’t be stopped. And
sing in a different voice and get some different characters going – whereas in the last few years with The Rumours I’m singing everything flat out and as loud as I can and as high as I can. I just wanted to let another side of me come through. I still love heavy music, I just feel like a bit of a change.”
music
The Mesmerisers contains a diverse batch of songs, even though many of them share a similar genesis. “There’s ten songs on there and I only went in to the recording with six, so some of them are very recent. One’s quite old – Bloodsucking A Small Town was written in Sydney with Meera Atkinson in 1984 or 1985 – but the rest of the record is fairly new really. I had about twenty songs but I scrapped a whole lot of them, and had to write four songs right at the end to stretch it out to a good-length album. “They weren’t really written for The Mesmerisers as such, because this it was meant to be a solo project: just my vocals with an acoustic guitar and maybe a bit of electric guitar thrown in. But once we put some rhythm behind them I thought maybe I should put a band together and make it into a big production, so compared to my original vision it’s turned into a rock opera or something. “There are a lot of old influences which I think come through. We didn’t want to make it too hi-fi, we wanted it to sound a bit more old school – a bit more ‘70s – so I listened to a lot of Warren Zevon and Captain Beefheart, people like that. It’s not a lo-fi album by any means, it’s got great production, it’s just a little different.”
WHAT: The Mesmerisers (Citadel/Fuse) WHEN & WHERE: 8 Nov, The Transcontinental Hotel
some people mistook that as me having something to prove as a woman, but that’s bull... I never had any sense of that. It was always about the music and the sound; it was always about the fact that there was no compromise. I’ve never cared what anybody’s thought of what I’ve been doing, there’s never been a feminist agenda, there’s never been a desire to prove anything, it’s always been about the actual sound and the actual performance, that’s all that I’ve ever cared about. There’s no political agenda, no stance about women’s rights, you just do it.
music
“I’m really irked when journalists bring up this thing about, ‘Let’s talk about women in rock or sexism in rock’. I’m left out of that equation. The reason I chose to work by my family name is because you don’t even know if I’m a man or woman, and it’s like, I didn’t want to play that card. Because your sex has nothing to do with it if you’re an artist.” Not only is Jarboe an artist, but she’s a busy one to boot. Upcoming projects include an interactive memoir (“not just a boring book”) and a record that would marry Jarboe’s extreme sensibilities with jazz playing. Ahead of her Australian tour with Neurosis guitarist Scott Kelly, the vocalist also mentions that the two have been talking about doing a record together. “We have talked about doing an acoustic album in the past, but he’s always quite booked and so am I. So it was just a matter of timing, [but] I [still] hope that album idea progresses into something. The last time I mentioned it to him he said he was booked through for a long time, like a year and a half, and since then it’s just been a case of both of us having the time, at the same time, to make that album happen.” WHEN & WHERE: 9 Nov, The Zoo THE MUSIC • 6TH NOVEMBER 2013 • 31
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reviews
The journey reveals more than the destination in Lasseter’s Bones, The National’s Bryce Dessner drives Kronos Quartet in a new collaboration and the soundtrack for Inside Llewyn Davis is Oscar-worthy.
ALBUM OF THE WEEK
THE BAMBOOS Fever In The Road Pacific Theatre/Inertia
Spinning a cartwheel out of their comfort zone, Fever In The Road is a confident assertion by The Bamboos, a resounding proclamation that they do not intend to be a parody of themselves. Doing away with guest vocalists on this release is further proof of a galvanised unit, as where Medicine Man was awash with ring-ins, this LP is held together solely by Kylie Auldist and Ella Thompson. Either could ably handle vocal duties alone, but both bring a distinctive flavour that just seems to work – a testament to the adaptable, intelligent songwriting of band mastermind Lance Ferguson.
HHHH
TRACK LISTING 1. Avenger
7. The Truth
2. Helpless Blues
8. Harbinger
3. Rats
9. Killing Jar
4. Your Lovin’ Is Easy
10. Jump My Train
5. Leave Nothing Behind
11. Looking West
6. Before I Go
Avengers is both the first song and latest single from the LP and beautifully blends pop with soul; Thompson’s haunting, breathy vocals giving the track an edge that couples well with the curious chord progressions. Continuing with Helpless Blues, there’s cheeky guitar and bass lay down and a ‘50s handclap groove that contrasts with the following more classically soul inspired Rats, with its fistpumping, horn-tooting chorus. The rest of the album flows in a sine wave of pop and soul – from the slow bob of Leave Nothing Behind to the yearning Before I Go, no stone is left creatively unturned. Auldist’s powerful vocals bring in The Truth, the track building upon itself until almost fit to burst, before subtle strings weave throughout the dreamy Harbinger, adding an ethereal touch. Fever In The Road is a sonic experience imbued with optimism and playfulness and a more than worthy addition to the band’s legacy. Glenn Waller THE MUSIC • 6th november 2013 • 33
album reviews
THE JOHN STEEL SINGERS
VARIOUS
The Boy Castaways OST ABC/Universal
Everything’s A Thread Dew Process/Universal The John Steel Singers are Brisbane royalty in 2013. Hell, they even helmed the sound on their debut, Tangalooma, with Robert Forster of The Go-Betweens. This time, for the all-important second album (a concept the band seemingly scoff at here), they’ve taken on production duties themselves at a parent’s house on the Sunshine Coast and completely nailed it. There’s something of a renewed zest from the get-go – a brief interlude/intro called The Needle before Happy Before kicks the album in properly. It’s JSS alright, but with a neat Spaghetti Western-esque guitar leading the charge ahead of the bouncy, first single, Everything’s A Thread, something more garage but with the harmonies we’ve known and love well intact. Speaking of harmonies, they’re easily piped down from the heavens above
★★★★ and blatantly jaw-dropping on the sublime MJ’s On Fire Again, a song that takes R&B flavours akin to Dirty Projectors and wraps them around a neat bass drive and intricate guitar. This is a different beast to that of Tangalooma; the hooks are intact, though more subtle and allowing for that sneaky growingon-you feeling unravelling perfectly after a few spins. The jangly Common Thread is easily a future radio favourite while the slinky groove on The Marksman and the downbeat The AC are highlights on the album – an album that is an utter triumph for a band that’s easily amongst our country’s most important. Ben Preece
ILLY
ONETWO/Warner
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Musically, you’ll probably just skim past the little incidental musics for the big dramatic set pieces, where composer Boom Crash Opera’s Pete Farnan has recast and rearranged some variously known songs to drive the narrative. Thus, The Psychedelic Furs’ Love My Way is an anthemic – if frayed – duet between Timmy and Megs, on circus swings no less. Capsis
★★★½ makes Dr John’s I Walk On Gilded Splinters questioning, while Rogers’ take on Quasimodo’s Dream is toweringly broken – you wonder why this connection of artist and song hadn’t been made before. But the ‘hit’ – or at least main talking point – will likely be Washington’s Don’t Stop, where Fleetwood Mac’s optimism becomes something more melancholy and wishful. It gently aches. Again, it might all come down to whether the film sinks or flies as to whether this becomes a fond souvenir or just a sidetrack oddity. Ross Clelland
KRONOS QUARTET & BRYCE DESSNER
Cinematic It’s not hard to hear why Illy called his fourth album Cinematic. From the moment play is pushed, the production lends itself more to a Hollywood blockbuster than it does an Aussie hip hop record. Opening Nights is the ‘opening credits’, with the fluffy strings and widescreen drum fills introducing the album while Illy spits the update – a new record on his own new label and the benefits of such. One For The City ups the ante, continuing the epic drum fills (which, frankly will never get old) along with a hook from Thomas Jules, while the subsequent double assault of singles shows fodder not simply churned out for radio – Youngbloods features The Amity Affliction’s Ahren Stringer in a successful melding of the two’s genres, while, in contrast, On & On is as breezy and, alongside the hooky as sin Tightrope, as pop as the record gets. Hilltop Hoods, Kira Puru, Daniel Merriweather and Drapht
The soundtrack album without the visuals to give the sounds a reference point can sometimes be confusing. The screenshots and trailers for Michael Kantor’s dark and theatrical movie tend to suggest a touch of the Baz Luhrmanns on a beer budget, but that could be balanced by the choice of real musicians in most of the central roles. They’re big and distinctive personalities as well: Tim Rogers in full foppish luvvie mode, Paul Capsis a changeable chameleon and the luminous Megan Washington variously seductive, mysterious or dangerous.
Aheym
Anti-/Warner
★★★★ also guest star throughout, never stealing the lead role but certainly providing Oscarwinning support nonetheless. Cinematic is as outright impressive as it is ambitious, which is certainly not something that is easy to be within the constraints of Aussie hip hop. The concept is touched on enough that it doesn’t take over the album, but the aesthetic sits with you throughout. Illy pulls off his lead role effortlessly, guiding the entire project with the style and class we’ve come to expect from the MC, but seemingly with a new zest that breathes fresh air into what he does. Ben Preece
Celebrated American string group the Kronos Quartet have collaborated with just about anyone worth mentioning, from Tom Waits to Jimi Hendrix to Amon Tobin. For this release they’re working with The National’s guitarist Bryce Dessner. An accomplished composer himself, Dessner has written four pieces based on his or his family’s experience, all rooted in European heritage, and his penchant for drama is given full license to expand and indulge. It’s a driven album, and he pursues ideas through dogged repetition and steady progress, much like his work with The National. The title track, which is Yiddish for ‘homeward’, is based on his grandparents’ settlement in Brooklyn, and the repeating
★★★½ allegro patterns that surge through the speakers have the same energy as they might’ve felt in the midst of their busy new home. Aheym is enveloped in a rich atmosphere, especially with the addition of a choral section, and the limitations of having only four instruments to work with – all variations of the same – feel irrelevant. There’s a vulnerability and fragility to the album, even during the intense moments bookending it, but as Dessner relentlessly drives the Quartet forward it feels like a noble grasp for some deep personal expression that is ultimately more fascinating than actually enjoyable. Matt MacMaster
album reviews
★★★½
★★★★
★★★★
★
T54
BITCH PREFECT
THE WANTED
Echoes
In Brush Park
Bird Nerds
Word Of Mouth
Pod/Inertia
Flying Nun/Remote Control
Bedroom Suck
Universal
Lauren Dillard and Lauren Flax creep gently across their debut album Echoes. The duo from New York give us a slow-burning, kind of trip hop, comedown album that would make the perfect accompaniment to the slow hungover transition from night into day. Their synthesisers deal everything from noir-ish faux orchestral manoeuvres to environments that seduce with their entirely artificial beauty. The stellar cast of guest vocalists that includes Tricky, Planningtorock, Holly Miranda, Lou Rhodes and Sia are sure to get this album noticed as they slip deep into the two Laurens’ chilled grooves. Hardly creepy, Echoes offers drifting, dreamy listening.
Christchurch’s T54 ramp up the scuzzy sheen on their debut long-player In Brush Park to storming effect. The seemingly incongruous juxtaposition is effectively showcased on opener Nails Painted – taking shoegaze mannerisms into the gutter. The tempo and anger dials are constantly played with – an early comparison could be made to Melbourne’s White Walls – but this only serves to further the band’s penchant for raucous delineations and textural promiscuity. Plus there are songs like Return Of The Worm that toy with the notion of convention before crushing it into the dirt. Extended closer Biscuit City Sisters obliterates.
Melbourne/Adelaide slackers Bitch Prefect continue to mine the maudlin depths of the banal human heart. Sophomore record Bird Nerds is flush with such aphorisms – the weary hope of Better Next Time, wistful ruminations on Adelaide, even the Sagan-baiting musings on the cosmos in Drifting underscore seams of primordial malaise. But Liam Kenny and co never wallow – they revel in these impoverished axioms, wearing them as badges of honour. These simplistic songs are wellsprings of the honest, staunch acceptance that a battler’s work is never done. And that is why Bird Nerds rules hard.
The Wanted are One Direction’s sleazy older brothers. You know the ones – drunk on Breezers, making uncomfortably creepy comments to barely legal girls. On their third album there’s everything from pathetic Coldplay-goes-toIbiza faux anthemia on We Own The Night to Walks Like Rihanna’s sexual objectification of women. Does Rihanna have a profoundly famous walk? How exactly does one transform the perfunctory task of walking into one imitating Rihanna? I Found You is a rare gem of falsetto perfection, but floats in a sea of cheap beats, reeking of the desperate stench of second-tier pop.
Guido Farnell
Brendan Telford
Brendan Telford
Sevana Ohandjanian
CREEP
★★★½
★★★½
★★★★
SEBASTIEN GRAINGER
THE BENNIES
VARIOUS
Yours To Discover
Rainbows In Space
Last Gang/Cooking Vinyl
Poison City
Inside Llewyn Davis: OST
Anyone familiar with Sebastien Grainger’s work in noise-rock duo Death From Above 1979 knows the man bleeds talent. On this release, it seems he has somewhat come down from the trip he was on while playing with DFA 1979, and while Yours To Discover is still packed full of teeth-grinding rock melodies, chunky basslines and raw guitar sounds, the material is just different enough to entice new listeners while still keeping a tight grasp on old fans. Besides recycling the occasional melody, Yours To Discover could stand as Grainger’s strongest work to date.
On their second record, The Bennies have introduced a more guitar-heavy sound – presumably to do with the addition of guitarist Jules Rozenbergs – but haven’t done away with their quest to party every second, every day. The album kicks off with dance number Party Smashers and it isn’t long before we’re enjoying Ice Cold Beers And Juicy Juicy Buds with the four-piece. The reflective tone of Knights Forever sees them branch out into new territories, but it’s classic tracks such as Anywhere You Wanna Go that make it one of the best Aussie releases of 2013.
Daniel Cribb
Daniel Cribb
Warner
★★★★
PUBLIC SERVICE BROADCASTING Inform – Educate – Entertain
The inimitable form of filmmaking from Ethan and Joel Coen again extends beyond the lens, carrying some expectation following the phenomenal success of previous movie scores and the involvement (again) of producer ‘T-Bone’ Burnett. Without having seen their latest movie about the ‘60s American folk scene (due here December), a few tracks lack context; however, the voice of lead actor Oscar Isaac is what really impresses and should do for folk music what O Brother… did for traditional country music – his duet on Dink’s Song is worthy of an Oscar alone.
Test Card/Rocket
Adam Wilding
Mac McNaughton
Careening between epileptic indie and moody trip-hop, saturated with vintage government information film soundbytes, this English nerdy duo’s debut melds Delphic’s irresistible danceability with The Avalanches’ smarts. No studio vocals, just an urgent cowbell, electro bass and ugly post-Britain in the Blitz realism. By the halfway point, (the banjo’d ROYGBIV) the lack of at least one belting chorus might leave one a little sore, and stiff British accents constantly evoke but never match Since I Left You’s impeccable singalong-a-sample rhythms, but this is still canny dance music.
THE MUSIC • 6TH NOVEMBER 2013 • 35
singles/albums
★★★
★½
★★½
SURVIVE THIS!
FRANKIE ROSE
Too Loud Too Naked
The Life You’ve Chosen
Herein Wild
Rest Assured
Beast
Epitaph
Fat Possum/Caroline
Illusive
This is an album without a trace of pretension, or inhibition for that matter. From the outset, Bertie Page Clinic revel in both their volume and their nudity, sticking it to ‘the man’ with the record’s eponymous track among other lyrical jabs interspersed throughout. The vocals are raw and at times warbling, while instruments seem to be thrown together with an angry musicality that somehow works. One Swan Pond is a fierce diatribe about fakers, Smoko Oh No is a semierotic workplace encounter and Shoe Song is, well, pretty selfexplanatory. It all contributes to a genuinely refreshing, albeit unpolished, listen.
Cliché-laden lyrics. Spineless riffs. Predictable rhythms. If this is how you have a mega-rocking time, then hey, you’re in luck. For the other 99 per cent, take a wide berth when approaching The Life You’ve Chosen. Another metalcore product from Sin City, Nevada, these guys are like Falling In Reverse in that they’re a complete sonic mess, bending genres over before degrading them again and again, all in the name of ‘creativity’. Unsurprisingly, the biggest abomination here, the chart pop/breakdown rock of Wrong Direction “Hey You”, features Ronnie Radke, who also produced the record.
Frankie Rose continues shirking the garage rock mantle she had cultivated from her Vivian Girls/ Dum Dum Girls days on latest record Herein Wild. But unlike last year’s Interstellar, this record seems to have stalled in ideas and verve. You For Me is an entrancing intro, and the retro sheen of Street Of Dreams segues into a Blondie-esque breakdown, but the majority of tracks here slide into a mid-tempo dream pop mould which in this day and age is a well-worn path. Rose still has the melodies, but needs some spark to truly get wild.
DIAFRIX Self-produced, uplifting hip hop from Melbourne’s Diafrix telling heartfelt and genuine stories of immigrant life in Australia.
SHIT ROBOT We Got A Love (Feat Reggie Watts) DFA Another slice of piano-thumping bass-heavy disco techno whatever. Vocals from Reggie Watts add an extra dimension of sweet soul.
OKKERVIL RIVER It Was My Season Spunk A bouncy piano jaunt from the new Okkervil River album The Silver Gymnasium is all that recent fans have come to expect.
BERTIE PAGE CLINIC
Brendan Telford
Benny Doyle
Grace Wilson
DAVID BOWIE Love Is Lost (Hello Steve Reich Mix by James Murphy for the DFA)
★★★
★★★½
★★★★½
Sony The original hipster gets a reworking from the 2000s model with heaps of handclaps and synths. Sounds like an LCD track with Bowie singing.
WARPAINT Love Is To Die Rough Trade/Remote Control More straight up than some of the swoony tracks they’ve previously released, but still ethereal and dreamlike.
PAUL MCCARTNEY Queenie Eye Universal Macca doesn’t need to keep making music so he must be doing it for the love. This song is typical McCartney for better or worse with no surprises. Chris Yates
36 • THE MUSIC • 6TH NOVEMBER 2013
LISSIE Back To Forever
PANAMA Always
Sony
Future Classic
Back To Forever is another powerful statement from 30-year-old Lissie, the sandy blonde songwriter returning with a second slice of rockin’ Americana pie. Full of all the hooks radio demands, the album still manages to maintain things just left of the FM centre. Stevie Nicks is an obvious touchstone, with tracks like Further Away (Romance Police) and Sleepwalking recalling Fleetwood Mac at their most transcending, while the atmospheric side Lissie shows during Love In The City is welcomed. A couple of numbers, like I Don’t Wanna Go To Work, are a bit hokey, but with Jacknife Lee producing the overall sound remains bold and bright.
The classically-trained background of leader Jarrah McCleary means there is a structure and care in these constructions. There’s a soft underpinning piano and/or keyboards to most of this, but while the title track is a subtly soft anthem of polish, it maybe gets more interesting and varietal elsewhere. In How We Feel – with its phased little motif and feeling of being a journey somewhere – and the even more gentle house electronica of Destroyer, there’s some points of distinctiveness he/they should maybe push for to become something more individual; something they can build into music of note.
Benny Doyle
Ross Clelland
DOLLAR BAR Paddington Workers Club Mere Noise Naming your decade-overdue record after a long-defunct venue shows that guitar pop heroes Dollar Bar are stuck in the past. Paddington Workers Club also proves that the past was bloody good. Sure, the boys are spread all over the east coast, are older and (arguably) wiser – but this lessthan-half-hour album is timeless, a Delorean for the ears. The acerbic lyrics lay their subjects bear with a twinkle in the eye (Hipster Mental Ward, Everyone’s Everyone’s), the hooks bristle effortlessly (Half The Battle) and those rose-tinted memories of yesteryear have been usurped by gloriously crystalline ones. Brendan Telford
arts reviews Cameron Diaz. It promises to deliver via mixing all these creative personalities in an epic violent drama on the international drug war. It fails on all counts.
THE COUNSELOR
THE COUNSELOR Film
In cinemas 7 Nov The Counselor promises but does not deliver. It promises to deliver via the director, Sir Ridley Scott, the seasoned filmmaker behind Alien, Blade Runner and Legend. It promises to deliver via the writer, Cormac McCarthy, author of The Road and No Country For Old Men. It promises to deliver via the cast: Michael Fassbender, Penelope Cruz, Javier Bardem, Brad Pitt,
The epic violent drama isn’t as intense as it wants to be, hitting gross more often than it hits horror. Scott seems absent, his actors playing caricatures with Bardem as a cartoonish smugglerplayboy and Pitt as a sullen, seenit-all drug smuggler. McCarthy’s dialogue doesn’t ring true, even bordering on farce. The actors have no strong material, all of them apparently absent from action; they only talk about the actions of the many bit characters that quickly come and go. Except for Diaz. As Malinka, the wild girlfriend of Bardem’s smuggler-playboy, Diaz burns throughout the film with a dark energy. She acts while the others talk. She violently acts while the others flounder. It is hard to believe that all these characters even occupy the same world let alone the same film. Sam Hilton
LASSETER’S BONES Film
In cinemas In the first half an hour of his documentary, Lasseter’s Bones, Luke Walker manages to cast himself as a kind of thinking man’s Bear Grylls: pleasant English accent, furrowed brow over a Roman nose, khaki zip-off shorts, a touch of rhetorical self-deprecation. However, this image fades, quite ingeniously, over the course of the film as he starts to lose the thread of history. Walker tracks an Australian ‘lost gold mine’ legend. In 1929-30, Harold Lasseter led a team of men to rediscover a central Australian reef of gold ore that he claimed to have stumbled across some 30 years before. After trudging through desert and scrub for weeks, Lasseter’s team deserted him and on alone he went, dissolving into an uncertain fate that Walker endeavours to illuminate. There are three Lasseters here: Harry, the original; Bob, his son, whom
Walker follows for most of the film – an inventor-engineer like his father, Bob’s made it his life’s goal to prove the story’s truth; and Walker himself, who’s after his own El Dorado – a groundbreaking discovery as a result of sterling research and perseverance. The journey, for all, reveals far more than the destination. It’s a compelling mix of indiefilmic quirk and documentary rigour, a beautifully subtle collection of character revelations and an intriguing insight into the problems of exploring Australian history. Simon Eales
LASSETER’S BONES
THE MUSIC • 6TH NOVEMBER 2013 • 37
live reviews
DOLLAR BAR, UNDEAD APES, TAPE/OFF, ROKU MUSIC Beetle Bar 2 Nov Roku Music’s take on the shoegaze formula continues to be galvanised by a rising stock in confidence and the added influence of Jody Gleeson on bass and Tom Roche on drums. The alternating vocals from guitarists Donovan Miller and Innez Tulloch are perfectly calibrated to provide an undulating calm amidst the rising wall of noise, while Gleeson’s backing vocals cut through the mix towards the end like a haunted afterthought.
like these obnoxious bastarderos never left, such is their proclivity to ramp the party up past 11. This set is poppier than recent shows with Violent Soho – possibly as a measure to step in sync with tonight’s headliners – yet it’s pop at breakneck speed, V guitars and flailing limbs. But everyone’s here for the launch of Paddington Workers Club, the decade-in-the-making sophomore record from perennial guitar pop dignitaries Dollar Bar – and they don’t disappoint. Dale Peachey is battling a sore throat, but the crowd doesn’t let him rest and he embraces the challenge with dedicated fervour. Brendan Rosenstengel propels the band forward, allowing the three songwriters their time to shine – Peachey’s Everyone’s Everyone’s is an acerbic delight;
DOLLAR BAR @ BEETLE BAR. PIC: MARKUS RAVIK
The multitude of effects and sounds mesh together in a tumultuous crescendo of warm noise, both jaw-dropping and heart-stopping. An amazing set. It’s hard to see anyone topping such a display, but rabblerousers Tape/Off give it a good crack. It seems that the protracted time away from the bright lights has steeled them, as the four-piece dive into their set, a caterwaul of tempered slacker ambition. Nathan Pickels’ howl is impassioned and desperate; Branko Cosic’s trademark drum bashing at fever pitch. Cam Smith holds sway in the middle, the centrifugal force. Mainstay Backseat closes out a welcome return to rock form. Undead Apes shred, they thrash, they trash talk with witticisms and drunken flights of fancy, and they look dashing in black. It’s 38 • THE MUSIC • 6TH NOVEMBER 2013
The Tivoli 29 Oct
It’s a trip back in time tonight on all fronts, with the rocking four-piece version of local indie stalwarts Screamfeeder being given the task of warming up the growing crowd who are here for a dose of nostalgia. As they punch out tracks like Static and Ice Patrol, the ‘Feeder seem as solid as ever despite only sporadic gigging in recent times – they still have that charming, natural rapport – and songs like Hi Cs and Dart have stood the test of time remarkably well. They finish with a beautifully cruisy version of Stopless and the ever-playful
DOLLAR BAR @ BEETLE BAR. PIC: MARKUS RAVIK
Chris Yates plays light and loose on (You’re) Blind Baby; while Pat McCabe’s Half The Battle is an inimitable grower, the song being the anchor halfway through the set to set the boys straight for a raucous finish. They also delve into the back catalogue for a few not-soforgotten gems, and the rousing reception for Cute Gurls Have The Best Diseases highlights how good they’ve always been. Their penchant for glorious covers also comes to the fore, first with Lorde’s Royals before the stage is stormed by Conwae Burrell and a cohort of Extrafoxx ancillaries for a loose rendition of Big Pineapple. The waves of fun and goodwill emanate from band and crowd alike; it’s shows like this that remind one how music brings people together. Brendan Telford
THE BREEDERS, SCREAMFEEDER
evergreen Cannonball is replicated perfectly the place goes ballistic, with the floor jumping in unison, followed by the meandering and stoic Invisible Man and the stripped-back and haunting No Aloha. All five members are clad entirely in black but the mood is far from sombre – more celebratory than funereal, as you’d expect – and tracks like Roi and Do You Love Me Now? still sound alive and vibrant all these years later. Kelley lends her awesome, breathy voice to Flipside and it complement’s her sister wonderfully – it’s even better when they harmonise – and the vaguely disturbing Mad Lucas segues into the preppy snapshot of early-‘90s bravura, Divine Hammer, like no time has passed at all. Jim McPherson’s pummelling drums dominate S.O.S. and Kim
THE BREEDERS @ THE TIVOLI. PIC: STEPHEN BOOTH
Bunny, the perfect warm-up for tonight’s proceedings. Soon enough the ‘classic lineup’ of ‘90s icons The Breeders shuffles onto stage to a raucous reception, kicking things off with the slow build of Guided by Voices’ Shocker In Gloomtown – the two bands are drinking buddies in their native Dayton, Ohio – and then get onto the business of why we’re here tonight, celebrating their 1993 album, Last Splash for its twentieth anniversary. Right from the outset it’s a slightly sloppy runthrough – intros are missed, there’s a lot of laughing and some minor displays of contrition – but that’s all part of this band’s charm, especially the mischievous Deal sisters, whose smiles alone could assuage even the most cynical of doubters. When the weird intro to the
unleashes that voice during the shuffling Hag before they finish with the sultry Saints, the mellow country lament Drivin’ On 9 and the strange instrumental coda that is Roi (Reprise). An encore is a given but they eventually return numerous times – they could have played the phone book and people would have been happy – but they instead indulge us with a walk through some of their early material such as Glorious, Doe, Hellbound, When I Was A Painter and Iris – plus that weird version of The Beatles’ Happiness Is A Warm Gun – and then it’s done. When they take a final bow and flash those smiles one last time there’s a lot of love in the room, both on stage and reciprocated in the sweaty mass before it. Josh Bruce
live reviews
LIGHTNING BOLT, SEWERS, MAGENTA VOYEUR, SLOW RIOTS The Zoo 31 Oct Opening up proceedings tonight is Slow Riots, a young band in awe of the distortion pedal. There are moments when their set emulates the gritty atonal angst of early ‘90s post-hardcore grinders that littered the Kill Rock Stars roster; there are others that take too liberally from the grunge how-to guide, obliterating their creative drive in favour of overblown noisy tropes. There’s a sense that the three-piece have
Main support Sewers have no qualms taking the night and eviscerating it, providing a typical set of sneering contempt and base primitivism held together with spit and maniacal glee. Revelling in nihilism can be alienating, yet the four-piece continually find new ways to make it a delectable cyanide pill to swallow. The deadeyed stares, the thrashing of limbs and gnashing of teeth combine with the music to unsettle, yet their pitch black humour outlines that Sewers have a soul – however dark and twisted it may be. Lightning Bolt are without peer in this or any world, and tonight they pummel this fact relentlessly into our ear sockets. Littering the set with songs from ‘lost’ EP Oblivion Hunter and some newer tracks, it might seem brave to LB virgins to only occasionally dip into the classics bag – Dracula
LIGHTNING BOLT @ THE ZOO. PIC: STEPHEN BOOTH
been on the cusp of developing a ground-breaking sound for some time – tonight finds them still battling the demons of their obvious influences. Magenta Voyeur is a band that resembles a sonic bowerbird, cribbing errant, seemingly incongruous sounds in the hopes of crafting their own iconic voice to nestle in. The detritus of prog rock overconsumption hangs heavy over this brace of songs, to the point where anything overtly interesting ends up merely as a bridge to yet another bludgeoning ‘improvisation’. There is a song midway through the set that resembles Akron/Family, but that too segues into the slipstream of indulgence. They clearly enjoy what they are doing up on stage – pity the same can’t be said for those in the crowd.
Beetle Bar 3 Nov
Fruit bowls are overflowing on the bar next to economy-sized jugs of water – shit’s going to get real tonight. Fuzion plays the early slot to the true believers before Robohan provides us with progressive and dark beats with a real rounded bounce. Elliot Clarke then delivers an at times clunky, effects-heavy set before the headliner appears in a leather jacket, collar popped. Peak hour is a bit weird tonight, arriving at the Sunday
LIGHTNING BOLT @ THE ZOO. PIC: STEPHEN BOOTH
Mountain and Colossus being two brilliant mainstays – but then again there is nothing about the two Brians (Gibson on bass, Chippendale on drums) that can be taken for granted. Chippendale is a dervish of manic energy, punishing his kit in an inhuman display of dexterity, pace and unparalleled rhythm – there’s a reason he’s considered by many as the best drummer in the world. And while Chippendale hides behind a lurid makeshift mask, Gibson remains stonyfaced, resorting instead to killing the bass in a relentless display of subdued aggression. Lightning Bolt is a force of nature, a carnival of cartoonish depravity, and effortlessly blast out the set of the year. Brendan Telford
DAVE CLARKE, ELLIOT CLARKE, ROBOHAN, FUZION
guzzles some Gatorade and as we’re approaching the onehour mark it’s smothering. Then what does he do? He turns the levels up even further. Clarke is creating a soundtrack for war, the apocalypse, and is seemingly trying his hardest to blow the speakers completely. The sound guy appears on stage and tells him to get it out of the red; after he leaves though Clarke simply turns the front speakers around and drops the biggest beat of the night. Downstairs on the dancefloor the volume impacts like a king hit to the face; upstairs allows you to view a genius at work, Clarke’s fingers blurring on the fader, his feel of mood meaning he always leaves the perfect wait time, turning an obvious drop into something
THE CROOKED FIDDLE BAND @ THE JOYNT. PIC: FREYA LAMONT
session friendly time of 7pm. A pack of Tim Tams are on the rider, the Moet is on the ice – does Beetle Bar even have champagne on the menu normally? They do for Dave Clarke. Ear plugs are fitted, a roar erupts and the journey begins; within five minutes you can’t even think. The Brightonborn, Amsterdam-based techno great is at his unforgiving best, showing off his full bag of tricks without letting the beat go soft even for a second. As a man who’s forever played by his own rules, it’s no surprise to see him go direct for the jugular, fiddling with the venue’s sound system EQs side of stage. He pushes the switches into the red zone and the whole place melts. Green Velvet & Phil Kieran’s Birds & Bees gets a spin from Clarke, he
monumental. The beats then disperse and suddenly Clarke is rapping verses to Digital Underground’s The Humpty Dance. He grabs the camera that’s been recording the whole event and unsurprisingly fucks around with it. He then plays with the speakers some more, the support DJs are sharking – it looks like it’s all going to wrap up by 9pm… it’s criminal, but unfortunately it happens. Clarke loops the beat to Roots Manuva’s Witness The Fitness before handing out Tim Tams, ditching bananas everywhere and then giving the entire dancefloor a champagne shower. By this stage he’s even cracking a genuine smile. Benny Doyle THE MUSIC • 6TH NOVEMBER 2013 • 39
live reviews
BEYONCE, IGGY AZALEA
room to dance to Get Me Bodied. The risqué Naughty Girl sees the artist playing with fire (literally), before she brings The Mamas – her brilliant backing singers – to the front of the stage for Party.
28 Oct
Beyoncé does everything she can to ruin Why Don’t You Love Me? with too much “you’re not loud enough!” posturing – but it doesn’t work, both her and the band’s performance are simply too good. Soon the singer soars across the crowd showering us in glitter to perch herself on the second stage set up on the venue floor. It’s here she plays Irreplaceable and Love On Top – one of the great soul songs of our time – as she gets far more crowd interaction in with the lucky few seated at her feet.
Brisbane Entertainment Centre It’s either style over substance or the booming songs of Iggy Azalea just aren’t translating well to an arena setting. The former Mullumbimby girl (who now speaks with an American accent) delivers Bounce, Change Your Life and Work, which might sound hot now, but it’ll take more than this to impress for long. Beyoncé and her team have produced an utterly spectacular beginning to The Mrs Carter Tour show; there are all manner of teases as video screens move around the stage, decoy dancers
Seeing 10,000 teens pumping fists to Destiny’s Child’s
THE CROOKED FIDDLE BAND @ THE JOYNT. PIC: FREYA LAMONT
are deployed, explosions, flames and a fired up band all build feverish anticipation. Then, as if by magic, Beyoncé KnowlesCarter is suddenly standing front and centre, casting a silent and strong pose as thousands scream hysterically. The silence from the stage is cut by the mammoth, rumbling beat from Run The World (Girls) and the party begins: a glorious cacophony of dance, music, singing and cheering which is wonderfully overwhelming. It’s immediately obvious that this is a lavish show; it’s about grandiosity, money, power – there’s very little that’s humble. It is over-the-top spectacular and thankfully doesn’t try to be anything else. Beyoncé tries on a little James Brown band-control, before calling the 40 • THE MUSIC • 6TH NOVEMBER 2013
The Joynt 2 Nov
Considering The Mouldy Lovers are West End locals, it’s no surprise they’ve brought a troupe of dedicated fans to The Joynt who create a fun, party atmosphere by dancing with freespirited gusto from start to finish. As well as the fans, The Mouldy Lovers bring two trumpets, one saxophone, an accordion, a bass guitar, an acoustic guitar and a set of drums to the stage, leaving room for nothing other than the sounds of their high energy
THE CROOKED FIDDLE BAND @ THE JOYNT. PIC: FREYA LAMONT
Survivor is more comical than powerful, but it’s interesting to see how strongly the 12-yearold pop song has endured. The horns of Crazy In Love keep the party going, before Single Ladies (Put A Ring On It) ensures there’s nothing short of frenzy throughout the arena. The first part of Dolly Parton’s I Will Always Love You is sung a capella, which turns into the emotional Halo. The show has been frenetic from go to whoa – perhaps the low, down-tempo moments aren’t quite low enough to counter this manic energy, but that’s a tough criticism to give an arena pop show, particularly one delivered with the proficiency and class tonight’s has exuded. Dan Condon
THE CROOKED FIDDLE BAND, THE MOULDY LOVERS
her string so much that it almost becomes unhinged, while sliding her bow across it to create an abrasive, grating sound; at other times she plays between her bridge and fine tuners to create a sound that’s similar to record scratching, all to the furious backing beat of the band. She later makes use of her quiver by pulling out a second bow, amplifying the aggression she’s conveying with the instrument. Another intriguing aspect to the group’s identity is their incorporation of old world themes and stories. Countess Bathory’s Finishing School For Girls tells the musical tale of the infamous Elizabeth Bathory of the 16th century, while Shanti And The Singing Fish is an emotionally tumultuous tune telling a mystic tale of love and death, set amongst the water. We are then introduced to Randall’s nyckelharpa – a
THE CROOKED FIDDLE BAND @ THE JOYNT. PIC: FREYA LAMONT
blend of gypsy and ska to occupy the venue’s every orifice. After a rollicking set, the crowd begin to call for an encore, to which the group respond, “We’re just the support act, it’s not really the done thing,” before deciding to oblige. The Crooked Fiddle Band make a bold first impression – the glorious beards of drummer Joe Gould and guitarist/mandolin/ bouzouki player Gordon Wallace, the slender and striking electric double bass of Mark Stevens and violinist Jess Randall looking like a medieval heroine by using an archer’s quiver to hold her spare bows. This visual grandeur is matched sonically, particularly in the way Randall is able to manipulate her instrument to create the most unconventional sounds. At one point she loosens
Swedish instrument which is played with a bow, but held like a guitar, and has countless keys along its neck. It’s quite impressive. The final two tracks, The Deep Water Drownings Part 1 and 2 are linked together to take us on an epic journey which lasts over 15 minutes, starting out with an almost demonic bass line before proceeding to evoke emotions of melancholy, angst, excitement, fear and wonder along the way. This set has been absolutely jampacked with mind-blowing, face-melting, jaw-dropping, head-spinning moments, and will surely stay in the minds of those lucky enough to witness it for a very long time. Jazmine O’Sullivan
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42 • THE MUSIC • 6TH NOVEMBER 2013
the guide
DOM MILLER Name/instrument played: Dom Miller – I sing and I play a guitar. Neither very well. How long have you been performing? I was in Rocketsmiths for six years and I’ve been solo for about two or three. You’re on tour in the van – which band or artist is going to keep you happy if we throw them on the stereo? When we used to tour it was always Archie Bronson Outfit, Special Patrol or Snowman but now it’d probably be Bob Dylan or Courtney Barnett. Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? I got into this music shit for the money so make me a monster any time. Hank Williams is fucking great though. Maybe I’ll play Metallica songs in the style of Hank Williams. Which Brisbane bands before you have been an inspiration (musically or otherwise)? The Grates, The Gin Club, Stature::Statue, Texas Tea, John Steel Singers and currently Major Leagues, Velociraptor, Go Violets, Jeremy Neale, Phoncurves. What part do you think Brisbane plays in the music you make? I love Brisbane so hard and have written about three songs in the last six months about it. Brisbane fosters real humility and I hope that comes across in my music. What’s in the pipeline for you musically in the short term? I’m playing Room 60 on Thursday, then going on tour with John Butler Trio across the country. Also got a new clip for my latest single! Dom Miller plays Room 60 on 7 Nov (free, 7-9pm). Photo by TERRY SOO.
eat
drink
travel
opinion
eat/drink
“I LOVE YOU LIKE A FAT KID LOVES CAKE.”
FOOD TRIPPIN’
WHO’S COOKIN’
EATING AROUND THE USA WITH SOFIE MUCENIEKAS AND LLOYD HONEYBROOK
- 50 CENT (21 QUESTIONS)
PHILLY
ASHLEY REED Which cafe/bar/restaurant do you cook at? Cloudland Address: 641 Ann St, Fortitude Valley Three words that describe the place? Majestic, inviting and opulent.
CORRECTION In last week’s drink feature The Mighty Ginger, it was incorrectly stated that ginger acts as an ‘emetic’. In fact, ginger inhibits vomiting and nausea because it is indeed an ‘antiemetic’. The mistake was made in subbing – all involved are now on a strict ginger beer diet for a week.
If you were a patron of your establishment what would you select from the menu? Entree: Figs with goat’s curd and wagyu bresaola. Served with? 2013 Reillys Watervale Riesling. Main: A selection of meats from the Carne section of the menu. In true Italian tradition, the Cloudland succulent, hearty meats are sourced from the local region’s best graziers and poultry farmers.
Served with? 2011 Brancott Letter Series Pinot Noir. Dessert: Wild strawberry cheesecake with red currants and clotted cream. Served with? Milkman’s Delight cocktail. What’s the average price of a main? $22
After a pretty rough night of bowling (and drinking), Lloyd Honeybrook and I stumbled our way down to one memorable breakfast at Honey’s Sit’n’Eat. Our Southern spread here consists of sausage gravy on buttery biscuits with maple syrup grits, and a Breakfast Bomb (an enormous fluffy pancake stuffed with bacon, eggs and cheese with a side of potato latke). We also got a bowl of juicy homemade ‘slaw and a vessel of mac’n’cheese (the cheesiest we’ve had yet!!!). You cannot go wrong with Honey’s. Favourite breakfast spot in Philly, no doubt! #hangoverover #maplebaconbliss
If your food was compared to music what style would it be? Something that’s easy listening, but with great lyrics.
FOOD IS ART
What music is likely to be playing in the kitchen when you’re cooking? I like punk and ska but there is always a good mix of music playing in the kitchen.
DECONSTRUCTED KAYA TOAST GELATO BY N2 GELATO
Website link for more info? cloudland.tv
mon-wed 6.30am-3pm thurs-fri 6.30am-6pm sat 7am-6pm sun 9am-6pm
café good food & coffee Mon-Sat 7am–3.30pm Sun 7am–2.30pm
breakfast, lunch & afternoon tippler
xf!hpu///
dsbgu!cffs///txffu!txffu!xjof! ///bmm!ebz!csfblz///dpdlubjmt ///qmbuft!up!tibsf///xbjufst!uibu!dbsf! ///boe!dppm!bqspot/ 693 Brunswick St, New Farm e asa@ponycat.com.au p 3254 2883
44 • THE MUSIC • 6TH NOVEMBER 2013
326!hjwfo!ufssbdf!qbeejohupo!447:4889
drink
TO SEA
BLING ‘N’ BOOZE
WATCH RUM
A world premiere documentary about the Bundaberg Rum Distillery in Queensland will air on the National Geographic Channel. It focuses on the megafactory’s process of making the rum and the history of Bundaberg. Airing Nov 12, National Geographic, 8.30pm.
As Bundaberg gear up to release an anniversary rum worth more than 40 times the price of their usual fare, Dave Drayton investigates booze so pricey even Branson would have to think twice before buying a round.
BUNDY BOUNTY
Anniversary Rum is made by blending some of the distillery’s oldest and rarest rums (up to 35 years old). The BDC can be purchased from 23 Nov if you have a cool $1,250 laying around.
RUMMY SHIP
In a nod to the distillery’s beginnings in 1888, Bundaberg Rum will sail the high seas from Bundaberg by tall ship to Sydney Harbour on 22 Nov. Onboard le ship will be the 1,888th bottle of BDC 125th Anniversary Rum.
The bottom rung of Bundy’s booze is more often associated with chunder and fisty-cuffs than glamour and liquor buffs, but the Distilling Co are pulling out all the high end stops to celebrate their 125th anniversary. The result is the ultra-premium BDC 125th Anniversary Rum, a mix of the distillery’s oldest and rarest rums going for $1,250 a bottle. The irony of all this is that at the rate of pay for such an article, I can’t even afford one of the 3,000 125ml bottles of this fiery beverage, let alone a nip of one of the drinks below. Let’s talk about prestige; at the end of the day, that’s what all this is about. The complex back pallet and intriguing tannins and exotic flavours play a part, and I won’t argue that; how can I? I can’t afford to try it and tell you any different. These drinks price themselves into the realms of the prestigious. Sadly, it’s not as simple as bottling the moonshine from your basement bathtub and getting your student designer buddy to knock up a fancy label before banging a price tag with a comma on it. While your secret still may not be your golden ticket, if you read on you will at least get a little more insight into how people can charge more than you’re liable to make in a lifetime for a bottle of booze. La Ley del Diamante (The Diamond Sterling) Tequila ($1.5 million) What they say: Shamelessly expensive, this is all about the container it comes in. The bottle was handcrafted by 32 artisan glassblowers, then dipped in pure platinum, then sterling silver, then with 6,000 brilliant-cut diamonds. The contents (not that anyone seems to care) are made from 100% agave and aged for nine years. Despite all the attention to detail in crafting it, they forget to even put a worm in the bottom. As close as you’ll get without bankruptcy: With a roll of tinfoil, a spade and a bottle of Sierra you can one
up the Leys at a fraction of the cost (with the added bonus of a novelty undersized sombrero). Wrap your Sierra in tinfoil, place the sombrero on your head, and proceed to drink and dig until a worm is found. Diva Premium Vodka ($1.6 million) What they say: The distilling process is ‘meticulous’ – as in it is done not once, not twice, but thrice, through Nordic birch coal. The bottle it’s kept in has an inner chamber filled with precious stones of your choice that filter the vodka again with each pour. As close as you’ll get without bankruptcy: If you forgo all the ridiculous bling a bottle of the plain-old tripledistilled booze from these guys is still $3,800… But there’s a way to retain the glitz and get that special Nordic flavour on a budget. Buy your local’s cheapest bottle of yodka, a packet of those stick-on rhinestones from the $2 shop, and a small bag of charcoal. Place charcoal in a bucket and pour the vodka in. While it ‘distils’ decorate empty bottle with sparkly stickers. Funnel vodka back into your newly glittery vessel. Henri IV Dudognon Heritage Cognac Grande Champagne ($1.9 million) What they say: Not content with the price that could be fetched for their tequila, the Leys teamed up with Henri IV Dudognon Heritage and adapted their approach, instead bottling a 100-year-old cognac in a bid to empty the pockets of Dubai millionaires. At least they were honest. No one seems much concerned with the flavour, but Grande Champagne are generally long in the mouth and powerful, dominated by floral notes. There’s a joke in there somewhere. As close as you’ll get without bankruptcy: The bottle is constructed from platinum, gold and diamond. The closest you’ll get to having these precious metals near a snifter of yak is a night in with a bottle of Ludacris’ Conjure, your DS and every Pokemon game between 1999 and 2006. THE MUSIC • 6TH NOVEMBER 2013 • 45
travel
AWASH IN THE ADRIATIC You don’t have to be a millionaire to live it up big pimpin’ style, as Benny Doyle finds out while sailing the Croatian islands.
H
ere we are, far from young professionals, living it up like we’re on the set of Pharrell’s new film clip. Or so it seems. The Croatian islands are what the Greek islands used to be like 20 years ago; discovered, but still clutching their own individuality, refusing to get completely redesigned by the spike in tourist dollars. In close proximity to mainland Croatia’s 1,777km stretch of Adriatic coastline rests a glorious litter of sizable rocks – 1,246 dots of land – that combine to create one of the most divine pockets of this planet you’re ever likely to discover. And to think that during the early to-mid-‘90s, the only thing most foreigners associated with this European country was bloodshed. My friends and I are here in Split, a stunning mess of cobblestone streets, bars, cafes, markets and quaint pensions, together masquerading as Croatia’s largest passenger port, and we’re about to set off for a week at sea, sailing around a few of the choice islands nearby aboard our own private 50-foot yacht. Although it seemed extravagant when first pitched by a mate six months ago, the trip was a cinch to book, and with a dozen payers we’ve shelled out no more than we would have for a similar organised tour. We’ve brought with us minimum sailing skills and maximum levels of thirst, making the call to hire a full-time skipper an easy one. Mario is a big, cuddly ball of man, impossibly tanned and pretty much living a dream existence: captaining boats in Croatia during the summer, working as a ski instructor in France through the winter. He’s stoked that he’s got a party crew ready to sail rather than the standard Russian crusties, and is eager to show us the best of what the islands have to offer. And does he what. Sailing between Vis, Hvar and Brač, our days drift away like a sunstroke-induced dream. We’re out at sea for stretches of no more than a few hours, during which time we play cards, drink beer and smoke a lot of cheap cigarettes. iPod
46 • THE MUSIC • 6TH NOVEMBER 2013
shuffle pumps an endless number of hits through the boat’s stereo speakers, and with calm seas a constant, sunbaking on the deck is practically demanded. Water splashes our legs and feet when we hang them over the yacht’s edge, and the visibility means that when we look down we’re forever seeing large schools of fish playfully moving with the current. Once we anchor up, we typically fall off the side into the blue and that’s it, we’re immersed in what feels like cold velvet. You dive below the surface and every problem or thought you’re hanging on to simply dissolves. On the one occasion daily that this doesn’t occur – when we’ve docked in port for the night – we’re taken to a friend’s restaurant, or a friend of friend’s cafe, and treated to fresh seafood, juicy olives and generous glasses of local vino. There isn’t a night we don’t dine under the stars, and we’re always sure to give the local stray cats a few scraps before we pay the bill. We’re in Croatia out of season and the choice to travel in September proves a master stroke, with Mario constantly introducing us to a lonely inlet or empty beach where we can snorkel, fish or just float about on lilos. One day, after checking out Croatia’s take on Capri’s Blue Grotto, found on the tiny island of Biševo, we sail back to Vis and are blown away by an aquatic cavern far more large-scale called Green Cave. We cut up our hands scaling the rocky outcrop before screeching like mating birds when we throw ourselves off the ten-metre cliff edge into the water. This goes on from morning until dusk and we see two other boats. Never has isolation been so attractive. After seven days at sea, dark clouds eventually appear when we’re about an hour outside a return to Split. It’s suitable. With the amount of sun we’ve seen this week it’s no surprise the heavens are looking for a change. And if you’re wondering, no, we did not see Goran Ivanišević dancing in his underwear once. It’s as close as we come to being disappointed about anything.
ISLANDS IN THE SUN
BRAC
Roughly 15km from Split, Brač is the largest island in Dalmatia, the name given to Croatia’s historical region. It’s got the tallest point in the Adriatic (Vidova Gora: 778m) and also some premium fresh fish available direct from local boats.
HVAR
With vineyards, lavender fields and thick pine forests, Hvar is earthy and beautiful. Toss an epic castle in the mix, great beaches and the most happening nightlife throughout the islands, and you can be sure of blissed-out days and loose, late nights.
VIS
If you’re keen to explore some caves then Vis is for you. The quiet island – the furthest away from the mainland – is home to the formidable Green Cave, and provides a close jumping point to Biševo and the Blue Cave.
the guide qld.live@themusic.com.au
TOURING THIS WEEK
FRONTLASH HAPPY MAN
The doco on Sunnyboy’s frontman Jeremy Oxley’s fight for health, The Sunnyboy, was aired on the ABC last weekend – incredibly harrowing at times, it’s also amazingly inspirational. Check it out.
PROS AND CONS TWIST AND SHAKE They’re new on the scene but already The Shakeouts are making considerable inroads towards breaking some hearts. The surf five-piece play with psych junglists White Elephant and the always manic Alla Spina on Thursday at Beetle Bar.
Hilarious footage of the Beeb being whisked out of a Brazilian brothel on the weekend covered by a sheet. Because of course you have to pay for it when you’re that rich and famous…
HIGH TECH After the USA loosened aviation laws we may soon be able to listen to iPods on planes even when it’s time to land. So bloody annoying having to turn them off for no reason…
PUNK THERAPY
COUNTRY CROONER
Combine rest and relaxation with rock’n’roll and you have double the RNR. Get yours at Rock N Roll BBQ this Sunday with Alpha Omega, The Demon Drink, pictured, Mark C. Halstead and The Black Market.
From his flowing ginger mane down to his polished steelcapped boots, 8 Ball Aitken stands out a mile away – and that’s even before he’s played a note! Hear blues and roots the right way at The Joynt this Thursday from 8pm.
NEIL FINN & PAUL KELLY Goin’ Your Way EMI ILLY Cinematic Warner LADY GAGA ARTPOP Universal
BACKLASH NEWMANNN!!
Can-Do last week compared the current situation with bikies to the corruption cleaned up by the Fitzgerald Enquiry in the late-‘80s? WTF? He’s so fixated on Joh…
CAN’T DO
THIS WEEK’S RELEASES… THE JOHN STEEL SINGERS Everything’s A Thread Dew Process
JEREMY OXLEY
BÀ-WHAT?
COMPLETELY OFF
Sydney shoegazing dreampoppers Cull are capitalising on support for latest single World Inside Your Head, touring the east coast this month.. Catch them Saturday at Trainspotters with Cassette Cathedral, Apes and Kigo.
At Waves Collective, Bowler Bar this Friday night you can boogie down with producer Kilter. And don’t stress if you can’t make it – the young Sydney producer will bring his considerable skills back to Woodys, Byron Bay, 19 Dec for Club Raiders.
It’s still uncool that Campbell Newman’s private details were posted online and idiots have been harassing his family. One must retain the moral high ground…
BLOWN AMP So far 19 bands have been long-listed for the annual AMP award – surprise, surprise no Queenslanders yet! We’re on target for our biggest snub ever, just when you thought it couldn’t be worse!
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FUTURE SOUNDS
ALBUM FOCUS
THE DEEP END Name: Dale Schober Album title? Cop This Where did the title of your new album come from? There’s so much music being pushed in the mainstream today that is just rubbish. Cop This was our way of saying to the industry and rock fans worldwide, literally, COP THIS!
SASKWATCH HOWLIN’ FOR YOU
TRAINING DAYS
Set to spend a few weeks north, buzz-worthy Adelaide troubadour Timberwolf will play The Brewery, Byron Bay, 1 Dec; The Treehouse, Byron Bay, 7 Dec; The Rails, Byron Bay, 8 Dec; and Beetle Bar, 12 Dec.
Brothers Adam and Nathan Lyons will showcase their Lyon Apprentice project at The Loft, Gold Coast, 29 Nov, playing tracks off new EP Be Honest, Be Wild, Be Free, with Calan Mai and Ella Fence supporting on the night.
How many releases do you have now? This is our fourth release. We’d recorded three EPs before releasing our full-length debut album. How long did it take to write/record? It’s hard to put a number on the time it took. The songs pretty much wrote themselves whilst we toured, so there was no writing time. The recording took about six weeks all up. Was anything in particular inspiring you during the making? All the songs are based on first-hand experiences we’ve had. When it comes to writing about girls, drinking and the hardships you face as a road-dogging rock band you’re living the inspiration.
The Deep End play Miami Tavern, Gold Coast on 8 Nov, The Tempo Hotel on 8 Nov and Prince Of Wales Hotel on 10 Nov. 48 • THE MUSIC • 6TH NOVEMBER 2013
Name: Liam McGorry Home ground: Melbourne Describe your live music/ performance style as succinctly as possible: Soul-influenced band from Melbourne, Victoria. Is this your first foray to Brisbane? If not how many times have you performed in our midst? No, we’ve been to Brisbane twice before! Each time has been really great, we can’t wait to come back. Please relate your impressions of performing in our fair city: We love coming to Brisbane because the people have been incredibly lovely and the shows some of the best we’ve ever played. We’ve played BIGSOUND, Brisbane Festival and we can’t wait to be back in the Valley again.
BEFORE THEY BREAK Combining hardcore with more progressive and post-rock elements, Sydney’s Hearts Like Wolves are set for big things on the Oz heavy scene. They finish their east coast tour on 19 Dec at Beetle Bar with Trinatyde supporting. Tickets on the door.
What can we expect different this time around? This time we’re joined by two of my favourite acts of the moment, The Harpoons and Fraser A Gorman. If they can’t bring the party, no one can. We’re also premiering a lot of brand new songs from our new album. Has anything exciting been happening in your world of late? We’ve actually been recording our new album for the last few weeks in rural Queensland. It’s been heaps of fun. And gearing up for this run of shows of course.
What’s your favourite song on it? That is honestly like trying to choose between children. No Time To Rest because it’s just so fun to play. Will you do anything differently next time? We’d love to spend a bit more time trying to capture the true raw energy that we know we give at a live show, so probably more pre-production and post-production.
BRISBANE BOUND
TWO’S A CROWD
HEAVY FIRE
The Vernons, pictured, and The Upskirts will buddy up for two gigs on 27 Nov, Alhambra Lounge and 28 Nov, The Loft, Gold Coast. Whether you want your rock a bit dirty or dreamy, you’ve got the gear right here.
Brisbane-based racket The Royal Artillery just dropped new cut Johnny Cash Invents The Blues, epitomising their reckless abandon while paying homage to one of the greats. They play Byron Brewery, 15 Nov and New Globe Theatre, 30 Nov.
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What will you be taking home as a souvenir? Hopefully just some sweet times with some new/old friends. Saskwatch play Black Bear Lodge on 8 Nov and The Spotted Cow, Toowoomba on 9 Nov.
CAFÉ - BAR
321 BRUNSWICK STREET MALL, FORTITUDE VALLEY 6TH OF NOVEMBER
THIRTEEN SEVENTY (10:00PM) + DAMEENA (9:00PM) 7TH OF NOVEMBER
BAY STREET BYRON BAY (02) 6685 6402
WAAX (10:30PM) + THE REAL EYES (9:30PM) + DJ VALDIS (8:00PM - LATE)
www.beachhotel.com.au
8TH OF NOVEMBER
THIS WEEK:
ANDREW MARKWELL (10:30PM) + PETER CALVERT (9:45PM) + FIONN RICHARDS (9:00PM) + DJ VALDIS (8:00PM - LATE) 9TH OF NOVEMBER
GOLDEN AGE OF BALLOONING (9:00PM) + GUESTS (8:00PM) + DJ VALDIS (9:00PM - LATE) 10TH OF NOVEMBER
LOVE HATE REBELLION (9:30PM) + LEPERS AND CROOKS (8:30PM) 11TH OF NOVEMBER
RIC’S HOSPO NIGHT FEAT SECOND AFFAIR (9:30PM) + (8:30PM) 12TH OF NOVEMBER
THE FEBS (9:30PM) + GUESTS (8:30PM)
FREE LIVE MUSIC AND INDIE DJS WANT TO PLAY? EMAIL BOOKINGS@RICSBAR.COM.AU
WWW.RICSBAR.COM.AU
THURS 7TH FROM 8PM
BOY & BEAR
FRI 8TH NOV FROM 5PM
BEACHY FRIDAYS
$4 SCHOONERS OF COOPERS PALE ALE, OTHER DRINK SPECIALS AND NIBBLES W/LEIGH JAMES
HEY GERONIMO + TOM LARK 9:30PM SAT 9TH FROM 9PM
HOT DUB TIME MACHINE SUN 10TH FROM 4:30PM
KELLIE KNIGHT & THE DAZE CHRIS BRADLEY 8PM MON 11TH FROM 8PM
‘HIT THAT HIT’ MUSICAL BINGO (FREE ENTRY, GREAT PRIZES)
TUES 12TH FROM 7:30PM
OPEN MIC NIGHT
WED 13TH NOV FROM 7:30PM
RAW SHOWCASE ‘ENCOMPASS’
COMING UP: THUR 13TH:
GARRETT KATO FRI 15TH:
GREG KEW & CARAVANA SUN SAT 16TH:
DJ DISCROW SUN 17TH:
LISA HUNT & DJ TAYA TUE 19TH:
‘LOVE YOUR SISTER’ BREAST CANCER FUNDRAISER SAT 23RD:
STEREOSONIC LAUNCH PARTY DEC 31ST:
NYE PARTY
THE MUSIC • 6TH NOVEMBER 2013 • 49
the guide qld.live@themusic.com.au
SINGLE FOCUS
LIVE THIS WEEK
EP FOCUS
TAGLINE Answered by: Zac Benjamin
HIS MERRY MEN Answered by: Lachlan Bell Single title: Gold What’s the song about? Searching, looting, adventuring, pillaging, competing, mining, fighting, winning, loving, pirating and hopefully earning gold! How long did it take to write/record? We’ve been working on the song and playing it at gigs for over a year, but when it came time to record we got it down in a day and a half. Is this track from a forthcoming release/ existing release? This could possibly lead to an EP next year for us, but primarily we just wanted to get some new music out there after our debut record Kind Of Loud came out last year. What was inspiring you during the song’s writing and recording? We’re a ten-piece band, so there are a million influences coming and going through our music all the time, but for Gold we were in a collective Mark Ronson & The Business Intl period. We’ll like this song if we like... Dancing, pirates and the entire chronology of Hawaii Five-0, both new and old versions. Do you play it differently live? Not really, unless you count louder and more visually striking as different. His Merry Men play Black Bear Lodge on 13 Nov
EP title: Date Us Before We’re Famous How many releases do you have now? We’ve released two singles before this, but this is our first CD release. Was anything in particular inspiring you during the making? Because this is our first proper release we were really inspired musically by each other. With the addition of Jocelyn and Jay to the band, Tagline really took on a new direction.
AZZURRI AND YOU
FEEL THE SIKNES
Gold Coast rapper Boi Blue is planning to spit some aggressive rhymes on a few east coast dates opening for Mr Grevis. Watch the live spectacle at Beetle Bar, 15 Nov or Maroochydore’s Solbar, 16 Nov, with Mr Hill and Chase also playing.
SIKNEsinsALVATION are staying true to metal while putting a sack over its head. You’re invited to watch the punishment at The Tempo Hotel, 30 Nov, when they play the Late, Late Show with Jericho13, The Archaic Revival and Pyre & Ice.
What’s your favourite song on it? Our latest single Bitter Sweet (Baby In The Corner). We just put out a new music video for it! We’ll like this EP if we like... Lash, The Offspring, The Pretty Reckless, Cherri Bomb. Tagline play The Tempo Hotel on 7 Nov.
RECOGNISE THE ISSUE Stomping indie rock four Tourism are addressing the problem of domestic violence on their latest single A Song For You (Once Beaten Black And Blue), and will launch the track at Oh Hello! 14 Nov.
REAL RHYTHMS
TAKE THE POWER BACK
Bringing the sounds of the street alive on stage, buskerscum-live beat merchants Pludo will play a special headline show at Victory Hotel on 28 Dec. Treat yourself to a NYE style party a few days early.
Taking their influences from the likes of M.I.A. and Blakroc, She Rex are set to fuck your hip hop ideals right up. Hear them when they support Stonefield 22 Nov, Alhambra Lounge; 23 Nov, Villa Noosa Hotel; and 24 Nov, The Northern, Byron Bay.
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LIVE THIS WEEK
NOTHING TO HIDE
PROFESSIONAL RAMBLER
Sydney trio Little May have shown themselves to be top shelf folkies with a string of beautiful songs, and now you can hear the three ladies intertwine on stage when they play Southside Tea Room, 7 Dec. $5 on the door.
Noonghaburra/Muriwari son Glenn Skuthorpe will fill The New Globe Theatre with his rich storytelling when he performs this Thursday night with Paddy McHugh and Warren Milera. Tickets on the door for $15.
EP FOCUS
SARAH MCLEOD EP title: 96% Love Song Book How many releases do you have now? Five as a solo artist, four with The Superjesus.
ON THE MUSIC STEREO Any Old Love HALFWAY Makin’ Lemonade DOLLAR BAR Drink To Better Days MUTINY Alien Lanes GUIDEDS BY VOICES Bird Nerds BITCH PREFECT Blue Chips 2 ACTION BRONSON
REACQUAINT YOURSELF
New PAUL MCCARTNEY
Get to know the New Globe Theatre when Rapskallion swing in with their rowdy, romantic and unique blend of sounds. The multi-headed band of Melbourne gypsies play 22 Nov, with tickets $15 on the door.
Back To Forever LISSIE
DROP IT LIKE IT’S HOT
RECLAIM THE SUNSHINE
Baby and Grey Ghost are two brand new spankers from Keep On Dancin’s, and you can hear them for the first time at Black Bear Lodge on 15 Nov when they launch the pair with Martyr Privates and Roku Music.
Melbourne-via-Townsville songstress Kate Martin will amble back up to our region to play a couple of dates at The Brewery, Byron Bay, 16 Nov, and Black Bear Lodge, 17 Nov. She launches her brand new single, Awaken.
Code Blue ICEHOUSE
Was anything in particular inspiring you during the making? My Grundig vinyl player and all my favourite records from the ‘50s and ‘60s. Also my mint green Stratocaster that Billy Thorpe gave me. It’s got the ‘50s sound! What’s your favourite song on it? In The Mood. We’ll like this EP if we like... Motown music. Sarah McLeod plays The Tempo Hotel on 7 Nov, SoundLounge, Gold Coast on 8 Nov and Bon Amici Wine Bar, Toowoomba on 10 Nov.
The Melancholy Collection MILLENCOLIN
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opinion
OG FLAVAS
ADAMANTIUM WOLF
ROOTS DOWN
URBAN AND R’N’B NEWS BY CYCLONE
METAL, HARDCORE AND PUNK WITH LOCHLAN WATT
BLUES ‘N’ ROOTS WITH DAN CONDON
Australia has long adopted international acts, from ABBA on. One who’s enjoyed such local adulation is Miami’s Jason Derulo. Backed by JR Rotem’s Beluga Heights, Derulo broke out with 2009’s ingenious Whatcha Say – sampling Imogen Heap and Auto-Tuned. He then yielded an eponymous album of hi-NRG R&B/dance with epic pop hooks. The singer, touring here in April, is now onto his third effort, the generic Tattoos. For the first time Derulo recruited guest rappers, among them 2 Chainz on the swankily jazzy mega-hit Talk Dirty. Worthwhile is the piano ballad Vertigo, Derulo’s duet with current love Jordin Sparks. It’s very Trey Songz. Meanwhile, international audiences are taking a shine to our acts – even that femcee parody Iggy Azalea. The expat, who opened for Beyoncé, is plugging the UK top ten Change Your Life, featuring her singing and mentor T.I., ahead of 2014’s The New Classic. Melbourne R&B/dance DJ Havana Brown, signed early on to RedOne’s 2101 Records, crossed over Stateside with 2011’s We Run The Night (ft Pitbull). She’s just dropped her debut album, Flashing Lights. Crave mo’ party bangerz? There’s plenty here – only in played-out commercial EDM styles. Rodney ‘Darkchild’ Jerkins tosses in two tunes, one the drum’n’wobble No Tomorrow. Best is RedOne’s funkily retro title-track – a Get Lucky wannabe. Brown, who sang before she DJed, has a fragile voice, but she plays a convincing Pussycat Dolls-type pop star. ogflavas@themusic.com.au
JASON DERULO 52 • THE MUSIC • 6TH NOVEMBER 2013
A whole host of (relatively) contemporary names were added to the Bluesfest bill recently and a few of them had me particularly excited.
CROSSFATIH
Tall poppy syndrome is defined by Wikipedia as, “a social phenomenon in which people of genuine merit are resented, attacked, cut down, or criticised because their talents or achievements elevate them above or distinguish them from their peers”. I’m sure I see more of it than most, but it seems that with the increasing amount of successes being reached by our local heavy acts, this syndrome is rearing its ugly head stronger than ever. An experience that seems profoundly related to all of this happened upon one of my earlier visits to Japan in 2010. I went to see an American group supported by a variety of local bands. I commented to one of my Japanese friends about how one of them seemed like they were just “copying popular American bands”, and his reaction – a tiny giggle very quickly stifled by a ‘shhh’ finger to the lips to signal that I had overstepped the line – took me by surprise. It’s an extreme example to give from a completely different culture, but given that said friend plays in a much more longstanding and underground group than Crossfaith, who have since gone on to become Japan’s biggest heavy export of the last decade, it surprised me. The members of Palm are proud of the fact that Crossfaith played their first show opening for them. This level of respect seems all but non-existent in Australia. I’ve reached a point in my life where it only seems to make sense to be happy for the successes of others. Sure, all my own bands have crashed and burned after a couple of years, and I’d be lying if I said I hadn’t talked some serious shit in my past. I definitely sometimes still get jealous
watching people I used to play local shows with making massive waves around the world, but I’m now very conscious of how I deal with and project those feelings. Push it inwards and improve your own standings, rather than just trying to take them down a peg to make yourself feel better. It feels nice to have pride in your brethren, and there’s plenty of actual shit music out there without having to attack our already marginalised heavy music community. The music industry is harsh and incredibly competitive, and it takes more work and sacrifice than most people could ever understand to even start breaking, even as a touring band… Luck plays into it too, but luck alone won’t pay the bills. I’m not trying to say that no one should ever be allowed to express a negative opinion. I’m not saying that some bands don’t suck. Yes, you might have moved on to the next musical trend, and now feel entitled to laugh at the commercial continuation of what you used to support when you were younger. Yet if you’d sacrificed any other real career path to get in the position to be able to do so, chances are you’d probably inflate your merch prices a little too rather than desperately look for a new casual job between each tour. Those people you’re cutting down on the internet, they’re living their dream, they stuck to their art and worked hard for it. We might be subject to tall poppy syndrome, but we can also smell a fake, and consistency is a quality that can be seen in our current heavy music achievers. What I’m trying to say is, pull your head in, because many more people than just myself can see straight through it, and it’s kind of embarrassing, and counterproductive.
If you haven’t seen Elvis Costello & The Imposters and you have even a slight amount of interest in this incredible artist’s body of work, then you need to make sure you don’t miss out come Easter time. Costello is still an amazing performer and his band are brilliant – smashing through the hits at breakneck speed. I’ve long said that Clairy Browne & The Bangin’ Rackettes are the unsung heroes of Australian soul music, but I can’t really do that anymore as they’re finally becoming ridiculously popular. Their inclusion on the Bluesfest line-up is a no brainer for me and I have absolutely no doubt they will win over thousands of new fans with their performances at the event. The Soul Rebels will bring the always much-needed New Orleans brass element that will have your feet hurting from dancing so hard and I’m particularly excited about seeing Trixie Whitley, a woman with an incredible soulful voice who writes gorgeous, delicate songs with arrangements you’re never expecting. Have a listen and you’ll understand. And, yes, she’s the daughter of the late, great Chris Whitley. Before I sign off, I urge you to take a look at the Sydney Festival and Port Fairy line-ups that were announced last week. I’ll look at both in more detail as the events approach – there is plenty for lovers of blues and roots music to get excited about.
ELVIS COSTELLO
opinion
ARE YOU LOCAL? BRISBANE SINGLES AND EPS BY CHRIS YATES
TOM HALL
Fall Into Dark Sonoptik Tom Hall, the artist formally known as AXXONN has recently relocated to Los Angeles, but he cut his teeth and a solid reputation for himself both locally and beyond under that moniker. Fall Into Dark is from Hall’s new album Many Days End which is coming out on LA-based label Sonoptik, and it’s a beautiful teaser for what is sure to be an interesting release.
The atmospherics are warm and dark, slowly ebbing to make way for a restrained piano line of delicate melody that creates more in the imagination than is actually occurring. As the synth pads weigh in towards the end peppered with static hits of delay, it becomes even more deep and delicious.
THE CREASES I Won’t Wait
Rough Trade/Remote Control It’s really not surprising that Rough Trade has plucked
this band out of obscurity and released their first single. The story starts with them recording a couple of tracks really quickly (I Won’t Wait being one of them), and then getting signed to the label before they even played a show. It wasn’t as much of a gamble as it sounds. The production on the track is deliciously sloppy, there’s mistakes and a clearly very lo-fi recording process which have all added to the authenticity and happy accident that the song has become.
HALFWAY
Dropout/ Honey I Like You Plus One Halfway celebrate 14 years as a band next year, and have a brand new album Any Old Love ready to add to their legacy. The country rock is smooth and calculated, and the efforts of co-producer Robert Forster can be heard in the arrangements and the space left between sounds. Additional production by Peter Jespersen (famous for his work with The Replacements) and the band’s
John Willsteed (also a former Go-Between) all contribute to help make the record sound like a million bucks, and their nearly decade-and-a-half of playing together means they’re tight and slick. Honey I Like You is a little more subtle in its execution than the big hooks of Dropout, but they both sound like they belong together.
MARVILLE Outgrown Independent Extremely grungy guitars take on a bunch of familiar riffs and stack them up neatly into Outgrown. The arrangement is interesting, with a breakdown coming really early on in the song complete with a retro pickslide the likes of which we really don’t get enough of anymore. The energy is stepped up on the second track, the even grungier (sounding and titled) Loser, but those guitars are still as crunchy as a mouthful of rocks being chewed up and gulped down with a flannelette chaser.
THE LOOKING GLASS A JOURNEY THROUGH ARTS WITH HELEN STRINGER I think selfies are just the best thing to happen to humanity since our ancestors worked out how to make fire. Some nights I lie awake thinking of how much more awesome historical record would be if cavemen had iPhones. Imagine if the first dude who worked out how to rub some rocks together and ignite dried grass had been able to Instagram it. Just think of how awesome his third degree burns would look in diffused sepia. Difficult as it is, we have to accept the harsh reality that the billions of pointless photos of our heads that now permanently reside in internet-land are a record of but a few years of human history. But don’t worry; we will be the last generation to suffer the trauma of not knowing what our predecessors looked like after they’d spent four hours twisting their heads at unnatural angles in order to spontaneously capture a moment of their carefully posed, completely fabricated lives.
My absolute favourite thing about selfies is it would be how much information that little picture can tell you about someone. You can pick up on all kinds of micro-cues that allow you to accurately profile strangers and even your friends. Take the classic duck-face. The only acceptable reason for duck-facing is that you are, in fact, a duck. If you’re not an aquatic bird then selfies taken with the sole purpose of collecting praise make you look either like a bit of an arsehole or so pathologically insecure your self-esteem is entirely derived from Facebook commentary. Forget conversation, whether a person regularly makes sexy eyes at an electronic device is the true measure of character. Without selfies we’d actually have to talk to people to find out whether or not they’re unbearable douchebags. The latest – and my favourite – inappropriate selfie trend is selfies at funerals, which is fairly self-explanatory. A lot of people are outraged by this
offence against taste but I don’t think we’re taking this new anthropological trend seriously enough. For the generation predisposed to take pictures of themselves doing absolutely nothing (#lyingdown#slippers), photographing themselves with their dead grandma in the background with captions like “love my hair today” or hashtagging with great compassion #boyfriend#gor geous#hipster#funeral this is a great leap forward. Finally the kids are documenting an actual significant event. As for the unrivalled narcissism
argument, I call bullshit. I certainly didn’t need the internet to be a despicable narcissist. It’s confounding that those born pre-digital are conceited enough to think that if they’d had access to a global, infinite means of expressing themselves they would have behaved differently. As teenagers we never behaved inappropriately or did stupid things; obviously, we geriatrics were just better people. That’s why we all have blogs, Facebook accounts, Twitter, Instagram, and Tumblr which we regularly update with very important, poignant photos of our breakfasts. THE MUSIC • 6TH NOVEMBER 2013 • 53
the guide qld.gigguide@themusic.com.au Andrew Markwell + Peter Calvert + Fionn Richards + DJ Valdis + DJ Ryan: Ric’s (downstairs), Fortitude Valley
THE MUSIC PRESENTS Boy & Bear: Beach Hotel Nov 7, Coolangatta Hotel Nov 8, The Tivoli Nov 9 Golden Days Festival: Coolum Sports Complex Nov 9 Mullum Music Festival: Mullumbimby Nov 21-24 Patrick James: Black Bear Lodge Nov 27 The John Steel Singers: Spotted Cow Nov 28, The Zoo Nov 29, Solbar Nov 30 Philadelphia Grand Jury vs Feelings: The Rev Dec 5 Festival Of The Sun: Port Macquarie Dec 13-14 Pond: The Zoo Dec 14
WED 06
TJ Quinton + Ahliya Kite + Sleepy Tea + Li Li Kite: Black Bear Lodge, Fortitude Valley Rhythm Junkies: Brisbane Powerhouse (Visy Theatre), New Farm Jam Night feat. various: Coolangatta Hotel, Coolangatta Locky: Irish Murphy’s, Brisbane Justin Hamilton + Mick Neven: Jupiters (The PA), Broadbeach Ingrid James Quartet: Limes Hotel, Fortitude Valley Thirteen Seventy + Dameena: Ric’s, Fortitude Valley Mark Sheils: Royal George, Fortitude Valley The Keepaways + Barge With An Antenna On It: The Hideaway, Fortitude Valley The Switch: The Joynt, South Brisbane Nathan Pursey: The Plough Inn, Southbank Tempo Acoustic Sessions with Annie Drake + Owen Van Larkins + Terry Clark: The Tempo Hotel, Fortitude Valley Lecia & Lani: The Vault, Southport
THU 07
Lambda feat. Lime Cordiale: Alhambra Lounge, Fortitude Valley
The Shakeouts + White Elephant + Alla Spina: Beetle Bar, Brisbane Miss Elm + Amela + Belltalk: Black Bear Lodge, Fortitude Valley Jazz Singers Jam Night feat. various: Brisbane Jazz Club, Kangaroo Point Rhythm Junkies: Brisbane Powerhouse (Visy Theatre/1pm), New Farm Rhythm Junkies: Brisbane Powerhouse (Visy Theatre/8pm), New Farm
Bonjah: Solbar Dec 28, The Northern Dec 29
Shotgun Duo: Saltbar, South Kingscliff
Woodford Folk Festival: Woodfordia Dec 27-Jan 1
Sweet Formidables + Drawn From Bees: Shady Palms, Stones Corner
Half Moon Run: Solbar Jan 2, Old Museum Jan 3, The Northern Jan 4
Justin Hamilton + Joel Bryant + Pete Rosky + Mick Neven: Sit Down Comedy Club, Brisbane
Future Music Festival: RNA Showgrounds March 1
Lime Cordiale + The Belligerents: Solbar, Maroochydore
Billy Bragg: The Tivoli Mar 20 Steve Earle & The Dukes: The Tivoli Apr 15
Sarah McLeod: SoundLounge, Currumbin
Allen Stone: The Zoo Apr 16
The Ottomans + Tsun + Gaza: The Hideaway, Fortitude Valley
Byron Bay Bluesfest 2014: Tyagarah Tea Tree Farm Apr 17-21 KC & The Sunshine Band: The Tivoli Apr 19
Allan Kelly + The High Boys + guests: Cafe Le Monde, Noosa Ian Moss + special guests: Coolangatta Hotel, Coolangatta Sue-Anne Stewart + Bree De Rome: Dowse Bar (Iceworks), Paddington Six Shooter Cahill + Chris Miller + Friends: Elsewhere, Surfers Paradise Oval: Institute of Modern Art, Fortitude Valley Rag Doll Duo + Jabba: Irish Murphy’s, Brisbane Ballad Boy: Loving Hut, Mount Gravatt Acoustic Guitar Spectacular with Michael Fix + Richard Gilewitz: Maleny Community Centre, Maleny Battle of the Bands feat. various: Mick O’Malley’s, Brisbane Glenn Skuthorpe Band + Paddy McHugh + Warren Milera: New Globe Theatre, Fortitude Valley Waax! + The Real Eyes + DJ Valdis: Ric’s (downstairs), Fortitude Valley Justin Hamilton + Joel Bryant + Pete Rosky + Mick Neven: Sit Down Comedy Club, Brisbane The Twoks: Solbar, Maroochydore Damien Leith + Andy Brown: SoundLounge, Currumbin Open Mic Night with Damien Power: Stones Corner Hotel, Stones Corner The Red Jumpsuit Apparatus + Call The Shots + Set The Record + Double Lined Minority + The Sweet Apes: The Hi-Fi, West End Robbie Miller + Meredith + Amorina: The Hideaway, Fortitude Valley 8 Ball Aitken: The Joynt, South Brisbane Apes + Sassin Fras + Kit Lightning + The Revelators: The Loft, Chevron Island Ty Fader: The Plough Inn, Southbank
Street 66 + Astro Travellers: The Joynt, South Brisbane
GIG OF THE WEEK DON WALKER: 9 NOV, OLD MUSEUM Sarah McLeod + Bamford Cook + Beth Lucas: The Tempo Hotel, Fortitude Valley The Comfort + Stone Hearts + Tagline + Hey Denise + What We’re Worth: The Tempo Hotel, Fortitude Valley Book Club + various DJs: The Tempo Hotel (Bowler Bar), Fortitude Valley Frazer Goodman + friends: The Vault, Southport The Kill Devil Hills + Shifting Sands + Sue Ray: The Zoo, Fortitude Valley Snitch feat. +Saviour + For All Eternity + Anchored: X&Y Bar, Fortitude Valley
Ingrid James + Julian Jones: The Lido Cafe & Restaurant, Ascot
Nick & Greg: Gazebo Restaurant, Hotel Urban (5pm), Brisbane The Break: Institute of Modern Art, Fortitude Valley B-Rad + Jabba: Irish Murphy’s, Brisbane Laugh Your Pants Off with Wil Anderson + Peter Helliar + Hannah Gadsby + Dave Thornton + Ellen Briggs + Damien Power + Stephen Head + Lindsay Webb: Jupiters (The PA), Broadbeach Jon English & The Foster Brothers: Kedron Wavell Services Club, Chermside South
Archie Rye: The Plough Inn, Southbank Bec Laughton: The Spotted Cow, Toowoomba New Orkid + Saints Alight + Deadlights + Take Us To Vegas + Lucky 13: The Tempo Hotel, Fortitude Valley Waves Collective feat. Kilter: The Tempo Hotel (Bowler Bar), Fortitude Valley Jazz & Shriaz feat. various: The Vault (4pm), Southport
FRI 08
Friends feat. Original Brothers + The Cairos + Tundra + special guests: Alhambra Lounge, Fortitude Valley
Big Dead + Storyhorse + Ghost Notes + Loss Leader: Beetle Bar, Brisbane Saskwatch + The Harpoons + Fraser A Gorman: Black Bear Lodge, Fortitude Valley Will Martineau + Friends: Brisbane Jazz Club, Kangaroo Point Rhythm Junkies: Brisbane Powerhouse (Visy Theatre/1pm), New Farm Rhythm Junkies: Brisbane Powerhouse (Visy Theatre/8pm), New Farm DJ Pipeline Pedro + DJ Jasti: Cafe Le Monde, Noosa Boy & Bear + Battleships + Dustin Tebbutt: Coolangatta Hotel, Coolangatta Boy & Bear + special guests: Coolangatta Hotel, Coolangatta
SCOTT KELLY: 9 NOV, THE ZOO
Le Breeze: Lambert’s Restaurant, Kangaroo Point Signature Series: Lock ‘n’ Load Bistro, West End The Deep End: Miami Tavern (Shark Bar), Miami Strings For Ammo + Locky: Mick O’Malley’s, Brisbane Damien Leith: Mon Komo, Redcliffe
Lesyah: The Vault, Southport Nancy Vandal + 1.1.1 + Spike City: The Zoo, Fortitude Valley Darren J Ray: Warwick RSL, Warwick Wendy Matthews: Woombye Pub, Woombye
SAT 09
Phil Barlow Band: Coorparoo Bowls Club, Coorparoo
The Break: QAGOMA (QLD Art Gallery), South Bank
Cookie Jar feat. various DJs: 633 Ann, Fortitude Valley
Dead Beat Band + The Dark Hawks + The Bends: Elsewhere, Surfers Paradise
Green Jam Sessions with +Tamara O’Callaghan: QPAC, Southbank
Skypilot + Fallin Short + Upsize + Stone Vandals: Albany Creek Tavern, Albany Creek
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 54 • THE MUSIC • 6TH NOVEMBER 2013
Teale Jakubenko + Garrett Kato + Ella Fence + Grant Carruthers: The Loft, Chevron Island
the guide qld.gigguide@themusic.com.au Oliver ‘Tuku’ Mtukudzi &
Def FX + The Bloodpoets + Imperius Rex: Beetle Bar, Brisbane
The Black Spirits: The Tempo Hotel, Fortitude Valley
Sarah Collyer: Brisbane Jazz Club, Kangaroo Point
Men of Letters feat. various: The
Topology: Brisbane Powerhouse (Powerhouse Theatre), New Farm
Zoo (3.30pm), Fortitude Valley
Rhythm Junkies: Brisbane Powerhouse (Visy Theatre/1pm), New Farm
Damien Leith + Andy
Rhythm Junkies: Brisbane Powerhouse (Visy Theatre/8pm), New Farm
Club, Victoria Point
Brown: Victoria Point Sharks
MON 11
Damien Leith + Andy Brown: Broncos Leagues Club, Red Hill
Open Mic Night with
DJ Wintex + Massroom: Cafe Le Monde, Noosa
Mick Neven: Stones Corner
Jon English & The Foster Brothers: Caloundra RSL, Caloundra
Hotel, Stones Corner Rockaoke: The Tempo
Gerald Keaney & The Gerald Keaneys + Hound + Dispatcha + GUNK: Chardons Corner Hotel, Annerley Hostile Takeover + Triptaphene + Vaguely Human + Deadly Combination + Guy Drory: Club Greenslopes (6pm), Greenslopes Thriller feat. Dance Gavin Dance + Built On Secrets + Sunsets + The Braves: Coniston Lane, Fortitude Valley Golden Days Festival feat. Grinspoon + Ball Park Music + Seth Sentry + The Beards + Sticky Fingers + Kingswood + Battleships + Jackie Onassis + Alys Longmate + Drawcard + Tea Society + Brett Orr + Hope Springs + The Buzzbees + Sahara Beck: Coolum Sports Complex, Coolum High Tension: Crowbar, Fortitude Valley Chris Miller + Adam & Eve + Giv: Elsewhere, Surfers Paradise Cull + Cassette Cathedral + Apes: Grand Central Hotel, Brisbane Locky + Berst: Irish Murphy’s, Brisbane Natalie de Jager: Jazzcat Restaurant, Paddington Bec Laughton: Lock ‘n’ Load Bistro, West End Nancy Vandal + 1.1.1 + Spike City: Miami Tavern (Shark Bar), Miami
Hotel, Fortitude Valley
The Break: The J, Noosa Junction Jack & The Giant Killers + Boxcar Falcon + Wes Larsen: The Joynt, South Brisbane Dead Books + Selahphonic + Pirates of the Tempest: The Loft, Chevron Island Adrian Lux: The Met, Fortitude Valley 3 Thieves: The Plough Inn (afternoon), Southbank
Jarrah + Steve Grady + Graham Moes: Shady Palms, Stones Corner
Theatre, Maryborough
Matt Stillert + DJ Jahzen: Cafe Le Monde (3.15pm), Noosa
Brian Sexton + Liam Gerner: Shucked Lane, Newstead
Load Bistro, West End
Nic Tango: Coorparoo Bowls Club, Coorparoo
Alex & The Shy Lashlies: Solbar, Maroochydore
Saskwatch + The Harpoons + Fraser A Gorman: The Spotted Cow, Toowoomba The Deep End + Pyromance + Heavy Roller + Triplickit: The Tempo Hotel, Fortitude Valley
Salt-N-Pepa: Jupiters, Broadbeach
Dangerous Dan: The Tempo Hotel (Bowler Bar), Fortitude Valley
Strings For Ammo + Ger Fennelly: Mick O’Malley’s, Brisbane
Boy & Bear + Battleships + Dustin Tebbutt: The Tivoli, Fortitude Valley
The View From Madeleine’s Couch: Mr & Mrs G Riverbar, Brisbane
Bart Thrupp: Lock ‘n’ Load Bistro, West End
Barry Charles & The Deeper Beat: Solbar (2pm), Maroochydore DJ Chantal: Stoke Bar (2pm), Southbank DJ Mister P + DJade + Stevie Z + Karavini: Surfers Paradise Beer Garden, Surfers Paradise Dance Gavin Dance + Built On Secrets: Tall Poppy Studios (all ages), Brisbane Karl S Williams: The Joynt, South Brisbane Retro Room: The Plough Inn (afternoon), Southbank
Smokie + guests: Brolga
Lauren Lucille: Lock ‘n’
The Bug feat. Victoriana Gaye + The Poachers: New Farm Bowls Club, New Farm Liam Gerner: The Scratch, Milton Escalate feat. Dance To Blackout + Chrome Recliner + Against Them + Black As Blue: The Tempo Hotel, Fortitude Valley Neutral Milk Hotel + M Ward + Superchunk: The Tivoli, Fortitude Valley Lesyah: The Vault, Southport
Frazer Goodman + Lesyah + more: The Vault, Southport
Scott Kelly & The Road Home + Jarboe + Kellie Lloyd: The Zoo, Fortitude Valley
Don Walker & The Suave Fucks: Old Museum, Bowen Hills
L-Fresh The Lion + Calski + Rainman: Transcontinental Hotel, Brisbane
Hey Geronimo + Tom Lark + Don Koyote: Solbar, Maroochydore
Rhythm Junkies: Brisbane Powerhouse (Visy Theatre/1pm), New Farm
Sessionkatz + Stretch Paper Cranes: Elsewhere, Surfers Paradise
Wild Marmalade + Dubarray + DJ Andrew Booth: New Globe Theatre, Fortitude Valley
Nicky Convine: Saltbar, South Kingscliff
TUE 12
Love Hate Rebellion + Lepers & Crooks: Ric’s (downstairs), Fortitude Valley
Stereo Blonde: The Plough Inn, Southbank
The Oyster Murders + The Bell Divers + Go Go Fish: The Waiting Room, West End
DJ Cutts: Ric’s (upstairs), Fortitude Valley
The Tivoli, Fortitude Valley
Acoustic Guitar Spectacular with Michael Fix + Richard Gilewitz: Bond University, Bond University
The Twoks + Brad Butcher + Kathryn McKee: Dowse Bar (Iceworks), Paddington
Electric Samurai + Ger Fennelly: Mick O’Malley’s, Brisbane
The Golden Age of Ballooning + guests + DJ Valdis: Ric’s (downstairs), Fortitude Valley
OneRepublic + Emma Birdsall:
LIME CORDIALE: 7 NOV, ALHAMBRA LOUNGE
Troy Cassar-Daley + Adam Harvey: Twin Towns, Tweed Heads
SUN 10
Bluejuice + Sures + Rolls Bayce: The Hi-Fi, West End
Rock n Roll BBQ feat. The Black Market + Mark C Halstead + The Demon Drink + Alpha Omega: 633 Ann (2pm), Fortitude Valley
Audego + Friendships + Tincture: The Hideaway, Fortitude Valley
Sarah McLeod: Bon Amici Wine Bar, Toowoomba
DEF FX: 9 NOV, BEETLE BAR
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 6TH NOVEMBER 2013 • 55
tour guide qld.gigguide@themusic.com.au
INTERNATIONAL
The Red Jumpsuit Apparatus: The Hi-Fi Nov 7
Guitar Wolf: Beetle Bar Dec 6
The National: Riverstage Feb 11
Passenger: The Tivoli Dec 6, Dec 7 (AA)
Ed Kowalczyk: The Tivoli Feb 12
Oval: IMA Nov 7
Taylor Swift: Suncorp Stadium Dec 7
Fliptrix: The New Globe Theatre Nov 8, The Brewery Nov 10
Joey Bada$$: The Hi-Fi Dec 7
Scott Kelly And The Road Home, Jarboe: The Zoo Nov 9
Melvins, Helmet: The Hi-Fi Dec 8, The Northern Dec 9
Eminem: Suncorp Stadium Feb 20 Dolly Parton: BEC Feb 21 Bruce Springsteen & the E Street Band: BEC Feb 26
Deerhunter: The Zoo Dec 9
The Wonder Stuff: The Zoo Feb 27
Muse: BEC Dec 10 (AA)
Brian McKnight: QPAC Mar 2
One Republic: The Tivoli Nov 11
Peter Murphy: The Hi-Fi Dec 10
Neko Case: The Hi-Fi Mar 5
Salt-N-Pepa: Jupiters Hotel Nov 12
Metric: The Tivoli Dec 11
Bruno Mars: BEC Mar 7
Sage Francis: The Hi-Fi Dec 12
Yo La Tengo: The Zoo Mar 11
Alicia Keys, John Legend: BEC Dec 13
Iced Earth: The Hi-Fi Mar 14
Adrian Lux: The Met Nov 9, Platinum Nov 16
Neutral Milk Hotel, M. Ward, Superchunk: The Tivoli Nov 12 Smokie: Brolga Theatre Nov 12, Empire Theatre Nov 14, QPAC Nov 15
Kylesa: The Hi-Fi Dec 13 Hopsin: The Tempo Hotel Dec 13, Surfers Paradise Beer Garden Dec 16
Nile: The Hi-Fi Nov 14 Big Sean: Arena Nov 14
Chris Lake: Family Dec 13, Platinum Dec 20
Useless ID: Crowbar Nov 15 Between The Buried And Me: The Zoo Nov 15
Jack Johnson: QPAC Dec 14 Chic featuring Nile Rodgers: The Tivoli Dec 15
Martha Davis And The Motels: Twin Towns Nov 15
Todd Terry: Cloudland Dec 15
Olly Murs: BCEC Nov 16 Black Rebel Motorcycle Club: The Hi-Fi Nov 17
The Brian Jonestown Massacre: The Hi-Fi Dec 15, The Northern Dec 18
Franz Ferdinand: The Tivoli Nov 17
Bon Jovi, Kid Rock: Suncorp Stadium Dec 17
Moonsorrow: The Hi-Fi Nov 20 Jill Scott: The Tivoli Nov 21 Neck Deep: Snitch Nov 21, Trinity Hall Nov 22 (AA)
Sonny and the Sunsets: QAG Nov 22
Allday: Bowler Bar Nov 15 Jeremy Neale: Solbar Nov 15, The Zoo Nov 16
Katie Noonan, Abby Dobson: Old Museum Dec 14
Fishing: Alhambra Lounge Nov 16 John Butler Trio: The Zoo Nov 17
Thirty Seconds To Mars: Brisbane Riverstage Mar 30 (AA)
Harrison Craig: Star Court Theatre Nov 19
Steve Earle & The Dukes: The Tivoli Apr 15
Seabellies: Alhambra Lounge Nov 21
Allen Stone: The Zoo Apr 16
Sal Kimber & The Rollin’ Wheel: The Joynt Nov 21
KT Tunstall: The Zoo Apr 30
Holy Holy: Black Bear Lodge Nov 21
Mac DeMarco: The Zoo Dec 18
Fleshgod Apocalypse: The Hi-Fi May 14
Bodyjar: The Hi-Fi Nov 22, Coolangatta Hotel Nov 23
David Dallas: Alhambra Lounge Dec 19
James Blunt: BCEC Jun 2
British India: The Zoo Nov 22, 23
Babylon Circus: Solbar Jan 3, The Brewery Jan 4, Alhambra Lounge Jan 5
Justin Bieber: BEC Nov 26, 27 (AA)
Earthless: Crowbar Jan 3
Dale Watson & His Lonestars: Black Bear Lodge Nov 28, Morningside Services Club Nov 29
Paramore, You Me At Six: BEC Jan 9
Deafhaven: Crowbar Jan 8
Jason Derulo: BEC May 5
Dragon: Kedron Wavell Services Club Jun 20, Twin Towns Jun 21
NATIONAL
Boy & Bear: Beach Hotel Nov 7, Coolangatta Hotel Nov 8, The Tivoli Nov 9 Sarah McLeod: The Tempo Hotel Nov 7, SoundLounge Nov 8, Coolum Hotel Nov 9, Bon Amici Cafe Nov 10
The Living End: Eatons Hill Hotel Nov 23
Circles: Transcontinental Hotel Nov 29
Leonard Cohen: BEC Nov 30
Mayhem: The Hi-Fi Jan 12
Kataklysm: Crowbar Dec 4
Misfits: The Zoo Jan 16
Nancy Vandal: The Zoo Nov 8, Miami Tavern Shark Bar Nov 9
Machine Translations: The Hi-Fi Nov 30
Cave: The Zoo Dec 4
We Are Scientists: The Zoo Jan 22
Don Walker: Old Museum Nov 9
Closure In Moscow: The Spotted Cow Dec 5, Alhambra Lounge Dec 6
High Tension: Crowbar Nov 9
A MUSICAL CABARET PERFORMANCE BY
THE GOOD SHIP FEATURING SANDRO COLARELLI
15 NOVEMBER, 7.30PM POWERHOUSE BOOKINGS: 07 3358 8600 OR VISIT: BRISBANEPOWERHOUSE.ORG WWW.THEGOODSHIP.COM.AU
56 • THE MUSIC • 6TH NOVEMBER 2013
Josh Pyke: Old Museum Feb 15 Pete Murray: The Tivoli Feb 22 Kerser: The Hi-Fi Feb 22 (AA and 18+) Caravãna Sun: Beach Hotel Feb 28, Solbar Mar 1, Brunswick Heads Hotel Mar 2 Kate Miller-Heidke: The Tivoli Apr 5
FESTIVALS
Golden Days: Coolum Sports Complex Nov 9
The Other Side: South Stradbroke Island Nov 23 OzManouche: Brisbane Jazz Club Nov 28-Dec 1 Warped Tour: RNA Showgrounds Nov 29, Coffs Harbour Showground Nov 30 Stereosonic: RNA Showgrounds Dec 7-8 Festival Of The Sun: Sundowner Breakwall Tourist Park Dec 13-14
Tumbleweed: The Tempo Hotel Dec 5
Woodford Folk Festival: Woodfordia Dec 27-Jan 1
Colin Hay: The Tivoli Dec 5
Falls Festival: Byron Bay Dec 31-Jan 3
Philadelphia Grand Jury, Feelings: The Rev Dec 5 The Nerve: The Northern Dec 5, The Tempo Hotel Dec 6, Kings Beach Tavern Dec 7 King Parrot, Gay Paris: Commercial Hotel Dec 6, Thriller Dec 7 Courtney Barnett: QAG Dec 6
CELEBRATING THE RELEASE OF THEIR NEW ALBUM ‘THE SEVEN SEAS’ AVAILABLE IN STORES & ONLINE EVERYWHERE
Hunters & Collectors: Sirromet Wines Feb 2
Valley Fiesta: Fortitude Valley Entertainment Precinct Nov 22-24
The John Steel Singers: The Spotted Cow Nov 28, The Zoo Nov 29, Solbar Nov 30
Saskwatch: Black Bear Lodge Nov 8, The Spotted Cow Nov 9
Bluejuice: The Hi-Fi Nov 9
Karnivool, Dead Letter Circus: Marquee Jan 11, Coolangatta Hotel Jan 12
Mullum Music Festival: Mullumbimby Nov 21-24
The Crimson Projekct: The Hi-Fi Jan 11
Dash Berlin: Riverstage Feb 9
Bonjah: Solbar Dec 28, The Northern Dec 29, Surfers Paradise Beer Garden Dec 30
Air Supply: Jupiters Casino Nov 27
City and Colour, Twin Forks: Brisbane Riverstage Nov 30
The Locust: Crowbar Feb 5
Miami Horror: Oh Hello! Dec 21
Patrick James: Black Bear Lodge Nov 27
Daughters: Crowbar Jan 9
Steel Panther: Riverstage Dec 6
Clairy Browne: The Hi-Fi Dec 19
Hits & Pits 2.0: Coolangatta Hotel Nov 15, The Hi-Fi Nov 16
Whitley: Alhambra Lounge Nov 28, Woombye Pub Nov 29, Coolangatta Hotel Nov 30
Def FX: Beetle Bar Nov 9
Pond: The Zoo Dec 14, The Northern Dec 15
The Hello Morning: Eumundi Amphitheatre Nov 24
Lime Cordiale: Alhambra Lounge Nov 7, Solbar Nov 8, The Northern Nov 9
Insane Clown Posse: The Hi-Fi Dec 5
Gareth Liddiard: QAG Dec 13
Alex Lloyd: Springwood Hotel Nov 16, Lismore Workers Club Nov 17
Sebadoh: The Zoo Mar 23
KC & The Sunshine Band: The Tivoli Apr 19
The Gin Club: Cafe Le Monde Dec 12, Black Bear Lodge Dec 13, The Spotted Cow Dec 14 Battleships: Solbar Dec 13, The Hideaway Dec 14
Jessica Mauboy: BCEC Nov 19, Jupiters Casino Nov 20, Caloundra Events Centre Nov 22, Empire Theatre Jan 8; Lismore Workers Club Jan 10
Queens of the Stone Age, Nine Inch Nails: BEC Mar 17
The Tiger & Me: Beach Hotel Dec 12, The Joynt Dec 13, Solbar Dec 14
Screamfeeder: The Spotted Cow Nov 15, Beetle Bar Nov 16
Michael Buble: BEC May 12
Half Moon Run: Solbar Jan 2, Old Museum Jan 3, The Northern Jan 4
Carl Craig: Bowler Bar Nov 22
The Aston Shuffle: Elsewhere Nov 15
Stonefield: Alhambra Lounge Nov 22, Villa Hotel Noosa Nov 23, The Northern Nov 24
Waka Flocka Flame: The Hi-Fi Dec 21
Mikal Cronin: Alfred’s Apartment Nov 21, Black Bear Lodge Nov 22, The Northern Nov 23
Toby Keith: BEC Mar 14
Gossling: Alhambra Lounge Nov 15
I Exist: Sun Distortion Dec 6 (AA) The Screaming Jets: Eatons Hill Hotel Dec 6, Coolangatta Hotel Dec 7
Beachlife: Surfers Paradise Beach Jan 4-5 Boys Of Summer: The Rev Jan 8, Eagleby South School Hall Jan 9 (AA) Big Day Out: Metricon Stadium and Carrara Parklands Jan 19 Laneway Festival: RNA Showgrounds Jan 31 Soundwave: RNA Showgrounds Feb 22 Good Life: RNA Showgrounds Feb 28
Birds Of Tokyo: Coolangatta Hotel Dec 11
Bluesfest: Tyagarah Tea Tree Farm Apr 17-21
Guineafowl: Alhambra Lounge Dec 12, Beach Hotel Dec 13
Groovin’ The Moo: Townsville Cricket Grounds May 4
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU
music. thursday 7/11. Hannah Macklin 8pm.
saturday 9/11. Ant Aggs Trio 8pm.
café & wine bar breakfast. lunch. dinner. drinks ‘til late. open 7am weekdays. Lower Burnett Ln. Brisbane CBD. 07 3211 4242.
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THE MUSIC • 6TH NOVEMBER 2013 • 57
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SPORTS FOR YOUR SUMMER SOCCER LEAGUE
Hyundai A-League.
PROS Only summer football in Australia, makes transition easier for those waiting for ‘real’ footy to return.
CONS Not enough points scored. The men sometimes carry on like small girls.
WATCHABILITY A bit slow on the box, fantastic live if you’re in the right supporter stand.
HOW DOES IT STACK UP GLOBALLY? Not bad, not great. Good league for former heroes entering their twilight years.
CRICKET LEAGUE
Bupa Sheffield Shield, KFC T20 INTL, Carlton Mid ODI Series. A little contest called the Ashes.
PROS
Heaps of different comps means lots of drinking time. Helped popularise KFC boxed meals.
CONS
Heavy po-po presence at grounds means less fun stuff (e.g. streakers, inflatable balls).
WATCHABILITY
Mid-strength beer has impacted it as a live sport. During a backyard barbecue, almost unbeatable.
HOW DOES IT STACK UP GLOBALLY? Not as mental as India, not as dull as England. Just right.
BASKETBALL LEAGUE
National Basketball League.
PROS Fast-paced with lots of action. Still a premium put on cheerleading.
CONS Indoor sport during the outdoor season. Alley-oop dunks are limited.
WATCHABILITY Good, except for the last few minutes of any close game. Commentary needs work.
HOW DOES IT STACK UP GLOBALLY? Have you seen the NBA? Yeah...
58 • THE MUSIC • 6TH NOVEMBER 2013