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ISSUE 1355

| 23 JAN 2013 | BEAT.COM.AU









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Cornish Arms

BRUNSWICK Monday $12 Steak Night & Free Pool

Tuesday Wednesday

$10 Vegetarian & Vegan Meals Trivia Night. 7:30pm. Free Entry


Kitchen Specials

Anna’s GoGo Academy. 6:30pm $15 Parma & Pot

Mon - $12 Burger and $12 Parma +



Tues - Trivia Night Wed - $14 Porterhouse Steak

Killing Liers 9:30 pm

Saturday Ol’ Timey Music Jam Session 5pm, Beer Garden












Band’s & DJ’s every Friday and Saturday night, Yee Haa ! Function Room Available Kitchen Open Every Evening

THU 24th Jan


8.30-9.15PM 9.30-10.15PM 10.30-11.15PM

FRI 25th Jan



SAT 26th Jan 9.30-11.30PM


SUN 27th Jan 5.00-7.OOPM














HAPPY HOUR TUES- FRI: 4PM-7PM coming soon....






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Celebrating The Life of Sonny Lewis 9:30 pm


Ten Gallon Head 5pm In The Beer Garden $12 Jugs of Carlton and Gypsy All Day

Coming Up... 27/1 Summer Sprints - Fixture No. 3 1/2 Michael Plater & The Exit Keys 2/2 The Moonee Valley Drifters Of1stTheSaturday Month 9,16,23/2 Lone Tiger February Residency All Shows Free Entry KITCHEN OPEN: MON-WED DINNER, THURS-FRI LUNCH & DINNER, SAT-SUN ALL DAY.

function room beer garden backpacker accommodation 380 VICTORIA ST PHONE 9388 0830 band bookings:


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SPECIAL PROJECTS EDITOR: Christie Eliezer SENIOR CONTRIBUTORS: Simone Ubaldi, Patrick Emery COLUMNISTS: Emily Kelly, Peter Hodgson. CONTRIBUTORS: Mitch Alexander, Siobhan Argent, Bella Arnott-Hoare, Thomas Bailey, Graham Blackley, Chris Bright, Joanne Brookfield, Tegan Butler, Avrille BylockCollard, Rose Callaghan, Kim Croxford, Dave Dawson, John Donaldson, Alexandra Duguid, Alasdair Duncan, Cam Ewart, Callum Fitzpatrick, Jack Franklin, Chris Girdler, Megan Hanson, Chris Harms, Andrew Hickey, Nick Hilton, Peter Hodgson, Lachlan Kanoniuk, Cassandra Kiely, Joshua Kloke, Nick Mason, Krystal Maynard, Miki McLay, Jeremy Millar, James Nicoli, Oliver Pelling, Matt Panag, Jack Parsons, Sasha Petrova, Liam Pieper, Steve Phillips, Zoe Radas, Adam Robertshaw, Joanna Robin, Leigh Salter, Side Man, Jeremy Sheaffe, Sisqo Taras, Kelly Theobald, Tamara Vogl, Dan Watt, Katie Weiss, Krissi Weiss, Rod Whitfield, Jen Wilson, Tyson Wray, Simone Ziada, Bronius Zumeris. © 2012 Furst Media Pty Ltd. No part may be reproduced without the consent of the copyright holder.












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PVT Lauded London-via-Sydney pop experimentalists PVT are gearing up to release Homosapien, their fourth LP. To celebrate, they will be hitting the road this March for a national tour. The electronic rock purveyors are primed to follow up their acclaimed, ahead-of-its-time LP Church With No Name, in a big way in 2013. The tour will come replete with support from red-hot R&B-inflected duo Collarbones. PVT perform at The Corner on Saturday March 23. Tickets from the venue box office and website.

DIAFRIX & CHANCE WATERS Support some of the best Australian hip hop musicians on Australia Day, Saturday January 26, with Melbourne-based duo Diafrix and triple j Unearthed winner Chance Waters (formerly Phatchance) live at Fed Square. Fed Square Live is a series of free, all ages outdoor concerts featuring a slick lineup of Australia’s top independent and emerging acts. The 2013 Fed Square Live season caps off with '60s style pop rock band Hungry Kids of Hungary and triple j Unearthed High’s 2012 winner Asta on Thursday January 31.

CIVIL CIVIC Coinciding with the release of their debut full-length album, Australian duo Civil Civic are playing a series of shows in Australia next month for their first performances Down Under since forming in 2009. Their upcoming album Rules, out Friday February 1, is full of reverberating atmospheric intensity that is sure to translate magically in a live setting. As well as performing at at the ATP Melbourne 'I’ll Be Your Mirror' Festival on Saturday February 16, Civil Civic hit The Tote for a special show on Tuesday February 19.

THE GARDEN PARTY Melbourne's freshest outdoor festival hub The Garden Party (beside the Melbourne Recital Centre) has announced their full schedule, adding performances by Henry Wagons, Eden Mullholland and Oh Mercy to the already flourishing lineup. The opening party is this Friday January 25 with Brous, The Bamboos and Axolotl. For full schedule and ticketing information, head to

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Guns N' Roses, recent inductees to the Rock‘n’Roll Hall of Fame, have announced their first visit to Australia since 2010. Having sold more than 100 million records worldwide since forming in 1985, Gun N' Roses are one of the most prolific groups to ever burst out of the LA rock scene, blinding punters with their debut album Appetite For Destruction in 1987. Texan trio ZZ Top and Rose Tattoo will also be joining Guns N' Roses for the tour. It all goes down at the Sidney Myer Music Bowl on Sunday March 17. Tickets go on sale from Ticketmaster on Friday January 25 at 9am.

VICTORIA STREET LUNAR FESTIVAL Lunar New Year celebrations have always been an integral part of the City of Yarra’s festival calendar. Victoria Street in Richmond is the centre of these celebrations, where road closures between Hoddle and Church streets see the popular restaurant and shopping strip come alive for a day-long street party. On the day, Eureka Richmond will shine as the premier licensed venue, operating all day and night with tasty food and awesome DJs. The event is Melbourne’s best opportunity to enjoy the sights, smells, sounds and tastes of traditional and contemporary Vietnamese culture. The 2013 Victoria Street Lunar Festival will be held on Sunday January 27.

ESPY HOTTEST 100 PARTY This Saturday January 26, The Espy is celebrating Australia Day with a huge free party, with the triple j Hottest 100 pumping over the PA and a lineup of exciting bands across all three rooms all arvo, including World’s End Press, Eagle And The Worm, Bore Nothing, DJ Yoda, YesYou, Redcoats, Sure, Dirt Farmer and more. The free event kicks off from midday. It’s unAustralian to miss it.

SOMETHING WITH NUMBERS Long-dormant Australian indie-rockers Something With Numbers have announced their return to the fold. The news coincides with the announcement of the band's first new track in five years, We Kill The Weekend. The show will feature Something With Numbers' well-loved hits, plus a sample of new material from the upcoming album Eleven Eleven. Something With Numbers perform at Northcote Social Club on Friday February 15, tickets available from the venue website.



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CHERRYROCK 2013 CherryRock, the annual street rock’n’roll festival hosted in AC/DC lane returns in 2013 on Sunday May 5. It’s set to be a huge day with 14 acts across two stages including coheadliners Unida of California (after reforming in 2012) and Truckfighters of Sweden playing their first ever Australian shows. Both of these international acts have amassed critical acclaim and following and will be joined at the festival by international, local and interstate acts of similarly high calibre. CherryRock 2013 makes stoner dreams come true with rock acts like Unida, Truckfights, King Parrot, Barbarion and many more playing Sunday May 5 across AC/DC Lane and Cherry Bar.

OPETH In a career spanning two decades, Swedish outfit Opeth have established themselves as the masters of progressive metal. No strangers to our shores, the band have announced their triumphant return to Australia. Opeth have built a reputation for an incredible live show that more than lives up to the legacy of their recorded output. Previous Opeth tours of Australia have sold out quickly, so get in fast to avoid disappointment. Opeth perform at The Palace on Thursday March 15. Tickets on sale 9am, Thursday January 24 from Ticketmaster.

BLOC PARTY British four-piece Bloc Party have announced a run of sideshows to complement their tour of Australia as part of Future Music Festival. After their explosive debut in 2005 with Silent Alarm, featuring the monster lead track Helicopter, Bloc Party further solidified their popularity with 2007’s A Weekend In The City, and 2008’s Intimacy. Following this, the band took a hiatus but reunited a few years later and rewarded their fans with last year’s Four, which made it to number 3 on the ARIA Album Charts and sold over two million copies. Bloc Party play Festival Hall on Thursday March 14. Tickets on sale Friday January 25 from Ticketmaster. Bloc Party also play Future Music Festival at Flemington Racecourse on Sunday March 10 alongside artists The Prodigy, Dizzee Rascal, PSY and more.

MAMA KIN As a purveyor of foot-stomping, New Orleans-inspired bass lines, coupled with ballads of open-hearted tenderness, Mama Kin has earned a reputation for harnessing strength in vulnerability. The ultimate raconteur, a sorcerer of free will and individuality, with her new album, The Magician’s Daughter, Mama Kin traverses new sonic territory. Be sure to catch Mama Kin’s album launch with Spender on Thursday April 11 at the Northcote Social Club. Tickets from the venue website.


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LOCAL NATIVES Local Natives have announced their impending return to Australia with anticipation for their sophomore album Hummingbird, which drops this Friday. Since last visiting Australia to tour their critically acclaimed Gorilla Manor album, the band has traversed the world for headline slots, festival bills and supporting slots for The National and Arcade Fire, with masses of critical acclaim following them. They will play The Forum Theatre on Saturday May 18, with tickets on sale from Ticketmaster from 9am Friday February 1. Pre-sale tickets on sale through Ticketmaster for Frontier members from Tuesday January 29 at 12pm.

BRUNSWICK MUSIC FESTIVAL In a city blessedly rich in culture, Brunswick stands alone as its own distinctive arts and cultural precinct. The 12 day Brunswick Music Festival captures the area’s eclectic, dynamic flavour through a vibrant 28 concert program spread across five venues, with its own famous street party (Sydney Rd Street Party, Sunday March 3) to boot. The lineup mixes the best of new local talent with brilliant international acts in Australia’s only inner city festival of folk, roots and world music. Visit for information on the lineup and ticket purchase. The Brunswick Music Festival takes place from Wednesday March 13 'til Sunday March 24.



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BROTHERS GRIM AND THE BLUE MURDERS Brothers Grim And The Blue Murders know who their friends are. As such, on their upcoming tour for the single Been A While from their upcoming EP, they’ll be stopping in at venues that have supported them along the way, including The Old Bar on Friday February 15, the Bridge Hotel in Castlemaine on Saturday February 16 and a secret show on Sunday February 17.


AUSTRALIAN OPEN The Australian Open have revealed the smashing lineup of Australian acts that will perform live at the Grand Slam currently happening in and around the Rod Laver Arena. Heineken will be hosting a Live Stage on the Grand Slam Oval every night of the tournament with a lineup including Jon Stevens, Mark Seymour, Bluejuice, Daryl Braithwaite as well as Julia Stone headlining the entertainment on the day of the women’s final and Wolfmother performing on the evening of the men’s. The Heineken Live Stage is at Melbourne Park and is free for all Australian Open spectators, with performances starting at 6pm and happening every night of the tournament ‘til Sunday January 27. For all Australian Open ticketing options, head to the Ticketek website.

After a standout year which saw the release of 12 Bar Bruise (one of our top ten albums of 2012), King Gizzard And The Lizard Wizard have announced a swift follow-up LP. Eyes Like The Sky follows on from the spoken word 12 Bar Bruise cut Sam Cherry’s Last Shot, with the new album being billed as a psychedelic western audiobook. Like Sam Cherry’s Last Shot, Eyes Like The Sky tells tales written and narrated by former Dingoes vocalist Broderick Smith (father of King Gizz’s Ambrose Kenny-Smith). Stay tuned for our Beat TV interview with the boys conducted backstage at Falls Festival, where they revealed full details on Eyes Like The Sky. Eyes Like The Sky will be released this February through Flightless and the band will play The Corner Hotel on Saturday February 23.

AUSTRALIA DAY FESTIVAL IN THE PARK The City of Greater Dandenong are throwing an Australia Day bash to showcase some of their local talent. Acts for the festival include Skipping Girl Vinegar, Grey Ghost, Soliloquy, Sol Nation, Benny Walker with more still to be announced, alongside local and emerging artists will also feature, including Jake, Rhoda, SG, Just Kings, Tanu, Esenadus, El Dalouna and more. There’s also roving performers, Bollywood dance and workshops, circus Diablo, hula hooping, magic, rock climbing and a giant slide, plus a whole lot more. It all happens at Dandenong Park on Saturday January 26. For more information visit

THE KING OF THE LYRA: PSARANDONIS Adonis Xylouris, aka Psarandonis, comes from a renowned Cretan musical family and is known as the most idiosyncratic lyra player (a traditional Cretan folk instrument) on the beautiful island. An exponent of tripped out Cretan music, Psarandonis’ unique three-stringed lyra playing style, his distinctive voice and his stunning rendition of traditional folk songs has made him a cult legend in Greece and beyond, particularly with a younger generation of Cretan music lovers. In January 2009, Psarandonis gave memorable performances at the All Tomorrow’s Parties Festival curated by Nick Cave & The Bad Seeds. Playing at Golden Plains, he’ll also appear at The Forum on Friday March 22. Psarandonis also plays at the Theatre Royal in Castlemaine on Thursday March 21. Tickets are on sale Wednesday January 23.

PUBLIC HOLIDAY EVE AT THE ESPY What better way to celebrate Public Holiday Eve than an all-out ‘80s extravaganza at The Espy with The Absolutely ‘80s Show. The band’s nostalgic lineup features Brian Mannix (Uncanny X-Men) and Scott Carne (Kids In The Kitchen) and Dale Ryder (Boom Crash Opera) performing all their hits in one. Also playing on the night are Headspace, The Dale Ryder Band, Bad Boys Batucada and Ms Butt. The Absolutely ‘80s Show hits The Espy on Sunday January 27. Free entry.

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PERIPHERY + CROSSFAITH Two fine proponents of metal from the 2013 Soundwave lineup are teaming up for what’s set to be a giant night at The Espy. In a short number of years, Periphery have blazed a trail of originality that has sent a shockwave throughout the metal world. Complementing their technical proficiency will be Japan masters Crossfaith. Periphery and Crossfaith perform at The Espy on Monday February 25; get your tickets at

BART WILLOUGHBY Pioneer and powerful Indigenous music contributor Bart Willoughby is launching his new album Proud in the Espy Gershwin Room on Friday February 15. To help launch the new album, Bart Willoughby will be backed up by a full band featuring Selwyn and Timbal Burns, Airi Ingram and the impeccable harmonies of Deline Briscoe and Emma Donovan. Special guests on the night will be rising indigenous hip hop music ambassadors Yung Warriors. Opening act for the show will be Tabura, a powerful nine-piece group of young West Papuan musicians based in Melbourne.


AUSTRALIA DAY EUREKA HOTEL The Eureka Hotel Richmond is stoked to announce their first big event of 2013. Head down and join in as they count down the triple j Hottest 100 of 2012. After the countdown Major Tom & The Atoms will be playing live followed by a great lineup of some of Melbourne’s best indie DJs. There’s also a BBQ running all day with Aussie favourites – snags, steaks, chook, chops, potato salad plus heaps of other great tucker on offer. Saturday January 26.

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ST KILDA FESTIVAL – THE CAT EMPIRE Foxy Felix and crew will bring the house down on the Main Stage on Sunday February 10. Melbourne’s favourite ska-hop sons return to St Kilda Festival for the first time since 2005, playing their beloved hits and   previewing material from their new album, due out this coming May.

HAPPY MONDAYS For the first time ever, Happy Mondays will be touring Australia with their original lineup. Bez, Gary Whelan, Mark Day, Paul Ryder, Rowetta and Shaun Ryder will bring their incredibly influential back catalogue across the country this May. The original lineup have recently reassembled to record their first album in 20 years, due to arrive sometime in 2013. Happy Mondays perform at The Palace on Sunday May 5. Tickets on sale now from the venue website.

SQUARE SOUNDS FESTIVAL After packing The Evelyn hotel in 2012 for Blip Festival Australia, the team behind SoundByte, Melbourne’s best known chipmusic events, is back with Square Sounds Melbourne, a two day audio-visual feast of lo-fi goodness. Two huge days of chipmusic, retrotech and video game inspired beats will take over The Evelyn Hotel featuring a massive lineup of 21 audio-visual acts all on a single stage, so you can catch every set. Many of these artists not only have never played Australia before, this will be their only Aussie show, ensuring Square Sounds is a must see show for any fan of chipmusic and retro soundscapes. It’s Friday February 15 and Saturday February 16. tickets via Moshtix.

DRAPHT Subsequently going to ground after last years Big Day Out tour, Drapht has resurfaced with a University-based tour throughout Australia. Giving back to the fans, Drapht will bring his four-piece band to many of the country’s universities at a generous student discount price as part of his Uni-Verse Tour. Drapht performs at La Trobe Bundoora on Wednesday February 27. Ticket details and full tour dates at

THE MUSIC MAKER BLUES REVUE Far too often true musical pioneers become forgotten heroes and the music they played such a part in creating is forgotten along with them. Music Maker Foundation are fighting the good fight to keep the blues and southern roots music alive and pay homage to these incredible musicians. This year Bluesfest are presenting The Music Maker Blues Revue featuring boogie woogie legend Ironing Board Sam, guitar slinging siren Pat Wilder, Alabama bluesman Dr. Burt and Zydeco giant Major Handy, with Albert White, Nashid Abdul Khaaliq and Ardie Dean. It’s at the Northcote Social Club on Wednesday March 27 and tickets are $40+bf.

GRAVEYARD TRAIN Following appearances at Meredith, Woodford Folk Festival and Vancouver Folk Festival to name a few, in May of last year Graveyard Train released their third record, Hollow, to resounding support. In launching Hollow around the nation, Graveyard Train sold out two consecutive nights at The Hi-Fi in Melbourne and smashed it quite similarly in Sydney, Brisbane and Adelaide – and that’s just the capital cities. They also just played a ripper of a set at MONA FOMA. So what does 2013 have in store for these wild cats? The whispers are that after this next run of shows, the boys will head back into studio, only this time to record and document some of the sadder, darker and more forgotten events that shaped Australia’s rich rural outback history. Make sure you check ‘em out when they play The (very rad) Garden Party at the Melbourne Recital Centre on Saturday February 2. Tickets from

ANTHRAX We know that the 2013 Soundwave will boast three quarters of the big four, now Anthrax have announced a headline Sidewave. The long-serving metal heroes will bring their undying legacy to our shores once again, hitting up The Hi-Fi alongside their Soundwave commitments. The tour will feature the band’s new guitarist Jon Donais, who replaced the outgoing Rob Caggiano. Support on the night comes from Fozzy and This Is Hell Anthrax perform at The Hi-Fi on Thursday February 28.


THE ROLLING STONES KOOYONG ANNIVERSARY CONCERT Hear ye, hear ye, all Rolling Stones tragics, rejoice. Sunday February 17 marks 40 years to the day that The Rolling Stones sizzled at Kooyong Tennis Centre during a matinee performance of their infamous Exile On Main Street World Tour in 1973. To honour this landmark Melbourne concert, The Corner Hotel will host a oneoff celebration of the so-called “temperature rising” Stones Kooyong show at its precise 40th anniversary, from 1pm on Sunday February 17. A track-for-track live tribute will be performed by specifically created local all-star act The Monkey Men, featuring Tim Rogers (You Am I) on lead vocals, Ash Naylor (Even), Davey Lane (You Am I) and Stephen Hadley (Tex Perkins) on guitars, Matthew Cotter (Even) on drums, Bruce Haymes (Renee Gayer) on keys, Jack Howard (ex-Hunters & Collectors) and Ben Marsland on horns, and Eliza and Talei Wolfgramm on backing vocals. Max Crawdaddy will DJ and James ‘The Hound Dog’ Young will MC. The idea is the brainchild of host of RRR’s Off The Record Brian Wise and Cherry owner James Young. Tickets from The Corner box office and website

THE XX With the Thursday April 4 date selling out within minutes, a second show for red-hot UK threepiece The XX has been announced for the following night, Friday April 5 at Festival Hall. We advise you to get in quick. Tickets are via Ticketmaster.

FEELINGS With a debut album set for release in mid 2013, former Sydney-sider Feelings will launch his new single Intercourse across Australia this February including a stop in at The Workers Club on Friday February 15. Feelings is the new project from former Philadelphia Grand Jury frontman Simon Berkfinger and features the dashing Dave Rennick from Dappled Cities and Art Vs. Science’s human metronome, Dan Williams.

Ten bands everyone should know about: Bahamas, Local Natives, Celadore, Motor Ace, Daughter, Windsor Thieves, Brazos, Old Crow Medicine Show, Seabellies, Art of Fighting.

Three goals for your music: Reschedule a national tour (last one was sadly cancelled), record a full length album by 2014, and longevity! This is what we do, what we love and what makes us happy!

Nine food items that you need to make a kickarse dinner party: Start with…olives, blue cheese and figs. Progress to...chilli, mussels, sourdough. End with…chocolate, berries and cream.

Two live gigs you’ll never forget and why: Motor Ace @ The Lyric in Geelong early 2000s. When they played Siamese something happened in the room and suddenly everyone became best pals, everyone one was singing their guts out and there were high fives being thrown all over the place, maybe even a few man hugs. Local Natives @ Laneway Melbourne 2011. I remember watching this with my cousin Sarah, we had been sitting on the grass chatting and waiting making sure we didn’t lose our prime viewing position. They came on stage and from memory they opened with Wide Eyes as soon as three part harmonies kicked in followed by the infectious drum rhythm we looked at each other and knew we were in for something special.

Eight possessions that define you: Illex Kinni Boots, Black Jeans, MacBook Pro, Canon 7D, Fender Telecaster Thinline, Vox AC30, Nord piano, Vintage Shirt. Seven favourite movies/TV shows that go on your mixtape: The Beach, Fresh Meat, New Girl, Michael Jordan – Come Fly With Me, The Mighty Boosh, Amelie, Homeland. Six bad habits you can’t escape: Instagram, sour worms, nail biting, procrastinating, double checking that I’ve locked the doors and coffee. Five people who inspire you: People who take risks to do what they love, Hayden & Jas – Ravens Creek Farm, Rach & Joel –Frank & Dolly's Store, Bob Dylan, Joel Houston, Leif Podhajsky. Four things that turn you on: Long Hair. Beautiful Lips. The Beach. Wine.


One day left before the apocalypse and you… Start packing up. When’s the gig/release? We are having a benefit show, due to a tragic house fire, where Joel and Rachel lost their home, belongings and music studio. The benefit show will feature performances by an outstanding group of acts, all of whom were touched by this tragedy. This list includes Clare Bowditch, Mark Lang from Skipping Girl Vinegar, The Darjeelings, Celadore and Luke Legs. It’s on at The Workers Club on Friday January 25, 10pm, $8. Our new EP Lake can be purchased at all good music stores around the country, on iTunes and our website.

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INTERNATIONAL OFF! Corner Hotel January 23 SLEIGH BELLS Billboard January 23 ANIMAL COLLECTIVE The Palace January 23 BAND OF HORSES The Palais January 23 CHILDISH GAMBINO The Hi-Fi January 23 JEFF THE BROTHERHOOD Corner Hotel January 24 CHICKS ON SPEED The Tote January 24 THE BLOODY BEETROOTS The Palace January 24 ALABAMA SHAKES The Forum January 24 ELVIS COSTELLO The Palais January 25 OSAKA MONAURAIL The Espy January 25 A DAY ON THE GREEN Yarra Valley January 26 BIG DAY OUT Flemington Racecourse January 26 MOUNT EERIE The Toff January 26 WOODS The Tote January 27 RICHARD HAWLEY Hi-Fi Bar January 29 PERFUME GENIUS Northcote Social Club January 30 HIGH HIGHS The Toff January 30 JESSIE WARE Prince Bandroom January 30 THEE OH SEES The Hi-Fi January 31 SLEEP ºº OVER The Liberty Social February 1 NOBUNNY The Tote February 1 JUSTIN TOWNES EARLE Castlemaine Theatre Royal February 2, Corner Hotel February 3 ST. JEROME’S LANEWAY FESTIVAL Footscray Community Arts Centre February 3 DIVINE FITS Corner Hotel February 4 POLICA Northcote Social Club February 4 NITE JEWEL The Workers Club February 4 BAT FOR LASHES The Palais February 5 KINGS OF CONVENIENCE Hamer Hall February 5 CLOUD NOTHINGS Ding Dong Lounge February 5 HOLY OTHER Workers Club February 5 THE MEN Northcote Social Club February 6 JULIA HOLTER The Toff February 6 YEASAYER The Hi-Fi February 6 MS MR Northcote Social Club February 7 GIN BLOSSOMS The Hi-Fi February 7 DEER TICK, TWO GALLANTS Northcote Social Club February 9 DESCENDENTS Festival Hall February 9 DEER TICK AND TWO GALLANTS Northcote Social Club February 9, 10 DIRTY BEACHES February 10 DAVID HASSELHOFF Corner Hotel February 14 I AM GIANT Ding Dong Lounge February 14 SWANS Corner Hotel February 15 CONVERGE Billboard The Venue February 15 RINGO STARR Festival Hall February 16, 17 ALL TOMORROW’S PARTIES Westgate Entertainment Centre February 16, 17 FATHER JOHN MISTY The Hi-Fi February 17

NEIL FINN AND PAUL KELLY The Palais February 16, 18 EINSTÜRZENDE NEUBAUTEN The Palace February 19 DR. FEELGOOD Corner Hotel February 21 NORAH JONES The Plenary February 21 HOW TO DRESS WELL Corner Hotel February 22 MY BLOODY VALENTINE The Palace February 22 JOSE JAMES The Hi-Fi February 22 MOTION CITY SOUNDTRACK The Hi-Fi February 25 PERIPHERY/CROSSFAITH The Espy February 25 BLINK-182 Sidney Myer Music Bowl February 26 LINKIN PARK, STONE SOUR Rod Laver Area February 26 KYUSS LIVES The Palace February 26 OF MICE & MEN The Hi-Fi February 26 THE WEDDING PRESENT Northcote Social Club February 26, 27 TOMAHAWK Billboard The Venue February 27 SLEEPING WITH SIRENS The Hi-Fi February 27 FLOGGING MOLLY The Palace February 27 SICK OF IT All The Espy February 27 GARBAGE The Forum February 27 PUSCIFER The Palais February 28 DUFF MCKAGAN’S LOADED The Espy February 28 BLOOD ON THE DANCE FLOOR Arrow On Swanston February 28 CYPRESS HILL The Forum February 28 THE TALLEST MAN ON EARTH Melbourne Recital Hall February 28 BRING ME THE HORIZON/PIERCE THE VEIL Billboard February 28 SUM 41/BILLY TALENT The Palace February 28 SOUNDWAVE Flemington Racecourse March 1 DEEP PURPLE/JOURNEY Rod Laver Arena March 1 DEERHOOF Schoolhouse Studios March 3 THIN LIZZY Billboard The Venue March 4 KISS, MÖTLEY CRÜE Etihad Stadium March 5 FUN. The Palace March 5 ED SHEERAN Festival Hall March 5, 6 THE OFFSPRING The Palace March 6 CAT POWER The Forum March 7 THE STONE ROSES Festival Hall March 7 DINOSAUR JR Corner Hotel March 7, The Espy March 8 PURITY RING Corner Hotel March 8 GOOD LIFE 2013 Flemington Racecourse March 8 WOMADELAIDE Adelaide’s Botanic Park March 8 –March 11 PORT FAIRY FOLK FESTIVAL Port Fairy March 8 – 11 TORO Y MOI Corner Hotel March 9 GEORGE CLINTON & PARLIAMENT FUNKADELIC Billboard March 9 GOLDEN PLAINS Meredith’s Supernatural Amphitheatre March 9 - 11 MXPX Corner Hotel March 10 WILD NOTHING The Tote March 11, The Toff March 12 REDD KROSS The Espy March 12 BOB MOULD Corner Hotel March 13 BLOC PARTY Festival Hall March 14 NEIL YOUNG & CRAZY HORSE Rod Laver Arena March 15 OPETH The Palace March 15 JON SPENCER BLUES EXPLOSION Corner Hotel March 16

DAMIEN DEMPSEY The Hi-Fi March 16 GUNS N’ ROSES Sidney Myer Music Bowl March 17 THE JACKSONS Melbourne Convention and Exhibition Centre March 19 WANDA JACKSON Corner Hotel March 20 THIS WILL DESTROY YOU Northcote Social Club March 21, 22 MUTEMATH Billboard March 22 RODRIGUEZ Hamer Hall March 22 ROBERT CRAY Hamer Hall March 24 FRED WESLEY Corner Hotel March 24 BRUCE SPRINGSTEEN Rod Laver Arena March 24, 26, 27 Hanging Rock March 30, 31 WILCO Hamer Hall March 27, 28 KITTY, DAISY & LEWIS Billboard March 27 BONNIE RAITT, MAVIS STAPLES State Theatre March 27 IGGY AND THE STOOGES Festival Hall March 27 ROGER HODGSON The Palais March 28 BYRON BAY BLUESFEST Byron Bay March 28 – April 1 EMILIE AUTUMN The Espy March 29 COUNTING CROWS Hamer Hall March 30 THE LUMINEERS Corner Hotel April 2 DROPKICK MURPHYS Festival Hall April 2 BLIND BOYS OF ALABAMA Hamer Hall April 3 ROBERT PLANT Rod Laver Arena April 3 THE XX Festival Hall April 4, 5 THE SCRIPT Rod Laver Arena April 6 BEN HOWARD Corner Hotel April 6, 7 BIRDY The Palais April 8 PUBLIC IMAGE LTD The Palace April 11 MICK TAYLOR Ferntree Gully Hotel April 19, Corner Hotel April 20, 21 EXTREME The Palace April 19 BRYAN ADAMS Rod Laver Arena April 20 COHEED AND CAMBRIA/CIRCA SURVIVE The Palace April 21 BLACK SABBATH Rod Laver Arena April 29, May 1 HAPPY MONDAYS The Palace May 5 DEFTONES The Palace May 17, 18 LOCAL NATIVES The Forum May 18 STAN RIDGWAY Corner Hotel May 18, The Caravan Club May 19 P!NK Rod Laver Arena July 7, 8, 10, 11, 12, 13, 14, August 27 AMANDA PALMER & THE GRAND THEFT ORCHESTRA The Forum September 20

NATIONAL EMMA LOUISE The Toff January 24 THE NECKS Corner Hotel January 29, 30, 31 GOLD FIELDS Toff January 31 TOKYO DENMARK SWEDEN The Espy February 1 ST KILDA FESTIVAL St Kilda February 2 – 10 THE UV RACE Ding Dong Lounge February 2 DEAD CAN DANCE The Palais February 6 THE PRESETS The Palace February 6, 7 STRANGERS Workers Club February 8 MY DISCO Corner Hotel February 8 SARAH BLASKO Hamer Hall February 14 RIVERBOATS MUSIC FESTIVAL Echuca-Moama February 15 – 17 SOMETHING WITH NUMBERS Northcote Social Club February 15 BART WILLOUGHBY The Espy Friday February 15 ROCK THE BAY FESTIVAL The Espy February 16


LOCAL NATIVES The Forum, May 18 CIVIL CIVIC The Tote February 19 JULIA STONE St Michael’s Church February 20 THE SMITH STREET BAND Reverence Hotel Saturday February 23 KING GIZZARD AND THE LIZARD WIZARD Corner Hotel February 23 BETWEEN THE BAYS Moorooduc, Mornington Peninsula February 23 DRAPHT La Trobe Bundoora February 27 LOON LAKE Corner Hotel March 1 TIM ROGERS/THE BAMBOOS Melbourne Zoo March 1 NICK CAVE AND THE BAD SEEDS Sidney Myer Music Bowl March 2 BIRDS OF TOKYO The Forum March 2 THE DEMON PARADE Workers Club March 3 MOOMBA The Yarra March 8 – 11 PETE MURRAY Ferntree Gully Hotel March 9, Corner Hotel March 15 PUSH OVER Sidney Myer Music Bowl March 11 CLARKEFIELD MUSIC FESTIVAL Clarkefield Hotel March 17 THE CAT EMPIRE Prince Bandroom March 20, 21 GRINSPOON The Hi-Fi March 22 PVT Corner Hotel March 23 BOOGIE 7 Bruzzy’s Farm, Tallarook March 29-31 LAST DINOSAURS Ding Dong October 21 (U18), The Corner October 25, 26


Seal, Usher, Killing Heidi = New Announcements = Beat Proudly Presents

Proudly Supported By

Skipping Girl Vinegar

Grey Ghost UÊS oliloquy

Benny Walker (solo)

Tom Francis UÊSol Nation and more 3 stages of awesome nonstop entertainment U Free music event ww

Saturday 26 January 3pm–9.30pm

Dandenong Park Cnr Pultney and Foster streets, Dandenong

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Beat Magazine Page 23


One of the leading acts on this year’s St Jerome’s Laneway Festival lineup is American/ Canadian band Divine Fits. Released in 2012, the band’s debut album is an unrelenting cascade of fervent indie pop. The masterful agents at the band’s core are Spoon frontman Britt Daniel and co-leader of both Wolf Parade and Handsome Furs, Dan Boeckner. Their illustrious histories needn’t be ignored but the synergy evinced on their debut album A Thing Called Divine Fits affirms they are a standalone entity. Daniel and Boeckner are two men who have never suppressed their creative urges and speaking on the phone from LA, Daniel reveals the band are utilising a brief touring break to work on new material. “We’re hopefully going to do a single, but we’ll see what happens. We worked out maybe four new songs. The beginning stages of them at least,” he says. Daniel has been the chief creative force in Spoon since the mid-’90s, but he explains that the Divine Fits song-writing process is vastly different to how he has worked in the past. “A lot of these songs started when we were just at rehearsals or soundchecks. I’ve never been in a band like that, where things just happen spontaneously. I was always the guy that would bring in a song and it was pretty much written. There’s been a lot of times where we spontaneously start playing something, I record it, take it home and change it up a bit. Or Dan will take it home and change it up a bit. One or the other.” This novel method of song construction is energising for Daniel and gives him a different point of departure from which to develop a song. “When you write a song and you’re sitting at home trying to write on an acoustic guitar, or a piano or whatever, you know that you can come up with something where the words will fit the music but you don’t know what it’s going to sound like as a band. You don’t know if it’s going to be exciting in that format. But these songs, at least these little bits that we’ve written in these rehearsals, we know those are exciting. Then the challenge is to find some words that will fit on top.” Although he does relish the flipped manner of formulating songs, he isn’t declaring superiority to either way of operating. He concedes that luck factors in no matter the scenario. “Both can work and both can fail miserably. You just have to try enough times that you get lucky. The more you try, the more likely you are to find something that will work.” In order to maximise the frequency of luck cooperating, Daniel suggests that a steady work ethic is necessitated. “I do think that it helps to have a plan that every morning I’m going to wake up and I’m going to try to do something musically. And then go about your day and then maybe come back to it in the evening and work on it some more.” A large portion of a musician’s life is spent on tour, which enforces a living pattern that consistently subverts the structure one might follow at home. This daily unpredictability can threaten the maintenance of a commitment to productivity. “It is hard to break out of the routine of staying up late, waking up late, Beat Magazine Page 24

doing a soundcheck, doing the show, staying up late. To have this goal – in the midst of all this also coming up with new music – it can be challenging, but that is the ideal situation.” However, Daniel doesn’t shy away from, nor rebuke, the unusual arrangement of time that touring life installs. “I try to approach every day with curiosity and excitement. Tour life is a totally different experience than life at home. It’s easy to get swept up in that and I like getting swept up in it,” he says. Another unique experiential feature that comes with regularly traveling is frequently encountering a wide assortment of characters, which provides an insight into the distinctions of human behaviour. “You get to meet all kinds of people you normally wouldn’t. I think people in general are similar everywhere you go, but you get to meet a lot more individuals this way.” Divine Fits jumped on tour as soon as the album was released, but prior to this they hadn’t played live at all. It can take years to thoroughly develop band dynamics and an intuitive chemistry but Daniel emphasises how swiftly they clicked as a live unit. “From the very first show really, it kind of shocked me how great it felt. We had done a lot of rehearsing but it was a totally different feeling when we played these songs live in front of an audience. I know that sounds kind of ‘rock’n’roll cliché’ but it really was the case. Playing in front of people brings a whole new spark to it. The shows are just really good and I end up getting off stage at most of them and just thinking, ‘Wow, that was incredible.’” The shows continue to increase his belief in the band’s abilities and it’s no surprise to hear that taking the songs out on the road and allowing them to expand in front of an audience has given them extra life. “They’ve changed a little bit. It’s just definitely got more exciting as we’ve gone along. They feel different to me now because we had never played any shows until right before the record came out. I would love to go record the songs again now. Maybe we’ll do that,” he ponders. To suggest he’d like to re-record the album sounds like typical artist dissatisfaction, but Daniel believes the youth of the band justifies this attitude. “I particularly have it with this one because we had never played any shows. I think that will happen one of these days, we’ll get a radio session and we’ll just say ‘let’s just


record all of them.’” Despite a desire to document the songs’ enhanced quality, A Thing Called Divine Fits is marked by hardhitting confidence. Daniel explains that even though the songs were well prepared before entering the studio, producer Nick Launay got very involved in shaping the finished product. “We were pretty organised in terms of having the songs ready to go but he provided a lot of suggestions, especially in the early stages of recording. We would play him the song and he would say ‘well what about doing this part longer?’ or say we had a song where singing happened in the first half and there was no singing in the second half, he’d say ‘people want to hear singing in the second half,’ so we tried it. Sometimes we tried it and that worked and sometimes it didn’t work. Nobody’s ego was involved with that, he was pretty cool with it.” Launay’s hands-on production technique has garnered much renown over the last 30 years, imbuing albums by the likes of Nick Cave & The Bad Seeds, Yeah Yeah Yeahs, and Midnight Oil with emphatic clarity. “I had a lot of records that he had done, going back to the ‘80s. I didn’t know his name though,” Daniel admits. “It was Win from Arcade Fire who suggested him to Dan, because Arcade Fire had worked with Nick on the last couple of records. Dan told me about this guy Nick, so on AllMusic I looked up all the records he’d worked on and I was amazed. My first thought was ‘there’s no way he’s going to be free, or have time to work with us, or we won’t be able to afford him,’ but he was very keen to do it.” With a hint of incredulous admiration Daniel adds, “He made a Public Image record when he was 19!” Interestingly, Launay also worked with The Birthday Party in the early ‘80s, shortly after they changed their name from Boys Next Door. Daniel explains that the cover of the Boys Next Door song Shivers on the album was coincidental. “We were doing that song before we’d ever heard the name Nick Launay. It was pretty weird how that all came together.” The Divine Fits album has immediate appeal and upon repeated listens subtle accents are revealed, which expand one’s conception of it. Similar textural quirks, sounds that might not be noticed at a glance, are strewn throughout the entire Spoon catalogue. Daniel attests to making a concerted effort to incorporate elements that will continue to stimulate the listener. “I think that when you really get focused on making a record, and it’s something that you’re doing over several months time, you can’t help but get a bit focused on the details. And I think the details become apparent with more and more listens. They’re not the broad strokes, which are really the most important parts of a song, but those little details do add up to something. It helps you continue to appreciate the record for maybe a longer period of time.”

DIVINE FITS play St Jerome’s Laneway Festival, alongside Bat For Lashes, Alpine, Flume, Real Estate, The Rubens, Twerps and more, taking place at Footscray Community Arts Centre on Sunday February 3. A Thing Called Divine Fits is out now through Merge Records.

THIS WEEK: ON SCREEN Thanks to the Chinese Film Festival Inc. and ACMI, this coming weekend is the Golden Koala Chinese Film Festival 2013, aiming to promote a better understanding of Chinese film culture. This annual  festival  provides a fair platform for participants from China, Hong Kong, Taiwan, Singapore and Macau to exhibit their newest and most outstanding film productions. Catch it at ACMI from Saturday January 26 to Wednesday January 30.



Described as New York’s most moving play of the year, Sharr White’s The Other Place drops you into a gripping thriller that keeps you gasping at every turn. Just as Dr Juliana Smithton’s (Catherine McClements from The Secret Life of Us, Rush) research is leading to a potential scientific breakthrough, her life takes a disorientating twist. And from the moment she spots the girl in the yellow bikini, a mystery begins to unfold that will engulf her brilliant mind. All she knows is that people are telling her lies, her husband is in on it, and that it all began long ago at The Other Place. This is a Melbourne Theatre Company production and will be at the Playhouse at the Melbourne Arts Centre from Saturday January 26. For all session times and ticketing, head to

ON DISPLAY Forced Collaboration is a project run by Dudspace where two emerging artists are forced to collaborate. Artists are given a studio space for three weeks and have a show in Dudspace as the outcome. Forced Collaboration intends to foster risk, failure and experimentation, with the current exhibition the work created between Max Lawrence White and Cheralyn Lim. Be sure to head to Dudspace, on King St in the CBD, before Wednesday February 2. Opening hours are Wednesday to Saturday 12pm till 6pm.


The Last of the Three Brothers is an exhibition by Korean artist Park Sung Soo and references an ancient yarn of three brothers. The first is physically combative. The second is headstrong. The last, though physically weak, is perceptively very wise. The youngest is often chided as precarious, weak and limited by his older brothers. However, he who precisely understands his own predicaments is ironically very strong, and aware of his imperfections where others are self-absorbed. Like lines in a private journal, his compositions are monuments to the achievement of such a level of understanding, at once bold and subtle. The inky figures appear like ghosts that have sprung by chance from the painter’s intuition. In actuality, Park’s ghosts are crafted with meticulous calculation. This exhibition opens at fortyfivedownstairs today until Saturday February 2.

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While there are some Shakespearean classics that are interpreted and reinterpreted a hundred times over on both a local and international scale, the prolific wordsmith has a number of plays, narrative poems and sonnets that seem to have fallen by the cultural wayside. The Rape Of Lucrece is one such poem that, with the help of the Irish performer Camille O’Sullivan, her musical accompanist Feargal Murray, director Elizabeth Freestone and the Royal Shakespeare Company, has been dusted off and brought onto a contemporary stage. The poem draws on the tragic story (told by both Ovid’s Fasti and through Livy’s history of Rome) of the rape of Lucretia (Lucrece), wife of Collatinus, by Tarquin, the son of Sextus Tarquinius, the then King of Rome. While O’Sullivan is best known for her chameleon-like reinventions of songs by artists like Nick Cave and Tom Wait,s and the Royal Shakespeare Company is best known for its impeccable and yet purist approach to the works of the great bard, somehow a musical interpretation to an oft-ignored poem has been born. So how did a one-woman, musical version of The Rape Of Lucrece ever get commissioned by the Royal Shakespeare Company? “The RSC were working on this new studio project and apparently we were the only ones that got through,” O’Sullivan says with a


BEG, SCREAM AND SHOUT! FILM FESTIVAL Presented by Sugar Mountain Festival, the Shadow Electric cinema will host a selection of films dedicated to local independent and experimental music. Films include Mikey Leonard’s Tears in the Cock, a follow-up to 2009’s Blood in the Beard, and Ross Vaughan’s criticism of school in Fuck You, Art School. Becky HarkinsCross will host a panel discussion with directors of the featured films to help create a how-to guide for aspiring DIY filmmakers. Local countrypsychedelic fusers The Merri Creek Pickers will

chuckle. “It’s probably good that I didn’t know about the importance of it all or I probably would’ve messed it up. I always mess up when I know something significant is going on.” Despite O’Sullivan remaining oblivious to nerves during the submission process for the show, once it came time to refine their work, the reality of what they were doing kicked in. After all, they were creating this show just up the road from old William’s former house. “It was all pretty frightening,” she says. “Michael Boyd, the outgoing director of RSC, was quite excited about this project; he just had great foresight and they wanted something that was contemporary and stepped out of their old way. What they didn’t expect was to have two Irish people that are very emotional and are mavericks who would embark on something

that was totally different to what had ever been done before,” she laughs. “The whole team of the RSC were doing Romeo & Juliet and King Lear at the Stratford Theatre and they were coming to our shows and I’d be there thinking, ‘Oh my god there’s King Lear, there’s Romeo, how am I gonna do this scene?’ Then they’d meet you afterwards with maybe some intonation advice or something small like that, but were basically really excited. Even a lot of those actors and directors didn’t know this poem so there’s a benefit to doing something that isn’t simply one of the classics.” The Royal Shakespeare Company doesn’t often get the opportunity to journey to Australia but a onewoman show makes things a lot more achievable. What makes it all the more special that this pioneering piece is gracing our shores is that it is essentially still in its infancy as a production. “We’ve only done the show about eight times so it’s still in its early stages,” she says. “I think this is also one of the first times the RSC has been able to tour to Australia because normally they have a cast of 20 spear carriers and such but it’s just me and Feargal on piano. The show went down really well at the Edinburgh Festival and we won the Bank Of Scotland Herald Angel Award for outstanding performances. The reviews went down really well too – even though I don’t read reviews, apparently they were good – and some folks from Sydney Festival were there to see it.” The well-established relationship between Murray and O’Sullivan as well as the creative freedom that Freestone encourage is, in the mind of O’Sullivan, the key to this show’s success. Without giving too much away, O’Sullivan and Murray intersperse traditional dialogue with musical reinventions of the poem at points they all thought were pivotal, without dominating the entire show with melody. “Feargal and I have the most symbiotic relationship as accompanist and performer, and Elizabeth saw me in my seventh year at the Edinburgh festival doing what I do and she thought I was the girl for this,” she says. “I couldn’t see myself doing it at all but now it makes sense. She asked me to create the music and I asked if Feargal could come on board while she was working the poem, editing it and together we created this show. The bulk of the show was created in ten days with us narrowing it down from three hours to 70 minutes. When it came to work on the music, the rhyme was quite contemporary and it came down to us making sure the words themselves come through. Elizabeth also gave me a lot of free reign, asking me what I would do in various places, which is invaluable. A lot of times as a performer you can bottle it up when they’re telling you ‘no’ all the time, especially if you’re one person on stage. “We stripped away all of the politics and the detail, narrowing it down simply to the idea that this is a story of a woman who has been wronged and the tragedy that unfolds from that.” The Rape Of Lucrece will be on at The Sumner, Southbank Theatre, from Thursday January 31 to Sunday February 10.

open the night, followed by performances from The Toot Toot Toots and Oliver Hunter as well as DJs grooving from midday beforehand. Beg, Scream and Shout! Film Festival will be held at the Abbotsford Convent from 12pm on Sunday January 27. We have a double pass to give away.

FIRE IN BABYLON A British Independent Film Award nominee for Best Documentary, Fire In Babylon chronicles the social, racial and political issues that confronted the legendary West Indian cricket team of the ‘70s and ’80s that dominated world cricket. This insightful film is an against-the-odds tale of a colonial minnow rising up against its one-time master. Soundtracked by some of the best reggae you’ll hear this year, Fire


In Babylon will have the speakers pumping out Bob Marley, Toots & The Maytals, Linton Kwesi Johnson and Horace Andy. It’s on at Shadow Electric cinema at Abbotsford Convent on Saturday January 26, and we have some double passes to give away. Hit up for your chance to win.


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The City of Darebin has announced that its inaugural True North Festival will run from Friday March 1 until Sunday March 3 throughout Broadway and Edwarde’s St, Reservoir. The festival has been lovingly designed to enable visitors and locals alike to celebrate the unique cultural identity of Reservoir. Key events will include Lost In Translation, which will exhibit reinterpretations of one of the suburbs many stories and The Lounge Room Project, which will set up a number of temporary communal lounge rooms to draw residents out of theirs. The Darebin Community Kite Festival will take to the skies, while the streets will also host a laneway cinema and a number of artistic, musical and theatrical projects, along with a pop-up bar, comedy club and loads more. Reserve some time for a weekend trip to Reservoir! Check out for all the details.

Simultaneously opening their 2013 season and celebrating the 50th anniversary of Maurice Sendak’s Where the Wild Things Are, the Wheeler Centre has announced a gala, which will gather together 12 Australian writers to share new works inspired by the beloved tale. The eclectic tribe will feature poets, dramatists, essayist and fiction writers, humourists, journalists and lyricists in a communal celebration of untamed storytelling. Seven writers yet to be announced will be joining Hannie Rayson, Luka Lesson, David Marr, Alison Lester and Robyn Davidson for an imaginary journey like no other. Take a walk on the wild side at the Wheeler Centre’s Gala Night of Storytelling: Where the Wild Things Are on Saturday February 9 from 6.30pm at the Melbourne Town Hall. Tickets range from $12-$15 and are available through

Rae & Bennett Gallery will be hosting a very special exhibition this February. Entitled Endpapers, it’s an anthology of the technological advance of photography. Through a series of images, coupled with annotated anecdotes, RMIT graduate Danny Digby explores the evolution of photography, its practice and art-form, since photography’s genesis. Digby pays tribute to Man Ray, Henri Cartier-Resson and Stephen Shore, displaying his intelligence of the subject. It is Digby’s first exhibition since his 2012 graduation and will showcase the work that earned him the 2012 RMIT Rae & Bennett Gallery award for Excellence in Contemporary Practice. Endpapers will be displayed at the Rae & Bennett Gallery from Friday February 1 – Friday March 1. Admission is free.

EDINBURGH WORLD WRITERS CONFERENCE The Melbourne Writer’s Festival has announced that it will be presenting the Edinburgh World Writers Conference as part of the British Council’s GREAT 13 initiative. The conference promises to draw together some of the world’s most interesting writers, the identities of whom shall be revealed in coming weeks. With a new team behind it, including Festival Administrator Merrilee McCoy and Development Coordinator, Kate Callingham, the MWF is set to deliver another year of inspiring, thought provoking and entertaining events. You too can start planning by marking the main program, which will run from Thursday August 22 until Sunday September 1, in your calendar today! Keep an eye on for more details as they emerge.



ACMI has announced its upcoming program as part of GREAT Britain Arts 13, a year-long celebration of British arts and culture comprised of 13 major events across Melbourne and Sydney. ACMI will make its contribution by celebrating the best of British filmmaking, as it showcases classic restorations alongside innovative film making talents. The Australian premiere of Julien Temple’s London – The Modern Babylon will kick things off, with its unique vision of the city patched together using found footage. A new restoration of Alfred Hitchcock’s silent masterpiece The Ring (1927) will also premiere. Catch some GREAT British Film at the ACMI from September. Information and updates can be found For the full lineup of GREAT Britain ARTS 13 check out

The Melbourne Symphony Orchestra and BBC Worldwide will be joining forces to present Frozen Planet in concert this February. Under conductor George Fenton, the MSO will be bringing the epic BBC series to life in an event combining live orchestral music with spectacular HD images of magnificent frozen wildernesses and the extraordinary creatures which occupy them. The new production follows the success of last year’s sold out performances of The Blue Planet and Planet Earth in Sydney. The concert will chill audiences at Plenary Hall in the Melbourne Convention and Exhibiton Centre on Saturday February 9 from 7.30pm. Information can be found and tickets purchased from $40 through



After last year’s spectacular 50th anniversary celebrations, The Australian Ballet is back on board for 2013, along with new faces, new programs and new horizons! Principal Artist Olivia Bell will return to the stage for the company’s Melbourne season Don Quixote, while dancers Brett Chynoweth, Ako Kondo and Dana Stephensen have been promoted up the ballet ranks to Soloist and Dimity Azoury and Calvin Hannaford to Coryphée. The company will welcome three new dancers and say farewell to Rachel Rawlins, Colin Peasley and Benjamin Stuart-Carberry, while musical director Nicolette Fraillon will celebrate her 10th anniversary. The company has also announced its first ever theatrical event designed especially for children in Once Upon A Time along with the opening of its brand new Production Centre, which will house the company’s $40 million collection of costumes, props and sets. The new season will kick off in Brisbane on Friday February 22 with Stephen Bayne’s Swan Lake, which will be followed by the Melbourne season of Don Quixote from Friday March 15. For the full 2013 program check out

Chapel off Chapel will be presenting a production that delves into the power of love; entitled Closer, the play is a hurricane of morality, love, emotion and passion. Written by Patrick Marber, Closer explores the notions of identity, values, and insincerity through Dan, a man searching for himself; Larry, a sex fiend and revenge luster, and Anna and Alice, romantic lovers. Closer questions the importance of love, its power over ourselves and the sacrifices we make for it. Neighbours actor Scott Major will breathe life into the characters alongside Alinta Chidsey, Claudia Greenstone and Leslie Simpson. Closer will be performed at Chapel off Chapel from Thursday February 14 – Saturday March 2. Tickets are available through Chapel off Chapel.

UKULELE ORCHESTRA OF GREAT BRITAIN Following their recent roof-raising, foot-stomping show at the Royal Albert Hall, the exceptional Ukulele Orchestra of Great Britain are coming back to Australia. And let’s be honest, if everyone played ukulele every day, there would be no wars and no Keeping Up With The Kardashians, so good on them for spreading the love of ukie. As part of a world tour which has included sold-out concerts in New York and London, the Ukes will be bringing their twisted covers including Lady Gaga, Adele, Junior Walker, Black Sabbath and Michael Jackson. Make sure you don’t miss eight talented ukulele players on stage together when the crew rock Hamer Hall on Wednesday February 20.

GESTURES OF TRUST Project QUAD, in partnership with KONRAD Wines, will host a one-day-only exhibition at the House of Bricks Gallery this Australia Day. Entitled Gestures of Trust, the exhibition will be an immersion of art, music, fine wine, and food. Centred around the theme of trust and its paramount place in human relationships, artists Angus Bird, Sabine Kongsted, Madga Wysocka and Renee Gosgrave will explore its symbolism within life. To help you translate this meaning from art to thought; KONRAD Wines will provide some Marlborough favourites to lighten the mood before the music of Magic Hands singer, Lucy Roleff, and DJs Herde start the party. Gestures of Trust will be exhibited at House of Bricks, Collingwood, on Saturday January 26. Admission is free.

BEA MADDOCK In an exhibition that will pay tribute to indigenous artwork and exploration, the National Gallery of Victoria will present Bea Maddock, an oeuvre of the artist’s work. Bea Maddock has been acknowledged for her contribution to the Australian art culture with her pieces that explore identity, place and reconciliation. Included in the NGV exhibition will be works from her past exhibitions, including forty pages from Antarctica (1998), a collection of sketches from when Maddock spent time in an Antarctic sickbay after fracturing her leg, and TERRA SPIRITUS... with a darker shade of pale (1993 – 1998). Bea Maddock will be on display from Thursday February 14 to Sunday July 21 at the National Gallery of Victoria. Admission is free.

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THE COMIC STRIP CHECKPOINT COMEDY: EUROTRASH Charlie’s been wall-to-wall crowds watching next-level comics in Twenny 13, and on it goes. Tonight! John Conway, Adam Rozenbachs, Tegan Higginbotham, Alasdair Tremblay-Birchall and more! For just $5. So come fill yourself with cheap piss and put your continence to the ultimate test as some pretty damn rad comedians spit funnies into the business end of a loud stick. Check in 8pm tonight at Eurotrash Bar, CBD. Get down early for a seat.

CHECKPOINT COMEDY: LUCKY COQ Melbourne’s newest comedy room keeps kicking. Don’t miss out on its return next Tuesday when Melbourne’s best comedians, including Felicity Ward, Karl Chandler, Khaled Khalafalla and more head southside and make it rain at Lucky Coq. Plus The Coq’s famous $4 pizzas. Want more? Free entry. Done. Check in next Tuesday at Lucky Coq, cnr High St and Chapel St. Kicks off 9pm.

THE VARIETY COLLECTIVE Looking to escape the heat tonight? Then come enjoy some of Australia’s coolest variety performers at The Variety Collective in delightful air-conditioned comfort. This week includes special guest MC Ben Lomas who brings a refreshing splash of comedy. Juggler Karen Edelenbos will try to keep her cool while keeping her balls in the air. Dave “Hammertime” Hamley and Biggish Al will bring a blizzard of sketch madness. Magicians Alex De La Rambelje and Vyom Sharma from A Modern Deception perform tricks that will send a shiver down your spine. Comedian and member of the Fab Five Michael Connell will be performing some jokes about ice cream. Plus they’ve got some very special guests they can’t mention here and free Sooper Doopers icy poles for the first 20 audience members. Get there before they melt! As always tickets are only $10, show starts at 8pm at the Brunswick Green (313 Sydney Rd, Brunswick) tonight. Get in early for a meal, earlier for a seat.

BROWN SUGAR COMEDY Get ready for a night of diverse ethnicity and humour as some of the best comics from open mics nights gather together at The Sugar Lounge for Sugar Laughs. Wayan is a comic from Bali. His younger brother Ketut does the AAMI commercials on TV. In the spirit of Australia Day, extremely talented up-and-comer Mayumi Nobetsu has a go at the Aussies. Khaled is an Aussie born to humorous Arab family. It’s on at Sugar Laughs, 8 Jackson St., Toorak, on Tuesday January 29 from 8pm. Entry $10 or $8 on a guestlist (check ‘em out on Facey).

COMMEDIA DELL PARTE Nick Cody headlines a great lineup at Commedia Dell Parte this week. He will be joined by Michael Chamberlin, Suren Jayemanne, Don Tran, Jackson Voorhar, Martin Dunlop and MC of the night Sonia Di Iorio. The room runs on a ‘pay as you like’ basis, so come along and have a great laugh, then pay what you believe the show is worth on the way out. Commedia Dell Parte runs every Thursday 8.30pm at George Lane Bar, St Kilda.

LOL COMEDY If your New Years resolution was to see more kick-arse comedy this year, then you’re in luck! LOL Comedy launches again in 2013 in five venues across Melbourne. The Provincial in Fitzroy, The Local in Port Melbourne, The Portland in the city, Hawthorn Hotel in Hawthorn and The Mentone will again host some of the biggest names in Australian comedy, as well as the freshest talent on the rise, hand picked to deliver belly laughs a-plenty. Visit to get the latest news on lineups, special guest announcements and more. Last year saw LOL play host to the likes of Jimeoin, Dave Hughes, Pete Helliar, Lehmo, Mick Molloy and plenty more. So why not come on down, grab a beer and enjoy some brilliant pub grub and have bloody funny night out.

MELBOURNE INTERNATIONAL COMEDY FESTIVAL With the 2013 Melbourne International Comedy Festival set to kick off in two months, the first round of comics to grace our many stages have been revealed. The first batch of artists includes a host of international talent, such as Paul Foot, Sarah Millican, Tracy Morgan, Stephen K Amos, Michael Che, Josie Long, Nina Conti, Rich Hall, The Pajama Men, Eliza Schlesinger, Arj Barker, Simon Munnery, Jenny Eclair, Urzila Carlson, Brendan Walsh, James Adomian, Loretta Maine, David O’Doherty, Pete Holmes and Ruby Wax. They’ll be joined by home grown comics Josh Thomas, Sam Simmons, Sammy J, Claire Hooper, Laurence Leung, Bob & Gatesy, Cal Wilson, Dave Callan, Harley Breen, Asher Treleaven, Tom Ballard, Sean Choolburra, Deanne Smith, The Kransky Sisters, Aamer Rahman, Matt Okine, Ronny Chieng, Jeff Green, Greg Fleet, Catherine Deveny, Luke Heggie, Adam Hills, Dave Hughes, Dave Thornton, Claire Hooper, Wil Anderson, Tommy Little, Pete Helliar, Hannah Gadsby and Kevin Kropinyeri. There’s also a host of hysterical events, including the Raw Comedy open mic competition, the Class Clowns National Grand Final for secondary school aged comedians, the Deadly Funny Indigenous comedy showcase, The Oxfam Gala and of course the debaucherous Festival Club at The Hi-Fi. The 2013 Melbourne International Comedy Festival kicks off on Wednesday March 27.


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Blaze: The International Dance Sensation has casually become an international dance success after critically acclaimed seasons in London’s West End and The Netherlands. It’s a show that continues to shine a light on the ever-growing dance style of street dance in a tenacious format of explosive performances. This is not merely a series of isolated routines nor is it an interpretation of a complex narrative. Choreographer Anthony van Laast (of Mamma Mia!, Sister Act and Batman Live fame) takes the idea of street dance and injects it with a strong sense of character, topping that with mind-blowing set design. Es Devlin (set designer for Kanye West, Mika, Lady Gaga’s Monster Ball and many more) physically and digitally manipulates the stage, taking the idea of set design from purely being a colourful canvas for the performance and creating visual art that is complex enough to be able to stand alone as art. Melbourne’s own Sid Mathur, who first came to the attention of the dance world through his two appearances on So You Think You Can Dance (seasons one and three), has joined the international cast after two days of gruelling auditions in front of dance captain and choreographer, Kendra Horsbugh and So You Think You Can Dance star Demi Sorono. Rehearsals have begun and for the part-time lawyer and now full-time dancer, Mathur cannot get onstage quick enough. “It’s probably the most intense rehearsals I’ve ever done; picking up intricate choreography in the shortest time, but it’s been good and a challenge I’ve been excited for,” Mathur says. “I’m in a weirdly frustrating limbo at the moment. I just want to jump on stage and do it; I’m itching to get up there. It’s one of those shows



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that everyone’s gonna enjoy but as a dancer, there’s a deeper level of appreciation for the show where I wanna be up there. Come on Melbourne, come on at me.” While study was the focus of much of Mathur’s youth, dance has also been an ever-present part of his life since he was a child. “I’ve grown up with it really, from those early Bollywood days,” he says. “During school I started doing street dance at parties and stuff. Then in year 11, the school I was at started offering break dancing as a sport and I was like, ‘Yeah let’s do that instead of like, table tennis.’ My parents were against break dancing because they were worried it was dangerous but once it was part of my schoolwork, well, they wanted me to do well at school so it was perfect.” Talent shows can be hit and miss as far as creating genuine, real world opportunities are concerned but Mathurs insists that his time on So You Think You Can Dance has been invaluable to his career, even without a win. “There aren’t too many cons to having done the show,” he says. “The biggest pro is that I’ve started getting the most amount of dance work thanks to the network I’d built through the show. I began as a kid dancing on the street with my crew and that was all I knew of dance. When I came out of the show I was surrounded by people who all they knew was dance. I’ve made friends that have been invaluable; I’m so blessed to have gone through that, now I’ve moved into more of the commercial world. A lot of the commercial world is funny, especially with street dancing. Studio dancers and those who come from full time courses dominate it and because I hadn’t done that study, it’s cool that this sort of work has come up for me, especially Blaze. When I saw the audition, I thought, ‘Yeah, I have to do that.’” But why do SYTYCD twice? “It was just because of the joy of the experience the first time,” he says. “I’d gotten all I could out of the first year I was in it and the only reason I didn’t go back for the second year was that I was overseas.” Mathurs has been working on various other projects around the Melbourne dance scene and is yet another lover of dance who is attempting to release the medium from its purist shackles and into a broader audience. “What’s helping is the crossover between street culture and the commercial world,” he says. “It’s moving things out of high art and into something that’s grimy and almost secretive. When you’ve got a stage that’s sharing space with freestylers, hip hop, electronic music, ballroomers and classical dancers – that makes for an awesome show to watch and has done wonders for the community. As artists, we’re crossing paths with people we never would have. Three or four years ago, a street dancer never would have shared the stage with a ballet company but now, I think people are so much more open to dance as a whole.” Blaze is coming to Australia with little in the way of structural change and Mathurs cannot speak highly enough of the show. “I had a chance to see it from an audience perspective the other day and while I’ve seen a lot of dance shows, this is hands down the best dance show I’ve ever seen in terms of energy and music,” he says with genuine excitement. “There’s so much crowd participation and it just feels like, ah man, the whole experience is on another level.” Blaze: The International Dance Sensation is on at Hamer Hall from Wednesday January 23 to Sunday January 27.


While dance as a performance can often be viewed as some form of alienating, high brow art, things are really changing. Shows like So You Think You Can Dance have tapped into a bubbling culture that has seen tutus replaced with Converse and G Star, and Swan Lake moving over to make way for gritty, street dance. Traditional forms of dance are alive and well, but this street edge is making the medium more accessible. It is as though it’s finally dawned on lovers of electronic and dance music that what they go out and do in a sweaty ball of love on the weekend and professional dance are the same thing – albeit with the latter possessing a little more in the way of discipline and skill. Dance is becoming cool, and street styles are acting as a sort of gateway medium to more traditional styles. Paul Malek, founder and director of Collaboration: The Project, (with a daunting rĂŠsumĂŠ that, apart from his acclaimed work as a dancer, lists his contribution to the likes of Dancing With The Stars, So You Think You Can Dance and countless other productions as a choreographer), is readying himself for the fourth instalment of the Underground series, Underground Summer. Underground aims to put dance back into the club environment and further break down the fourth wall between audience and artist. “We started doing it because I’m very big on building the industry and making the dance community thrive as much as possible, and the best way to do that is to connect in the environment,â€? Malek says. “We do Underground four times a year, we have up to 18 choreographers and within that, live music, DJs and hip hop artists,â€? he explains with an almost immeasurable amount of enthusiasm. “It’s all within a club environment – you’ve got the bar open, people are having drinks and

the DJ is playing while everyone is dancing and then the artists get to get up and showcase their work. It’s the cream of the crop in Melbourne up there while you’re in a club atmosphere. The artists and the audience always interchange. The artists are in the audience for the entire show and then they get up and do their thing. Very rarely is anyone backstage; it’s not that kind of show. Once they perform, they come into the audience, people are talking to them, someone gives them a drink and then they get back on stage.� Uniting the idea of dance music and hip hop culture with dance: the artistic medium is such an obvious option for attracting a new audience. “It’s making dance accessible,� he says simply. “Every young person likes to drink, most go to the footy, so I was thinking, ‘How do we get them to see dance?’ People get to come out and have a dance themselves, even if they don’t drink, they get to see awesome dance and all the while we’re promoting each performer’s own shows that are coming up.


We plug those shows, give out tickets as well, and hopefully people go, ‘Hell, I really enjoyed this, maybe I will go to that other show.’â€? Malek is also tackling the cultural issue of dance that seems prevalent in Australia – that dance is somehow not athletically skilled and for male dancers, is simply not manly – Aussie manly, ya know? It’s an ignorant premise, but one that has seeped into our culture nonetheless. For sport fans, the athleticism of these artists is just as astounding as the physical proďŹ ciency of any player within the various football codes (and probably even more so than cricket, dare it be said). He hopes that “a father can see their son up there dancing, and realise the strength and ability he has.â€? Underground has completed one round of seasonallybased appearances with this fourth summer show and Malek is amazed at the response they’ve had from both punters and performers. “We’re looking to do theme nights eventually,â€? he says. “At the moment, people from all corners of dance are jumping on it so we’re doing really eclectic nights and I don’t want to mess with that just yet. When things start to become a lot more consistent, we’ll do things like put on a Michael Jackson night where you’ll have people from the ballroom industry that suddenly have to

choreograph to a Michael Jackson song. It’ll bring a whole new level to what you’re watching as well as pushing the boundaries of what is dance within their own genres.â€? Malek is also working on expanding the Underground series out of Melbourne and into other capital cities. What began as a response to what Malek saw as an overow of dance talent suering from limited performance opportunities in Melbourne, looks set to catch the overowing talent that exists throughout the rest of Australia as well. Malek had his own doubts in the beginning, but the faith he had in his art has overcome that early trepidation. “I didn’t think having Underground so consistently was going to work,â€? he admits. “I wanted the need to be there but I didn’t think it was. We never have a shortage of performers, the word has spread and it is getting massive. Down the line, we’re looking to branch out into Sydney and Brisbane, doing one show in each city this year, and hopefully, if all goes well, from 2014 we’ll have 12 dierent Underground shows a year.â€? Underground: Summer will be at Revolt Artspace in Kensington on Saturday February 2.




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Derek Edward Miller and Alexis Krauss have built a strange and chaotic noise pop harmony from a rather diverse performance history. Miller honed his onstage skills as the guitarist in a hardcore band, Poison The Well, while Krauss, after starring in an advertisement for Nickelodeon Magazine, became a teen pop singer in RubyBlue. As Brooklyn’s Sleigh Bells, the pair’s 2009 self-titled EP earned them the attention of M.I.A’s label, N.E.E.T Recordings and a splattering of indie media, while their debut album Treats and last year’s follow-up Reign Of Terror catapulted them into the adoring arms of an ever-growing audience. They’re painfully hip, they’re aurally unforgiving and, with album number three on its way, they’re eternally unpredictable. Miller is talking American football (as well as his general love of sports) when he mentions the contentment he feels living in what he calls “his own little bubble”. “It’s definitely by choice,” Miller says. “There’s the kinda rock star world that you can choose to live in, or you can choose to just interact with the people who are working in and around your band. We’re on the tail-end of the tour at the moment and I’ve been basically living in one room with the same people for months and months and I really don’t get sick of it. Some days I think it’s self-assuring – it reminds me that I’m getting to make music for a living, and I’m doing it with my friends.” There’s safety in that way of living, but it can also be damaging. In a world driven by ego, many artists can stay sheltered from their failings – but Miller is certainly not blind to outside criticism. For a duo that seems to hover in the ultra-hip category, their songs have found themselves

in films, and shows like Skins and even Gossip Girl. Twenty years ago, any income came with the assumption of selling out, but nowadays people are somewhat more forgiving. Still, Sleigh Bells have copped some flack. “Some people in the industry tell me they’d never do that, but hell, a lot of people that come to our shows actually watch Gossip Girl,” he says. “If someone wants to pay me to use a song on an ad or whatever, then go ahead. What I’m creating needs to be without compromise; we make the music we want to, we design the covers we want, we’re very hands on with how it’s all marketed and promoted – wherever else the music fits in within the world is perfectly fine with us. You wanna give me cash for seven seconds of a song that I wrote on my own terms? Sure! The money I make from publishing enables us to keep it all up.” Chances are if you don’t agree to a sync, publishing companies will just use the track anyway, as artists like The

Black Keys (with their Pizza Hut and Home Depot lawsuits) have discovered. “Exactly! I hear Massive Attack rip-offs all the time; they’re out there still ripping off Mezzanine,” Miller says, before going on to discuss the blurred line of inspiration versus copyright infringement that exists within the music world. “I have one song that is completely from a current Top 40 song and I’m waiting for somebody to call me on it – but I’m not gonna give it away,” he laughs. “Really it sounds nothing like it, ostensibly, but then again the introduction is pretty much identical. If you’re a hack and you’re not doing it well, you can’t get away with it – but if you make something your own, people seem fine with that. I stole a lot from Def Leppard on the last record, and Phil Collen, the guitar player, came to one of our shows and came backstage. I was so nervous to meet him, he’s one of my guitar heroes from when I was six, and the first question I asked him was, ‘Man, are you mad or flattered?’ “I’d taken so much from him and, although I’d made it my

own, he was there and I had to acknowledge it. He goes, ‘It’s totally cool, don’t worry. I took from them, you took from me and someone will take from you. That’s how it goes’”. There’s a new record coming to life in the Sleigh Bells camp, and a few tracks look set to make an appearance during their upcoming Australian tour. The album, Miller says, will be vastly different to what they’ve done before. “The last record was dramatic and came from a dark place; I was going through a really rough patch, and that made its way into the music,” he says. “I’m done with that, so I feel free to write about a lot of other things again. It’s a lot less heavy and oppressive. Reign Of Terror was just so dense and had these massive, high gain guitar sounds. I wouldn’t change it – it is what it is – but I’m onto the next thing. Everything’s a lot airier and nowhere near as dark.”

instrumentalisation.” Considering the genres ME draw from, it seems sensible that they would venture to the UK to record their first album, and seeing places that sit high in English rock lore such as Abbey Road and the stairwell in a Hampshire manor where Jon Bonham recorded the drums for When The Levee Breaks, also puts them in good stead. “It was always really exciting for us to record the album there, I just wanted to get over there and experience what life was like as a musician in Britain. I love cold weather. I don’t like this heat. The miserable English weather suited me just fine. We got that very British rock inspiration. At that same time [we were seeing these places] we were starting our first album down in the countryside next to a horse riding school. Quite picturesque – it was a good time to be recording.” Though we may possess romanticised ideas about how our favourite songwriters and lead guitarists came together (Mercury/May, Jagger/Richards) Ferris and Damian Finlay’s first encounter was less auspicious. “When I first met Damian he had a broken arm and I couldn’t tell how good he was. But we sat down and spoke about all our influences and what sort of music we wanted to make, what we wanted

to do in a band, and when he finally got his arm out of the cast I thought, ‘Jesus, this guy can play!’” Damian’s ability is no more apparent than on Rock And Roll Dandy, which could sit on Queen’s A Day At The Races with ease. Across the album his guitar can be at one moment reminiscent of Brian May, the next Tom Morello, the next Albert Hammond Jnr. It’s not all guitars blazing, there are softer moments too; the rousing Trails In The Sky and closer Their Song providing nice contrasts. Asked if they’ve cast the net too wide songwriting and arrangement wise, and whether they can translate it live, Ferris claims the problem has always been the other way around. “Our biggest problem has always been capturing our live sound on a record; we consider ourselves more of a live band than a studio band. But we don’t have any problem whatsoever creating a big show and a big noise in the live arena.”

SLEIGH BELLS play Billboard the venue tonight and the Big Day Out on Saturday January 26.


BY GARRY WESTMORE Five years they’ve toiled away playing live and releasing producer-less recordings, but finally things are starting to happen for Melbourne’s ME. Coming off a successful tour of the UK, they’re on the Big Day Out bill and also have their debut album Even The Odd Ones Out coming out this month. A melting pot of ‘70s rock, classical, metal, musical theatre and ‘60s pop, Even The Odd Ones Out is a huge sounding record that chief songwriter and frontman Luke Ferris is pretty damn proud of. “We worked really hard for five years, worked on our song craft and wanted to make sure we captured the record the right way. I love the production on it and the way we went about recording it.” Working with producer Barny Barnicott (Artic Monkeys, Kasabian) probably didn’t hurt either. “We had an established sound, he made it sound even better. He put a couple of extra layers of polish on it. When we were trying to decide on a producer, we sent off tracks to a bunch of different guys; his came back and it was just big sounding.” Big can be an overused term but it’s certainly apt for ME’s debut; grandiose rock’n’roll influenced by more groups and artists than you can poke a stick at. “I am a fan of Freddie Mercury’s vocals and obviously Queen’s theatrical nature, but when it comes to harmonies The Beatles, Beach Boys, and Simon & Garfunkel are big influences. When it comes to the classical stuff we’re into Tchaikovsky for example. But at heart we are a rock band.” Pigeonholing ME then is fruitless, so when The Darkness is mentioned for bringing back – albeit briefly – a more grandiose brand of rock’n’roll, Ferris is keen to distance ME.

“The Darkness are quite theatrical; it’s not my kind of rock. Everyone was scratching their heads thinking, ‘Are these guys a joke?’ I really don’t want to be put in that category, a parody or something. We are quite serious. But yes I would like to see more theatrical rock, but not many are doing it.” Working Life is a good example of what ME are trying to achieve – a five and a half minute rock opus of sorts, full of heavy rhythm guitar, tempo changes, strings, flute and what sounds like a choir (which apparently was not the case). “Believe it or not the choir on that song is Damian (lead guitar) myself and Mikey (bass). [We] got into the studio and did 60 over dubs for the choral part. Sixty of our voices layered over one another.” Is there a danger then of songwriting coming second to production and arrangement? “It’s all about the song first, we have a lot of fun arranging; that’s probably where we get carried away, when we go down the epic and theatrical road. With Working Life I did want to write a song like that but at its core it was written on acoustic guitar, and you’ve got to get the right melody, the right structure. When that’s finalised and perfected, we get crazy with harmonies, vocals and



The music of Dirty Beaches – the moniker adopted by Canadian-based musician Alex Zhang Hungtai – has been described as a mixture of Elvis and Suicide. From Elvis comes Hungtai’s indulgence of the original rock’n’roll sensibility, occasionally seen through a ‘60s surf rock lens; within Suicide can be found Dirty Beaches’ celebration of simple rhythmic structures. “I think there’s a huge relationship between those two artists,” Hungtai says from his home in Canada. “What Suicide brought to the table was this tongue-in-cheek, but brave approach to music. They totally obliterated prog rock – it was just two guys stripping rock’n’roll back to its essence, like street music. It was radical,” he says. “Elvis was also very radical, but also simple. He was banned on the radio because he sounded too black, and his music was too sexual. And when he was shown on TV, he could only be filmed from the waist up.” Hungtai’s childhood was peripatetic, a result of a fractured family life. Eventually Hungtai moved to Honolulu as a teenager, where he remained for the next ten years. “I lived there from high school until the end of college, when I was 24,” says Hungtai. “That was probably the place that made the biggest impression on me.” Hungtai’s pre-music working life was similarly colourful, with a variety of jobs ranging from house painter, to dishwasher, to shooting range tour guide. “When I was in Waikiki I did tours of a shooting range,” Hungtai laughs. “I think that’s definitely the strangest Beat Magazine Page 32

job I’ve ever had.” By the time Hungtai moved across the Pacific to Montreal, he’d already joined, and been kicked out of his first band. Hungtai’s first band had a heavy metal bent, a prevailing style that didn’t match Hungtai’s vocal inflection. According to legend, Hungtai was evicted from the band on account of sounding too much like David Bowie. “Yeah, that’s true – nice research!” he laughs. “I really liked Bowie long before I started playing music. But the other guys in the band wanted to sound like Sepultura, so it didn’t work out.” Hungtai decided to pursue his own nascent musical interests, buying a second hand guitar in Honolulu and experimenting with beats and whatever cheap and cheerful recording technology he could find. Hungtai appropriated the band name Dirty Beaches from a lyric written by a fellow musician in Montreal. “I nicked it from a friend’s lyrics,” Hungtai explains. “He was a Greek immigrant in Canada, and in the song he’d written there was this idea of detached existence. The imagery was of a man standing on the coast staring into the ocean. I liked the imagery in that

song, and it reminded me of when I was living in Hawaii.” Hungtai released the debut Dirty Beaches album, Badlands, in 2011. With its stripped-back, rockabilly surf aesthetic, Badlands reflected Hungtai’s belief in the ongoing relevance of historical ideas. “I think every existing, current type of music is influenced by the past,” Hungtai says. “And you can go beyond that – every idea that’s around now is influenced by the past. If you take a chair, the design of the chair has been around for a long time – it hasn’t just been invented now. I think the idea of trying to perfect technology or an artistic idea or concept doesn’t necessarily mean that you’re recycling that idea or technology,” he says. Dirty Beaches’ music has a strong cinematic quality, with each song conveying a rich visual image that transcends the simple beats and basic melodies of the music. “All of the songs that I write stem from an image or idea that’s in my head,” Hungtai says. “So I definitely have the imagery first, and the sound comes second.” By way of contrast, Dirty Beaches’ cover of The Stooges’ No Fun came about when Hungtai was messing around with rhythmic structures. “I was working on some beats and it reminded me of The Stooges’ song,” Hungtai says. “I felt a connection with that song, and with Iggy Pop’s lyrics. When you have those moments, I think you have to embrace them.” The other notable aspect of Badlands is its avowedly lo-fi aesthetic. While lo-fi production has its regular ideological champions, for Hungtai it’s a simple consequence of necessity. “It’s all about cheap technology being accessible,” he says. “Now I have a laptop and I’m recording with a proper microphone, so things are changing. I think the next two records, which I’m putting out this year, will sound a lot different.” Early next month Hungtai will board the plane to commence his first Australian tour. With temperatures in Canada the


ME play Big Day Out at Flemington Racecourse on Saturday January 26 alongside The Killers, Red Hot Chili Peppers and more. Their debut album Even The Odd Ones Out is out on Friday January 25.

polar opposite of recent heatwave extremes in Australia, Hungtai is looking forward to the change. “When you’re touring you don’t always get to do much because you’re always in transit, but when you do get to go out and try the local delicacies, the food, the drinks and meet the people, it’s great,” Hungtai says. “I’m really looking forward to coming to Australia and I can’t wait to jump into the ocean. It’s better than washing dishes!” he laughs. DIRTY BEACHES plays The Tote on Sunday February 10.

WED JA N 23RD 2012









ONTOUR THE BLOODY BEETROOTS [ITA] Thursday January 24, The Palace SOUL CLAP [USA] Friday January 25, The Liberty Social CLAUDE VONSTROKE [USA], JUSTIN MARTIN [USA] Friday January 25, Brown Alley RAINBOW SERPENT: GUY J [ISR], CHRISTIAN SMITH [SWE], PETER VAN HOESEN [BEL] Friday January 25 - Monday January 28, Lexton BIG DAY OUT: THE BLOODY BEETROOTS [ITA], KASKADE [USA], CRYSTAL CASTLES [CAN] + MORE Saturday January 26, Flemington Racecourse WOLFGANG GARTNER [USA], PROXY [RUS], HUORATRON [FIN] Saturday January 26, Royal Melbourne Hotel SASHA [UK] Sunday January 27, Chasers DERRICK CARTER [USA] Monday January 28, Alumbra JESSIE WARE [UK] Wednesday January 30, Prince Bandroom SWEDISH HOUSE MAFIA [SWE] Thursday January 31, Sidney Myer Music Bowl Friday February 1, Sidney Myer Music Bowl KLUTE [UK], GRIDLOK [USA] Friday February 1, Brown Alley RIVA STARR [UK] Friday February 1, Billboard ABOVE & BEYOND [UK] Saturday February 2, Hisense Arena HOLY OTHER [UK] Tuesday February 5, Workers Club EL-P [USA] Wednesday February 6, Corner Hotel BUTCH [GER], EDU IMBERNON [ESP] Friday February 8, Brown Alley JACKMASTER [UK], SHLOHMO [USA] Friday February 8, The Liberty Social ULTRAMAGNETIC MCS [USA] Saturday February 9, The Espy BICEP [UK] Sunday February 10, Revolver Upstairs MACKLEMORE [USA], RYAN LEWIS [USA] Tuesday February 12, The Palace Saturday February 16, Corner Hotel BLAWAN [UK], MARCEL DETTMANN [GER] Friday February 15, Brown Alley LUNICE [CAN] Saturday February 16, Revolt Artspace JUDGE JULES [UK] Saturday February 16, Room 680. DAMIAN LAZARUS [UK], SUBB-AN [UK], SHAUN REEVES [GER] + MORE Sunday February 17, Brown Alley PICTUREPLANE [USA] Sunday February 17, The Liberty Social DIXON [GER], HUXLEY [UK] Friday February 22, Prince Bandroom BOK BOK [UK], L-VIS 1990 [UK] Saturday February 23, Revolver LINKWOOD [UK] Friday March 1, Prince Bandroom MOODYMANN [USA] Friday March 8, Prince Bandroom FANTASTIC MR FOX [UK] Saturday March 9, The Liberty Social GOLDEN PLAINS: MOODYMANN [USA], JULIO BASHMORE [UK] + MORE Saturday March 9 - Monday March 11, Meredith Supernatural Amphitheatre FUTURE MUSIC FESTIVAL: THE PRODIGY [UK], DIZZEE RASCAL [UK], BOYS NOIZE [GER] + MORE Sunday March 10, Flemington Racecourse ELI VERVEINE [SWI] Friday March 15, La Di Da Basement ATARI TEENAGE RIOT [USA] Friday May 17, Billboard


Have you ever watched a friend eat an entire kilo of chicken in one sitting? It’s a game changer, that’s for sure. I don’t know if we’ll ever be able to look each other in the eye again. Tyson Wray

Animals Dancing: Linkwood

Though he remains quieter than most in the electronic music world, a quick review of Linkwood’s brief discography reveals an unmistakable influence on the current house music climate. After dropping very well received releases on labels such as Prime Numbers and Firecracker’s sister imprint Shevchenko since his last Australian visit in 2010, 2013 will see a new album, which is a follow up to his widely acclaimed 2009 album System. He plays the Mercat Basement on Friday March 1.

Rainbow Serpent: Good To Go

After much commotion, Rainbow Serpent have confirmed they have received the necessary permits to go ahead as planned next weekend. The announcement came via their Facebook page, with festival organisers stating: “We are very excited to announce Rainbow Serpent Festival 2013 will go ahead after the Pyrenees Shire Council today granted all necessary permits. We are very thankful to council and emergency services and thoroughly appreciate the extra time required of them to reconsider our permit application. It’s been a tough week and our entire team are now working harder than ever to produce the most spectacular Rainbow Serpent in 16 years as a thank you to our army of fans who gave nothing but support and encouragement when we needed it most.” Furthermore, they’ve also made a last minute addition to the lineup with the legendary Sasha, who they describe as “one of the world’s most eminent DJ’s who has been pivotal in the worldwide electronic music industry for more than 25 years.” Rainbow Serpent runs from Friday January 25 to Monday January 28 in Lexton.

Christian Vance: Future Haul of Famer

Critically acclaimed Christian Vance is playing in Melbourne for one show only on the tail end of his tour of Europe. Performing over the last decade solely as a live electronic musician, Christian Vance is en route to Melbourne since moving to Berlin to share his deep, layered and emotionally driven sound with his Haul Music label cohorts. His first time in the cage at Revolver will be shared with resident Mike Callander, new Berlin resident and Haul Music contributor Claire Morgan and one of 2012’s best underground performers, Haul Music label boss Craig McWhinney. It will be Vance’s one and only show in Melbourne and he is bringing with him the promise of new music and a surely unmissable night. Catch Christian Vance and the rest of the Haul Music crew at Revolver on Friday February 8.

Inner Varnika: Sojourn For The Soul

Inner Varnika is a three-day event dedicated to devoted music enthusiasts and artists whose only aim for the weekend will be to create a community of dancers whilst also providing a sojourn for the soul. Any event that reveals details and has extremely limited capacity is bound to get attention. Inner Varnika is for lovers of techno and house and their simple mantra – “Dancing is an essential, elemental and a simply fundamental way of warming your Inner Varnika” – is refreshing. Capacity is limited to 500 people and their selfproclaimed “carefully selected international guests” has only seen but one name released. Lerosa hails from Dublin and is responsible for productions that range from Drexciyan-inspired electro, emotive techno to the rawest house. The lineup, even if it’s only at one name, is promising and the mystery surrounding the event conjures up excitement of a resurgence in rave culture that boasts all that we have come to learn and love about it: peace, love, unity and respect. Early bird tickets have already sold out and the next batch are on sale in a week or two. Inner Varnika is happening from Friday March 29 to Sunday March 31.

Stefano Miele, known to you and I as Riva Starr, is on his way back to Melbourne armed with his Italian charm and fresh and unpredictable style. He’s the proud owner of Snatch Records and brings with him an energy that washes over crowds wherever he plays. His peers are heroes of house themselves and always boast kind words of support, including Fatboy Slim, Gilles Peterson and Claude VonStroke. Club favourites I Was Drunk and Get Sexy are amongst Riva Starr’s most recognisable work and with a stream of remixes as unstoppable as his career, there is never a dull moment in Miele’s discography. It is no wonder Riva Starr is on his way back and you can catch him at Billboard The Venue on Friday February 1.

Night Slugs: L-Vis 1990 and Bok Bok

Night Slugs founders L-Vis 1990 and Bok Bok are coming together to play at Revolver Upstairs in a night that has been years in the making. The Night Slugs brand has firmly established itself as a label, London club night and radio show as well as being responsible for the biggest releases from Lil’ Silva’s Pulse vs. Flex, Jam City’s Magic Drops to Girl Unit’s Wut. Founders and producers in their own right, L-Vis 1990 and Bok Bok are bringing their twisted hybrid of grime, funk and house to Melbourne. They hold a reputation of destroying dance floors with their back-to-back sets, which will be enough to transport crowds into a mirage of dark London clubs some will have seen and other would have only dreamed about. L-Vis 1990 and Bok Bok play Revolver Upstairs on Saturday February 23. Limited earlybird presales are available from Moshtix.

Avicii: For Future Reference

RESPONSIBLE: Managing Editor: Ronnit Sternfein Editor: Tyson Wray Listings: club/promoter submissions - now online at - it’s free! Production: Pat O’Neill Typesetting: Rebecca Houlden Cover Design: Pat O’Neill Advertising Senior Sales: (03) 8414 9710 Taryn Stenvei Fashion and Beverages: Tegan Butler Ph: 03 8414 9732 Deadlines: Editorial Friday 2PM – absolutely NO exceptions. Club photos Monday 9AM (email only Advertising artwork Monday 12PM. Photographers: Callum Linsell Contributors: Rezo Kezerashvili, Miki McLay, Shane Scott, Simon Traspier, Brian Rotide, The Knowledge, Ellen Devenney, Dan Watt, Aaron Ralston, Birdie, Liam Pieper, Simon Hampson, Chad-Michael Michaelson, Mikolai, Reuben Adams, David Edgley. Publisher: Furst Media, 3 Newton Street Richmond 3121 Ph 03 9428 3600



Riva Starr: Drunk and Sexy


Chart-topping Swedish superstar and worldwide phenomenon Avicii has been added to the already incredible lineup for this year’s Future Music Festival. At just the age of 23, Avicii has accomplished more than a room full of producers ever will in the short amount of time he has been on the scene. A twice Grammy Award nominee and a pioneer of EDM, the young producer is making waves with his Avicii x You project which will see him collaborate with fans, producers and musicians from all over the world for his next single. He will be headlining the EDM Stage at this year’s Future Music Festival and playing alongside renowned artists including Dizzee Rascal, Hardwell, Steve Aoki and Madeon. The rest of the lineup boasts acts including The Prodigy, The Stone Roses, Azealia Banks and Boys Noize (live) to name but a few. Catch Avicii at Future Music Festival on Sunday March 10 at Flemington Racecourse.

Salt-N-Pepa are anything but unfamiliar and one third of the legendary trio, DJ Spinderella is heading to Melbourne. As the lady with the big attitude and even bigger beats, DJ Spinderella provided the backbone of the Salt-N-Pepa’s success. These women opened up the male dominated doors of hip hop and created an industry standard everyone struggled to replicate. The world famous DJ has hosted various radio shows as well and was named the Rap/Hip Hop DJ of the Year in 1995 from the Washington, DC Music Association. Pioneers of hip hop and feminism, DJ Spinderella represents an important part of history as well as the promise of a DJ set that will leave no seat occupied. It’s all happening Friday January 25 at Laundry Bar.

DJ Profile: Brooke Evers

Where’s the strangest place you’ve woken up? I was in a reality show where I had to sleep in the bush. I woke up at midnight with a giant rat at eye level. I didn’t sleep after that. Describe yourself using the title of a song. Young, Wild and Free - Snoop and Wiz What was the weirdest thing you believed as a child? You can fall pregnant if you kiss a boy. The most awkward moment you’ve had as a DJ? I once tripped on the mic cord in front of over 2,000 people! What would be the worst dance track in the world to be tortured with on repeat? Anything on repeat does my head in!! What’s the most played record in your bag? I have a few good bootlegs I’ve made but I love to drop 212 by Azealia Banks at every show. What question would you like to ask an omniscient, all-knowing being before you die? Will cancer ever be cured? If you hadn’t made it as a DJ, what job would you choose to work in instead? Television. When and where is your next gig? Australia Day – I’ll be at Sound Empire at Crown.

DJ Profile: Sax On Legz

Where’s the strangest place you’ve woken up? Being constantly on tour, when I do wake up in my own bed instead of a hotel room it is a good feeling but then a bit strange as I am so used to hotel rooms. Describe yourself using the title of a song. Sexy and I Know It - LMFAO What was the weirdest thing you believed as a child? I believed the Sandman was real. The most awkward moment you’ve had as a DJ? Arrived at a club I was performing at one night and the bouncers didn’t know I was Sax On Legz, they asked if I was the pole dancer for the night! What would be the worst dance track in the world to be tortured with on repeat? Definitely Call Me Maybe, there’s a dub step version of it too. Makes my ears bleed. What’s the most played record in your bag? Rattle – Bingo Players What question would you like to ask an omniscient, all-knowing being before you die? How the dinosaurs came. If you hadn’t made it as a DJ, what job would you choose to work in instead? I am currently studying my bachelor in music. If my DJing didn’t work out I would have become a school music teacher. When and where is your next gig? Australia Day – I’ll be at Sound Empire at Crown.



100% AUSTRALIA DAY WEEKEND GUIDE DIRTYBIRD SHOWCASE SASHA & ANTHONY PAPPA RAINBOW SERPENT When is it? Gates open Thursday January 24 at midday and the music stops afternoon of Monday January 28. Where is it? Near Beaufort in Victoria. Visit our website for directions. Who’s playing? Sasha, Bakke, Caballero, Commercial Hippies, Ecliptic, Eelke Kleijn, Filistine, Guy J, Haltya, Hardfloor, Hypnotech, J-Dub, Mathew Dekay, Nathan Fake, Oliver Koletzki, Peter van Hoesen, Prometheus, Spoonbill, Tim Healey, The Mollusk and lots more. What sort of shit will they be playing? Shit music is totally banned at Rainbow! However we will feature over 100 musicians across multiple genres including live bands, electro, house, breaks, dub and ambient. What’s the crowd going to be like? A community of happy faces and open arms. For many of the 10,000 plus people who attend each year Rainbow is an institution, annual reunion and a marker in the year that’s looked forward to for months in advance. And costumes. There will be many costumes ranging from the hilarious to the (fabulously) outrageous. What will we remember in the AM? Everything from the most sublime, body-shaking beats to amazing décor, roving artistic performances, workshops and incredible food. You especially won’t forget all the new friends you made along the way. What’s the wallet damage? Presales are currently $250 or $280 on the gate. Where can we get tickets from? or on arrival. Give us one final reason why we should we celebrate Australia Day weekend here? This once small, niche gathering has evolved into a multifaceted weekend of dance, colour, free expression and celebration that people now travel from all over the world to Western Victoria to experience. Put simply if you’ve never been to the Rainbow Serpent Festival now is the time for you to join them so buy a tent and call your mates!

When is it? Sunday January 27 Where is it? Chasers Nightclub Who’s playing? Sasha, Anthony Pappa, Phil K, Kasey Taylor, Sean Quinn, Rollin Connection, Walter Juan, Isaac Fryer, Flow plus more TBA. What sort of shit will they be playing? You will hear the very best the world has to offer in the way of deep house to deep tech house, techno and progressive music. It’s not every day we have one of the world’s leading DJs here to play us music which is at the forefront of the current trends, so this is the perfect chance to see which music is the sound of tomorrow. What’s the crowd going to be like? The crowd is going to be electric and full of energy, bringing a vibe which is second to none, making this one of the biggest and best nights of the year. What will we remember in the AM? If the show is to go as planned, hopefully you can’t pinpoint one thing as everything will come together to create one of the best nights you have ever had out in a club. What’s the wallet damage? $45. Where can we get tickets from? Moshtix or or on the door on the night (however there will only be limited tickets on the door, so best be there early). Give us one final reason why we should we celebrate Australia Day weekend here? If you have a good taste in music and know what a good party is all about, then this party is for you. The show really sells itself – we have one of the world’s top leading DJs (former world no.1 DJ – DJ Mag poll) Sasha and an all-star Australian lineup including world renown legend and Australia’s biggest export DJ, Anthony Pappa, and also the kings of Melbourne: Phil K, Kasey Taylor, Sean Quinn, & Rollin Connection and more, all in one of Melbourne’s iconic nightspots, Chasers nightclub. This show is set to sit at the top of the list of gigs of the year and that’s for sure. This is not to be missed.

When is it? Friday January 25 Where is it? Brown Alley Who’s playing? Claude VonStroke, Justin Martin, J.Phlip, Phil K, Dave Pham, Rollin Connection, Tahl, Flip 3k,, Danny Silver, Walter Juan, Adelle, Jungle Bros, Blake & Torren Foot, Eddie Stephens, Akin Sayar, Mickey P, Audixxx, Huw Dedman, Henry Webster, Tim Muphy & Will Cumming, Elliot Hunter, James Nielsson, Themba Wahlstom, With Love and Dylan Gear. What sort of shit will they be playing? You will hear all kinds of music at this show. Everything from the funky tech house to bouncing techno to rolling electro to the sounds of bass music, broken beats and everything in between and more. What’s the crowd going to be like? It’s looking like the show might be a sell-out crowd of well-up-for-it party goers looking for a great time with the way things are going. As for crowds you can always be sure our crowds are second to none when it comes to these type of events. What will we remember in the AM? Where do I start? The amazing music played by the world renown international artists might be one spot, the awesome new sound system and production being brought in for the special occasion would be another great spot, or even the awesome crowd and electric vibe that will be brought from nothing other than a most rocking night out. So to answer the question, hopefully you will remember the way home once the club shuts in the wee hours in the morning. What’s the wallet damage? $45. Where can we get tickets from? Moshtix or behind the bar at Brown Alley, or on the door on the night. However there will only be limited tickets on the door, so best be there early. Give us one final reason why we should we celebrate Australia Day weekend here? The DJ lineup and show as a whole really does speak for itself. It’s the place to be for sure. It’s going to be the biggest and best club show over the whole long weekend. So pretty simple choice in my opinion.

ANDY C When is it? Saturday January 26 Where is it? The Hi-Fi Who’s playing? Andy C & MC GQ What sort of shit will they be playing? Drum and bass. What’s the crowd going to be like? Crazy. What will we remember in the AM? Not much! What’s the wallet damage? $40+bf Where can we get tickets from? or Give us one final reason why we should we celebrate Australia Day weekend here? Andy C & MC GQ at The Hi-Fi has become a tradition to the Melbourne drum and bass scene, we celebrate Australia Day with Andy C & GQ every year and it’s always one of the most anticipated drum and bass events of the year!

COQ OZ When is it? Sunday January 27. Open at 12pm, free BBQ at 4pm. Where is it? Lucky Coq Who’s playing? Upstairs: DJ Ayna, Tom Showtime vs DJ Maars, Citizen.Com vs Matty Blade. Downstairs: Condensed Milk, DJ D’Opus, DJ Flagrant and Agent 86. What sort of shit will they be playing? Upstairs: NuFunk, bootlegs, breaks. Downstairs: hip hop, funk, party jams. What’s the crowd going to be like? Hippies, skanks, hipsters, idiots, young and old, jocks, baby dolls and a special guest appearance from your mum. What will we remember in the AM? Fuck all. What’s the wallet damage? Free entry because that’s what we do. Where can we get tickets from? No need, bring yourself and your drinking pants. Give us one final reason why we should we celebrate Australia Day weekend here? Because we live in ‘Straya and on this day all Aussies eat good food, drink great beer and act like idiots with our mates.

HOTTEST 100 PARTY When is it? Saturday January 26 Where is it? The Espy Who’s playing? RÜFÜS, YesYou, Redcoats, World’s End Press, Eagle & The Worm, Sures, Bored Nothing, The Delta Riggs, Red Ink, Harts plus very special guest DJ Yoda with his new video show. What sort of shit will they be playing? Good shit. What’s the crowd going to be like? Wild. What will we remember in the AM? Not much, except you’ll wake with a warm fuzzy afterglow. What’s the wallet damage? Dude, it’s free! Where can we get tickets from? No need. Give us one final reason why we should we celebrate Australia Day weekend here? Biggest and best free event in Melbourne.





Loop featuring the incredible sounds of Dysphemic, Wasabi, U-Wish, SK, Kymaera, Missile, Zuluflow and Alt Esc Del on visuals. 10pm until late. Loop, 23 Meyers Place, Melbourne

WEDNESDAY23RD COQ ROQ Rocking Wednesdays at Lucky Coq are rotating DJs Lady Noir, Agent 86, Kiti, Mr Thom, Joybot and guests giving you nothing but the best new wave, punk, brit pop, bong rap and hair metal. Coq Roq takes place every Wednesday from 8pm with free pool downstairs from 9pm as well as drink specials. Roq out! Lucky Coq, 179 Chapel St, Windsor

MIDNIGHT SOUL ENSEMBLE Whether it’s a DJ on the one’s and two’s side by side with a drummer hitting the skins while jammin’ away into the night, or soul singers gracing our humble stage performing Erykah Badu tribute songs over wonky future beats, or hip hop DJs cuttin’ up Serato records, we got the mid-week party. You know you wanna. Free entry. Lounge, 243 Swanston Street, Melbourne

SOUL ARMY With more flavour than a chocolate pizza, the Wednesday Soul Army throws down raw, uncut funk next to smooth soul grooves and rare blue jams. Bring that special lady because when the boys lay down the love it could be the difference between ‘we’re just friends’ to ‘let’s get it on’. PBS stalwarts Vince Peach and Miss Goldie accompany Prequel and Black Diamond Kicks weekly. Free. Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

LAUNDRY WEDNESDAYS Deep, dark, minimal dubstep and drum and bass. Laundry Bar, 50 Johnston Street, Fitzroy

THURSDAY24TH BIMBO THURSDAYS Tigerfunk brings with him his full band of travelling gypsies, hipsters and middle class executives, all of whom are prepared to deliver the most excitement you can have this side of the weekend. Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

FREE RANGE FUNK Funk up your Thursday nights with Free Range Funk at the Windsor favourite Lucky Coq. Grab a couch early and enjoy one (or more) of their famous $4 pizzas from 7-11pm. Meanwhile DJs Who, Agent 86, Lewis CanCut and special guests tempt you into the night with their eclectic bag of treats. Setting the mood early is delightful jazz, deep soul, and funk. Later it’s fruity disco, choice house, and hipster dance drops. Free entry every Thursday. Lucky Coq, 179 Chapel St, Windsor

FUN HOUSE Celebrate Thursday night at Co. with club classics and dance floor anthems. Co., Crown Entertainment Complex, Lvl 3, 8 Whiteman St, Southbank

SLOW HOUSE THURSDAYS Slow House Thursdays is just what Brunswick has been missing. Get down to the latest Thursday spot at Noise Bar, find a space with your bros and get into the as DJs Same O, David Bass and James Hurt spin bass laced tunes ‘til the early hours of the morning. Noise Bar, 291 Albert Street, Brunswick

FRIDAY25TH GET LIT Get Lit every Friday night with Mugen & D’fro slicin’ n dicin’ over jiggy beats and underground anthems. Bounce to the ounce, and get yer “drank” on! And kids remember one thang, in the wise words of Lady: this pussy be yankin! YOLO.


Free entry. From 10pm. Lounge, 243 Swanston Street, Melbourne

CQ FRIDAYS The weekend starts here! Get on down for after work drinks from 5pm with DJs Marcus Knight, Mark Pellegrini, Nick Van Wilder & DJ Anferny getting your weekend started right. 5pm til 3am. CQ, 113 Queen St, Melbourne

FIRST FLOOR FRIDAYS A journey of international music from all over the world; past, present and future rhythms incorporating afro, soul, funk, world and deep house elements! First Floor, 393 Brunswick St, Fitzroy

Smashing it every week at Melbourne’s hottest looking venue! Top 40 dance, house and R&B 9-3am, then electro from 3am - 5am. DJ Ontime, DJ Ryza, Scotty Erdos and Azza M. $15/$20, free entry after 4am. Eden, 163 Russell St, Melbourne

LOUNGE-CLUB Dazzling disco lights? Check. Big dance floor? Check. Stage to dance on? Check. Music all night long? Check. We got Melbourne’s finest purveyors of music. You’ll get funk, boogie, disco, house, Latin, afro, techno and much more. LoungeClub happens every weekend from 10PM and it’s free entry. Lounge, 243 Swanston Street, Melbourne


FORBIDDEN Forbidden’s venue is going to wow all those that attend through its state of the art sound and lighting system, an amazing balcony overlooking Russell and Bourke Streets and is located in the heart of the city. Forbidden will feature some of the hottest DJs in Melbourne including Anyo, Rufio, Stefan C, Alex Da Kid, Galo, Timmy Edgell and Azza-M. Forbidden is the hottest place to be on a Friday night – the location has just changed. Free entry applies to everyone between 8pm – 9pm and happy hour will run for 3 hours! Eden, 163 Russell St, Melbourne

FREEDOM PASS Friday’s at Freedom with 2 premier clubs, 5 huge rooms, 10+ local and international DJs blending their unique sets across countless styles of tunes – vocal house, smooth R&B, electro and commercial top 40. Throw in a few sexy podium dancers, a world-class lights show and drink specials, the Freedom Pass is your personal ticket to a night you won’t soon forget! Fusion, Crown Entertainment Complex, Lvl 3, 8 Whiteman St, Southbank

FRIDAY NIGHT LOFT PARTY Kitty Schmidt couldn’t find quality dance music in Fitzroy so she’s decided to open up her bedroom doors. Living above Melbourne’s stalwart lesbian/gay Libation Bar, she’s now throwing a monthly party in her boudoir. Come into her renovated upstairs loft, cocktail bar, dance floor and smoking terrace. With quirky house, deep disco and erotic electronica being spun by Marvin Roland, Mr. Pyz and Kitty Schmidt DJs. Libation, 302 Brunswick Street, Fitzroy

PANORAMA Start your weekend on a good note with Panorama Fridays at Lucky Coq. DJs Matt Rad, Mr George, Tom Meagher and Phato A Mano transform the upstairs area into one hell of a house party with Hip Hop, Funk, R&B, Disco and House. Meanwhile, downstairs gives you a secluded wind down atmosphere with cult films as background visuals and quality cocktails to sip on. Let the new coqtail list wash away a crappy week! Lucky Coq, 179 Chapel St, Windsor

RETRO SEXUAL FRIDAY DJ Grandmaster Vicious spins Fitzroy’s finest mix of ‘80s and ‘90s pop, rock, new wave, hip hop, disco classics and cheese to please plus dance floor anthems from then to now. One Twenty Bar, 120 Johnston St, Fitzroy


It’s house, electro, dub, anthems, disco and funk with guest DJs Genetix, B-Two and Oohee rocking til the break of day. Doors open 10pm with $5 basics til midnight! First Floor, 393 Brunswick St, Fitzroy

Cymatic Society returns with a monster lineup to send your senses into harmonic bliss. This free monthly event returns to

In the grand tradition of past Saturday nights at the Prince of Wales, it will regain it’s rightful place on the pantheon of Australian dance music playing host to the best and most exciting EDM locally, nationally and internationally. Local residents include Generik, Oskar, Swick, Tranter, M.A.F.I.A., Streetparty DJs and Clip Art, and scheduled guests The Aston Shuffle, Tonite Only, The Swiss, Luke Million, Parachute Youth, Louis La Roche, Alvin Risk and more. In addition, Homecoming has prepared a veritable roster of exciting drinks and cocktails to fuel the fun, including Fresh coconut cocktails, Dr. Pepper, Electric Lemonade, Tecate, Thai-style Buckets and Bubble Cup cocktails. Prince Bandroom, 29 Fitzroy Street, St Kilda

HOT STEP Google Hot Step and you’ll get a bunch of Vietnamese game reviews and Balkanese dances on YouTube. But that’s nothing like what you can expect to find within the confines of Bimbo on a Saturday night. Developing thick and heavy but altogether groovy, enjoy an eclectic mix of fairy floss funk, doom disco and monk movement minimal every week. Free. Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

SATURDAYS AT ONE TWENTY BAR DJ CKass will take you on a musical journey to the retro sounds of the ‘70s and ‘80s, followed by Top 40. One Twenty Bar, 120 Johnston St, Fitzroy

SOUND EMPIRE Co. At Crown’s Saturday night party Sound Empire this week features mega sounds from resident DJs Tate Strauss, Miss Sarah, Nova, Johnny M, Matty G, Dean T, Joe Sofo, Marcus Knight, Dinesh, Chris Ostrom, B-Boogie and Sarah Roberts. Co., Crown Entertainment Complex, Lvl 3, 8 Whiteman St, Southbank

STAR SATURDAYS Star Saturdays - smashing it every Saturday! Phil Ross, Scotty Erdos, DJ Ontime, LC, Nick James, Dane Gains, Ryan Hamill, Deja, Phil Isa, Nixon, Azza M, Scotty Nix, DJ Ryza, C Dubb, Alex-J, G-Funk, Dylisco, Achos, Az, Shaggz and guests. Star Bar, 160 Clarendon St, South Melbourne

DJ Marcus Knight & DJ Xander James drop sexy house, dance and drum and bass all night from 8pm. Free entry. Temperance Hotel, 426 Chapel St, South Yarra

WEEKEND The brain child of the creative kids at 360 Agency and Seven Nightclub. The Weekend is here to put a smile on your dial every Saturday night. We want you to join the family. Dancing from 10pm weekly. Seven, 52 Albert Rd, South Melbourne

SUNDAY27TH SOUTH SIDE HUSTLE The perfect Sunday soundtrack with DJs Askew, Peter Baker, Booshank, Paz, Miss Butt, Junji, Disco Harry and guests. They will be laying down disco, afro beat and deep house til 3am. For lovers of good music - South Side Hustle. Lucky Coq, 179 Chapel St, Windsor

The original and still the best Sunday in Melbourne. Star Bar, 160 Clarendon St, South Melbourne

SUNDAE SHAKE Our Signature serve. Each and every Sunday we play host to a self professed vinyl junkie caught between the golden years and boogie wonderland. A mouthful? Perhaps. Phato Amano perfectly sets the mood for an audio-adventure that redefines the dance floor weekly. Our Sunday aficionados Agent 86 and Tigerfunk stir up a full cream shake to the flavour of your liking. Forget everything you thought you knew about losing yourself to the grooves. Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

MONDAY28TH IBIMBO Have you always wanted to be a DJ but been cruelly cursed with tone deafness and a general inability to version excursion? Well Bimbo Deluxe saves the day once again.. All you need is an iPhone and you’re set. Just download the free ‘remote’ application from the app store, log into the Bimbo DJ wireless network and you choose which song plays next. Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

TUESDAY29TH BIMBO TUESDAYS Bimbo Tuesday’s have long been the discerning DJs midweek breath of fresh air. An opportunity to indulge in, and to each parade their individual takes on music. A night where by the weird and wonderful is not frowned upon but rather celebrated. Resident selectors Matt Radovich, Andras Fox and Henry Who draw from a colorful array of sounds that warm your midweek blues. From 8pm, free. Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

COSMIC PIZZA NHJ and friends host every Tuesday night upstairs at Lucky Coq. Playing uneasy listening, freaked out bass jams, romantic comedy disco, tropi-jazz, soundtracks and shit you won’t hear on the other nights. Lucky Coq, 179 Chapel St, Windsor

RAINBOW SERPENT’S LIFESTYLE VILLAGE COMMUNITY GATHERING: BURNING MAN EXPERIENCE It’s been a “very scary” week for the Rainbow Serpent crew, with the fate of this year’s festival hanging in the balance between bureaucrats and bushfires. However, at the time of print, Rainbow Serpent have announced that the festival will go ahead. This, for Lisa Ariganello, the organiser in charge of Rainbow Serpent’s Lifestyle Village, means joining her team on site to finish setting up one of Rainbow Serpent’s most unique attractions, the weird and wonderful Lifestyle Village. This is Ariganello’s second year running as Lifestyle Village’s coordinator, moving up from a lowly festival volunteer a few years earlier, and her furious passion for the festival gives us a glimpse into the tiresome work the festival organisers are doing to keep this year’s event on Australia’s must-see, must-do calendar. “I’ve only been in Australia for five years,” Ariganello remembers, “but that first year I came and volunteered with a whole bunch of friends and that was the first time I’d ever been. I gradually started doing different jobs and working within the Lifestyle Village for a couple of years and then ended up with this role and it’s been great. It’s been amazing seeing the different areas of Rainbow and now being one of the coordinators – it’s just really great.” Attractions like Lifestyle Village are what set Rainbow Serpent apart from your run of the mill music festival. An area within the festival, Lifestyle Village is best described as the cultural hub of Rainbow Serpent, a place to experience the festival’s unique sense of community. “It’s one area that punters can go to experience other aspects of the festival than just music. There are workshops and talks and an art gallery that you can stroll through. A lot of people come and they’ll just relax in the Village. In the centre we have a permaculture garden that becomes a central meeting point for a lot of people. Even just during the day when it gets really hot, a lot of people will come in and relax and sit down in one of the workshop spaces and just chill out for a bit. It’s definitely a great option rather than just spending all day on the dance floor,” Ariganello explains. This year sees the introduction of the Sacred Soundsphere to Lifestyle Village. “Yeah, it’s the first time it’s ever been at Rainbow Serpent,” says Ariganello, “so it will be exciting to see that. There’ll be sound healing and meditation and performances going on every day in a dome. It’s going to be like a sacred space – an alter – and people can go in and take place in meditation circles and singing and healing and things.” This year’s Village also sees the return of the Solar Cinema, screening original, and often strange, films, shorts and animations throughout the weekend. Canadian director Jeet-Kei Leung will also be there speaking about his new documentary, The Bloom. Kids Zone will again be packed with arts and crafts, dance lessons, puppet shows and lots of special bands and performers for our youngest generation.


Saturdays at Lucky Coq tick all the boxes so start your night early and stay til close! Famous $4 pizzas from 7-9pm (that’s dinner sorted) then from 9pm spread over two levels with DJs playing hip hop, funk, disco, house and electro. Rotating guests on both levels keep the tunes fresh. Free entry. Lucky Coq, 179 Chapel St, Windsor







Guest speakers are an important part of the Lifestyle Village experience, and this year the running theme of the talks seems to be the extremely relevant issue of international festival culture and its influence on the global community. “Chris Deckker will be speaking about global information and festival culture,” Ariganello explains. “He created EarthDance which is like a global festival movement. Graham St John is really well-known in the scene; he’s written a few books based on global tribe technology, spirituality and side culture. He’s amazing at doing interviews and collecting data from festivals around the world. Jeet-Kei Leung is speaking on the same topic. We seem to have a lot of people who are talking about global festival community, so that should be interesting.” But of course, one of the most interesting aspects of Rainbow Serpent is the multitude of workshops available around the clock. “We have five different workshop spaces. There are spaces we call inner realm workshops and then there are the outer realm workshops. The inner realm workshops deal more with discussion based topics and people sharing ideas and conversation. It’s usually a more intimate setting. Then outer realm workshops are the movement and dance based things that get people going: yoga, belly dancing, hula, Tai Chi.” Rainbow Serpent is more than just the music, and, in fact, it’s more than just the art. Ariganello tries to put the essence of the weekend into words. “It really is a community gathering. I think it’s the fact that it feels like family while you’re there. It’s this really amazing feeling of everyone coming together for this one weekend of the year and everyone looks forward to it. It’s a really positive place to be, everyone’s so happy. There’s nothing like it in this country. It’s Australia’s own Burning Man.” Kate McCarten Rainbow Serpent runs from Friday January 25 to Monday January 28 in Lexton.







JUSTIN MARTIN FINDING HIS WINGS: JUSTIN TIME Justin Martin is on his way back to Australia this month for the Dirtybird Records tour. He has been integral to Claude VonStroke’s label from the start, having appeared on the first four releases. After bolting out of the gate with his release for Ben Watt’s Buzzing Fly label in 2003, garnering support from A-list DJs around the world, Martin’s melodic and tough house sound has found fans all over the world. As well as his own original productions, Martin has become known for his collaborations with his brother Christian as The Martin Brothers. Martin has been making waves this last year for his solo productions though. His debut album, Ghettos & Gardens, was released in May on Dirtybird. Talking from his San Francisco home during a rare break in his touring schedule, his passion for the city shines through. “I absolutely love living here. I’m not home that often but when I am I’m as busy as I can be in studio. I love San Francisco and I’m very proud to be based here. I have been out to Australia three times now and Melbourne has similar vibes for sure. I think that’s probably one of my favourite cities in the world. It’s

such a cool place and such a beautiful city.” Martin believes that his debut album has started a new phase in his already successful career. “It was honestly one of the best experiences that I have had. I had no idea what I was really getting myself into. It had been a long time goal of mine that seemed elusive for years. I just didn’t have the discipline or the focus to sit down and do it. I was finally on a roll in the last two years. I got super motivated and saw that the harder that I worked, the more fun I had. I just decided to buckle down and do it and, to be honest, I could not be happier with the response. It was just a really incredible experience.” So what has the reaction been like? “When I was touring after the album I didn’t really know how people were going to take it and how the critics were going to write about it and all that stuff. All of that went well but for me the biggest thing was the tours and doing the shows. Seeing how excited my fans were when I dropped my own music was, for me, the biggest pay-off. That’s the whole reason that I do it. I make music for the dance floor and to make people happy when they dance.

“I was a DJ before I was a producer, first and foremost. There’s nothing that I love more than performing and just making a dance floor of people happy. I have just kind of seen in the last six months in doing this tour that it’s a complete thing. The excitement and energy that is there is something that I only got glimpses of in previous tours. For me, this is a whole new world and it’s a game changer.” This year is shaping up to be another busy one. “I’m releasing my first EP with Eats Everything on Hypercolour in February. I have been working in the studio with him a lot and we’re planning a kind of secret project for 2014. So we’re trying to get into the studio as much as we can this year. We have another single coming out on Dirtybird in May. “We’ve also got this Dirtybird players compilation. It has all of the different Dirtybird artists, the young blood and the up and

comers, and the extended international family just contributing to, you know, what we like to think of as the Dirtybird sound. That’s going to be coming out in March I believe and there are 12 tracks I think. Other than that, I’m going to be doing a bunch of touring and try to do as many Dirtybird parties around the world.” Martin is looking forward to his tour and he was forewarned that it’s Australia Day weekend. “People are telling me it’s going to be crazy! I’m totally excited!” Simon Hampson Justin Martin [USA] the Dirtybird Showcase at Brown Alley alongside Claude VonStroke [USA] and J.Phlip [USA] on Friday January 25.

J. PHLIP LEARNING ABOUT: THE DIRTYBIRD AND THE BEATS Jessica Phillippe took a winding road to get into DJing. She fell in love with house music and got her first set of decks at 19-years-old whilst studying Systems Engineering at university. It is often said that there is a strong relationship between music and maths, and you don’t have to look far for proof of that in her productions and DJ sets. Phillippe honed her skills and started to DJ at local parties whilst she was studying. After moving to San Francisco and establishing herself as an in-demand DJ she came to the attention of Claude VonStroke, who signed her to his Dirtybird Records label. Phillippe is now part of the core Dirtybird Records crew who are touring Australia this month. Her story reads like a dream but the reality is a hectic schedule and a lot of hard work. It’s not without its very enjoyable moments though – she has just completed a tour on the Holy Ship, a three-day cruise ship rave that is now in its second year. “Holy Ship was unbelievable! I don’t think I have ever played a party like that – it was so insane,” enthuses Phillippe. “There were really special moments that could only happen at a party where you are all stuck together in one place for three days. I jumped up and down so much that I actually couldn’t walk afterwards. And when we pulled back in the harbour in Fort

Lauderdale I was drinking straight vodka and screaming off of Skream’s balcony to turn the ship around. I think that might just say it all. What an adventure!” For all the fun there is a reality back home though. “I just got kicked out of my flat in Berlin, while on tour in the US, thanks to a mean neighbour. It’s a long story and it’s kind of a mess. I’m officially homeless and I’m trying to figure out how to move back to the bay. I need to get things a bit more settled again so that I can focus on productions. In the meantime I’m trying as hard as I can to work on music while on the road.” After four months of touring, finding the time and locations to produce music is hard. “I don’t have a place or studio of my own in the US so my life is a bit mad. I have come to realise that I need to move back to San Francisco and the Bay Area. I need a studio to nerd out in that is on the same continent where I am DJing.” With a dad who was a live sound engineer and very much interested in electronics it was almost inevitable that Phillippe would gravitate towards engineering and music. “My dad started building speakers in his garage in high school and ended up touring with REO Speedwagon for 14 years. He also ran sound for The Doobie Brothers, Prince, Willie Nelson and more.”

Phillippe’s DJ sets and productions brought their own flavour to Dirtybird. There is a bassline bounce and a sense of fun in her output that defines J.Phlip. It fits well with the label but manages to set her apart. “I definitely don’t sound exactly like any of the guys nor do they sound like each other,” she reflects. “We all bring in something different. I think initially I brought in a lot of house sound, coming from Chicago. Then I had a booty phase and an electro phase. Now I really like to bring in some techno style sounds. It’s tough to analyse and I’m always playing a lot of different stuff. I try to dig hard because the guys are also digging hard and I like to surprise them and sound different. “Sometimes I dig and dig through new stuff and can’t find anything that is as good as the old. I’m on an old Disco D tip right now. DJ Rum’s Mountains Pt. 1 (Pedestrian Pirate Radio Remix) is my absolutely favorite thing to play right now.” There tends to be quite a bit of UK bass in her sets too. “I

nature of his productions, he is a man without peer. “It has taken quite a long time to get to this point; sure the music had its 15 minutes of fame, like many other genres that pop out of the blue. But because of the non-commercialised foundation of the scene, it grabbed its foothold in the culture – around the world. Ten or 20 years ago people hadn’t even heard of drum and bass and now they’ve got forums in Russia, crews in Norway and record labels in France. I put all that down to its urban roots.” Certainly too, anyone who mutters the name Andy C immediately associates it with his long running and incredulously successful Ram Records imprint – but who would have thought that it would become such an unmitigated success – especially when a few friends were sitting around over a few pints in 1992 and innocently wondering whether a record label would take off. Yet fast forward 20 years and the Ram Records label remains undoubtedly one of the most esteemed across the globe generally – let alone in the genre. Yet none of it was by mistake, describes Andy. “We’d been record shopping; making records with Ant [his business partner] and we had tunes out and hadn‘t been paid for them. I thought that I would rather spend the time and effort and

put this stuff out myself. I was leaving school and looking for my own direction. My man Shimon was around too and we all kind of inspired one another and luckily, we’re all still here today. Not for a million bucks – not even in hindsight – could I have foreseen that when I was hanging out in clubs for ten and fifteen pounds a night – that I would end up traveling the world and playing music. I’ve really been blessed!” And no less, the party continues. In 2012, the label helped launch and develop the careers of artists like Mind Vortex and Hamilton, while playing host to releases of bona-fide legends like Chase & Status, Sub Focus, Calyx & Teebee and Cultureshock. But all of that is irrelevant, because few artists have done as much for electronic music as Andy C. He arguably sits atop the drum and bass tree and years on, maintains a

really love so much of that stuff! It’s some of the most inspiring dance music. Especially Boddika. His music is the dopest of the dope for me right now!” Phillippe has a new a techno track coming out on a Dirtybird compilation in February. “It’s my first almost all hardware track and I’m pretty stoked about it,” she reveals. After that she has a collaboration with Kill Frenzy due to come out called In Yo Mouf. So what has she heard about Australia? “I have heard it’s really fun and the people love to party. I have definitely gathered that from the Australians I have met around the world! I honestly don’t know a lot though. I’m excited to check it out!” Simon Hampson J.Phlip [USA] plays alongside Claude VonStroke [USA] and Justin Martin [USA] at Brown Alley on Friday January 25.

ANDY C BOSS: OF THE BASS It’s hard to give a man so much credit when he is as modest and circumspect as Andy C. Andrew Clarke (don’t call him that) is firmly grounded, his feet etched resolutely upright and head screwed on in a clockwise direction. Yet 2013 brings another milestone for the legend. After his start in 1992, this year marks the beginning of his third decade in the business. A true feat by any means, but one further demonstrated by the fact that the music business is a fickle one – trends come and go and artists can lose relevance quickly. Luck, though, might have been on his side, for drum and bass has stood the test of time too. It has evolved and grown from the at times negative mass media exposure it received during its incarnation as the style called jungle. It has overcome the pessimism and disapproval that loosely associated dubstep as the evolution of the genre as well – and rightly, it now bridges the sound between a number of different genres including hip hop, breaks and techno. For good drum and bass remains as unpretentious as it is unrelenting. And not surprisingly, Andy C remains one of the finest proponents of the genre, seemingly able to continue to bend the rules and push boundaries. Whether it’s like ever evolving live audio-visual setup, or the genre defying

positivity that eludes even many of his youngster compatriots. “Sure it can be hard – I mean, things might seem easy but as time goes on you have to embrace new ideas – after all, we are all in a fortunate position. I’ve got great people around me pushing the cause. It’s just hard allocating the time to it all. But it’s cool. I wouldn’t change it for the world. For my shows, I’ve got a lot of new material too – call it a few left hooks and upper cuts!” RK Andy C [UK] plays The Hi-Fi on Saturday January 26 alongside MC GQ [UK] and more.

ANTHONY PAPPA DARK BEATS: PROGRESSIVE SOUNDS Music trivia time – which artist has been the pre-eminent Australian representing house music in the UK for well over a decade? If you guessed Anthony Pappa (and didn’t read it in the title) you win a gold star. He is a legend – and a good bloke to boot. No less, Anthony is a fine example of how the international scene frequently gobbles up the finest we have to offer, yet in many ways, affords us the opportunity to feel the love from time-to-time. A musician from an early age, sound has been an incessant part of Pappa’s life. “My father was a musician and I always used to have band practice, playing drums as a kid,” he says. “That started my DJ journey as well. I picked up the turntables when I was 13 and at that point it was really just a hobby for me while I was at school. Later I began to think that I really enjoyed it and wondered if I could do it full time. Of course I wanted that elusive job as a musician but the idea of doing that and nothing else felt like a dream that was going to be a difficult one to achieve.” Of course the boy went on to compete with great success at the DMC competitions and that gave him a new level of exposure. “By that time, I was practicing and doing tricks and learning


things that hadn’t been done before. Then I moved to the UK and that was a difficult time – but I really wanted it more than anything. I didn’t take no for an answer and strived to achieve what I wanted. My determination and will power didn’t let me down. It’s hard starting your life and your career in a country you don’t know from scratch. Looking back though I didn’t think about it too much and I just kept going.” Right now, the lad is back in Melbourne where he is doing an Australian Tour as well as working on the Darkbeat 10th Anniversary Compilation CD which features Rollin Connection, Phil K and of course Pappa himself. Scheduled release is March 2013. More importantly, though, he is back in Melbourne to play at one of his favourite venues with partner in crime Sasha. “I have played with him many times over the years,” says Pappa, “but it’s great to be doing a gig with him in my hometown. I’m excited to be playing again at Chasers as this was my last residency within Australia and the last gig I did before I relocated to the UK in 1995!” Naturally, Anthony has seen electronic music evolve over time – whether it’s good or bad. But it is likely that he takes it all FEATURES

in his stride and takes the opportunity to experiment and do things a little differently. “These days, I’m into a lot of different styles ranging from down tempo, mid tempo, house, tech house, the better side of progressive house and techno. When playing out, my sets vary from 110BPM to 128BPM depending on venue and time of set I play,” he says. And with that, he is feeling the renaissance in dance music. “Today, past and present sounds come together in a way to create the current sounds which will be timeless – as opposed to here today and gone tomorrow. It’s all about playing good music no matter what electronic music genre you’re into. For me right now, I’m liking Hunter Game, Re.You, Inxec and Pentatones. I don’t have any preferences as to what l play as long as they are good tunes that l am into.”

But with all of that humility and charm – a trait he continues to possess after all these years, despite his unmitigated success – the chap enjoys a life outside of music that helps him maintain balance and deal with a little pressure. “I do have a life outside of music. I think it’s healthy to have a life outside of what we all do in life,” he chimes. “I’ve been a DJ now for over 25 years and love what I do. Having done so many gigs, all over the world, these days pressure is no longer really a factor. But still to this day, I get excited before every gig.” RK Anthony Pappa [AUS] plays at Chasers Nightclub alongside Sasha [UK] and more on Sunday January 27.

The day after Australia Day Party. Jan 27 2013

Upstairs (NuFunk, Bootlegs, Breaks) DJ Ayna Tom Showtime Vs DJ Maars Vs Matty Blades Downstairs (Hip Hop, Funk, Party Jams) Condensed Milk DJ D’Opus DJ Flagrant Agent 86

Cnr Chapel St & High St Windsor




















koat of Khokolat. Restless Entertainment reloads your favourite Saturday night party. Damion De Silva, K Dee, Jay Sin and weekly guests playing R&B & ol’ skool sounds strictly for the urban elite. Khokolat Bar, Basement, 43 Hardware La, Melbourne

THURSDAY24TH MOTOWN THURSDAYS Kick start your weekend with Melbourne’s newest Thursday night! Motown Thursdays caters to all true music lovers. Join us on an eclectic musical journey of soul, funk and disco through to early R&B. A live soul band features some of Melbourne’s most talented musicians; Carmen Hendricks, Laurent Soupe, Duncan Kinell and Aaron Mendoza just to name a few. DJs keep the records spinning into the early hours; residents are Reg-e, Lee Davies, Kalepe, Dinesh, Suga, Rubz and Alwin Rafferty. Join us around a big, shiny disco ball or two, for free entry, soulful tunes, drink specials all night and a dance floor full of friends! Fashion Lounge, 121 Flinders Lane, Melbourne

RHYTHM-AL-ISM Start the weekend early with Fusion’s resident DJs. Music for your funkin’ soul. Special guests every week! Fusion, Crown Entertainment Complex, Lvl 3, 8 Whiteman St, Southbank


FAKTORY This is it. Faktory Fridays are open for business at Melbourne’s home of R&B, Khokolat Bar. Where else? Damion De Silva, Ken Walker, Durmy, K Dee, Simon Sez, Yaths and Jacqui Dusk spinning all night long. Khokolat Bar, Basement, 43 Hardware La, Melbourne

LIKE FRIDAYS Like Fridays at La Di Da serves up R&B and electro house across two rooms giving you a fun filled end to your week. DJs Dinesh, Dir-X, Sef, NYD, Shaun D, Shaggz, Broz and more. La Di Da, 577 Little Bourke St, Melbourne

LIGHT We celebrate everything that has made Light at Red Love, kicking off with our after work drinks session from 4pm. Our DJ lineup includes each and every one of the Daddy Macks who have helped lead Light into our fifth running year of old school R&B. Harvey Yeah, Ripz, TMC and Stel Kar locking down that Old School Flava with guest appearances by G.A.K. & The Seminar of Funk and Nick K. It’s all happening this Friday as we celebrate five years of doing our do and bringing that Red Love! Red Love, Level 1, 401 Swanston Street, Melbourne

THE LOOSE GOOSE The Loose Goose is focused on providing a wonderful array of cocktails and offers a great CBD location to



lounge and relax in while overlooking busy Flinders Lane. A small plates menu is available to graze on whilst trying our delicious cocktails from the classics to contemporary, beer on tap and a wide range of beers, wines and spirits. Every Friday evening DJ Jumps of The Cat Empire will take to the decks at the bar, spinning his rare afro Latin funk vinyl collected from around the world from 6.30pm until late. Papa Goose Cocktail Bar, 91-93 Flinders Lane, Melbourne

SWEET NOTHING FRIDAYS DJ Marcus Knight and DJ Xander James spin hip hop, R&B and house tunes all night from 8pm. Free entry and early drink specials. Temperance Hotel, 426 Chapel St, South Yarra

THE NICE UP Tom Showtime presents The Nice Up. All flavours of hip hop, ghetto funk and reggae niceness provided. Sailor Jerry nice up the cocktails, Dos Blockos nice up the $5 beers. Fridays done proper. George Lane Bar, 1 George Lane, St Kilda

SATURDAY26TH KHOKOLAT KOATED All new experience, same great location with a fresh

REDLOVE SATURDAYS RedLove Saturdays is all about solid classics from the ‘80s, ‘90s and into the ‘00s! Dropping beats of retro pop, disco classics, old school funk, and certainly some of that old school R&B and house to kick! RedLove resident DJs Phil, HB Bear and Da Gato bringing down the house every Saturday night. If you’re looking for quality service, music to rock, sumptuous drinks and just a cold hard good time; look no further! Red Love, Level 1, 401 Swanston Street, Melbourne

SHAKA SATURDAY The newest R&B Superclub Shaka Saturdays’v grand opening is set to hit Melbourne over two massive weeks. The northern suburbs newest, freshest club playing all of your favourite R&B, hip hop, old skool and reggae. Shaka Saturdays is showcasing Australia’s newest and favourite R&B DJs, including DJ C-RAM bringing video mixing to Melbourne and special guest hip hop band Yellow Cake. Set at one of the most amazing venues Melbourne has to offer with two levels, good music, great ‘Shaka’ atmosphere and cheap drinks, we are hoping to pack it out and create a night for people to remember. Level 2 The Club, 2 Arthurton Rd, Northcote

DJ YODA FORCE IS STRONG: WITH THIS ONE Those who have experienced a DJ Yoda set will undoubtedly never have heard anything remotely similar. 100% catches up with the British mix-master extraordinaire to find out whether he’s managed to capture this uniqueness on his new record Chop Suey and whether he’ll be pulling out surprises at his upcoming show at Villa. Imagine one of those talking heads shows fronted by Bert Newton where they countdown something like the top 20 movie catchphrases from the ‘80s accompanied by ‘hilarious’ comments from Z-list celebrities who seem to be an authority on everything. Now throw in some upfront hip hop tracks, some guilty pleasure pop tunes, a smattering of TV themes and a good dose of scratching, cutting and expert mixing. This is the sound of DJ Yoda. The shows of Duncan Beiny (as he’s otherwise known) are unlike any other DJ on the planet. One night you could hear the theme tune from M*A*S*H over some block-party beats or the dialogue from Ferris Bueller’s Day Off synced into an ‘80s soft-rock anthem. You just never know what to expect. However, this style wasn’t really something he developed consciously. “I didn’t deliberately set out to do that but now that’s the way, I’m very happy about it,” he explains over the phone during a break in his two month tour around these parts. “I’ve watched different trends in dance music and DJing come and go and I just feel very happy to watch it and be no part of it whatsoever. It’s served me pretty well to be true to what I love when I DJ. I’m very honest about the stuff that I like, even if other people might consider it sometimes not cool to be playing country and western music or ‘80s music or whatever. I just play what I like and stay honest to myself and I think that automatically sets a DJ apart from anyone else.” After leaving university in the ‘90s, Beiny started to produce mixtapes containing this mish-mash of genres that took his fancy and the popularity of these grew so much that he was asked by Antidote Records to produce an official version, which was released as How To Cut & Paste Mix Tape Vol.1. Another volume has since been released along with an ‘80s, a ‘30s and a country and western version, and so the legacy of Yoda began where any track or sample is ripe to be played. But is there anything he would never play? “I would never say never,” he cheekily replies. “I remember reading this quote from DJ Q-Bert when I was growing up, he said, ‘If you give me any record I’ll find a way to flip it, it can be an opera record or whatever, I’ll find a way to make it work’. I find that really inspiring. I love the idea that you can take any sound and make something cool out of it, so I would never say never.”

“I also think that as a guest DJ especially in somewhere like Australia where I’ve flown all the way across the world to come here, it seems to be a waste to stand there and let a record play for five minutes. I’m all the way over here because I wanna bring something to the mix that you couldn’t just have anyone do; I wanna mix stuff up, make it interesting in a way that a computer couldn’t do.” Another feature of a Yoda performance is the speed at which everything happens – tracks and references appear and disappear within seconds, constantly keeping the audience on their toes. “That comes down to just having a short attention span,” he explains. “A lot of the time when I DJ, I only have an hour and a half to play and there’s too much good music in the world. So I’m like, ‘This song’s cool, how about this one and how about this one?’. I also think that as a guest DJ especially in somewhere like Australia where I’ve flown all the way across the world to come here, it seems to be a waste to stand there and let a record play for five minutes. I’m all the way over here because I wanna bring something to the mix that you couldn’t just have anyone do; I wanna mix stuff up, make it interesting in a way that a computer couldn’t do.” It’s this sort of energy and fun that Beiny has brought to his second record Chop Suey. Just one look at the track-list with titles such as Charlie Sheen, Sega RIP and Big Trouble In Little China is evidence enough that he’s managed to transfer the madcap nature of his sets to CD format. “I worked with different vocalists on every song on the album, so there’s a whole bunch of people on there, a really eclectic mix of rappers and singers,” he says. “I wanted the lineup of vocalists on the album to be really representative of my music taste. So you have stuff on there that’s representing music that I listened to as a kid in the ‘80s like Boy George and Mike Winslow [the sound effects guy] from the Police Academy movies and then you have stuff on there that represents the ‘90s rap music I used to love, people like M.O.P. and Greg Nice from Nice & Smooth. And then you have this new generation of music that I like, people who are the future of music for me, like Action Bronson – one of the best rappers out now – and Sway, one of my favourites from the UK. There’s all these different people on there and it hopefully all comes together and represents the sound that I’m all about.” With his second visit to our shores this summer just around the corner, Beiny has been working out what extra treats he can bring forth to keep things as unique as ever, but he’s rather coy as to what they are when quizzed. “I don’t want to give it away as it will ruin the surprise,” he concludes. Can’t wait. Andrew Nelson DJ Yoda [UK] plays at The Espy on Saturday January 26. URBAN



Call 1300 304 614 (landline only)

or 03 9614 3441

Application forms available at Police Stations

29th Apartment 29 Fitzroy St, St Kilda, 9078 8922

Lucky Coq 179 Chapel St, Windsor, 9525 1288

303 303 High Street, Northcote

The LuWOW 62-70 Johnston St, Fitzroy, 9417 5447

Abode 374 St.Kilda Rd, St.Kilda

Mercat Cross Lvl 1, 456 Queen St, Melb, 9348 9998

Albert Park Hotel Cnr Montague & Dundas Pl, Albert Park, 9690 5459

Mink 2 Acland St, St Kilda, 9536 1199

Alia Lvl 1, 83-87 Smith St, Fitzroy, 9486 0999

Miss Libertine 34 Franklin St, Melb, 9663 6855

Alumbra Shed 9, Central Pier, 161 Harbour Espl, Docklands, 8623 9666

Misty 3-5 Hosier Ln, Melb, 9663 9202

Back Bar 67 Green St, Windsor, 9529 7899

Mockingbird Bar 129 Fitzroy St, St Kilda, 9534 0000

Bar Open 317 Brunswick St, Fitzroy, 9415 9601

Musicland 1359A Sydney Rd, Fawkner, 9359 0006

Baroq House 9-13 Drewery Ln, Melb, 8080 5680

Neverland 32-48 Johnson St, South Melb, 9646 5544

Bendigo Hotel 125 Johnston St, Collingwood 9417 3415

New Guernica Lvl 2, Hub Arcade, 318-322 Lt Collins St, Melb, 9650 4464

Bertha Brown 562 Flinders Street, 9629 1207

Night Cat 141 Johnston St, Fitzroy, 9417 0090

Big Mouth 168 Acland St, St.Kilda, 9534 4611

Night Cat 279 Flinders Ln, Melb, 9654 0444

Billboard 170 Russell St, Melb, 9639 4000

Noise Bar 291 Albert St, Brunswick, 9380 1493

Bimbo Deluxe 376 Brunswick St, Fitzroy, 9419 8600

Northcote Social Club 301 High St, Northcote, 9489 3917

Birmingham Hotel Cnr Smith & Johnston St, Fitzroy

Old Bar 74 Johnston St, Fitzroy, 9417 4155

Black Cat 252 Brunswick St, Fitzroy, 9419 6230

One Twenty Bar 120 Johnston St, Fitzroy

Blue Bar 330 Chapel St, Prahran, 9529 6499

Onesixone 161 High St, Prahran, 9533 8433

Blue Tile Lounge 95 Smith St, Fitzroy

Order Of Melbourne level 2, 401 Swanston St, Melb, 9663 6707

Boutique 134 Greville St, Prahran, 9525 2322

Palace Hotel 893 Burke Rd, Camberwell

Brown Alley King Street, Melb,9670 8599

Palace Theatre 20-30 Bourke St, Melb, 9650 0180

Brunswick Hotel 140 Sydney Rd, Brunswick, 9387 6637

Palais 111 Main Rd, Hepburn Springs, 5348 4849

Builders Arms 211 Gertrude St, Fitzroy

Palais Theatre Lower Esplanade, St Kilda, 9525 3240

Cabinet Bar 11 Rainbow Alley, Melbourne, 9654 0915

Papa Goose 91 Flinders Ln, Melbourne, 9663 2800

Caravan Music Club 95 Drummond St, Oakleigh

Penny Black 420 Sydney Rd, Brunswick, 9380 8667

Caseys Nightclub 660A Glenferrie Rd, Hawthorn, 9810 0030

Pier Live Hotel 508 Nepean Hwy, Frankston, 9783 9800

Caz Reitops Dirty Secrets 80 Smith St, Collingwood, 9415 8876

Pony 68-70 Lt Collins St, Melb, 9662 1026

CBD Club 12-14 McKillop St, Melb, 9670 3638

Portland Hotel Cnr Lt Collins & Russell St, Melb, 9810 0064

Chaise Lounge Basement, 105 Queen St, Melb, 9670 6120

The Prague Hotel, 911 High St, Northcote, 9495 0000

Chandelier Room 91 Cochranes Rd, Moorabbin, 9532 2288

Pretty Please 61c Fitzroy St, St Kilda, 9534 4484

Chelsea Heights Hotel Cnr Springvale & Wells Rd,

Prince Bandroom 29 Fitztory St, St Kilda, 9536 1168

Chelsea Heights, 9773 4453

Prince Of Wales 29 Fitzroy St, St Kilda, 9536 1168

Cherry Bar AC/DC Ln, Melb, 9639 8122

Public Bar 238 Victoria St, North Melb, 9329 6522

Chi Lounge 195 Lt Bourke St, Melbourne, 9662 2688

Railway Hotel 280 Ferrars St, South Melb, 9690 5092

Co. Lvl 3, Crown Complex, 9292 5750

Red Bennies 371 Chapel St, South Yarra, 9826 2689

Colonial Hotel (Brown Alley) Cnr King & Lonsdale St, Melb, 9670 8599

Red Love Lvl 1, 401 Swanston St, Melb, 9639 3722

Commercial Club Hotel 344 Nicholson St, Fitzroy, 9419 1522

Retreat Hotel 226 Nicholson St, Abbotsford, 9417 2693

Cookie Lvl 1, 252 Swanston St, Melb, 9663 7660

The Retreat Hotel 280 Sydney Rd, Brunswick, 9380 4090

Corner Hotel 57 Swan St, Richmond, 9427 9198

The Reverence Hotel 28 Napier St, Footscray, 03 9687 2111

Cornish Arms 163 Sydney Rd, Brunswick

Revolt Elizabeth St, Kensington, 03 9376 2115

CQ 113 Queen St, Melb, 8601 2738

Revolver Upstairs 229 Chapel St, Prahran, 9521 5985

Croft Institute 21 Croft Alley, Melb, 9671 4399

Rochester Castle Hotel 202 Johnston St, Fitzroy, 9415 7555

Cruzao Arepa Bar 365 Brunswick St, Fitzroy, 9417 7871

Rooftop Cider Bar, Cnr Swanston & Flinders St, Melbourne, 9650 3884

Cushion 99 Fitzroy St, St.Kilda, 9534 7575

Room 680 Level 1, 680 Glenferrie Rd, Hawthorn, 9818 0680

Damask 1/347 Burnswick St, Fitzroy, 9417 4578

Roxanne Parlour Lvl 3, 2 Coverlid Pl, Melb

The Drunken Poet 65 Peel Street, West Melbourne, 9348 9797

Royal Derby 446 Brunswick St, Fitzroy, 9417 2321

Der Raum 438 Church St, Richmond, 9428 0055

Roal Melbourne Hotel 629 Bourke St, 9629 2400

Ding Dong Lounge Lvl 1, 18 Market Ln, Melb, 9662 1020

Ruby’s Lounge 1648 Burwood Hwy, Belgrave, 9754 7445

Dizzy’s Jazz Club 381 Burnley St, Richmond, 9428 1233

Saint Hotel 54 Fitzroy St, St Kilda, 9593 8333

Double Happiness 21 Liverpool St, Melb, 9650 4488

Sandbelt Live Cnr South & Bignell Rd, Moorabbin, 9555 6899

E:55 55 Elizabeth St, Melb, 9620 3899

Scarlett Lounge 174 Burnley St, Richmond, 9428 0230

East Brunswick Club 280 Lygon St, East Brunswick, 9388 2777

Seven Nightclub 52 Albert Rd, South Melb, 9690 7877

Edinburgh Castle 681 Sydney Rd, Brunswick

Spensers Live 419 Spencer St, West Melb, 9329 8821

Electric Ladyland Lvl 1, 265 Chapel St, Prahran, 9521 5757

Spot 133 Sydney Rd, Brunswick, 9388 0222

Elwood Lounge 49-51 Glenhuntly Rd, Elwood, 9525 6788

Standard Hotel 293 Fitzroy St, Fitzroy, 9419 4793

Empress 714 Nicholson St, Nth Fitzroy, 9489 8605

Star Bar 160 Clarendon St, South Melb, 9810 0054

Espy 11 The Esplanade, St Kilda, 9534 0211

Station 59 59 Church St, Richmond, 9427 8797

Eurotrash 18 Corrs Ln, Melb, 9654 4411

Stolberg Beer Café 197 Plenty Rd, Preston, 9495 1444

Eve 334 City Rd, Southbank, 9696 7388

Strange Wolf 71 Collins Street (enter via Strachan Lane), Melb, 9662 4914

Evelyn 351 Brunswick St, Fitzroy, 9419 5500

Sub Lounge & Restaurant 168 Elizabeth St Melb, 0411 800 198

Ferntree Gully Hotel 1130 Burwood Hwy, Ferntree Gully, 9758 6544

Sugar Bar (Hotel Urban) 35 Fitztroy St, St Kilda, 8530 8888

Festival Hall 300 Dudley St, West Melbourne, 9329 9699

Temperance Hotel 426 Chapel St, South Yarra, 9827 7401

First Floor 393 Brunswick St, Fitzroy, 9419 6380

Thornbury Theatre 859 High St, Thornbury, 9484 9813

Forum Theatre 154 Flinders St, Melb, 9299 9800

Tiki Lounge 327 Swan St, Richmond, 9428 4336

The Fox Hotel 351 Wellington Street, Collingwood, 9416 4957

Toff In Town Lvl 2, 252 Swanston St, Melb, 9639 8770

Fusion Lvl 3, Crown Complex, Southbank, 9292 5750

Tony Starr’s Kitten Club 267 Lt Collins St, Melb, 9650 2448

The Gallery Room 1/510 Flinders St, Melbourne, 9629 1350

The Tote Hotel 67 Johnson St, Collingwood, 9419 5320

Gem Bar & Dining 289 Wellingston St, Collingwood, 9419 5170

Town Hall Hotel 33 Errol St, North Melbourne, 9328 1983

George Basement, 127 Fitzroy St, 9534 8822

Trak Lounge 445 Toorak Rd, Toorak, 9826 9000

Gertrude’s Brown Couch 30 Gertrude St, Fitzroy, 9417 6420

Tramp 20 King St, Melb

Grace Darling Hotel 114 Smith St, Collingwood, 9416 0055

Transport Hotel Federation Square, Melb, 9654 8808

Grandview Hotel Cnr Heidelberg Rd & Station St, Fairfield, 9489 8061

Trunk 275 Exhibition St, Melbourne, 9663 7994

Great Britain Hotel 447 Church St, Richmond, 9429 5066

Tyranny Of Distance 147 Union St, Windsor, 9525 1005

Grind N Groove 274 Maroondah Hwy, Healesville

Two of Hearts 149 Commercial Road, Prahran

Grumpy’s Green 125 Smith St, Collingwood, 9416 1944

Union Hotel Brunswick 109 Union St, Brunswick, 9388 2235

Gypsy Bar 334 Brunswick St, Fitzroy, 9419 0548

Veludo 175 Acland St, St Kilda, 9534 4456

HiFi 125 Swanston St, Melb, 1300 843 4434

Victoria Hotel 380 Victoria St, Brunswick, 9388 0830

Highlander 11a Highlander Lane, Melb, 9620 2227

Wah Wah Lounge Lvl 1, 185 Lonsdale St, Melb

Hoo Haa 105 Chapel St, Windsor, 9529 6900

Wesley Anne 250 High St, Northcote, 9482 1333

Horse Bazaar 397 Little Lonsdale St, Melb, 9670 2329

Westernport Hotel 161 Marine Pde, San Remo, 5678 5205

Iddy Biddy 47 Blessington St, St Kilda, 9534 4484

Willow Bar 222 High Street, Northcote, 9481 1222

Jett Black 177 Greville St, Prahran

Windsor Castle 89 Albert St, Windsor, 9525 0239

John Curtin Hotel 29 Lygon St, Melb, 9663 6350

Workers Club 51 Brunswick St, Fitzroy, 9415 8889

Khokolat Bar 43 Hardware Lane, Melbourne, 039642 1142

Workshop Lvl 1, 413 Elizabeth St, Melb, 9326 4365

La Di Da 577 Lt Bourke St, Melb, 9670 7680

Yah Yah’s 99 Smith St, Fitzroy, 9419 4920

Labour In Vain 197A Brunswick St, Fitzroy, 9417 5955

The Vine 59 Wellington St, Collingwood, 9417 2434

Lomond Hotel 225 Nicholson St, East Brunswick Longroom 162 Collins St, Melbourne, 9663 9226 Loop 23 Meyers Pl, Melb, 9654 0500 Lounge 243 Swanston St, Melb, 9663 2916 The Lounge Pit 386-388 Brunswick St, Fitzroy 9415 6142 Love Machine Cnr Lt Chapel & Malvern Rd, Prahran, 9533 8837




A guide to eating out in Melbourne ZAMBRERO Fresh Mexican food with a side of good karma? That’s what we call healthy eating, as Zambrero opens its second Melbourne venue at 374 Chapel Street, South Yarra. Ever been stuck on Chapel Street after midnight searching for something to eat that isn’t deep-fried? So has Mitchell Jones, the owner of new late night eatery Zambrero. Staying open from lunch until 3am Thursday-Saturday and late every other night, Zambrero will be a go-to for late night diners looking for tasty, clean food. The ingredients are fresh like you’d expect them to be; the garlic is purple, the onions are red, the avocado is smashed in front of you; the meats are slow cooked and most of the menu is gluten free. And the best part? When you eat, a less fortunate friend will eat, too. For every burrito or bowl you purchase Zambrero will give a plate of food to someone less fortunate. Through their Plate4Plate program, Zambrero have donated over 1,000,000 meals to people who really need them. Zambero is set to open on Thursday January 24. Hours are Sunday-Wednesday (11am-Late), Thursday-Saturday (11am-Very Late).

TREE OF US CAFE Tree of Us Café is a burger joint that has just opened up in Richmond. Church Street, near Victoria Street, and has for many years been the industrial side of the suburb, but with a few cafés and bars starting to pop up in the last few months, not only is it attracting the Swan and Bridge St punters, but the Abbotsford hipsters too. Tree of Us has a simple ethos: “Sustainably sourced burgers & coffee – everyday”. Its tribe of three best friend owners, Anna, Christian and Shaun, take that pretty seriously. But head chef Shaun (Neil Perry’s Rockpool, Mornington Peninsula’s Montalto) is quick to make another point: they have been blogged as having some of the best burgers in all of Melbourne. This place won’t stay a secret for long. And if you needed another reason to check out one of Melbourne’s freshest new burger joints, this ‘treesome’ are proud to announce that 20 per cent of the café’s profit goes to a charity where they volunteered in Bolivia. Yummy with a cause! Tree Of Us Café is located at 71 Church Street, North Richmond. See ad for offer in this week’s ‘Beat Eats’.

Hoo Haa


Most of the Windsor stretch of Chapel Street suffers from the same conceit as its northern neighbour Prahran. Every second shopfront is a goddamn café, their seating plans based around hours of al fresco coffee drinking or staring out onto the street through the glass façade, like some nightmarish 21st Century version of Baudelaire where all the main characters are actor-slash-models or fitness instructors. Hidden upstairs from the rhythm of the street below, Hoo Haa’s a welcome change from its Windsor neighbours, one of those rare restaurants which caters to a multitude of different dining and drinking moods without alienating everyone in the process. Inside is quiet and elegant, with a long bar and silver service for those that believe in obeying the laws of dinner according to Emily Post, and alcoves with intimate booths for the OKCupid journeymen. The deck out back is more of a casual affair, catering to the after-work set with two-for-one specials into the early evening. The cocktails certainly show the hand of a master mixer, and the more budget-conscious could do worse than come here for the sole purpose of knocking back a few before happy hour’s over than seven. Those who fancy a meal would do well to explore the more esoteric options on the wine list – the En Passant tempranillo is an inspired choice to match the restaurant’s Mediterranean specialties. The menu itself, mostly a tribute to Italian excess, is another reflection of Hoo Haa’s catchall approach. For the refined, enough choice in cured meats and roast vegetables to induce an unthinking credit card overdraft. For the indifferent, the humble

chicken parmigiana beckons like a faithful lover. Anyone wanting to do the chef’s labours true justice, however, should begin by ordering extensively off the appetisers. Seasoned oysters? Crumbed olives stuffed with chevre? Mushroom and gorgonzola arancini? Not a bad selection for under 10 dollars, if you don’t mind temporarily impairing your libido – people say that they’re aphrodisiacs, but I couldn’t help but notice my more racy daydreams for the next few days were exclusively about cheese and oysters. The more intemperate diners run the risk of getting bogged down in the starters and finishing their night early with an acute case of the cheese sweets, but it’s well worth overcoming the temptation and having a crack at the mains, replete with a decent selection of gluten free and vegetarian options, and all around the 25 dollar mark. The lamb shoulder, one of the more hearty dishes, is slow cooked to perfection, although you’ll need to be at least mildly receptive to polenta to make the investment worthwhile. On the other end of the spectrum, the ricotta and pumpkin gnocchi is a worthy lighter option for anyone looking to work

their way through something delicate and subtle. The service is conscientious and friendly without being intrusive, a relief to anyone who prefers genuine warmth to the boring pageantry of hospitality on display down the street. Owing to the bar’s approach, there’s always an eclectic mix around the place with very different plans for the evening ahead, but even at its busiest the other patrons never seem invasive and the noise never rises above a gentle background din. Anyone looking for a bit of civility in a part of town not always known for its good manners will find a decent place to drop in at any time of the night. Hoo Haa is at 1/105 Chapel Street, Windsor. It’s open Tuesday – Sunday, 4pm-late.

A guide to eating out in Melbourne



Want us to feature your favourite eatery? Contact

71 Church St, North Richmond (Tram 78,79)

Serving up the best burgers in Richmond, maybe Melbourne and possibly the world! Join us in our backyard at Melbourne’s latest brand new eatery, just opened for your burger loving, coffee drinking pleasure! Open every day for breakfast, brunch, lunch and takeaway, PLUS Dinners Thursday, Friday Saturday’ For Bookings call 9077 3839


Tree Of Us Café was voted second best burgers in Melbourne by World Loves Melbourne 2012.


Beat Magazine Page 47



Split: Aerosmith’s Steven Tyler and his fiancee of one year, Erin Brady. Split: Britney Spears and manager Jason Trawick. He warned her family first, so they could handle her when he broke it off after The X Factor ended. Injured: Ozzy Osbourne burnt his hand and singed his hair when a candle burning through the night exploded in its glass vase and set fire to his living room in Beverly Hills. Wife Sharon said she wouldn’t light candles any more. Sued: Justin Bieber by a former bodyguard for punching him last October during a row, and also for not paying him overtime. Booked: a man who sold non-existent Soundwave and Swedish House Mafia’s tickets to nine people online has been booked, the Sydney Morning Herald reported. Police are searching for the nine, who paid $200 and $800. to compile evidence against the man. Charged: Melbourne rapper Mr Morgz (Corinthian Morgan), 27, for failing to appear at Melbourne Magistrates Court in September to face 26 charges including armed robbery, theft of motor vehicle, assault and firearm offences. According to police, these are related to a January 7 incident at Preston Market car park where a man threatened a 70-year-old woman, tried to steal her car and pushed her to ground and fled with her handbag. In Court: two British men, who hacked into Sony Music’s US server and downloaded 8,000 files to investigate if posthumous Michael Jackson tracks were actually sung by an impersonator were sentenced to six-month jail sentences (suspended for one year) and 100 hours of community service. In Court: a Russian court refused an attempt by an imprisoned Pussy Riot member to defer serving her sentence for hooliganism until her preschool son becomes a teenager. Died: Sydney pub owner, James Miller, 38, reportedly accidental overdose. Died: Terry Napilil Pascoe, bassist with Northern Territory’s Sunrize Band, 53.


with Christie Eliezer * Stuff for this column to be emailed to <> by Friday 5pm EVERYBODY MUST GET ‘STONED’

Michael Gudinski to Tame Impala to Parkway Drive… they were winners at last Wednesday’s Rolling Stone Awards. These were held in Sydney, hosted by Tex Perkins. Vampire Weekend, Band Of Horses, Alabama Shakes and Crystal Castles, in Sydney for Big Day Out, joined Aussie music Aand B-listers. Gudinski took out the Rolling Stone Award for his contribution to the music industry. Other winners were Tame Impala (Lonerism for album of the year), Parkway Drive (live act), The Presets (single, for Ghosts), Jack White (international), The Medics (new talent), Gotye (music video for Easy Way Out directed by Darcy Prendergast), Chet Faker (independent release for the Thinking In Textures EP) and Ben Mendelsohn (actor of the year).

EMI CHIEF MARK POSTON LEAVES In the wake of EMI’s buy-out by Universal, EMI Music Australasia’s Mark Poston stepped down as Chairman & Senior Vice President Marketing. He joined EMI in 2000 as Label Manager of Virgin and was upped to Head of Capitol. In 2005, he relocated to EMI headquarters in London as Director, Global Marketing and Director of EMI UK frontline label Angel before returning three years later. EMI executives will report to Universal Music Australasia president George Ash until a new Head of EMI is confirmed. Poston is taking “some much deserved time out.” Ash said, “Mark inspired a new creative direction for EMI, encouraging innovation and breathing change into the business,” pointing out how he turned EMI’s Oz headquarters in Surry Hills into an art and design showcase. Poston also expanded EMI’s A&R, bringing in labels such as Future, Spunk and Stop Start, focusing more on music than financials. Before EMI he pushed for ARIA to set up its own Club Charts.


Dan Sultan has parted ways with long time manager Buzz Thompson as well as his guitarist and songwriting and producer partner Scott Wilson. The news was officially announced last week, but some in the industry were aware the splits took place late last year. It is understood Sultan has already signed with a high profile manager. Wilson has formed a new band Stompy And The Heat which released a new album through new label Masterstroke.

ADELE’S 21 HITS 1 MILLION IN AUST. On the second anniversary of its release (January 21 by XL/ Remote Control), Adele’s 21 album has sold one million copies in Australia. It is the first to do so since Delta Goodrem’s Innocent Eyes in 2003. 21 is the 13th album to sell a million in Australia. 21 has sold 26 million worldwide, including 4.5 million in the UK and ten million in the US, making her the only British or European female artist to get a Diamond certification. At the same time, Adele’s Bond theme to Skyfall sold three million worldwide and won Best Original Song at the Golden Globes. The Adele Live At Royal Albert Hall DVD moved three million. In the USA it is the first music DVD since 2005 to sell one million copies in a single year and in Australia it has shifted 100,000.


The 2013 Hilltop Hoods Initiative offers $10,000 to an upcoming hip hop/soul act who have not released an album, to fast-track their career. The funding is to manufacture and release an album, and also gets them legal advice from David Vodicka and Media Arts Lawyers and a Shure Microphone prize pack. Applications close February 26, see apra-amcos.

NEW SIGNINGS #1: CREATE/CONTROL GETS CALIFORNIA WIVES Create/Control’s latest addition is Chicago four piece California Wives. Their debut album Art History, due here Friday February 22, was produced by Claudius Mittendorfer (Interpol, Neon Indian, Wild Nothing).

THINGS WE HEAR * Busy signing autographs and being mobbed at the tennis championships in Melbourne has been LMFAO’s Redfoo, who’s in Australia as his galpal is world #1 champ Victoria Azarenka. * Mike Patton believes the Faith No More reunion has ‘petered out’ and it could be because the band are too selfaware. * NSW’s Peats Ridge Festival went belly-up after nine years of putting on picturesque, inventive and environmental experiences in Glenworth Valley. Its creative director Matt Grant reported that income from ticket sales and other sources were well below the costing to set it up. Hence their bean counters advised that promoter The Festival Company wind up. * The Script had to be evacuated from their hotel in Germany after fire broke out, guitarist Mark Sheehan was spotted gleefully gripping a glass of red wine watching the firefighters tackle the flames. * After five years in New York City, The Morning After Girls returned with the album Alone and previewed it with a oneoff show at the Ding Dong last week. * Over 900 people signed an online petition protesting that the Melbourne Jazz Cooperative failed to get $40,000 in funding from Arts Victoria. * David Bowie is back in the charts but he’s definitely not touring, his producer Tony Visconti has emphasised. * With a week to go, all tickets to Brisbane songstress Emma Louise’s tri-state Album Preview Tour sold out. * The opening night of the 2013 Zoo Twilights series on Friday January 25 featuring Missy Higgins has already sold out, organisers said, with a number of other programs also looking likely to follow suit. * Due to filming commitments in America with his new TV show Lilyhammer, Steve Van Zandt won’t make the Springsteen dates in Australia, and will be replaced for the tour by Rage Against The Machine’s Tom Morello. * New Zealand rapper Frantik has moved to Melbourne to continue his career. The 29-year-old told the New Zealand Herald the fresh start also had to do with an unfortunate incident two Decembers ago, when a man died after gatecrashing Frantik’s birthday party at Club 220 in South Auckland. The man died as Frantik restrained him. He was charged with assault and a prison sentence hung over his head. But police dropped all charges. * Over 40 former SYN presenters, who’ve gone on to mainstream media outlets, return over this weekend to relive past glories on-air.

ENGLAND’S HMV, BLOCKBUSTER GO BELLY-UP In a dismal week for the UK music industry, both the HMV music retail chain and the DVD rental firm Blockbuster went into administration. Its two bankers, Royal Bank of Scotland and Lloyds, finally pulled the plug as HMV’s sales were savaged by the internet (73.4% of music and films are downloaded). Deloittes has taken control of the 92-year-old chain hoping to find a buyer, to save 4,350 jobs in 230 stores. Consumers are angry that thousands of HMV Christmas gift vouchers will not be honoured. HMV also operated stores in Australia but left the market a few years ago. At its peak, in 1996, HMV had 300 stores globally. Deloitte was also called in to find a buyer for Blockbuster UK, while 528 stores and their 4,190 staff continue to trade as normal.


Liberation Music signed Vance Joy, aka Melbourne singer and songwriter James Keogh, for Australia and New Zealand. Inspired by Pogues and Paul Kelly albums in his parents’ record collection, coming up soon is the single From Afar and an EP God Loves You When You’re Dancing and appearances at Laneway and with Julia Stone on her Heavenly Sounds Tour. Vance Joy is managed by We Are Unified and booked by Village Sounds.


Sydney electro duo Jagwar Ma – picked by England’s NME as one of 20 most exciting acts to watch in 2013 and with their Come Save Me getting global airplay – landed two deals. They signed with Future Classic for Australia/New Zealand and brand new label Marathon Music for Europe. Marathon was set up by Phlippe Ascoli who discovered Daft Punk, Phoenix and Air.


UNFD secured punk singer songwriter D At Sea for recording and management. The act (real name Doyle Perez) emerged last year when an acoustic cover of Parkway Drive’s Carrion became a viral hit, racking up near 700,000 views. He’s since done similar-styled covers of The Amity Affliction, House Vs Hurricane and Bring Me The Horizon songs. His Facebook has 26,000+ likes and his YouTube channel 3.5 million views. His debut EP Unconscious is out March 8, with single December (out now).

OPPORTUNITY KNOCKS #2: PUSH SONGS The free songwriting mentoring program Push Songs returns mid-February. Successful applicants will take part in one-onone, 90 minute workshops to develop their song writing skills. One session is with Charles Jenkins. There are sessions with two of the following: Mark Seymour, Adalita, Mick Thomas and Angie Hart. See Applications close Friday February 1. More info, (03) 9380 1277.

WHY BANDS REUNITE: THE RICH LIST Once more with feeling? Brit bands that have reunited of late have earned a fortune. A list on the earnings of these acts revealed that Take That earned a jaw-dropping £130 million since reforming in 2005. The Spice Girls made £25 million and Blur £15 million. The rest of the Top 10 were The Stone Roses (£12m), Steps (£10m), Madness (£5m), Simple Minds (£3m), Sex Pistols (£2.5m), Pulp (£1.5m) and The Happy Mondays (£750,000).

FAN OF THE WEEK #1 A 42-year-old man in Sweden has been awarded state disability benefits for his addiction to heavy metal. Three psychologists agreed Roger Tullgren could not hold down a job because he attended 300 concerts last year. The benefits allow Tullgren to now work as a part-time dishwasher at a restaurant in Hassleholm so he can continue to see shows.


A Brisbane Coldplay fan Robert Kiunisala, 34, escaped a jail sentence after he stripped during their show at Suncorp Stadium on Wednesday November 21, and bit a security guard who scuffled with him. Kiunisala, told the Brisbane Magistrates Court he was overcome by a “primal urge”. He escaped a conviction but was put on a two-year probation order and told to pay $800 compensation to the guard whom he bit so hard that he drew blood.


Clare Bowditch, Mark Lang from Skipping Girl Vinegar, The Darjeelings and Celadore are among those performing a benefit this Friday January 25 at The Workers Club in Fitzroy for The Evening Cast. The Melbourne band’s Joel and Rachel Cooper (along with daughter Poppy) lost their home in a fire. They escaped but are left with just the clothes they wore. The house was also home to their recording studio, which stocked their gear, CD stock of new EP Lake, laptop and merchandise. The band’s national tour behind Lake has had to be postponed. The benefit is also the original date of the EP’s launch.

GOOD WORK #2: TOTE HOSTS TASSIE BUSHFIRE BENEFIT With bushfires in Tasmania destroying 250 properties and displacing thousands, Tasmanian musicians living in Melbourne are holding a benefit. It is held at The Tote on the Oz Day holiday on Monday January 28, from 1pm ‘til 11pm. 19 Tassie acts will play, with a reunited Fish John West Reject joining the likes of Monique Brumby, Mike Noga, Witch Hats, Tom Lyngcoln (Nation Blue), Blackchords, Andy Hazel (Paradise Motel), Go Go Sapien and Miles Brown (Night Terrors).


The Cali-inspired Dancing Heals got some good news when Arts Victoria announced it would fund production of their second album. They’ve been previewing the new material at their Wed night residency at the Espy this month. Their selffunded debut last year got airplay on 81 US college stations.

SONGLINES PRESENTS ‘SHARE THE SPIRIT’ Songlines Aboriginal Music presents the Share The Spirit Festival as part of Survival Day celebrations on Saturday January 26. It is at Treasury Gardens, 1pm ‘til 7pm. Performing are Bart Willoughby and band, Stiff Gins, Kutcha Edwards, Lee Morgan, Songlines’ own SKIN Choir and dance group Black Mistiq. This year, the event marks the 75th Anniversary of the Day of Mourning, organised by the Aboriginal Progressive Association against the injustices surrounding the treatment of Aboriginal people on January 26, 1938.


Alberts signed Mama Kin (aka Danielle Caruana) to represent her songs worldwide. Her album The Magician’s Daughter is out on Friday February 22 on MGM.

NEW SIGNINGS #6:PLUM AT FOOTSTOMP Brisbane label Footstomp/Warner signed indigenous singer songwriter Thelma Plum, releasing her debut EP Rose in March.

Enrol. Plan. Book. Tour. Manage. Promote. Travel. Run it your way. START FEB 2013.

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While somewhat distracted by the possibility of having to evacuate, Lisa Gerrard from her home in Gippsland, is watching the threatening orange glow of near-by bushfires while valiantly remaining focused on the task promoting the first Dead Can Dance album in 16 years. An impending home-land tour in which the release – Anastasis – will be performed in full is also going ahead now the singer’s recent throat-bothering flu has been beaten ‘just in time’. “I was seriously close to having to cancel the shows... all that time spent in aeroplanes is what made me sick.” Gerrard has just returned home from Argentina, one of the many non-Anglo countries where her band – a 30 year-long partnership between herself and one-time husband, Brendan Perry – are lauded as musical icons. Yet despite forming in the Melbourne suburb of Prahran, Australia has long remained their final frontier in terms of wide spread acceptance. “Somebody once asked me, ‘why don’t we make Australian music?’” A mental ‘face-palm’ hangs in the air as Gerrard recalls. “It was as if we had to tick certain boxes to be considered Australian.” The daughter of Irish immigrants remembers this throw-away question posed to her long ago, which has bugged her since. But to argue the case for Dead Can Dance’s place in the Australian music scheme, she need only have retorted with AC/DC’s Scottish-ness, or Crowded House’s Kiwi-ness for effect. “Basically what they were asking was, why don’t we sound like a white suburban band, which is after all what we were!” In fact the Prahran which Lisa left behind in 1982 for the excitement and uncertainty of London, provided the ideal foundation for what would become Dead Can Dance. Gerrard recalls unfamiliar and exotic languages and most importantly, music in abundance in her tiny suburban street. “So many of our neighbours were a mix of Greek and Turkish immigrants, many of who couldn’t speak English very well, if at all, and because their sort of connection to the countries they had left behind was this very traditional music, it would be blasting out of their windows on a hot night. ”The title of the new album, Anastasis, roughly means ‘suspended for an indefinite period of time’. Apart from the obvious self-reference for a band on hiatus since 1998, it could also relate to the sense of timelessness in Dead Can Dance’s music. They employ instruments so ancient their true origins have been forever blurred by time as they changed hands along the Silk Road between vagabond and troubadour alike. Gerrard meanwhile has long sung in a curious non-specific language; which has an oddly inclusive benefit. “When I was growing up, you didn’t get Irish people speaking Italian or Greek or anything like that, so my experience of hearing these other languages on a daily basis meant I could just listen to the tones and patterns and there was a kind of music to that in itself.” She adds, “The Irish have a strong tradition of story-telling and so to me singing without using words to tell a story was such an exotic idea.” Once the foundation for what Dead Can Dance would become was set in place, Lisa and then live-in boyfriend Brendan Perry re-established themselves in London during 1982 at the height of post-punk only to find themselves suddenly starved of the cultural diversity they had become so used to. “We were in this very poor, white part of London for a time in this council flat and it was quite depressing when we first arrived.” Gerrard recalls. “But we kind of lived as though we were in this private school by spending all our time in the local libraries and music archives, just absorbing all this literature and music which was beyond what we could have found in Australia. Our own identity really began to develop from that time, so ultimately it wasn’t wasted time.” After signing a deal with 4AD, Dead Can Dance quickly established their niche throughout the ‘80s and ‘90s as a ‘world fusion’ band. Releases like Into The Labyrinth and The Serpent’s Egg became celebrated classics, and even drew the attention of Hollywood. During DCD’s hiatus, Gerrard became an award-winning film-score composer in her own right, and along the way found time to establish her own label, Gerrard Records, with generosity as the driving force. “I wanted to be able to give more to artists signed to my label than I was given when we were on 4AD,” she explains. “That was the idea, but by the time everyone involved grabs a piece of the action, there’s really nothing left. I wanted my artists to feel liberated to work on their music and not have to worry about money, you know. I mean when I think about the amount of dough that 4AD made out of us when we had so little... it’s kind of criminal!” As the band’s first full local tour in 20 years approaches, talk turns to what the shows will have in store. “It’s an important convention to the work that in concert it takes on a life of its own,” Gerrard confirms. “We used a lot of organic instruments on the recording, but we couldn’t really tour with a full orchestra, but Brendan plays a variety of instruments, and I play my Yangqin and dulcimers. The main detail though is always the cavernous, big sound in what we do. It’s very much about creating a landscape of sound when we play live. It’s how our music is best enjoyed I think.”

DEAD CAN DANCE play their first local show in 20 years at the Palais Theatre in St Kilda on Wednesday February 6. Anastasis is out now through [PIAS]/Liberator Music. DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Beat Magazine Page 49


It’s been two years of changes for Gainesville agit-punks Against Me! Late in 2010, the band parted ways with Sire Records, ending a relationship that lasted four years and produced two full-lengths albums. Then, in May of 2012, lead singer Tom Gabel turned heads by going public with lifelong struggles of gender dysphoria, beginning the transition into living publicly as a woman, Laura Jane Grace. Grace’s announcement ended a period of relative stagnancy for Against Me! Yet questions remained. Most notably, would these changes affect the band’s sonic aesthetic? Amidst the transition and subsequent learning process for herself and the band, Grace acknowledges the concern that the publicity of her announcement and transition could overshadow any future music. “It was a fine line,” she says on the phone from her Surfer’s Paradise hotel room. “I didn’t want what I did to be perceived as a publicity stunt. I don’t want it to overshadow the music and I didn’t want that announcement to be a way of promoting our music.” Grace has maintained the courage of her conviction throughout the biggest change in the band’s career without anger, but instead a sense of hope. “At the same time it’s important to me to be visibly trans and to have a trans voice because there aren’t many trans voices out there.” This voice will be heard on the band’s upcoming record, Transgender Dysphoria Blues, a concept album about a transgender prostitute. Of the album’s progress, Grace notes, “We’ve been working on it for a year now, but we’ve literally done it two or three times now. We’ve started it, scrapped it, started it, scrapped it. We’ll get back to work when we finish this tour and see how far we get before we have to get off on the next tour.” The transition of Laura Jane Grace found many fans revisiting past works, including 2010’s White Crosses for hints at her frustration. But fans shouldn’t dig too deep for hidden meaning. “Most of the time my songs

aren’t thinly veiled in metaphor,” she says. “If I’m writing about my transition, it’s been quite blunt. And perhaps people have just missed that.” Transgender Dysphoria Blues may very well be their most vital album to date. After five full-length albums, Grace has discovered her true song-writing voice. “I’m 32-years-old and I’ve been living for 32 years in a dominantly single-sexual world, and that’s not my voice.” While Grace’s transition into a female has been a smooth one, one aspect of her personality that hasn’t been lost is her trademark biting honesty and quickwitted sarcastic edge. Grace admits that she’s become a visible member of the transgender community, but only to an extent. “It’s not like you get a badge, learn the secret handshake and then meet on Wednesdays,” she laughs. “I mean, was I working very hard to be a member of the single-sexual community beforehand?” she asks. Instead, Grace’s role in the transgender community is driven less by the need to maintain a visibility, but more for her own emotional support. “I’m just a person,” she says with a tender vulnerability. “It’s important for me to connect with other trans boys and girls around the world because where I live in St. Augustine I don’t have any friends that are trans. And travelling can be kind of lonely. I just want to make friends, you know?” One of the most vital and identifiable elements of Laura Jane Grace’s writing and Against Me! aesthetic has been anger towards social injustices and an anger regarding Grace’s oft-marginalised role in society. It is this anger that propelled early releases and DIY gigs


set up in laundromats. That anger was both intensified and repressed when Against Me! turned their back on their anarcho-punk roots and signed with a major record label. Now that that chapter has been closed for Against Me!, Grace and the rest of the band can truly look forward. Their next album will likely be released on the band’s own label, Total Treble Music. Grace is noticeably enthused about the prospect. “Creative control is important to me and you really can’t have more control than we do at the moment,” she says. There’s a lightness in Laura Jane Grace’s voice, and a noticeable bounce in her step onstage when the band plays tracks from their upcoming album. Grace is now living the life she was always meant to, free of having to hide her true identity. And the band, which Grace admits has “gone through the gamut,” in terms of record labels, is now operating free of constrictions. Is this then the dawn of a new Against Me!? Have they traded anger and resentment for a newfound sense of optimism?

Grace doesn’t even have to pause. One thing that hasn’t changed is her sense of immediacy and the need to cultivate her emotions in a place she knows best – onstage. “There’s a juxtaposition. The writing process for me is a chance to vent and deal with whatever issues the song is about. And then playing that song live, regardless if the song is about your darkest moment, being onstage feels great. Having that mix, being able to write a song that might have been very painful to write is one thing, but then getting onstage and being able to scream these songs at the top of my lungs, that’s cathartic. I need that.”

soon after Gillan’s permanent return in 1992. But an indispensable presence on Purple’s journey has been the band’s experience of the changing world around them. Gillan won’t speak on behalf of his four bandmates (“We are politically opposite in many ways, and we have different attitudes to things,” he says), but to him, the modern world is a frustrating place. “When I started touring in Germany, everyone was just relieved that the war was over, and there were lots of friendships made by young people who just wanted a bit of peace and quiet and some good music. It’s a lot different now.” Gillan still sees a lot of Europe, and the ongoing turbulence there makes the European Union a primary target for his rage. “[The EU] is a fraud, a farce, a coercive, undemocratic, perverse, corrupt organisation. The sooner it dies, the better,” he says. “There are now 27 countries involved, and most of them depend upon the EU for funding and for improvement in their standard of living. There’s nothing wrong with that … [but] it’s the corruption at the highest level and the undemocratic values of

it that I would love to see absolutely fall to pieces.” Weighed against the political problems of the world, being in a band is a pretty simple business. And just as Gillan denies the influence of reputation on Deep Purple’s work, so too he humbly discards any talk of planning a legacy – even with that riff in their songbook. “Let’s talk about Smoke On The Water very briefly,” he says. “That song was only thrown onto the album [1972’s Machine Head] at the last minute because we were short of material, and so we decided to use the sound check, a little jam we’d been doing on stage with no real song to it. The lyrics were merely the biographical details of making the Machine Head record. That song – well, the riff at least and the chorus – it’s stuck in people’s minds. That was just pure luck. So the idea of planning something for perpetuity is beyond our reach, I’m afraid.”

AGAINST ME! is part of the massive Big Day Out lineup, alongside Red Hot Chili Peppers, Band Of Horses, Yeah Yeah Yeahs, Every Time I Die and heaps more at Flemington Racecourse this Saturday January 26.


Even amongst the few surviving bands of their generation, Deep Purple are different. They suffer beneath no shadow of a former glory; they’re no caricature of the band that once was. It’s an impressive feat, given Purple are singularly responsible for the most overplayed guitar riff of all time. According to frontman Ian Gillan, who joined in 1969, the band is “working better now than it ever has” – no real surprise for an outfit that has continued to tour tirelessly around the globe, taking in 48 countries in 2011 alone. But a more significant factor behind Purple’s endurance might be their near-deliberate avoidance of the spotlight of mainstream rock, the kind that shines upon ageing stars in the wax museum of classic guitar hits. To everyone else’s bewilderment, Deep Purple have repeatedly been overlooked for induction into the Rock’n’Roll Hall Of Fame – an honour bestowed instead upon ABBA, Neil Diamond, Red Hot Chili Peppers and many more – but Gillan could hardly care less. “We’ve done very well without that sort of thing,” he says down the phone from Berlin, after another long line of shows. “What we do is underground, it always has been. And it’s not unusual, it’s not just us, it’s every other band that ever existed that ever made waves – it never started with a successful television appearance or a front page on a newspaper. It started in the clubs in the back streets of a local town somewhere, whether that was Liverpool or Manchester or Seattle or Sydney.” For that reason, Gillan says he’s never paused to consider Deep Purple’s lofty standing alongside peers like The Rolling Stones or Black Sabbath. “I never do, I never have. I don’t think the attitude of the band has changed in the slightest since we were a street band in the ’60s. Everyone that started music in that era had pretty much the same ethos … I

don’t think we’ve been affected or would be affected by our reputation. It’s not the sort of question we ask ourselves, put it that way.” To the contrary, Deep Purple is a group that exists in the moment. Clichéd? Consider Smoke On The Water. This isn’t a band that follows clichés – it writes them. So when Gillan talks of working spontaneously, he’s being as genuine as possible. Following their Australian tour this year, Purple will release their 19th studio record; the eight years since Rapture Of The Deep is the longest gap they’ve ever had between albums. Nothing deliberate there – it just happened that way. “Music and an album represent how you are at any particular time, like a newspaper,” says Gillan. “Not since ’69 have we gone into the studio with a song written. Nothing is prepared in advance. We turn up, put the kettle on and start jamming … That’s why the albums are all quite different. I remember the shock and mayhem at the record label when we did Fireball [in 1971] – after Deep Purple In Rock they were expecting something along the same lines, and we came up with the funky side of the band.” Since the late ’60s, Deep Purple have witnessed a lifetime of ups and downs – not least the turmoil of Gillan’s departure from the band in 1972, and the withdrawal of legendary guitarist Ritchie Blackmore


Beat Magazine Page 50


DEEP PURPLE play alongside Journey at Rod Laver Arena on Friday March 1.


“It’s kind of like the same as a professional athlete who’s been to the championship a few times,” says Greg Graffin, Ph.D. “It never loses its excitement but you know what to expect so you can focus on the job at hand. It makes it easier to pay more attention to just enjoying it. The experience sometimes makes for a better performance because you can focus on the resonance with the fans.” Since 1979 Graffin has been the singer and primary songwriter of one of the greatest punk bands ever to exist, Bad Religion. Needless to say, he’s been around the block a few times over the past 33 years. “You don’t have to get so worried about whether an album is going to be a commercial success, or crossing over, or growing your audience. Our fans have been very loyal and enthusiastic and we’ve been able to put out albums pretty consistently.” Bad Religion will release their new album True North through long-time label Epitaph on Friday January 25. “It feels a bit more exciting than the last album. It’s not as if it’s routine now, it doesn’t feel routine at all. There’s something special about each new creation and each new opportunity to share that with an audience, some who have been there all along and some who it will be their first Bad Religion experience. I don’t get as nervous anymore though, I don’t worry about the feedback or the chart position and all that crap. There’s never any game plan – if there was I wouldn’t be able to write very well. Our writing is very natural and spontaneous. When we feel like being creative, we put together some songs. If there’s enough for an album then that’s great.” Graffin turned 48 this year, a year and a half younger than guitarist and co-writer Brett Gurewitz. “It does get harder as we get older,” says Graffin. “The goal is not to fool people, it’s to perform within the limits of your ability. I’ve never felt like the age has hampered me though, but if it doesn’t feel natural I’m not going to perform it. All of us in the band have kids who are now at the age that we were or a little bit older than we were when we started the band. I was surprised to see what came up when I started to write songs about it, it’s kind of like you were re-living and re-examining the challenges of life as you see your kids go through it. It kind of proved to me that you never really escape the challenges of life.” “We can all pretend that as we get older we’ve got it all figured out but if you’re still alive and taking life seriously then you’ve got challenges and they aren’t easy. That’s the thing we first started recognising when we were teenagers and we decided we were going to go against the grain — be anti-authoritarian. If any adult is honest with themselves, they will say that the challenges we faced when we were young haven’t gone away, they’re still there. If you’re going to pursue truth and happiness, there are always going to be challenges – True North is kind of a metaphor for this - experiencing life on its own terms. You have to embrace the changing tide if you really want to live life to the full. You may not know what it’s going to be like, you might be swept away by it, but you have to embrace it and not run away.”

“IF ANY ADULT IS HONEST WITH THEMSELVES, THEY WILL SAY THAT THE CHALLENGES WE FACED WHEN WE WERE YOUNG HAVEN’T GONE AWAY, THEY’RE STILL THERE. IF YOU’RE GOING TO PURSUE TRUTH AND HAPPINESS, THERE ARE ALWAYS GOING TO BE CHALLENGES” These challenges are not just personal, but global, and Graffin, life-long activist, believes we have a tendency to bury our heads in the sand all too often. “You see it in a lot of the developed world. The evidence can be so blatant and so obvious, the most simple conclusions can be drawn from it, and yet we don’t want to acknowledge it. Instead we lie to ourselves and spend so much time arguing about it. If we just acknowledged the facts, we could be a much more peaceful society. I see it in the war between evolution and religion, I see it on the political front between the gun owners and those who want gun control. The obvious fact is that assault rifles kill people and they should only be in the hands of the most qualified operators. There’s nothing which should be controversial when it’s so obvious, and yet people will argue until they’re blue in the face. If they would just accept that fact, then society would be a better place. But it’s almost like the argument has become their favourite pastime. It’s no longer about facts, it’s about who can put up the biggest fight. It’s happening all over the world, it’s a symptom of our changing times.”

rue North is out on Friday January 25 through Epitaph Records. DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Beat Magazine Page 51



Creativity can be viewed as a very personal thing, requiring unadulterated freedom to derive purely from one’s instinctual murmurs or listen to the divination of the muse. Stefanie Franciotti, the musician largely responsible for the ponderously textured sounds of Austin, Texas’ Sleep ∞Over, explains that creative control is central to her artistic intentions. “I feel that’s really important for anybody making art. I would say ultimately I need to be able to have the final say on stuff because it’s my project.” Sleep ∞ Over’s debut LP Forever conflated dreamy pop sequences with pangs of disarming noise. Franciotti has been working on the follow up record for the last year and she endeavours to further deviate from linear popsong formulas and subsequently challenge inert listening practises. Understandably, executing these bold ambitions has been a complex procedure. “I started working on the record and it was initially very arty and heady. It was challenging for me in that I was trying to create a record that didn’t rely on pop structures in a traditional sense. I wanted to take improvisational pieces recorded in a room, lots of live instruments and room vibe, and from all that material create more intelligent compositions. It took me for-fucking-ever! It was just really hard and really challenging.” Facing these challenges has not been discouraging and Stefanie’s taste preferences are an impetus to stretch herself artistically. “I think that it’s pleasing to construct pop songs. It’s like a fun puzzle that you can, as a musician, just sit down and

be like, ‘Oh it’s the A-part, it’s the B-part’ and move these pieces around and ta-da! – look at that, it’s a song. But that can be really boring. When I listen to music I dissect it the whole time. I want to figure it out, I want it to make sense in my brain. If it makes sense too quickly, it’s not interesting.” Throughout their history, Sleep ∞ Over have undergone many lineup fluctuations. The multiple personnel changes have led Franciotti to devise a method of executing the sounds on her own. “I started a band with these girls and then we decided to go our own ways for personal reasons. Then I started playing with my roommates and my boyfriend at the time. Basically I was writing the songs and in recording I would get whoever to help me arrange all the parts. Then, because everybody’s in bands and me and my boyfriend broke up, we all decided to do our own thing. I got more into electronics so I was able to transition my set and take all the songs from the last record and use midi to have a full analogue set that I could control all myself.” Stefanie has no objections to working with other people

and the forthcoming record will see her bolstered by a new band. Inviting others into her creative universe required her to consolidate a relatable conception of the songs. “Once I started working with other people it forced me to look at how I explain my songs and really think about them and have to make clear cut decisions. Since I’ve been playing with these other people I’ve been able to crank out a shitload of material. I’m working with really solid musicians right now. Everything we set our minds to is pretty awesome.” Continuing this enthusiasm, Franciotti believes she’s broached new territory as a songwriter and performer on the new Sleep ∞ Over single, which will surface later this month. “One song is a Vashti Bunyan cover, I Want To Be Alone. I love that song. We kind of re-imagined it. It has definite ‘60s vibes, there’s live drums and stuff, but it’s got its basis in electronics. It’s a fun cover. The other song is, to me, more challenging as a listener. It’s very emotional. In the past, when I sing, I’ve always been slightly restrained. When I

recorded this song I made a really clear effort within myself to be more emotional and emotive, lyrically and vocally.” The appraisal she gives the new material surpasses her opinion of any of her preceding creations. “I really, really like the songs that I’m about to put out and I don’t think I’ve ever liked anything I’ve ever made in my whole life.” This seemingly guarded attitude is not intended as selfdeprecation. Stefanie regards artistic activity to be akin to an act of purging which, once enacted, shouldn’t be dwelt upon nor framed as definitive. “Why would you ever be satisfied with anything you ever make? That’s just complacency. It breeds total shit. As a creative person you want to do what you do and then move forward and not become attached to anything or think anything is holy because that puts you in this mindset where you’re creating bullshit.”

going to happen we might do it, or might not do it. We might just look at each other and suss out the vibe.” Oscar + Martin have a penchant for weaving threads alongside one another in a complementary manner. Martin speaks of a shared attraction towards particular elements of music, which enhances their collaborative chemistry. “One thing we’ve both noticed after playing music together for a long time is we have very similar appreciation of what’s good in a piece of music, regardless of what style that piece of music is. I’ll say to Oscar, ‘Those harmonies are crazy’ and he’ll know exactly what I mean. With some other people you might not have the same understanding of what’s good about something.” The duo don’t feel pressured by the industry standard of release frequency to squeeze out a follow up to their debut album For You. Martin explains that they’d prefer to be patient and ensure they make a broader impact with the next release. “If we do more stuff we want to make it next level. We don’t

want to just put it out, play some international supports and have it run its course the same way For You has. We really want to be behind it and make it really happen. If we got too worried about rushing the next thing it wouldn’t be very good. People would be like, ‘This isn’t as good as the last thing I heard from Oscar + Martin’. Whereas if we take a bit of time and make something awesome they’ll be like, ‘Oh that’s right, I remember Oscar + Martin, this shit’s awesome!’” In the meantime, there’s a few other goals pinned to the corkboard that they’re working towards actualising. “We’ve also talked about making a movie together, a sci-fi movie. But that’s unlikely to be a profitable business venture; that’s going to suck money rather than make money. We thought about a whole number of things. Making the NBA is pretty high on the list – you’ve got to aim high.”

in the end we always have to agree. It’s part of being in a band, each of us makes the odd compromise on things that if it was just yourself you wouldn’t do it that way. I think that’s why usually – not always – groups produce more interesting music than solo acts. I reckon that tension is what makes it good.” The first single from the album, Heartbreak, features the starbursting lead vocals of rising Melbourne pop artist Chela. While vocal duties are passed around among the band, Chela is the only guest vocalist on the album. Cooper elaborates on the visions of ‘70s extravagance that impelled them to recruit a female vocalist for the track. “That song’s got a bit of a ‘70s MOR vibe and nostalgia to it. We were almost imagining a Tina Turner/Jimmy Barnes Simply The Best video for that song, really ‘70s, Chelsea wearing flowing white robes. Something about that song evoked that kind of vibe.” Similar sun-soaked allusions to the ‘70s are heard throughout the record’s ten tracks. Cooper regards the flourishes of majesty, as well as corresponding flickers of injury, as rooted in their individual characters. “I think they’re all a bit of a reflection of us. At some levels,

I reckon, the songs are funny and tongue in cheek and grandiose; delusions of not just grandeur but delusions of glamour. [With] a lot of stuff there’s a bit of melancholy under the surface. There’s a bit of an underpinning of loss on lots of the songs as well. It’s not like we set out and went, ‘This is what the record is going to be; it’s going to be rooftop pools in Acapulco and heartbreak,’ but in the end that’s the stuff that seems to keep coming back as moods.” Ultimately, whenever someone expresses themselves with music, aspects of their outlook and experiences will surface in the created work. Cooper attests that specifics of the band’s lifestyle certainly resonate through their music. “Unless you’re writing to a specific story you have in mind, you’re really writing by whatever mood captures you when you’re writing. When we were in Cape Town we were partying lots and on the one hand leading a pretty off the hook existence, but the back end of that is you’re often a bit worn out and frazzled and over tired and emotional and there’s a bit of a darkness creeping around the city anyway.”

SLEEP ∞ OVER play The Liberty Social on Friday February 1.



Melbourne’s easy going electronic pop duo Oscar + Martin have been keeping a discrete profile of late. The latter half of the pair, Martin King, gives details of what’s been occupying their time. “Mostly we’re just playing basketball and hanging out more than anything. We just needed some time off I think. We’re just taking it easy and playing a lot of basketball.” Martin is quick to counter the implication that they’ve simply been on vacation. Both of them are engaged in a multiplicity of productive outlets. “It’s not like we’ve just been maxin’ and relaxin’. We’ve been really busy with other things. Oscar is doing his new Key Sung thing quite a bit. I’m in The Harpoons, that’s my other band. I’ve been working with The Harpoons on an album for about two years now so that’s a big part of what’s been sucking my time lately. I’ve been working on some solo stuff as well.” Oscar + Martin are being rather selective with the shows they play at the moment and their next public appearance will kick off weekend three of The Garden Party on Melbourne’s Southbank, alongside Van She. The band are experienced with gigs in unconventional outdoor settings, most recently performing as part of the Federation Square live series. Outdoor conditions aren’t always ideal but Martin resolves that a good crowd will overcome any technical impedance. “Outdoor gigs can be really hard. You might make the loudest sound that you’ve got on your sampler and not even hear it. It’s much more about the vibe of the crowd then

it is about the place itself. We played quite a strange but fun one ages ago in Melbourne Music Week. It was on this rooftop and it poured the whole night and we were not in top form either because we were quite sick. So the gig was essentially a disaster but it was also awesome because the people who did go, despite the rain, were really into it and didn’t give a fuck about the fact they were being drenched the whole set. It’s just vibe, anything can go either way.” Oscar + Martin’s extensive incorporation of sampled sounds and looping beats might suggest their live show follows a well-wrought script. However, there are points when the feeling swelling on stage directs them into impulsive territory. “Some songs we basically have to execute something perfectly every time. Some songs you can ride it out and play it a bit looser and, if people really like it, take a bit longer to finish the song. There’s one song that sometimes, you know Bootylicious by Destiny’s Child? We do a little part of that song in one of our songs. If we think it’s a good idea at the moment when it’s

OSCAR + MARTIN play The Garden Party (next door to Melbourne Recital Centre) on Friday February 8 alongside Van She and Softwar.



Melbourne (via Sydney) hazy-summer dance quintet Clubfeet have just dropped their second album Heirs & Graces. Keyboardist/synth manipulator Montgomery Cooper explains that the success of their 2010 debut, Gold On Gold, exceeded the five friends’ humble intent to throw some tunes together. “The first record we made in our lounge room and put it up online and it got flogged a whole lot and then it got picked up by Plant, this little dance label in New York. All that was unplanned. I mean, obviously we made a record, but none of us were really expecting to do anything with it.” It’s been a reasonably lengthy time between drinks and Cooper admits Gold On Gold’s unexpected rise elongated the time between records. “Because it got such a strong positive reaction and got the great Pitchfork review, [Plant Music] ended up saying, ‘We better put this out properly,’ so they stretched out the release time to do the most that they could with it. Then we went back to our mate Alex Goddard who shot the first few videos and decided we’d do videos for the rest of the songs on the record and do remix packages for the rest of the tracks as well. That ended up taking ages.” As with the first album, Clubfeet produced and recorded Heirs & Graces themselves, but it wasn’t an entirely slapdash lounge room assembly. In addition to recording drums late at night in a friend’s Melbourne studio, the band took themselves to the beachy South African city of Cape Town to get stuck into making the album. Their production tact shifted slightly from the first album, largely due to increased experience playing live. “The first one, if we were in doubt we’d just throw more parts at it and add more fills and more synths. This time around, because we’d played the shows on the back of the Beat Magazine Page 52

Gold on Gold record and we’d been playing a lot together in the rehearsal room, we were definitely more conscious of how we want it to be more of a band record. Even though some of the songs are still very electronic, it wasn’t 50,000 parts. Even though it’s a synthetic sound or a synthetic groove, it’s not five different things interweaving.” There is great depth of detail in the arrangements but the album maintains a breezy amount of space. The band members’ production-savvy capacities ensure a good portion of time is devoted to refining the recordings. “The last month or two of making the record is fine-tuning stuff and changing arrangements and fixing it up and trying to be not in songwriting mode. When you’re a band that produces your own stuff, you’re writing and producing at the same time. The last stage is not doing any more writing and focusing on the production.” It’s inevitable that multiple production perspectives won’t always concur in perfect harmony, but Cooper stresses that diverging viewpoints are in fact a major asset of collaborative ventures. “We don’t always agree and sometimes there’s friction, but


CLUBFEET play Ding Dong Lounge on Saturday February 9. Heirs & Graces is out now.


From humble beginnings in his parents’ basement in the Cleveland suburb of Westlake, Dylan Baldi has always firmly represented a lo-fi aesthetic. Though the lead singer/guitarist/general brainchild of poppy-punk outfit Cloud Nothings was derided early in his career for essentially being an “indie” version of Blink-182, he’s stuck to his guns and kept a low profile in the press. Casual and ambivalent about his place in the world of indie rock almost to a fault, Baldi answers questions briefly when he’s reached on the phone from his friend’s Cleveland-area home. “I’m watching my friends carve pumpkins,” he says, it being Halloween. “It’s kinda cool, I guess.” Baldi released the band’s eponymous self-titled sophomore record in early 2011. Attack On Memory was released just one year later, nearly to the day. Scrappy and full of angst, Attack On Memory could be perceived as a response to critics who felt his sound was too derisive and poppy. Baldi has noted that he even considered changing the band’s name, as part of a greater evolution. Still, he’s not ready to concede that he overthought the process. Attack On Memory may have a dark, almost realist edge to it, though Baldi won’t admit much. “I think if the new songs got heavy, they were still very detached from the lyrics. The songs may be a little heavier than anything we’d done before, and perhaps inadvertently the lyrics got a little darker along the way. I mean, there’s a few songs on the record that aren’t the heaviest things in the world.” Attack On Memory is the third full-length from Cloud Nothings, but after the exposure their self-titled second brought, it’s easy to imagine Baldi being confounded by the dreaded “sophomore slump.” Many bands look to experienced producers for guidance. But of course, Baldi refutes this notion. “I had the songs and I played them the way I wanted them to sound,” he says of working with famed ‘hands off’ producer Steve Albini. “He didn’t really direct me and say, ‘This is the way this song should sound,’ or anything like that. That’d be really weird to hear from him.” It didn’t take long for Baldi to finish work on the record before he took it on the road. Tours throughout North America, Europe and Japan kept Baldi busy throughout 2012. And as he attests, these tours allowed him to grow more comfortable with his new material. “I kind of like [the songs] more, now that I’ve toured them,” he says. “I’m usually not very confident about anything right before I release it. I’m excited to have the opportunity to play the songs more and more, because I feel better about them.” So does Baldi find himself keeping his new songs at a distance when he begins a tour? Well, not exactly. “It’s easy to get emotionally involved in them because they’re my songs and they’re about things that I’m thinking. Sometimes it takes me awhile to totally figure a song out.”

“I’M USUALLY NOT VERY CONFIDENT ABOUT ANYTHING RIGHT BEFORE I RELEASE IT. I’M EXCITED TO HAVE THE OPPORTUNITY TO PLAY THE SONGS MORE AND MORE, BECAUSE I FEEL BETTER ABOUT THEM.” While having the opportunity to tour places that many young bands would only dream of playing isn’t lost on Baldi, he’s not ready to give into the idea that locales as varied as Luxemborg and Osaka have totally influenced his writing. “Seeing new things and meeting new people, that’s always a great experience. It may not necessarily influence my writing, but it does influence me as a person. It’s always flattering to have people who don’t speak the same language as you come to the shows.” Cloud Nothings won’t have to worry much about the language barrier for their inaugural trip to Australia. And though Dylan Baldi won’t go into great detail, the barrage of touring he’s done, including planning for his Australian tour, has begun to have an effect on his songwriting. It’s brought Cloud Nothings closer as a band and allowed them to better understand their own sonic abilities. “The new songs are more of a group effort too, more than I thought they’d be. That’s the plan from here on out. I’ll bring in the songs, and everyone will add their part, but essentially the songs are finished.” There may be an evolution within the band’s aesthetic, but Baldi is remaining tight-lipped about it. Instead, fans will just have to wait and see. “Uh, yeah,” he says, after being asked if the band is indeed on a path towards a new sound. “The new songs we’ve been writing are reminiscent of Attack on Memory but have still managed to evolve in their own way. There’s definitely a progression; you never want to write the same song twice.” CLOUD NOTHINGS play Ding Dong Lounge on Tuesday February 5 with Violent Soho. They also play Laneway Festival at Footscray Community Arts Centre on Sunday February 3 along Chet Faker, Bat For Lashes and Alt-J. Attack On Memory is out via Stop Start. DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

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If your band is only about six months old and already you’ve managed to support Melbourne rockers Hunting Grounds on tour, play at The Hi-Fi in Brisbane and The Metro in Sydney, and book yourselves in at Melbourne’s Hi-Fi as well, you’re sort of on a blitz. One suspects that Ben Francis, the savvy singer/guitarist of Coffs Harbour outfit Stereo Addicts, knows a thing or two about getting shit done (despite his mellow, convivial, unhurried conversation). “I’m trying to do a million things at once, but I guess we all are,” Francis laughs as he describes the recent process of rounding up his three bandmates to get the fourth and final track of their debut EP into shape. “All the stuff we’ve done so far is self-produced; it’s been done by our drummer Alexie [Pigot]. He has his own studio in Coffs,” he explains. “We’re just doing it bit by bit. It’s all a money thing I suppose. We thought we’d concentrate on doing the singles and working those. It normally goes the other way, I know,” Francis laughs. Stereo Addicts have so far released singles Goin’ Away and In The Shadows on iTunes, and third track See The Sun will be out in a couple of weeks. The band’s sound encompasses rolling guitars and swiftly ticking hi-hats, and each of the boys’ respective talents makes them sound a far more veteran machine than they really are. Having said that, like many musicians from small towns, they have had their own separate groups for a while. “We basically all met through playing in different original acts,” Francis says. “It’s a pretty close-knit scene here, everyone knows everyone. Everyone got to talking and it was my idea to put together this project. It’s, I guess, alternative rock with a bit of an indie spirit.”

Francis is wary of comparisons, being aware of the niche the Addicts occupy. “It’s different because I think my voice is a bit different, so I guess it’s sort of recognisable. We love bands like Birds of Tokyo, Calling All Cars and Children Collide, but we’re not quite as heavy as some of those acts. As our music goes on [in its] style of play, [it’s] getting a little bit heavier. Sean [Rudner], our main guitarist, is influenced by some heavier acts. In my own writing I’ve been a fan of melodic music, so I like to have a good melody.” The singer received some initial vocal training when he was a lad, but hasn’t adhered strictly to his lessons. “I’m not sure if I’m the most technical singer around, probably not. I’d hate to think about my breathing and phrasing and all of that type of thing,” he laughs. “But live I do pretty well. At least I sing in tune, that’s for sure!” Francis occasionally curls his phrases down at the end, a little like James Dean Bradfield of the Manic Street Preachers, and it dovetails beautifully with the judder of bassist Mitch Hart’s notes. Throw in Rudner’s dynamically swooping and beating chords, particularly on In The Shadows (which is currently sitting at number four in the overall Unearthed chart), and you’ve got the package. “We try to have it sounding as close to what we do live as we can,”

says Francis. “We try to keep it as raw as we can.” Central to this pursuit is the method of recording, which Pigot conducts using his mobile recording studio. “We did the drum tracking in [a commercial studio] because we needed to, but the rest of it we basically did in my apartment,” Francis says. “It has certainly benefitted us in that we have got [the tracks] sounding the way we want them to sound. If we’d spent $50,000 on them or something like that we could have had them sounding better,” he chortles, “but we really couldn’t have done better, self-producing.” Although there isn’t much material up on YouTube at the moment (which Francis apologises for), the band will

shortly be releasing a video to accompany See The Sun. After plans for a clip for In The Shadows fell through, time got away from the Addicts and we will have to wait a little bit longer to see footage of their moves. You can, however, see the band live in just over a week. Just how did they book that show again? “Anything’s up for negotiation, isn’t it, in this industry?” Francis laughs. “I mean, we want to play good venues and we want to play good gigs.” There will surely be many more of those to come for this precocious group within the next busy year.

spread just the perfect distance to strum with only one hand and each of the two necks has its own output so I can run one guitar with a clean sounds and one with an effected sound. I designed it with Craig Koen who has designed many of my weird and wonderful guitars.” A lot of artists find it difficult to write on the road but as Hoad is forever on the road, it’s something he’s used to. “I sort of wait for inspiration to strike, otherwise it is sometimes forced,” he says of his songwriting. “I tend to try and take a few days at a time for writing, especially when travelling. I have multiple books that I use to keep jotting down my random ideas, then when I have time, I get them out and start working on putting them all together. Other times I’ll just be inspired and write a whole new song from top to bottom. The best inspiration of all is the deadline of recording a new

album, it’s then I seem to be able to bring it all together really quickly – funny about that. Kind of like when you’re at school or university and you leave a whole lotta stuff to the last minute and then it all seems to come together.” Hoad has been working towards that kind of deadline, with a new release due out this year. “The new album Home Is Where The Heart Is comes out on May 5, released under our label Walkaboutfish Records,” he says. “The album was recorded in Sydney with producer Craig Porteils (Guns ‘N’ Roses, Terence Trent D’arby, Diesel,) and I am very proud to say it is my best work yet.”

traditional way, it’s a bit more of a modern take on it. That one Ash and I wrote together over a bowl of muesli one morning and then went down and recorded it that day,” she says. The other stand-out is the hauntingly pretty Where My Babies Lie, which Carr wrote about the story of Robert Farquharson and Cindy Gambino, whose three sons were killed when Farquharson drove his car off the road and into a dam on Father’s Day in 2005. Carr has been friends with Gambino for a few years and for a long time felt a propulsion to write something about the tale. “Being friends with her and having spent a lot of time with her,” begins Carr, and then pauses to ponder. “Her story, she’s very open about it, she will talk about it. I think it’s part of her healing. You just walk away from her feeling, ‘oh God, it’s just so, so sad.’ I only met her about three or four years ago, but it’s always playing on my mind. I think about her all

the time, I think about her suffering all the time. It’s going to sound a bit wanky but I was getting quite upset, writing the verses, and I wanted it to be right. I didn’t want it to be too graphic, but I really wanted to tell the story. And it’s really quite a fine balance.” Carr sweated over anticipating Gambino’s response, but said when her friend eventually heard the finished track she was “freaking out”, in a good way. “She was glad someone could express her point of view, especially in the form of a song,” Carr breathes. “I was really happy and relieved.” Expect more awesomeness when the full-length is out (heads up: Nash Chambers may be heavily involved) towards the end of the year.

STEREO ADDICTS play The Hi-Fi on Friday February 1, supported by Melbourne’s Red Ink.



Roots songwriter, stringed instrument virtuoso and didgeridoo extraordinaire Jay Hoad is back in his (sort of) home country for a run of shows. With two internationally released albums under his belt (Stories For The Soul and Warmth In The White) as well as a knack for jamming out his songs live, stretching them beyond all rhythmic and melodic limits, Hoad is ready to showcase his ever-evolving sound and his array of strange and curious instruments. Having just returned from India, a country often in turmoil but currently even more emotionally charged than ever, Hoad discusses the trip on a personal and cultural level. “India was completely incredible!” Hoad exclaims. “The people, the music, the food – awesome. It was such a whirlwind as we literally flew in to perform at the Saarang World Culture Festival and then left just a few days after. But it was an incredible experience. Some of the other bands at the festival completely blew my mind, blending the typical Indian sounds with fat hip hop beats – with a capital PH, complete with a five-piece percussion section, incredible. We ate every sort of food we could and the flavours were like nothing I had ever experienced at Indian restaurants, which I guess you would kind of expect. I didn’t get to talk too much about the political side of things as the trip was consumed with music. But I came back completely inspired.” It was only last September that Hoad romped around the country for an astonishing amount of shows but, being an intrepid traveller, he has continued his constant journey in the time between then and now. “When we spoke in September I was literally wrapping up the last few shows of an 87 show tour around Australia,” he says. “After that I

had a few weeks off to catch up with my friends and family before heading back to my other home of Fiji. I spent a month touring in Fiji including a performance at the Uprising Festival in Pacific Harbour. I spent most of December in the studio finishing up the new album and then as soon as the New Year hit, headed to India.” It seems as though travel and creativity are inextricably linked for Hoad. If he stopped travelling, would the music stop as well? “It seems the more I’m on the road, the more inspired I am,” he says. “It’s just that I’m constantly being exposed to these incredible people, situations, scenarios and stories; they constantly fuel my songwriting. When I stop moving, the songwriting doesn’t necessarily stop, but I think the topics definitely change – back to love songs and songs about my dog.” Airlines get a nice bonus whenever Hoad travels – he likes to take as many of his instruments with him as possible – and you can rest assured that when you speak to him, he has usually acquired (or in this case, built) some new and peculiar stringed instrument. “My latest is a double neck Dulcitar,” he says. “One of the necks is based on a Dulcitar and the other is a four string guitar. The two necks are

JAY HOAD will perform at The Workers Club on Sunday January 27. Check out his website for the full run of regional dates.



I don’t think it’s any coincidence that the most apt adjective that comes to mind when attempting to describe Danni Carr happens to be the same word as her own daughter’s name. Danni is mother to Sunny, wife to Ash Grunwald and one half of gorgeous new country/folk outfit Mr Cassidy. The other half is Emilie Owen, who has two children of her own with another of Australia’s darlings, Scott Owen. The two met when their husbands were playing together, and the subject of music and family became a deep discussion which quickly bore sweet fruit. “You’re focused on [your children], I guess; that’s your main priority,” Carr says contemplatively, over the phone from Byron where she’s about to head back inside to continue rehearsal. “You lose a lot of that creative drive, and Emilie was the same. So when we met, we talked about that and I felt ready. I really felt like it was time to start playing again, and she was in exactly the same boat. Also with having husbands that are well-established musicians... you seem to be more supportive toward their things that they’ve got going on, which is cool.” As it happened, the bluegrass stars aligned and Carr and Owen decided to get jamming, and jamming good. The result is an EP of five exceptionally beautiful, sometimes bangin’, always searingly heartfelt tracks, with Carr’s guitar and lead vox and Owens’ backups and fiddle accompanied by extra instrumentation from percussionist Fingers Malone, and Mr Owens himself. “Yes, he’s playing bass on the whole EP,” Carr confirms and then adds with a grin, “actually we were rehearsing today and he was doing some Beat Magazine Page 54

extra special stuff, and I’m like, ‘What the hell?’ He’s just playing so fast and slapping the crap out of the bass. He’s such an amazing player. Sometimes I kick myself: I’ll be at a gig, and I look over and Scott’s going crazy and I’m like, ‘Shit! I’m actually playing with the bass player from The Living End’,” she laughs brightly. Carr also has warm things to say about Fingers Malone, whom she calls “the Modern Day Renaissance Man” for all the feathers in his cap. “He’ll play drums, he’ll help you write a song, he’ll produce the album, record it, he did all the artwork for the EP, he did the artwork for our posters and postcards, he does everything,” she says, but adds that he’s still incredibly understated. “You’ll say, ‘Why don’t you do a drum solo?’ and he’s like, ‘No way, I don’t do that shit’,” she smiles. The titular track from the EP, Mountain Side, is driven by Fingers’ infectious shuffle with brushes on the snare, and some great unusual harmonies backing Carr’s vocals that are spot on as a bell. “It’s not recorded in such a bluegrass


MR CASSIDY launch their EP Mountain Side at The Workers Club on Saturday February 2, supported by Dave Larkin.





Resist Records have announced that US outfit Black Breath will tour the country for the first time ever this April. They’re teaming up with Canberra’s I Exist and will arrive in Melbourne on Thursday April 11 to play at The Rev in Footscray.

Periphery will team up with Japanese newcomers Crossfaith this February for a couple of sideshows in addition to their appearance at the sold out Soundwave Festival. See them at The Espy’s Gershwin Room on Monday February 25. Tickets on sale now.

Opeth caused a bit of hoopla last week when they confirmed an Australia tour for March. Soundwave has booked the band in for a headlining tour that hits Melbourne’s Palace on Thursday March 14. Tickets available on Thursday January 24.

Boston’s Norma Jean will visit us again this May, this time bringing Vanna and Newcastle band Safe Hands along for the ride. See the triple threat at The Corner on Saturday May 5. Tickets on sale next Wednesday.

Bring Me The Horizon revealed last week that Aussie member Jona Weinhofen has departed the band. No word as to whether the split was amicable but it’s come mere moments before they release their new album Sempiternal on April 26 via major label Sony Music.

CRUNCH! I’m writing this week’s Crunch jetlagged off my arse in L.A. I just went for a stroll around the Sunset Strip to get my head together and see the majestic new oversized Zakk Wylde Les Paul sculpture, pay my respects to the former Continental Hyatt House, bask in the history of the Comedy Store and contemplate eating a big fuck-off plate of fried mozzarella balls at the Rainbow. Seriously, if you’re a fan of rock or metal of any kind you have to do a pilgrimage to the Strip at least once in your life. Even if it’s not quite the decadent bustling hairspray fog that it once was.


Don’t forget, this weekend The Reverence celebrates Australia Day by hosting a swag of local talent and donating all the proceeds to charity! This year The Refugee Council, Oxfam and The River Nile Project will all benefit from your gig dollars. Details in the gig guide right. Frank Turner has revealed that his new album will be titled Tape Deck Heart and will see release via Epitaph this April. You can see Frank performing with Dropkick Murphys and Swingin Utters on Tuesday April 2 at Festival Hall. Tickets are on sale now. Break The Ice Fest will return this April! Headlined by Bane, it’ll take place over two days and will be a bona-fide all ages, drug and alcohol free event. Cold World, Rotting Out, Hopeless, Relentless, Iron Mind, Phantoms, Survival, The Weight, Outright, Endless Heights, Thorns and Civil War are all playing. More to be announced soon. The Smith Street Band have gone and sold out the overage date on their upcoming Young Drunks tour. Fear not though, Melbournites can still catch the band at their all ages performance at Phoenix Youth Centre on Sunday February 24.


Something With Numbers are back. They offered their first track in five years to fans last week, then performed at Sydney’s Big Day Out, and now they’re touring the East Coast before they release their new album Eleven Eleven (out later this year). Pencil in Friday February 15 at Northcote Social Club.

Anthrax have announced their sidewaves, including a gig with Fozzy and This Is Hell at The Hi-Fi on Thursday February 28 (tickets on sale now). Sydney gets a special ‘half of big four’ gig though, with Slayer and Anthrax (plus Kingdom Of Sorrow) at Big Top Luna Park on February 25. That one would be worth a road trip. Anthrax will of course have fill-in lead guitarist Jon Donais from Shadows Fall on board for this tour, taking the place of a departed Rob Caggiano.

Wednesday January 23: OFF!, Bloody Hammer, Bat Piss at The Corner Hotel Austin Lucas, Jamie Hay, PJ Bond at The Old Hepburn Hotel, Hepburn Deathrow Harmonica, Kings Cup, The Dosage at The Bendigo Maricopa Wells, Foxtrot, Kissing Botth and Lucy Wilson at Public Bar Thursday January 24: Austin Lucas, Jamie Hay, PJ Bond, Nathan Seeckts at Beavs Bar, Geelong Too Soon, Del Lago, Don’t Get Lost, Dangerous John at The Gasometer Crowned Kings, Declaration, In Elegance, Reactions at Next Friday January 25: Mercyful Fated, Earth, Maniaxe, Blackened at The Bendigo Saturday January 26: Headaches, Nuclear Summer, The Gun Runners, Anchors, Milestones, Outright, The Fevered, Cavalcade, Collapse, Little Shadow, Ride The Tiger, Army Of Champions at The Reverence Iron Lung, Straightjacket Nation, Cut Sick, Nun at The Gasometer Admirable Ackbar’s Dishonourable Discharge, Strawberry Fist Cake, Lizard Punch, The Cruntburgers, Japan For, Aitches, The Shadow League, Wot Rot, Foley at Gertrude’s Brown Couch Glen & The Peanutbuttermen, Crackwhore, Chinatown Angels, Thundabox at The Bendigo First Blood, Emerson, Kontact at Bang Sunday January 27: Lincoln LeFevre, Darren Gibson, Stockades, El Alamein, Dr Piffle, The Union Pacific at The Reverence Iron Lung, True Radical Miracle, Useless Children, Internal Rot at Gasometer Donnie Dureau, Andrew Swift, Lucy Wilson at Public Bar Blood Duster, Black Majesty, Frankenbok, Subjektive, Boris The Blade, Bronson, Desecrator, Internal Nightmare, Malignant Monster at The Corner Hotel Buried In Verona, Glorified, Hybrid Nightmares, Oh Pacific at Bang Old Music For Old People, Raise The Stakes, Our Solace, Outlines at Next


Tickets are still available for Joe Satriani’s Australian masterclass tour, presented by Thup Music. It’s the first time Joe’s ever done an extensive tour of this nature in Australia. Joe will be talking technique and theory as well as sharing anecdotes about how various musical situations require different approaches to guitar. There’ll also be a meet-and-greet, and a few lucky players will get the chance to jam with Satch. The Melbourne date is Saturday April 13, 12pm to 3pm, at the George Wood Performing Arts Centre, Yarra Valley Grammar, Kalinda Road, Ringwood. Tickets are $80 per person, and there will be a range of giveaways on the night including pedals, strings and instruments. Joe will answer questions in each state, which must be emailed to organisers: Thump Music at to keep things flowing on the night. More info at

GET YOUR BLAZE ON If you’re a fan of killer shred guitar, check out the song Outlands by The Blaze Conspiracy. It’s an instrumental shredfest featuring a whole bunch of artists who play Buddy Blaze guitars – Buddy is the luthier who designed the Kramer Nightswan with Vivian Campbell and was responsible for Dimebag Darrell’s Dean From Hell. Oh yeah and he built me a killer 7-string prototype. And oh yeah oh yeah, I’m one of the artists. Plug plug. Other guitarists on the track include Scott Dalhover (Dangerous Toys), Sam Bam Koltun (16-year-old wunderkind), Joey Concepcion (a shred demon), Dylan J Doherty and Aaron Kusterer. The drummer is Chad Clark and the bass player is Barry Dunaway (Yngwie Malmsteen). The song’s out now.


Testament’s Alex Skolnick has just released Geek To Guitar Hero, his first book. It’s a literary memoir influenced by writers like Philip Roth, Hiruki Murikami and John Updike, in which Alex tells his story from awkward introvert working under the weight of academic expectation, to world-famous metal virtuoso with Testament, Trans Siberian Orchestra and his own jazz trio. You can order it on the internurtz now.


Periphery’s Periphery II: This Time It’s Personal was one of my favourite albums of 2012 (I think it came in at #2 on my list a few issues ago). It’s got it all: melody, humour, virtuosity, tonez… fricken love these guys. They’re here for Soundwave, of course, but they’ll be teaming up with Crossfaith for sidewaves in Melbourne and Sydney. Here they play the Gershwin Room at The Espy on Monday February 25. Tickets on sale now from Oztix.


Opeth are heading back to Oz in March. No word yet on what this tour will focus on – will it be heavy on material from their brilliant but fan-confusing Heritage album, which bore jazz fusion influences out the wazoo? Or will it be more in line with their prior body of work? Who knows! Find out for yourself at The Palace on Thursday March 14. Tickets on sale Thursday January 24. CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

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For all the latest news check out

The Beards

AUSTRALIA DAY AT THE REVERENCE For a few years, the Australian punk rock community has gotten behind a sure-fire goodvibes Australia Day event to raise money for three very worthy causes. In 2013 it will spread across two days of the Australia Day weekend and move to Melbourne’s new favourite watering hole – The Reverence Hotel. Deathproof PR is proud to announce the second installment of bands: Saturday January 26 features Outright, Anchors, Little Shadow, Ride The Tiger, Army Of Champions, and Sunday January 27 lends the stage to Darren Gibson and The Union Pacific. All proceeds for the Australia Day Weekend at The Reverence will go to The Refugee Council, Oxfam and The River Nile Project. In other words, your hard earned cash will benefit three amazing organisations, more than deserving of your support. Tickets on sale now with a limited amount of two-day passes available at inkandlead. for only $25 buckeroos.


ROCK THE BAY Australia's much loved and hairiest band, The Beards, return to Melbourne to headline Rock The Bay festival on Saturday February 16 at The Espy. Joining them are local heroes Electric Mary, Sydney instrumentalists and ARIA nominees Sleepmakeswaves, plus Bellusira, Engine Three Seven, King Of The North, Tim McMillan Band, The Khyber Belt, Moroccan Kings, Manatarms [Chile], Sleep Parade, New Skinn and heaps more. 30 amazing Aussie bands over three stages. Check out for the full lineup.

MAYVIS Mayvis is May Johnston’s alter ego doing it with style and playing classic neo-soul and R&B music including everything from Chaka Khan, Erykah Badu, Jill Scott, Luther Vandross to Stevie Wonder. As a recording artist, she has received worldwide reviews and been compared to some of the world’s best known soul vocalists such as Spanky Wilson, Marva Whitney and Sharon Jones. Mayvis are a dynamic four-piece band who strive at playing neo-soul and R&B in its truest form and May is a performer with sass, attitude and a powerful stage presence (as you will testify if you’ve caught her at Bar Open fronting Deep Street Soul). Her wild antics on stage, personality and mighty voice are not to be missed, so get on down to Bar Open and celebrate Australia Day weekend with a wild night of neo-soul with Mayvis. Doors 10pm, free entry.

Dizzy's Jazz Club is honoured to host such a superb act as Salena Jones. Growing up in New York in the company of musicians who would become the legends (Miles Davis, Charlie Parker, Dizzie Gillespie, Bud Powell, Wes Montgomery, Chico Hamilton, Stan Getz), Jones is glamorous and beautiful with a distinctive voice and relaxed style. Salena Jones has met and sung with a breathtaking array of great jazz names; her photo album shows her arm and arm with everyone from Betty Carter to Cab Calloway, Billy Echstine, Vic Damone and Lena Horne. With her beautiful contralto voice, singing jazz standards, blues, latin and contemporary songs, Salena Jones has met critical acclaim for her perfect pitch, natural swing and her interpretations of stylish songs. Don’t miss out on this oncein-a-lifetime experience, Salena Jones at Dizzy’s Jazz Club on Friday January 25 and Saturday January 26. Tickets $25, or a special offer of dinner and show (including 2 courses, coffee and admission) for $80.

MODERN TRASH Hailing from Christchurch, New Zealand, but now unfortunately based in the evil of Sydney, Modern Trash brings stories from a darkened heart, a single voice and a nylon string. The stories of Modern Trash bridge betrayal, loss, despair and futility with hope and maybe even redemption. He plays The Public Bar on Monday January 28 with the DIY folk-punk of Freddy Fuddpucker.

THE PEEP TEMPEL The Peep Tempel are taking to the stage at The John Curtin Hotel on Sunday January 27 for their first show of 2013. Having spent the end of 2012 at the beach, The Peep Tempel are back after a year which saw them release their long-awaited and much admired debut LP and tour across Australia and Europe, playing in clubs, bars, squats and festivals. As one of Melbourne's most  infectious  live acts, The Peep Tempel are set for an even bigger year starting with a cracker at The Curtin. Joining them for the show are two of Melbourne's finest punk bands: Bits Of Shit and Batpiss.

REDX RedX finishes their four month residency at The Cherry Bar on Tuesday January 29. New to the Melbourne scene and made up of members from the once successful but now defunct WAMI award winning Perth band The Joe Kings, RedX will spend February recording their debut EP. The band began in September 2012 after the dramatic demise of The Joe Kings and have been busy playing around town at venues such as Cherry Bar, turning heads and gaining a solid following with their impressive live show. Their debut EP will be released through Session Records/MGM Distribution in April this year.

LIVINGSTONE DAISIES What happens when two of Australia’s best songwriters team up through their mutual love of Scotland’s Teenage Fanclub to create sun-drenched harmonised guitar pop? Liz Stringer and Van Walker, along with Cal Walker and Michael Barclay, join forces to form The Livingstone Daisies, a band of four incredible voices, harmonising and rocking out in equal measure. The Daisies are launching their debut album, Don’t Know What Happiness Is, on Friday February 22 at The Northcote Social Club and will be available on deluxe vinyl, CD and digital download. Joining them on the night will be Sydney alternative icons The Aerial Maps.

THE VAUDEVILLE SMASH VS. SEX ON TOAST Witness 'The Greatest Residency in History' as two heavyweights of the Melbourne live scene go head to head in a show that will be talked about for years to come. In one corner you have the disco-pop machine that is Vaudeville Smash. Masters of the hook and the relentless groove, with their legions of fans and their spirit hands. And in the other corner there's the synth-infused, falsetto love grooves of Sex On Toast; a nine-piece party that takes all that's great from the greatest that ever were and makes it even greater. Vaudeville Smash and Sex On Toast go head-to-head Mondays in January at The Evelyn Hotel from 8.30pm with support from South City Sushi Cop.

LARRY MALUMA After 28 years in Australia, ten albums, 16 music video clips under his belt and being honoured in new book Zambian Music Legends, African roots reggae artist Larry Maluma will celebrate his tenth studio album release BAKAINDI (Ancestors) with one of his rare performances at The Thornbury Theatre in Thornbury on Saturday February 23. Celebrating his tenth album, he’ll be joined on stage by his band, The Roots & Herbs, who specialise in African roots reggae, plus other special guests. Tickets $15+bf from Oztix, or $20 on the door.

ANNA’S GO-GO ACADEMY Anna’s go-go classes are great fun, an excellent cardio workout, and have been described as “inspiring”, “a retro hit parade…everything from Elvis’s Jailhouse Rock to AC/ DC’s Jailbreak," and a “high energy dance party with the hostess with the mostest." Every Thursday night at The Vic Hotel from 6pm.

OL’ TIMEY WEEKLY BLUEGRASS SESSIONS Craig Westwood (ex-Headbelly Buzzard among other bands) brings his weekly ol’ timey music jam session across from The Lomond Hotel, it’s home for the past five years. BYO instrument or just hang out and enjoy the music in the beer garden. Every Saturday afternoon at The Vic Hotel from 4.30pm.

GHETTO PUSSY Gutter-mouthed digital punks Ghetto Pussy will be flashing their collective gash at The Tote on Thursday January 24 in support of Euro-trash icons Chicks On Speed (Germany). Punters lucky enough to catch Ghetto’s set during their last visit to Melbourne are still scrubbing themselves, downstairs, with Ajax. Get your pre-sales via Oztix.

VINALS Get loose at The Bendigo Hotel on Sunday January 27 for Vinals’ first show since May last year. Joel Parnell and Troy Dawson started this band in Shepparton mid-2010. After a few lineup changes, the band now consists of Joel and Troy as co-frontmen, Taylor (Haggard) Huggard on drums and Taylor Bain on the bass guitar. They have released an EP entitled Because Everything Else Kinda Sucks and a music video for the lead single People Are Sheep And Their Money Is Cheap. For their show at The Bendigo they’re joined by friends Inedia, Drifter and Redfield. Beat Magazine Page 56



Beat Magazine Page 57



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King Of The North



The Bastard Children’s multi-instrumental, stylehopping jaunts featuring wheezing accordions, bleeding harmonicas, tearing guitars, scraping mandolins, drums, whistlers, banjos and fiddles are set to overwhelm The Great Britain Hotel on Saturday January 26, Australia Day long weekend. Sordid, scandalous and superbly attired, it’s twisted folk, a smattering of gypsy, old-world jazz, part junkyard blues, part Celtic-Australian and all about good times. The hay will fly from 9pm till late, and this one is light on the pocket with no door charge. Get into it.

Motion Pictures is an eclectic five-piece band playing every Wednesday at The Evelyn. Together they create vivid stories and picturesque sound-scapes, infusing colourful vocal harmonies with catchy riffs, whilst soulful lyrics touch the core and fill you with a sense of nostalgia. Catch them this Wednesday January 23 with Matt Glass and Tane Emia-Moore from 8.30pm.

JACK DONNE With hints at Nick Drake, Donne’s blend of guitar and deft approach to lyricism are a fresh look at an old craft. Floating through the venues of Melbourne, his passion for performance bleeds through in every show. There’s no polish to his songs, but rather a rough edge that cuts with every rasping word. It’s in Donne’s broken voice and ringing guitar that glimpses of an older man leak through. This is one solo performer not to be missed. Jack will take to the stage at The Great Britain Hotel in Richmond on Sunday January 27 for an intimate evening. 7:30pm, free entry.

OZ DAY AT CHERRY Australia Day this Saturday January 26 will be a rockin’ affair at Cherry Bar in AC/DC Lane. Straya! Blistering stonerblues-psych-rockers King Of The North will be hosting their vinyl launch with support from Stomp Box and The Feel Goods, and your $13 entry includes a complimentary tinny, either Vic or Melbourne Bitter. Straya! Then the girls takeover with DJ Mermaid, DJ Melfunction and DJ Ginger 'til 5am. Straya!



Tessa Lyes, an alternative/folk artist from NZ, is performing at The Old Bar on Tuesday January 29 as a part of her summer tour. She has recently recorded and released her debut EP Imaginary Lover which has had a number of great reviews from renowned sources, and is something she wants to share with the rest of the world. Performing alongside her will be Billy Shears. A vagabond with a guitar and plenty of words, Billy Shears slots in somewhere in between Lou Reed, Elliot Smith, Friedrich Nietzsche, and Yoko Ono. The Old Bar stage will be decorated with a distinct blend of bare-bones folk and deliberated lyricism, which challenges the norm and rallies against unnecessary restrictions. To top the night off will be Skyscraper Stan, the elongated troubadour, who has become a regular fixture at The Old Bar.

The Multitaskers brings together three unique musicians with three traits in common: a love of risk taking, a need to push boundaries and the sense that one instrument (at a time) is not enough. Tim Scanlon is a one man Celtic reggae band, Sheldon King makes one guitar sound like several, and Rowan Blackmore combines accordion, trumpet, toy piano and guitar with a deep knowledge of French sea shanties to create an all together unique sound. Every night with The Multitaskers is a premiere performance, unpredictable and stunning. Catch this rare bunch at the Drunken Poet this Thurday January 24 from 9pm.

THE CAT EMPIRE Foxy Felix and crew will bring the house down on the Main Stage on Sunday February 10. Melbourne’s favourite ska-hop sons return to St Kilda Festival for the first time since 2005, playing their beloved hits and previewing material from their new album, due out this coming May.

THE ROYAL JELLY DIXIELAND BAND The Royal Jelly Dixieland Band gives the old world sounds a good spit‘n’polish, reinventing them for right now. It’s a sepia-toned homage to the polyphonic sounds of an era when jazz was king. Modern Melbourne meets the New Orleans old school – frontline horns duke-it-out while the rhythm section cooks up raucous grooves in a neo-vintage stew of pop hooks and trad jazz. The songs are brash and infectious: rambling, drunken, beatnik funeral dirge; rambunctious toe-tapping jive; down-and-out lovers’ blues; upbeat, tongue-in-cheek Dixie ham; perky dreamboat tango. They recently recorded with ARIA award winner Clare Bowditch on her latest album, and opened for her during a national tour of Australia. Now, The Royal Jelly Dixieland Band is currently in production for their first full-length release. Catch them perform at The Toff In Town with special guests Charlotte Nicdao on Tuesday January 29. Tickets $10 on the door, doors from 7.30pm.

Beat Magazine Page 58

MERRI CREEK PICKERS In the beginning it was a banjo, mandolin and acoustic guitar. Before long drums and bass were added, and some time after that even an electric guitar. What began as a few gentlemen playing hokey-stringed instruments in a bungalow has now become a six-piece country/folk/rock outfit replete with dancing bass riffs, double drum kits, three-way vocal harmonies, and blazing lead lines. This is the Merri Creek Pickers. Catch them as they play The Retreat Hotel on Thursday January 24 for a couple of blistering sets from 9.30pm. Free entry.

Mount Eerie is the current incarnation of inscrutable and transfixing, plainspoken and mysterious sound maker Phil Elverum. Elverum’s distinctive self-recorded, lo-fi analog sound is known for its composition of ambitious layering juxtaposed with its delicate sparseness. After many years releasing music under the name  ‘The Microphones’,  in 2002 Elverum changed the project name to Mount Eerie, a reference to his ties to the Anacortes, Washington area in which he lives. However, regardless of the moniker, Elverum makes consistently mesmerizing and bold work outside any particular genre; he does so with an unaffected sense of humour that is rare in most artists. Phil Elverum will bring his live show of intricately layered instruments and chilling harmonies to Australian shores this January including a show at The Toff In Town on Saturday January 26 with special guests Pearls and Francis Plagne. Tickets are $30+bf from Moshtix, or $35 on the door. Doors at 8pm.

What makes you happiest about what you’re doing? Being an independent artist, taking my music to the people and knowing that they appreciate and enjoy it.


The summer heat is here and its time to slip into your swimming trunks and head to the Northcote Beach Party, a co-headline tropical treat starring the exuberant and irresistible sounds of Flap! and the surf and western stylings of Mikelangelo and the Tin Star. Also featuring the sultry St Clare, Tas Fleming's Hawaiian Trio and go-go action with Go Girl Gadget Go Go! Northcote Beach Party happens on Friday February 8 at Northcote Social Club. Tickets are $15 at the door.


If you weren’t doing that, what would you be doing? Not sure. Probably an analyst of some sort although when I was young I wanted to be a train driver.

Australia Day. A day of contrasts. It brings out the best and worst in us. The Drunken Poachers and the Drunken Poet this year join forces to bring the party - not the one with the guy with the Southern Cross tattoo on his neck, the good one. The Poachers are a dubious sextet not to be trusted. They poach the tunes of others and after a whitewash of their brand of Irish-blue-grass-country, they declare what never belonged to them their own. Sound familiar? The party begins at 9pm this Saturday January 26 at The Drunken Poet.


Clinkerfield return to the good old Old Bar for their annual January residency in 2013 for the ninth year in a row. Back in 2005 they began what's become a summer tradition for Fitzroy, and a new year wouldn't be a new year without a Clinkerfield hoe-down at The Old Bar on a ‘Sundy. Each Sunday they'll be playing hits (and misses) from their vast back catalogue and some not so familiar. Expect all the usual antics and three great bands each week. First band on at 9pm.



On Thursday January 24 there’ll be a rockin' night with Two Quirks headlining a huge lineup at The Reverence Hotel. Super Fat Fruit are a three-piece instrumental rock/world music band coming off a series of recent shows around Melbourne. Rainbow Massacre are a five-piece alternative hard rock band with a touch of psychedelia. Fritzwicky bring their technical prowess with hints of Zappa in this alternative outfit and Two Quirks finish off the night with their special brand of bass and drum instrumental confusion. Super Fat Fruit kick off from 8pm. $5 cover charge.


What’s your name then? Oh. And the name of your band. My name is Larry Maluma, you can call me Maluma if you wish. My band is called The Roots & Herbs. And what do you do? I write my music, sing and play guitar. When did you start doing that? I started playing music in the ‘60s, maybe ’67. I am not exactly sure. Why did you start doing that? I still love music and the freedom of being able to create something. Do you think you’re good at doing that? After all these years I sure must be doing something good. I can feel it. People who have bought or know my music also think and say I am good.


And what makes you unhappiest about what you’re doing? Greedy and selfish people in the music industry who think they can run everyone and everything. What’s your proudest moment of doing what you do? Being recognised and honoured in my homeland of Zambia as a music legend. It’s also been documented in a new book called Zambian Music Legends. And your least proud? Being locked up for fighting for my rights. When are you doing your thing next? I will be launching my new album, BAKAINDI (Ancestors) with my band, The Roots & Herbs on Saturday February 23 at The Thornbury Theatre in Thornbury. I am calling it The Tenth CD anniversary because it’s my tenth album release since I came to Australia. A good excuse for a celebration. You are all invited for a dance, drink or both. Bring your own herbs and if you do, don’t drink and drive. Cha.

ROCKABILLY RIOT It's Australia Day Holiday Eve this Sunday night and The Retreat Hotel are talkin' hot cars, fast women and bad-ass rock'n’roll. It's going to be a Rockabilly Riot featuring DJ Rockabilly Rob playing tunes in the beer garden from 5pm to warm you up and get you in the mood. That’s before the rockin' Snaked Eyed Rollers hit the big stage at 9.30pm, and then at 11pm, the mighty Firebird take over to get the atmosphere fully charged and the crowd howling for more. DJ Jungle Fever will keep things rockin' till 3am. It's all free. With the next day being a public holiday, dust off your best dancing shoes and head on down to The Retreat for the best rockabilly party in town.

THE SEVEN UPS Deep funk and bad afro, The Seven Ups sound is a blend of '70s Nigerian Afrobeat mixed with ‘bad’ funk. Inspired by legends Sly Stone, The Meters and James Brown, this all instrumental, all original nine-piece will be stretching out over two sets. Expect unrestrained solos by unkempt horns over an unpretentious rhythm section whose only interest is laying it down. Get your thing on, get up and get down to Bar Open on Friday January 25. It’s free of course.

SURVIVAL DAY GIG AT THE BRUNSWICK HOTEL To most people Australia Day is celebrated with pride, beer and a BBQ. But too few are aware of how this date affects our indigenous people. Many countries celebrate their National Day on the day they became independent from colonisation. Australia chooses to celebrate their National Day as the day the First Fleet dropped anchor in Botany Bay and began colonisation, consequently inflicting many atrocities such as mass murder, rape, kidnapping, poisoning, deliberate starvation and cultural genocide upon our native people; regardless of 18th century European international laws. This Saturday there will be a 16band, free entry gig at The Brunswick Hotel to raise awareness for why the date chosen for Australia Day needs to be changed so that Australia can have a true day of National Celebration. The gig is an all-day affair, run over two stages and includes local talents My Left Boot, Don Fernando, System Of Venus, Moth, Riff Fist, The Dukes Of Deliciousness, Arty Del Rio, Drifter, Long Holiday, The Kremlings, Olmeg, Angry Mules, 4tress, The Art Of Later, Master_Beta, The Underhanded (Anglesea) plus JMS Harrison (acoustic). At 3.50pm Wurundjeri Elder Aunty Georgina Nicholson will be giving the welcome to country speech. Make sure to come along to this event on Survival Day/Australia Day for a day of awesome local music and to help raise awareness for why the date we celebrate our nation should be changed. Day kicks off 2.20pm 'til 1am.

VULTURES OF VENUS Come on down to your favourite watering hole Yah Yah's on Saturday January 26 for an epic four band pileup for what promises to be a great night of rock’n’roll and debauchery. Headlining  the night are indie rock monsters Vultures Of Venus who will be unleashing a few new numbers and playing some old trusty favourites. Big fuzzy guitar riffs combine with dirty bass lines and razor sharp synths to create their  unique bombastic sound. This will be their last performance till April so wrap your little ears around their electro glam space rock while you still can. Joining them on the night are folk/country band Wolves Of Rain who are on tour from Tassie for the Melbourne launch of their new self-titled EP. Kicking off the night are local indie bands Atomic Bliss and Westall 66. Entry is $10 from 9pm and as always the Yah Yah's DJs keep things pumping 'til 5am.

SUSANNA CARMAN Susanna Carman offers audiences a one woman show that combines finger picking guitar, French fiddle and Appalachian dulcimer with a  “flock of melodies that rarely sit there waiting for you to like them; they're too busy doing that cartoon birds-around-your-head thing.”  (Bernard Zuel, SMH) Add to this a gift for storytelling that invokes a few full-bellied laughs, and you have a performer who slides comfortably into your affections. Catch Susanna as she plays an intimate Retreat Hotel front bar show tonight from 9.30pm, supported by Michael Waugh at 8.30pm. Free entry.

CROSS BROTHERS Endless Melt unveils its first release for 2013, a new cassette from Tasmanian mainlanders Cross Brothers (siblings Daniel and Patrick Cross). Entitled Live At Rat Palace, it documents a recent performance at the artist-run space in their former hometown of Hobart. Devolving the audience's collective ear with 30 minutes of unraveling guitar munge, punctuated by unwound anti-rhythms at every turn, Live At Rat Palace follows Cross Brothers on a descent into vertical nihilism, plenty of horrors escaping their twin six stringers before settling in the void. Cross Brothers launch the tape on Thursday January 24 at The Public Bar, North Melbourne.



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SIMMER Simmer are a Melbourne based band integrating high energy Afro/reggae rhythms with the unique blend of violin and trumpet seldom seen together as a horn/string section driving a powerful and original sound. Melbourne musicians Linden Lester and Luke Collins collaborated in the studio on initial sketches inspired by music as diverse as Toumani Diabate, Ali Farke Toure, Nitin Sawhney and The Cinematic Orchestra and by experiences travelling through expansive desert landscapes shaping the ideas that define this dynamic live band. For their show at Bar Open on Australia Day, Saturday January 26, Simmer will be joined by good pals The Imprints who are crazy exponents of all things gypsy, reggae and the in between. Another night of wild frivolity at Bar Open. Doors at 10pm, free entry.

MERCYFUL FATE Come and celebrate the power that is Mercyful Fate. The band was formed in 1981 by legendary singer extraordinaire King Diamond and were influenced by prog, metal and hard rock with lyrics dealing with Satan. Mercyful Fate were part of the first wave of black metal in the early-to-mid '80s and now they’re coming to The Bendigo, joined by an awesome ensemble of local faves including Earth, Maniaxe and Blackened. See what it’s all about this Friday January 25 at The Bendigo.


FOURTEEN NIGHTS AT SEA Full of subtle minimalism, slow builds, and destructive metallic resolutions, reminiscent to formidable contemporaries of the genre – This Will Destroy You, Godspeed… and the like – Fourteen Nights At Sea will now undertake a tour of all capital cities in Australia to prepare for the launch of their upcoming release in mid-2013. This tour will begin at The Public Bar in North Melbourne on Saturday January 26. Joining them will be Jimmy Tait and Claire Birchall of Paper Planes fame.

HEPBURN SPRINGS FOLK FESTIVAL The Hepburn Springs Folk Festival, an intimate summer festival celebrating fantastic Melbourne musicians, is back for its fourth year of rocking country, gypsy jazz and scarily-talented singer songwriters. Bluegrass country rockers Cherrywood at 10pm, with festivities continuing late into the night with bonfires and midnight jams. It’s a family-friendly gathering with fun for kids and adults alike, including the infamous chai tea lounge, sand pit, activities for the kiddos and grassy paddocks perfect for lying down and enjoying the folk sounds and summer weather. Presented by Winterbird Productions, The Hepburn Springs Folk Festival is held at The Old Hepburn Hotel on Saturday January 26, kicking off at 11am. The Hotel will be serving great food and an abundance of drinks, and BYO picnic is encouraged. The festival is not BYO alcohol. For more info, head to

SYDONIA On Friday February 1, the mighty Sydonia return to Revolver in what will no doubt be a night of epic proportions. With a brand new album on its way in 2013, those attending will hear new tracks by one of Melbourne’s most respected and loved hard rock acts. Support comes from Shadowgame, featuring members of Engine Three Seven, the female-fronted LeBelle and Bendigo's Artilah. Tickets available from Moshtix or on the door.

Name/Band: Tim and Chris - Cherrywood Define your genre in five words or less: Bar-room country punk So, someone is walking past as you guys are playing, they then go get a beer and tell their friend about you... what do they say? “The singer smashed a pot glass on his head and I couldn’t understand a word the mandolin player was saying.” How long have you been gigging and writing? Long enough to know better. What has been your favourite gig you’ve played to date? Sharing a stage with a huge water tank filled with Mermaids at the Perth Fringe Festival was pretty cool. Distracting, though. Which band would you most like to have a battle/ showdown with? King Parrot. If by “battle/showdown”, you mean have a hot cup of Bonox. What inspires or has influenced your music the most? Hank Wlliams, The Pogues and the odd Shandy. What do you think a band has to do these days to succeed? Get real jobs, get home too tired to write/rehearse and never publicise. Do you have any record releases to date? Where can I get it? We have our Broken Heart for Christmas flexi-disc and No More/Pentridge AA CD single, both are available on iTunes, at shows or in the discount bin at Dixons. We previously had a 7” single Head to the Ground but it’s sold out. Woo. Hoo. Why should everyone come and see your band? Because if you don’t, all your chooks will turn into emus and kick your dunny door down. When are you playing live/releasing your album/ EP/single/etc? At the Kyneton Music Festival on Saturday March 2. There’s gonna be 40 bands over the whole town for three days including Mick Thomas, Van Walker, Stonefield and a whole heap more. Keep your eyes out for more Melbourne shows and our full-length album coming out soon. CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

Beat Magazine Page 59



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Laura Loe, a semi-finalist on the most recent series of Australia's Got Talent, has released an EP consisting of four original songs that was produced by Glenn Scott at The Wick Studios in Brunswick. While the EP is already out on iTunes and Spotify, her official launch party is set to be on Tuesday January 29 at The Order Of Melbourne where she will perform songs off her debut EP and also an array of other original material. Jake Edgley, a budding Sydney-sider and Laura K Clarke, a local Melbourne talent, are supporting Laura Loe on her big night. Loe's catchy melodies, full band, powerhouse vocals and sassy stage presence is sure to be spectacular. If you like good singers, pop tunes and a little soul, then you can buy your tickets online at or hop onto her Facebook page, LauraLoeMusic.

With the nights finally warming up and those sweet summer vibes rolling our way, El Moth are stoked to announce that they'll be playing the infamous Evelyn Hotel every Tuesday night in January and February. Expect some guest musicians and epic jams, and of course the mood-elevating blend of reggae, funk, rock and hip-hop that the lads are known for. What better way to celebrate the summer than to have a kick arse two month party at the Evelyn? No better way, I hear you say. Good. Tuesday nights will feature a booty-shakin' set from drunken-reggae-funky-punksters El Moth with great support acts Band Of Frequencies, Lee Rosser and Tim O’Connor. 8.30pm.


THE MORRISONS Melbourne punks The Morrisons have been cruising up and down the coast this January and are bringing their tour home to Melbourne this Australia Day Eve, Friday January 25, at The Public Bar in North Melbourne. This will be the last time you can catch them before they lock themselves in the studio to put the finishing touches to their debut album. Set to tear the stage up with them will be Battle Club and The Summervilles.

HARRY BROWN Straight out of the musical madness of Berlin, Harry Brown is back on home soil and ready to show his fellow Melbournites what Germany's arts capital has made of him. With his unique energy, strong vocals and catchy sound, Harry's new three-piece consisting of himself (acoustic guitar/vocals) Lloyd Thompson (piano/banjo/ guitar/vocals) and Arash Salavation (bass) will have your ears begging for more. Catch them this Thursday January 24 at The Acoustic Cafe, 187 Johnston St, Collingwood. Head to for all gig and tour info.

GARDEN PARTY AUSTRALIA DAY Melbourne Recital Centre’s 2013 music festival hub, The Garden Party, will open its gates to the Melbourne public for a free one-off session, in celebration of Australia Day. What’s more Aussie than the suburban garden? The outdoor venue has been designed to evoke the Australian Dream, the perfect environment for music enthusiasts to celebrate our sunburnt country and vibrant culture with local musical talent and great food and drinks. This one-off session includes a funky line-up of some of Australia’s best musical talent, including Fantine and The Bearded Gypsy Band. The Garden Party is presented by Melbourne Recital Centre.

VIVA AUSTRALIA AT THE RETREAT With the Mexican wave riding high in Melbourne, Australia Day provides the perfect opportunity for a celebration of Mexican culture at The Retreat Hotel as a funky alternative to celebrating Australia Day. “Viva Australia” will host an all-Latin line-up at Brunswick’s iconic venue on Saturday January 26 to celebrate Australia Day. Starting from 4pm, the best collection of Latin bands will lead a free celebration of dance, music, food and drink. Why not celebrate Australia Day by enjoying a Mexican beer, having Mexican food and dancing to the finest of Mexican music? You might even meet a few gringos! Attendees are  highly encouraged to wear their sombreros and moustaches to be prepared for this mariachi-infused fun. Vintage rock’n’roll band Abbie Cardwell And The Chicano Rockers will headline the night led by their dynamic señorita of soul, Abbie Cardwell. They’re supported by Mexican rock band, Los Mas Altos, who provide a rockin’ fast-paced rhythm that’ll have you dancing till you drop. Earlier on you will be transported to the Caribbean by Perle Conche and their funky Latin jazz, with a stop in Brazil with Trio Bem Brasil and their bossanova touch. Dance well into the night with Saca La Mois DJ who’ll provide the tropical-space cumbia vibes that will keep the party going long after the bands are gone –'til 3am, in fact. Free entry.

SUZUKI NIGHT MARKET Now in its 15th year, the Suzuki Night Market attracts over 200 stall holders and showcases some of Melbourne’s finest artisans, producing locally made clothing, jewellery, prints and an array of cultural goods. The hawker style food stalls offer everything from traditional African curries through to the sweetest of honey dumplings. Don’t stop at one stall; take a trip around the world one dish at a time. If your legs tire from all that shopping, settle in with your favourite beer, wine or sangria and listening to some of Melbourne's finest musicians. Tonight, Tek Tek Ensemble play along with Te Honon Nga O Iwi for free on the main stage.

CLARKEFIELD MUSIC FESTIVAL The Second Annual Clarkefield Music Festival will see some of Australia’s finest musicians join forces for a common cause, as they raise money to help assist children and their families living in poverty in Cambodia. The festival will feature renowned Australian musicians Tim The Roving Commission, Sal Kimber, The Toot Toot Toots, Charles Jenkins And The Zhivagos, The Stetson Family, San Gras And The Dead River Deeps, with local acts Paper Jane, Brother Johnstone, Jarrod Shaw and Sarah Wilkinson. Set on a vast grassy green lawn, surrounded by paddocks, trees, old wagons and the beautiful old bluestone buildings of The Clarkefield Hotel (Coach and Horses Inn, 1857), it’s the most surreal and ideal place to lay down a rug, sip a cold beer and enjoy some of the finest music the country has to offer. With BBQ food, cold drinks, market stalls, a jumping castle, good friends and great music, it’s a perfect way to spend a Sunday and raise some much needed funds to help the lovely people of Cambodia. The Clarkefield Music Festival takes place at The Clarkefield Hotel on Sunday March 17 from 12 midday 'til 9.30pm. $30 presale, $35 at the gate, family tickets $70 and under 12s free. No BYO, drinks at bar prices. All money raised on the day will go directly to the running of a new school (which last year's festival helped to build) for over 1,000 children in the Kampong Thom province of Cambodia. Beat Magazine Page 60

STEREO ADDICTS After releasing two successful independent singles worldwide and touring the East Coast including headline shows at The Metro in Sydney and The HiFi Brisbane, indie-alternative rock sensations from NSW, Stereo Addicts are preparing to hit Melbourne with a show at The Hi-Fi on Friday February 1. The band have been making waves on the Australian music scene since their first single Goin’ Away was picked up by independent radio in Australia in June 2012. This led them on a tour between Brisbane and Sydney and a support with major triple j act Hunting Grounds. Their first two singles are currently #3 and #4 in the country category on the triple j Unearthed charts. Don’t miss them perform when they bring their live show to Melbourne as part of their In The Shadows Tour. They’ll be joined by special guests and notorious Melbourne indie band Red Ink. Tickets are available through the venue website.

Having just released his debut cassette Hours Electric, Dan Trolley from the garage punk band Mass Cult will be bringing his solo synth/punk show to The Tote Hotel every Wednesday in January. Armed with only a guitar, drum machine and sampler, Dan Trolley creates a wall of sound of layered synths, reverb drenched fuzz guitars and a repetitive '80s drum machine. Taking on influences such as Jesus & Mary Chain, Sonic Youth, Lou Reed and Tubeway Army, Trolley will be joined by very special guests every week. Catch him every Wednesday in the bandroom from 8pm.

LA BASTARD Surf/rockabilly/'60s extravaganza La Bastard are back. Having quickly earned a reputation as one of Melbourne's wildest live bands – with antics ranging from playing on tabletops and bars to entire crowds storming the stage – La Bastard now deliver their sophomore album Tales From The Beyond. Recorded with Paul Maybury (Rocket Science) at Secret Location studios and mixed by Jesse Booher (Looma), the new album infuses La Bastard’s energetic, reverb-drenched classic sound with a sultry, moody underbelly. La Bastard will launch Tales From the Beyond, Friday February 8 at The Spotted Mallard with The ReChords and Cherrywood as supports. Tickets are $12 at the door.

SODASTREAM Six years after their last performance and a sweet sixteen since they played their first show way back in 1997, Sodastream come together for a special weekend at The Northcote Social Club. Playing songs from their four studio albums along with a few picks from assorted EPs and singles, the band hit their favourite Melbourne stage on Saturday March 2 and Sunday 3. Support comes from good friends Oliver Mann (Saturday) and Anthony Atkinson & the Running Mates (Sunday). So now with an unfinished album crying out for attention, a batch of new songs on the boil and the Northcote stage beckoning, the boys are looking forward to a busy 2013. And all this courtesy of the failed Mayan apocalypse. $15+bf, or $18 at the door.

THE ANIMATORS In 2012 they gained national broadcast after featuring as Rage’s Indie Of The Week with Shiver, now The Animators are back with their latest musical offering We, Not The Giant. The Animators are bringing their distinctive blend of energetic piano and soaring vocals to The Workers Club to launch the clip for their brand new single We, Not The Giant, supported by emerging electronic act Squarehead and the acoustic four-piece 19th Century Strongmen. The evening promises to be a night of some of Melbourne’s most diverse yet compelling live acts. Workers Club, Thursday January 24, doors at 7.30pm. Tickets $12 on the door.

TASMANIAN BUSHFIRES BENEFIT The Tote will be hosting an impressive array of bands this month, in support of those affected by the Tasmanian Bushfires. Acts including Witch Hats, Tom Lyngcoln, The Bulls, Monique Brumby, Miles Brown, Mike Noga, Midnight Caller, Matt Bailer, Ivy St, Hayley Couper and Blackchords, DJ Suicide Jockey and more. A BBQ will be cooked by popular Tasmanian AFL footballers and all proceeds will go directly to the Red Cross. Head on down to the Tote on Monday January 28 at 1pm and lend your support to this great cause.

ELWOOD BLUES CLUB The Blues Jam, a Sunday evening feature that was established at the Elwood RSL over the last 15 years, has now relocated to the Greyhound Hotel in St Kilda, corner of Brighton Road and Carlisle Street. The Jam is well known for encouraging new blues artists and supporting established musicians. Guests have included Dutch Tilders, Mike Rudd, Rob McKenzie and Robert Susz. The house band welcomes amateur and professional musicians to join them for one of several three-song sets. Celebrating the new era, the gig will be known as the Elwood Blues Club. Spokesman Adrian Reeves said the house band is looking forward to playing at a demonstrably blues-friendly venue south of the Yarra. The Elwood Blues Club will start at 4pm every Sunday and entry is free.

GLEN & THE PEANUT BUTTER MEN Head down to The Bendigo Hotel on Saturday January 26 for some good old Aussie punk and rock bands. The night features Glen & The Peanut Butter Men playing their furious punk rock’n’roll with support from China Town Angels, Crackwhore and Thundabox. It’s going to be a good, loud and cheap raucous night. $7.

Q&A JUNK HORSES If you could assassinate one person or band from popular music, who would it and why? I’m not all that into assassinating, but I would give John Mayer a good firm spanking. What can a punter expect from your live show? Hooky licks, gyrating, howling, stomping, sweat, windmills. So then, what’s the band name and what do you ‘do’ in the band? Junk Horses, I sing and yell a bit, bash an SG that used to belong to Taxiride and write the tunes. What do you reckon people will say you sound like? One part Patti Smith one part Neko Case one part Ludacris one part twang one part sexy one part junk. We have lots of parts. What do you love about making music? It’s the best thing any human being can do with their time.


What do you hate about the music industry? I just lurk on the periphery in small bars and pubs, so I can’t hate it. Everyone I’ve come across has been groovy as hell.

Capping off a big 2012 with an Australian Music Prize nomination and soon to be heading back into the studio for her follow-up EP, Ali E is easing gently into the year with some new songs and a casual show at The Retreat front bar this Tuesday night, January 29. The show will be kicked off with support from the wonderfully whimsical Pencil, formerly known as Mr. Speaker, at 8.30pm. Entry is free.

If you could travel back in time and show one of your musical heroes your stuff, who would it be and why? Probably Johnny Cash, he was open to every type of GOOD music, he’s unique, passionate, daring and also have you seen that photo of him with the kitten? Yeahhh.


What’ve you got to sell CD-wise? We’ve got an EP we bashed together just the other day in a shed in Preston. It’s a bit of a cracker! When’s the gig and with who? Saturday January 26 at beautiful and wild Hepburn Springs with a million other splendid people and things from near and far including: Cherrywood, Mightiest of Guns, Humbug, Freya Hollick, Tim Guy & band, you, me, a chai tent AND also there is a big pile of old TVs out the back which people sit around in a circle singin’ Hank Williams, raggy blues, TLC and misc ‘80s hip hop til sun up. Anything else to add? YOU SHOULD COME. The lake down the road cures the most evil of hangovers and there are a bunch of great cafes, book shops, record shops, parks, paddocks and bars in the area.



On Australia Day 2013, The Tote will host the launch of a 12" vinyl compilation entitled Rough End Of The Stick, released by Melbourne based label Vacant Valley. The compilation features a diverse mix of mainly exclusive tracks from numerous Melbourne-based solo artists and bands including The Bunyip Moon, The Stevens, Mad Nanna, Jouissance, Full Ugly, Sir Gooch Grobble, Popolice, Wolf 359 and more. To celebrate this release, a special lineup has been arranged, reflecting the varied nature of the compilation itself. Performing on the night will be Ratsak, White Walls, Pop Singles, Mad Nanna, Go Genre Everything and Dane Certificate. The compilation will be available on the night as well as other Vacant Valley records and t-shirts. It all kicks off from 8pm on Saturday January 26. $12 entry.

Water Music began in late 2010 as the strange unclassifiable lo-fi home recordings of Fitzroy local Matty B. After two round the world solo tours and the recent release of a 12" LP, Mountains, Water Music is set in 2013 to morph into its next phase – a strange unclassifiable lo-fi, up-down, quietloud, psychedelic six, seven or eight-piece. This will be the second show for this incarnation after a rapturous birth in November. Good times are there on Sunday January 27 at The Old Bar. $6.

OZ DAY HOLIDAY EVE AT CHERRY Matt Sonic & The High Times return from a recuperative six-month hiatus to join a killer triple-headline bill alongside My Left Boot and Don Fernando this Sunday January 27  at Cherry Bar in AC/DC Lane. It’s a dirty, stoner, sexy, psych freak-out. Cherry Bar staff and owners are nervous; famously Matt Sonic & The High Times  played Cherry once before and the enormous mirror behind the Bar, which had been there for over ten years, was shaken off the wall and crashed down into a million pieces such is the sheer force of their long-haired hard rock. Tickets $10 at the door.

ZELUS Zelus is a new jazz trio from inner-city Melbourne. Members Earl Armstrong, Sean Connolly and Michael Julian enjoy sharing their musical passion with their audiences through their diverse repertoire. Their original compositions draw from many influences such as jazz, funk, blues and Latin with a strong improvised spirit. Zelus also feature a fresh perspective on classic and modern jazz standards and blues tunes. Zelus perform at The Spotted Mallard tonight from 8pm. Free.

UNION ROYALE Union Royale is the coming together of three tried-andtested road soul dogs opening the songbook and taking a reckless spin. This surely can't be a bad thing when combining  Shane Reilly  on pedal steel and vocals (Tex Perkins, Blue Sun),  Simon Burke  on keys (Mia Dyson, Something For Kate) and Toby Lang on drums (ex-Audreys, Kate Nash). Expect to hear Buck Owens to Bowie – drenched in pedal steel of course. These intimate Sunday sessions are free for one and all at The Spotted Mallard from 4pm.



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IN MUSIC WE TRUST Trusty Chords Music presents In Music We Trust; a month of free Sunday early evening shows starting at 3pm through January at the iconic Public Bar in North Melbourne. Featuring an eclectic lineup of up-and-coming acts, interstate visitors and well-known Melbourne singer songwriters, no week is the same and every show is a good reason to kick back and have a good Sunday session with some pals at The Public Bar. Returning from the Northern Territory, Donnie Dureau (Blueline Medic, Ribbons Patterns, Tyre Swans) is back in Melbourne to concentrate on writing music and playing shows again. He’s joined by the more than capable and accomplished Andrew Swift with up-and-coming Lucy Wilson rounding out the bill and month.



Soul Fist is a night of wild Afro-American music, screaming savage soul, furious punk funk and riotous lo-fi rhythm – all at the courtesy of the vinyl collections of Jumpin' Josh, Sye Saxon and other members of the Soul Fist Street Gang. This month, Soul Fist are delighted to have swamp-popsters The Breadmakers bringing their raw, pounding R&B to the stage. There will be no mercy on the dance floor. Friday February 25, The LuWow, $5, 9pm.

Originally a sibling duo, Melbourne band Rocky and Nancys have recently grown into a quadriphone of low-fi, punk-pop proportions. After the successful release of their debut album in late 2010, Rocky and Nancys have been regularly gracing bars around Melbourne looking for love. With their laid-back attitude, they casually punch out catchy pop tunes then energetically slap you in the face with an addictive sandwich of punk. Catch the quad ensemble at Richmond’s Great Britain Hotel on Thursday January 24, 8pm sharp. Free entry.

YEO Better grab your dancing shoes for this one. On Saturday February 9 Yeo is bringing his fourth album Sell Out, and whether your musical tastes are for the spicier end of jazz and funk, or you prefer the straight-up sugary rush of bubblegum pop and hook-laden R&B, this guy’s got your dish. Think James Blake’s intimate prism of future garage songcraft combined with the playful work ethic of Prince, and Chet Faker’s blue eyed jams, seasoned with a lick of Pharrell Williams’ cocky colour. With Brisbanite Dot. AY’s experimental Chipmusic jams and Melbourne partystarters Francolin joining the party, it’s sure to be one hell of a knee-bender. It's happening at The Toff. Tickets $10,

TULLY ON TULLY Inspiration comes from a different location for every artist; a special place where an idea sprouts and grows into something tangible. The origins of Tully On Tully’s latest single Stay, initially a poem, sprung whilst in a pocket of park in Carlton, Melbourne. Featuring Hayden Calnin's vocals, Stay is Tully On Tully’s second single from their debut album, following on from Naked last year which earned triple j rotation and community radio airplay on 3RRR, FBi Radio and SYN. They'll be launching it at Ding Dong Lounge on Friday January 25 and Karova Lounge, Ballarat on Friday February 8.

KYNETON MUSIC FESTIVAL Ready for one jam packed weekend? Kyneton Music Festival will turn its town’s historic buildings, bluestone churches, old watering holes, art galleries and cafés into live music venues. With over 40 bands, including Mick Thomas, Stonefield, Ramblin Van Walker Band, Major Chord, Perch Creek Family Jugband, Cherrywood, The Dead Salesmen Duo, The Resignators, Nigel Wearne and the beard and 'stash comp, Beardfest, they will take the stage from Friday March 1 'til Sunday March 3. Weekend pass is $45. For more info head to


Beat Magazine Page 61



Ready For Boredom (RIP Society)




















That rock’n’roll is the musical vehicle for disaffection, frustration and sociological ambivalence is one of the genre’s many conceits. In its original guise, rock’n’roll claimed synonymy with the discourse of anti-establishment attitude; 20 years later, and Richard Hell recalibrated punk rock rebellion into slacker form. We’re so pissed off with the world, we couldn’t even get a fuck. When Bed Wettin’ Bad Boys proclaim they’re ready for boredom, the paradox is deliberate. Ready For Boredom is the record you need when you wake up and can’t see the woods of your future for the towering trees of financial insecurity and personal despair. When the careers counsellor asks you where you want to be in ten years time, and you answer with another girl, on another planet; when your parents chide you for your peers, and you assert your membership of the blank generation; when your partner pleads to kindle the excitement of the past, and you proclaim that you can’t throw your arms around a memory. Everything is too much; nothing is meaningful. The album opens with Devotion, and you can hear the cobwebs being blown off the dusty bodies from the previous night’s debauchery, the soundtrack a forced marriage of the powerpop hope of The Nerves and punk attitude of The Germs. On Bite My Tongue the early afternoon blues have set in; the hair of the dog is loitering around the corner to whet the appetite for more denial. Only Loneliness is the best song Pete Perritt lost in the fog of his chemically brutalised adolescence, Call is emotional desolation soaked in the sludge of post-hardcore, while Have You Ever takes The Buzzcocks’ plaintive expression of Mancunian punk rock love and soaks it in the grime of 21st century realism. The album flips over – after all, this is a record that’s born to be pressed on black plastic – and there’s a sense of Stemsian hope flowing through the veins of Any Day Now; maybe things are getting better, or maybe it’s just another hungover illusion. On Sally, the spirit of dirty ‘70s rock shines through, Ted Nugent witnessed through a Casanovas lens with a dusty Peter Criss hanging out in the studio. Wait And


Maybe (The A&R Department) A good early effort from Brisbane four-piece Jakarta Criers, sincere and energetic. The band cites Birds Of Tokyo and Something For Kate as influences, and their melodic rock is similarly throaty and prone to moody eruptions, but less mature. Their songwriting is derivative and too straightforward, in the way young songwriting can be. They have potential.


I Remember (Independent) The debut single from Sydney-sider Nick Pes is an inoffensive, unremarkable contribution to the glassy synth pop oeuvre. He reminisces about some summer past while the drum machine ticks out a steady 1-2 beat and the keys hum in limp electro pop harmony. His tidy, unemotional voice isn’t strong enough to carry the song.


Fitzpleasure (Infectious/Liberator) UK outfit Alt-J will bring this twitchy experimental pop tune to the Laneway Festival in a couple of weeks. Taken from their Mercury Prize-winning debut An Awesome Wave, Fitzpleasure is Pink Floyd meets Animal Collective meets Sigur Rós, a willfully arty blend of popping vocal notes, arrested drum beats and bowel-shaking electro, with the odd drift through atmospheric space. It’s interesting, but it doesn’t do much for the soul. It is, however, excellent music for vacant-eyed hipsters who don’t really like anything.


Charge (Liberator) This aural assault merges rap, a soaring melodic chorus and pummeling synth beats in a suspiciously Eastern European way. There’s a foam party in Ibiza somewhere rocking hard to this tune.


C’Mon (Sony) Party pants comes over all Nicky Minaj on the second single from Warrior. The verse is full of sharp, angular rapping in a very familiar style. The chorus is another Ke$ha special: sugary, reckless and anthemic nonsense about losing yourself in the moment. Again.


Jubilee Street (Independent) I’ll grant you The Boatman’s Call and Grinderman, but everything else Nick Cave has recorded is pure silliness, Beat Magazine Page 62

1. None Left (7”) RAW PRAWN 2. Ready for Boredom (LP) BED WETTIN’ BAD BOYS 3. Ah... What An Ugly Face Every Face Is (7”) AUSMUTEANTS 4. Ball Power (LP) COLOURED BALLS 5. Ways of Being (LP) RITES WILD 6. Stamp Out Disco (7”) RAZAR 7. Feel So Good (7”) SPELLING MISTAKES 8. I’m Gonna Be the Best Guy (7”) JET STAXX 9. Self Titled (LP) PROTEX 10. Homework (7”) SCREAMING URGE See is contemplative and disconcerting – is the calm before profane storm? The title track is simultaneously a statement of intent and resignation: these guys have had enough, imbibed the rhetorical bullshit, bought the t-shirt, done the self-help course with the slick American dude, watched the 3am infomercial, handed over the hard-earned cash and still nothing’s changed. Ready? Yep, ready for the same old shit. From there it’s a calm walk out the door in Keep It From You, a bit of Billy Bragg Thatcherist realism, a touch of Pistols nihilism, a hint of Scott and Charlene’s Wedding weathered brown couch beauty. And that’s it. No fanfare, no drum solo, no self-indulgent guitar heroics or pretentious poetic flourish. Just a bunch of guys ready for boredom. Boredom never sounded so good. PATRICK EMERY

OFF THE HIP RECORDS 1. Reality Is A Grape (LP) CHEATER SLICKS 2. Live At Missing Link (LP) EDDY CURRENT/ UV RACE 3. Cut Sleeves (LP) BITS OF SHIT 4. Aloha (LP) CUNTZ 5. Tales From The Beyond (LP/CD) LA BASTARD 6. Black Vinyl Shoes (LP) SHOES 7. Bitch (7”) INCREDIBLE KIDDA BAND 8. White Flag (7”) GUIDED BY VOICES

Best Track: Devotion If You Like These, You’ll Like This: ONLE ONES, JOHNNY THUNDERS, TWERPS, LOWER PLENTY In A Word: Slackarse

9. Reverse Shark Attack (LP) TY SEGALL 10. Self Titled (LP) KING KHAN & BBQ SHOW


SINGLES BY SIMONE Bullfights are hugely popular because you can sit comfortably with a hot dog and possibly watch a man die. – Albert Brooks


including this. Lyrics include, “I’ve got a foetus on a leash” and “I am an embryo eating dark oxygen”. Why is everyone in his universe so decrepit and miserable? Does the man not own an iPhone? Seriously, Nick Cave, buy an iPhone. Join us in a time of universal Western happiness.


Sunset (Young Turks/Remote Control) The second single from Coexist features the same shared male and female lead vocals that made the first XX album so distinctive. There’s an added depth here though, a soulfulness or honesty less glassy and detached than their debut. The bass thuds like a heartbeat, while Romy and Oliver’s quiet conversation draws you in close.


Silent Machine (Matador/Remote Control) Silent Machine is a deceptively big and very clever tune. The production and arrangement are dazzling; guitars sing in stark, funky melody, kick drum keeps steady time, toms slam theatrically while Chan Marshall wails a slim but mighty vocal part. Every sound is separate and clear as a bell but the song hangs together perfectly, fat and swinging.


Winter Make Way (Independent) The Sleepy Dreamers open true to their name, lilting and wistful; a whispering, feather light of indie folk sound. Half way through the track they crank the energy in a way that would make Mumford and Sons terribly proud.

1. Everything You Wanted CLUBFEET 2. Did You Pay Cash For That Panic Attack? ROYAL CHANT 3. After The World Ends THE FIRETREE 4. Days Of Boredom LOWRIDER 5. I’m A Dreamer DIAFRIX 6. Tokeloshe (new sound) DEAD RADIO 7. What I Know THE HARLOTS 8. What If I Said WILL AND THE INDIANS 9. Sense Of Self CITY CALM DOWN 10. Razorblades NEW GODS

COLLECTORS CORNER MISSING LINK 1. Ready For Boredom (LP) BED WETTIN’ BAD BOYS 2. Self Titled (LP) DOOM 3. Shotgun Wedding (CD) LYDIA LUNCH AND ROWLAND S. HOWARD 4. Place Of No Pity (CD) RUINS 5. Desertshore / Final Report (2xLP) XTG 6. Split (LP) HOTEL WRECKING CITY TRADERS / WATERWAYS / SONS OF ALPHA CENTAURI 7. EP I of IV (LP) DOWN 8. Another Gory Mess (CD) FUCK I’M DEAD


Suit And Tie (Sony) Whomping funk gives way to glittering disco soul in the slightly ridiculous new single from Justin Timberlake. Jay-Z raps fast over a slow instrumental break then JT swings back in with his Off The Wall-era Michael Jackson homage. The whole pretty package comes courtesy of producers Timbaland and J-Roc Harmon, who know their shit.


Judge, Jury And Executioner (XL/Remote Control) Thom Yorke’s slow-brewing side project came together as a backing band for a 2009 tour of The Eraser. With Flea on bass and Radiohead producer Nigel Godrich on guitar, Atoms For Peace have released the odd track on the internet while promising and promising a debut album. At last, the iceman cometh, with an album due out on Monday February 25 and this very Radiohead-sounding single to promote it. Thom’s voice drifts ghostly through a lean landscape of glitch, then another layer of vocals kick in, his slithering, soulful falsetto with its usual bite and occasional melancholy. That voice is god. It has no equal.


9. Live Forever (CD) KROMOSOM 10. Old Grey Whistle Test (DVD Boxset) VARIOUS

BEAT’S TOP TEN SONGS ABOUT GOD 1. God’s Away On Business TOM WAITS 2. Sun God CUT COPY 3. God Bless The Dead TUPAC SHAKUR 4. One Of Us JOAN OSBOURNE 5. Lord, Send Me An Angel THE WHITE STRIPES 6. Oh Lord PORTUGAL. THE MAN 7. God Only Knows THE BEACH BOYS 8. Jesus Gonna Be Here TOM WAITS 9. My Sweet Lord GEORGE HARRISON 10. Us Godless Teenagers THE VEILS



Heirs & Graces (Ilusion) FOR MORE REVIEWS GO TO



LONG.LIVE.A$AP . (RCA Records/Sony) Hailing from Harlem, this Houston influenced rapper seduced audiences with his chopped and screwed sound off the release of his mixtape LiveLoveA$AP in 2011. After an epic label bidding war, RCA Records won the rights to his highly anticipated debut album. Let it be said that A$AP Rocky has firmly stated he wishes to be a great artist, and not necessarily the greatest rapper of his time. LONG.LIVE.A$AP comes at a time when new school hip hop is being looked at through a fresh lens since the release of his frequent collaborator Kendrick Lamar’s good kid, M.A.A.D City. Lyrical prowess is once more at the forefront of hip hop and with a release only three months behind the album that raised the bar for everyone, it would be easy to turn a blind eye to what A$AP Rocky has achieved. Teaming up with artists from many different fronts of music, A$AP boasts collaborations from Skrillex, to Santigold, to Florence Welch. He has picked up where Kanye left at My Beautiful Dark Twisted Fantasy. Where the album does not scratch beneath the lyrical surface, A$AP excels with an ear for haunting and strong beats. The highlight track is Goldie. With Hit-Boy production, the Paleolithic beat is layered with his signature metallic synthesisers. A$AP’s just-right flow and comically dark lyrics including “N***as talk shit ‘til they get lock jaw/Chrome to ya jaw ‘til you get glockjaw,” he reminds us that he’s one of hip hop’s golden boys. Fuckin’ Problems follows in hot pursuit with a strong collaboration between A$AP, 2 Chainz, Drake Best Track: Goldie and Kendrick Lamar. If You Like These, You’ll Like This: KENDRICK LAMAR, KANYE WEST TAMARA VOGL In A Word: Captivating


We Are the 21st Century Ambassadors Of Peace & Magic (Jagjaguwar) Trying to pinpoint every band musically referenced by Foxygen is like trying to solve a Rubik’s Cube, whilst trying to beat Garry Kasparov at chess. Grabbing some sort of ‘60s and ‘70s rock/pop compendium might help though, as that is where We Are the 21st Century Ambassadors Of Peace & Magic is most definitely entrenched. No Destruction interprets piano driven rock in a similar way Beck might, and the Rolling Stones’ influence is no more prominent than it is here, Sam France channeling Mick Jagger like nobody’s business. There’s a great Jim Morrison-like lyrical freak out on the titular track, and the smooth Oh Yeah sees France hitting some nice falsetto before telling the band to “freak out”, sending the lead guitar into a frenetic solo. Whereas MGMT tapped a similar vein of music and brought it into the production laden new millennium, Foxygen are purists, and it’s probably just as well. They reinterpret such deep mines of rock and pop that to add any kind of electro production element would probably bring the wheels off. They pay homage to, rather than create a pastiche of Bowie, Lou Reed, The Animals and latter day Beatles; as well as those rockier influences, there are hints of gospel to be found in the organs and harmonies. Album closer Oh No is further evidence of those assorted influences, tightly structured verse and chorus that gives way to a droning outro, ending with cascading piano and twee crooning. “If you believe in love/Everything you see is love.” It’s not a grand departure from their previous LP, but this new offering sounds Best Track: Oh Yeah more focused, the songs more crafted; and though it If You Like These You’ll Like This: THE ROLLING all sounds familiar in some way, it’s an interesting and STONES, The Big Chill Soundtrack VARIOUS at times exhilarating listen. ARTISTS, Bailing Out LITTLE BARRIE In A Word: Indefinable GARRY WESTMORE


I Am Not From A Small Town EP (Independent) Melbourne’s The Pretty Littles have been building their name for a wee while now and their second EP I Am Not From a Small Town brings yet more treats from the rocking quartet. Opener Hectic Psychotic is exactly that. A little hectic. A little psychotic. Jack Parsons’ vocals are drenched with distortion but close your eyes and you can almost feel the spit on your face as he screams through a powerful three minutes. The softer Bring On The Bad Times really shows off his vocal range, which is far more obvious when the guitars are being played less frenetically. There’s a nice roll to it and an Oasis-esque solo to boot. “How long can we use the excuse that we’re just young/Having fun/Playing dress ups with toy guns?” asks Parsons, suggesting that although The Pretty Littles don’t seem to take themselves too seriously, they’re not completely devoid of self analysis. There’s a similar theme in Mumma, a great rock track about regrets, ignoring your mum’s advice and ending up in jail. “I’m a good boy Mumma/I should’ve listened”. That ‘Mumma’ line providing a nice segue into Never Had A Story, just vocals and a twangy guitar with Parsons singing with gusto “I’m just another sorry mother fucker/Left his run too late.” Hopefully The Pretty Littles haven’t left it too late. Judging by the EP closer Small Towns, which ends with Parsons screaming, drums rolling and guitars soaring, The Best Track: Small Town If You Like These You’ll Like This: Entire catalogue Pretty Littles certainly have the energy to create and of THE VASCO ERA, Keep Walking THE MESS HALL tackle opportunities. In A Word: Energetic








This highly polished five-piece are far from clubfooted. Perhaps their name is more to do with their music sounding like it should be played if you’re getting ready to go out to a club, being at a club or enduring a sordid recovery from a night at a club. But the sounds on new album Heirs & Graces are more than just an expression of the excitement of the nightlife, but also the feeling of escapism that comes with it. For every scene of picking up and getting back home, there are details of the complications that follow. On the first album it was “All of my friends are kissing each other”, here it’s “How can we be friends now we’ve slept together again?” As per 2010’s debut Gold On Gold, there is an ever-present shadow to bring in that hint of melancholia, like on the opening My Shadow or the sweet single, Heartbreak, which has guest vocalist Chela “standing in your shadow always”. Likewise, Cape Town is a giddy cable-car-ride to the top of Table Mountain with a cheesy chorus declaring “Everybody dance with me, it’s my birthday”, though its escapist celebration comes on the back of heartbreak. While Heartbreak and My Shadow see the band venture toward a more radio-friendly indie-guitar direction, the bulk of the album mines a steady electro beat that deepens as the album progresses and then winds down at the end with low-key odes to a German model. Throughout, the band maintain their high consistency of potential hits, while both broadening and tightening up their sound. I’m not entirely sold on those bursts of saxophone on the Best Track: Heartbreak If You Like These, You’ll Like This: In Ghost Colours otherwise radiant Cold Rain though. M83, what have you done? CUT COPY, In Our Heads HOT CHIP In A Word: Heart-beats CHRIS GIRDLER


Black Stones (Illusive) There’s something refreshing about soul. Even as the sun beats down, the plants shrivel and the dull din of fossil-fuel burning air conditioners pollutes the aural atmosphere, soul can reassure us that if we just chill out and lock into a slick groove, then everything will be okay. And even if it’s turns out to be another cheap panacea, there’s a moment or two when the world is pretty damn good. And so it is with Lowrider’s latest record, Black Stones. At its highest peak, Lowrider can sooth the mind of the most troubled individual; to whit, the glistening ‘70s white flares and gospel beauty of Golden Sun, or the emphatic organ-spiked post-disco strutting elegance of Little Darling. On And I Wonder you’re grooving to a beat that just yearns for some groin thrusting dance-floor action; skip forward to hip-hopping Day Time Tripping and it’s acid freakdom on a Sunday afternoon. On Fire Away the mood is sultry, the weapons of emotional dispute kept out of action; the title track is quiet, reserved and soothing. But when Lowrider is packing attitude, it’s a sight to behold. The opening track, Days Of Boredom grinds and grunts like Mick Collins exploring the heart of Curtis Mayfield. On The Pay Day, Lowrider riff on the time-honoured chain gang blues chant and take it into James Brown’s early ‘70s funk palace, and the rewards are there for anyone to hear. What Happened To You is less a casual enquiry and more a brash accusation, albeit one which tempers as the inquisition proceeds. While there are the occasional moments where subtlety gives way to something approaching tepid – case in point, Be A Star – Black Stones takes you to a place where the soul is in good shape. And so it should Best Track: Golden Sun If You Like These, You’ll Like This: MARVIN GAYE, be all the time. HALL AND OATES, THE BLACK EYED PEAS PATRICK EMERY In A Word: Soul


Stompy And The Heat (Masterstroke Records) While Europeans fear the icy clutches of winter, in Australia we’re conditioned to avoid the threatening rays of the blazing summer sun, with all its cancerous properties. Sadly, the increasing reliance on air conditioning has induced a form of cultural-climatic amnesia, causing us to believe – stupidly, for we’re in the midst of a dark age of environmental awareness – that energy-sapping heat can be overcome through injudicious use of technology. Stompy and the Heat is largely the creative beast of Scott Wilson, long-time guitarist and songwriter with Dan Sultan, and former member of the sadly unappreciated and now (sadly) moribund The Roys, augmented with Bow Campbell on vocals and Peter Martin on drums. The band’s debut album pays homage to rock’n’roll, in all its battered and bruised glory. Alien Death Ray takes the oft-travelled Link Wray via Dick Dale route with the practised expertise of a Daytona 500 driver, Thanks To You channels the New Christs with a dash of slide on the side and Black Lightning finds a dirty riff and polishes it into sparkling glory. The notionally anthemic Stompy and the Heat leans back on the bar and gushes with Graney-esque self-referential qualities, Zombie lunges and swerves like a punch drunk ‘80s rock legend stumbling through a night of Gun Club covers and Your Affections is as sweet, innocent and naive as a first teenage date. Badaling is ‘50s rock’n’roll with Carl Perkins on creative supervision, Don’t Tell Me finds a spot in the booths next to a bustling ‘70s dance floor and surveys the fruit on offer, the cover of Merle Haggard’s Honky Tonk Night Time Man does everything in its sliding power to celebrate Haggard’s steadfast grip on quality country and the instrumental The Last Wave reminds us that rock’n’roll does, occasionally, have a sensitive and sympathetic side. Sitting around in the midst of a debilitating heat wave probably isn’t the best time to be indulging rock’n’roll. But there are worse things to be doing – working out in a bourgeois gym to exorcise middle-class guilt, for one thing – than Best Track: Alien Death Ray immersing yourself in a bit of Stompy And The Heat. If You Like These, You’ll Like This: LINK WRAY, DICK DALE, JOE SATRIANI PATRICK EMERY In A Word: Hot















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GIG GUIDE WEDNESDAY JAN 23 INDIE, ROCK, POP, METAL, PUNK & COVERS ANIMAL COLLECTIVE Palace Theatre, Melbourne Cbd. 8:00pm. BAND OF HORSES + MIKE NOGA Palais Theatre, St Kilda. 8:00pm. CHOON GOONZ + HOLOGRAPHIC COCON + THE WEDNESDAY EXPERIMENT Idgaff Bar & Venue, Abbotsford. 8:00pm. COLLAGE - FEAT: THE LAST OF THE GOOD MEN + DANCING HEALS + JULY DAYS Espy, St Kilda. 8:00pm. DAIMARU + ADELAIDE CROWS + THE GREAT OUTDOORS Old Bar, Fitzroy. 8:30pm. $7. DAN KROCHMAL + FRANK DIXON + KAITY DUNSTAN + SYRE & FRESKO Revolver Upstairs, Prahran. 7:30pm. $10. DAN TROLLEY + HIGH FANGS + THE IN THE OUT Tote Hotel, Collingwood. 8:00pm. DEATHROW HARMONICA + DRSS + KINGS CUP + THE DOSAGE Bendigo Hotel, Collingwood. 8:00pm. FLYYING COLOURS + THE HONEYBADGERS Cherry Bar, Melbourne Cbd. 7:00pm. JOE PERNICE & NORMAN BLAKE + VAN WALKER Northcote Social Club, Northcote. 8:00pm. $40. MADRE MONTE + CAMBUR PINTON Workers Club, Fitzroy. 8:00pm. $8. MARICOPA WELLS + FOXTROT + KISSING BOOTH + LUCY WILSON Bar Open, Fitzroy. 8:00pm. MOTION PICTURES + MATT GLASS + TANE EMIAMOORE Evelyn Hotel, Fitzroy. 8:00pm. $5. OFF! + BATPISS + BLOODY HAMMER Corner Hotel, Richmond. 8:00pm. $40. RATTLIN’ BONES BLACKWOOD + CORAL LEE & THE SILVER SCREAM + GEORGE HYDE & SEYMOUR HOLLOWS The Public Bar, Melbourne. 8:30pm. SLEIGH BELLS Billboard, Melbourne Cbd. 8:00pm. $55.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC BOHJASS + ROB SIMONE BAND 303, Northcote. 8:00pm. DIZZY’S BIG BAND Dizzy’s Jazz Club, Richmond. 9:00pm. $14. JUDE PERL Veludo Bar & Restaurant, St Kilda. 10:00pm. JULIARNA Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $15. TAL COHEN TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. THE UNDERSCORE ORKESTRA + RAPSKALLION Toff In Town, Melbourne Cbd. 7:30pm. $10. ZELUS Spotted Mallard, Brunswick. 8:00pm.

ACOUSTIC, COUNTRY, BLUES & FOLK BELOVED ELK + KYLE RODDA + SHABON Gertrudes Brown Couch, Fitzroy. 9:00pm. HELEN CAT & CO Open Studio, Northcote. 9:00pm. KIM SALMON Standard Hotel, Fitzroy. 8:30pm. OPEN MIC Dancing Dog, Footscray. 8:00pm. OPEN MIC Thornbury Local, Thornbury. 8:00pm. OPEN MIC Brunswick Hotel, Brunswick. 9:00pm. OPEN MIC Great Britain Hotel, Richmond. 10:00pm. OPEN MIC Grind N Groove, Healesville. 7:30pm. OPEN MIC Brunswick Hotel, Brunswick. 8:00pm. OPEN MIC Great Britain Hotel, Richmond. 9:00pm. SUMMER OF CLASSICS - FEAT: ROS DOBELSKY Pure Pop Courtyard, St Kilda. 8:00pm. SUSANNAH CARMAN + MICHAEL WAUGH Retreat Hotel, Brunswick. 8:30pm. TESSA LYES Some Velvet Morning, Clifton Hill. 8:00pm. THE SPOILS The Resurrection, Melbourne. 7:30pm. WINE, WHISKEY, WOMEN - FEAT: CYNDI BOSTE + SIMONE GILL Drunken Poet, West Melbourne. 8:00pm.

THURSDAY JAN 24 INDIE, ROCK, POP, METAL, PUNK & COVERS ALABAMA SHAKES Forum Theatre, Melbourne. 8:00pm. BIG WORDS Empress Hotel, North Fitzroy. 8:00pm. CHICKS ON SPEED + CRASS DJS + GHETTO PUSSY Tote Hotel, Collingwood. 9:00pm. CROSS BROTHERS + INEVITABLE ORBIT + MATT MIDDLETON + PEOPLE PERSON The Public Bar, Melbourne. 8:00pm. $8. DEL LAGO + DANGEROUS JOHN + DON’T GET LOST Gasometer Hotel, Collingwood. 8:00pm. $5. EAT MY SHORTS - FEAT: SCARTISSUE + AMERICAN Beat Magazine Page 64

IDIOT + FOOVANA Revolver Upstairs, Prahran. 8:00pm. $15. EDITH LANE + 1283 + BNASHM Bendigo Hotel, Collingwood. 8:00pm. $10. ELECTRIC CULTURES II - FEAT: MOTION (SIC) + BAD BONES + BIG YAWN + DROOLING MYSTICS + TIM COSTER Old Bar, Fitzroy. 8:30pm. $8. EMMA LOUISE Toff In Town, Melbourne Cbd. 8:00pm. $20. GHETTO GHETTO + CASSINI + SPERMAIDS Grace Darling Hotel, Collingwood. 9:00pm. JEFF THE BROTHERHOOD + BORED NOTHING + KING GIZZARD & THE LIZARD WIZARD Corner Hotel, Richmond. 7:30pm. $28. PUNK AT THE BEACH - FEAT: STRAWBERRY FISTCAKE + 12-FU + HONEY SMACK + NOW YOU DIE Espy, St Kilda. 8:00pm. RECREATION - FEAT: NAMINE + OSCAR KEY SUNG + BUSTER STICKUP + FLEXX + SAMARITEN + SMOKING TODDLERS + YES TESLA Ding Dong Lounge, Melbourne Cbd. 8:00pm. RED X The B.east, Brunswick East. 9:00pm. SCARTISSUES + AMERICAN IDIOT + FOOVANA Revolver Upstairs, Prahran. 8:00pm. $15. SORDID ORDEAL + PLASTIC SPACEMAN + POISON FISH + THE PHLOGGS Brunswick Hotel, Brunswick. 8:00pm. STARY A FEST - FEAT: BELLE HAVEN + EVENT HORIZON + FAR WEST BATTLEFRONT + STOLEN MOMENTS Musicland, Fawkner. 6:00pm. $15. THE ANIMATORS + 19TH CENTURY STRONGMEN + SQUAREHEAD Workers Club, Fitzroy. 7:30pm. $12. THE BEEGLES + ON SIERRA + THE PSYCHODAISIES Yah Yah’s, Fitzroy. 8:30pm. $10. THE HIDING + CHRIS SALCE + EMMA BRYCE + THE GIVE Northcote Social Club, Northcote. 7:30pm. $10. TWO QUIRKS + FRITZWICKY + RAINBOW MASSACRE + SUPER FAT FRUIT Reverence Hotel, Footscray. 8:00pm. $5. WINTER MOON + GUESTS OF GHOSTS + VADGE DAGGER + WHITE SUMMER Espy, St Kilda. 8:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC ALISTER SPENCE & RAYMOND MCDONALD + NIKO SCHAUBLE + SHOED AHMED Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. ALWAN Claypots Tavern & Fair, St Kilda. 9:30pm. ELECTRIC UNIVERSE COLLECTIVE - FEAT: JUXTPOSE + THE PRIMARY COLOUR + VIRTUAL PROXIMITY Bar Open, Fitzroy. 8:00pm. GAFIERA CHIC Dizzy’s Jazz Club, Richmond. 9:00pm. $15. GANG OF BROTHERS Veludo Bar & Restaurant, St Kilda. 9:00pm. KALLIDAD Open Studio, Northcote. 9:00pm. KING CAKE 303, Northcote. 8:00pm. $10. OVEREASIES Claypots Evening Star, Melbourne. 8:00pm. SAM MCAULIFFE TRIO Uptown Jazz Cafe, Fitzroy. 8:00pm. THE JACK PANTAZIS GROUP Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $15.

ACOUSTIC, COUNTRY, BLUES & FOLK AN EVENING WITH THE MULTITASKERS Drunken Poet, West Melbourne. 8:00pm. ANDREA MARR (SASS & BRASS LAUNCH) + DJ PIERRE BARONI + DJ VINCE PEACH Cherry Bar, Melbourne Cbd. 8:00pm. CLIO RENNER Some Velvet Morning, Clifton Hill. 8:00pm. CORAL LEAS’ SILVER SCREAM Lomond Hotel, Brunswick East. 8:30pm. DRU CHEN Wesley Anne, Northcote. 8:00pm. GIPPSLAND RHYTHM & BLUES CLUB - FEAT: A CHEF NAMED GLENN + THE 350’S + LEON & THE BLUETONES + MACLKD Musicland, Fawkner. 7:30pm. $10. JAMES GOWANS + SKOVRONS + THE WINTER SUNS Gertrudes Brown Couch, Fitzroy. 8:00pm. $7. LOUNGE THURSDAYS Lounge, Melbourne Cbd. 10:00pm. MERRI CREEK PICKERS Retreat Hotel, Brunswick. 9:30pm. OPEN MIC Acoustic Cafe, Collingwood. 7:30pm. OPEN MIC Balaclava Hotel, Balaclava. 7:00pm. OPEN MIC Drunken Poet, West Melbourne. 9:00pm. OPEN MIC Barleycorn Hotel, Collingwood. 7:00pm. ROCKY & NANCYS Great Britain Hotel, Richmond. 8:00pm. RONIT GRANOT Wesley Anne, Northcote. 6:00pm. SEYMOUR HOLLOW Labour In Vain, Fitzroy. 8:30pm. SHARP SHARP PRETTY + ANTHONY YOUNG + PRETTY CITY Penny Black, Brunswick. 10:30pm. SIMON PHILLIPS Two Brothers Brewery, Moorabbin. 8:00pm. SMILES RIFLES + TINY LITTLE HOUSES + WINDSOR THIEVES John Curtin Hotel, Carlton. 8:00pm. SUMMER OF CLASSICS - FEAT: JAIME ROBBIE REYNE Pure Pop Courtyard, St Kilda. 8:00pm.


Red Hot Chili Peppers


Not to be confused with John Waters’ 1994 comedy Baby’s Day Out, about a baby from a wealthy family who is kidnapped by three incompetent criminals but escapes and ends up on an adventure through Chicago, the Big Day Out is one of the most iconic festivals on Australia’s music calendar. In fact, considering the Big Day Out was first held in 1992, two years prior to Baby’s Day Out, perhaps the film is some form of fan fiction paying homage to this great festival. Think about it: the baby is symbolic of us festivalgoers, trying to escape three crooks (work, sobriety, banks), and we’re led on a wacky ride of fun (The Killers, Red Hot Chili Peppers, Yeah Yeah Yeahs) and exploration (Crystal Castles, Sleigh Bells, Foals) where we end up just like the baby – being tucked in by our parents (vomiting on our parents). The Big Day Out is on at Flemington Racecourse on Saturday January 26. See you there, baby.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC AGENCY DUB COLLECTICE Penny Black, Brunswick. 9:30pm. FUNK BUDDIES (EP LAUNCH) + PURPLE TUSKS + THAT GOLD STREET SOUND 303, Northcote. 8:00pm. $10. JONATHON SCHWARTZ & THE JAMES SHERLOCK TRIO Uptown Jazz Cafe, Fitzroy. 8:00pm. JULIE O’HARA & ULTRAFOX Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. $20. LA DANSE MACABRE - FEAT: BRUNSWICK MASSIVE DJ COLLECTIVE Rainbow Hotel, Fitzroy. 9:00pm. SALENA JONES Dizzy’s Jazz Club, Richmond. 9:00pm. $25. THE NINA FERRO BAND Bennetts Lane Jazz Club, Melbourne. 8:30pm. $35. THE TEK TEK ENSEMBLE Open Studio, Northcote. 9:00pm.

INDIE, ROCK, POP, METAL, PUNK & COVERS A4 BOOK LAUNCH - FEAT: HIGH TEA + BODIES + DJ WHORE-ALL-SUMMER + PIONEERS OF GOOD SCIENCE + WILEY RED FOX Old Bar, Fitzroy. 8:30pm. $10. ACOUSTIC SESSIONS - FEAT: NIKO Veludo Bar & Restaurant, St Kilda. 5:30pm. ANIMAL HANDS + THE PENSION + THE POLLY JEANS + TRASH FAIRYS Ruby’s Lounge, Belgrave. 8:00pm. $10. BIG WORDS + DICE + FLIGHTS FOR GIANTS + THE ATLANTIC FALL Brunswick Hotel, Brunswick. 9:00pm. CHARLOTTE NICDAO + JAMES MOLONEY + OH PEP! Wesley Anne, Northcote. 3:00pm. DIRTY HARRIET & THE HANGMEN + MUSCLE MARY + ROAD RATZ + THE JACKS Gasometer Hotel, Collingwood. 8:00pm. ELVIS COSTELLO & THE IMPOSTERS + JOE CAMILLERI Palais Theatre, St Kilda. 7:00pm. GLEN & THE PEANUT BUTTERMEN + CHINATOWN ANGELS + CRACKWHORE + THUNDABOX Bendigo Hotel, Collingwood. 8:00pm. $7. JUSTICE & KAO + GMC + NATUREBOY + RY Evelyn Hotel, Fitzroy. 8:30pm. $10. MAHALIA BARNES The Flying Saucer Club, Elsternwick. 8:00pm. $25. MERCIFUL FATE + BLACKEND + EARTH + MANIAXE Bendigo Hotel, Collingwood. 8:00pm. MISTRESS MONDAYS + SINKING TEETH Cornish Arms, Brunswick. 8:00pm. OSAKA MONAURAIL + CACTUS CHANNEL + DEEP STREET SOUTH + DJ CHIKASHI NISHIWAKI Espy, St Kilda. 8:00pm. PONY FACE + HEAVY BEACH + HOWL AT THE MOON Northcote Social Club, Northcote. 8:30pm. $15. ROSERVELT Empress Hotel, North Fitzroy. 8:00pm. STRAIT SHOOTERS + CEREBRUS Musicland, Fawkner. 7:30pm. $10. SUMMER PARTY - FEAT: THE SPINSET + CAPTAIN OVERDRIVE & THE TURBOCHARGERS + SPIRALBOUND + THE DYE Revolver Upstairs, Prahran. 8:30pm. $7. SWIRL + 2 LITRE DOLBY + KHANCOBAN + SINGING FOR HUMANS Tote Hotel, Collingwood. 8:00pm. $10. THE AUSTRALIAN CLOWNS Ferntree Gully Hotel, Ferntree Gully. 8:30pm. $38. THE BREADMAKERS The Luwow, Fitzroy. 9:00pm. $5. THE SEVEN UPS Bar Open, Fitzroy. 10:00pm. THE VASCO ERA + BUCKLEY WARD + QUANG & COURTNEY + THE CORSAIRS + THE PRETTY LITTLES Espy, St Kilda. 8:00pm. TULLY ON TULLY Ding Dong Lounge, Melbourne Cbd. 8:00pm. $8.



JAMES GREGORY DUO + DEE VUKI The Wharf Hotel, Melbourne. 4:30pm. BED WETTIN BAD BOYS (LP LAUNCH) + LEATHER TOWEL + LOWER PLENTY John Curtin Hotel, Carlton. 8:00pm. CHRIS WILSON + DJ ADALITA Retreat Hotel, Brunswick. 9:30pm. JAME FORBES Two Brothers Brewery, Moorabbin. 8:00pm. LIANNE LA HAVAS Corner Hotel, Richmond. 8:30pm. $44. MERRI CREEK PICKERS Post Office Hotel, Coburg. 10:00pm. PRAYER BABIES Lomond Hotel, Brunswick East. 9:30pm. SOPHIA BLACKBURN Wesley Anne, Northcote. 8:00pm. $5. STRINGYBARK MCDOWELL Grind N Groove, Healesville. 7:30pm. SUMMER OF CLASSICS - FEAT: RUSSET BURBANK Pure Pop Courtyard, St Kilda. 4:00pm. SUMMER OF CLASSICS - FEAT: BLACK CAB + MIKELANGELO Yah Yah’s, Fitzroy. 9:00pm. $15. SUSY BLUE Wesley Anne, Northcote. 6:00pm. THE EVENING CAST - FEAT: CLARE BOWDITCH + CELADORE + LUKE LEGS + MARK LANG + THE DARJEELINGS Workers Club, Fitzroy. 8:30pm. $10. TREVOR LUDLOW + TIM GUY Some Velvet Morning, Clifton Hill. 9:00pm. ZOO TWILIGHTS - FEAT: MISSY HIGGINS + HAYDEN CALNIN Melbourne Zoo, Parkville. 5:30pm. $55.


CLAMPDOWN Rochester Castle Hotel, Fitzroy. 10:00pm. CUNTZ + DJ CISCO ROSE + DOZERS + JACKALS + LADY DREAMS + TEENAGE LIBIDO Old Bar, Fitzroy. 7:00pm. $10. GENTLEMEN & RED RED KROVVY Gasometer Hotel, Collingwood. 4:00pm. HEAVY BEACH Bridge Hotel, Castlemaine. 8:00pm. $10. HIGH VOLTAGE + CREEDENCE SHOW Commercial Hotel, South Morang. 8:00pm. IRON LUNG + CUT SICK + NUN + STRAIGHTJACKET NATION Gasometer Hotel, Collingwood. 8:00pm. $15. JIMMY TAIT + CLAIRE BIRCHALL + DJ WHORE-ALLSUMMER + FOURTEEN NIGHTS AT SEA The Public Bar, Melbourne. 8:30pm. $8. KING OF THE NORTH + DJ MERMAID + STOMP BOX & THE FEEL GOODS Cherry Bar, Melbourne Cbd. 5:00pm. $13. MAJOR TOM & THE ATOMS (EP LAUNCH) Ding Dong Lounge, Melbourne Cbd. 8:00pm. $10. MOUNT EERIE + FRANCIS PLAGNE + PEARLS Toff In Town, Melbourne Cbd. 8:00pm. $30. PEARL JAM & NIRVANA TRIBUTE SHOW - FEAT: NEVERMIND + REARVIEW MIRROR Musicland, Fawkner. 8:30pm. $10. PRONTO Tote Hotel, Collingwood. 5:00pm. ROUGH END OF THE STICK - FEAT: RATSAK + DANE CERTIFICATE. + GO GENRE EVERYTHING + MAD NANNA + POP SINGLES + WHITE WALLS Tote Hotel, Collingwood. 8:00pm. $12. SIMMER + THE IMPRINTS Bar Open, Fitzroy. 10:00pm. STRINGFELLOW HAWKE + ACID WESTERN + THE BATTERY KIDS Workers Club, Fitzroy. 8:30pm. $10. SUMMER OF CLASSICS - FEAT: THE FAUVES Pure Pop Courtyard, St Kilda. 8:00pm. THE AUSTRALIAN CLOWNS Corner Hotel, Richmond. 8:30pm. $38. THE BASTARD CHILDREN Great Britain Hotel, Richmond. 9:00pm. THE BLACK HOUSE - FEAT: MELODY BLACK + DEATH BY SIX + THE CREPTTER CHILDREN Revolver Upstairs, Prahran. 8:30pm. $13. THE DEATH RATTLES Post Office Hotel, Coburg. 10:00pm. THE FROWNING CLOUDS + ROSS DE CHENE HURRICANES Grace Darling Hotel, Collingwood. 9:00pm. $10. THE GUN RUNNERS + ANCHORS + ARMY OF CHAMPIONS + CAVALCADE + COLLAPSE + HEADACHES + LITTLE SHADOW + MILESTONES + NUCLEAR SUMMER + OUTRIGHT + THE FEVERED + THE TIGER Reverence Hotel, Footscray. 5:00pm. $15. THE MOB Foresters Arms Hotel, Oakleigh. 8:00pm. $10. TOM RULE + 4TRESS + DIANA BOW Idgaff Bar & Venue, Abbotsford. 8:00pm. VULTURES OF VENUS + ATOMIC BLISS + WESALL 66 + WOLVES OF RAIN Yah Yah’s, Fitzroy. 9:00pm. $10. ZOO TWILIGHTS - FEAT: JUSTICE CREW + KATE ALEXA Melbourne Zoo, Parkville. 5:30pm. $45.

THE GARDEN PARTY FREE AUSTRALIA DAY PARTY When I was a kid, I used to have garden parties all the time. They consisted of me sitting in my muddy backyard barking at ants and eating handfuls of dirt with my pet bunny Mr Whispers. The next year, I turned 18 and went to a real party with people. But this year, life just got better, because The Garden Party is Melbourne’s newest outdoor festival, where a vacant lot in Southbank becomes a beautiful backyard starring some of the bests artists in Australian and international music. From Friday January 25 to Sunday February 17, The Garden Party will host amazing acts every weekend, such as Oh Mercy, Oscar + Martin, Graveyard Train and more. On Australia Day, Saturday January 26, there’s a free Australia Day concert featuring The Bearded Gypsy Band, Fantine and Hiatus Kaiyote. TRIO AGOGO Wesley Anne, Northcote. 6:00pm.


SHIVA AND THE HAZARDS In Hinduism, Shiva is a god associated with the powers of reproduction and dissolution. He is regarded by some as the Supreme Being and by others as forming a triad with Brahma and Vishnu. In the popular video game series Mortal Kombat, Sheeva is a half-human half-dragon with four arms. Apart from the fact that the drummer in Shiva and the Hazards sounds like he/she has four arms, none of this has anything to do with the band. Beginning life as The Solomons, Shiva and the Hazards first came to be in late 2012. The band play their first show under their new name tonight at The Tote with Dan Trolly, before a sold out show at Pure Pop Records on Saturday February 16 that includes a performance of WTSMG by Oasis as part of Rockwiz Presents Summer Classic Albums. FLAWLESS TOUR SCHEDULE. ESTY + BLOOD DUSTER + FRANKENBOK + SUBJEKTIVE + BORIS THE BLADE + BRONSON + DESECRATOR + INTERNAL NIGHTMARE + MALIGNANT MONSTER Corner Hotel, Richmond. 4:30pm. $20. INEDIA + DRIFTER + REDFIELD + VINAL RIOT Bendigo Hotel, Collingwood. 8:00pm. $10. IRON LUNG + INTERNAL ROT + TRUE RADICAL MIRACLE + USELESS CHILDREN Gasometer Hotel, Collingwood. 8:00pm. $15. JAY HOAD BAND + LAUREN GLESER Workers Club, Fitzroy. 1:30pm. $12. JODIE MORAN & DAN FOXX & ALEX HAYES St Andrews Hotel, St Andrews. 3:00pm. KING BEE BISCUIT Union Hotel, Brunswick. 5:00pm. LINCOLN LE FEVRE + DARREN GIBSON + DR PIFFLE & THE BURLAP BAND + EL ALAMEIN + STOCKADES + THE UNION PACIFIC Reverence Hotel, Footscray. 5:00pm. $15. MATT KELLY Empress Hotel, North Fitzroy. 8:00pm. MATT SONIC & THE HIGH TIMES + DON FERNANDO + MY LEFT BOOT Cherry Bar, Melbourne Cbd. 3:00pm. MZ INDEE & MIKASHA + FINDING US + INFUENCIAL SALIBA + STEEL POETIQUETTE Idgaff Bar & Venue, Abbotsford. 8:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC CLASSICAL REVOLUTION Open Studio, Northcote. 8:00pm. KESHIE Rainbow Hotel, Fitzroy. 9:00pm. SALENA JONES Dizzy’s Jazz Club, Richmond. 9:00pm. $20. SOUL SHOT Foresters Arms Hotel, Oakleigh. 9:00pm. $10. STEVE SEDERGREEN QUARTET Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. $25. THE CONCH Penny Black, Brunswick. 9:30pm. THE JEX SAARALAHT QUINTET Uptown Jazz Cafe, Fitzroy. 8:00pm. THE NINA FERRO BAND Bennetts Lane Jazz Club, Melbourne. 8:30pm. $35. TRIO BEM BRAZIL Retreat Hotel, Brunswick. 4:00pm.

ACOUSTIC, COUNTRY, BLUES & FOLK AUSSIE DAY Barleycorn Hotel, Collingwood. 8:00pm. BLACKPOOL ROAD Wesley Anne, Northcote. 8:00pm. CHUCK JENKINS & THE ZHIVAGOS Union Hotel, Brunswick. 5:00pm. CORAL LEE & THE SILVER SCREAM Labour In Vain, Fitzroy. 5:00pm. DAVID BRAMBLE Wesley Anne, Northcote. 3:00pm. GODDESS GROOVES - FEAT: MICHELLE PARSONS + DI WATSON + FREYA HANLEY + RUTH KATERELOS & MONIQUE KENNY Thornbury Theatre, Thornbury. 8:00pm. HEPBURN SPRINGS FOLK FESTIVAL - FEAT: CHERRYWOOD Hepburn Springs Folk Festival Site, Hepburn Springs. 11:00am. $20. INTO THE MYSTIC - FEAT: JOE CREIGHTON Caravan Music Club, Oakleigh. 8:00pm. $25. LILY & KING + LILY & KING + THE LITTLE STEVIES + DALE GANNAN Chandelier Room, Moorabbin. 8:00am. $10. LOUIS KINGS’ LIARS CLUB Lomond Hotel, Brunswick East. 9:30pm. MINI-FEST - FEAT: CITRUS JAM + WALKER + ACOUSTIC FOXX + FINDING ISL + LESHA + NEVER THE EMPRESS + STEPHEN WARD Empress Hotel, North Fitzroy. 5:30pm. PERLE CONCHE Retreat Hotel, Brunswick. 7:30pm. SLEEPING BAG Open Studio, Northcote. 9:00pm. TESKEY BROTHERS St Andrews Hotel, St Andrews. 9:00pm. THE DRUNKEN PREACHERS Drunken Poet, West Melbourne. 9:00pm. THE PRAYERBABIES Union Hotel, Brunswick. 9:00pm. SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 65



ACCESS ALL AGES Wednesday January 23rd, 2012 With Ruth Mihelcic

SURVIVAL DAY AT THE BRUNSWICK HOTEL Too few people are aware as to how the date of Australia Day affects our Indigenous people. Many countries celebrate their National Day on the day they became independent from colonisation. Australia chooses to celebrate their National Day as the day the First Fleet dropped anchor in Botany Bay and began colonisation, consequently inflicting many ongoing atrocities. This Saturday there will be a 16-band, free entry gig at The Brunswick Hotel to raise awareness for why the date chosen for Australia Day needs to be changed so that Australia can have a true day of National Celebration. The gig is an all-day affair, run over two stages and includes local talents My Left Boot, Don Fernando, System Of Venus, Moth, Riff Fist, The Dukes Of Deliciousness, Arty Del Rio, Drifter, Long Holiday, The Kremlings, Olmeg, Angry Mules, 4tress, The Art Of Later, Master_Beta, The Underhanded (Anglesea) plus JMS Harrison (acoustic). At 3.50pm Wurundjeri Elder Aunty Georgina Nicholson will be giving the welcome to country speech. PALM SPRINGS + CIGGIE WITCH + CREAKS Gasometer Hotel, Collingwood. 8:00pm. $5. ROCKABILLY RIOT HOLIDAY EVE - FEAT: DJ ROCKABILLY ROB Retreat Hotel, Brunswick. 5:00pm. SUMMER OF CLASSICS - FEAT: DRAWN FROM BEES Pure Pop Courtyard, St Kilda. 4:00pm. TANGO RUBINO Wesley Anne, Northcote. 4:00pm. THE AUSTRALIAN CLOWNS Musicland, Fawkner. 8:00pm. THE HIRED GUNS Standard Hotel, Fitzroy. 7:30pm. THE LARGE NUMBER 12S Labour In Vain, Fitzroy. 5:00pm. THE LAURELS VS THE MURLOCS + THE LAURELS + THE MURLOCS + ATOLLS + TONE DEAF DJS Ding Dong Lounge, Melbourne Cbd. 8:00pm. $12. THE PEEP TEMPLE + BAT PISS + BITS OF SHIT John Curtin Hotel, Carlton. 8:00pm. WAKEFIELD & BURN IN HELL + BURN IN HELL + WAKEFIELD Northcote Social Club, Northcote. 8:30pm. $10. WOODS + MILK TEDDY Tote Hotel, Collingwood. 6:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC BLACK JESUS EXPERIENCE The Horn African Music Lounge, Collingwood. 7:00pm. JAMES MACAULEY QUINTET Open Studio, Northcote. 9:00pm. JEREMY GREGORY BAND + DISCOVERY Veludo Bar & Restaurant, St Kilda. 4:30pm. KOOYEH + UP & AWAY 303, Northcote. 7:00pm. $10. MAYVIS Bar Open, Fitzroy. 10:00pm. MOU QUARTET Open Studio, Northcote. 5:00pm. QUIET ETHIC + MICHAEL HICKLING + THE POSTMASTER’S GAMBIT 303, Northcote. 3:00pm. RABID HAWK Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. THE NINA FERRO BAND Bennetts Lane Jazz Club, Melbourne. 8:30pm. $35.

ACOUSTIC, COUNTRY, BLUES & FOLK ALLDAY + JACKIE ONASSIS Workers Club, Fitzroy. 8:30pm. $15. CANDICE MCLEOD + ALEXIS NICOLE & THE MISSING PIECES Wesley Anne, Northcote. 8:00pm. $10. CHRIS WILSON Rainbow Hotel, Fitzroy. 4:00pm. DEBI CANDLISH La Cannella, Kensington. 8:00pm. DUKES OF DESPAIR Penny Black, Brunswick. 5:00pm. GEOFF ACHISON Bay Hotel, Mornington. 3:00pm. IN MUSIC WE TRUST’ - FEAT: DONNIE DUREAU + ANDREW SWIFT + LUCY WILSON The Public Bar, Melbourne. 3:00pm. JACK DONNE Great Britain Hotel, Richmond. 7:30pm. JACK STONE The Wharf Hotel, Melbourne. 2:00pm. JIMI HOCKING Mentone Hotel, Mentone. 3:00pm. KOBYA + MARTY KELLY & AUBURY MAHER Lomond Hotel, Brunswick East. 8:00pm. MERRI CREEK PICKERS Abbotsford Convent, Abbotsford. 6:30pm. $15. OPEN MIC Rose Hotel (williamstown), Williamstown. 3:00pm. PETE CORNELIUS + LILY & KING Drunken Poet, West Melbourne. 4:00pm. SPECTRUM TRIO Mornington Peninsula Brewery, Mornington. 2:00pm. THE BAREBONES Post Office Hotel, Coburg. 4:30pm. THE BREADMAKERS + THE KAVE INN Yah Yah’s, Fitzroy. 9:00pm. TWYCE DAILY + JAMIE MACDOWELL + TARA SPACKMAN Chandelier Room, Moorabbin. 5:00pm. $10. UNION ROYALE Spotted Mallard, Brunswick. 4:00pm.



JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC DIVINA PROVIDENCIA Felix, St Kilda. 9:00pm. JOHN MONTESANTE QUINTET + YVETTE JOHANSSON The Commune, East Melbourne. 6:00pm. PAULS WILLIAMSON’S HAMMOND COMBO Rainbow Hotel, Fitzroy. 9:00pm. THE ALLAN BROWNE TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. THE HORNS OF LEROY + JAMES MACAULAY GROUP 303, Northcote. 9:00pm. $8.

ACOUSTIC, COUNTRY, BLUES & FOLK LIZ STRINGER & VAN WALKER Retreat Hotel, Brunswick. 4:00pm. MODERN TRASH + FREDDY FUDDPUCKER The Public Bar, Melbourne. 7:00pm. THE WEEPING WILLOWS + OH PEP! Old Bar, Fitzroy. 8:00pm. $5.

Define your genre in five words or less: Old school garage punk rock. What can a punter expect from your live show? Hopefully, they will be in the 10 per cent of the audience that loves our stuff. We definitely have a love it or hate it kind of vibe, with the majority of people being all WTF! But they’ll see us absolutely loving it 100 per cent of the time. What inspires or has influenced your music the most? There are a few bands that we’re all heavily into that have shaped the sound. But definitely jamming and hanging out with each other. I know that sounds kind of lame, but a lot of our sense of humour, timing and chemistry comes from the relationships we all have with one another. That, and a commitment to an unpolished live energy to our recorded stuff and our live shows. Do you have any record releases to date? What are they? Where can I get them? We recorded an EP in 2011 and a four-track 7” in 2012. You can purchase them at good participation record shops throughout Melbourne, or from themorrisons. What’s the strangest place you’ve ever played a gig, or made a recording? Ha! We played at a party late last year in Brunswick. It was outdoors in a backyard. There where all these other pencil moustached hipsters hippies playing banjo, which has taken over ukulele, which took over mandolin, which took over bongos as the standard “I’m a participating musician” hipster instrument. But I digress. We tried to tell them that we might not be best suited for the party. But they insisted we play. Then when we did they freaked right out as did the neighbours. Some of them even started crying. If someone made a movie about your life, who would play you? I’ve thought long and hard about this for some time. And it’s not about who would look like you, but who has the acting chops to play you. So the list is as follows: Nick: Christian Bale Lizzie: Cate Blanchett Camille: Zach Galifianakis Pete: The little fat kid off Hey Dad! When’s the gig and with who? Friday January 25 at The Public Bar, North Melbourne with The Summervilles & Battle Club.



TUESDAY JAN 29 INDIE, ROCK, POP, METAL, PUNK & COVERS 19TH CENTURY STRONGMEN Open Studio, Northcote. 9:00pm. ACOUSTIC SESSIONS - FEAT: JACK STONE Veludo Bar & Restaurant, St Kilda. 7:30pm. EL MOTH + ECHO DRAMA + KOOYEH Evelyn Hotel, Fitzroy. 8:00pm. PETER EWING Labour In Vain, Fitzroy. 8:30pm. RICHARD HAWLEY The Hi-fi, Melbourne. 8:00pm. $75. SKYSCRAPER STAN + BILLY SHEARS + TESSA LYE Old Bar, Fitzroy. 8:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC DARYL MCKENZIE JAZZ ORCHESTRA + CHANTAL MITVALSKY The Apartment, Melbourne Cbd. 11:00pm. $10. GRAMPIANS GYROSCOPIC JAZZ MACHINE Dizzy’s Jazz Club, Richmond. 8:00pm. $14. MAKE IT UP CLUB Bar Open, Fitzroy. 9:00pm. THE ALLAN BROWNE SEXTET Bennetts Lane Jazz Club, Melbourne. 8:30pm. THE NECKS Corner Hotel, Richmond. 8:30pm. $27. THE ROYAL JELLY DIXIELAND BAND Toff In Town, Melbourne Cbd. 7:30pm. $10.

ACOUSTIC/COUNTRY/BLUES/FOLK ALI E + PENCIL Retreat Hotel, Brunswick. 8:30pm. COLLAGE Espy, St Kilda. 8:00pm. OPEN MIC Empress Hotel, North Fitzroy. 8:30pm. OPEN MIC Wesley Anne, Northcote. 8:00pm.

So then, what’s the band name and what do you ‘do’ in the band? It’s Vivarta. My name is Naohiro Asakura, vocals and guitar. What do you reckon people will say you sound like? I am not sure because it depends on each audience member and how they feel. What do you love about making music? Honestly it’s a pain sometimes, but when we come up with a good track it brings me a great feeling. What do you hate about the music industry? I believe that music with the best quality should reach many people as much as possible. However, the reality is that it depends on how much money will be spent for promotion, unfortunately, rather than the quality, which I don’t like. If you could travel back in time and show one of your musical heroes your stuff, who would it be and why? Definitely Kurt Cobain, because it’s impossible as he passed away and we will never be able to let him listen. If you could assassinate one person or band from popular music, who would it and why? Paul McCartney. I love him, but if he hadn’t existed I think the history of pop music would have gone entirely differently, and I’d be interested to know what that would be like. What can a punter expect from your live show? You can see and experience the beginning of new sound. Vivarta’s 0.5 EP is available from iTunes and


You know how awesome Push Over 2013 is gonna be, right? Well probably the only thing more oarsome than going along with your mates is playing onstage! And thanks to triple j you now have the opportunity to do exactly that, all you have to do is have your tunes uploaded to by February 10. You’ll get a sweet $250 performance fee, a primetime slot and some bragging rights about following in the footsteps of previous winners Husky, Money For Rope and Big Scary. On the similar note, you can also win a place on the Soundwave lineup by having your tracks uploaded at by February 3. Have rock, punk, or metal selected as one of your genres, and then be prepared to share the stage with Metallica, Blink 182, Slayer, Garbage, Cyprus Hill, and the rest of the mind-blowing lineup. YMCA are throwing a few skate events this week, if the weather is good and your pockets are empty of money then you should be heading down to the Riverslide Skatepark on Boathouse Drive (in Melbourne) to check these out. Catch the Viva Vacation Tour when it hits tonight, the Vans Night Session on Friday from 6-10:30pm, and Go Skateboarding Australia Day on Saturday from 12pm. Knox Skate & BMX Park will be holding its major event of the season on Australia Day as well, running from 12-4pm. This January, United Sounds (Moreland Youth Services Music Hub for Young People) has teamed up with Ladyfingers DJ Collective to deliver a series of FREE two day Singing and Song writing workshops and half day Beginner DJ workshops for young people. From January 22 – 31 these free workshops will be facilitated by Jacinta Percy (of Ladyfingers DJ Collective) and Sal Kimber (of Sal Kimber & The Rollin Wheel). Places are limited so register early by emailing skimber@ The Shadow Electric Open Air Cinema is back this summer at the Abbotsford convent, presenting 62 cracking Australian and International films. Screening a range of arthouse, classic retrospective and cult films (some of which have not been screened in cinemas since their initial release), the season runs until March 30 and includes Boyz in the Hood, Moonrise Kingdom, Sixteen Candles, Hail, The Last Picture Show and LCD Soundsystem’s Shut Up and Play the Hits. Download the full program at Have a way with words? One of Melbourne’s most vibrant and innovative small independent arts companies, A is for Atlas, is seeking a highly motivated Communications Intern to join the growing team. The role will work in the ongoing development of company’s online communications strategy.To apply contact Mary Harvey on (03) 9329 5259 or email mary@aisforatlas. before the position closes on Friday. And lastly Maroondah FReeZA is looking for new crew members! If you’ve got a spare few hours each week and the passion to get involved handson in the music industry, call Terry or Sarah on 9294 5709 or email terry.stevens@maroondah.vic. or


Thursday January 24 Rock Pool w/ live DJ, entertainment, BBQ, and aqua orb ride, Olympic Pool, Swan Street, Wangaratta, 6:30pm – 10:30pm, Free, Katy Hawkins on 5722 0819, AA Maroondah Youth-EV’s Pool Party w/ inflatables, free BBQ, music and games, Croydon Memorial Pool, 1pm – 4pm, $3 entry for ages 12-18 (say the password “I am valued and proud!”), contact 9294 5630, AA Friday January 25 DJ Pauly D (Jersey Shore), Festival Hall, 300 Dudley Street, West Melbourne, $52.25 - $155.35,, AA Sunday January 27 Night School w/ Will Sparks, Slice N Dice, Trifo and more, Levels Nightclub, 139 Bourke Street, Melbourne, 5pm – 10pm, $20 +bf,, U18

Wed. January 23rd: wine, whiskey, women

8pm: Simone Gill 9pm: Cyndi Boste Thurs. January 24th:

8pm: An evening with the Multitaskers Fri. January 25th:

6pm: Trad. Irish music session with Dan Bourke & Friends Sat. January 26th:

9pm: Australia Day at the Poet with The Drunken Preachers Sun. January 27th:

4PM: Lily & King 6.30PM: Pete Cornelius Tues. January 29th:

7PM: Weekly Trivia The Drunken Poet, 65 Peel Street (directly opposite Queen Vic Market), Phone: 03 9348 9797.


Beat Magazine Page 67


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We caught up with Mr. Ian Harvey, the Chief Operating Officer of leading music and entertainment college Collarts. Providing courses in Audio Production and Creative Industries Management, we delve deeper into their acclaimed Contemporary Music Performance degree and see why this course and why Collarts is being revered nation wide. Firstly, where is your campus located? Collarts is located at 55 Brady Street South Melbourne, right on the edge of Melbourne’s creative industries and entertainment precinct.


33c PER WORD PER WEEK (INC GST) • Send your classified listing information to Beat Magazine at 3 Newton St, Richmond 3121 with a cheque, money order or credit card number (including expiry date and name on card, NOT AMEX or DINERS) (1.5% surcharge on Visa and MasterCard) OR deliver it yourself with cash OR you can email your classifieds to us - with credit card details • DEADLINE IS THURSDAY 5pm, prior to Wednesdays publication • Minimum $5 charge per week. We do NOT accept classifieds over the phone - sorry.

MUSICIANS WANTED ACOUSTIC ACTS WANTED FOR FRIDAY NIGHT SPOTS IN FITZROY. Solo/Duo/Groups send an email with pics or samples to Bar split is paid, summer dates available. BASS/KEYS & GUITARIST for originals pop/rock band. Phone Phil 0421 901 530 BATTLE OF THE BANDS. Registration now, starts Wednesday the 28th Dec and every Wednesday after for 8 week (less the 26th Dec & the 2nd Jan). First prize: recording time in a studio. Call Jesse 0411 803 579 RHYTHM GUITAR, KEYS, BACKUP VOX NEEDED! Kilby’s the name. Melbourne based. Sounds like light/dark indie rock.  Listen: Email:  kilbytheband@ - Must have dedication/good gear/love for music! 

SERVICES FREE VENUE HIRE - Fully stocked bar - Huge capacity, whole venue or partial. Call Jesse 0411 803 579 MUSIC MANUFACTURING & DISTRIBUTION www., P.O. Box 1187 St. Albans VIC 3021 Australia

EMPLOYMENT EXPERIENCED BAND BOOKER WANTED. If you’re experienced in booking bands and want to work with an experienced well known venue booker at a great venue in Melbourne’s music heartland then send us an email. Let us know a bit about yourself, what type of bands you’ve booked, where, contacts you have and how long you have been in the game and importantly what you may be able to bring. Be quick. Send email to: FLAUNT IT. Internationally acclaimed producer of pro-feminist erotica looking for confident, adult women to smash the stereotypes and earn good money ($400 and up). Don’t overlook this til you’ve found out more about it. Jessica 9495 6555 or www. WE WANT EVERYONE Promoters, Bands, DJs - Revitalised bar, The Barley Corn, has reopened its doors 7 days a week and we want YOU. Call Jesse 0411 803 579

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Why should prospective students around the country consider studying at Collarts? Firstly, we’re located in Melbourne which is fast becoming the heart of the Australian entertainment and music industry, where the opportunities for exposure are boundless. Collarts prides itself on producing industry ready graduates, young musicians, producers and managers who have the skills, experience and confidence to join the music or entertainment industries and create a career. Our students learn through a practical approach that combines the use of state-of-the-art equipment and access to teachers and trainers who have themselves maintained their industry connections. At Collarts it’s really important for us to encourage students to creatively express themselves and create the ideal learning environment to help them pursue what they love. What skills can students hope to acquire from the Contemporary Music Performance degree? There are four things that a Collarts student can expect to gain from their studies. Firstly, Collarts trains its students to be musicians and musical. A Collarts student should be able to perform in any style or genre when asked. While all students have their favourite style or genre, the secret to establishing a career in the industry is being competent, flexible and willing to work when work is offered. The second aspect, is their skills as a vocalist or instrumentalist. Our students are confident performers on their instrument. Some will also develop skills in songwriting, composition and music production. The third aspect is less obvious but as important as being able to play. A careers as a musician is far more complicated than just being able to play an instrument or sing. Most musicians also need to be able to run a business - the business of themselves. So along with the musicianship and the performance skills come a range of skills in time and personal management, financial management and law, marketing, promotions and publicity. These are core skills no less important than


being able to play well if they are to be successful. Finally, Collarts students will benefit from meeting a range of music industry professions during their course. This exposes them to the true depth and breadth of the industry and helps them begin to form a range of industry contacts. What kind of positions or roles will graduates be qualified to work in? Many students use their studies as a foundation to the career they dream of as performers, songwriters and producers. Developing these aspects of an individuals career will take some time following graduation. In the meantime our graduates will be working with a variety of bands or as a soloist. Some graduates will join organisations in the industry working in production or management , while others will look to develop a teaching practice or continue on with further musical studies. How is the music performance course structured? The Contemporary Music Performance degree is a two year course. It combines academic studies with solo and ensemble performance activities. Fundamentally it is a practical hands on course, where students have the ability to select from a range of electives that can provide either increasing specialisation or added industry awareness. Who are the teachers for this course and are there any guest lecturers involved? The Collarts team is led by Dr Raf Marcellino, an awarded composer and musician. The program leaders include Dr Paul Doornbusch and Gene Shill, who are noted specialists in their respective fields and are internationally renown. Supporting these three College leaders are a range of specialist trainers in a variety of instruments and vocal training, songwriting, composition and music production including Mark Amato, Jonathan Zion, Duncan Kinnell amongst notable others.

Any specific projects or productions students will have the opportunity to participate in throughout the duration of the course? Students will be involved in a series of live performance showcases, the creation of video clips and other activities that bring together performance, production and management. Studio gear and facilities available for learning and production? The heart of the Collarts production facility lies in its DigiDesign Icon equipped studios. Abelton, ProTools and Logic DAW’s are used. The sound labs are Mac equipped and the production and back line are from leading manufacturers including Fender, Yamaha, Kawai, Soundcraft, Mackie, Ampeg, Roland, Shure, Sennheiser and Neumann. Points of difference between other music performance course providers and Collarts? The Collarts Industry Placement unit commences during the second year of the degree program is especially valuable to students. During this unit students get to spend real time working in the industry alongside professionals or being mentored by leading players and performers. Preparing industry ready graduates requires students to spend some meaningful time working in and not just on the industry. Payment options: Collarts is a FEE Help approved institution meaning that some or all of your fees can be deferred until your course is complete. Intake Periods: Classes start for 2013 Trimester 1 on February 4th. Trimester 2 2013 classes start on May 21st. Phone: (03) 9281 8888 Website:


Location: 27-29 Hoddle St Richmond (entry from Little Hoddle St) Hours of operation: 12pm - 12am or by appointment. Digital or analogue capabilities of studio: Our studio consists of a new SSL XLogic 4 Channel Super Analogue Class A pre amp, Mackie 32:8:2 86 bus console with meter bridge, Otari MX 80 2-inch 24 track tape machine, Pro Tools LE 8 with Digidesign 002 rack, ADA 8000 8 channel Adat converter, Sebatron vmp-4000e 4 channel class A Valve mic pre, Urei LA-4-A stereo pair, Joe Meek Twin Q 2 channel strip with digital out, Joe Meek 3Q 1 Channel Strip, dbx 160 Vintage Compressor, dbx 386 Dual Vacume Tube pre amp, Orban 418 A stereo limiter, TC Electronics Triple C multiband compressor with digital out, TC Electronics M1 Reverb, Lexicon Reverb, Boss Reverb, Korg SDDE 2000 Delay, BBE 882 Sonic Maximiser, Dual Quad Core GHz G5 (Power Mac) with 10 gig ram, Power Play Pro XL headphone amp, Yamaha NS10M monitors, JBL 4311 monitors, Genelec 1029a monitors, AKG K55 headphones, patch bays to suit, Vintage British, American, Danish and Australian outboard EQ and compression. Recording gear available: Our recording studio is in North Fitzroy and consists of the following microphones; AKG C414 XL II, Neumann KM 184 (match pair), Audio Technica 4050, Studio Projects C1, Studio Projects TB1 Valve, Rode NT1A’s, NT2, pair of NT

5’s, AKG D112, C418 Clip on Condensers, Beyerdynamic M88, M69, Sennheiser E906, E602, Shure SM 57’s, SM 58’s, VAS VMI super cardioid dynamic,Takstar PCM 6100. We have a Hammond Organ L-102, R.Gors & Kallmann Berlin Piano, Upright 85 key piano. Instruments available at Bakehouse rehearsals in Richmond: Fender Hot Rod Deluxe, Fender Twin II, Kustom quad box, Galien-Kreuger bass head, Trace Elliot bass head, Ampeg fridge (4 x 10” + 1 x 15”), EV (1x15) bass cab, 2 x Yamaha Twin guitar amp, Roland JC120 Jazz Chorus guitar amp, 4 x drum kits, Sabian cymbals, baby grand piano and an upright piano. Artists you have worked with: Grinderman, Cat power, Elvis Costello, Olivia Newton John, Cut Copy, Nick Cave

and The Bad Seeds, Paul Kelly, Augie March, The Cat Empire, Sufjan Stevens, Little Birdy, Jackson Jackson, The Drones, The Panics, Jet, Amanda Palmer, Midnight Juggernauts, Dave Graney, Analita, The Dirty Three, Beth Orton, The John Butler Trio, New Buffalo, My Disco, Boomgates, Missy Higgins, Something For Kate. In-house engineers: Callam Barter and Simon Cotter. Facilities: We have a kitchenette, lounge, toilet and storage cupboards. Phone: (03) 9417 1271 Website: E-mail:




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LIVE SUGAR MOUNTAIN FESTIVAL The Forum, Saturday January 19 It’s hard to pinpoint just when Kirin J Callinan  and  Kris Moyes’ collaborative performance began. It culminated tonight at Sugar Mountain, but began with the production of last year’s stunning film clip for Way To War. Footage from the shoot, footage that didn’t make the cut for the video for obvious reasons, was projected above Kirin’s Sugar Mountain performance. Kirin pissing off the side of a mountain. Kirin with cum dripping from his face. Kirin masturbating off the side of a balcony. Kirin lifting weights in the shower. Kirin’s genitals shown in extreme close up. These rhythmic, GIF-style shots weren’t really shocking. We’re in the age of the internet. We’ve seen it all. In the weeks leading up to Sugar Mountain, a huge, toned and tanned beast of a man incessantly bombarded the festival’s social media platforms with a series of shirtless ‘selfies’. He was here tonight. Front and centre for Kirin’s performance. He was part of the performance, an actor. He invaded the stage, he took his shirt off, he lifted Kirin onto his shoulders, he was escorted out by security in a ludicrous pantomime. Word had got out in the half hour before the Callinan x Moyes collaboration was due to take the stage. Festival organisers were in a panic. Was this panic real? Most likely. In an elongated and tense explanation, Kris Moyes detailed what was originally planned for the set, a plan which was nixed by festival organisers due to duty of care. Billy, a man with photosensitive epilepsy, was to be planted in the audience. A seizure was to be triggered by intense strobe lighting. The focal point of the performance was to be the audience reacting to the man’s seizure. We were shown test footage of Billy being induced into a seizure. People were uncomfortable with this. Audience members, some obviously planted, began voicing their objections. “You’re a fucking dickhead mate.” A lady stood and delivered a damning diatribe. She, like the buff behemoth and Billy, was an actor in this performance. Later, she stormed out – not before flinging a drink into Kirin’s face. The music was secondary to the melodrama. The music was quite good, with the backing band featuring Shags Chamberlain, Evelyn Morris, Jessica Says and more. Only four songs were performed, then the set appeared to be cut short. Was this part of the act? Kirin looked genuinely pissed off as he let his guitar crash to the floor. I still wasn’t sure what was real. Was the censorship of the epileptic seizure real, or a meta ruse? For a moment, Billy was sitting on the floor in front of me. What was he still doing there? What if they still plan to trigger his seizure? What the fuck would I do then? I have no idea how to act in that situation. Do I have time to Google ‘how to treat epileptic seizure’? It was the most uncomfortable I have been in a long while. Theories floated around The Forum and on social media. Kirin J Callinan was the villain. He was hated. He was hated for pushing the boundaries. He was hated for making a cheap ploy for controversy. He was hated by the people he instructed to hurl abuse. He was hated for being in control. He was hated for being out of control. He was great. Earlier in the night,  Lower Plenty  opened the festival with an endearingly scrappy set. With singer/percussionist Sarah Heyward back in the fold, the four-piece performed selections from

their stellar debut Hard Rubbish  in front of a projected landscape of Hanging Rock. The projection was maintained for  Boomgates,  which made sense during the performance of Double Natural cut Hanging Rock. As always, Whispering Or Singing was a rollicking burst of euphoria. Phantôscopia was an intriguing and incredibly well-polished concept. Led by hooded members of Midnight Juggernauts, a series of short films were projected as the band performed a pseudo-live soundtrack. A fine combination of music, theatre and film – a tidy encapsulation of the Sugar Mountain ethos. The seated environment of the upstairs Forum Theatre prevented the crowd from dancing to the very danceable sounds of  Forces, but the onstage choreographed routine by  Anthony Hamilton more than compensated. Methodically manipulating, and ultimately destroying, giant polystyrene prisms, the dance troupe complemented Forces’ industrial, masculine aesthetic. The joy emanated by ESG on the main stage was infectious as hell. Most of the iconic South Bronx outfit were decked out in 3RRR t-shirts – a result of their buzz-generating live-to-air performance earlier in the week. The dancefloor was at its most bumpin’, relishing the pure proto-hip-hop jams on offer. The upstairs Boiler Room mezzanine wasn’t wellsuited to live performances. Despite not being able to see  Collarbones  from anywhere other than the narrow front row, the duo crushed it with a run-through of tracks from the sophomore LP  Die Young. Later on in the night,  Peanut Butter Wolf turned the area into a sweaty all-out dance-fest with a pristine mix. “I love you, go fuck yourselves, have a great night.” That is how Queens rap maestro  Action Bronson bid farewell to Sugar Mountain. Rumours began circulating around The Forum that he was arrested immediately after his performance. Bronson performed most of his set from the floor amongst the punters – even managing to head to the bar to grab a drink without stemming his flow. And his flow was mightily impressive. I made it to the stage after what may have been an altercation, but Bronson’s performance seemed impervious to any such incident – except for maybe a few cries of “get the fuck out of my face” while amongst the crowd and venue security. Considering all that preceded,  The Dirty Projectors  proved to be a refreshingly controversy-free end to the night. Performing a set heavy with tracks from  Swing Lo Magellan, the collective showcase their polyrhythmic compositions in the live setting with impossible ease. They soared with Gun Has No Trigger, they rocked with  Offspring Are Blank, and grooved with the encore-opening Stillness Is The Move. There were scenes of chaos and many moments of brilliance. But above all else, Sugar Mountain was a lot of fun.    LACHLAN KANONIUK

LOVED: Getting down to ESG. HATED:  That the Callinan x Moyes set didn’t go as planned. Or did it? Who knows. DRANK: The only beer on offer.

Beat Magazine Page 70

WEEZER Sidney Myer Music Bowl, Wednesday January 16 Nostalgia is a funny thing. It’s also an insanely marketable thing. Admittedly, my teenage musical awakening took place well after Weezer’s canonised ‘great’ first two records. I faintly remember the Spike Jonze-directed clip for Island In The Sun on early morning telly. My first gateway into the band was 2008’s Pork And Beans. But I quickly discovered the brilliance of the band’s self-titled debut (aka The Blue Album) and within months, I was fronting a one-show-only Weezer tribute band in a garage on a Halloween night. Still, recent nostalgia is still potent – as demonstrated by tonight’s initial showcase of quote unquote greatest hits. The hits were played in reverse chronological order, beginning with Hurley’s Memories. “Playing hacky sack back when Audioslave was still Rage.” Now Audioslave is Rage again. Crazy. The crowd, a Rivers ran through it, during Troublemaker. It momentarily distracted us from the objective fact that it is a really fucking shitty song. Nothing distracted from how bad Beverly Hills still is. Brave opinions here, folks. Hash Pipe, the penultimate selection of the greatest hits portion, was the grittiest, and one of the greatest, tracks of the night. El Scorcho followed, everybody sang along,

DAVID BYRNE & ST. VINCENT Even while sporting a headset microphone while rocking a suit and sneakers combination, David Byrne was the peak definition of cool. It is a calculated cool, with Byrne teaming up with the masterful Annie Clark, aka St Vincent, for a meticulously choreographed tour of their joint album of last year, Love This Giant. The setlist entailed a deft mix of both artists solo work, plenty of Love This Giant, and choice selections from the Talking Heads back catalogue. St. Vincent is a superstar. She made her Melbourne debut last year touring her third LP Strange Mercy, with those tracks now emboldened by an eight-piece brass section. Marrow was breathtaking, and Northern Lights rocketed to a dizzying level of greatness. Byrne proved to be a dutiful backup singer/dancer during the St. Vincent tracks. He joined the majority of the band while they performed Cheerleader while lying on the stage floor (special mention to the sousaphonist for smoothly getting horizontal while wrapped in a hefty amount of brass). Both of tonight’s stars possessed idiosyncratic dance moves – Annie with her shuffling-while-shredding, and Byrne with his iconic stilted-yet-grandiose shapepulling. Byrne showcased this best during This Must Be The Place (Naïve Melody), the first of three Talking Heads songs performed tonight. “Love me 'til my heart stops, love me 'til I’m dead.” It was unmitigated bliss. Byrne-Eno collaboration Strange Overtones shone in the live environment, with Byrne’s vocal performance

The Blue Album was played. It was played fairly well and fairly perfunctory. Say It Ain’t So was stratospheric. Buddy Holly weirdly featured most of the track’s guitar noodling being performed by Brian Bell on synth, but it was still pretty awesome. Weezer were on our level. Rivers spent the soundcheck onstage kicking a soccer ball with a dude plucked from the crowd. Then he checked his guitar with a sloppy Smoke On The Water riff. There were no grand theatrics in the style of Rivers’ “favourite rock group, Kiss”. A giant =W= logo was a backdrop for half of the greatest hits portion, which gave way for a basic blue projection for the main event. An endearing slideshow bridged into The Blue Album performance. No fireworks, no extravagant lighting. We were there, paying 100-plus dollars to relate to a bunch of affable dorks in a state of musical arrested development, for that longing nostalgia. LACHLAN KANONIUK LOVED: Say It Ain’t So. HATED: Two 30-something dads seated next to us kept on taking selfies and making beer runs. DRANK: A civil glass of red afterwards.

Hamer Hall, Monday January 14 tonight exceeding the studio version infinitely. Byrne’s solo number Like Humans Do was a sheer delight. Dedicated to the Murdoch family, Love This Giant selection I Should Watch TV was intensified with robotic strobes. After the first standing ovation, the band returned for the delightfully jaunty Cruel (from Strange Mercy). The first encore was preceded by Annie’s recount of first hearing Byrne’s work at the age of three, when she heard Burning Down The House featured on Revenge Of The Nerds. This set the scene for that track’s performance, and it indeed brought down Hamer Hall. Another standing ovation. Another encore. Another one-two of St. Vincent (The Party) and Talking Heads (Road To Nowhere). Then another standing ovation. There was a noted change in atmosphere on the second night. Word had spread about the first performance, and people knew to expect greatness. There were more emphatic cheers, more dancing in the aisles, more intense demands for an encore. Two nights, six standing ovations. Just perfect. LACHLAN KANONIUK LOVED: Marrow into This Must Be The Place. Incredible. HATED: That there were only two Melbourne performances. DRANK: Not much.

BEACH HOUSE The Forum, Wednesday January 9

THE LIVING END The Corner, Monday December 17 I will admit, regrettably, that I attended The Living End’s show with a firmly instilled and rather smug sense of irony. It was, after all, many years since the band first enamoured my 13-year-old self with their anti-authoritarian anthem Prisoner Of Society. It was also many years since I totally dismissed them as mainstream fodder, so revisiting their debut self-titled album seemed an apt way to revisit my fondness whilst not entirely surrendering my perceived good taste. Not entirely unlike attending a Vengaboys show. Immediately upon launching into aforementioned song of a generation, I was forced to eat my words. The Living End may no longer be particularly relevant for a vast portion of their initial fan base (though there was a great deal of them throwing up the horns in a tame but thoroughly enthused mosh up front), but that doesn’t mean that they ever stopped being masterful musicians, or for that matter, writing good goddamn songs. Steaming verbatim through their self-titled album, with the occasional embellishment, it occurred to me that for all my obsessive fandom, I never quite

Photos by Felicity Yang

appreciated the quality of this band’s songwriting. Borrowing from every niche, nook and subgenre of the late ‘90s, this album was the embodiment of legitimate, Australian punk rock. It was cheeky and charismatic, the perfect representation of the band themselves. Even as Chris Cheney lamented the band’s brutal touring schedule, suggesting that rehashing Second Solution was more fucked than it was fun, it did little to dampen his temperament. Smashing stuff. I was at once sentimental and then, deeply humbled. It was a bold move, regurgitating an entire career’s worth of albums for this Australian tour, but one that may have just reignited all the right flames. EMILY KELLY LOVED: Revisiting Prisoner Of Society. HATED: The chronological setlist dictating that all the best songs were played first. DRANK: All of the beers.

The last time I was spellbound by Beach House was at The Toff In Town, a more intimate setting than the grand old Forum. That was back in 2008, and their sound since then has become cleaner and bolder, bringing with it a wider fan-base. This doesn’t necessarily mean they’ve become better; my favourite recording of theirs is still 2008’s Devotion, followed closely by 2010’s Teen Dream. But their output remains wonderfully consistent and tonight’s show reveals them to be at the peak of their powers in a live setting. Victoria Legrand is a commanding centre figure, her keyboard being treated like a lectern while her faultless vocals preached to an audience who were converted from the moment Alex Scally’s first guitar chord reverberated from the stage. Every now and then she twirls her hair around like a heavy metal singer, with particular gusto on The Hours. But this is no heavy metal. Beach House concoct a steady, hypnotic set of mid-tempo dream pop that gets the audience swaying and rocking. So much so that when Legrand almost apologetically says that they’ll drop it down a notch, it’s actually a welcome changes of pace, and the eloquent On The Sea is one of tonight’s finest moments. The only two pre-2010 songs,


Gila and Master Of None, were welcome inclusions, and Bloom’s towering opening triptych of Myth, Wild and Lazuli were readymade for the grandness of The Forum. When Legrand jokingly(?) says that this could be the band’s last show in Melbourne, the response is a few guttural groans and a solemn silence. I hope they took that as our seal of approval. Wintercoats is like a less caustic, local version of Owen Pallet and he’s a perfect choice to open for Beach House. It’s all clearly unfolding before your eyes, but it’s weird how one person slowly tricks you into thinking there’s several different instrumentalists on stage. Bass, drums, keys – somehow it’s all coming from one looping violin. New song Everyone Seems To Be In On Something segues into Elvis’ Can’t Help Falling In Love With You. Awww. It’s safe to say there was a lot of love in The Forum that night. CHRIS GIRDLER LOVED: A great venue to match the music. HATED: Why such a long gap between the support and headliners? DRANK Pear cider.


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Beat Magazine #1355  

Beat Magazine #1355