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ISSUE 1367 | 17 APR 2013 | BEAT.COM.AU

PICKED UP AT OVER 1,900 POINTS, INCL. 700 CAFÃ&#x2030;S   7 %($ 6 ,9$/ <)(67 &20(' (5$*( &29 8(6 &217,1









ronny chieng CAN YOU DO THIS? NO YOU CANâ&#x20AC;&#x2122;T.

sat 20 april 5:30pm melb town hall

Bookings or 1300 660 013

Wednesday 1 May • Oxford Art Factory, Sydney with special guests Jackie Onassis & Citizen Kay |

Friday 3 May • Northcote Social Club, Melbourne with special guests Jackie Onassis & Citizen Kay

Thursday 9 May • The Zoo, Brisbane with special guests Citizen Kay & Tiger Beams | *Also appearing at GTM Festivals •

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MXL Recording Pack

Sennheiser E385 Vocal Mic

Rode M1 Vocal Mic



Cerwin Vega 18” 700W Powered Sub Woofer



Yamaha MSR400 Powered Speaker

Cerwin Vega 15”1500w Powered Speaker


$189 Cerwin Vega 10 Channel Mixer

Behringer 802 Mixer

Behringer 502 Mixer




EV ELX112P 12” Powered Speaker



KRK KNS-6400 Headphones

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EV ELX115P 15” Powered Speaker



Yamaha MG124CX-R 12 Channel Mixer


MBOX3 Mini w/ PT Express




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Cerwin Vega 8” Dual 3-Way 400W Powered Speaker

RME Babyface USB Audio Interface





Avid Mobile Pre


Rode USB broadcast Vocal mic

Shure SVX Wireless w/ PG58 head

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Roland V-Studio Interface


DBX Active DI

DBX Passive DI


Shure BETA58a Vocal Mic


Allen & Heath ZED60-10FX Mixer PURE WHITE

Yamaha Stagepas 400i


$399 $339 Fostex PM0.3 Studio Monitors

Fostex PM0.4N Studio Monitors


Zoom H2n Digital Recorder


KRK Rokit 5

Novation 49 Key USB Controller


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$279 Novation 25 Key USB Controller


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Roland BR80 Digital Recorder

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Stanton DJC.4 Controller



$479 Novation Mininova Wavetable Synth WEBSITE COMING SOON!



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Part Metr of the opoli sN Musi c Fes ew ti 2013 val

Not afraid to challenge musical conventions or cross genre boundaries, Calix creates music of unconventional beauty, working with found sound, electronics, voice and classical instrumentation. Experience first-hand her ‘playful, deeply moving’ music in two concerts of enthralling electronica and hear why both Radiohead and the London Sinfonietta enjoy working with her.

Fables and Other Works Fri 19 April 8pm

Looking for Cowslips Sat 20 April 6pm Tickets from $25 DJ set Sat 20 April 10pm $10

City Jungle S p e ak Percu ssi on A high energy live set Friday 19 April 6pm & 9.30pm — Tickets $25

A high-energy program that explores the world of underground British electronica from the 1990’s including Drum’n’Bass, Jungle and Glitch. Created in collaboration with leading Melbourne based producer Terminal Sound System, the piece weaves fragmented beats, distorted classical timbres and ambient resonances into the world of underground club culture.




CNR SOUTHBANK BLVD & STURT ST, SOUTHBANK Transaction fees may apply


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Trivia Night. 7:30pm. Free Entry


- KITCHEN SPECIALS MONDAY - $12 Burger and $12 Parma + Open Mic NIght TUESDAY - $12 mexican food WEDNESDAY - $14 Porterhouse Steak THURSDAY - Trivia Night



Johnny Can’t Dance

Fruit Jar








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

Prarie Kings SUNDAY 21 APRIL - 5PM


163A Sydney Road, Brunswick 3058 Bookings/Enquiries: 9380 8383

FRI 19th Apr





SUN 21st Apr











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The Coves

Learn To Dance 30’s, 40’s & 50’s Style. 6:30pm



No Zebra Old Timey Music Jam Session 5pm, Beer Garden Sebastian’s Rock n’ Roll Swing Dancing



Friday $12 Burgers Before 7pm



SAT 20th Apr

Thursday Anna’s GoGo Academy. 6:30pm & 8:00pm $15 Parma & Pot




Tuesday Wednesday

$12 Vegetarian & Vegan Meals


STAX ON SOUL REVUE: SIDE STACKS (playing classic songs from the much loved STAX record label)



5pm In The Beer Garden $12 Jugs of Carlton and Gypsy All Day 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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If youâ&#x20AC;&#x2122;re out after midnight on a Friday or Saturday night, Melbourne has lots of public transport options to get you home. Last trains leave the city between 12 and 1am Last trams leave the city between 1 and 2am NightRider buses leave the city and run until early in the morning.




WIN good




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Frontier Touring Co., triple j, Channel [V], Beat & Groupie present

TUE 30 JULY FESTIVAL HALL all ages show •

AN AWESOME WAVE album out now feat. ‘Breezeblocks’


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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. © 2013 Furst Media Pty Ltd. No part may be reproduced without the consent of the copyright holder. Last week’s Paramore cover and story photos were taken by Ben Clement.


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HOT TALK For all the latest news check out


BEACHES Beaches have announced a tour to coincide the launch of their new album She Beats. Half a decade since their selftitled debut release, Beaches are back with a new single Take Them Away taken from their forthcoming album. The psych-rockers have spent this five year interim refining their sound with a score of international tours and impressive support slots for acts like Roky Erickson and Deerhunter. Now the girls return to their hometown to play a headline show. Beaches play at the Northcote Social Club on Saturday June 1.



Weekender New Waver: Part 2 takes over Ding Ding Lounge this Friday April 19. The theme is The Smiths and The Cure, but also expect new wave classics from Joy Division, New Order, The Clash, Talking Heads, Devo, Depeche Mode and more. The best mix of indie pop from now and then. $10 entry after 11.30pm.

From inner Melbourne but sounding somewhere between heaven and Las Vegas, Melbourne shoegaze legends Lowtide have announced a show, premiering songs from their forthcoming debut album. It’s at the John Curtin Hotel on Friday April 26 with support from A Dead Forest Index, Flyying Colours and Premium Fantasy. $10 entry.

ELLA HOOPER Renowned Melbourne personality Ella Hooper is releasing her new single Haxan, the second lifted from her forthcoming debut album In Tongues. The launches the single at The Workers Club on Thursday May 9. You can buy tickets from their website.

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DON McLEAN Famous for creating a timeless hit with American Pie, songwriter Don McLean will be touring Australia this August. He’ll be joined by acclaimed singer-songwriter Catherine Britt. Catch Don when he plays Hamer Hall at The Arts Centre on Saturday August 17. Tickets via Ticketmaster.




Name/Band: Jacky Winter. Ten bands everyone should know about: Natural Child, Sun God Replica, White Fence, Money For Rope, Courtney Barnett and the Courtney Barnetts, Creedence Clearwater Revival, The Holy Soul, Gentle Ben and His Sensitive Side, Magic Sam, Barbarion. Nine food items that you need to make a kickarse dinner party: Cumin seed, cumin ground, garlic, olive oil, Louisiana hot sauce, lemon juice (from a lemon not a bottle), watermelon, chickpeas, tomato paste. Eight possessions that define you: Olive oil, tight shorts, tight jeans, that’s all. Seven favourite movies/TV shows that go on your mix-tape: Repo Man, They’re a Weird Mob, Total Recall – the Arnie one, Better Off Dead, Jamon Jamon, Empire Strikes Back, Friday night football. Five people who inspire you: Therese from The Tote creates goodwill, Link McLennan is adventurous, Bruce Lee is disciplined, Chris Judd is a gun and I go for Carlton, what SPJ plays is real. Four things that turn you on: Not talking shit, thinking beyond your own lame problems, eats, good shoes. Two live gigs you’ll never forget and why: Watching Tony Joe White from backstage in 2005 singing Rainy Night In Georgia. A beautiful soul singer and he wrote an amazing song. Beastie Boys, Festival Hall 1995. I was very young, high and all the public transport was on strike. One day left before the apocalypse and you…: Take my dogs to the park. When’s the gig / release? April Friday lunchtimes at Ferdydurke, Tattersalls Lane, Chinatown. I’m playing solo instrumental electric guitar. 12pm ‘til 2pm.

CHERRYROCK013 The latest addition to CherryRock013’s already blisteringly good lineup is Chris Russell’s Chicken Walk. The highlight of many people’s Golden Plains joins Unida, Truckfighters, King Parrot, Barbarion and heaps more at the seventh annual AC/DC Lane rock’n’roll festival. It takes place on Sunday May 5. Tickets from


HOT TALK For all the latest news check out



Harmonica Sam and The Domestic Bumblebees are a boppin’ rockin’ ‘50s rhythm and blues trio from Stockholm, Sweden, well known for their explosive, collar-soaking shows and diabolic instrument skills. They play Wednesday April 24 an The Luwow Forbidden Temple.  Tickets are $25+bf available from Moshtix.

APOLLO BAY MUSIC FESTIVAL Apollo Bay Music Festival have announced their third and final lineup. Adding to their already heavy lineup will be Bonjah, Woohoo Revue, Lachlan Bryan & The Wildes, dirty blues aficionados Palace of the King, Miserable Little Bastards, Claude Hay, Matt Kelly & String Quartet, Lamarama, Lee Rosser & Tim O’Conner, Sideshow Brides, The Attics, Alister Turril, The Bag Biradge, fatherdaughter duo Garry & Georgia Rose, Tre Samuels, The Apollo Bay Choir, Ukujolics and Electric Filth. Apollo Bay Music Festival will be hosted in Apollo Bay from Friday April 26 – Sunday April 28. Tickets, including more information, are available through

JAPANDROIDS Vancouver duo Japandroids have announced that they’re returning to Australia this August. Following the release of Celebration Rock last year, the band smashed it at Laneway Festival in what was their inaugural Australian visit earlier this year. Renowned for their energetic live performances, the indie rock act were on the verge of breaking up in 2009 until the release of their debut record which was almost universally acclaimed by critics. Japandroids play the Corner Hotel on Friday August 30. Tickets on sale from the Handsome Tours website.


ATP RELEASE THE BATS Release The Bats Melbourne, ATP’s all-day Halloween party extravaganza, has just announced the second round of artists added to the lineup. One of the most influential New York rock bands, Television, will come to Altona to perform their Marquee Moon album in full. This will be their only Victorian show. Also joining the bill is the solo project for 21-year-old American Balam Acab, with his haunting and mysterious record Wander/Wonder in tow, and the Rowland S. Howard Tribute, pieced together by Mick Harvey and including friends, family and collaborators covering music from Young Charlatans, The Birthday Party, These Immortal Souls and Rowland’s solo albums. The new additions join The Breeders, The Jesus Lizard, Fuck Buttons, Total Control and more. Release The Bats takes place at Westgate Centre and Grand Star Reception in Altona on Saturday October 26. Tickets on sale at

VAUDEVILLE SMASH These guys have wasted no time this year getting noticed, with their ‘disco-chic’ track Look At Me making waves with concurrent successes at SXSW, a further three shows in Canada and then a show in New York. Their debut album Dancing For The Girl will be released on Friday April 26. It was mixed by John Castle (The Bamboos, Washington) and will no doubt exude the need to party. They have announced a national tour to coincide with the release, and will play at The Corner on Friday June 14. Tickets from the venue box office and website.

Celebrating a milestone decade of being a band, Parkway Drive will descend on Melbourne as part of their ten-year anniversary tour this September. The quintet’s achievements include two Goldcertified albums, sold-out tours and appearances at virtually every major festival in Australia. Parkway Drive play an 18+ show at The Palace on Friday September 20. Tickets are on sale from Ticketek from Friday April 19.

IMMIGRANT UNION Immigrant Union are country psych-folk renegades who are polishing their second album, and apparently it’s coming along pretty well. They’ll be releasing a few singles over the next few months, but the full album won’t be out until later this year. However, for a chance to hear the whole damn thing live head down to The Curtin Bandroom on Wednesday April 24 where they’ll be joined by Jess Ribeiro and The Bone Collectors.



Define your genre in five words or less: Jazzy indie pop. Tell us about the last song you wrote. The last song I wrote was called Friday Night Blues and as the titles suggests it is about being a loser on a Friday night sitting at home and watching horrible TV or sipping on your tea when everyone else is out having a good time. I’ll be performing that song for the first time at the Paris Cat gig on Wednesday April 24. When are you doing your thing next? I’m doing my next thing at The Paris Cat next Wednesday. The gig starts at 9pm and you can buy tickets at the door or online at  I have an awesome band that I’m playing with including Italian saxophonist Mirko Guerrini. Mirko is an incredible performer, his saxophone is an extension of his body and his solos will blow your mind! Also playing with Bob Sedergreen, who is a legend in the Aussie jazz world, and he always entertains during his solos and has a very warm stage presence. What part of making music excites you the most? I have recently started working with someone who just ‘gets’ what I’m talking about and it is the most exciting thing when the ideas in our heads are reflected in the music we play. It is very exciting to have a vision and seeing it be brought to a new born baby if you will. What can a punter expect from your live show? Well there is a bit of improvisation in my show, so really you can expect the unexpected. Last time during my scat solo I was singing in a Bronx accent…and I really don’t know how that happened. Also, I have never played with Mirko Guerrini before and he is a very organic, unexpected musician…so that will be very interesting. 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? “You missed out, man.” Why should everyone come and see your band? So they don’t miss out too. Anything else to add? Salt. Always add salt, it makes everything better. 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

KNIEVEL AND TOBY MARTIN Toby Martin (Youth Group) and Wayne Connolly (Knievel) have been making records since the naughties, and despite several collaborations over the years have never toured together in such a way. The Songs from the Emerald City tour is in celebration of a long friendship and musical history, with songs infused with Sydney’s geographical wonder (and Kings Cross). Catch them play at The Toff on Saturday May 4.

BROTHERS GRIM & THE BLUE MURDERS After smashing it on their Been A While tour, Brothers Grim and The Blue Murders return with their Roll It In EP tour. Known for their combination of dusty blues and rock influenced by Chain, The Loved Ones, and Rose Tattoo, Brothers Grim and The Blue Murders have been making a name for themselves since 2010 with their powerful lives performances and pure swagger. Supporting the tour will be Howlin’ Stream Train and Melbourne rockers The Harlots. It all goes down at The Hi-Fi on Wednesday April 24. Tickets are through the venue website.

LORDE New Zealand songstress Lorde will be crossing the Tasman to visit Australian shores next month. The tour comes on the back of the release of her latest EP  The Love Club, which features her latest single Royals, has sought praise from diverse musicians Grimes and Diplo. Lorde will play The Workers Club on Friday May 17.



In addition to an appearance at the odyssey festival Bermuda Float, King Tuff has announced a second Melbourne show at The Tote on Sunday April 28. Along with fellow garage-rockers ScotDrakula, Bad Aches and Skyways Are Highways, King Tuff’s brainchild Kyle Thomas will play lo-fi delights from his debut solo album Was Dead along with his latest self-titled release. Get your tickets through Oztix.

The chanteuse who brought the incandescent Jungle to our ears has just released her stunning debut Vs Head Vs Heart, and is embarking on a tour around the country to rejoice. She is bringing the warmth of Queensland with her for a second Melbourne show due to popular demand. Don’t miss out on seeing Emma Louise at The Corner on Tuesday June 4. Tickets through the venue website.



‘The Queen of Metal’ Lita Ford of ‘70s all-female group The Runaways will play a show at The Prince of Wales on Thursday May 23. Ford will visit our shores for the first time in support of her newest release Living Like A Runaway. Along with band members Joan Jett, Sandy West, Jackie Fox and Cherie Currie, Ford led a generation of empowerment in music for women, and later with her solo career in the ‘80s. Tickets are available through The Prince of Wales Bandroom site.

Following on from the release of the stellar Come Home To Mama, Martha Wainwright has announced her return to Australia. Expect to hear the dynamic range of material from Come Home To Mama, plus a selection of Martha’s well-adored back catalogue, when she takes her reputable live show to Melbourne this June. Martha Wainwright performs at Melbourne Recital Hall on Friday June 14 and Saturday June 15.

BEASTWARS Kiwi sludge rockers Beastwars have announced a headline show at The Bendigo on Saturday May 11. Building a solid reputation in their homeland, Beastwars will venture across the Tasman for the first time ever to launch their highly anticipated sophomore LP, Blood Becomes Fire. Support on the night comes from The Ruiner, Broozer and Batpiss.


HAMISH ANDERSON With such a developed style and lived in demeanour, Hamish Anderson’s self-titled debut EP released April 19 is an anticipated listen. Recorded in Sydney’s famed BJB Studio, the EP features an eclectic mix of notable artists including members of Foo Fighters, Angus & Julia Stone and Bluejuice. The folk-rock balladeer plays The Toff In Town on Wednesday May 1.



CHVRCHES will be descending on Australian shores for a tour this August. Selling out shows across the US, UK and Europe, the promising young trio are known for their hybrid blend of electronica, hip hop and post-punk. CHVRCHES hit up The Corner on Monday August 5. Tickets are available from the venue website.


Define your genre in five words or less: Sonic protest cosmos rock. What inspires or has influenced your music the most? S.E. Hinton. Heartache. Ledbelly. Picasso. People who aren’t considered beautiful. François Truffaut. The Velvet Underground. Poor kids. F. Scott Fitzgerald. Diego Maradona. The Deal sisters. Jean-Paul Belmondo. Queensland. Montaigne. Henry Lawson. Andy Warhol. The guitar that lay under my mother’s bed for years. There’s so much – I really don’t know. What do you think a band has to do these days to succeed? Again I don’t know. I think the best thing any band can do is to concentrate on making their art better. Success, whatever that means, is a cosmic lottery, if it doesn’t come, you still have an art. Treat it like a friend. Success for me was music and art getting me out of a potentially bleak future. When are you playing live/releasing your album/EP/ single/etc? Launching 10” EP Troubled Trees at The Spotted Mallard on Saturday April 20. I hate the word launch though. I’d rather lunch. What’s the strangest place you’ve ever played a gig, or made a recording? Gaslight Radio once mixed an album at Garry Gary Beers studio, that was quite strange I suppose. There was caviar in the fridge. There was MTV awards laying around like old shoes. I remember thinking both his wife and maid were beautiful. We also stole 30 personalised Garry Gary Beers guitar picks and nearly killed his dog. We were all on the dole at the time. Beat Magazine Page 18

Ten bands everyone should know about: Royal Headache, Charles Bradley, Grizzly Jim Lawrie, King Gizzard and the Lizard Wizard, The Genie, The Bluebottles, Money For Rope, The Messengers, The Harpoons, Courtney Barnett. Nine food items that you need to make a kickarse dinner party: Alcohol, avocado, chilli sauce, lettuce, tomato, beans, corn, capsicum, tortillas.  Eight possessions that define you: records, turntable, guitar, trumpet, laptop, television , Farfisa organ, Suzuki omnichord.

Five people who inspire you: Rufus Wainwright, Beck, Jarrad Brown, Bob Dylan, Richard Ayoade.   Four things that turn you on: Alabama Shakes, Richard Bradbeer, Tabasco sauce, Coca Cola. Three goals for your music: Get better. Have fun. People come to shows. Two live gigs you’ll never forget and why: Meredith and Golden Plains. Best festivals in the world.

Seven favourite movies/TV shows that go on your mix-tape: The Life Aquatic, Submarine, Game Of Thrones, The Simpsons, Bored To Death, The IT Crowd, Scanners.

One day left before the apocalypse and you… Party.

Six bad habits you can’t escape:   Drinking Coca Cola, chewing fingernails, swearing, alcohol, poor sleeping patterns , annoying people.

When’s the gig / release? I Get Lonely single release party Friday April 19 at The Prince Bandroom alongside Money For Rope, The Bluebottles and Eagle and the Worm DJs. Saturday April 20 at Theatre Royal in Castlemaine.






THUR 25 APRIL Plus Local Support

The Morning After

CH [V], Fasterlouder & Street Press Australia presents



SAT 27 APRIL Plus Local Support

Three Quarter Beast


Tour with special guests




Tickets available from the Venue, Ticketmaster, Oztix & Local Artists CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

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For all the latest touring news check out

INTERNATIONAL MICK TAYLOR Ferntree Gully Hotel April 19, Corner Hotel April 20, 21 EXTREME The Palace April 19 BRYAN ADAMS Rod Laver Arena April 20 JOSH GROBAN The Palais April 20, 21 COHEED AND CAMBRIA/CIRCA SURVIVE The Palace April 21 BLUE OYSTER CULT Prince Bandroom April 24 HAYWARD WILLIAMS Northcote Social Club April 25 DIG IT UP! The Palace April 25 TOOL Rod Laver Arena April 27, 28 THE BLACK SEEDS The Hi-Fi April 27 FLAMIN’ GROOVIES Caravan Music Club April 27 KING TUFF The Tote April 28 AEROSMITH Sidney Myer Music Bowl April 28, Rod Laver Arena May 4 BLACK SABBATH Rod Laver Arena April 29, May 1 THE BRONX The Corner April 30, May 1 THEY MIGHT BE GIANTS The Corner Hotel April 23, May 2, 3 TEGAN & SARA The Palais May 2 MATT & KIM Northcote Social Club May 3 YACHT Ding Dong Lounge May 3 EXAMPLE The Palace May 3 THE KOOKS The Palais May 1,3 GROOVIN THE MOO Prince Of Wales Showground Bendigo, May 4 BILAL The Hi-Fi May 4 HAPPY MONDAYS The Palace May 5 CHERRYROCK013 AC/DC Lane May 5 FRIGHTENED RABBIT The Corner Hotel May 7, 8 BETH ORTON Mt Michael’s Church May 8 JULIAN MARLEY Corner Hotel May 9 OM The Hi-Fi May 10 CRADLE OF FILTH The Palace May 10 BEASTWARS The Bendigo May 11 TRUCKFIGHTERS Ding Dong Lounge May 11 JELLO BIAFRA Corner Hotel May 11, 12 UNIDA The Hi-Fi May 12 FUNERAL FOR A FRIEND The Corner Hotel May 14, Pier Live Frankston May 15 THE GASLIGHT ANTHEM The Palace May 14, 15

NEON TREES Ding Dong May 15 TENACIOUS D The Palais May 17, 18 DEFTONES The Palace May 17, 18 LOCAL NATIVES The Forum May 18 STAN RIDGWAY Corner Hotel May 18, The Caravan Club May 19 BOBBY WOMACK Hamer Hall May 21 ...AND YOU KNOW US BY THE TRAIL OF DEAD The Corner May 22 LITA FORD Prince Bandroom May 23 KAKI KING Corner Hotel May 30 THE REVEREND HORTON HEAT Billboard May 31, Caravan Club May 23 THE MILK CARTON KIDS Thornbury Theatre June 6, St Kilda Memo June 8 THE BLACK ANGELS The Palace June 14 MARTHA WAINWRIGHT Melbourne Recital Hall June 14, 15 MUNICIPAL WASTE Corner Hotel June 23 A$AP ROCKY Festival Hall June 28 IDINA MENZEL Hamer Hall June 30 P!NK Rod Laver Arena July 7, 8, 10, 11, 12, 13, 14, August 27 TODD RUNDGREN Corner Hotel July 21 ALT-J Festival Hall July 30 JOAN BAEZ Hamer Hall August 8 DON MCLEAN Hamer Hall August 17 JAPANDROIDS Corner Hotel August 30 AMANDA PALMER & THE GRAND THEFT ORCHESTRA The Forum September 20 FOALS Palace Theatre September 27 RIHANNA Rod Laver Arena September 30 ATP: RELEASE THE BATS Westgate Entertainment Centre October 26

INTERNATIONAL THE TROUBLE WITH TEMPLETON Northcote Social Club April 17 NANTES Northcote Social Club April 19 SASKWATCH Prince Bandroom April 19 BRITISH INDIA Corner Hotel April 19 UNDERGROUNDLOVERS Corner Hotel April 20 EVERMORE, Thornbury Theatre April 21 MIDNIGHT JUGGERNAUTS Corner Hotel April 24

NANTES Northcote Social Club April 19

ALT-J Festival Hall July 30 THE TEMPER TRAP Festival Hall April 24 TAME IMPALA Festival Hall April 26 THE DRONES The Forum April 26 CHANCE WATERS Northcote Social Club April 26 HUNGRY KIDS OF HUNGARY Corner Hotel April 26 BIG SCARY The Corner April 27 VANCE JOY The Northcote Social Club April 27, 28 FLUME Festival Hall May 2, 3 MELBOURNE SKA ORCHESTRA Forum Theatre May 4 THE RUBENS The Forum May 10, 11 EMMA LOUISE Corner Hotel May 10 DRAGON The Palms at Crown May 11 THE SEEKERS Hamer Hall May 14 THE HEART OF ST KILDA The Palais May 14 JINJA SAFARI The Toff May 15, 16 OH MERCY Northcote Social Club May 16, 17 LORDE Workers Club May 17 THE STEVENS The Tote May 17 SAN CISCO Corner Hotel May 25 OWL EYES Corner Hotel June 1


RUMOURS N*E*R*D, The Mountain Goats, Cursed Frogurt w/ Flume and Twerps = New Announcements = Beat Proudly Presents


Define your genre in five words or less: GRAND THRASH PUNK FUCK YOU. Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? A cluster fuck between GG Allin, Napalm Death and Bozo the Clown. What do you love about making music? Performing live. What do you hate about the music industry? Some of the people… the weasels. If you could travel back in time and show one of your musical heroes your stuff, who would it be and why? Keith Moon would be the guy, I reckon he’d dig it.

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BEACHES Northcote Social Club 1 THE SUPERJESUS The Espy June 7, 8 THE BELLRAYS The Corner June 12 SOMETHING FOR KATE The Forum June 14, 15 EXPERIENCE JIMI HENDRIX The Palms At Crown June 14 THE BEARDS The Hi-Fi June 15 WAGONS Corner Hotel June 22 THE WHITLAMS Hamer Hall June 28 BALL PARK MUSIC The Forum July 5 YOU AM I The Forum July 6 GOLD FIELDS The Corner July 13 PARKWAY DRIVE The Palace September 20

What’ve you got to sell CD-wise? We have our album Bite Your Head Off available on Vinyl, LP, and digital download, out now, see 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? “Don’t go up the front.” What inspires or has influenced your music the most? The people that have done this kind of style before us is inspiring to me. We also take inspiration from other genre’s and apply it to our style to become unique.

If you could assassinate one person or band from popular music, who would it and why? That’s a tough one, I would like to assassinate many people. Delta Goodrem would be a good start.

What’s the strangest place you’ve ever played a gig, or made a recording? We just played a show above a chicken shop called Rocket Chicken in Indonesia. We played in the children’s birthday party room. There was lots of blood on the floor after the show.

What can a punter expect from your live show? In no particular order: Blood, sweat, water, sunglasses, Ruggers shorts, windmills, fat guts, Last Of The Mohicans haircuts, bruises, blast beats, a funny looking man with a beard.

When’s the gig and with who? The gig is Cherry Rock and it’s on Sunday May 5 in AC/DC lane with Undia, Truckfighters, Chris Russell’s Chicken Walk, The Murlocs, Mammoth Mammoth, Gay Paris and more.



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Cover image and story image by Ben Clement


The Drones’ career has played out in three acts: the first came with the band’s conception in Perth, the bastard offspring of The Gutterville Splendour Six. Featuring original members James McCann and Rui Pereira alongside notional leader Gareth Liddiard, The Drones begged, borrowed and stole its way into the gutter of Australian underground rock. The second act came with The Drones’ breakthrough album, the award-winning Wait Long By The River And The Bodies Of Your Enemies Will Float By. A rapid succession of national and international tours followed and, when Pereira left the fold in late 2006, it seemed The Drones were in danger of burning out in an incandescent rage, just like the fiery conclusion to one of the band’s songs. And now, with the band’s latest record, I See Seaweed, released to yet more critical acclaim, The Drones’ blend of dirty-swamp blues and Liddiard’s brilliant literary lyrical expositions has become a feature of the Australian rock’n’roll landscape. Speaking from his home in Nagambie in regional Victoria, Gareth Liddiard is typically laconic when he recalls the more frenzied times of The Drones’ earlier years. “It’s not something you tire of in a sense, except maybe in hindsight. If you go on a long tour, the first week and a half is really fucking hard, and you don’t like it,” Liddiard says. “You get no sleep, and you’re always on the move. It’s like Race Around The World, but you’ve got to play gigs as well. But after a couple of weeks, something inside your brain changes, and you can just do it. You really love it, and you just become a fucking animal, and you start telling people to fuck off. You want something, and you take it, and if something’s in your way, you barge through it. But when you get home, you have to do the dishes.” I See Seaweed is the first Drones record since 2008’s Havilah. In the intervening period, Liddiard found time to release his debut solo record, Strange Tourist. Liddiard concedes that there’s negligible difference between his solo compositions and a Drones record. “For me there’s nothing – it’s the same thing,” Liddiard says. “If I call it The Drones, and then I went out to play gigs, then people would be weirded out because The Drones weren’t there. To get a certain sound – to sound like you’ve got a band behind you – you’ve got to have a band behind you, and if you don’t want to sound like you have a band behind you, you don’t.” With his characteristic honesty and occasional caustic commentary, Liddiard critiques the entire concept of a ‘solo’ record. “I hate the word solo because: what does it mean? The dictionary meaning – ‘that was a solo record’? So although Adalita and Glenn Richards and a bunch of people put solo records out that year, but I was the only one who put a solo record out because I did it all myself. Ultimately it’s me unaccompanied, or it’s just more Drones shit. That’s the way I see it.” While paying tribute to the influence and contribution of his Drones band mates – guitarist Dan Luscombe, bass player Fiona Kitschin and drummer Mike Noga – Liddiard concedes that he provided the prevailing artistic and production direction on I See Seaweed. That said, Liddiard doesn’t consider himself a control freak – certainly not in the manner of the more precious auteurs of yore. “Not really ... but maybe to a degree,” Liddiard muses. “I don’t believe in Beat Magazine Page 22

committees – what’s that saying: a committee makes a camel, and an individual makes a racehorse. I don’t believe in committees, but I do believe that everyone has to have space to be themselves. For example with Dan, I only need to tell him what key the song is in. But I kind of have to steer the ship – it’s control, but not control freakiness.” I See Seaweed is the first studio recording to feature the piano-playing talents of Steve Hesketh. Hesketh, whose piano skills have been embraced previously by You Am I, The Mess Hall, The Bamboos and a host of other Australian bands, had originally joined The Drones for their most recent Australian tour; it was a natural decision to invite him to join the band. “Steve did that tour we did after the DVD release. Part of that was him playing with us in that warehouse and doing a bunch of stuff that we couldn’t ordinarily do,” Liddiard says. “A piano is a great thing for that – a piano can be quite bare, and it doesn’t complicate things, so it’s more useful than a synthesiser or a Hammond. And he’s awesome to have around – he’s hilarious.” With I See Seaweed, Liddiard is again in colourful literary mode, his lyrics a pastiche of observations on historical dramas, contemporary fuck-ups and the flawed attributes of political leadership. Grey Leader, in particular, reflects Liddiard’s frustrations with those who purport to construct our political agenda. “It’s pretty general. It’s just about leaders being fuckwits – they’re all idiots, they’re all egomaniacs and they’re all hypocrites,” Liddiard says. “There is that line in the song: ‘while the big kick the small down the street’. That happens all the time. And I had Tony Abbott in mind because he’s such a douche. Whether it’s Tony Abbott or Kim Jong-il (laughs). It’s a pretty general song.” But while Liddiard admits that every line in every one of his songs has an underlying meaning, he’s content to let the listener explore each lyric’s meaning for themselves. “They mean something to me – every line in there I could tell you what it means, but I don’t want to, because that’s for the listener,” Liddiard says. “Music’s great like that – you could be listening to something in high school, and you could listen to it this week, and because you’re older and have more experience, you’ll hear something new that you didn’t


hear before. You can’t do that with books and films so much because you can’t watch or read them that many times.” While Liddiard could never be accused of being a flag-waving nationalist, it’s arguable that The Drones is a uniquely Australian band – not just the parochial aspect of Liddiard’s lyrics, but via the sense of space that the band’s music conveys. And on A Moat You Can Stand In, The Drones create a sound that conjures up images of X, Rose Tattoo, Cold Chisel and The Radiators destroying eardrums at the Bondi Lifesaver in 1979. “We weren’t really trying to get that sound. I just wanted to get a song! If we played that song in a pub we’d get bashed. People say we sound like Oz rock or pub rock, but at the end of that song it’s so noisy that we’d be turfed out. We were going for a wild sound, that’s all,” Liddiard says. Having travelled all over the world, Liddiard concedes he has a sense of national identity – but it’s practical, not ideological. “In the practical side of things – linguistics or sharing the same sense of humour,” Liddiard says. “You feel that when you come back from France. There are a lot of subtleties that Australians have, and that makes me feel Australian, but I’m not parochial or nationalistic. Humans come from the world, so I feel more worldly than an Aussie Oi Oi Oi!” he laughs. On Why Write A Letter You’ll Never Send, Liddiard embarks on a 19th century letter writing experience, dictating his observations on the world at large in the manner of a long-winded stream of conscious. “The old letters were written as a stream of consciousness. They were as much about the receiver as they were about the person writing it,” Liddiard says. Though definitely not nostalgia for the past – and no letter-writer himself – Liddiard does lament the absence of subtlety and emotion in modern electronic communications. “They don’t do it with emails anymore, but they would put a bit of humour in it, throw a bit of vaudeville in there – you manipulate the reader, and you show off a little. So it was written like that. These days, that’s lost. You don’t get that anymore, which is a shame.” With such a rich literary quality to his lyrics, it’d be easy to see Liddiard picking up the proverbial pen and composing a novel, replete with the bastards, murderers, convicts and deluded leaders who’ve found a place in his musical stories. That, however, isn’t on the horizon. “No, I just write songs – that’s my thing. I wouldn’t want to do prose or poetry if it’s not accompanied by music. It’s a specific thing unto itself, and I think I have the knack now,” Liddiard says. In fact, there are far more pressing things to do when Liddiard and The Drones are having downtime – like mending fences – than sit around waiting for artistic inspiration. “As you get older you get busier, and you have to start compartmentalising parts of your life – whether it’s work, family, friends, music, whatever,” Liddiard says. “I’m too busy fixing a fence or an alternator, or shit like that. You’ve got to do that shit – you’ve got to live! And it’s not as sad as it sounds either – I remember reading Patti Smith when I was younger saying ‘there’s no inspiration anymore – I just work’, and I thought that was a bit dry. But it’s actually better. You learn to appreciate just what life is. It’s just the weirdest thing that ever happened.” THE DRONES play The Forum on Friday April 26 supported by King Gizzard & The Lizard Wizard. I See Seaweed is out now.


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THIS WEEK: ON SCREEN ACMI will host a six day program to celebrate the achievements of director Marco Bellochio this week. Bellochio is a thrice-time nominee for the Venice Film Festival Golden Lion and has been nominated six times for a Palme d’Or. After almost five decades of film making he was awarded a Gold Lion for Lifetime Achievement in 2011. The season will open with the Australian premiere of his latest film, the controversial, Dormant Beauty (Bella addormentata) (2012). It will also include screenings of Vincere (2009), In the Name of the Father (Nel nome del padre) (1971/2011) and close with Good Morning, Night (Buongiorno, notte) (2004). The season of Directed by Marco Bellochio will commence on Thursday April 18 and run until Tuesday April 23.


ON STAGE In a backdrop of illustrious stories, Assassins, the newest production of fortyfivedownstairs, will delve into the story of infamous Americans who assassinated their presidents. Based off the book by John Weidman, Assassins will let you step into these American’s minds, including Confederate sympathiser John Wilkes Booth, Leon Czolgosz, and Charles Guiteau. JFK assassinator Lee Harvey Oswald will create a twisted, humourous recount of his tumultuous life, and what made him order that rifle in 1963, while Samuel Byck will detail his attempted assassination of Richard Nixon. Delivered with an abrasive, cold and black humour, Assassins will illustrate conflict of politics and life. Assassins will be performed at fortyfivedownstairs until Sunday April 21.

ON DISPLAY Tinning Street Gallery will be hosting Abigail Varney’s first solo exhibition this month. Entitled eyes for you. the exhibition explores the nonchalant moments of life. Abigail Varney recently completed her internship with New York photographer Mary Ellen Mark last year. This taught Varney how to refine her lens and create more portraiture-like images that pleased her. Varney has had images featured in multiple Frankie editions and helped with the photographer for The Blue Diamond Society in Nepal. eyes for you. will be exhibited at Tinning Street until Sunday April 21.


SNAFU Theatre Company will be celebrating its tenth birthday with a new play at the Abbotsford Convent this month. Entitled Ten Months in a Cold Town, the play illustrates the town of an unnamed town under tyranny. Fun is prohibited, beaches are a fragment of the imagination and clapping can lead to a prison cell appointment. Two undercover agents meet and become embroiled in a situation beyond their control. Think of Ten Months as the adult version of The Hunger Games mashed with J. J. Abrams’ Alias. Featuring an original score, sharp dialogue and guest artist Cazz Bainbridge, Ten Months in a Cold Town will make one reconsider their selfentitlements. Ten Months in a Cold Town will be performed at the Abbotsford Convent from Thursday April 18 – Saturday May 4.

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There’s a scene in Warm Bodies where our protagonist, known only as R, is trying to work out how to strike up a conversation with his new acquaintance, Julie. He hasn’t had a girl over in a while and is kind of struggling for an opening line. In voiceover, we hear him pleading with himself: “Don’t be creepy, don’t be creepy, don’t be creepy.” It’s a scene that’s relatable for anyone over 13 with a pulse – despite R’s lack of one. Talking to girls was hard enough even before the zombie apocalypse. R (Nicholas Hoult) spends his days shuffling around an airport with a few hundred others, occasionally exchanging grunts with his only “friend” (Rob Corddry) and joining packs in search of delicious brains. When they come upon a group of young humans during one of these missions, R sets dead blue eyes on Julie (Teresa Palmer), a girl about the same age he was when he died, and in the amygdala-munching melee that inevitably ensues he manages to save her from being lunch for his undead cohort. While Julie can’t hear the wry, self-flagellating inner monologue that endears R to the audience from the first scene (“What am I doing with my life? I’m so pale. I should get out more. I should eat better. My posture’s horrible. I should stand up straighter. People would respect me more if I stood up straighter.”), the selection of grunted syllables he can manage are enough to show her there’s a little humanity left in him. To complicate matters, her father (John Malkovich) is the uncompromising leader of a large human enclave he’s helped keep safe from the undead hordes for the past eight years. Based on Isaac Marion’s novel, Warm Bodies was adapted for the screen and directed by Jonathan Levine, whose


STAR TREK: INTO DARKNESS 3D On Thursday May 9, pioneering director J.J. Abrams will deliver an explosive action thriller that takes Star Trek Into Darkness. When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state

previous films include cult coming-of-age indie The Wackness and 50/50. His next project is adapting Marie Lu’s Hunger Games-esque YA hit Legend, about a pair of teenagers on opposite sides of the law in an oppressive post-apocalyptic Los Angeles. It’s clear that Levine is drawn to stories about young people trying to find their way through intimidating and strange new worlds. “For some reason I’m very intrigued by that time in someone’s life. Things are so charged, emotionally, and everything is so intense,” he explains. “And that’s what I really like about this movie – it’s a great allegory for the emotions of becoming an adult.” R might be undead, but his role as our narrator means we’re privy to the thoughts that occupy him as he shuffles through his days, unable to remember what life was like before. Despite the signs of decomposition, he’s presented from the first scene as more human than any other zombie in recent memory. “A guiding light for me throughout the movie was just trying to make [R] a regular awkward teenager, and using the zombie thing as a metaphor for that,” says Levine. “And as we got to the post process, we did more and more stuff like that, we crystallised that comparison. And the more we of crisis. With a personal score to settle, Captain Kirk leads a manhunt to a war-zone world to capture a one man weapon of mass destruction. As our heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew. We have some double passes to giveaway. Head to to win.


did that, the more it made sense. So for me, I could identify with that character quite a bit because I always felt awkward and creepy around girls. Inarticulate…” he laughs. “And the more neurotic we made him, the more his character came to life.” While technically Warm Bodies fits under the “youngadult paranormal romance” umbrella, there’s none of the moony moping of Twilight here. Fans of hardscience backstories might be a little disappointed, as Levine acknowledges, but anyone who enjoyed Shaun Of The Dead’s pairing of hilarious one-liners and gory, stumbling spectres of death will find it a welcome addition to the rom-zom-com sub-genre. The romance between Julie and R, far from being tacked-on, is central to the plot – which is where Hoult’s shy charm and cheekbones come in handy. The former child actor, known as the About A Boy kid in the beanie before starring in UK series Skins, grew up very nicely indeed; he even modelled for Tom Ford after being cast in the designer’s directorial debut, A Single Man. “There was a pretty high barrier to convincing an audience that someone might find him attractive,” admits Levine with a chuckle. “So only someone as overwhelmingly attractive as Nick could pull it off.” Zombies, as you might have noticed, are having a serious pop-culture revival, meaning audiences now are particularly well-acquainted with a broad range of zombie tropes. Along with new BBC series In The Flesh (set in a civilised post-apocalypse Britain where former zombies, or sufferers of “Partially Deceased Syndrome”, are rehabilitated back into society), Warm Bodies might be part of the next wave in zombie storytelling – one where hope sits alongside the gore, an antidote to relentlessly grim interpretations of the genre, like The Walking Dead. “It’s awesome that there’s this zombie renaissance, or whatever you want to call it,” says Levine. “Because I think they’re smart, and that the best zombie movies are better than the best vampire movies.” In preparation, he adds, he watched “every single zombie movie I could get my hands on” – from George Romero and Lucio Fulci (Zombi 2) to Danny Boyle’s groundbreaking 28 Days Later – “because I knew that hardcore zombie fans were going to beat the shit out of me,” he says with a laugh. “I wanted to be very cognisant of the tropes, and to be aware of the rules even when we were violating them – to know that we were violating them, rather than just ignoring them.” Apart from a brief poke at humanity’s pre-apocalypse condition as smartphone-obsessed proto-zombies, Warm Bodies doesn’t go all-out on the social commentary. But Levine feels it’s impossible to make a zombie film that doesn’t contain some sort of message about what makes us human. “I think with the best ones – and certainly Romero – it was always there,” he says. “Whether it was Dawn of the Dead in the mall, or Night Of The Living Dead – which is kind of about tolerance, I think – and there’s the individual versus the collective, and all kinds of other stuff, especially in the Romero [films]. And that’s when I think it punches best … But even in Day Of The Dead there’s that [zombie] character who can talk, who is semi-articulate. And in Walking Dead – I haven’t seen all of it, but they certainly play off on the idea that these people were people. There’s a range of emotion. I think that was certainly something that people responded to in our movie, the notion that it wasn’t about a plague, it was about a cure; it was about hope.” Warm Bodies is showing in cinemas now.



FILTER For four days only the Tinning Street Gallery will be presenting an exhibition of needlepoint works by Catherine Tipping. Tipping is an artist living and working in Melbourne. She uses needlepoint to create tension between the labour intensive character of stitching wool and her choice of subjects. Her work will be displayed in conjunction that of Anita Spooner, who will take the chance to debut her video work Opportunity. Filter will open on Thursday April 25 and run until Monday 28 at The Tinning St Gallery.

fortyfivedownstairs will be hosting a special adaption of Sam Shepherd’s short story anthology, Cruising Paradise, this month, entitled Cruising Paradise – tales by Sam Shepherd. The Graduates, a St Kilda theatre group, will breathe life into the selection of tales that writer/director Terence O’Connell (The Rocky Horror Show Musical, Crossing The Line) adapted for the play. Cruising Paradise is written by award-winning screenwriter/actor Sam Shepherd; the anthology is collection of pivotal stories about outcasts, punks and losers set against a Californian background. It combines a genre-crossover akin to Anton Chekhov, yet maintains the quirky charm of Shepherd’s writing. Cruising Paradise – tales by Sam Shepherd will be performed at fortyfivedownstairs from Saturday April 27 – Sunday May 12.

THEATRE BURLESQUE Get excited for Theatre Burlesque – a journey of vaudeville, burlesque, cabaret, comedy, darkness and wonder. Join the crew, to be titillated, amused, aroused and confronted at a theatre near you. Sometimes mysterious, sometimes hilarious, sometimes glamorous...but always a treat for the senses. Featuring Nellie Minelli, Eureka Rice, plus very special guests, there are two shows only, so shake what-cha mumma gave you and get on it. Theatre Burlesque is on at Thorbury Theatre on Friday April 26 and The Espy on Friday May 10.

YEAR OF THE SAVAGE Vivian Cooper Smith takes self-portraiture on a journey of fragmentation and regurgitation in a new exhibition to open this April. Year of the Savage comprises photography, digital collage and photo-sculpture and takes cues from subjects as diverse as bacon, film noir and Miro. Smith describes it as the result of a year on the periphery, of feeling out of step and underground. Since graduating from the University of Western Australia with an honours degree in Fine Arts, he has exhibited regularly around the country and garnering recognition for his original approach to photography. Year of the Savage opens on Saturday April 18 between 6 and 8pm, and will run until Friday May 11 at West Space Gallery. Check out website for more information.

ACMI has Friday on its mind and will host some of the best directors, writers, actors, producers and industry professionals in a new weekly interview series. The hour long interviews will be hosted by Sandra Sdraulig, former CEO of Film Victoria and director of MIFF. First up is thespian turned teacher Peter Sardi with telling tips on delivering a knockout performance and the importance of ‘being in the moment’. He will be discussing the best ways for directors to work with actors and exploring David Mamet’s assertion that “there’s no such thing as character or character development but only action and the character’s reaction.” The (free!) Friday On My Mind session will kick off on Friday April 19 in the ACMI’s Cinema 1 at 5pm.

Blending cabaret, comics and awkward conversation will be Red Bennies’ The Naked Launch – a six-comic book launch. Hosted at the end of this month, the event will be a book launch of Scarlette Baccini’s Jesus Reloadeth’d, and Zombolette’s Floppy #1; Matt Emery’s Bitch! Die!, Ben Hutching’s 24 Hours from Paradise, Ive Sorocuk’s Everybody Comics Face, and issue 18 of Phatsville Comix. Accompanying these launches will be nibbles, drinks, and a special comicthemed burlesque performance. Kicking off at 7pm, The Naked Launch – a six-comic book launch will be hosted at Red Bennies on Saturday April 27. Admission is free.

Jessie Lumb has created a series of site specific works in and around Footscray’s Trucadero Artspace. Small Treats is an attempt to find beauty and wonder in the everyday, comprising subtle site interventions designed to sit quietly and wait for those observant enough to notice. Lumb is a South Australian artist working in the field of sculpture and installation. She is an obsessive observer and transformer of the mundane. Recently returned from a year as an Australian Youth Ambassador working as a Creative Space Coordinator with the Arts Council of Mongolia in Ulaanbaatar, she has exhibited in many South Australian spaces and at San Diego State University. She has also had a number of solo shows including Joy follows like a shadow and Transitory Phenomena in an Obscure Corner and is currently co-director of Tarpspace Mobile ARI. Small Treats will run from Wednesday April 10 until Saturday April 27 at Trocadero Artspace, 119 Hopkins Street, Footscray. An opening will be held on Saturday April 13 from 2-6pm.

Tonight it’s business as usual down at Felix Bar Comedy in St Kilda. Heaps more great comedy, but this week they’ve got interstate and international guests too! It’s happening tonight, Wednesday April 17 at 8.30pm for only $12 at Felix Bar, St Kilda.

Last week, Ian Bagg dropped in and made it rain. Tonight, expect more big-name drop-ins alongside  Daniel Townes, Jack Druce and more! Plus free entry and shots for festival pass holders. $5 for non-pass holders. Plus cheap piss. Show kicks off 8.30pm tonight, upstairs from Eurotrash Bar. Get down early for a seat.






CONTEMPORARY PAINTING With the intention of exhibiting work by Sydney and overseas based artists in Melbourne, Gallery 9 has announced a new exhibition Contemporary Painting. The exhibition will feature work by Simon Blau, Julian Hooper, Suzie Idiens, Tonee Messiah, Jelena Telecki and more. With a diversity of style, the six contemporary artists were selected for their multifarious approaches to painting. Telecki’s figurative works will feature along with Hooper and Messiah’s semi abstracts, conceptual abstracts work by what and Blau and non-objective painting by Indiens. Gallery 9 is a contemporary art gallery based in Sydney’s innercity arts precinct, Darlinghurst. Contemporary Painting will run at Fortyfivedownstairs from Tuesday May 7 until Saturday May 18.


COMMEDIA DELL PARTE This week Commedia Dell Parte ends its Melbourne International Comedy Festival run with some amazing acts including some special guests dropping in joining Sean Bedlam, Marty Bright, Thomas Green, David Boyle, David Campbell and Lisa-Skye. With the last few weeks packing out you will need to get in early to grab a seat. 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 at 8.30pm, George Lane Bar, St Kilda.

COMEDY AT SPLEEN During the comedy festival, Comedy At Spleen does what it does all year round: Provide super sweet comics for two hours, for bugger all! They’re bound to have bonus international and interstate acts that you don’t see the rest of the year too. It’s this Monday April 22, 41 Bourke St, in the city, at 8.30pm It may be free, but they appreciate a good gold coin donation at the door.

MELBOURNE FRINGE FESTIVAL Melbourne Fringe Festival is calling for expressions of interest from performers for places within Melbourne Fringe Hub this year. Hosted across various venues in the North Melbourne Town Hall and nearby Lithuanian House, Melbourne Fringe Hub in the to-go place for artists and audiences alike. Fringe Hub venues are easily accessible and operated by Melbourne Fringe themselves. To apply for Melbourne Fringe Hub, applicants must contact Felix Preval, Melbourne Fringe Independent Arts Manager, to organise an application meeting. To assist you with this, Melbourne Fringe Forums Series will be presenting a guide to venue selection on Monday April 15 at Fairfax Studio. Accompanying this, Melbourne Fringe is also offering a Producer Mentorship Program for a Fringe producer registrants. The mentorship program will provide technical support and a cash honorarium to four selected applicants. Expressions of Interest for Melbourne Fringe Hub are currently open until Wednesday April 24. Applications for the Producer Mentorship Program open on Tuesday April 16. For more information visit Melbourne Fringe’s website.


MICF DAILY It’s the final week of the festival - only five more days of funny fun times for the 2013 Melbourne International Comedy Festival. Also with five more days: MICF Daily - Beat’s daily audio guide to ComFest 2013. Every day  we  will have a new podcast full of  festival  news, reviews, and commentary from the Town Hall and beyond. Also on the show this week are interviews with acts such as David Quirk, Smart Casual, #bollard, Madeleine Tucker and more! Check it out right now - Beat Magazine Page 25


When you have Academy Award-winning costume designer Lindy Hemming on the phone – whose work on the Batsuit from The Dark Knight trilogy and Daniel Craig’s bespoke suit in Casino Royale is soon to be displayed as part of ACMI’s upcoming Hollywood Costume exhibition – it’s important to ask her the hard-hitting questions. So who is sexier, Batman or James Bond? “Obviously it’s James Bond!” she laughs. “Batman isn’t meant to be sexy! He’s meant to come to our aid and be saving the world. Sexiness is not his thing. James Bond is meant to be sexy so the answer is that!” Unlike the Batsuits in Joel Schumacher’s disastrous ‘90s films starring Val Kilmer and George Clooney as Batman, in which Batman’s nipples almost become their own character, Hemming had to design the new Batsuit to match the realism of director Christopher Nolan’s vision. “The whole thing with those suits – the Tim Burton ones were great – but the [others] reached a point where they were going in a direction which didn’t seem to have anything to do with Batman. I don’t know why the suit needed to look so sexual, really. In terms of character and who he is, what relevance that had to anyone other than the designer and the director, I don’t know!” she laughs. “For us, trying to do a more gritty, more modern, believable Batman – those kind of things were just not in the scheme at all.” After realising that way too much time had been dedicated to the sex appeal of Batman, Hemming reveals the extraordinary lengths she went to in researching and designing the costume. “My own inspiration for the new Batsuit was modern, high-tech running shoes with meshes and tension points and shock absorption and all that stuff – that was my first inspiration. And then from that I went into motorcycling sports technical wear and then it took me to... the latest developments in the military. I think the films do seed the ideas they had at the military and vice versa because they had developed things like invisibility fabric in the military at that point. They had a fabric that was black and couldn’t be read on radar and we [felt] that maybe that was part of the Batsuit. You know the stealth bomber? They’re painted in a black paint that can’t be read on radar. We were thinking, ‘That would be a fantastic idea for our suit’.” The dazzling amount of research, technology and design in the Batsuit is quite a contrast to Hemming’s work on James Bond. “It’s difficult because Casino Royale was a new Bond for me. I had done Pierce Brosnan up ‘til then, so my normal Bond idea was going to be changed with the introduction

of Daniel Craig. He was going to be a new kind of Bond. Specifically on Casino Royale, I think we were looking at a much more physical, explosive sort of action Bond rather than a languid, sophisticated older Bond. “The suit was very different to the kind of suit that Roger Moore or Pierce Brosnan wore because they were going for a British or European gentleman [who fits in with] business people and military people and other spies, but with Daniel Craig he bursts into everything like a puma or something, he leaps into every situation. In the case of Daniel Craig, we weren’t trying to hide the fact that he’s a sprung, muscular guy.” Five years in the making and direct from its run at London’s Victoria & Albert Musuem, Hollywood Costume explores the critical role costume design plays in storytelling. The exhibition, starring pieces from an extraordinary 19 Academy Award-winning costumes, brings over 100 costumes from a century in filmmaking, from The Wizard of Oz to Titanic to Gladiator to Anna Karenina. Co-curator from ACMI, Ulanda Blair, speaks in admiration of the iconicity of the costumes. “It’s hard to choose but one that’s quite extraordinary is actually an Australian-designed costume for Camelot which was designed by Melburnian John Truscott,” she says. “It’s an incredible costume that has been stitched together with watermelon seeds and sea shells and really is quite a contrast to a lot of the other very opulent queen costumes in the section The Royal Romance which is a lot of embroidery and ruffles and lace and ribbon. To see this almost ethereal, quite organic object in amongst that is quite striking. “Yesterday we rigged Spider-Man; that was quite a thrill to see Tobey Maguire’s costume in the flesh, crouched – it gave us all goosebumps. We’ve got Marilyn Monroe’s famous white dress from The Seven Year Itch and just to see that in the flesh you sort of understand how tiny she was. There’s that the palpable sense of a body that’s inhabited that costume. That’s something you feel throughout the ghostly presence of the actors that have worn these costumes. I also get a smile from the Dude’s dressing gown from The Big Lebowski which I think is a

wonderful example of how something that’s so ordinary can really come to define a character and really breathe life into a character.” Being able to view the costumes in real life allows visitors of the upcoming exhibition to examine the garments in such close detail compared to seeing them in films. However, one criticism of the exhibition in London was that the overprotection of the costumes inhibited any close examination – feedback that ACMI have taken onboard. “Conservations is obviously a huge issue,” Blair says. “We’ve got three conservators from the V&A working with us at the moment. The lighting is also a big issue. We can’t have bright lights. The show isn’t behind glass – it’s an open display – conceptually the show’s about resisting the fetishisation of costumes. It’s about breathing the life back into the costumes and making these characters come alive and whilst it’s wonderful to be up close to the costumes, we also have to be careful about making sure they can’t be easily touched or damaged.” Lindy Hemming herself is quite hesitant to answer my question about what we should look for when examining the Batsuit purely because the display in London was too difficult to see. “When it was in London, nobody could really see the suit so all the things I had said about it nobody could appreciate. What is interesting is the way that suit was designed and the way it was created was much more technical than one normally has to go into for costume. You actually had to set up a workshop to make the individual pieces by moulding

OFFICIAL TRUTH, 101 PROOF: THE INSIDE STORY OF PANTERA - REX BROWN ($29.95) Few heavy metal acts survived the turmoil of the early 1990s music scene. Pantera was different. Instead of humoring the market, the band instead demanded that the audience come to them by releasing a series of fiercely uncompromising albums, including “Vulgar Display of Power” and “Far Beyond Driven” - two #1 albums that sold millions of copies despite minimal airplay. Rex Brown’s memoir is the definitive account of life inside one of rock’s biggest bands, which succeeded against all odds but ultimately ended in tragedy when iconic lead guitarist Darrell “Dimebag” Abbott was murdered mid-performance by a deranged fan. This is a lucid account of the previously untold story behind one of the most influential bands in heavy metal history, written by the man best qualified to tell the truth about those incredible and often difficult years of fame and excess.

SACRED AND HERBAL HEALING BEERS - STEPHEN HAROLD BUHNER ($24.95) Often radical and controversial, Buhner has clearly and beautifully explored the mysterious universal beliefs between ancient arid indigenous cultures as to the spirituality and healing power of plants and fermentation. In the spirit of Carlos Castenada, he forges a quest in pursuit of the experiential. Highlights of comprehensive information never presented in one volume include: mead, honey and hive products; heather ale; psychotropic beers; and beers and ales from sacred and medicinal trees and plants.

BICYCLE! A REPAIR AND MAINTENANCE MANIFESTO - SAM TRACY ($24.95) Providing cyclists the know-how to take bicycle repair into their own hands, this manual covers bike care without technical terms. Written by a bicycle mechanic and laden with photographs and drawings, this guide is a valuable resource for professional bicycle workers and commuters. This updated edition includes an expanded index and a revised resource section. Topics include essential tools, bicycle components, on-the-road repairs, scavenging, locks, preventing rust, and more.

the panels. First we add the fabrics that the military used – lightweight protective clothing – so we did a huge amount of research to get to what the suit might now be at this time than the heavy rubber plate of previous films. People should look at how many layers of work and layers of design and creation have gone into making the 100 pieces – and an under suit and a soft suit – it’s a very complex garment. It was more like product design or designing a piece of a car or something like that. It was much more complex than normal.” Often, costumes in films are given little attention by viewers, partly because the role of the costume is to trick the audience into subconsciously buying into the illusion on screen. Thus, the films we love owe much to the brilliance and talent of their costume designers, and Melbourne is very lucky to have an exhibition that explores such an aweinspiring aspect of the filmmaking process. “Hollywood Costume is about elevating the role of costume design in film storytelling and character development,” Blair says with affection. “The exhibition brings academic weight and gravitas to a disciple that’s all too often been conflated with shopping and fashion. It’s about coming to appreciate the absolute integral role of costume design and it’s about time that it’s happened.” And it’s about time Batman returned to what he stands for – nipples and sexiness! Hollywood Costume opens at ACMI on Wednesday April 24 and runs until Sunday August 18.

BEAUTY IN DECAY - ROMANYWG ($44.95) “Take nothing but photographs, leave nothing but footprints.” This is the unspoken rule of urban explorers, who sometimes risk their safety, police records, and even their lives to explore abandoned buildings, sewers and storm drains, transit tunnels, utility tunnels, high-security areas of inhabited buildings, and even catacombs such as those in Paris, Rome, Odessa, and Naples. Although these urban explorers usually work solo or in small teams, they collectively put forth a ground cry against a modern culture that embraces the new, polished, uniform, and mundane. Beauty in Decay features the best in full-color, panoramic photographs from urban exploration or Urbex around the world.

THE ONION BOOK OF KNOWN KNOWLEDGE ($34.95) Replete with an astonishing assemblage of facts, illustrations, maps, charts, threats, blood, and additional fees to edify even the most simple-minded book-buyer, The Onion Book of Known Knowledge is packed with valuable information-such as the life stages of an Aunt; places to kill one’s self in Utica, New York; and the dimensions of a female bucket, or “pail.” With hundreds of entries for all 27 letters of the alphabet, The Onion Book of Known Knowledge must be purchased immediately to avoid the sting of eternal ignorance.

SONGS THAT SAVED YOUR LIFE: THE ART OF THE SMITHS 1982-87 - SIMON GODDARD ($19.95) One of the seminal groups of the Eighties, The Smiths’ career was as brilliant as it was brief. Now, drawing on interviews with band members, producers, and colleagues, music journalist Simon Goddard presents a meticulous chronological survey of the group’s musical evolution, from their first demos in 1982 to their final fractured studio session five years later. Investigating the stories behind the songs, and detailing every British TV and radio session, he also offers a unique analysis of each track’s concert life. Granted unprecedented access to The Smiths’ studio archives and to the private collection of outtakes and rehearsals retained by drummer Mike Joyce, the author lifts the lid on unreleased material as well as the lost songs and alternate versions that have remained closely guarded secrets until now.

ERIC STANTON: FOR THE MAN WHO KNOWS HIS PLACE - ERIC KROLL ($44.95) MARIJUANA PEST & DISEASE CONTROL - ED ROSENTHAL ($29.95) A wide range of pests, diseases, and nutrient deficiencies can zap the vitality of any cannabis garden. Inexperienced gardeners often rely on pesticides that are not registered for edibles, as well as other harmful or ineffective techniques that can render plants unusable. This resourceful guide comes to the rescue, showing gardeners how to win back a garden and nurture plants to their full potential, using safe, organic, and integrated pest management techniques. Author Ed Rosenthal gears the book to gardeners at every level of experience and in any growing situation from indoor, outdoor, and greenhouse to hydro and terrace gardens.

Beat Magazine Page 26


Eric Stanton (1926-1999) has been called “the Rembrandt of PulpCulture” and it’s not hard to see why. His imaginative, detailed fullcolor comic strip narratives picture buxom, leggy femmes fatales having their way with tied-up, handcuffed, or simply awestruck men. Stanton’s imagery is either an empowerment of female sexuality or a caricature of female-domination fantasy - depending on whom you ask - but there is no doubt that in Stanton’s world, women rule the land. This retrospective volume covers Stanton’s work from the late 1940s until the 1990s, including over 300 comic strips, single illustrations, and magazine covers. Also featured is an in-depth introductory text exploring Stanton’s life and work by photographer Eric Kroll.

STEVE HUGHES BIG ISSUES Steve Hughes’ new show Big Issues is touring and Steve is embittered with the world to say the least. Steve is such a distance off sitting on the fence that the fence looks as small as the line now dividing left and right wing politicians. It’s refreshing to hear such candid opinions in the myriad of politically correct fluff we are often subjected to. The interview ventured to North Korea and America within the first two minutes. In honour of that, I’ll cut straight to it: “it’s just ludicrous anymore how anyone can believe anything. How anyone can believe anything from the American government telling another country that violence is not OK is beyond my comprehension. The fact that their country hasn’t been arrested and put on trial for crimes against the universe is quite frankly beyond my comprehension. “Apparently Kim Jong Un has got weapons aimed at America. Has he? Well he probably has, you’ve got millions of soldiers on his boarder. Now we’re moving into the third world war which is a pain in the ass really. I thought I might make it to death without having to endure this nightmare.” Steve’s opinions are strong – some would assume potentially

alienating of his audience. Surprisingly he sometimes gets the ‘jock’ type personality that he wouldn’t have initially attracted. “A lot of people who would have found me crass and irreverent before are going, ‘You know what? They won’t let me pick a hammer up at work without filling out a form!’” Though Steve’s tongue is wicked, his wit and subject material makes a quintessential Steve Hughes comedy show engaging. Haven’t most of us had enough of the train cops’ cornucopia of misguided power? Aren’t many of us sick of the diluted “news” diverting its intended role of political and systemic watchdog? “The newspapers are owned by the elite power structures and propagate the propaganda that they want you to hear. There was a thing on Afghanistan where NATO killed 11 children. As soon as the news finished the newsreader started smiling and telling us about the sport. They put that one at the end to make everybody stop thinking about the dead children quickly. Immediately: here’s a blonde woman with big tits.” Steve was at an utter loss for words at the moral depravity of news corporations. To some up his point, he let out an

exasperated sigh and settled for a closing argument of “pfffffft”. “They even have Big Brother watch in England for fuck’s sake. At least they stick it in the paper to give a bit of balance and make you think democracy is occurring. Australia just doesn’t even try! “There’s no one in the media here that says ‘why’? Fifty fucking cops at Redfern station at 8am, why has Victoria suddenly got five thousand cops with guns collecting tickets. No one in the media ever says, ‘Excuse me? Who made this up?’ But you’ll get the right wing perspective. You’ll get Miranda Devine going, ‘You should give the cops more guns and she gets a voice every day.’” Our mutually agreed upon description of Miranda Devine was a word that cannot be published in this magazine. Let’s just say it describes both a female part of the anatomy and a woman who denounces gay adoptive parents and blamed the English riots on a “fatherless society”. “The train cops go around in groups of ten just hassling commuters. What is this high-intensity scenario for what is ostensibly fair evasion? Most people have a ticket and you’re busting on here like you’re busting into the Ecuadorian embassy to get Julian Assange for fuck’s sake. When did this become such a fucking catastrophic affair?” Here here! So yeah it’s fair to say Steve Hughes has a few gripes. But

then again, who the hell doesn’t? It would be challenging to ascertain but one single person I know who has never had an unpleasant experience with ticket inspectors. But there’s hope. “I don’t expect everybody to agree with me, perhaps I’m wrong. I hope so! What I talk about is the world being quite shit, I’d gladly be wrong. I hope I’m just a paranoid man, that would be brilliant.” BY TESS WOODWARD Venue: Forum Theatre – Cnr Flinders & Russell Sts, CBD Dates: April 17 - 21 Times: 9pm (Sunday 8pm) Tickets: Wednesday - Thursday $30, Friday - Sunday $34



BY JOANNE BROOKFIELD Venue: The Famous Spiegeltent,100 St Kilda Rd, CBD Dates: Currently running until April 21. Times: 7pm (Sunday 6pm) Tickets: Full Saturday $49.90 Full Wednesday - Friday & Sunday $44.90, Conc., Group, Laugh Pack $39.90


THE SPOKESMAN “ slick and accomplished…His material is impeccably crafted, his comic timing skilful…intelligent wit and down-anddirty, idiotic naughtiness”






“We’ve both got beaky noses and are a bit gaunt.” Frank Woodley is talking about the physical similarities he shares with Simon Yates which has seen the pair often be mistaken for brothers throughout their 20 year friendship. “We’ve also had a thing where Simon got into a bit of trouble one time from his neighbours because they thought that he’d snubbed them because I was standing out in his front yard when they walked past and I didn’t acknowledge them and they thought I was him,” he says. The pair also share a love of physical theatre – Woodley being a household name through his two decades of physical comedy as half of Lano and Woodley and more recently his eponymous television series – and Yates from internationally acclaimed company acrobat. “They’re very popular in Europe,” explains Woodley. “They do this incredible avant garde circus where the theatre aspects of it are really quite compelling and peculiar and very interesting stuff, often really, really funny as well, so I’ve been a big fan of Simon’s stuff for a long time,” he says. Woodley says he was wanting to do something with someone else again (“because I must admit although I do enjoy doing solo stuff, it’s a bit lonely”) and Simon was interested in working with him, so the two started collaborating. He said the idea was “let’s just find out what is the best thing we can make together, by both compromising a little bit or yielding a little bit to what the other person’s inspirations are, and also just getting off on what they’re producing or creating or thinking about. You know whenever there is chemistry between two people, whether its just sitting down and having a rave about something or any kind of rapport, it kind of creates a personality of it’s own and it was very much let’s find out what that is and not really worry too much about what people’s expectations are of what either of us have done before but just try to create something that’s really feels like it’s got a lot of energy to it and we’re both really excited about it.” The result is Inside, which is currently performing as part of the Melbourne International Comedy Festival. Woodley and Yates, with shaved heads and handlebar moustaches, play eastern European brothers Vissilli and Viktor respectively, who for reasons we never learn have found themselves in a grim prison. Life there is brutal, dehumanising and highly regimented with strange rituals, populated with disembodied voices and cardboard cut-outs as fellow characters. Although presented as a literal jail, this clever absurdist piece also tempts you to read it more metaphorically – in what other ways are we imprisoned? Does modern life separate and dehumanise us? “So it’s kind of horrible,” admits Woodley, “and it’s about suffering but it doesn’t have a depressed quality. It’s got a lot of emotion in it and there’s elements of sadness and panic but lots of it is very funny and there’s a lot of hope in it. Ultimately, the way I think of it, it’s like a love story between these two brothers”.



RONNY CHIENG Ronny Chieng’s new show is called Can You Do This? No You Can’t. It seems like a direct challenge to the audience, but the young stand-up assures me it works on two levels. “In one sense, the name is me making a direct challenge to the audience – it’s about the things that they can do that I can do better. In a broader sense, though, the title really refers to me, because I ask myself that question every day.” Chieng is a worrier at heart, and is constantly asking himself whether he has what it takes to succeed, both in terms of the ability required, and the sacrifices that need to be made. “If there was a theme to the show, then that would be it,” he says, “although I’m quite hesitant to say that there’s a theme. I’m not really a fan of narrative-driven shows – I prefer pure stand-up comedy, so that’s really what I’ll be doing.” Many comedians start young, making fun of their families and teachers, and in that sense, Chieng was a late bloomer. His interest in comedy only took hold when he arrived at university. “I did do a bit of comedy


performing, but everyone I went to university with was funny,” he tells me. “They all had a sense of humour, they all made jokes. I wouldn’t say I was the funniest. I only started doing stand-up comedy officially about four years ago.” These days, Chieng is something of a comedy nerd. He obsesses over his favourite comedians, tracking down all their recordings and albums and studying them tirelessly. Todd Barry is a particular favourite, and Chieng likens his style to jazz. “The way he talks is just so easy to listen to,” he says. “There’ll be high points in the set, but he never lets it dip – hour after hour, he just keeps it on the level. It’s amazing.” Every comic worries about where their next great bit is coming from, and the ever-anxious Chieng is no exception. “As a comedian, you’ll look at any situation and wonder if and how you can turn it into something funny,” he says with a laugh. “When I started out, I was pretty anxious about the need to find humour in everything. Lately, I’ve learned to deal with it a bit better,

to relax a bit more. I figure that things will come in their own time, so I can stress out or not, and it will still take the same amount of time to write the jokes.” Chieng has already enjoyed great success at home and abroad, though as for the next stage of his career, he’s just trying not to worry. “For me, when I just concentrate on making my next show a good one, future opportunities tend to open up. If you’re doing good work in the present, people offer you good work in the future. That’s how I like to do it. I struggle with that outlook – it doesn’t come easy, because I’m very much a worrier and a plan-for-the-future type guy – but still, I plan to keep making people laugh until somebody says stop.”




All of Ronny Chieng’s originally scheduled performances of Can You Do This? No You Can’t have sold out. However, a final performance has been added due to the popular demand to take place at the Melbourne Town Hall – Council Chambers, Cnr Swanston & Collins Sts, CBD on Saturday April 20 at 5.30pm. Tickets are Full $25, Conc. $20.



As we get into the final week of the festival, extra editions of festival shows have been announced giving you several more opportunities to see shows that have been selling out constantly. Here are the extras for this week:   Matt Okine





Steve Hughes - Wednesday and Sunday, 9pm and 8pm respectively at the Forum. Standard Double - Thursday, 10pm at the Blackman Hotel. PhiL and Me - Thursday, 7.30pm at Clayton Community Centre Theatrette. Tansy Bradshaw - Thursday, Friday, and Saturday, 6.15pm at The Bull and Bear Tavern. Matt Okine - Friday and Saturday, 11pm at the Victoria Hotel. Tommy Little -  Friday and Saturday, 11pm at the Town Hall. Joel Creasey

“it’s impressive and it’s very funny“













Joel Creasey - Friday and Saturday, 11pm at the Town Hall. Judith Lucy & Denise Scott - Saturday and Sunday, 3pm at the Princess Theatre. Ronny Chieng - Saturday, 5.30pm at the Town Hall. Aamer Rahman - Saturday, 6pm at the Town Hall. Superwog and MyChonny - Sunday, 3pm at the Town Hall. Choir Girl - Sunday, 4.30pm at the Town Hall. Adam Rozenbachs - Sunday, 5pm at the Town Hall. A Sunburnt History: The First Fleet -  Sunday, 6pm at Trades Hall. Tommy Little




If it ain’t broke, don’t fix it. Go Time is your typical Arj Barker stand up and with over 20 years of comedic experience under his belt most of his audience should know what to expect. He promises us 85 per cent of new material and though he treads the line with some of his previous jokes, his originality has probably been strengthened by a brief hiatus from the Melbourne comedy scene. The Flight Of The Concords star triumphantly delivers dopey reflections and anecdotes that valorize his ability to parody and pull puns. Embarking on a pensive outlook towards time and “living in the now”, Go Time is strengthened by Barker’s philosophical musings. His choice of structure however, is to be questioned. Utilising long winded build

ups to deliver his jokes, more than often the punchline doesn’t serve as a justified climax. But a man needs to get paid, and it drives him through the hour long time slot. In saying that, he has some brilliant moments and he is still on top of his game when it comes to writing comedy. BY TAMARA VOGL Arj Barker - Go Time is playing at the Melbourne Town Hall, Main Hall until Sunday April 21.


God bless Sammy J. He never fails to impress, with well written, well rehearsed performances that are more often than extremely funny. If you like your comedy shows to have a beginning, middle and end, to take you on a journey with a strong central theme and cleverly looped references, Sammy is your guy. If you want massive belly laughs, maybe lower your expectations this year. Potentially sees Sammy going solo again, without his foul-mouthed puppet foil. Opening with a tale of thwarted literary ambitions, He quickly establishes that the show is about all the things that could still happen, right up until the point where they can’t. Heavily scripted but lightly delivered, it meanders through anecdotes of murderous ninjas, men in g-strings and fearful possums, tying up neatly at the end. The stories are punctuated with nerdy physical humour and even nerdier word play, plus Sammy’s always crafty musical comedy. Potentially is gently funny, eliciting plenty of chuckles



from a supportive audience and the occasional burst of real, hearty laughter. If it is a little disappointing, it’s only because his shows with Randy were so consistently wicked whereas this one is mild mannered and sweet. He does say ‘fuck’ a lot, which is nice - for reasons only Potentially can explain. SIMONE UBALDI Sammy J - Potentially is playing at the Arts Centre, Fairfax Studio until Sunday April 21.



“You can’t go wrong with a ticket to the Bulmers Best of the Fest” “Three solid, make you laugh out loud comedians... a great comedy show with a stellar line up of funny, English lads to entertain you”


















Festival-favourite Stephen K Amos is back with a brilliant new festival show. There’s much to say in support of The Spokesman, but first, let’s get a minor gripe out of the way. The show begins somewhat inauspiciously, Amos’ opening gags faintly familiar. The first five minutes covers bananas and being carded in Darwin, echoing previous shows. It’s obvious Amos sought the assurance of proven material, hoping to set the tone for the show - which is not exactly unreasonable. In the eyes of long-time fans, though, the beginning of The “Spokesman” may yield momentary disappointment. That might be an important or trivial talking point depending on who you are and what you want from a show, but consider this: The Spokesman concludes with Amos openly taking requests from his audience. This only serves to highlight how familiar his fans are with his work, which, in turn, demonstrates the necessity for fresh material. When you’re a comedian of Amos’ calibre, nothing less will do. Here, incidentally, marks a return to the prevailing point: this is actually a positive appraisal of Amos’ latest festival show. The Spokesman, aside from a brief detour down memory lane, is an intriguing new hour of stand-up comedy. Amos presents a self-effacing take on his alleged ‘spokesman’ status, wrestling with its suitability. However, therein lies the brilliant irony: in spite of his many and varied suggestions, you can’t help but see Amos as an effective and intensely likeable orator.  He is, after all, the epitome of a professional comic, his strike rate impeccable.  If you’re only out to see one or two shows this festival and you need to be assured of a great night, consider Amos one of your go-to guys. Highly recommended.




The long awaited apocalypse is looming and the Church of the Filius Dei Nullius are waiting to kindly escort you on your journey to heaven...and to cash in on your fear. You don’t need wallets in heaven right? The clever comedy duo Christian Bagin and John Forman come together as Dun Dun Daa productions to bring their dry and sometimes dark humour to the stage at the Melbourne International Comedy Festival. Their show, The Rapture, is staged in a dark and seemingly endless room in the Revolt warehouse space in Kensington the room lined thematically with pews. The Rapture is a cross between The Vicar Of Dibley and the Mr Bean series and is the perfect show for any doomsday thinkers or anyone who was forced to go to Catholic school. Don’t worry I assure you, you’ll never enjoy church so much. The Rapture is a theatre show about waiting for the end of days. It’s a hot topic and everyone wants to be right when they predict something as outlandish as the demise of the human world. Bagin and Forman spare no manners for the plight of Christianity in their new comedy show, wielding controversy like a Jedi master wields a light saber. Full of audience interaction and sometimes confronting quips, this is not for the easily offended! Bring your thickest skin and best sense of bible bashing humour.




Stephen K Amos - The Spokesman is playing at the Athenaeum Theatre until Sunday April 21.

TOO SOON? ‘Ifft doesn’t teeter at the line of political correctness, he shamelessly dances right across it. And in doing so, has the audience in stitches” “He’ll drop the F-bomb hundreds of time and also have you thinking “I can’t believe he just said that.” But Ifft is hilarious’




BY JESSICA LAWSON The Rapture is playing at Revolt Artspace until Saturday April 20.







Everything about dear Josh Earl is painfully hip, from his hair and jeans (which he eagerly mocks), the books he has stacked across the State Library stage – Dave Eggers, Michael Chabon, Ian McEwan, Tina Fey, Cormac McCarthy, Jonathan Safran Foer, Chuck Palanak and DBC Pierre – to his pre-show soul music including Clairy Browne and the Bangin’ Rackettes  and Eli ‘Paperboy’ Reed. What I am saying, I guess, is I think we should be friends. The spine of  Is A Librarian  is as clear as a call number, he works his way up the Dewy Decimal system, picking and choosing the stops to suit his grab bag of material. It’s all great stuff: family, Christianity, employment, creep guys in clubs, graphs and word play all get Josh’s comedy song workout.  Librarians in the audience, and there

were a few, get their own special in-jokes, such as Call Number 612.6, but the rest of us soon caught up to that one. Even though some of the material wasn’t fresh, all the laughs were. Perhaps the highlight of the set was the least comedic, a lovely little song about falling in love in his hometown of Bernie, wouldn’t have been out of place in the Lucksmith’s back catalogue.   Classic, classy comedy, genteel without being gentle, Josh Earl delivers again proving to be year in year out a festival highlight.   BY JACK FRANKLIN Josh Earl - Is A Librarian is playing at The State Library of Victoria until Saturday April 20.

Songs My Parents Taught Me is a wild walk through the sexdriven, Southern Comfort-drinking era of ‘70s Melbourne. LisaSkye tells of a couple – Bunny and Maddog – and juxtaposes their understanding of adolescence and sexuality with hers. She’s a talented performer who can rescue a joke with the pull of a face. Her delivery is commanding yet she maintains this cute, affable nature. It’s hard not to be charmed by her persona and her fun, glittery presentation. I really wish I could’ve written a good review for this. She seems so lovely. But this is just not my thing. Others, such as Crikey and The Herald Sun, apparently enjoyed it, so I must emphasis that just because her humour was stale to me, it did seem that others got a kick out of it. I’ve seen 115 shows so far this year at MICF, and while some say this gives me an authority of judgment, it’s actually the opposite. A show has to be really great to impress me this year, so I envy those that could enjoy this. I sound so fucking depressed – ‘omg I wish could feel something’ – but if I had only seen a few shows this festival, I could judge this on its own

individual merit. However, in comparison to other shows, this was quite average. Foreshadowed by the title, the show is largely based around familial stories and the contrast between her upbringing and her parents’. I loved the unrestrained honesty of her material, and the physical delivery of her comedy is excellent. Her spoken word poetry, set to the haunting ticking of a metronome, was often powerful and spine-tingling. Unfortunately, this didn’t make it a funny show. I laughed hardest when she tried to save a joke. For example, following an excessively crass joke, she pulled out a hilarious drawing to distract from the gag. The image was hysterical, but it’s not enough to rely on the audiovisual cues that complement the stories to get laughs when your anecdotes themselves are flat. I enjoyed the theatricality of the performance. There are pop culture references, quirky getups, and glitter. A consequence of this, though, is that the show depends on qualities such as these for a laugh, and it all just feels forced. BY NICK TARAS Lisa-Skye - Songs My Parents Taught Me is playing at The Tuxedo Cat until Sunday April 21.


To be honest, Three Degrees is not the best venue for a comedy show.  It’s noisy, at times hard to see, and has an odd vibe.  But Simon Palomares makes it worth it. Palomares is the definition of a comedy veteran.  He’s been working at or somewhere near the pinnacle of the comedy scene in Australia for 26 years.  He’s a polished performer and a very funny man.  His (mostly) new show, Still Crazy, has him presenting a blend of old and new material.  The inclusion of some older material is welcome, as Palomares is generally at his hilarious best when speaking about his sons.  His impressions of the pair of ‘emos’ are gutbustingly funny, peaking when Palomares recounts his method of literally putting the fear of god into his unfortunate child.  The flow of the show isn’t quite there yet, but almost all of it is damned funny.  Palomares has a broad appeal, but his presence at the Festival will be particularly welcome to parents and members of his generation who can relate to being the meat in the sandwich between aging parents and not-quite-independent offspring.  He’s a genuinely talented performer and always worth watching. BY JOSH FERGEUS  Simon Palomares  - Still Crazy  is on at Three Degrees, QV Square, until Saturday April 20.


No one is good in the mornings, this is why showers, coffee and Coco Pops were invented  - to distract us all from the pain - but poor Xavier Michelides takes mornings harder than most. He believes that they set the tone for his whole day, or even the year, and judging by the material he lays out in Good Morning! he has had some bad years. Part stand-up, part sketch, part theatre and all funny, Good Morning! lays out the musings of a man confronting his own shortcomings in the comedic attempt to see the world in a better light, as long as it isn’t morning light. Xavier possesses that elusive quality that most local comedians you will see at MICF sadly lack, he is able to connect with the audience. This is a truly priceless blessing that no doubt he has worked very hard to achieve.  This elevates his performance and material, which at times is under-written and frankly contains one too many commercial parodies, to a level that has members of the audience bellowing with laughter. His acting chops are spot on, flitting between characters and sketches with little effort and zero confusion for the audience, his vocal and facial work is terrific and he pulls one of best Kryton faces this side of Red Dwarf. A great show in a lovely little room, Xavier is the goods, get in and see him before he is ruined by some TV gig and is appearing on Before The Game. BY JACK FRANKLIN Xavier Michelides - Good Morning! playing at the the Forum Theatre, Pizza Room until Sunday April 21.



wednesday april 17 inside:

ben klock

charli xcx

tydi news tours club snaps + more





on tour OPTIMO [SCO] Friday April 19, The Bottom End JOZIF [UK] Friday April 19, New Guernica IAN FRIDAY [USA] Friday April 19, Mercat Basement EPTIC [BEL] Friday April 19, Brown Alley ANDHIM [GER], NICE7 [ITA] Friday April 19, Brown Alley PHAROAHE MONCH [USA] Friday April 19, The Espy OTTO KNOWS [SWE] Saturday April 20, Alumbra PLUMP DJS [UK] Thursday April 25, RMH The Venue EATS EVERYTHING [UK], DERRICK MAY [USA], BEN KLOCK [GER] Thursday April 25, Brown Alley MOVEMENT: NAS [USA] + MORE Saturday April 27, Festival Hall SUPAFEST: 50 CENT [USA], T.I. [USA] + AKON [USA] MORE Saturday April 27, Flemington Racecourse MOSCA [UK] Saturday April 27, Revolver Upstairs EXAMPLE [USA] Friday May 3, The Palace MAX COOPER [UK] Friday May 3, RMH The Venue YACHT [USA] Friday May 3, Ding Dong Lounge NINA KRAVIZ [RUS] Friday May 3, Brown Alley YING YANG TWINS [USA] Saturday May 4, The Espy BAAUER [USA] Saturday May 4, Brown Alley RYAN ELLIOT [USA] Friday May 10, Brown Alley VAKULA [UKR] Friday May 10, Mercat Basement RROSE [USA] Saturday May 11, The Liberty Social RADIOSLAVE [UK] Friday May 17, Brown Alley DELTA HEAVY [UK] Sunday May 19, RMH The Venue OCTO OCTA [USA], MAGIC TOUCH [USA], BOBBY BROWSER [USA] Friday May 24, Mercat Basement Saturday May 25, Shebeen KARL HYDE [UK] Saturday May 25, Melbourne Recital Centre ROBERT BABICZ [GER], MARC ROMBOY [GER] Friday May 31, Brown Alley ELITE FORCE [UK] Friday May 31, RMH The Venue FLATBUSH ZOMBIES [USA] Saturday June 1, The Toff In Town COSMIN TRG [ROM] Friday June 7, New Guernica CHRIS LIEBING [GER], JIMMY EDGAR [USA] Sunday June 9, Brown Alley JEFF MILLS [USA] Sunday June 9, The Bottom End SEPALCURE [USA], DJ RASHAD [USA] + MORE Sunday June 9, TBA ATA [GER] Friday June 21, Mercat Basement A$AP ROCKY [USA] Saturday June 29, Festival Hall CHVRCHES [UK] Monday August 5, Corner Hotel EARTHCORE: ANGY KORE [ITA], PERFECT STRANGER [ISR] + MORE Friday November 29 - Sunday December 2, TBA

plump djs wo rd s / j o c a m p b e ll

Plump DJs were at the forefront of Finger Lickin’ Records’ foray into nu skool breaks throughout the naughties. Beats catches up with one half of the DJ/ production duo to discuss how they’re still making themselves relevant ahead of their four deck live show at Villa. Andy Gardner and Lee Rous are on their way to play Miami’s Ultra Music Festival as I call Lee’s mobile. They’re waiting for they’re luggage at Miami airport’s baggage carousel, having just moments before disembarked the flight from London. Rous is thinking about finding a bar as they wait to be chauffeured to their hotel. Plumps might not be playing the main stage at the event, but they’ve been invited back for the second year in a row and have a string of side shows lined up – not bad for a duo that have historically been known for championing a sound that isn’t a popular as it once was. After releasing their first album A Plump Night Out in 2000, the two went on to smash it in the field of breaks, putting out more than 200 releases and spearheading the move to define the breaks genre on now defunct Finger Lickin’ Records, along with label mates Krafty Kuts and Stanton Warriors. In a move to keep producing ever-evolving beats, the two set up their own imprint Grand Hotel Records, having recently released their first LP on the label, The Dirty Weekend mix album, which received Mixmag’s accolade of album of the month, along with a string of hard hitting singles. Listen to Plump DJs now and you’ll hear elements of dubstep, electro and bass, along with their mainstay breaks. These guys are in no way breaks purists. “We stopped thinking in a genre-specific way some time ago,” explains Rous. “The genre of breakbeat is obviously where we found our feet and Finger Lickin’ was the label for funky breaks. So people like A Skills, Krafty Kuts, Stanton Warriors and ourselves are still making breakbeat records but we’ve experimented more with other genres. “Now we’re experimenting with defining a genre that doesn’t even exist yet, which we’re just calling ‘Plump Music’ for the moment.


“I think this is the most forward-thinking record we’ve done lately,” Rous says of Hammerhouse. “We’ve just done three more; we’ve been working really hard in the studio. They’re all similar in the fact that they’re not similar at all; they’re all pushing in different directions.” The Dirty Weekend LP features 25 tracks with collaborators and protégés, a showcase of the Grand Hotel Records imprint,

including tracks from up and comers Bonsai Kat and Submo, recently signed by the duo. “We’re lucky that in London we have a big melting pot of music and we can draw on a lot of influences and there’s a lot of good energy for creating because of its inadequacies - the weather is bad and you know, we put that energy into other things. So it’s a great place to pick up new music from new artists,” says Rous. “We became really enthused with loads of acts and wanted to get work with some new people and because we have the label we have the freedom to put what we want on it and look at who’s inspiring you and see if you can work with them.” In terms of the Plump’s much loved live show, Rous says that the two have developed a certain amount of clairvoyance after so may years sharing the decks. “We are very much in tune,” he says. “From late teenage years we’ve been playing records together at home and at parties and after making music together for years and years and years we have got a bit of ESP. “I do the odd solo gig now and again but it’s so much more fun being in the duo. We’ve got a bit of presence up there, even though we’re getting on a bit. We’re still making relevant music. So we’re pretty proud.”

Plumps DJs play at RMH The Venue on Thursday April 25.

- head to for more

off the record w i t h

We’ve always liked to have a free reign on what we make and never be too genre specific.” 2012 marked the release of their smash club single Gobbstopper, showing a return to form. Their single Hammerhouse recently came out, with more on the way – the result of hours of lockdown spent in their Soho studio over the UK’s winter season.

heavenly bodies

t yson

w ray

Can everyone please stop talking about the new Daft Punk record until it’s actually released, please? Start talking about the new EP from Hound Scales. That shit is fierce.

In a one off event, Heavenly Bodies will be presenting two hour-long dance workshops at Shebeen. If you’ve ever found yourself with two left feet or just plain embarrassing, this is calling out to you. Heavenly Bodies stalwarts The Silver Bullets will host a dance workshop doing what they do best by teaching you the moves to an iconic film clip. Joining them will be Twerkshop, a new dance instructional break-off duo from the hugely successful Hip Hop Hotties. It’s all happening on Wednesday April 24 at Shebeen.

tour rumours Chris Fortier, Jam City, Tensnake, dOP, HNQO, Vakula, Nina Kraviz, The Revenge, 6th Borough Project, Oxia, Andrew Weatherall

Bobby Browser

contact Editor: Tyson Wray / Editorial Assistant: Nick Taras / Production/Cover Design: Pat O’Neill / Typesetting & Design: Michael Cusack Advertising: Ronnit Sternfein - (03) 8414 9710 / Adam Morgan - (03) 8414 8719 / Taryn Stenvei - (03) 8414 9711 / Kris Furst - (03) 8414 9703 / Photographer: Callum Linsell Contributors: Alasdair Duncan, Andrew Hickey, Annabel Maclean, Chloe Papas, Dan Watt, Jo Campbell, Kish Lal, Lachlan Kanonuik, Leigh Salter, Miki McLay, Morgan Richards, Nick Taras, Nina Bertok, Richie Meldrum, RK, Rose Callaghan, Ryan Butler, Simon Hampson, Tamara Vogl Deadlines: Editorial: Friday 2pm Advertising: Monday 12pm Publisher: Furst Media - 3 Newton Street, Richmond - (03) 9428 3600


octo octa, magic touch and bobby browser LA Pocock & Kakkle Tapes will present 100% SILK artists Octo Octa, Magic Touch, Bobby Browser for the first time in the Australia. The 100% SILK artists will play two shows in Melbourne. The first will be at The Mercat Basement where they’ll be joined by the exquisitely sassy Zanzibar Chanel and DJ LA Pocock. It’ll be aptly named 100% Party. The second show, 100% Live, will see Octo Octa, Magic Touch, Bobby Browser all play live. Joining them will be local 100% Silk artist, Roland Tings DJ Salmon Barrell. 100% Party is happening at The Mercat on Friday May 24, 100% Live at Shebeen is on Saturday May 25.


Matt Edwards, aka Radioslave, is renowned as being one of EDMs true experimentalists. Think of the craziest thing you could think of when it comes to music production and chances are he’s already thought of it, sold it and had crowds dance to it. He has continued to push himself successfully avoiding becoming stale and obsolete in a scene that moves so quickly from trend to trend. It is without a doubt imperative all electronic music lovers experience Radioslave but once in their lives. You’ll come for the party and stay for the incredible fusion of genres, eclectic song choice and possibly a half an hour long mix of Diddy. Catch Radioslave at Brown Alley on Friday May 17 with support from Alex Niggeman and Chymera.

electronic - urban - club life

ryan elliot

Ryan Elliot of Ostgut Ton records is heading to Australia to make his debut. From the renowned label owned by Berlin’s Berghain comes Detroit’s Ryan Elliot. If that’s too many influential cities in one sentence for you to handle, the only cure is to head down and experience what is bound to be a night fuelled by only the best in techno and house. His exquisite choice of bassline-driven techno and house reduced to the very essence is always thoughtfully calibrated to drive crowds out of their minds. It’s all happening at Brown Alley on Friday May 10.

electronic - urban - club life



- head to for more

elite force

In an exclusive Melbourne Show, DXM presents Elite Force for a night of electro house, techno, and breakbeat like no other. Hailing from the UK, Simon Shackleton’s Elite Force project began way back in 1996, and it wasn’t long before he was regarded as one of the top technicians on a circuit. 2012 saw the release of RVMPD2, an album of re-inventions, remixes, mashups and originals featuring an A-List cast, including Skrillex, Primal Scream, Adele, Deadmau5, Muse, Nero, Chemical Brothers and a host of legends from the world of electronic music. Supporting him will be Wasabi, Kodiak Kid, DXM (Suseri, HiJacker, Crimemaster Go Go and CrackerJack) and many more. It’s all happening at RMH The Venue on Friday May 31.

snaps lucky coq

jagwar ma

Sydney-based alt-dance duo Jagwar Ma have had to cancel the shows due to illness, however, they are hoping to reschedule their Melbourne show in the near future following their upcoming festival dates. Refunds for Jagwar Ma tickets can be collected from their place of purchase. Keep an eye on their Facebook for new dates.


CHVRCHES have announced their debut Australian tour. Selling out shows across the US, UK and Europe, the promising young trio are known for their hybrid blend of electronica, hip hop and post-punk. CHVRCHES hit up The Corner on Monday August 5.


To celebrate the launch of Syren’s first official video clip, A Feather To The Sea, directed by filmmaker Timothy Parish and filmed in Halong Bay, Vietnam, will be hosting a launch party at First Floor in Brunswick St. The night will feature soulful electronic music from the Syren electro-tripstep band with live harp, violin, vocals and guitar. There will also be beautiful tunes from the strange and beautiful sonnets of Audego featuring beats by Pasobionic and the infectious upbeat swing of Rachel By The Stream supported by hip hop artist Matricks. It’s on at First Floor on Friday April 26.

one twenty bar

tommy trash

One of our hardest working electronic exports Tommy Trash has announced his homecoming with a national tour. Boasting collaborations and remixes of some of the biggest names in dance music including Swedish House Mafia, Steve Aoki, Tiësto, Sebastian Ingrosso, A-Trak, Digitalism and deadmau5, the latter of which saw Tommy nominated for a Grammy Award in 2012 for “Best Remixed Recording” – Tommy has kept himself busy both in the studio and on the stage. Tommy Trash performs at Pier Live on Friday May 31 and Code Red on Saturday June 1.

behind the decks with:

tom evans

bruno mars

Bruno Mars has announced he’s visiting Australia. The tour announcement follows his performance at The Logies last Sunday. The Grammy Award winning, multi-platinum, ARIA #1 superstar has achieved worldwide sales of eight million albums and 58 million singles to date. Bruno Mars hits Rod Laver Arena on Tuesday March 4.


Where’s the strangest place you’ve woken up? Would have to be on a boat at Brighton Yacht Club. Woke up with no shoes and no wallet. Describe yourself using the title of a song. Unsure, I have never thought about it. I’m currently listening to The Rolling Stones - Wild Horses if that’s and conciliation. What was the weirdest thing you believed as a child? I suppose all the silly little things. I used to cry all the time when my old man would do the “got your nose” trick. I used to have a tantrum and ask for it back. The most awkward moment you’ve had as a DJ? I got asked to play an underage event in Collingwood. Thinking it was and underage club event, but it was a dance party for a dance school break up. Played to about 200 6 -10 year olds. What would be the worst dance track in the world to be tortured with on repeat? Sidney Sampson – Riverside, drove me insane that song What’s the most played record in your bag? Probably something a bit older like Shades of Jae.

electronic - urban - club life

What question would you like to ask an omniscient, allknowing being before you die? What are the Colonels secret 11 herbs and spices? If you hadn’t made it as a DJ, what job would you choose to work in instead? I was racing go-karts and cars up until I was 19 so I dare say be in that field or something along those lines. Would certainly be in motorsport though. When and where is your next gigs? This week I have Seven on Thursday, Tramp on Friday, Motel and Onesixone on Saturday and Cushion and Circus on Sunday.


electronic - urban - club life


snaps strike

charli xcx words / caitlin welsh

Charlotte Aitchison, aka Charli XCX, is trudging home in the hype. She’s spent the nearly two years since teasing new tracks cold, taking interviews on her mobile between studio sessions. on short mixtapes – her starry-eyed goth-pop melodies sung over It’s 10.30pm, and London is freezing. Much of Britain is suffering production from Gold Panda and Blood Diamonds, with dialogue from ’90s movies like The Craft and Cruel Intentions punctuating an unseasonably cold spring – head-high snowdrifts, dead puffins washing up on beaches, etc. “It’s kinda like Ice Age over the space between tracks. Most of those songs and other new here,” Aitchison laughs. She’s hoping it’s not actually a sign of ones – including a collab with rapper/stripper Brooke Candy – impending apocalypse. “It would appear on her first full-length, True be such a shame if the world ended Romance, which is out this week. the day before my album came “I don’t want to write throwaway pop music “I’ve never been pregnant, but I imagine that this is kinda what out and no one ever heard it.” – I think that’s a waste of time. I want to Fans have been waiting a while for it feels like – just with a lot more a debut from Charli XCX – after write credible pop music, and that’s what I pain,” says Aitchison with a releasing two rave-clash-pop singles laugh. “I really feel like it’s a think I’ve been doing.” in the late ’00s, she emerged back coming-of-age record for me, like I’m grown-up. Obviously onto the scene in mid-2011 with the stormy, yearning single Stay Away there’s still a massive child(co-written with Diplo’s pop partner in crime, Ariel Rechtshaid), like element to me, but I just feel like this record is a turning which scored a Best New Track tag from Pitchfork and reignited the point for me. Kinda like my whole romantic experience has

ben klock word s / j o c a m p b e ll

DJ/producer Ben Klock’s marathon sets are the stuff of legend. Alongside Marcel Dettman, the Berliner is a resident at the legendary power station turned sweat fest for the technocommitted – Berghain night club. Beats talks with the man that is quite literally the current definition of cutting edge techno. At home in Berlin for three days before journeying for the weekend to Switzerland and Italy to play his dark, driving form of hypnotic minimalism to techno lovers, Ben Klock sounds as though he has a cold. In the last couple of weeks, he’s been to Paris, Miami, Portugal and London. Klock is most definitely a man in demand, not least of all down to his sheer diligence to providing the party, some of which roll on into Monday mornings. His monthly sets at Berghain inspire awe, often going for an epic 11 hours, begging the question of where he draws energy from, let alone that many hours of fresh material on a regular basis. “There is something magic about this place,” he says of the now legendary spot. “Maybe also I have such a special connection to the club and the people in the club. They appreciate what I do and I get so much energy back from them. “Even two weeks ago when I played the last time, I had three

Didier Cohen

massive shows before then and three nights without sleep and I felt like, ‘I can’t play today’ and then as soon as I get into Berghain all the tiredness is just gone and I play for ten hours. “I don’t even look at my watch one time and I don’t even want to hear from people what time it is – as soon as I know the time I would get tired, but otherwise I will just play and play and all of a sudden, it’s been 11 hours.” Known previously as Ostgut, the Berghain opened in 2004 with Klock scoring residency after just one go on the decks. “That was a life changing moment,” he says. “It’s a very special, place to me, yeah – my whole career started off there. Every place has a different energy and it’s really important for me to come back to my home club. “With so many hours you can go deeper and you don’t have to do that festival set where you play one hour of banging high energy. In the Berghain you can really send people on a hypnotic trip – something that you can’t really do in a one hour slot.” Being asked to perform the Berlin Boiler Room in February indicates his notoriety as one of the leading and most in demand DJ/producers from the home country of his brand of sonic art,

tydi wo rd s / R K

It’s hard to keep up with this young man. For life has been so Likewise, his time in the studio has culminated in the release of fleeting in recent years that tyDi has almost forgotten where he’s an EP this past January called When I Go. “I felt like that whole supposed to be based. From his home in Australia, to his now EP was pretty diverse,” he explains. “There is a chill out track, spiritual home in the USA – as well as countries everywhere in something a little more experimental as well; musically, it’s the way between – the chap acknowledges I’m heading and I’m really enjoying his rather whirlwind life in recent it.” No less, having the chance to times. Still, for tyDi, music is about present his wares as far afield as “My music is changing because my tastes doing the unexpected – keeping Helsinki – and as close to home as are changing. I’m working with people that Sydney – can’t hurt either. Yet not everyone guessing, as it were. More recently though, Australia’s to be outdone, he has also finished write for big names like Rihanna so I’ve favourite son has begun to spend another EP titled Nothing Really been doing some crazy things in LA. ” more and more time in LA; it’s Matters featuring the soulful voice close to everywhere else – and it’s of Melanie Fontana. where magic happens, after all. And Otherwise, keeping him busy has with that, the carefree kid is enjoying the freedom that music has been his new publishing deal with Universal. “That happened about afforded him. “I’m not about over-thinking things; when you travel to ten months ago,” explains a proud tyDi. “It has been pretty exciting different destinations, you enjoy the diversity of crowds,” he says. for sure. I’ve had the chance to work with some amazing artists “Playing a gig in the States is one thing but when you’re at a big as well as getting the opportunity to write for them. They’ve given festival with 10,000 people in Poland you might not play as many me a lot of freedom there so it is really great. There are also a few songs with lyrics,” he explains – with a chuckle. “For me there are exciting things happening which I can’t give away just yet, but I no rules and that’s why way I like it.” would say stay tuned!”


electronic - urban - club life

been compiled into one album, so it’s still raw for me.” The Charli XCX aesthetic occupies a similar ’90s-teen-girl-viaTumblr space as Grimes’ pink hair and platforms, with maybe a bit less art-school and a little more Gothic girl group. Anyone born in 1992 doesn’t really know a world without the Spice Girls, and the self-confessed Spice tragic makes no secret of her pop leanings. “I always wanted to write a pop record – not a hipster bullshit record, I just wanted to write a record full of pop songs. And maybe they’re not Top 40 pop songs, but they’re still pop songs, y’know?” she says. “I don’t want to write throwaway pop music – I think that’s a waste of time. I want to write credible pop music, and that’s what I think I’ve been doing.” Of course, Aitchison’s already had a taste of chart success – sort of. She co-wrote, and is featured on, Swedish duo Icona Pop’s hedonistic shout-along smash I Love It. “Everyone knew that song was going to be a hit, and my vocals were on it, so I wanted to be a feature on it so that I could, y’know, get some fans from that, I guess, that I maybe wouldn’t have had I not done it,” she explains. “I didn’t want to take the track as my own, because my album doesn’t sound like that song. I’ve never wanted to make an album that sounds like that song – that crazy electro-clash riot thing. Which I think is amazing, and Icona Pop do that so well. They took that song to a place that I never could have. They own it.” In fact, one eye on the top of the charts and one on her own, less commercial aspirations is exactly how Aitchison wants to run things. “That song has opened a lot of doors for me as a writer, so I’ll be able to write Top 40-friendly songs for them, and at the same time make music that I want to write as an artist,” she says brightly. “So it’s worked out well for me.”

Charli XCX’s True Romance is out on Friday April 19 through Warner.

but Klock is modest, without a hint of arrogance when this is put to him. “I’ve grown into this step-by-step, really slowly, so now I’m at a point where I’m really confident of what I do. I don’t take anything for granted. Every show is important no matter if it is small or big and I’m always trying to make it a magical night and want to deliver every time, even if I’m really tired and exhausted.” His latest release was his Fabric 66 mix compilation; not such an unusual platform as he plays in the London club around four times a year. The release follows his revered debut album One on Ostgut Ton and his Berghain mix. “That was actually kind of a funny coincidence because I had this idea that it would be cool to do a mix for Fabric and Fabric had the idea that they wanted me on board but both sides were too shy to ask for quite a while,” he says of Fabric 66. “They thought I was busy with the Berghain and the mix series there and I thought they wouldn’t be interested because I’m a Berghain guy.” The mix features tracks from Burial, Octave One, Mathew Jonson and Floorplan along with Klock’s own tracks and some from Dettmann and Klock’s prodigy, DVS1, who features on Klock’s own label, Klockwork. Klock is soon to be joined in Melbourne by the godfather of Detroit techno, Derrick May. Suprisingly, the two have never met, with Klock saying he’s never witnessed May’s set. “He’s a big influence for all of us. I’ve never met him and I also have never heard him play live so I’m looking forward to that. His label was a big influence in the early days.”

Ben Klock plays at Brown Alley on Thursday April 25 alongside Derrick May, Eats Everything and more.

Musically, he admits that there is a difference in his sound now versus what people have heard from him before. For a start, he is writing and playing a lot more of his own music. “I don’t tend to feel I have to play the hits and the songs that everybody knows me for anymore,” he admits with relief. “It is a great opportunity for me to show people that things can be a bit different. I want my gigs to be a showcase for my music and I want to keep pushing the boundaries.” He also reminisces for a moment, suggesting that electronic music was always about a DJ having a strong style. “I’ve always made music for people to connect with; songs with more than just a piano or guitar,” he says. “What I’m doing now might lean a little bit towards the pop world, but my music is changing because my tastes are changing. I’m working with people that write for big names like Rihanna so I’ve been doing some crazy things in LA. I’ve been able to produce songs that tap into a new market as well; I’m enjoying writing music and enjoying it rather than over thinking it. I really has been an amazing experience,” he admits. With all things said and done, Tyson Illingworth stands ready to defend his various accolades. He has already been named the country’s number one DJ. Moreover, fans worldwide revere him for his forward thinking approach to music, and likewise, he long ago raised the eyebrows of greats like Armin Van Buuren who have taken him under their wing as he has blazed a path of glory. And while he admits that all of that is really important for him, it is his love of writing music that is his ultimate motivation. “I always think about how it’s going to sound when I play it. It’s all about that energy and vibe for me,” he says. Finally, having almost conquered all in his short but illustrious career, tyDi is pumped about pretty much everything that is on his horizon. As always, keeping his adoring fans happy is at the top of his list and with a record box full of new and exciting treats, punters are assured of a good time. “I’m about giving the crowd what they want and always building the excitement!”

tyDi’s new single Nothing Really Matters is out now. He also plays at Fusion on Saturday May 11. soundcloud.comtydi-pty-ltd

club guide wednesday april 17

snaps bimbos

COQ ROQ - FEAT: AGENT 86 + DJS LADY NOIR + JOYBOT + KITI + MR THOM Lucky Coq, Windsor. 7:00pm. COSMIC PIZZA - FEAT: NHJ Bimbo Deluxe, Fitzroy. 8:00pm. DUBSTEP GRIME DRUM & BASS - FEAT: DJ BADDUMS + DJ CARMEX Laundry Bar, Fitzroy. 8:00pm. HOODRAPZ - FEAT: WEDNESDAY Workshop, Melbourne. 7:00pm. LOST & FOUND - FEAT: DJ SPIDEY + DJ RUBY FROST Revolver Upstairs, Prahran. 8:00pm. NEW GUERNICA WEDNESDAYS New Guernica, Melbourne Cbd. 7:00pm. SOUL ARMY Bimbo Deluxe, Fitzroy. 8:00pm. THE DINNER SET Revolver Upstairs, Prahran. 6:00pm.

thursday april 18

first floor

3181 THURSDAYS - FEAT: HANS DC + JAKE JUDD + NIKKI SARAFIAN + HEY SAM + JESSE YOUNG + JOHN DOE + SEAN RAULT Revolver Upstairs, Prahran. 5:00pm. ADAM BANDT MP - FEAT: DJ JONES THUGS’N’ HARMONY + RAD BROMANCE + ROSEFACEKILLAH Gasometer Hotel, Collingwood. 8:30pm. $8. BANG N MASH Word Events Warehouse & Lounge, Melbourne. 8:00pm. BENT CABARET + BABY CHERRY + BENGAL DEVINE + BLUEBERRY + LETHAL LOLITA + MADAM DREADFUL The Luwow, Fitzroy. 7:00pm. $20. BILLBOARD THURSDAYS - FEAT: MATT DEAN + MATTY GRANT + PHIL ROSS Billboard, Melbourne Cbd. 10:00pm. $10. CHI BEATS Chi Lounge, Melbourne Cbd. 9:00pm. DO DROP IN - FEAT: DJ KITI + DJ LADY NOIR The Carlton Hotel, Melbourne Cbd. 8:00pm. DON’T THINK I’M ALIVE THURSDAYS THE VINEYARD, ST KILDA. 7:00PM. ENROL TO VOTE PARTY - FEAT: DJ JONES THUGS N’ HARMONY + DJ RAD BROMANCE + DJ ROSEFACEKILLAH Gasometer Hotel, Collingwood. 8:00pm. $5. FREE RANGE FUNK - FEAT: AGENT 86 + LEWIS CANCUT + WHO Lucky Coq, Windsor. 6:00pm. G-SHOCK 30TH ANNIVERSARY - FEAT: BLISS N ESO + DJ KRUSH + YO MAFIA Prince Bandroom, St Kilda. 7:00pm. GOOD EVENING - FEAT: DJ PEOPLE Toff In Town, Melbourne Cbd. 7:00pm GRAD PARTY THURSDAYS - FEAT: DJ ROWIE European Bier Cafe, Melbourne Cbd. 5:00pm. LE DISCO TECH Pretty Please, St Kilda. 8:00pm. LOVE STORY Toff In Town, Melbourne Cbd. 8:30pm. MEZZANINE & THE BACK ROOM - FEAT: DJ MANNEQUIN + DJ SYTO Abode, St Kilda. 9:00pm. MIDNIGHT EXPRESS - FEAT: DJS PREQUEL & EDD FISHER Toff In Town, Melbourne Cbd. 11:00pm. MOOD - FEAT: NUBODY Loop, Melbourne Cbd. 9:00pm. NEW GUERNICA THURSDAYS - FEAT: CONDUCTORS + JAMES KANE + NEGATIV MAGICK + NU BALANCE + POST PERCY New Guernica, Melbourne Cbd. 8:00pm. RADIONICA Workshop, Melbourne. 8:00pm. THE RITZ THURSDAYS - FEAT: CAUC-ASIAN DJ’S + JOSHUA GILILAND + KEN WALKER + LUCILLE CROFT + CARRICK DALTON & SAM COHEN + ED WILKS + MAX KRUSE + TIM LIGHT + ZACK ROSE Trak Lounge Bar, Toorak. 8:00pm. $20 TIGER FUNK LIVE - FEAT: DJ MOONSHINE Bimbo Deluxe, Fitzroy. 8:00pm. TROCADERO Match Bar & Grill, Melbourne Cbd. 8:00pm.

friday april 19

WORKSHOP, MELBOURNE. 8:30PM. BADABOOM FRIDAYS - FEAT: DJ ROWIE European Bier Cafe, Melbourne Cbd. 4:00pm. CANT SAY Platform One, Melbourne Cbd. 7:30pm. $10. CE’CILE + APPRENTICE Espy, St Kilda. 9:00pm. $35. CHI FRIDAYS Chi Lounge, Melbourne Cbd. 8:00pm. CQ FRIDAYS Cq, Melbourne. 8:00pm. DISCOTHEQUE - FEAT: ELANA MUSTO + GREG SARA + SCOTT T Match Bar & Grill, Melbourne Cbd. 7:00pm. EPTIC - FEAT: ANDY UK + CARMEX + DATURA + MONKEE + ZAYLER Brown Alley, Melbourne. 8:00pm. FRIDAY NIGHT COMMERCIAL HOUSE DJS - FEAT: HYPER-FOCUS + JEAN PAUL + LAST BOY SCOUT Veludo Bar & Restaurant, St Kilda. 8:30pm. I LOVE OLD SCHOOL - FEAT: SHAGGZ & PUPPET + DJ TEY + MERV MAC Red Bennies, South Yarra. 10:00pm. $10. JUICY - FEAT: CHAIRMAIN MEOW + COBURG MARKET + MR. FOX + TIGERFUNK + WHO Bimbo Deluxe, Fitzroy. 8:30pm. LA DANSE MACABRE - FEAT: BRUNSIWCK MASSIVE CREW DJ LAMBCHOP Rainbow Hotel, Fitzroy. 9:00pm. MEET YOUR MATES FRIDAYS Libation, Fitzroy. 9:00pm. MIDNIGHT MIDNIGHT New Guernica, Melbourne Cbd. 8:00pm. PANORAMA - FEAT: DJS MATT RAD + MR GEORGE + PHATO A MANO + TOM MEAGHER Lucky Coq, Windsor. 8:00pm. PHAROAHE MONCH + DYLAN JOEL + FLAGRANT + M-PHAZES + MANTRA + SOLILOQUY Espy, St Kilda. 8:30pm. $39. POPROCKS - FEAT: DR PHIL SMITH Toff In Town, Melbourne Cbd. 8:00pm. REMEMBER ME The Motel, South Melbourne. 8:00pm. RETRO SEXUAL One Twenty Bar, Fitzroy. 8:00pm. REVOLVER FRIDAYS - FEAT: DJ LEWIE DAY + DJ MIKE CALLANDER + DJ ALEX THOMAS + DJ KATIE DROVER + DJ WHO Revolver Upstairs, Prahran. 6:00pm. SATURDAY MORNING - FEAT: DJ SUNSHINE + DJ BUTTERS + DJ HEY SAM Revolver Upstairs, Prahran. 6:00am. SHUFFLE FRIDAY NIGHTS Bridie O’reilly’s Brunswick, Brunswick. 10:00pm. SMASH JAM - FEAT: LUKE MCD + DAVE CHESTWIG + T-REK Red Bennies, South Yarra. 10:30pm. $15. THE ENHANCED AUSTRALIAN TOUR - FEAT: WILL HOLLAND + BEAT SERVICE + DANIEL KANDI + ESTIVA Trak Lounge Bar, Toorak. 8:00pm. $35. THE FOX FRIDAYS Fox Hotel, Collingwood. 7:00pm. UPTOWN GROOVE Order Of Melbourne, Melbourne Cbd. 8:00pm. WEEKENDER! Ding Dong Lounge, Melbourne Cbd. 8:00pm.


saturday april 20

BILLBOARD SATURDAYS - FEAT: FRAZER ADNAM SCOTT MCMAHON + JAMIE VLAHOS + MR MAGOO + ZIGGY Billboard, Melbourne Cbd. 9:00pm. $15. CHI SATURDAYS Chi Lounge, Melbourne Cbd. 8:00pm. CLUB FICTION - FEAT: KITTY ROCK & THE BAD LADIES Red Bennies, South Yarra. 2:00am. FIRST FLOOR SATURDAYS - FEAT: BILLY HOYLE + DJS DUCHESZ + MZRIZK + WASABI First Floor, Fitzroy. 9:00pm. GLITCH THIS - FEAT: SATURDAY Workshop, Melbourne. 7:00pm. HOT STEP Bimbo Deluxe, Fitzroy. 7:00pm. JACKET OFF Veludo Bar & Restaurant, St Kilda. 9:30pm. LAB 22 Palace Theatre, Melbourne Cbd. 10:00pm. MILLER CITY SESSIONS - FEAT: JASON LEMA Room 680, Hawthorn. 8:00pm. MIXED DRINKS SATURDAYS Libation, Fitzroy. 9:00pm. MOTEL SATURDAYS The Motel, South Melbourne. 10:00pm. NEO SACRILEGE - FEAT: DJ NERO Abode, St Kilda. 8:00pm. NEW GUERNICA SATURDAYS New Guernica, Melbourne Cbd. 7:00pm. ONESIXFIVE - FEAT: DJ COURTNEY MILLS + DJ HOOPS + DJ OLLIE HOLMES + DJ JOSH PAOLA + DJ WILL CUMMINGS Onesixone, Prahran. 3:00am POISON APPLE Prince Bandroom, St Kilda. 10:00pm. SATURDAY CONFIDENTIAL Galley Room, Melbourne Cbd. 8:00pm. SATURDAY IS FOR DANCING - FEAT: ANDY CAN + WASABI Big Mouth, St Kilda. 9:00pm. SATURDAYS - FEAT: ACTION SAM + DJ ROWIE European Bier Cafe, Melbourne Cbd. 7:00pm. SATURDAYS @ LEVEL 2 - FEAT: DJ BOOGS + DJ CHESTWIG + DJ LUKE MCD + DJ MIKE HUNT + DJ ROWIE + DJ SPECIAL K Level 2 The Club, Northcote. 9:00pm. SATURDAYS AT ONE TWENTY BAR One Twenty Bar, Fitzroy. 8:00pm. SOUND EMPIRE - FEAT: DJ TATE STRAUSS + DJ JOE SOFO + DJ MATTY + DJ MISS SARAH + DJ PHIL ROSS Fusion, Southbank. 9:30pm. $25. SOUTH SIDE SHOW - FEAT: EDD FISHER + KNAVE KNIXX Red Bennies, South Yarra. 8:00pm. $15. STAR SATURDAYS Star Bar, South Melbourne. 8:00pm. STRUT SATURDAYS (THE POTBELLEZ) - FEAT: ANDREAS + DANNY MERX + HENRIQUE + JASON SERINI + MARK PELLEGRINI + MC JUNIOR + NICK VAN WILDER Trak Lounge Bar, Toorak. 8:00pm. $22. SUNDAY NIGHTS - FEAT: DJ DAMION DE SILVA + DJ JAY J + DJ KEN WALKER + DJ LIGHTING Co., Southbank. 8:30pm. TEMPERANCE SATURDAYS - FEAT: DJ MARCUS KNIGHT + DJ XANDER JAMES Temperance Hotel, South Yarra. 8:00pm. TEXTILE - FEAT: DJS PACMAN + JEAN PAUL + MOONSHINE + TAHL Lucky Coq, Windsor. 6:00pm. THE FOX SATURDAYS Fox Hotel, Collingwood. 7:00pm. THE HOUSE DEFROST - FEAT: DJ ANDEE FROST Toff In Town, Melbourne Cbd. 11:00pm. THE LATE SHOW - FEAT: MAT CANT + RANSOM + TOO MUCH + BOOGS + CONGO TARDIS #1 + DANIELSAN + MR MOONSHINE Revolver Upstairs, Prahran. 6:00pm. WHY NOT? - FEAT: SATURDAY Pretty Please, St Kilda. 8:00pm.

sunday april 21


monday april 22

IBIMBO - FEAT: LADY NOIR & KITI Bimbo Deluxe, Fitzroy. 6:00pm. KOOL AID - FEAT: DJ MU-GEN Laundry Bar, Fitzroy. 8:00pm. STIFF DRINK - FEAT: DJ MICHAEL KUCYK + DJ MICHAEL OZONE + DJ ROMAN WAFERS Toff In Town, Melbourne Cbd. 8:00pm. TWERKERS CLUB - FEAT: DJ FLETCH Workers Club, Fitzroy. 7:00pm.

tuesday april 23

BIMBO TUESDAYS - FEAT: ADAM ASKEW Bimbo Deluxe, Fitzroy. 8:00pm. COSMIC PIZZA Lucky Coq, Windsor. 8:00pm. DJ JAGUAR E55, Melbourne Cbd. 8:00pm. NEVER CHEER BEFORE YOU KNOW WHO’S WINNING - FEAT: REPETER FONDA Revolver Upstairs, Prahran. 7:00pm.

electronic - urban - club life

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electronic - urban - club life


urban club guide snaps khokolat koated


wednesday april 17 COMPRESSION SESSION - FEAT: CASSAWARRIOR + DD + RICKA E55, Melbourne Cbd. 8:00pm. SOUL ENSEMBLE Lounge, Melbourne Cbd. 9:00pm.

thursday april 18 PENNIES Laundry Bar, Fitzroy. 8:30pm. $6. RHYTHM-AL-ISM - FEAT: DJ DAMION DE SILVA + DJ K-DEE + DJ SIMON SEZ Fusion, Southbank. 10:00pm. $15.

friday april 19 CHAISE FRIDAYS - FEAT: SOULCLAP + DJ CLAZ + DJ DIRX + DJ PERIL + DJ SEF Chaise Lounge, Melbourne Cbd. 4:30pm. CREW LOVE - FEAT: DJ TONY SUNSHINE Sub Lounge, Melbourne Cbd. 10:00pm. $15. FAKTORY - FEAT: DJ DAMION DE SILVA + DJ DURMY + DJ K DEE + DJ YATHS Khokolat Bar, Melbourne. 8:30pm. GET LIT - FEAT: VARIOUS DJS Lounge, Melbourne Cbd. 9:00pm. LIKE FRIDAYS - FEAT: BROZ + DIR-X + DJS DINESH + NYD + SEF + SHAGGZ + SHAUN D La Di Da, Melbourne. 7:00pm. SWEET NOTHING FRIDAYS - FEAT: DJ MARCUS KNIGHT + DJ XANDER JAMES Temperance Hotel, South Yarra. 8:00pm.

SATURDAY NIGHTS - FEAT: DJ DAMION DE SILVA + DJ JAY SIN + DJ K DEE Khokolat Bar, Melbourne. 8:30pm. THE DOJO - FEAT: VARIOUS DJS Order Of Melbourne, Melbourne Cbd. 10:00pm.

sunday april 21 BE. - FEAT: DJ DAMION DE SILVA + DJ JAY J + DJ KEN WALKER Co., Southbank. 10:00pm. $15.

monday april 22 FREEDOM PASS - FEAT: PHIL ROSS + B-BOOGIE + CHRIS MAC + DOZZA Co., Southbank. 9:30pm. THAT’S A RAP First Floor, Fitzroy. 6:00pm.

tuesday april 23 CAN I KICK Lounge, Melbourne Cbd. 9:00pm.

saturday april 20 rhythm-al-ism at fusion


CHAISE LOUNGE SATURDAYS - FEAT: DJ ANDY PALA + DJ KAH LUA Chaise Lounge, Melbourne Cbd. 8:00pm. LAUNDRY SATURDAYS - FEAT: VARIOUS DJS Laundry Bar, Fitzroy. 8:30pm. PHATURDAY - FEAT: TOM SHOWTIME + DJ AYNA Blue Bar, Prahran. 10:00pm.

red love

be. at co.

Didier Cohen


electronic - urban - club life

electronic - urban - club life


r o f y h t d i a Re ing w D h t I y S an S A



venue directory where to next?

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

Love Machine Cnr Lt Chapel & Malvern Rd, Prahran, 9533 8837

303 303 High Street, Northcote

Lucky Coq 179 Chapel St, Windsor, 9525 1288

Abode 374 St.Kilda Rd, St.Kilda

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

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

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

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

Mink 2 Acland St, St Kilda, 9536 1199

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

Miss Libertine 34 Franklin St, Melb, 9663 6855

Back Bar 67 Green St, Windsor, 9529 7899

Misty 3-5 Hosier Ln, Melb, 9663 9202

Bar Open 317 Brunswick St, Fitzroy, 9415 9601

Mockingbird Bar 129 Fitzroy St, St Kilda, 9534 0000

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

Musicland 1359A Sydney Rd, Fawkner, 9359 0006

Bendigo Hotel 125 Johnston St, Collingwood 9417 3415

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

Bertha Brown 562 Flinders Street, 9629 1207

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

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

Night Cat 141 Johnston St, Fitzroy, 9417 0090

Billboard 170 Russell St, Melb, 9639 4000

Night Cat 279 Flinders Ln, Melb, 9654 0444

Bimbo Deluxe 376 Brunswick St, Fitzroy, 9419 8600

Noise Bar 291 Albert St, Brunswick, 9380 1493

Birmingham Hotel Cnr Smith & Johnston St, Fitzroy

Northcote Social Club 301 High St, Northcote, 9489 3917

Black Cat 252 Brunswick St, Fitzroy, 9419 6230

Old Bar 74 Johnston St, Fitzroy, 9417 4155

Blue Bar 330 Chapel St, Prahran, 9529 6499

One Twenty Bar 120 Johnston St, Fitzroy

Blue Tile Lounge 95 Smith St, Fitzroy

Onesixone 161 High St, Prahran, 9533 8433

Boutique 134 Greville St, Prahran, 9525 2322

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

Brown Alley King Street, Melb,9670 8599

Palace Hotel 893 Burke Rd, Camberwell

Brunswick Hotel 140 Sydney Rd, Brunswick, 9387 6637

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

Builders Arms 211 Gertrude St, Fitzroy

Palais 111 Main Rd, Hepburn Springs, 5348 4849

Cabinet Bar 11 Rainbow Alley, Melbourne, 9654 0915

Palais Theatre Lower Esplanade, St Kilda, 9525 3240

Caravan Music Club 95 Drummond St, Oakleigh

Papa Goose 91 Flinders Ln, Melbourne, 9663 2800

Caseys Nightclub 660A Glenferrie Rd, Hawthorn, 9810 0030

Penny Black 420 Sydney Rd, Brunswick, 9380 8667

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

Pier Live Hotel 508 Nepean Hwy, Frankston, 9783 9800

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

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

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

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

Chandelier Room 91 Cochranes Rd, Moorabbin, 9532 2288

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

Chelsea Heights Hotel Cnr Springvale & Wells Rd,

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

Chelsea Heights, 9773 4453

Prince Bandroom 29 Fitztory St, St Kilda, 9536 1168

Cherry Bar AC/DC Ln, Melb, 9639 8122

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

Chi Lounge 195 Lt Bourke St, Melbourne, 9662 2688

Public Bar 238 Victoria St, North Melb, 9329 6522

Co. Lvl 3, Crown Complex, 9292 5750

Railway Hotel 280 Ferrars St, South Melb, 9690 5092

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

Red Bennies 371 Chapel St, South Yarra, 9826 2689

Commercial Club Hotel 344 Nicholson St, Fitzroy, 9419 1522

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

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

Retreat Hotel 226 Nicholson St, Abbotsford, 9417 2693

Corner Hotel 57 Swan St, Richmond, 9427 9198

The Retreat Hotel 280 Sydney Rd, Brunswick, 9380 4090

Cornish Arms 163 Sydney Rd, Brunswick

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

CQ 113 Queen St, Melb, 8601 2738

Revolt Elizabeth St, Kensington, 03 9376 2115

Croft Institute 21 Croft Alley, Melb, 9671 4399

Revolver Upstairs 229 Chapel St, Prahran, 9521 5985

Cruzao Arepa Bar 365 Brunswick St, Fitzroy, 9417 7871

Rochester Castle Hotel 202 Johnston St, Fitzroy, 9415 7555

Cushion 99 Fitzroy St, St.Kilda, 9534 7575

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

Damask 1/347 Burnswick St, Fitzroy, 9417 4578

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

The Dancing Dog 42A Albert St, Footscray, Footscray, 9687 2566

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


electronic - urban - club life

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with Christie Eliezer * Stuff for this column to be emailed to <> by Friday 5pm IFPI REPORT: RECORDING INDUSTRY ON THE UP The growth of music subscription services, income from broadcasting and sync deals and of emerging markets like India, Brazil and Mexico saw the record industry grow in 2012 said the International Federation of the Phonographic Industry. The global industry grew 0.2% to US$16.5 billion. Of the 49 markets analysed, 22 had growth. One was Australia, which grew 6.8% to US$507 million and grabbed back #6 spot in the world from Canada. Global digital revenues were up 8% to US$5.8 billion. These now account for 35% of income for record companies, while CDs still hold on with 57% of revenue. Performance rights revenues (from broadcasts and public performance) were the fastest growing sector, up 9.4% to US$943 million and now account for 6% of record company revenues. Income from synchronisation deals – music used in TV adverts, films and brand partnerships – were also up, by 2.1% to US$337 million.

‘GOOGLE PLAY MUSIC’ ARRIVES IN OZ Google finally rolled out its Google Play Music service in Australia. Apart from its download service, users can access a free cloud-based ‘music locker’ to sync their songs across devices and add 20,000 tunes to their collection. The Artist Hub section is for unsigned Australian acts to put their work up for a fee and sell directly to fans at a price of their choosing. DJ Havana Brown, Delta Goodrem and Lisa Mitchell are among those spotlighted for the Oz launch.


Artist Voice agency added Neil Finn, Ladyhawke, Angus and Julia Stone, Pond offshoot Allbrook/Avery, hip hopper Ta-Ku and Scotland’s CHVRCHES to its roster. It also opened a Melbourne office. “We have wanted to set up a location for the agency in Melbourne for some time given the city’s importance to the live music scene,” cofounder and CEO Brett Murrihy said.


Melbourne extreme thrashers King Parrot signed with Candlelight Records, the Euro/US label founded by former Extreme Noise Terror bassist Lee Barrett. It will release their debut album Bite Your Head Off globally in the northern summer. It was issued here through Impedance Records/Rocket Distribution. Its lead-off single Shit On The Liver also appears as a split 7” single with Frankenbok. King Parrot just toured Indonesia and tour Oz in June with Thy Art Is Murder, Cattle Decapitation and Aversions Crown.

FAREWELL #1 After 15 years at Beat publisher Furst Media, we bid a fond farewell to Ronnit Sternfein. As senior advertising and editorial coordinator, Ronnit worked on Beat as well as Beat online, The Big Ticket, Fashion Journal, Mixdown and The Brag.


After six years as an agent, Damian Costin left Premier Artists for new adventures. His six years at Premier doesn’t include the time he worked as a poster boy as an 18-yearold before joining band Motor Ace as drummer.


James Reyne is a new host at pay TV channel MAX alongside Jane Gazzo and Chit Chat. James Reyne’s Legends Poll sees viewers vote for their favourite musicians and musical moments. The first, premiering Sunday May 19 at midday, will find the Greatest Front Man of All Time. See Meantime, Tim Rogers will front Foxtel arts channel Studio’s At The Memo, six episodes of cabaret, music and burlesque. It is one of the new shows to be launched on Wednesday May 1 as part of the channel’s rebrand.


Lorrae McKenna left Crucial Music to become PR and marketing coordinator at 774 ABC Melbourne & Local Radio Victoria. She is contacted at mckenna.lorrae@abc. and (03) 9626 1609.

GOTH, EMO, METAL ATTACKS “HATE CRIMES” Attacks against fans of metal, goth, emo and punk music will be listed as hate crimes by Manchester police, following a campaign by the Sophie Lancaster Foundation. 20-yearold Lancaster died in 2007 after thugs attacked her and her boyfriend because they wore goth gear. Two thugs got life in jail. A spokesman for Greater Manchester Police said, “People who wish to express their alternative subculture identity should not have to tolerate hate crime.”

THINGS WE HEAR * Look out for the official announcement of a deal between Chinese songwriter and producer Li Jie’s Oriental Music and Sydney’s MGM to develop the industry between China and Australia. * After a year’s break, Big Day Out will be staged again in New Zealand in 2014. * Bon Jovi guitarist Richie Sambora has stepped out on their current US tour, officially to go into rehab. But some sources claim he was pushed out because Jon BJ thought he and his girlfriends were partying too hard on tour. * After the first two episodes of Channel 9’s The Voice enjoyed lower ratings than the same time last year, the show has made a comeback. On its third night it punched through the two million mark attracting 2.85 million. * Not a good week for Delta Goodrem and Seal. Woman’s Day claimed they were having an affair (denied). Then came Delta’s comment that a black contestant would work well with Seal. She immediately explained it was because they were both soul singers, but she got slammed as “racist.” * Also hauled over the coals was John Lydon over his irritated comments to Carrie Bickmore on Ten’s The Project when she interrupted him. This columnist has been on the receiving end of Johnny’s ire when provoked through the years, and certainly doesn’t condone his statements. But it was obvious he was just winding up The Project crew. * And speaking of a wind-up, what of Daft Punk’s claims their new album Random Access Memories will make its world premiere next month in the little-known NSW town of Wee Waa, a place so small (population 1,973) that it shares its postcard with eight others. Sony Music’s refusing to comment that the album will be streamed from Wee Waa but InTheMix confirmed that Sony last week bought the domain name. * Mix 106.5 Sydney’s new station promo uses an audio of rival Kyle Sandiland’s attack on them, “What’s worse than Mix? Nothing. Nothing’s worse, it’s always been terrible, for 15 years that stations been the worst thing in Australian radio.” * Sydney electro shape-shifters Canyons head to the US for DJ dates at the end of this month. It’s their first US visit since 2011’s Keep Your Dreams. * Clubfeet took to the Twittersphere to accuse Japanese band Champagne of ripping off their Everything You Wanted video for their Forever Young clip. * As a result of the success in Melbourne last November of a reunion by the Australian Road Crew Association, a Sydney chapter is being launched. * Expect another new urban festival this year: Hype Music is the brain child of former Supafest co-founder John Denison, who says it’s due in November. * Movement Festival lost headliner 2 Chainz and Angel Haze and downsized to indoor venues due to “a worse than anticipated long range weather forecast.” * Geelong police are working with venues to stamp out underage drinkers. Three girls were fined $70 each, and police say they’ve also identified a further 12 in the Geelong area who are regularly attending high-risk venues.

ENROL. PARTY. VOTE IN MELBOURNE. BY JOSH FERGEUS Not everyone would think of politics as one big party – maybe a few different parties... see what I did there? – but that’s exactly what it will be this week in Melbourne. Adam Bandt, the Member for the electorate of Melbourne and Deputy Leader of the Australian Greens, is hosting a party, Rock The Vote style, to encourage young people in Melbourne to enrol to vote. Believe it or not, we’re told that there are more than 4,000 young people out there in Melbourne alone who aren’t on the electoral roll, and many more who aren’t enrolled correctly. This effectively means that a big chunk of Gen Y isn’t having active input into Australia’s democratic process. In fact, in the lead-up to the 2007 Federal Election the ABC reported that as many as one fifth of Australians under the age of 25 don’t vote, or deliberately vote informally meaning their vote doesn’t count. In North America the nonpartisan not-for-profit Rock The Vote sprung up almost 40 years ago in Canada and 20 years ago in the USA with the mission to engage and build political power among young people. The effects have been huge, with large increases in the youth vote being directly linked with Rock The Vote activities. Bandt, although evidently party aligned, has embraced the mission

and is hoping that Enrol. Party. Vote In Melbourne. will help young people leverage their power in the political process, whatever their political persuasion. The aim is to make sure all young people can participate in this year’s election, avoid the fines that come with a failure to vote, and have a say in who represents them in Canberra. “The statistics are alarming – hundreds of thousands of young people aren’t enrolled to vote across the country,” says Bandt. “When the election comes around this September it’s their future that’s being decided so they need to decide who their voice in parliament is. “Young people need to enrol to make a difference. Young people in Fitzroy sharehouses or university colleges are often not enrolled to vote. We’re running an active campaign to get young people enrolled, using doorknocking and social media,” says Bandt.

APRA UNVEILS ITS TOP 30 APRA unveiled its Top 30 shortlist for its Song Of The Year category at the APRA awards, and a diverse list it was. It ranged from toe-tappers by Kasey Chambers & Shane Nicholson, Guy Sebastian, Missy Higgins, The Presets, Tame Impala and Gotye to young turks Saskwatch, The Rubens, The Bamboos and Courtney Barnett. See the APRA website for the full list.

HELP SCHOOLHOUSE MOVE! Schoolhouse Studios has left its Nicholson Street, Abbotsford site for a new building in Rupert St, Collingwood. Among those with offices are Two Bright Lakes and Sugar Mountain Festival. Owner the Molonglo Group has given them a subsidised rent so that Schoolhouse Studios can continue to offer artists and creative small businesses affordable, dynamic, inner city work spaces and provide the public with events, workshops, music, dance and exhibitions. They need $100,000 for an internal fit-out, so have kicked off a Pozible campaign to raise $50,000. If you can help, go to

OPEN DAY AT COLLARTS The Australian College of the Arts (Collarts) has an Open House on Wednesday April 24 from 5pm to 8 pm. Those interested in a career in the music industry can hear presentations from program leaders, see live performances by current students and tour the facilities. From 6pm that evening by Tim Dalton, head of Creative Industries Management does a presentation on ‘How to Market and Promote Your Band or Music’. Trimester Two begins on Monday May 20 with full or part time courses for Bachelor of Arts (Music) Contemporary Music Performance; Bachelor of Arts (Audio Production); and Bachelor of Arts (Creative Industries Management) Music Business. See

ROLLING STONE COVERS Yarra Ranges Regional Museum is hosting the travelling exhibition of the best 150 covers of Rolling Stone Australia 1972 – 2010. It runs from Saturday April 20 to Sunday July 7. “The influence of Rolling Stone extends beyond music – this magazine has been the birthplace of some of the greatest careers in photography, journalism, and design,” says Kirsten Fitzpatrick, exhibition curator. Cover features include Madonna, Michael Hutchence, Bob Dylan, Elvis Presley, Steve Martin, Miranda Kerr, Paul Keating, Mick Jagger, Michael Jackson, Bono and The Beatles.

WANNA WORK AT SHOCK? Shock Records is looking for a Heavy Music Specialist label manager, based at their Melbourne headquarters. Their heavy roster includes Parkway Drive, The Bronx, Thy Art Is Murder, Gallows, Crossfaith and While She Sleeps. Your role includes coming up with marketing plans and budgets and expanding the roster. Ideally you should have a tertiary degree in business, marketing or similar, minimum two/three years experience in a similar role, be project focussed, adept at technology with a comprehensive understanding of music marketing department functions and product management as well as the sales and marketing process. Apply through See


Jamie Oehlers, Chris McNulty, Yitzhak Yedid, Murphy’s Law and Stephen Magnusson are among those nominated for this year’s Australian Jazz Bell Awards. Categories include vocal album, original Australian album, traditional album, jazz ensemble and young Australian artist. Up for Best Australian Jazz Song of the Year are Barney McAll’s Nostalgia For The Present, David Ades’ Joe The Kid and Mace Francis’ Land Speed Record.

One such young person is Ruthi Hambling, who is working with Bandt’s office to coordinate a broader Enrol To Vote campaign amongst Melbourne’s youth. She’s been pounding the pavement over the past couple of months at street stalls, uni campuses and o-week events and shows no sign of stopping now. “The vibe is pretty great in Melbourne – contrary to stereotypes about apathetic youth, we’re finding that young people really do want to have their say and want their politicians to listen,” says Hambling. “We know that these politicians are making big decisions and we’ll have to inherit their effects, so we want them to be smart about it and listen to us. Enrolling to vote is the first step in that process.” Enrol. Party. Vote In Melbourne. will feature DJ Jones Thugs’n’Harmony, Rosefacekillah, and Rad Bromance, plus a special appearance by the Real Hot Bitches ‘80s dance crew. The link between music and elections isn’t a new one. Barack Obama himself had a series of gigs and stadium concerts prior to his last election win, with artists including Jay-Z, Beyonce and Bruce Springsteen backing his reelection bid, and here in Australia triple j has partnered with the Australian Electoral Commission over several years to promote enrolments via the Rock Enrol project. “If Rad Bromance’s commitment to appalling ‘90s dance hits can inspire that generation to enrol to vote...together we can change the future,” says Clem Bastow, one half of the DJ duo. In doing so, she’s following in the steps of the likes of The Ramones, Chris Cornell, Justin Timberlake,


LIFELINES Not Dating: Taylor Swift’s people denied a report in Grazia she’s dating Australian-Hawaiian pro surfer John John Florence. They met in Oz last November, apparently, and are planning a second date this month, which, umm, averages out so far to one date every six months. Engaged: US hit writer Linda Perry and CBS’s The Talk co-host Sara Gilbert. Perry invited her to a quiet lunch in a park where other picnickers pulled instruments from under their rugs to flash-mob serenade them. Engaged: Sundays singer Frankie Sandford and footballer Wayne Bridge. Ill: Sydney duo Jagwar Ma cancelled dates due to illhealth (unspecified). In Court: Mick Fleetwood of Fleetwood Mac filed for legal separation from Lynn Frankel. They married 17 years ago and have twin daughters, 11. Sued: Kanye West, by the family of the late David Pryor for “millions of dollars” for a 13-second sample on West’s 2005 hit Gold Digger which was taken from the 1974 song Bumpin’ Bus Stop by Thunder & Lightning. Died: British producer Andy Johns, 61, apparently from liver problems. He began as a tape operator at London’s Olympic Studios, helping Eddie Kramer on sessions for the Jimi Hendrix Experience, Jethro Tull and Humble Pie, and then went on to produce classic albums by Led Zeppelin, The Rolling Stones, Jimi Hendrix, Van Halen and many others. Died: legendary Jamaican producer Harry Johnson, 67. He produced the first reggae single No More Heartaches by The Beltones. His Harry J Studios is where Bob Marley, Heptones, Toots and the Maytals etc cut their first tracks. Died: Slawomir “Mortifer” Kusterka, bassist for Polish death metal band Hate in his sleep during a German tour. Died: Bev Daniel, long time committee member and past president of the Tamworth Songwriters’ Association, from Motor Neurone Disease. Died: Chi Cheng, one time bassist of The Deftones, 42, heart failure. He’s been in a coma since a car accident in California in November 2008.


Melbourne electronic folk band Brightly have received 250,000 views for their Twitter-powered video for their single Preflight Nerves – as well as an FWA award. Singer Charlie Gleason explains that the interactive clip came about because they couldn’t afford a proper video. “I work as a web designer, and I’ve always been interested in the relationship between social media and art,” he explains. With the help of his friends, he wrote an application to constantly look for tweets that contain lyrics taken from Preflight Nerves. These tweets are then animated against a backdrop of footage found from public archive videos. With over 148,000 visitors interacting via the band’s website, and over 115,000 watching a static version on YouTube, the response has been overwhelming. “The realisation that it’s live, and that anyone can hijack the song with their own tweets, is pretty compelling. The single’s parent album Beginnings & Endings is launched at the Northcote Social Club on Thursday May 9.


Bruce Springsteen helped raise $37,000 for Foodbank NSW, which amounts to 17,000 full time meals for the Sydney’s hungry. The Boss donated two VIP tickets for auction at each of three shows at Allphones Arena on March 18, 20 and 22. Springers also spruiked the organisation onstage, and helped assist Foodbank NSW get donations from the crowd as they arrived and left.

1 BILLIONTH DOWNLOAD SINGLE SOLD IN UK The UK celebrated its billionth download singles sale, nine years after legal downloads were launched there. Sales are three million a week, a far cry from 500,000 a week in 2004. Last year digital singles sales reached an all-time high of 188.6 million tracks. This year the Brits are buying 500,000 per day.

Against Me!, Madonna, and P. Diddy – encouraging us all to make the most of our citizenship in an amazing democracy. ENROL. PARTY. VOTE IN MELBOURNE. is happening at The Gasometer on Thursday April 18. Tickets are $5 presale from or $8 at the door with all proceeds going to charity.

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A guide to eating out in Melbourne


Upon stepping foot in the Claypots Evening Star, it becomes immediately clear that your day just took a turn for the better. This Mediterranean-inspired eatery, sister to the 19-year-old Claypots in St Kilda, places an emphasis on fresh, simple seafood and boasts the kind of cosy atmosphere that’ll see you hang around long after you’ve had your fill. A soft, warm glow fills the space and the soothing sounds of the likes of Al Green and Bill Withers ooze from the speakers (they have live music most nights, too). You could almost be in a pokey laneway bar in some romantic, sepia-tinged European city, but you’re not. You’re in South Melbourne, and that’s OK. Ruba, our host, was of the shit-hot variety. She smiled, she joked and she cared. She plonked us down on a table next to the bar and informed us that this particular table was the ideal battleground for a game of chess. Ruba then gestured toward a chessboard, which prompted me to give Luke, my guest, the kind of cold-eyed stare that would strike fear into the hearts of most men. Later, Luke would proceed to unequivocally kick my arse in two separate games of chess. As it transpires, Luke is a heartless bastard. Claypot’s menu is formidable. It spans everything from $5 fish tacos to dishes that break the $70 mark. On it, you’ll find items as varied, in both price and flavour, as grilled sardines ($2 each), Stingray Pintxo ($10) and Singapore

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Shellfish Stirfry ($75). You could swing by and drop $20 on a few street-food style items (they have a daytime hawker stall outside, too) and be perfectly satisfied, or spend $60+ and be equally satisfied, if rather less wealthy. I opted for the Cajun Flathead and Luke (the bastard) went for the crispy skin John Dory from the specials board – both of which were $25, for the fish alone. After much deliberation, we decided on sides of crushed potatoes with wine and black garlic ($8) and char-grilled vegetables with buffalo feta ($12). The Cajun Flathead – tangy and sweet with a savoury bite – tasted as though it had been caught and cooked by Poseidon himself. It sunk into my tongue like a narcotic of the sea and proceeded to fill my mind with all kinds of delicious epiphanies, most of which were occurring in my mouth at that exact moment. After dinner, Ruba plied Luke with a thick and sweet black mint tea that was perhaps the finest mint tea either of us had ever sampled. She plied me with beer, and that was fine too. Whether you pop in for a quick taco and beer, or end up lingering over a top-shelf seafood meal, Claypots Evening Star should be a staple for any hungry Melburnian. Claypots Evening Star is located on the corner of Cecil and York Streets, South Melbourne.

Snag Stand


American expat Phillip Blanco has done it again – this time with $10 gourmet hot dogs. The latest stand in the Doncaster mall has been open less than two weeks and its lunchtime lines are already snaking halfway out the food court. According to store manager Ron, repeat business has gone far beyond even the expectations given by the team’s confidence in their product. People have been moving away from equating quantity and quality with food for a long time, and now Snag Stand has come to kick the zeitgeist along a little further. Everything sourced by the company is a reflection of the meticulous finesse of Blanco’s palate, the product of a research process which apparently took a full three years before the first stand was rolled out. All the sausages are sourced from local artisanal butchers, the beverages from boutique manufacturers in Daylesford, and the relishes from as far afield as Hawke’s Bay and Texas. Everything that goes into one of Snag Stand’s buns tastes rich and fresh enough to have been plucked from the farm that morning. And yet each bun is assembled with enough elegance that none of the flavours are overbearing.


For anyone wanting to follow Blanco’s vision down the rabbit hole to its absurd, delicious conclusion, bypass the alluring twin temptresses of Greek lamb and Bratwurst, and head straight for the Wagyu beef. Sink your teeth into a potato mash and gravy confection that make your mother’s Sunday roasts look like a poor imitation of family dinner at Darryl Kerrigan’s house. Guaranteed to have you turning your nose up at every charity sausage sizzle you pass for the rest of your life. Snag Stand is now open at the Westfield Doncaster food court.



Despite its name, Record Store Day has become such a loosely defined event that almost anybody involved with music claims that the day is for them. The trouble is that the official website states that Record Store Day celebrates “the art of music”. But this isn’t specific enough. Large music chains will claim they celebrate “the art of music”. uTorrent provides a platform to download “the art of music”. My sister singing *NSYNC’s Bye, Bye, Bye in the shower claims she’s celebrating “the art of music”. But these things don’t capture the essence of Record Store Day – it’s for the independent record stores out there – the stores where music isn’t there to be sold, but discovered.

Ferdydurke are celebrating World Record Store day on Saturday April 20 with an afterparty from 7pm ‘til 1am. Pushing the wax on the night will be selectors from Australia’s most trusted source of second-hand new and

This is very important. The most crucial word on the entire Record Store Day website comes from a paragraph about not just celebrating “the art of music”, but about

the unique culture of independent record stores. The atmosphere and culture of these places is the true celebration of Record Store Day. There’s a particular feeling you experience when you physically flip one vinyl after the next. There’s discovering what record is enticing you over the speakers. There’s spending half an hour talking to the enthusiastic nerdy clerk about the upcoming records he’s most looking forward to. The internet is a poor substitute for these experiences. Record Store Day – this Saturday April 20 – will feature special limited edition releases, in store performances and signings, sales and much, much more. Some would argue that Record Store Day is as equal in claim along with All Tomorrow’s Parties as one of the biggest days on a music lover’s calendar. Independent record stores are the kind of places you can walk into with no intention of actually buying anything; you’re there for a conversation, to pick up Beat, or simply to say hello. You’re not bombarded with special deals or hassled by security as you exit. In a word, there’s culture, and the culture of independent record stores should be fought for. It should be appreciated, and celebrated. So get down to your local and support Record Store Day. They’re the ones that truly celebrate “the art of music”. BY NICK TARAS

OFF THE HIP Off The Hip related bands are playing in the record store from 2pm this Record Store Day. These bands, in no particular order, are appearing live on the day – Little Murders, Mesa Cosa, The Reprobettes, Mass Cult, The Interceptors, The Stoneage Hearts, Brat

Farrar (new lineup), Blue Stratos, Pronto, Wrong Turn, plus more surprises on the day. Saturday April 20 at 381 Flinders Lane, Ph: (03) 9621 2044.

collectable records, Dixons Records. The Dixons gang will also be unwinding to the lo-fi live electronica of Easy Dada. Free entry. Saturday April 20 at Ferdydurke, 33 Tattersalls Lane.

DIXON’S RECORDS Tell us a little bit about your record store? We sell wide range of quality second hand vinyl, CDs, DVDs, and have been around since 1977. What are you doing/offering to celebrate Record Store Day? 20% off all stock.  Live music at some of the shops. What differentiates your record store from other stores? Is there anything that your specialise in? The staff are passionate and knowledgeable in their different fields of music interest and keen to help fellow collectors and music enthusiasts. Have you see a seen a revival in vinyl over the past few years? YES!  How long have you worked in a record store? Some of us have been here over 26 years – some are just beginning with one year under their belt. What is the best and worst thing about working in a record store? Best thing – meeting interesting people. Worst thing – meeting interesting people. What is your most obscure record and why? At the moment we have a copy of Electronic Music by the University Of Melbourne. A wonderful collection of abstract electronic music created on an EMS Synthi 100

between 1973 and 1979 – and why – because it wasn’t on Countdown. We have it at $50 What is your rarest record? At the moment it’s The Blue Beats’ 7”, Oz garage 1965 – Let It Be / She’s Comin’ Home. It goes for $350 as it’s obscure and hard to find Why should people buy records? It is the serious format for music fans and they are just magnificent – from the covers, inner sleeve to the sound. DIXONS RECORDS Fitzroy is located at 414 Brunswick St. There are also branches at Blackburn (100 Railway Rd) and Camberwell (736 Burke Rd). All will be celebrating Record Store Day this Saturday April 20. Head to



Giant sale..10I0 0 to 20I0 0 minimum off everything Every single vinyl,...t.shirt... dvd... and book reduced in price. Plus we are proud to have instore appearances by the incredible...



doing a special one of solo and duo set at around 4pm

Love to see you all... just to say hello... have a beer... see some music and maybe buy an lp. Thank you for helping us survive another year.


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HEARTLAND RECORDS Paul Cook, owner and operator of Heartland Records in West Melbourne (literally right across the road from the Queen Vic Market), has seen International Record Store Day become just a touch commercialised over the five years of its existence, but ultimately feels that the day is still a very positive and worthwhile exercise for an industry that has copped a fair hiding over recent years. “It’s normally the biggest day of the year, which is a good thing,” he begins. “It’s been getting a bit big for its boots, so who knows how it’s going to go in future years. It’s getting a bit corporate, but it’s definitely the biggest day of the year for us. Well it has been in the past.” Like most record stores around the globe who celebrate the day, Paul has some special things planned for the occasion, including some live bands squeezing into his confined premises and playing a live set, and a few special discounts on his merchandise. “We’ve got The Wardens and My Left Boot playing, which to some people might seem a bit unbelievable, since the whole shop is full up. But we make heaps of space for that, so no panic there. We’ve got discounted stuff, we’ve got quite a bit of stuff coming in. We’ve always got plenty of stuff anyway,” he says. Paul has had his store in West Melbourne for almost two decades, but a rather unsentimental landlord is to prevent him from celebrating the 20 year milestone. He is happy with his choice of relocation though. “We’ve been here 19 years, and it would be 20 years in November,” he says. “It would have been, but my landlord has decided he’s going to renovate where I am and make it into flats, so we’re actually moving on May 1 but we’re staying in the area. So it would have been 20 years in November, but not quite! “We’re just moving, the rumours of our demise are much exaggerated. The more I sell on Record Store Day means the less I have to carry around to the new place in my rucksack. The new place is only four minutes away,” he says. Paul basically fell into the business 20 years ago, and has stayed in it ever since. “I didn’t start out as a record dealer, it just sort of happened. I was a chef actually, and I lost my job so I thought I might just start selling records. It’s a hard struggle, I could probably make a lot more money being a chef, but I like doing it.”

Over almost 20 years in the trade, Paul has seen the business of selling vinyl records become a lot harder, but thinks there has been a bit of an upturn in recent times. “Yeah, it has been hard,” he admits. “But you can tell [that’s there’s an improvement in the fortunes of vinyl sales in recent times] by what’s available. Especially early ‘90s stuff, because they just made a token amount (back then), maybe in Holland or Germany, and you can’t find them. “But every week there’s a bloody great long list of what they’re reissuing. It’s pretty hard as a retailer – you’ve got to juggle and try and decide what you’re going to stock, and there’s ‘deluxe’ versions and normal versions, it’d be pretty daunting if you were just starting out. You’re just like a kid in a candy store when you see all the vinyl that’s available. There’s too much.” Ultimately, Paul feels that, with the onslaught of downloads, MP3s and all the rest, it’s actually CDs that will most likely go out for ever, rather than vinyl. “I’ve got nothing against CDs, but I think they’re going to fall by the wayside, more than vinyl,” he says. “They really do seem to be dropping off, so they’re the ones that are going to go, not records.” Any parting words about Record Store Day? “I just hope everybody has a good day,” he says in conclusion, “and everyone does it for the right reason, it should just be a great day.” BY ROD WHITFIELD HEARTLAND RECORDS is located at 61 Peel St, West Melbourne, (03) 9329 9636, Live music from 3pm with The Wardens and My Left Boot.

QUALITY RECORDS Gather round kids and listen to this tale. Once upon a time music (the mind-blowing creation that brings us so much joy and whose value is almost immeasurable) came in tangible forms that people were willing to pay for. The most famous and treasured species of tactile music delivery was a thing called “vinyl” (DJs used to use it too, if you can remember, before they just pressed the play button). Then music entered the cloud and despite it still being the treasured gift of creation it had always been, it was suddenly distributed in the digital form we are all familiar with and people decided that its value actually could be measured and because they had nothing physical to hold, they measured it as zero. The big chain music stores started to close (meh) and tragically, the little guys – the independent stores – that are an institution unto themselves also struggled to survive. Vinyl still has the romance and appeal it always did but the creation of Record Store Day was essential to remind people to pay for this thing that brings them so much joy.   Forever a stalwart on the vinyl scene, Quality Records… plus are joining in this year’s Record Store Day with a host of celebrations and an in-store by the ever-charming Debroah Conway and Willy Zygier. Proprietor Mel Mays weighs in on the debate of whether RSD is achieving what it set out to. “Yes,” Mays says with confidence. “The original idea behind RSD was to raise the awareness of the public to the values of the independent record store. In the US and in Australia most independents closed because they could not compete with chain stores which used chart CDs as loss leaders. Service, knowledge, and a passion for music should be – and usually are – the independent’s creed. RSD has become an event for music lovers and the rebirth of vinyl, which was aided and abetted by the smaller stores such as Quality”

Last year Quality Records…plus had musical legends Mike Rudd and Bill Putt (from Spectrum, Ariel and many more) performing in-store and the day was a glowing success. This year looks sure to be no exception. “We are most fortunate as Deborah Conway and Willy Zygier will be performing their new, critically-acclaimed, album Stories Of Ghosts at 2pm,” he says. “Apart from RSD special pressings, we have dug about in crates and boxes to unearth numerous record and CD treasures to be sold on the day.” Competitions, discounts and of course, coffee will also be on offer. Vinyl is a seductress, but it’s easy to wonder whether this love affair and revival is going to survive or simply fall by the wayside in favour of easier music delivery technologies. “Vinyl has never gone away and while is it cool, it also has artistry, sound quality – while they might not always be superior – to CDs depending on where and what you are playing them on, they are more listenable and more enjoyable,” he says. “Apart from the majors, there are now numerous smaller – although I hate the word – boutique labels offering re-issues and high-quality audiophile pressings. Quality is privileged  to be the Australian distributor for the German Speakers Corner Records and stocks many other similar labels.” Quality Records…plus has built a hard-earned reputation of being on the edge of independent music and propagators of rare vinyl but when Mays is asked whether he thinks Quality…will have long-term sustainability thanks to their rep, his sense of humour shines through. “Reputation? Trendy or slothful?,” he says. “Quality Records.. plus maintained a website dedicated to vinyl for well over a decade which only shows a degree of stubbornness, or it has made us aware that if you hang around long enough what was retro can become cutting edge. While the industry has shrunk, music is never going away, and there is a place for all formats including vinyl, CDs and, yes even MP3s – maybe cassettes have finally gone to God – and for those who distribute and sell it. We hope that our reputation is based not only on service and reliability, but also enthusiasm for what we do.” Buy a record, and we’ll all live happily ever after. BY KRISSI WEISS QUALITY RECORDS…PLUS is at 269 Glenferrie Rd, Malvern. Ph: (03) 9500 9902, Deborah Conway and Willy Zygier perform from 2pm. 

ESSENDON RECORD & CD FAIR Melbourne’s record collectors and interstate stall holders will present a genuine 70,000 records, 10,000 CDs and music memorabilia from the past ‘til present at the Essendon Record and CD Fair. It takes place between 9.30am and 5pm as a Sunday wind-down after Record Store Day on Saturday. It’s Melbourne’s largest totally music related fair and the first for the year. Vinyl forms 70% of stock but there is also music magazines, books, posters,

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sheet music, DVDs and memorabilia. Ample free parking at the Essendon station car park and public transport to the front door every 30 minutes. Canteen facilities are available all day. Admission is $4. Sunday April 21 at Ukrainian House, 3 Russell St, Essendon (opposite Essendon Station). Enquiries on 9308 1729.


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Record Paradise has been keeping the vinyl fiends of Melbourne in a state of rapture since 1955. Ahead of the grand opening of their new Brunswick premises on Saturday April 20 (Record Store Day, of course), Paul Allen and Renae Maxwell discussed the joys of cratedigging, their relocation from St Kilda and former lives of second-hand vinyl.

Tell us a little bit about your record store? Hey, we have been here for 33 and a third years – does that makes us dinosaurs? We’re smack bang in the middle of Greville St. No idea how we’ve managed it, but we’re pleased to still be around. What differentiates your record store from other stores? Is there anything that your specialise in? I think we are just a grotty, disorganised, semi-dysfunctional (though brilliant) and very, very well-stocked indie record store run by a pair of very lovable old fellas. What special World Record Store Day releases do you have in stock? We hope to have shitloads of Record Store Day stock, much of which will arrive over the next few weeks. It’s in the hands of the gods really as to what we get. Have you see a seen a revival in vinyl over the past few years? Vinyl rules – always has and always will. Business and life itself would be fucked without it.  How long have you worked in a record store and what is the most bizarre thing that has happened to you in your time there? I’ve worked in Greville for 28 bloody years and the most bizarre thing apart from the snake we found and Steve getting trapped behind the book shelf one night would be that I still manage to make it to work each day. That’s bewildering and bizarre. Who is the most famous/renowned person you have had in your record store? Most famous! Heck! Lots over the years, though our favourite moments would be Bubbles from Trailer Park Boys, Alex Chilton, Stevie Van Zandt (I introduced myself as the boss) and we recently had a fellow who said he was Jesus, but we have our doubts. What is the best and worst thing about working in a record store? Best thing about working in a record store is that I don’t

On the face of it, the move to Brunswick was a simple matter of following the Zeitgeist, but Renae explains that it wasn’t so simple. “A few years ago we procured a lease on a warehouse in Brunswick. The dream was to open a second store [in Brunswick], but the customer base for records stores is pretty finite [in St Kilda], the demographic’s changing in terms of the sort of records that people want, and we weren’t prepared to change what we did to accommodate that. We live in Brunswick, we love the area, and we felt that the time was right.” “It’s a cultural thing as well,” adds Paul, “Our friends, the bands, the live music scene, it’s all moved to Brunswick. We wanted to be a part of it, so it felt like the right thing to do.” The move away from St Kilda was not without some sadness, though. “We still feel connected to St Kilda,” Paul explains, “There’s been a nice resurgence recently, bands like Bittersweet Kicks, Vice Grip Pussies – we love to support Melbourne bands, and Australian underground music more generally.” Record Paradise will have some special releases in store for Record Store Day, but it remains to be seen whether they’ll be shipped in time. “We’ve ordered some Record Store Day releases, but no-one ever knows if they’ll land in time – they’ll only be arriving in England and the US on the 18th” Paul explains, “We’re not leaving it to chance, though: we’ve been digging through the archives, and we’ll be putting out some exciting stuff, some things we’ve never stocked: some [Einstürzende] Nuebauten stuff we found last night, some rare early Beatles stuff, original pressings of [The Sex Pistols’] Pretty Vacant, [Marianne Faithfull’s] Broken English, out-ofprint 7-inches, all sorts of stuff. And we’ll be doing it at retail prices, not crazy e-bay prices.” Either way, there’s going to be a party. “Oh yeah,” Paul says, with obvious relish. “We’ve always had friends come and play [for Record Store Day], and it just gets bigger every year. Deborah Conway and Willy Zygier, will come by, Sasha and Martin [from The Morning After Girls] will stop by, Courtney

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Barnett, Fraser A Gorman, Denver Maxx will be DJing. “I’m so glad Fraser agreed to play. Nothing warms up a space like someone strumming a guitar, singing to the people,” Renae adds. “We’ve got a liquor license for the day, so the Paradise Bar is back. It’s a nice, big space: all-weather too, so nothing can stop the party. We’re even getting the Taco Truck down!” If they sound more like fans than business owners, it’s because they are. “At heart we’re crate-diggers,” Paul explains. “When you dig, you connect with the cover art, the feel of vinyl. Records have a sense of history: Sometimes you open up a second-hand record and there’s a love-letter inside. It’s the best part of running a record store: You get a record that’s full of someone’s memories and pass it on to someone new, continuing that story. “As a second-hand dealer, we deal with deceased estates,” Renae adds, picking up the thread. “We get relatives bringing in, say, their great-aunt’s collection, and you go through the albums with them. They might remember one from their childhood, and suddenly it’s more than just a record again. They mightn’t be worth much in terms of dollar value, but they’re too precious to just turn into landfill. They give you a sense of the person. You don’t get that with MP3s.” BY EDWARD SHARP-PAUL RECORD PARADISE opens at 15 Union Street, Brunswick on Saturday April 20 (Record Store Day). Acoustic performances, signings and merch from Deborah Conway & Willy Zygier, Fraser A Gorman, The Morning After Girls and Courtney Barnett, as well as guest DJs, lucky 7” dip and a fully licensed bar. More information at

Roland S. Howard in-store performance

have to do any work if I don’t feel up to it. What is your favourite record and why? Oh that is opening up a can of worms, isn’t it? I have at least 257 favourite ever records. How about Patti Smith’s Piss Factory single? What is your most obscure record and why? We have Neil young & The Squires’ single and an original copy of Bill Fay’s Time Of The Last Persecution. What is your rarest and most valuable record? Well, The Squires’ seven-inch single is going to sell for a few grand. Why should people buy records? People should buy records because they are awesome – the real deal – the only way to really listen to music. MP3's are for jerks and sound like shit coming through a rusty drainpipe entering your earlobe. Records sound big and clear and beautiful and fill your heart with joy. GREVILLE RECORDS is located at 152 Greville St, Prahran. Ph: (03) 9510 3012. They will have a 10% to 20% minimum off all stock and in-store appearances from Saint Jude, Mickey Madden and Spencer P Jones.

GOLDMINE RECORDS Goldmine Records have 10% off all stock including new and used vinyl, CDs, DVDs and books, also up to 50% off other selected items for one day only, turning already great prices into real bargains. With new stock arriving this week there will be plenty for everyone. All band t-shirts will be


$12 on the day. Goldmine will be open from 10.30am until 5.30pm Saturday April 20 at 369 Nicholson St, Nth Carlton, Ph: (03) 9347 0882.

POISON CITY RECORDS Simply calling them record stores is actually quite limiting. Sure, you can enter these independent stores and pick up a few pieces of vinyl that’ve been on your wish list and continue on with your day. Yet that would be selling them short. The great independent record stores of the world are gathering places where like-minded people meet to discuss art, politics and current events. They’re spaces to hold events, where people can be turned onto new artists and bands. And perhaps most importantly, independent record stores serve as a gateway into a city’s music community. It was through Poison City Records that I was first introduced and, in a sense, welcomed into the Melbourne music community when I first arrived from Canada. I was initially attracted to the shop’s selection of punk-rock records (many of them on coloured vinyl, of which I am unabashedly a sucker for) but it was through conversations with shop owner Andrew Hayden that I learned about an entire community of musicians playing punk-rock with the kind of outright emotion that can’t be faked. So once a year, when music lovers around the world celebrate Record Store Day Andrew Hayden hopes that people don’t just visit the store to pick up a limited edition release. He hopes the day turns into a celebration of the shop and the community it represents. “[Record Store Day] does draw attention to independent shops, but we like to think of it as more of a celebration of our music community that’s based around the shop, as opposed to how many limited edition releases you can stock in the shop for one day,” says the affable Hayden, who used to play in local act A Death In The Family. The Brunswick St. location, besides stocking an array of punk rock, hardcore, indie rock as well as skateboarding merchandise, is a vehicle for Poison City Records, the label. Having released albums from both local and international artists since 2003, Hayden believes the end goal of Record Store Day should be increased attention to the bands on the Poison City label. “A big positive is that [Record Store Day] draws attention to more than just our store. I’m hoping it draws attention to our label and more importantly, the bands we have on our label. That’s certainly a positive, and we hope that this day continues to do that instead of it becoming about how many collectible pieces of vinyl you can pick up and how many reissues the major labels can put out.” While Record Store Day can help bring attention (and sales) to independent shops that in 2013 so desperately need it, Hayden fears that the spirit of the day has been somewhat abandoned. What was originally an event meant to get people back into independent record stores, Hayden believes has gone in a slightly different direction. “We have noticed that it’s becoming quite watered down with the major labels jumping on board, putting out these special edition releases and you’ve got the chain stores taking hold of the whole concept. That worries me a little bit,” admits Hayden, voicing a growing concern among many record store fans. It’s that kind of honesty and devotion to the music first and foremost which has become Poison City’s trademark.

“[RECORD STORE DAY] DOES DRAW ATTENTION TO INDEPENDENT SHOPS, BUT WE LIKE TO THINK OF IT AS MORE OF A CELEBRATION OF OUR MUSIC COMMUNITY THAT’S BASED AROUND THE SHOP, AS OPPOSED TO HOW MANY SHOP FOR ONE DAY.” When asked if he believes certain major labels and chain stores are taking advantage of the good nature of those who celebrate Record Store Day, Hayden agrees and believes the day should be meant to proliferate the very communities these stores represent. “We definitely feel that a little bit. I find myself referring to this as Independent Record Store Day as opposed to celebrating major labels and chain stores. I think this day has way more relevance when it’s meant to keep independent stores open. It’s important to keep these stores open so they can put on shows, host events and give back to the community.” What Hayden gives back to the community can’t be easily measured. Hayden created The Weekender, an annual weekend-long festival in Melbourne that highlights some of the country’s most innovative and invigorating punk rock acts. With an emphasis on music that uses benevolence to garner attention instead of flash-in-the-pan tricks, The Weekender epitomizes what Poison City is: a means to welcome people into a community of bands and artists that are quickly making waves both locally and internationally. Home to The Smith Street Band and White Walls amongst others, Poison City is the kind of shop where one can learn about new music without any pretence whatsoever. There will be a few special releases from Poison City, including a new release celebrating one of Melbourne’s up and coming acts as well as a reissue of one of the label’s most famous albums. “We’ve got a split 7” coming out with White Walls and Deep Heat. We’ve also got a special edition of The Smith Street Band’s first album. That’s what we’ve got planned, but we’ll also feature a bunch of overseas import stuff, special edition releases and what not,” says Hayden. Ultimately though, these releases will not be the focal point of the day for Hayden and Poison City. It will be the opportunity to celebrate the community which these bands are part of. “We tend to think of Record Store Day more as a celebration,” says Hayden, “of what we do here in the shop and with the label, every day.” JOSHUA KLOKE POISON CITY RECORDS is located at 400 Brunswick St, Fitzroy, FOR MORE LIVE REVIEWS & PHOTOS GO TO BEAT.COM.AU

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It’s been almost a year since The Temper Trap’s second album came out. While the self-titled release did well, topping the Australian charts and producing several singles, it didn’t quite hit the commercial heights of their first. Singer Dougy Mandagi is surprisingly open about this, telling me that, above all, he still stands behind the album and its slower, softer sound. “The second album obviously didn’t have any major hits like Sweet Disposition,” he says, “but like I said before, it’s done relatively well, even if that’s not as well as the first. For me personally – and a lot of people might beg to differ with me on this – I’m more proud of the second one than the first. I like it a lot more.” When I ask why this is, he tells me that the second album came from a place more personal than the first. “I think one of the great things about music is that you can play the same song to five different people, and they’ll all take something different away,” he says. “I get that people really latched onto the first record, and to songs like Sweet Disposition and Fader, but on a personal level, I feel more connected to the second album. It’s a bit more personal, lyrically, and musically, it represents more of what I wanted to do. “Obviously, it has done better in some markets than others,” he continues, “but you have to really love what you’ve made and believe in it, and the rest is a bonus. If other people connect with it, that’s great, but you’ve got to be able to sleep at night knowing that you’re proud of what you’ve made.” The Temper Trap are still hungry for success, and a support

slot on Coldplay’s Australian tour of last year opened their eyes to the possibilities. “That was great,” Mandagi tells me. “It put us in a whole new ballgame to play in front of that many people, and play stadium shows, which we’d never done before. It gave us something to aspire to – we’d love to be playing at that level ourselves one day.” The band came away from the experience with a few new tricks up their sleeves. “I think one of the great things about Chris Martin is his interaction with the crowd,” Mandagi says. “And I learned a lot about how to engage with them. I mean, obviously the music does what it does, and that’s what people are there for, but in those times in-between the songs, it becomes more intimate. You’re breaking down barriers between you and the crowd.” The Temper Trap will soon return to Australia to play the final round of show for their second album, and Mandagi is cautiously optimistic. “Hopefully we’ll end on a high note, and not cock it up,” he says with a laugh. The band are already working hard on a third album, and have written a lot of new songs, several of which will be coming out during these Australian shows. “We did a whole month of song writing in LA before the Future Music Festival shows earlier this year,” he says,

“and in-between shows on that tour, we had a little sting in Byron Bay that Corona was kind enough to let us use their amazing house on the waterfront at Byron Bay to write songs in. We had a little recording set-up there, and just worked on a whole lot of songs. It was amazing.” Sweet Disposition was an undeniably massive hit for the band, and I ask Mandagi if he feels any kind of pressure to come up with another similar song. “There’s always pressure,” he says, “but you’ve just gotta block it out. That’s not a healthy way of approaching music. I grew up listening to pop music, that’s what I love. I like all kinds of music, but I don’t think there’s any …” he pauses, to consider his

words. “We’re not going to be putting out a 15-minute song with a crazy intro, put it that way. We’re not an avant-garde band, so we’ll always write pop music. Whatever form the music takes, it will always be pop at it’s core. So yeah, we’re not worried about writing the next Sweet Disposition. If it comes, it will happen naturally – we just have to ignore the pressure.”

that fresh feel to it. Junk of the Heart didn’t really have that vibe – it was very ‘thought out’, but that was part of the concept for the album. There are parts on Konk where you can definitely tell that the excitement and the moment of a song was over-rehearsed. When that happens, a song can lose its fizz…its shazam…its twang, funk, or mojo... that’s as many buzz words as I can think of right now,” Hugh laughs. Even though the fourth album is still in its infancy, Hugh says the output has been surprisingly far removed from the indie-pop sing-a-longs we’ve come to expect from the band. “We have around five or six songs ready to go, and they’re all sounding really fucking cool,” he says. “It’s sounding totally different to Junk of the Heart. It’s more rhythmbased and it’s more about big grooves with big melodies – it’s a bit Prince-y in places and even Michael Jackson-y in other ways. It’s bizarre.” Unsurprisingly, it’s the artists Hugh has been listening to recently that have instigated this shift in direction – namely Nile Rodgers, Prince, David Bowie, as well as Yeasayer for

their production style. However, don’t expect to witness any of this new incarnation on the band’s forthcoming tour. “It’s really not worth it to have the crappy YouTube videos surface online – I think we’re better off waiting for a proper release,” Hugh explains. “Otherwise you get people watching gigs through their fucking cameras, which is a bit shit. We don’t want to encourage people to start recording gigs instead of enjoying them. “I think that when I see a live recording of a band, I don’t judge it very harshly as it’s just a live gig. You don’t need to be precious about it, but I think that a lot of bands are. For me, it’s not about the content being online, it’s more about the person behind you having to watch the gig through a fucking digital camera. It’s not the best vibe for a gig. “Either way it’s not a huge deal I suppose. There are worse things going on in the world.”

unique set of challenges. “Working at home gets a little difficult, because you’re not exactly punching a clock,” Johnson says. “Even when you’re done making music, you can have an idea, and you’ll think that maybe you should get it down.” Recording at home did have its benefits, though. “All of our other albums were recorded in other towns,” he says. “For instance, we recorded an album in Los Angeles, and you get so much tunnel vision when you go somewhere like that, because you wake up, you go to the studio and make music all day and late into the night, then you go to bed. With Lightning, we would work through the day then we’d go have dinner with our friends and families at night. It just kept things feeling a little more regular; it didn’t feel as crazy.” Matt & Kim are all set to return to Australia, for the first time since the Big Day Out tour a few years ago. Johnson spends a minute or two grilling me nervously

about the current weather conditions here – it seems that the summer sun almost did them in on their last visit. “There’s always a lot of sweat involved in the show,” he says, “but when we played Big Day Out, it was the middle of summer, and we were in direct sunlight a lot of the time. I’m very pale, and it was so disgustingly hot that I burned to a crisp!” I assure him that the band’s upcoming Melbourne show, at Northcote Social Club, will take place in a far more refined and civilised indoor setting. “Well, that’s good,” he says with a laugh. “We won’t have to reel it in, we’ll put in everything we’ve got, so you’d better be ready!”

THE TEMPER TRAP play at Festival Hall on Wednesday April 24 and Groovin’ The Moo in Bendigo on Saturday May 4.



Following a six-month break, The Kooks have been busy crafting material for a “groovier” fourth album, as well as rehearsing for their upcoming Australian tour. But unlike many musicians who you may expect to spend the time off collaborating, working on a solo project, or putting in some time with the family, The Kooks’ lead guitarist Hugh Harris says he did what every other young man would do when given a career break – he went backpacking around Southeast Asia. “It was actually really cheesy – it was just me and a backpack, with no return plane ticket,” Hugh laughs. “I had a friend in Hanoi, so I travelled down south with him for a bit. Then I went through Cambodia and Thailand. I met loads of Aussies. You guys are killing it out there!” The typical SE Asia backpacking trail is always littered with as many amusing anecdotes as buckets of Sangsom, and Hugh admits that his experience was no different. The funniest story he says, occurred at a bar in Vietnam… “It sounds like it should be scary, but it was fucking hilarious!” he recalls. “We were drinking in my friend’s bar in Hanoi after hours, but then we got a bang on the door from the police – who have started to crack down on lock-ins – so we hid upstairs under a table. However, it turned out that the police were just smashed and wanted to continue drinking! We stayed in hiding for about an hour listening to these Vietnamese policemen getting absolutely trolleyed downstairs at the bar. The noise was insane! “Eventually we decided enough was enough, so we ran away as fast as we could. The policemen chased us,

blowing their whistles, but they were so drunk that they were all stumbling and falling over each other in the street. It was hilarious.” Evidently, the trip did Hugh and the indie four-piece a world of good. Hugh says he returned refreshed and with a much more relaxed approach to songwriting. “I think we’ve found the fun in music again,” he says. “We’re not over-analysing things anymore and we’re being spontaneous and getting ideas down as soon as they come. An idea can become stale if you stew on it too much – it’s more vibrant and fresh when it’s first birthed. You can often have an idea for a song and discuss it so much that by the time you get to putting it down, you’re not that excited about it anymore. It’s quite detrimental to the music.” This spontaneity is something that was lost on the band’s previous two albums, Konk and Junk of the Heart, which were both heavily produced and processed in comparison to their rawer debut, Inside In/Inside Out. “If you look at the first album, we wrote Ooh La and then recorded it that evening,” Hugh says. “It definitely has

THE KOOKS play the Palais Theatre on Wednesday May 1 and Friday May 3 (sold-out), as well as Groovin’ The Moo in Bendigo on Saturday May 4 (sold-out).



Sweet-natured indie pop duo Matt & Kim are the kind of band who like to look out for their fans. These protective instincts came out on a recent tour with Passion Pit, when the temperatures dropped below zero. “The weather was a disaster,” singer Matt Johnson laughs. “February is the middle of winter in the States, so it was just blizzards and snowstorms and cars going off the road. I remember one day in Toronto – it was one in the afternoon and the doors didn’t open til eight at night, and we were looking out the bus window at a long line of people who were about to wait there for seven hours as a white-out blizzard kicked in. At one point, Kim started making cups of hot chocolate on the bus and bringing them out to people to help them keep warm and stay alive.” If you go to a Matt & Kim show, the band will keep you warm and toasty, but that’s not all – they may even introduce you to the love of your life. Kim runs an unofficial match-making service through the band’s Twitter page, and attempts to bring single fans together. “Kim really likes to take it that step further,” Johnson says with a laugh. “She likes to feel like she’s a good wingman for our fans, and she can bring people together.” At the band’s shows, Kim instructs fans to tweet using the hashtag #kimsdatingservice, and she’ll then start connecting them based on mutual interests. “She’ll be like: ‘This person likes cats Beat Magazine Page 50

and this person ALSO likes cats? I’m putting them together now!’” Johnson says. “I don’t know if that approach has worked just yet, but we’ll see.” Matt & Kim’s fourth album, Lightning, came out last year. It was stuffed with the bouncy hooks and good vibes of old, although its sound was relatively stripped-back. Johnson tells me that this was a deliberate move on his and Kim’s part, to cut back on some of the slickness that characterised their commercial breakthrough, Sidewalks. “I’m really proud of Sidewalks, as I am of all the music we’ve released,” Johnson says. “The thing is, we went to a few different studios and worked with a few different producers to record it, and I felt that it lost some of that personality of our early records. Going into Lightning, we wanted to make an album with character, and we felt like if we wanted to do a slightly imperfect job, we could do that ourselves, so we self-produced again, and we were really excited with the outcome.” The pair recorded the album at home in their Brooklyn loft, a process that came with its own


MATT & KIM play at Northcote Social Club on Friday May 3 and Groovin’ The Moo in Bendigo on Saturday May 4 (sold-out).


It was a pent-up, volcanic build towards Vacation, the debut album from affable Melbourne duo Big Scary. The lead-up to the full-length featured a bevy of EPoriented material, most notably the stellar compilation Four Seasons. After an intensely prolific nascent burst, Tom Iansek and Jo Syme have established a relatively measured approach for their keenly anticipated second LP proper, Not Art. The past year has seen the band tour extensively, including a stint in India to back up a run of the United States. Ahead of their album-prefacing Australian tour (replete with the debut of a supplementary third touring member), Tom rationalises the band’s steady evolution. “I guess now as the band has grown and we’ve taken more things on, and we have more elaborate promo and marketing – plus long term things overseas happening – I guess all that starts to weigh in on it. Plus there is less opportunity to be writing all the time. I guess that’s how we started out with all the EPs, and that time isn’t there as much anymore,” Tom ponders. The first taste of Not Art came in the form of the sedate track Phil Collins, which was followed soon after with the notably disparate Luck Now. As Tom explains, the selection of tracks was a ploy to misdirect. “That was totally the plan. We released Phil Collins first knowing that it wasn’t a single at all. It’s kind of moody, there’s no real catchy chorus. I guess we just thought it was more of a mood-setter for the album. Bands tend to put the catchiest, poppiest out first as the single, then everyone is expecting a bright, catchy album to follow it. A lot of the time that isn’t the case. We wanted to suggest that it would be a darker record, and we definitely tried to keep people guessing a bit.” Luck Now sees Tom boldly push his production chops, employing sonic elements found in the genres of dubstep and hip hop. “Well that one was a completely new thing, and it was a song that dictated how we approached it due to circumstances. We did a lot of touring early in the year last year, then Jo went overseas travelling,” Tom recalls. “I was at home and had to make loops and beats on the computer, as opposed to live percussion. That’s what started the track off, these electronic loops. It was more meant to be a demo, and we later tried to do acoustic versions of those dubsteppy type beats, but it just didn’t quite have the same vibe. In the end we just went with it and laid things over the top. It was very much the opposite of how we did things in the past. It was interesting, coming up with that one in the end.” As is the case with most two-piece bands, the sonic evolution in the studio has resulted in the decision to expand the live outfit with a supplementary member. As Tom explains, Big Scary were never sanctimonious about retaining the duo formation on the stage. “We never ruled it out, really. It was just a matter of finding the right person and the right way to involve them. Definitely with these new songs, even with Vacation, we couldn’t really replicate it live with just the two of us. We had to adapt the songs and almost do different versions of them. It just means that there is more scope for possibility when touring. But it’s still a challenge, because we’re probably still one person short,” Tom states. “You could always use another pair of hands, but we’re nutting it all out.” The tail end of 2012 saw the Melbourne duo wrap up their Vacation touring stint with an extensive US tour, which was then followed into a voyage performing around India. “In the States there is that interest in Aussie music, they know who the Aussie bands are. Even in India, it’s still young students who find music on the internet and become fans like anyone else. The venues aren’t that different than what you find here or in the States; I think we even played at a Hard Rock Café. It was a cool experience,” Tom recalls. “I guess the reactions are a bit different, because metal is the big thing in India. We toured with Karnivool and they played to thousands of people at the festival we played at. It’s pretty crazy.” The Big Scary that are about to release Not Art have come a long way from the Big Scary that emerged with a wealth of EPs, but as Tom reasons, the band have been adaptive in their approach. “It’s been something that we’ve tried to get our heads around, it’s changing all the time,” Tom muses. “It’s not as if there has been one sweeping change. The truth is that we’re always evolving, we both have to still work and have lives outside of the band. It’s become trickier as the band has evolved. We have less playing time together; we don’t have those whole weeks where we can play. We do have to be more focussed. We’re doing longer tours, plus heading overseas, so a lot of our time is about getting ready for that – when it used to be about writing, finding something new. “We very much still feel like we’re up-and-coming, we don’t feel like we’ve made it in that sense. I guess what we do have over a lot of bands playing in local pubs is experience. There’s a lot of myths out there that you hold to be true when you’re a young band. We’re no Flume or Gotye or any kind of breakthrough artist, we’re still hammering away like everyone else.”





BIG SCARY play the Corner Hotel on Saturday April 27 as part of the Road Smarts initiative.




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The kind of voice that lives in the lungs of Ainslie Wills doesn’t soar out of every strong vocalist – just as skills in penning bright-as-coals tracks or a spot at Melbourne’s VCA don’t come in everyone’s mailbox, either. The charming Wills sounds like a nightingale but that sound is delivered with the strength and conviction of a queen, and she’s just as effortlessly sweet and forthright as her live performances suggest. “When I got to the VCA, it was a pinnacle for me,” Wills says thoughtfully. “Holy moley, the breadth of talent I was surrounded by [was] both inspiring and daunting at the same time. I suppose you have an idea of where you think you sit [in class]; I was like, ‘You know, I’m not doing too bad’. Then I got to VCA and I was like, ‘Okay, I need to work a lot harder’.” She laughs unabashedly and continues on about that pivotal time in which she met her partner in musical crime, Lawrence Folvig. “We would bring in our own compositions and we’d play them, and that’s when we started hanging out and getting to know one another a bit more,” Wills says. During college the two didn’t take their collaborations outside of class but once Wills graduated, shit started to get real. “I started trying to write my own EP, which I [did] in my bedroom because I had nothing else to record with so you know, I had a program on my desktop that I didn’t really know how to use,” she laughs. “Talk about learning curve. I actually asked Lawrence to come in and play a couple of parts on that EP.” The two then started playing shows together, added a

drummer, and remained a trio for some time, recording Wills’ debut EP Somebody For Everyone. Just as they were about to tour, their drummer “pissed off to bloody Berlin” and after this the band as you now see it evolved: Natalie Lewis on synths, Jules on bass and Aaron on drums. “It is quite a long process I suppose when you look back at it, starting in 2009, but we finally got here,” Wills says. The new album, You Go Your Way, I’ll Go Mine, came out last month. It is, by the way, a spectacular release. It contains the brilliant first single Fighting Kind, plus a number of other colossally emotive tracks: Lemon Japan’s drums sound like huge, dull metal barrels with sensitive skins; Stop Pulling The String contains an unbelievable instrumental middle with all manner of synths; and first track Mary contains some sort of pedal steel, strings that fade in unexpectedly like a dam being opened, and a distinctly Radioheadish guitar melody that flips around Paranoid Android-style. It’s difficult to imagine how the great falling, percussive counter melodies are re-created on stage. “I’ve never done the looping thing, [although] I’ve practised at home,” Wills explains. “But Nat is incredible. Vocally we

have a very similar tone, and she works really hard at trying to create a similar tone to my voice. Nat doubles a lot of the vocal parts; sometimes she’ll sing in unison with me or do the harmonies, but also the boys ... both sing as well, and the points where we really need those harmonies I try and get the whole band to sing them.” Wills and Folvig arranged all the string parts on the album themselves. “I’d always wanted to have live strings played. It’s such a beautiful sound, and we were lucky to get three fabulous string players,” Wills says. Her recording engineer and co-producer was able to get the musicians some time in a section of the Northcote Uniting Church, which turned out to be on a “sweltering” day, but through difficulties involving the instruments going out of tune due to the heat and moisture they managed to record.

“Both Lawrence and I wanted to make an album that had a kind of cinematic, kind of – dare I say it – classic sound,” says Wills. “And I suppose we wanted something that was quite full and textual, and as grand as we could make it. Big and warm. We were so lucky that the strings came together and it sat well.” Wills, Folvig and the crew are gearing up to tour You Go Your Way, I’ll Go Mine across the east coast. “I’m just really looking forward to playing the shows,” she says warmly. “We’ve been in rehearsal mode, it’s like, ‘Uh, come on! I want to play in a room with people in it, not just us!’”

gotta do something with the songs, I guess.” The Sydney place-names, the broad accent, the jangle – in a lot of respects, Camperdown & Out’s debut is as reminiscent of the venerable likes of Paul Kelly and The Go-Betweens as of garage-rocking contemporaries like the Straight Arrows and Palms. Roche has heard it all before: he appreciates the similarities, but is dismissive of any direct link. “I understand that all that Australiana, and the New Zealand Flying Nun stuff is big at the moment, and it’s probably cool to be associated with all that. I love The Go-Betweens and Spencer P Jones, but I’m more inspired by Lou Reed, John Cale, Kevin Coyne, Beat Happening, stuff like that. The record probably sounds like it wants to be Australiana, but that wasn’t the intention – my idea for the artwork was actually a photo of fat people on a beach in Greece, something totally un-Australiana…that

idea didn’t make the final cut.” A serious question, though: What do you do in Manly? “Ah, the great gimmick song of 2013! Look, I regret it, that’s all I’m gonna say,” Roche says ruefully of Couldn’t Be Better’s lead-off track, Manly. So it’s not a diss track? “No, Manly’s great,” Roche explains. “They’ve got this second-hand bookstore there, with Peter Van Greenaway and John Fante and stuff…Desire Books, it’s called.” A bookstore so wonderful that it inspired a song? “Hey, sometimes it just happens. A lot of the time, songwriting’s just about what rhymes with the chords”.

Dream, Natural Child are important to me. They’re rock bands with a focus on good song-writing. And that’s my interest.” With the garage-rock renaissance in full-swing and the hipsters flocking to any band that proliferates a sloppy, lo-fi production, King Tuff’s music has been lumped in with these artists, from time to time. Yet the production value on King Tuff is rather strong by comparison, highlighting Thomas’s keen sense of harmonies. So how does Thomas classify his music? “I always just say rock’n’roll. That’s the mother of all these genres. After a while they all start to sound the same to me. I really don’t hear that much of a difference between garage, power-pop, straight up rock’n’roll, whatever.” Kyle Thomas can’t be bothered to lump his music into specific genres. He’ll have more pressing issues to deal with when he arrives in Australia like, most notably, keeping his balance while playing the Bermuda Float. Lucky for his

fans, balance and maintaining a solid frame of mind both in his life and in his music is something Thomas specialises in. “The self-titled album definitely does have that vibe, the balance between rockers and slower songs, but I’m still a big fan of albums with one solid vibe. Something like The Ramones first album, where there’s just one consistent sound the whole way through. I think I’d like to make a record like that one day too.”

AINSLIE WILLS and her band play the Northcote Social Club on ANZAC Day Eve, Wednesday April 24. You Go Your Way, I’ll Go Mine is out now.



Camperdown & Out don’t seem to mind playing the underdog. From their scrappy take on the jangle pop of luminaries such as The Go-Betweens to the relentless, hilarious pessimism of Alex Kiers and Nathan John Roche’s lyrics, the Sydney fourpiece celebrate the low life. Hell, even their name is touched by the deadbeat spirit. Nathan John Roche took some time out from pulling beers to discuss the charms of Manly and debut album Couldn’t Be Better. From the outside, it may appear that Camperdown & Out is a fairly typical example of Sydney’s heavily cross-pollinated DIY scene, with members of Royal Headache, Dead Farmers, Raw Prawn and Marf Loth all bobbing up. Roche, in his laconic, thoughtful way, observes that this is down to circumstance than anything else. “I knew Alex (Kiers, Raw Prawn) through the art scene, and he started playing a few years ago. I knew David (Ackerman, Dead Farmers) and Chris (Shortt, Royal Headache) from going to shows together, going to the same parties – y’know, shootin’ the shit. We were all friends, we played instruments – simple as that.” So, we’re not talking about the new Seattle? “Nah, it doesn’t really feel like a scene. We just go to the same parties, and like the same music, and some of us play in bands together, but it’s no different to Melbourne, and The UV Race, Dick Diver, Lower Plenty, all those bands – I think those Melbourne bands are better, actually.” As for the name, the band aren’t representing their home suburb, they just know a good pun when they see one. “I’m actually living in Woolloomooloo at the moment, in the derelict housing commission area,” Roche concedes, “Camperdown’s nice, though.” Camperdown & Out share their lyrical preoccupations and

colloquial style with the other bands of their members. Sonically though, the loose, jangly Couldn’t Be Better is something of a departure from the heaviness of Dead Farmers and the scrappy punk energy of Raw Prawn and Royal Headache. There is, however, a distinct resemblance to Roche’s previous project, the now-defunct Marf Loth. “Yeah, I feel like I’m doing the same thing, but with Alex singing half the songs. That’s why I’m not really worried about whether the band will last, or fail, you always find new people, do something else.” The logical conclusion to be drawn is that Roche is steering the ship, but he disagrees. “I’m probably the least prominent member of the band – I taught everyone the songs, and let them do whatever they wanted with the recording [process]. Mixing, mastering, I didn’t want anything to do with that, it just takes too long. I always produced the Marf Loth stuff, and it always sounded like shit, so I thought, ‘Maybe let someone else do it’.” Marf Loth’s lo-fi sound, he explains, was not so much an aesthetic choice as sheer apathy. “I was just a bit too lazy, I wasn’t really invested in it. The only exciting thing for me is when the song is written for the first time, I don’t actually care too much about the rest of it. Recording? Well, you’ve

CAMPERDOWN & OUT will be playing a launch show at The Tote on Friday April 26. Couldn’t Be Better is out now on Popfrenzy.



Because of a hilarious YouTube clip that began to surface in 2009, musicians can’t just play gigs on boats anymore. They’ve got to be asked about it. Their moral and physical concerns have to be examined. You can’t just “be” on a boat anymore without the fact that you’re on a boat being a topic for conversation and proclamation. In preparation of his debut gig in Melbourne aboard the Bermuda Float, which will travel down the Yarra River, I ask garage popper King Tuff if he’s ever played on a boat before. His response was less than enthusiastic. “I actually have, and it was a disaster,” says Kyle Thomas, the man behind the King Tuff moniker, reached on the phone from his Vermont home. “This was a show with my old band, Witch, maybe six years ago. I remember we could barely stand up throughout the whole show,” he adds. You’d be hard pressed to find a band more suited for a boat party than King Tuff. Full of classically-influenced powerpop and straight up garage-rock bangers, King Tuff’s 2012 self-titled release maintains an intrinsic benevolent vibe that allows all your cares to, quite literally as is the case, float away. I mention to Thomas that his music does indeed seem made for autumn boat parties. This draws a chuckle from the perpetually relaxed Thomas. “I’ll rock any kind of vehicle of transportation,” he notes, somewhat sarcastically. The carefree energy that Thomas exudes is a contagious one. King Tuff, his first release on Sub Pop garnered rave reviews from both fans and critics alike, and it’s easy to see why. Like the party-goer who keeps the energy at premium before quickly disappearing into the night, King Tuff is a contagious release. Thomas leaves the heady stuff for other Beat Magazine Page 52

rock’n’rollers, instead opening tracks like Alone & Stoned, one of the catchier numbers on King Tuff with: “There’s nothing better than alone and stoned/listening to music on your headphones.” Timeless and pleasantly simplistic, the prime focus of King Tuff’s seems to be its inherent need to be shared with friends. Thomas agrees and gives some insight into just where his bummer-free jams come from. “I think about when I was a teenager and I was making mix tapes for my friends. I think about what kind of songs my friends would’ve wanted to hear and I write songs like that.” Friendship is such an important element of the King Tuff aesthetic that when our conversations turns to his influences, he’s quick to note that its his friends who provide most of his inspiration, musically. “My main influences are my friends’ bands, bands on Burger (Records, an independent label based in Fullerton, California that made their name releasing garage rock releases exclusively on tape and are re-releasing King Tuff’s debut, Was Dead), that kind of stuff. It’s my friends who influence a lot of what I do because they’re my contemporaries.” Thomas’ friendship with Seth Bogart of Hunx And His Punx fame has been well-documented as well. “We haven’t seen each other in a long time,” he says, but not before listing off a few others bands. “But a lot of bands like White Fang, Gap


KING TUFF plays the Bermuda Float boat party with UV Race, Made For Chickens By Robots and more on Thursday April 25. Tickets via Moshtix. He also plays The Tote on Sunday April 28 with SkotDrakula, Bad Aches and Skyways Are Highways. King Tuff is out on Sub Pop.


In 1977 a young John Flansburgh – subsequently, one-half of New York quirky-pop band They Might Be Giants – travelled across the Atlantic to London to see what was happening in the English punk scene. “That visit had a very direct impact on me – I probably wouldn’t have learnt how to play guitar if I hadn’t gone there,” Flansburgh recalls. Flansburgh had grown up in Massachusetts which, courtesy of Jonathan Richman, had a significant role in the American punk scene of the early ‘70s. “I hadn’t gone to England by accident – there was a bit of a punk scene in Boston, and also New York, and I was very conscious of punk bands at that time,” Flansburgh says. While New York had its own thriving underground punk scene featuring The Dictators, The Ramones, Richard Hell, Television and Blondie – the English punk scene – courtesy of Malcolm McLaren was far more in your face. “In England a lot of bands were having a difficult time doing shows outside of clubs. I got to see Elvis Costello’s first performance, and he seemed really happy to get the applause. It sounds corny to say, but it was a real ‘stars born event’ – there was about 200 people there, and no-one walked out. When I saw him six months later in the US, he’d completely changed into the Elvis Costello that everybody knew.” Flanburgh had already met his eventual musical partner in They Might Be Giants, John Linnell. “John was a year older than me, and he was really cool, in that way when you’re 12 that you can think that of a 13-year-old as cooler,” Flansburgh laughs. “John and his best friend Dan were a radical cultural presence in the school – they had long hair, and they did these mimeographed underground comics.” The name Flansburgh and Linnell took for the band they formed in 1982 was taken from a 1971 film starring George C Scott – which had borrowed the line from a passage in Don Quixote. With the duo’s evolution as a band, and gradual development of its cult following, the name has taken on a certain prophetic resonance – though Flansburgh is careful to avoid making too much of it. “I probably have the worst perspective on the name!” Flansburgh laughs. “We initially thought of it as pessimistic, but others have interpreted it as really positive. I think the good thing about the name is that it makes people think – I suppose it’s turned out remarkably well.” Over their subsequent 30-year career, They Might Be Giants have established a reputation for innovation and iconoclasm, both in the band’s blend of quirky music and insightful lyrics, and its willingness to explore lateral approaches to distributing its music. In 1984 They Might Be Giants won an award for the distinctive music for Don’t Let’s Start; later in the decade, the band came up with the truly innovative Dial-A-Song scheme, in which fans would ring a number and listen to the band’s new songs on an answering machine. “We haven’t had a lot of other mechanisms behind the band to get our music out there,” Flansburgh says. “When we did Dial-A-Song, we didn’t have a record deal. So in a lot of respects, it was as pitiful as it was calculated – you could actually see it as desperation.” In the early years of the 21st century, They Might Be Giants again bucked the industry trend. While the mainstream music industry confronted the emergence of online access to, and distribution of, music with a combination of brutal lawsuits and apocalyptic rhetoric, They Might Be Giants took the pragmatic approach, establishing their own website, through which fans could download new music. While it might appear Flansburgh and Linnell had seen the benefits of technological change in the context of a radical new business model, Flansburgh is quick to explain – like with the Dial-A-Song scheme – that the website was simply a means of distributing music. “If the music speaks for itself, then if people have access to it, then hopefully they’ll like it,” Flansburgh says. “All of our applications are just ways of getting music out there.” Earlier this year They Might Be Giants released its latest record, Nanobots. A combination of classic They Might Be Giants three-minute pop songs, punctuated with 20-odd second vignettes, Nanobots sees the band return to their classic, and cult style. (In another interview, Flansburgh is quoted as saying Nanobots is a “fucked up” record – an flattering and provocative description that I was keen to explore further, only to be cut short as I ran short of time at the end of the interview.) The album includes a song that pays tribute to Nikolai Tesla, the European physicist, inventor and pivotal figure in the development of electricity, X-ray technology and radio transmission. Flansburgh and Linnell had originally been looking at Tesla’s life while composing songs from one of the duo’s children’s records a couple of years ago; whether it was because of the deep physics, or Tesla’s erratic personality, the Tesla song project was deferred until They Might Be Giants returned to its next “adult” record. “He’s a really fascinating figure,” Flansburgh says. “The song started a few years ago when we were doing songs for kids, but the song didn’t really fit with kids, so we left it off that record. He was an inspired inventor, and also a troubled figure who always had visions. He could’ve been thrown in the loony bin – he makes Einstein seem normal!” Flansburgh laughs.


FFeel eel PPresents resents





THU. 25TH APRiL PALACE THEATRE THEY MIGHT BE GIANTS play The Corner Hotel on Tuesday April 23, Thursday May 2 (soldout) and Friday May 3 (sold-out). They also play Groovin’ The Moo Bendigo on Saturday May 4. Nanobots is out now on Idlewild.


Beat Magazine Page 53

THE BENNIES BY JAMES W. NICOLI In their relatively short existence, Melbourne locals The Bennies have made plenty of friends with their ability to seamlessly weave elements of punk, ska, pop and reggae all into catchy two-minute bursts of energy. That and their ability to turn any one of their live shows into a party no matter what sort of crowd they play to. “That’s probably one my favourites things about our band. We’ve done so many different tours and so many shows with completely different bands,” says Craig Selak, bassist and one quarter of the much talked about party starters. “You know what it’s like as a music fan whenever you go and see any band that you haven’t seen before or you don’t normally see, it’s really exciting,” adds Selak on their ability to slot onto just about any lineup. “I think it totally rubs off on us, playing and writing I reckon.” Already well known for their raucous live performances, The Bennies are now set to unleash their latest effort in the form of a four-track 7” Better Off Dread. Each song on the record perfectly shows off the varied styles and influences of the band. One minute they’ll be jamming on a mid tempo ska riff, the next ripping out a furious guitar solo the next a sing a long pop punk chorus. “I think in the end it just kind of happened that way,” admits Selak on the writing of the record. “The way we write is exactly like that; whatever the idea needs it just ends up happening so I guess that’s how we ended up with so many different styles. Someone will come in and go, ‘I’ve been listening to so much Black Sabbath at the moment and I’ve

got these riffs and we’ll just do it’. It could also be like, ‘I’ve been listening to Mad Caddies this week let’s do that!’” Yet despite the wide variety of styles, somehow it never feels forced and with most songs clocking in at just over the two minute mark it’s a wonder how they cover so much musical ground. “We’ve been playing for about three and a bit year now. At the start all the songs were just like cut and paste but over time we played a lot of gigs and playing live you really get a feel for what’s working and what’s not,” says Selak. “So like now when we write a song there’s a bit more of an editing process that happens. I just think the whole style thing also comes back to a short attention span,” he jokes. One fact that the band certainly doesn’t shy away from is their love of a good party. 2011’s debut for instance was called Party! Party! Party! With the band about to hit the road in support of the 7”, I ask Selak whether there might be any down time in between the shows and partying. “No. When it’s on it’s fucking on. That’s what’s so expensive

about the whole thing!” he laughs. “It doesn’t stop. Like I’m already excited about it. There’s always this huge hangover slash depression that goes on afterwards. The last trip we did, we drove back from Newcastle in one trip. I think it took like 12 hours and we spent the whole time drinking beers and listening to conspiracy podcasts.” However, Selak ensure me that these days there is a far greater focus on making sure they are in top form when it comes time to hit the stage. “For whatever reason, we get more people at the shows so we feel like we should probably play better now. So the drinking normally only gets excessive afterwards to make sure we play a good show really.” Before the touring begins, The Bennies will launch Better Off Dread at The B.East and as a thank you to all those who have supported the band over the years they’ve made the

show free of charge. “Earlier in the year we toured with The Smith Street Band and we were totally strapped for cash at that point and so we did a bit of like a pre-gig fundraiser,” explains Selak. “There was a pretty overwhelming response, it was really awesome; everyone was chipping in with all this cash so we just thought we’d make it free so everyone can come along. This 7” has been in the works for so long,” he continues. “I think we recorded it at the start of last year and then we changed guitarists and have been touring a bit and it just kept getting pushed back and we we’re just like, ‘Fuck, let’s just get this thing out there.’ And now that it’s all done and finally out we’re pretty stoked.” And you can bet they’ll be throwing one hell of a party to celebrate.

Scott, with a cover of AC/DC’s Kicked In The Teeth. “Bon Scott was a big influence on me,” Grim says. “He had a wicked, sly sense of humour. I think Back in Black is a brilliant album, but I’m not sure that if Bon Scott had stayed in the original band that the band would still be going at it today. Bon Scott certainly isn’t the sort of guy you’d want to peeter out.” Bon Scott’s influence on Grim can be seen in the final track on the new record, Baby Girl. In the song, Grim adopts the position of a father contemplating what would make him turn to violence. “The song comes from a pulp story titled I Killed The Only Man My Baby Girl Ever Loved – when I saw that, I thought, ‘Wow, what a statement’. The novel was written from the perspective of the mother, but I started looking at it from my perspective, and in the context of domestic violence, which I absolutely abhor.” Grim is conscious of the potential for the lyrics to be

misinterpreted by the audience, but sees that as an occupational risk. “The person I want to respond to the song is the perpetrator of domestic violence – it’s a veiled threat,” Grim says. With Brothers Grim about return to the road for a series of shows to promote Roll It In, there’s no immediate need for Grim to ponder an alternative career outside of music – but he does have a suggestion. “Maybe a cult leader – it’s all about getting laid, but doing it in a way that makes people more peaceful,” Grim says dryly. “But I wouldn’t be wearing sandals!”

media outlets in creating a more personable fan-to-artist relationship. I quizzed McHugh about a young fan who left a touching comment on a clip of the title track of Love Come Save Me during his MoBoogie Rooftop Session somewhere in Denver, along the lines of “listened to your music, I found a dream”. He felt nothing but humbled. “Above all things, I am a music fan and I know what it means to be touched by a song. Songs have been my best friends, my teachers – not necessarily those who make it. It relates to the human condition. We’re all just here, for god knows reason trying to make sense of it all and the more connected we all are, the easier it makes our lives.” With the upcoming release of Live At Random Hall 2013, McHugh feels he’s made the first step towards a new record. “I’m finishing up the first song off the new record, maybe today or tomorrow. There’s always a song that’s a

signpost to the record. Once you hit that song, it really dictates the feel of the work from then on it. It’s been interesting following the songs’ little idiosyncrasies for the past week or two. I think this could be that signpost.” McHugh’s work ethic is refreshing, and necessary, especially with the daily commitment of fatherhood. His schedule can be pretty tied up with his two-year-old son, but to McHugh, he’s nothing less than a miracle. “You don’t really have much time to stuff around doing superfluous things. It helps you make stronger decisions, and not waste time on a shitty song. It’s inspiring because you’re staring at a miracle every day. If that’s not inspiring, what is?”

THE BENNIES play a free gig at The B.East on Saturday April 20.

BROTHERS GRIM AND THE BLUE MURDERS BY PATRICK EMERY With a hectic touring schedule, and a reputation for exploring the inebriated boundaries of the rock’n’roll lifestyle, local band Brothers Grim and the Blue Murders haven’t always allowed itself a great deal of luxury in the recording studio. So when the band headed up to the Empty Room studio in Nagambie in regional Victoria for a weekend of recording, it was an entirely new experience. “We wanted to find a completely different head space,” says vocalist James Grim. “We were sleeping in the studio, getting up in the morning and going for a swim and then going to record. It was a different environment – it was a luxury that we didn’t know how to deal with. It was great, but after it was over we thought for next time it’ll be straight back to a concrete box!” Grim laughs. With a break in touring, Brothers Grim had decided to put down some new tracks for what would become the sevensong Roll It In EP (or “mini-album”, in Grim’s words). “The initial plan was always to record an EP,” Grim says. “We tour all the time, and we like to have a new product each time we go on tour to feed to the audience. We could have looked at doing a complete album, which would have meant slamming down 14 or 15 songs and choosing the best ten in a more expansive process. But with a mini-album, it means you can spend more time over the songs.” The brief juncture from touring also meant that Grim could spend more time creating the lyrics for the band’s songs. “Cathartic is a bit of a horrible word, but in a way that’s what it was for this record,” Grim says. “We finally had time to write after the last tour was finished. So rather than sit down and say ‘this is the album that we want to write’, it was more of a case of ‘this is the story that we want to tell’.” Grim, the band’s chief lyricist (and fanatical front man)

began with some choice sketches of tracks, each one of which was eventually realised in the recording process. “It was a really interesting time for us,” Grim says. “The new songs are all beasts of their own.” While Brothers Grim have made a modern day art form of transposing dark and seedy tales into a confronting punkblues aesthetic, Grim was wary of going down the slippery road to artistic contrivance. “You can go crazy of you spend too much time thinking of what you should write,” he says. “You have to write what you feel, and what you want to create, and then you work hard to finish that song. And on this record there’s a really wide variety of styles, from punk rock to Stonesy-riffs to weird prog, and it was all really enjoyable. We just let ‘em go where they wanted to go.” On a personal level, Grim feels his own lyric-writing is maturing. “With the genre I write in, it’s pretty easy to fall the misogynist trap, just because of the sort of material you’re dealing with, because you’re dealing with murder ballads,” Grim says. “But I want to empower the characters that are in the songs. So lyrically I feel that I’m creating characters that both men and women can appreciate – even if they don’t actually like those characters.” On Roll It In, Brothers Grim pay tribute to the distinctive – and frequently under-appreciated lyric-writing – of the late Bon

BROTHERS GRIM AND THE BLUE MURDERS play The Hi-Fi on Wednesday April 24 with Howlin’ Steam Train and The Harlots.

MAT MCHUGH & THE SEPERATISTA SOUNDSYSTEM BY MATT PETHERBRIDGE Mat McHugh isn’t one to waste time. Fatherhood and a Prince-like work ethic are only two pieces of this deceptively complicated artist. Back with a new band, The Seperatista Soundsystem, McHugh speaks with Beat, putting his money where his press release is, about a more honest fan-to-artist connection. “The relationship between the creator and the listener is the key thing to me. As a music fan, I don’t give a shit about how I find music, only if the music touches me in some way. Just like Merle Haggard or Run DMC has in my life. I only want to get the music as easy to people as possible, without [having to] kiss arse or bow down to unethical and/or uncredible people,” says McHugh. Leaving behind The Beautiful Girls moniker as a promotional means has been a freeing process for McHugh. “[The band] would rarely demo the songs. I had all the parts, the beats, the bass lines all worked out on an eight-track. But I never committed to recording the final version and I’d say, ‘I’ll let the band fill in the gaps’. It would get so far down the line before I’d say, ‘I’m just going to play it myself’.” This, in turn, allowed McHugh to indulge his widely unreported perfectionism, in the studio. “To me, a recording is like a carefully constructed work of art. Interpreting myself in the most undiluted way possible, is the basis of my creative life,” says McHugh, naming Prince as an idol of his in this regard. McHugh says despite the varying circumstances of releasing both of his solo albums, 2008’s Seperatista and 2012’s Love Come Save Me for free download on his website, saying Beat Magazine Page 54

‘thank you’ to his loyal fan base over the past decade was a common thread. “[Seperatista] was more of an outlet from The Beautiful Girls. There were no expectations, except to have fun with friends. Love Come Save Me was more of a thank you to all of the people who have supported me throughout my career. I wanted to give back to those people, which is important to me,” he says. McHugh adds that he was approached to release Love Come Save Me under The Beautiful Girls moniker, but quickly shot the idea down. “The year behind the process was really a thank you to everyone who’s ever supported me.” It was a no brainer for him. “It was going to be mine and it was going to be released for free,” adding that this is the only way he wants to do it from now on. McHugh is readying the release of his first live album with new band, The Seperatista Soundsystem. Titled Live At Random Hall 2013, the album is made up of performances of the band’s first 20 shows, which took place around the cusp of the new year. “It’s something we tried to do with The Beautiful Girls for a decade, it never happened,” he says. Most musicians can relate to YouTube and other social


MAT MCHUGH AND THE SEPERATISTA SOUNDSYSTEM will be rockin’ The Espy on Anzac Day Eve, Wednesday April 24. Tickets are from Oztix.


“For me, punk was more that it was an art movement, because it drew a lot of inspiration from things like Situationists, and Dada, and Surrealists,” muses Buzzcocks guitarist and singer Pete Shelley. “There were a lot of those types of ideas going on, and also, who can forget anarchism?” Shelley had been studying philosophy at college when he met art student Howard Devoto; famously, the Buzzcocks would coalesce when Shelley and Devoto met fellow Mancunian Steve Diggle at a Sex Pistols gig in Manchester in 1976. “In some ways [punk] was a way of grabbing creative control back from society. I would say it was about being an active participant in culture, rather than being a passive consumer. The whole idea of doing it yourself – whether or not you were any good at it. The very act of doing it would change the world – which it did.” A short time before that fateful Sex Pistols gig, Shelley had responded to an advertisement posted by Devoto looking for musicians to do a version of Sister Ray by the Velvet Underground. “As I was one of the few people there who knew Sister Ray, I phoned him up. That’s how we started working together,” Shelley says. Increasingly frustrated with what he saw as the limiting aspects of punk, Devoto left the Buzzcocks in 1977 to form Magazine; under the stewardship of Shelley and Diggle, the Buzzcocks would go onto become one of the staples of the English punk movement, with classic punk-pop tracks like Ever Fallen In Love and Orgasm Addict. While London was the notional epicentre of the English punk scene – courtesy of Malcolm McLaren’s public imageconscious construction of the punk ethos – Manchester, in England’s working-class north had its own brooding scene.

“The scene that existed in London, because that was where the industry was, people were trying to jostle and position for who was the best punk band,” Shelley says. “But up in Manchester punk was so few and far between, it was like huddling together for warmth.” When the Sex Pistols – who, by 1977, were struggling to find even a medium-sized venue that would allow them to play – ventured north, the Buzzcocks were only happy to help them out. “One of the things we did was bridge the gap, because we brought the Sex Pistols to Manchester, the second of which was when the Buzzcocks debuted,” Shelley says. “It was reciprocal, so whenever there was anything happening in London we’d get a phone call from Malcolm asking us to play. That was just to make up the numbers, really – to make it look like there was were of people involved in the scene. There was really only a handful of bands and some stragglers and hangers on, when then started their own bands. But in the early days we’d be called in to make up the numbers, so they could have three bands on the bill.” And the Buzzcocks were also only too happy to help out when fellow Mancunians expressed an interest in starting their own band. “When bands wanted to get started in Manchester they’d come to us for advice on the practicalities of how you’d start a band, because it was about sharing information because you’d found out how

to do it,” Shelley says. “So that was how we got involved with Joy Division – we’d go around and help them choose a drum kit.” While the Buzzcocks’ contemporaries in the English punk scene adopted a more confrontational – and, in the case of bands like The Clash, an overtly ideological stance – the Buzzcocks waved its political flag in more subtle ways, including via Shelley’s frank exploration of his own bisexuality. “I always used to hate it when you’d hear someone sing a song on TV, but they’d sing it to a different gender than what the original singer was – they’d have to change the lyrics to take account of the change in gender in the song,” Shelley says. “I thought at least half your audience you’re cutting out, if you’re changing the lyrics. And also because the objects of my affection were of either gender, so it was natural for me to do that. And also because we weren’t expecting anyone to pay the blindest bit of attention to us, so it made it quite easy to do it – it wasn’t a heroic stand. It was just ‘this works best for me, so that’s the way I’m doing it’ – and this was all in the spirit of punk.” Having taken an indefinite hiatus in the early ‘80s, the Buzzcocks reformed for a few one-off shows in the United States in 1989. In 2006, the Buzzcocks released the Flatpack

Philosophy album, on which Shelley and Diggle took aim at the contemporary sociological culture, including rampant consumerism. “I’ll still shout at the TV,” Shelley laughs. “It’s just the crass stupidity of anyone who’s supposed to do anything properly. I may still be an angry young man, or maybe I’m an angry old man.” Shelley says a new album – tentatively titled Joy Of Life – is still on the back burner, though given the Buzzcocks’ extensive back catalogue, the band has no shortage of material to explore. Almost four decades after punk became a household word, and Shelley continues to embrace the punk ethos. “It’s about enjoying what you do, and doing something you want to do, rather than trying to be a pop idol or appearing on a talent show,” Shelley says. “Those things are irrelevant, even six months after they’ve won. It’s really good when people do things because they’ve got a passion. Steve always says the reason we keep going on is so we can show everyone how it should be done.”

first album. “When arranging Ascension it really had a cliff-hanger quality to it so that’s why we gave that space between releases,” he says. “It’s also a lot of material and it’s a lot to expect people to be able to absorb all of that material at once. I wanted the questions to digest in the listeners mind and then have the second record answer all of those. That first record kind of jumps around because that’s how the character’s mind is. But Descension kinda comes together because things are falling apart all around him. In his perception, he’s lost everything and he’s in the worst part of his life so everything that follows is very straight to the point and impactful.” The story is so complex and involved that a brief explanation is pointless. The albums and the graphic novel series are not necessarily inextricably linked but do serve each other well. The complex world and characters that Sanchez has created has even caught the eye of left-field producer Mark Wahlberg and his partner in crime Steven Levinson of Leverage Productions and is set to be made into a life action feature film. As long as George Lucas and Peter Jackson are nowhere near it, it should be a truly fantastic film. Fans of Coheed and Cambria can’t help but

wonder though, if the band will reach a resolution when the story does. How much more life has the story got and is an end in sight? “No not at all,” he says. “The Amory Wars, in terms of it being within Coheed and Cambria, that was completed really with Year Of The Black Rainbow. The Afterman is really a telling of the past and Sirius Amory’s experiences. For me, this concept has really taken on more of a life of its own than I ever thought. Even though there is an ultimate conclusion in those last records I feel like it can still live on in these new records and there’s also still so much to tell. I didn’t have a concept when I started to write, the concept came after when I realised, ‘Oh my god, I can tell this story’. I can’t really envisage Coheed without a concept but the concepts are everywhere and they’re great partners.”

can be hard to get them [interested], but I did send Richard Kingsmill a little doll’s head.” Whalebone speaks on the triple j process without a trace of resentment. “It boggles the mind to think how many artists are out there and how many emails, how much mail they must receive. I feel like you can’t just focus on that though. It would be great but if you just try that you’ll go crazy. [Unearthed] is great but it seems like all these voices shouting out at once.” Animal Hands have clearly taken their own advice and branched out from the triple j paradigm that many bands get stuck in. “Community radio has been

absolutely fantastic for us. We got play in Adelaide, Nimbin, everywhere. PBS, RRR. It’s really nice to have these little pockets of support.” Whalebone’s enthusiasm is infectious. “Just come to our show, buy our EP. It’s going to be awesome. We do everything ourselves. We do publicity, mailouts, we did our own film clip. Everything is DIY.” This is definitely one hard-working, dedicated, hungry band.

BUZZCOCKS play the Hoodoo Gurus’ invitational Dig It Up!at the Palace Theatre and surrounds on Thursday April 25.


It’s impossible to know where to start when introducing someone to the New York-based prog rock and concept-heavy band Coheed and Cambria. Singer, guitarist and creative powerhouse Claudio Sanchez developed the group in Paris in 1998 when his former band, Toxic Parents, dissolved and his side project moved into a full-time role. Around that time he was also writing his science fiction/post-apocalyptic graphic novel series, The Amory Wars (originally named The Bag.On.Line Adventures). The characters, concepts, and narratives from this graphic novel series weaved their way into the music of Coheed and Cambria (the name of the band is the names of two of the protagonists in the story). Their music is almost indefinable (literally, that’s not wanky PR hyperbole) and while it’s weighed heavily by the concepts it carries, the quality of the songs are never sacrificed for the sake of the story. Sanchez, despite being chatty and extremely affable to talk to, has confessed many times to being socially awkward and extremely shy. So how much of him makes its way into these stories? “I’m in all of it,” Sanchez says. “It’s funny, today I’m sitting in my apartment trying to text a friend of mine and like, small conversations and just being a human being can be such a task for me – it’s kind of hilarious. I asked my wife, ‘I got this text today, how do I respond to this text?’ It’s like I’m borderline psychotic or something but with songs it’s so easy for me to be normal. They allow me to work out everything. “That’s what The Amory Wars was, a way for me to communicate without actually having to give too much away. I don’t want the listener to know and that’s just me, I’m shy and reclusive and I don’t want them to know details, but I need that release as an artist and a human being.

Otherwise, I’d be like a pressure cooker waiting to burst.” There are a host of meaningless adjectives that can be assigned to Coheed and Cambria’s music but it seems pointless. Theirs is a story, a concept that goes beyond Pink Floyd’s The Wall or Tyler, The Creator’s Goblin, and that’s not a comparison of musical ability, it’s just that Coheed’s chronicle is so thoroughly realised and explored. So where does that leave them with regard to festival lineups and iTunes listings? “I never wanted to create walls with Coheed so unfortunately if it makes things difficult for people outside of the band, so be it,” he says without a hint of arrogance, merely acceptance. “We adore it and for me music isn’t so much about how it works outside of the creation but within that circle. Also, to see how our fans react to such diverse songs is a really good interaction whether or not they hate them or love them. It can be discouraging at times when people don’t know what to do with the band but you know what? It’s always been that way even before we were involved with record labels and in the industry.” The Afterman: Descension is the second album of the The Afterman double album and takes on the role of a prequel of sorts. Despite being so attached to The Afterman: Ascension, it was released almost a whole year after that

COHEED AND CAMBRIA will be at The Palace on Sunday April 21 with Circa Survive. The Afterman: Descension is out now through V2/Cooperative Music.


Danielle Whalebone fervently and passionately asserts that “Animal Hands, the name, just comes from the human condition. You know, we’re all animals, just doing stuff. It’s what drives us to create art. People have the hands of an animal, they make stuff, they kill each other.” Animal Hands are a Melbourne indie-rock threepiece who are launching their debut self-titled EP this Friday at Cherry Bar. Whalebone says that she “has to keep reminding [herself] that it’s a celebration, to not freak out.” The importance of the gig is not lost on her though. “We’ve been working tirelessly, it’s been full on. Juggling life, and this and all that other stuff. We know this is the big one, our biggest show yet. April 19 is an important one for us. Come to it!” After only a year together, Animal Hands pulled their debut EP together, recording it at Birdhouse Studios with Lindsay Gravina. “We’re super excited to have done. It was such an amazing experience. The launch is going to be huge. We have Vinal Riot, a local stoner rock band. Also, Claws and Organs. They’re similar to us, kinda grungy, but a bit heavier.” Danielle mentions that touring post-launch is definitely in Animal Hands’ future. “We know that

we wanna do it, an east coast tour. We just have to figure out the budget,” she laughs. “We don’t know if we wanna do the road trip thing or just get it done quickly and fly everywhere. Money will be the big factor. If not, we just wanna get back in the studio.” “I saw a Black Flag documentary that showed all these punk guys touring around and just sharing accommodation, gear, everything. People could just toured and were set up wherever they went. I think that’s the kind of thing that can happen in [Australia]. We’re starting to connect with a few bands so hopefully we can fly around and share backline. Don’t want to have to take too much gear. Maybe it even has to happen, if bands [at this level] want to survive and be able to tour.” Animal Hands provide a typical, yet hardworking snapshot of the DIY indie band journey. “We chucked the songs from the EP up on triple j [Unearthed] for people to download. No presenter love yet though. It


ANIMAL HANDS’ self-titled EP will be launched at Cherry Bar on Friday April 19. Beat Magazine Page 55




Seriously guys, seriously. You can now stream COACHELLA LIVE IN UNINTERRPTED HIGH DESCENDENTS DEFINITION VIDEO. My workday was pretty much rendered completely useless on Monday when I watched Wu-Tang and co. unleash a live show worthy of a Coachella headlining spot ON MY FUCKING LAPTOP. When you can watch such quality performances, as they happen, in such startling quality, I can’t help but wonder whether this concept will progress to the point where I have no need to leave the house at all. I’m already of the age where I forfeit festivals entirely, prioritising a good night’s sleep over grappling with ten thousand sweaty, pingin’ teens to catch a distant glimpse of my favourite bands. The future is here ya’ll, and it’s so, so lazy.

Parkway Drive will celebrate ten years of kicking the dick off the international metal scene by playing a string of shows in intimate venues. They’ll play material spanning their entire back catalogue when they arrive in Melbourne on Friday September 20. The Palace isn’t QUITE the ‘intimate’ venue we all prayed for, but should do the trick quite nicely. Tickets on sale on Friday.

Is it too soon to declare 2013 the year the heavy music stomped the charts and took over the world? Paramore have stormed their way to number one in the ARIA charts this week and labelmates Stone Sour have joined them up the top with their newie debuting at number four. The Japandroids will return to Australia for the second time this year, after their Laneway appearance in the summer. They’ll play the Corner Hotel on Friday August 30. Though I’ve heard mixed reports about their live show, Celebration Rock is just too good not to witness live. Tickets are available now.


Terribly sad news broke over the weekend when it was revealed that Chi Cheng of the Deftones had lost his long battle with severe injuries following a car accident in 2008. It’s a devastating blow for fans, friends and family who’ve been funding Chen’s stay in hospital since the accident.

Youth Of Today will headline Sydney’s Hardcore festival for 2013. Resist Records also added that Toe To Toe, Warbrain, Vigilonte, Boneless and Higher Power will play the Saturday overage show at The Hi-Fi Bar, and 50 Lions, Relentless, Survival, Shackles, Outsiders Code, Outright, Crisis Alert and Rain Dogs will play the massive all ages gig on Sunday.

Break The Ice Festival have revealed that Melbourne’s Warbrain as well as Free World and Machina Genova will join the bill following Rotting Out’s withdrawal from the bill. Tickets are still available for the Saturday April 27/Sunday April 28 event at the Lilydale Showgrounds.

Cannabis Corpse have canned their Aussie tour, just weeks after announcing it. Not the most complimentary of reasons for the cancellation either. They’ve simply stated that “other commitments have now become a priority”. Rude.

Melbourne lads Empra have taken out a battle of the bands at LA’s House Of Blues. Powered by promoter Live Nation, the comp featured seven bands from across the world, and the local boys snatched a $30,000 prize. Catch ‘em at Gertrude’s Brown Couch this weekend and see what you reckon.

Thursday April 18: Street Fangs, Charm, Long Holiday at The Reverence Term Four, Disasters, Jurassic Penguin, Yachtburner at The Gaso Take Your Own, Idle Hands, Fever Teeth, As A Rival at The Bendigo Silverstein, Sienna Skies, Belle Haven, Who Invited The Wolf at Corner Hotel Buckcherry, Richie Ramone, The Art at The Espy Waking Giants, Searcher, Pandoran Sky at The Espy Basement Friday April 19: The Jacks, Stranglehold, The Beggar’s Way at The Gaso Upstairs Mark My Words, Battletruck, Declaration, Free World, Cold Ground at The Bendigo Empra, Dividers, Lipsmack, The Furrows at Gertrudes Brown Couch Hug Therapist, Japan For, Right Mind, Outlines, Kings Cup at The Reverence Hotel Mark My Words, Declaration, Battletruk, Free World, Cold Ground at The Bendigo Revellers, Too Soon!, Del Lago, Foley at Old Bar Dick Diver, Milk Teddy, Free Time at The Tote Saturday April 20: Trainwreck, Pledge This, Good Will Hunting, Cyaneye, Culprits at The Gaso The Ska Vendors, Loonee Tunes, Kulo Kings, Fabulous Fesley at The Reverence ZZZounds, Ribbons Patterns, The Shadow League, Lucy Wilson at The Gaso Upstairs The Quarters, The Dividers, Hunter, Dear Ale at The Bendigo The Bennies at The B.East Sunday April 21: Headless Death, Split Teeth, Watchtower, Distort at The Gaso Whitehorse, Pure Evil Trio, Puktah, Von Einem at The Bendigo Beer Soaked Sundays: La Bastard, The Yard Apes, Seri Vida at The Old Bar Rain Factory, Mansions of Sorrow at The Reverence coheed and Cambria, Circa Survive at The Palace




By now you’ve no doubt heard the tragic news that Chi Cheng of Deftones has passed away four years after the car accident that left him in a partially conscious state. He was 42. His family broke the news on the oneloveforchi website: “This is the hardest thing to write to you. Your love and heart and devotion to Chi was unconditional and amazing. I know that you will always remember him as a giant of a man on stage with a heart for every one of you. He was taken to the emergency room and at 3am today his heart just suddenly stopped. He left this world with me singing songs he liked in his ear. He fought the good fight. You stood by him sending love daily. He knew that he was very loved and never alone. I will write more later. I will be going through the oneloveforchi site and any other information may not be reliable. If you have any stories or messages to share please send them to the onelove site. Please hold Mae and Ming and the siblings and especially Chi’s son, Gabriel in your prayers. It is so hard to let go. With great love and ‘Much Respect!’ Mom J (and Chi)”


Northlane are at the Corner Hotel on Sunday June 9 and Monday June 10 in support of their album Singularity. Special guests are Structures, Stray From The Path and Statues.


This long running American punk rock act have recently released their ninth studio album, My Shame Is True. Many musicians, upon leaving the studio after recording their latest album, have heard every guitar riff, drum beat and vocal line that many times, and in such minute detail, that they want absolutely nothing to with it for a while. For lead vocalist and bassist Dan Andriano however, the opposite is the case. He loves the new album, and listens to it regularly, purely for his own enjoyment and entertainment. “Well, I’m really excited about it,” he enthuses. “I still actually listen to it, and have done so many times, so that’s a good sign! Sometimes I just put it on, like on a run or something. I’m not sick of it, yet! But you never know, I might be sick of it in another four days.” The album was released Stateside two weeks ago, and according to Dan, the feedback they have received so far, from critics and fans, has been extremely good in general. “We’re happy to say that everything, maybe not everything, but on the most part it’s been very positive,” he informs us, “which is kinda strange in this era, where anybody can just get on the internet and lay all this negative shit on you if they Beat Magazine Page 56

NEW CITY OF FIRE OUT NOW JOE SATRIANI VISITS MELBOURNE, TEARS HEADS OFF For the past few days I’ve been listening to a media preview of the new Joe Satriani album, Unstoppable Momentum, which features Mike Keneally (Frank Zappa, Steve Vai), Vinnie Colaiuta (Jeff Beck, Frank Zappa, Megadeth) and Chris Chaney (Jane’s Addiction). It’s a brilliant album with plenty of beautiful melodies and breathtaking musicianship. On the weekend Joe held a masterclass in Melbourne thanks to Thump Music, and I was lucky enough to be invited up on stage to jam with the man himself. It was a mindblowing experience – especially since there was no opportunity to warm up and I was on an unfamiliar guitar, so it was real fly-by-theseat-of-the-pants stuff. Photo by Jon Carruthers.

choose to. Somehow, everything has seemed pretty positive, so we feel very fortunate right now, we feel pretty good.” The name of the album, My Shame Is True, was influenced by an artist who has been a major inspiration to the band over the years, but Dan also tells us that the title has a slightly deeper meaning and a bigger story to it than that as well. “It’s an obvious nod to Elvis Costello, first and foremost,” he says, “but I also think that, the name of the record was thought up by our drummer, Derek. I was fast asleep when he thought of it, and I’ve heard this story a couple of times from that. “It seems that Matt (vocalist) and Derek (guitarist) had gotten up late one night and gone into the studio, in the wee hours of the morning. Both wander off to the bathroom, and we have these ‘dry-erase’ boards that we keep around the studio. One of them has all the progress of the album, how the guitar parts are going, drums, we make up little check marks as we accomplish things. The other one is for just ideas, song titles, album titles. So on their way to the bathroom, at three in the morning, Derek apparently just stopped at the board and just wrote down ‘my shame is true’. And apparently Matt was just over the moon about the idea, and we’re all big Elvis Costello fans. And I just like the pun!” And even further than that, main songwriter Matt felt the title fitted in perfectly with some of the lyrical themes he was getting across in the songs on the album, “Matt felt it really struck a chord with him, with the songs that he was writing, he was writing a very apologetic, a very honest record. And so he felt like that was the title, and I had no problem with it, I think it’s great.” The album was recorded at The Blasting Room studios in the relatively small city of Fort Collins in Colorado in the States. It is one of the best known studios worldwide for producing

Trial Through Fire, the long-awaited second album by City of Fire, is finally out! Trial Through Fire features Burton C. Bell (Fear Factory), Byron Stroud (Strapping Young Lad), guitarist Terry “Sho” Murray and drummer Bob Wagner, and the band is an offshoot of sorts from Stroud’s pre-SYL band Caustic Thought.


Aussie melodic power metal masters Black Majesty enter Grapow Studios in Slovakia in July with producer Roland Grapow (Masterplan/ex-Halloween) to begin recording their next album, but before then they’re at the Madhouse on Friday May 3. Later this year the band will also release The Royal Collection through Limb Music. It’s a compilation which will also include bonus rare material.

great punk and hardcore albums, with bands such as NOFX, Rise Against, MxPx and many others doing albums there. Dan feels that it was almost the perfect environment for them to create My Shame Is True in. “We had a really good time there,” he recalls. “(Owners) Bill and Jason are just two of the best people, and that studio is great. I don’t like being in a big city when recording, I don’t like being stuck in Hollywood or even Chicago, as much as I love Chicago, there’s quite a bit of distraction in those type of places. “Being in Fort Collins was perfect, I like being in smaller towns, nice people…it was a good time; I thought it was a nice environment. We slept at the studio, we worked all day, and at the end of the day we’d all go have a drink somewhere, end up back at the studio and watch a movie and pass out!” he laughs. The band have an extremely lengthy run of dates across the



North American thrash metal legends Municipal Waste are now playing a second Melbourne show, this one being in the nice and cosy 300 capacity venue The Bendigo on Johnston St in Collingwood. Tickets are extremely limited to 300 only. This is in addition to their June 23 date at the Corner Hotel. The band will also host a meet and greet party for 100 of their closest hardcore fans: ticket holders to ANY of Municipal Waste’s shows get to attend a very special Meet and Greet party on Tuesday June 18 at Eureka Rebellion Trading (Collingwood), 6pm-8pm.


Extreme thrashers King Parrot are at the Corner Hotel on Thursday June 13 and Arrow on Swanston (all ages) on Friday June 14.

States coming up, taking them from late April through to mid June. According to Dan, it’s one of the most extensive tours the band has ever done in its career, and it will unfortunately preclude the band from touring Australia until later this year, or early next. But he is still confident that they will be here in the not too distant future. “Definitely within the next 12 months,” he says. “Hopefully sooner, maybe by the end of this year. I wish it was sooner, I wish I could say July, but that’s not gonna happen. It’s about trying to get on a good festival and then seeing what we can do around that festival to maximise our time there. I would go there tomorrow, myself, I love Australia! I love Melbourne, the water there, that whole stretch. Beautiful restaurants and bars. Oh my god, it’s so nice there!” The new ALKALINE TRIO album, My Shame Is True, is out now on Epitaph.


Beat Magazine Page 57



For all the latest news check out

ROCK N LOAD RETURNS The second annual Rock N Load Festival returns to The Espy on Saturday June 1 with a massive 30 acts over three stages. The Espy will feature some of the best live rock acts from Melbourne and interstate, including Dallas Frasca, The Fumes, The Nerve (featuring Ezekiel Ox and Lucius Borich), King Of The North, Ten Thousand, My Secret Circus, Massive, Gay Paris, Don Fernando, Dead City Ruins, Vida Cain, Riot In Toytown, Sudden State, The Dead Love, Sheriff, Virtue and heaps more. Tickets are sure to sell fast, so get ‘em now via Oztix and from The Espy. Check out rocknloadfestival. com for the line-up and ticketing details.

CISCO CAESAR Cisco Caesar are a four-piece band that is heavily influenced by old soul and funk records as well as vintage rock. The best way to describe them would be the Rolling Stones meets Sly and the Family Stone. They play The Retreat Hotel on Friday April 19 with support from Damon Smith & The Quality Lightweights.


JOSH OWEN There is something sublimely unique about the way Josh Owen lays his soul bare through his music with a striking strength and intensity while appearing to effortlessly deliver a fusion of jazzy acoustic soul whilst seamlessly merging sun-soaked Latin riffs and wistfully emotive anthemic choruses. Josh displays a depth that few other roots artists seem to possess. With merely an array of guitars and pedals he creates a tasteful, pared back and intimate atmosphere highlighting his rich, nuanced voice and superb guitar prowess. He continues his residency at the Prince Public Bar this Thursday April 25. Free.

J M S HARRISON Drown your tight-arse-Tuesday blues at The Old Bar on Tuesday April 23. After a very awesome EP launch in early March, J M S Harrison will be playing a follow up show performing songs off the EP, plus some new songs already in the works for a follow up release. He will be joined by the fantastic Andy Kentler and The Trappist Afterland. Free entry.

THE QUARTERS Prepare to have your face melted this Saturday night as The Bendigo plays host to a four-band rock’n’roll bill. Making the trip down are Sydney hard rockers Dividers who will bring their sharp toothed, prog-rock-andriffery to the occasion. Headlining the night are threepiece upstarts The Quarters who are currently going from strength to strength off the back of an electric live show. In support on the night are the amazing Hunter and grog’n’rollers Dear Ale. Doors open at 8pm and $10 will get you in.

DEAR STALKER After a hiatus from their trademark loudness and instead opting for the soft, subtle sounds of acoustic shows, Dear Stalker is back with a rock show at The Brunswick Hotel. They’re feeling heavier and more energised than ever before, so don’t forget your earplugs. They’ll be joined by Lane Chaser, Charm and Shadow Red to complete the killer line-up. It’s free on Friday April 19.

SIDE STACKS Side Stacks is a stripped down version of the Stax On Soul Revue featuring, Grant Cummerford, Tim Burhnam, Matt Green and Brendan McMahon. With a focus on instrumentals from artists such as Booker T and the MG’s and The Meters each week will also see a different guest vocalist come into the fold to sing some of that sweet southern soul. And what a place to bring it to, that is The Spotted Mallard every Sunday in April from 5pm.



No Zebra are an alternative rock band from Melbourne, who after a six month hiatus will play their last gig before searching for a new drummer and working in the studio. This rockin’ four-piece from Melbourne will be performing at The Vic Hotel on Friday Apri l 19 for free from 10pm.

Waltz on down to The Bendigo Hotel for a cruisy afternoon this Sunday April 21 and see five great artists do their thing. $7 entry, simply pay at the door. Doors at 3pm, with Melody Clare, Crotchit, Travis Addison, Terry Springford and Bridget Pross taking the musical reigns.



Kingswood are a four-piece slab of classic indie-rock from Melbourne. They had an epic 2012: three singles releasing to critical acclaim; winning the coveted triple j Unearthed Splendour In The Grass competition where they opened the festival on the main stage; and even being nominated for best new artist at the triple j awards. With their fourth single Ohio being dropped this year and the band starting to record their debut album, it’s set to be another stellar year. Catch Kingswood headline at The Espy Front Bar on Friday May 17, free entry.

Pure Evil Rio have a new record out, entitled Cognitive Dissonance – eight inches of chaotic progressive punk music captured in a prison of vinyl. As a result of this unprecedented productivity, the band will be venturing forth from their den of iniquity, recoiling from the light, then proceeding to thrash your fucking faces off. For their show at The Bendigo Hotel on Sunday April 21, they’re joined by Whitehorse who return for their first Australian show in almost a year, dark punk-hardcore outfit Puktah and the noisy Von Einem.



Roll up to The Bendigo tonight to kick back and listen to some tunes. The lineup sees James Fahy, Séb Mont & Thee, and Joe Oppenheimer & Family Band hitting the stage. Entry is $5.

undergroundLOVERS are back with the release of their seventh album Weekend through Rubber Records.  Celebrating the release of their first new album  in 14 years,  seminal  dream pop outfit  undergroundLOVERS  will debut their longawaited new release  on an East Coast tour through April and May. Celebrated as both RRR and PBS Album Of The Week this week, be one of the first to see it live when undergroundLOVERS play at The Corner Hotel on Saturday April 20, with special guests The Morning After Girls and Lowtide.

REVELLERS The Old Bar has got your party sorted for this Friday April 19 – Revellers have made it here all the way from the ACT with a new five-track EP freshly mixed and mastered by Stephen Egerton of Descendents fame. They’re ready to get rad in Melbourne for the first time, and will be joined by the short shorts of Del Lago, the fresh haircuts of Foley, and the jerks from Too Soon.

ROCK AND POP CULTURE TRIVIA Melbourne’s best trivia night has found a new home at The B.East. Triple R’s Jess McGuire and Shock Record’s George H. will present their iconic rock and pop culture trivia nights every Tuesday at The B.East from 8pm, a wicked celebration of all that useless information gathered from film, TV and music delivered in a relaxed three round format with loads of alcohol prizes to give away. Beat Magazine Page 58

THE DELTA RIGGS Melbourne’s The Delta Riggs, with their uncompromising sonic energy, have been forging a reputation as one of this city’s finest live bands with their no-holds-barred attitude and explosive live set. With the release of their forthcoming debut album HEX.LOVER.KILLER firmly insight, The Delta Riggs have announced a national album release tour throughout April, with triple j favourites Stillwater Giants in support. The tour announcement also coincides with a brand new video clip for the album’s leading single Rah Rah Radio.  Their hometown show is at The Northcote Social Club on Saturday April 20. Tickets from the venue website.

Scraping out of the grit of Brunswick, The Ivory Elephant are a three-piece playing heavy blues. Joining the blues/ rock renaissance of bands such as The Black Keys and The White Stripes, and with a sound often likened to Jimi Hendrix and Led Zeppelin, The Ivory Elephant bring their own thing to the style. After spending way too long recording in their home studio, The Ivory Elephant will be launching their debut, six-track EP at The Retreat Hotel on Saturday April 20. Support comes from psychedelichorror-blues-rockers, Sheriff. Free entry with DJ Adalita spinning tunes from midnight.

TOBY Toby – whose voice seems to know no bounds fronts the one part orchestra, one part bonfire jam, one part circus with ease. WA performer Toby is so much more than just “energetic, raw, and feisty.” She is power defined via her energy, her spirit and her soul. Toby and her four-piece band are performing six upcoming shows in Victoria – tonight at Open Studio, Thursday April 18 at the Great Britain Hotel, Friday April 19 at The Wesley Anne, Saturday April 20 at Baha Tacos and Sunday April 21 at The Heritage Tavern in Balnarring.

ANIMAL HANDS Melbourne-based Animal Hands are a three-piece independent rock band that have enjoyed receiving a resplendent response to their debut single Bed Of Dolls. This was the first glimpse of their self-titled EP that was produced by Lindsay Gravina at Birdland Studios. The band release the EP with a cracking show at Cherry Bar on Friday April 19.

HORSEMEAT Horsemeat, the greatest three-piece ever called Horsemeat, will be totally audible and edible at The Public Bar on Tuesday April 23, joined by mouth-cummable entrees Auto Da Fe and Home Invaders. So fuck Facebook and don’t even say you’re attending. Just attend already. It’s free, got that? Don’t be a tightarse.

OL’ TIMEY BLUEGRASS JAM Craig Woodward of Headbelly Buzzard, among other bands, brings his weekly jam session to The Vic Hotel every Saturday afternoon from 4pm. You can join in musically and bring an instrument, or just hang out and take in the atmosphere.

BRITISH INDIA Touting their ARIA chart Top Ten album Controller, British India return to the live circuit to launch their fourth LP, which features triple j Hottest 100 hit I Can Make You Love Me. Their show at The Corner Hotel on Friday April 19 is sold-out, but you can still get tickets for their coming up shows at Karova Lounge in Ballarat on Friday May 17, The Wool Exchange in Geelong on Saturday May 18, Pelly Bar in Frankston on Friday May 24 and the Ferntree Gully Hotel on Saturday May 25.

BROTHERS HAND MIRROR If you’re looking for an intense party of fresh experimental hip hop and electronica, the Gasometer has it covered. Thursday May 2 brings Brothers Hand Mirror, the result of a collaborative effort between Html Flowers and Oscar Key Sung. Both of these guys have been releasing a steady string of EPs, singles, remixes and videos among countless other forms of art throughout the past year. They’ve got support from Sydney rapper Simo Soo, who is touring Melbourne for the release of his seconds album People Are Animals. Also making an appearance is rap crew Keith! Party and electronic producer B. Deep, following the release of his fourth album in a year.

CHARLES JENKINS In celebration of his April residency at The Retreat Hotel, Charles Jenkins will be performing songs both new and old in the front bar. You can catch him every Tuesday night in April alongside up-and-coming songwriters from his mentoring program, run in conjunction with The Push, APRA, Arts Victoria and the Australia Council.

NAKED BODIES Melbourne-based Naked Bodies are a raucous foursome led by ex-poppeteer Quang Dinh, who has emerged from the Little Red embers with a head full of tarnished melodies and seared poetry. Every Saturday in April, Naked Bodies kick off their residency at The Tote front bar with some new songs in preparation for the recording of their debut LP. They are joined by The Jive Talkin’ Two Timers, Charlie, Joseph Paul and Brendan West and The Broken Bones.



Hailing from the big smoke of burn city, Lupine (formerly known as Django & The Big Smoke) are a five-piece folk/ blues experiment who are not to be missed. With tales of murder, love, loss and the walking dead, 2013 is set to be the year of the wolf. Currently touring the release of their debut EP, Lupine will be taking to the stage at The Old Bar this Thursday April 18 supported by the astronomical sounds of Nun Of The Tongue and three-piece noise machine The Melanomads.

Texas serves as the colour palate for many of the finest country players the world over. Townes, Willie, Waylon, Guy Clark – Texans and legends all. Alicia Adkins continues the proud tradition of Texan country, tales of love, loss and the pursuit of both, happiness and the bittersweet. If you can listen to Alicia play and come the end not be convinced that this is indeed very special music, then get thee to a doctor. Tonight at the Drunken Poet from 9pm.

CATFISH VOODOO SEVEN HEADS This Thursday April 18, The Public Bar host a triple-bill night with the throbbing bass of Seven Heads, Five Islands’ wall of reverb guitar noise, and Space Junk’s rock’n’roll from 1969. Head along and drive your soul to boogie.

THE FINKS Just because Google doesn’t know who they are doesn’t mean you shouldn’t. They’re a catchy upcoming band with a lot of promise. Catch them while you still have to ‘be in the know’ so you can spread the good word about The Finks. They will be launching their new CD and book of poetry during a month-long residency every Wednesday in April at The Gasometer Hotel. This week the politely growing group will play with fellow Melbournian and wordsmith J. A. Core. It’s starts at 8pm and it’s free.


Catfish Voodoo play jumpin’ blues, in the tradition of the great Chicago players such as Muddy Waters, John Lee Hooker and Little Walter. It’s blues to soundtrack a car-chase and assist in keeping the authorities at bay. You might say it’s the blues of those on a mission from God. Or not, perhaps it’s just a killer way to spend Saturday nights. If you like your Blues charged and your bars dark and conducive to low-down boogie, get down to the Drunken Poet this Saturday April 20 at 9pm and let Catfish Voodoo do the talking.

JOHNNY CAN’T DANCE Do you like Cajun music? Do you know what it is? The Melbourne based trio Johnny Can’t Dance are traditional when it comes to song, with Cajun and Creole two-steps, one-steps, waltzes, blues and stomps from the swamps. Go along and find out for yourself when they play at The Vic Hotel on Saturday April 20.


Beat Magazine Page 59



For all the latest news check out

WE ALL WANT TO The new release No Signs from We All Want To is out now, taken from their forthcoming sophomore album Come Up Invisible. To celebrate, We All Want To will be touring their ‘90s-tinged set shining with  audacious  ambition and genuine conviction to a stage near you. See it all come to life in Melbourne on Saturday May 11 at The Public Bar in North Melbourne.

SONS OF LEE MARVIN TERM FOUR Head over to the Gasometer Hotel on Thursday April 18 to bless your eardrums with the sounds of some of the best new heavy music Melbourne has to offer. Term Four will be bringing heavy as bricks riffs to headline the night, with support from the abrasive hardcore four-piece Disasters. For the second act they’ve got chaotic NZ band Jurassic Penguin and awesome heavy setters Yachtburner tearing it up. Entry is $10, doors open at 8pm.

LET’S GET TRIVICAL It’s on Tuesday April 23 and it’s free. We’re saying this upfront because you should go. Laura Imbruglia is hosting the music trivia night, and you can win booze, meals and maybe even music. Be there from 7.30pm and get your knowledge on.

TRAINWRECK Embarking on their debut album tour, these young punk bands are making their way to the front of the queue and are not stopping for questions. Trainwreck, Pledge This, Ennui Breathes Malice, Good Will Hunting and Culprits open up The Gasometer Hotel in Collingwood with a sledge hammer of sound. Check it out Saturday April 20, $10 entry with a 7.30pm kickoff.

WAZ E JAMES Having been a regular fixture around Melbourne’s venues for decades, the high-energy acoustic country-blues of Waz E James and band has been steadily growing in popularity over the past few years. Waz’s skilful blending of the edgy and raw style honed in the grunge scene with his traditional knowledge of acoustic instrumentation showcases the guitar playing savvy of a seasoned performer. This Sunday April 21, an evening of country blues goodness begins with the Waz E James band at 4pm followed by Harmaniax at 6.30pm at The Drunken Poet.

THE SEVEN UPS Are you ready to get funky? Inspired by Sly Stone, James Brown, The Funkees and of course Fela Kuti, you would be hard-pressed to find a band more devout to funk than The Seven Ups. The all-instrumental and original eight-piece have a residency at The Evelyn every Tuesday in April, and each week hosts two new, and yes ‘funky’, supporting artists. This week join the troop with The Moon Project and Purple Tusks.

Two of Melbourne’s better exponents of guitar rock, Sons Of Lee Marvin and Little Murders, are teaming up for a couple of shows, Saturday April 27 at The Great Britain in Richmond and Saturday May 25 at The Bridge Hotel in Castlemaine. Sons of Lee Marvin, now into their ninth year, recently released their third album Cutthroats And Conjurers, which mixes their quietly spoken side with their no frills garage rock’n’roll. Little Murders began punching out power-pop tunes over 30 years ago, returning to the live scene in blistering form in 2011 releasing the album Dig For Plenty to impressive reviews. These shows are for lovers of pop and garage rock’n’roll.

JUNGAL Jungal are three powerful young women who create their own brand of Australian-flavoured indie roots-rock music. Their energetic live performance and powerful ‘60s-like rock feel comes to life through three harmonious voices creating the unique and powerful Jungal sound, setting these girls apart from other acts of their kind. Their musical flair is flaunted as each song is varied in sound and style, but all are underlain with the organic roots of Jungal – powerful, unique and female. They play The Retreat this Sunday April 21 with support from Genevive Chadwick and Faye Blais.

THE BENNIES In their short three-year existence, Melbourne band The Bennies have performed over 300 shows. Their expeditions to Japan, Singapore and Malaysia, together with a recent sold out national tour with friends The Smith Street Band, has seen their relentless touring schedule rewarded, carving a reputation as one of the country’s most exciting live acts. The band have announced the release of Better Off Dread, a fourtrack 7” inch vinyl released through Jackknife Records, that captures their high octane punk-rock rapture on wax. They launch it at their ‘Hazy Blazy 420 Smoke Out Session’ at The B.East on Saturday April 20, free entry.

ELIZABAND Elizaband, the solo project from Melbourne singersongwriter Rory Cooke, has just released the follow up to the 2011 debut album Firework Dogs with his EP Troubled Trees. It is a sonic reflection on outsider humanity, and a welcome new addition to Rory Cooke’s rich catalogue of DIY guitar art, which began as the founding member of the highly influential Gaslight Radio in Queensland in 1995. Elizaband play at The Spotted Mallard on Friday April 19 from 8.30pm with Chris Smith and Map Ends. Entry is $10.



Local Melbourne four-piece rockers Arcane Saints are heading to Nashville to record their so far untitled debut album. The guys are playing a show that doubles as a farewell gig and album fundraiser this Friday April 19 at Revolver. Support will be provided by Wolf Vs Fire, Virtue and Redfield, plus it’s just $12 at the door.

Powered by a steady musical diet of old time country legends and modern day guitar bands, Melbourne outfit Jack on Fire hit the Great Britain Hotel in Richmond on Saturday April 20. Originating in Perth, the band relocated to Melbourne in 2008 and have been kicking it locally ever since. They’ll be joined by good mates 100 Acre Woods with their swamp-rock, surf guitar tinged sound and fierce vocals. Entry is free and doors open at 9pm.

SHAUN KIRK Blues and soul multi-instrumentalist, Shaun Kirk has released his brand new album and accompanying DVD The Wick Sessions. Recorded and filmed at Wick Studios in Melbourne, Shaun’s latest release was inspired by Freddie King’s In Concert: Dallas, Texas – 1973 and sees Kirk take his one-man-band set up of guitars, harmonicas, pedals and gadgets to a whole new level. To celebrate, Shaun will be launching the record this Thursday April 18 at The Northcote Social Club with support from Al Parkinson and Blue Eyes Cry. Doors open 7.30pm and tickets are $10+bf through the venue website or $15 at the door (if still available).

Original indie folk musician Joe Forrester has a Sunday evening residency at the Great Britain Hotel in Richmond. His emotional, hard-driven, acoustic sound has the ability to melt hearts and lift sunken spirits. Plus, Forrester has been lucky enough to hand-pick four of his favourite local acts to support him each Sunday so you can expect the best of the best. Don’t miss Joe Forrester’s last few shows before he settles down to record his debut studio album in May. Doors open at 7.30pm with free entry.


To celebrate the launch of their EP Falling Awake, progressive rock band Shortfall will be hitting the Evelyn Hotel on Friday April 19. These guys never cease to amaze, introducing new feels and dynamic interpretations in every song they create. With awesome support from high energy rockers Lung, Hawkai and InVolume the night is sure to be ace.

Head down to The Bendigo Hotel on  Thursday April 18 and check out four awesome local punk-rock bands: As A Rival, armed with a new drummer and triple j airplay; Take Your Owns who return for their first show in six months, also with a new drummer; and Fever Teeth and Idle Hands who will open and close the night with catchy tunes and punchy vocals.

Fifteen girls, one band. Yes you read that right, 15. This Thursday April 18 Cherry Bar’s stage will be taken by the world’s largest all-girl group, singing songs inspired by the girl group era of the ‘50s. Don’t miss The Rebelles, only $10 entry with doors opening at 8pm. Beat Magazine Page 60

Thursday April 18 at Bar Open, see the reverbdrenched, overdriven guitars and a blasting melodic wall of sound, as The Quivers excite your mind and assault your senses. With a Kraut-rock, psychedelic and shoegaze bent, they are sure to create an intensity that will leave you quaking. Alongside them are newcomers Gamma Rays and the blissful noise of Lunaire.

VICE GRIP PUSSIES The loud and unapologetic Vice Grip Pussies headline the Prince Public Bar this Saturday April 21. It’s a free gig, with support from My Left Boot and The Council.

There’s another cruisy Sunday afternoon in the Reverence Hotel’s front bar this Sunday April 21. Tunesmiths will be Between The Wars trio with an acoustic set, A Commoners Revolt and Dead Peasant. Entry is free, and it starts around 3pm.

SOMEBODY’S SUN Having met via a shared passion for popping corn and pouring post mix, five chums have teamed up to create a little something called Somebody’s Sun. They play Bar Open on Sunday April 21. They’re joined by a cracking new band Pretty City and their lover-band pals Bluejay.

MOUNTAIN AND SWAMP The Gasometer Hotel will be featuring live Old Time, Stringband and Cajun Music every Sunday at 5pm until 7pm. Each week will feature a different lineup for afternoons of relaxed live music.


OLIVERS ARMY Ryan Oliver of the Barossa Valley channels the airy reflective soul of the South Australian valleys. Described as an eclectic mix of folk storytelling and indie rock, this musician will have your toes tapping and your soul dancing. Olivers Army play at The Spotted Mallard on Thursday April 18 from 8.30pm and entry is free.

THE ALAN LADDS The Alan Ladds bring together the classic sounds of fiddle, mandolin, pedal steel, double bass, flat top guitar and drums. Executed with grit and panash, they inject themselves into classics, modern classics and personal statements in song with a swinging Honkytonk sensibility and wreckless precision. The Alan Ladd’s will be performing with special guests every Wednesday in April at The Spotted Mallard, free entry, 8:30pm.

LIZARD PUNCH Lizard Punch are returning to The Public Bar for their first ever Sunday Session on April 21. Don’t be fooled by the early start time of 2pm, there will be plenty of beer and partying. Joining The Punch will be the crazy kids from Foley with their infectious sing-along pop-punk tunes and the ever-entertaining covers duo Anarchy In The Ukulele. This is a free gig, so head down and enjoy a brew, enjoy some tunes and be home in time to iron your undies for work on Monday.

DEAD CITY RUINS London’s hard rock legends Dead City Ruins are on Australian soil for a residency at Cherry Bar every Wednesday in April. They’ve got different support acts each week to spice it up, don’t miss them at 7pm with free entry at Cherry.

Melbourne-based artist Kaisha released her second EP in February 2013 through her independent label SnakeEye Productions. After receiving wide praise including NCIEA and Darebin awards for her first self-titled EP, she has spent the last two years in the studio where she has self-produced, written, mixed and engineered as well as played all instruments on her latest EP, The End Of The Divide: Chapter 2. Kaisha occupies a unique corner of the Australian music scene, merging intensely rhythmic middle-eastern rock with lyrical sensitivity, straight from the ancient soul of her Armenian-Australian background. Kaisha launches her new EP at The Wesley Anne in Melbourne on Saturday April 20.

HOLY MOSES HEARTACHE Holy Moses Heartache bring their varying degrees of facial hair, intelligence and musical ability – not to mention their intoxicating brand of what could only be called folk music – to The Tote each Wednesday in April. With songs about sex, death and a man’s genuine love of his horse, there’s bound to be something that strikes a chord in even the shallowest of hipster hearts. There’ll be awesome support acts too from Beloved Elk, Colourwheel, The Promises, Jules Sheldon, Noriko and Monkeys Pirate just to name a few. So take the following morning off, get down to the Tote early, get settled and make a night of it.


MO SESTO Returning with an even more impressive list of supporting instrumentalists than ever, Mo Sesto is back at the Paris Cat, accompanied by Italian jazz powerhouse saxophonist Mirko Guerrini, long-time friends Sonja Horbelt, Jon Chidgey and Australian jazz legend Bob Sedergreen. This ensemble is both dynamic in their energy and nuanced in their performance. With a unique blend of jazz and pop, this gig will showcase original music, new arrangements of contemporary pop tunes plus some good old jazz standards. It happens on Wednesday April 24. Tickets from

Define your genre in five words or less: Tear-jerking punk. If you could assassinate one person or band from popular music, who would it and why? Delta Goodrem, then watch her try do her sickening closed-eyes chair dance. Uhhhh, gross. What’ve you got to sell CD-wise? Brand new EP Tearjerker.






What do you think a band has to do these days to succeed? Totally awesome mic tricks.




Thursday nights in April Chelsea Wilson brings soul and funk to the Retreat. Featuring Ivan ‘Choi’ Katchoyan on drums (Cookin’ on 3 Burners), Lucas Taranto on bass (Gotye), Mitch Power on guitar (Deep Street Soul) and Adam Rudegeair on keys (PBS FM’s Black Wax) Chelsea will sing tracks from her EP Bitterness and preview new songs from her forthcoming self-titled debut album. Special guests include one of Melbourne’s finest female soul vocalists, Lisa Faithful from Soul Safari.

ZOOPHYTE Emerging from East Melbourne suburbia to tickle eardrums across the city, Zoophyte will be bringing their high energy performance to the Espy each Monday. Following the release of their album Somewhere Elsewhere last year, the four piece rock band has spent the past 12 months sharing stages with the likes of Eskimo Joe, Grinspoon, Tex Perkins and INXS. Catch them at the Espy in the front bar, free entry.


When are you playing live/releasing your album/EP/ single/etc? We’re releasing Tearjerker on Friday April 19 at the Reverence Hotel with Japan For, Right Mind, Outlines and Kings Cup. How do you balance making and playing music with your other commitments? Put in a fairly half-arsed effort with most other aspects of life. Describe the worst gig you have ever played. A restaurant/café on a sunny Sunday afternoon while people were trying to have lunch. We cleared that room quick smart. Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? Not sure, but someone once called one of my old bands “the gay Linkin Park” so that was a special moment. What part of making music discourages you? Venues dropping original local bands in favour of cover bands or even worse, DJs.

STREET FANGS Street Fangs are back after a hefty couple of months off. The boys have been locked away in a remote location preparing their latest EP, which is set to drop in May. Charm will be joining them for some downright dirty beats and Long Holiday are also along for the ride with their foot stomping mayhem. It’s all happening on Thursday April 18 at the Reverence Hotel.

LONDON CRIES London Cries are the reincarnation of Aussie rock band Juke Kartel who have toured around the globe with the likes of Slash, Seether, Tommy Lee’s Rockstar Supernova, Nickelback, Fuel and festivals alongside Ozzy Osborne, Korn, Marilyn Manson, Linkin Park, The Butterfly Effect, Grinspoon and more. Currently in the process of writing their highly anticipated debut album in Los Angeles, the boys are excited to be playing at The Espy on Thursday April 18 with support from Ten Thousand and City Sound. Free entry.

THE FEARLESS VAMPIRE KILLERS The Fearless Vampire Killers have travelled a long road complete with great highs and crippling lows, and it is unfortunately time to call it a day. Having lived in their band sphere for a decade, the best part of their lives, they are now going their separate ways. They are inviting their friends, family, lovers and fans to their last official performance at Yah Yah’s on Friday April 26. Doors 9pm, $10 entry.

JACK HOWARD Jack Howard played trumpet with the late, great Hunters and Collectors (recently inducted into the ARIA Hall Of Fame); and along the way has performed or recorded with Midnight Oil, The Living End, Pete Murray, Tim Rogers, Little Red, X and The Models to name a few. Since 2000, Jack has been performing with his own original band, Jack Howard and The Long Lost Brothers, and he has released three fine CDs. Catch him in the Prince Public Bar on Sunday April 21. Free.

ALTA Singer/song-writer Hannah Lesser and Producer Julius Dowson have combined their varied musical backgrounds to create ALTA’s unique mix of organic vocals and sampleheavy/electronic beats. After releasing their debut EP Stay Awhile, some triple j play and touring their release around Australia, ALTA are back into producing and ready to launch some new sounds. They play The B.East on Friday April 19 with support from Halcyon Drive.

MERRI CREEK PICKERS Yah Yah’s presents an extraordinary night of country rock on Friday April 19 April for free. Headlining and playing a long set to get you in the zone will be the ninepiece psychedelic outfit replete with loads of vocal harms, dancing bass riffs, double drum kits, double lead lines and as many solos as they can get away with. This is the Merri Creek Pickers. Support is from Krista Polvere and The Millar Jukes.

LA BASTARD La Bastard will be living out their first ever Beer-soaked Sunday residency at The Old Bar, something they’ve been looking forward to for a long time. Fresh from their sellout launch and tour for their new album, Tales From The Beyond, La Bastard will be serving up a school night to remember every Sunday evening in April. This Sunday April 21 is with guests The Yard Apes and Seri Vida. 8pm, $6 entry.

DIRTY F Melbourne-based musical brood rock outfit Dirty F will be launching their Debut album Pressed at Yah Yah’s on Saturday April 27 with the distinguished support of Chico Flash and the Sinking Teeth. Dirty F prides themselves on their ability to leave their audience in uncomfortable disarray due to the dramatic intensity of their live shows. Doors are at 8pm. Entry $10.

MUSIC NEWS For all the latest news check out

CHERRY JAM As per every Monday, Cherry lends their stage out to local talent. You and your band show up, plug in and play. Head over to Cherry Bar from 6.30pm to 11.30pm. Book a slot at

VIVE LA DIFFERENCE Vive La Difference is a Melbourne-based versatile band, with a distinctive touch that comes from a mix of Europe and world music influences, taking its roots in jazz, Latin and blues. They invite you to take a musical journey with alternative and exclusive covers of songs from all over the world. They play every Wednesday at Claypots Evening Star in South Melbourne from 8pm.

ALI E After a lovely overseas jaunt, Ali E is preparing for a busy 2013 filled with touring and recording. Her first gig back in the country will be at the newly expanded Post Office Hotel in Coburg on Sunday April 28. Head down to see her play two sets from 4.30pm, performing tracks both solo and accompanied by her band.



This April sees NSW hardcore band Mark My Words teaming up with Victorian hardcore punks Declaration for an East Coast Australian tour. For the show at The Bendigo Hotel on Friday April 19, both bands will be joined by the amazing Battletruk, Free World and Cold Ground. It will double up as Cold Ground’s first show, a band made up of members of previous bands At War With Gods, Face Eater, Stand Defiant, Backlash, The Omen and Forgiven Rival.

Brisbane heartbreak-indie-country band Texas Tea are pleased to announce the release of their fourth single, Lily. Yet another emotional alt-country track, Texas Tea are at their heartbreaking best with the new single, which visits themes of depression and anxiety and the strength that one can find in spite of these challenges. Texas Tea play at The Old Bar this Saturday April 20 with Jemma & Her Wise Young Ambitious Men who will be launching a CD, and Grizzly Jim Lawrie with band. 8.30pm, $10. They also play The Retreat beer garden at 4pm on Sunday April 21.

THE LAUGHING LEAVES The Laughing Leaves hail from Geelong/Melbourne drawing influences from The Beach Boys and Nuggets. Food Court are a bunch of dudes who met at a party last year under the Glebe tram-tracks in Sydney and started jamming ‘60s garage blessed with some sweet ‘90s fuzz. Following their debut single Going Home Food Court have released their second single Not Enough which features on their forthcoming EP set for release in September 2013. Both bands play The Grace Darling Hotel on Saturday April 20.


THE BEEGLES The Beegles are a seven-piece local pop band made up of members from Whipped Cream Chargers, Euphoriacs, Warmth Crashes In, and Alkan Zeybek & The Lessermen. This April brings the long awaited release of their debut EP, and to celebrate they’re playing at The Evelyn every Monday in April at 8pm. Support will be provided from The Infants, Rogue Wavs and Preston Skate Massive, so don’t miss this weekly party.


FIREBALLS Melbourne’s Fireballs have been invited to the inaugural Club Sin 13 party in Tampare, Finland for the Mavericks Rock’n’Roll Association, and out of pure excitement they’re throwing another one of their infamously wild parties. They’ve announced their own weekender of shows at The Bendigo Hotel on Friday May 3 and Saturday May 4, fighting through the jetlag to play more loud and sweaty gigs on their home soil. On the Friday they perform with Murder Rats and Royal Cut Throat Co, and on the Saturday they’re joined by The Yard Apes and La Bastard. Tickets are $20+bf and can be purchased through Oztix.

ROCKET TO MEMPHIS Touting a distinctive, off-kilter take on rockabilly, swamp and garage rock’n’roll, Rocket To Memphis have been leaving audiences in a state of dishevelment since 2006, with kneetrembling live performances that have had hips shaking in cities as far-flung as London and Tokyo. Their fourth album Do The Crawl is out on Monday April 22 through Off The Hip and they’re launching it at The LuWow on Friday April 26 and at The Spotted Mallard on Saturday April 27.

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. Now with two classes every Thursday night at The Vic Hotel from 6.30pm and 8pm. Entry is $10.

Beat Magazine Page 61



Through the course of their decade-long history, The Black Angels have established themselves as a distinctive and formidable presence in neopsychedelia. While 2010’s Phosphene Dream found them moving away from the heavy-drone workouts of their first two albums and into a more condensed, garage-inflected side of their sound, their fourth album, Indigo Meadow, is a full-blown garage-channelling long player. Central to the album’s sound is the prominence of organ in the mix on a lot of the tracks. The stabs at the keys during Don’t Play With Guns accentuate the sinister vibe of the song. I Hear Colors is pushed along by a swirling keyboard riff that gives it the feeling of a great lost piece of late-’60s pop-psych. Sounds of the late ’60s are prevalent elsewhere on Indigo Meadow. The Day and Broken Soldier are both very good approximations of The Doors, right down to Alex Maas’ phrasing and deep baritone drawl. The verses of War On Holiday channel Syd Barrett-era Pink Floyd before the chorus gets far heavier than they ever did on record. Several songs, including the title track, Evil Things and Twisted Light pump the band’s signature sound up with a heavy punch of psychotic beats and howls. While some acts in this genre tend to falter after a couple of albums due to a limited number of ideas, The Black Angels have continued to undergo

1. Abandon All Life CD NAILS

Indigo Meadow (POD/Inertia)




















2. I’m Now DVD MUDHONEY 3. Bite Your Head Off CD/LP KING PARROT 4. Heavy Flow LP ABSOLUTE BOYS 5. Split picture LP POSSESSED / DESECRATION 6. Horrible Night CD MOSS 7. Living Eyes LP LIVING EYES 8. Raw Prawn 7” RAW PRAWN 9. Waste ‘Em All LP MUNICIPAL WASTE a steady musical evolution. Already a mesmerising live act, the idea of The Black Angels adding a big dose of these tracks to the mix is tantalising. MICHAEL HARTT

10. New Season 12” NEW SEASON


Best Track: Holland If You Like These, You’ll Like This: BLACK LIPS, DEAD MEADOW, Nuggets In A Word: Sinister

3. Plans Only Drawn I’LLS 4. Dark Beach THE PEEP TEMPEL 5. Spend It With You CARRIE PHILLIS AND THE DOWNTOWN 3 6. What You Find SUPER MAGIC HATS

SINGLES BY SIMONE “Great art is horseshit, buy tacos.”  Charles Bukowski


Wave (Pias/Mushroom) Lifted from the album Cave Rave, out May 24, Wave is a full tilt indie-electro epic, evoking the same feeling as three-minutes of shit hot fireworks, bursting with colour and light. The lyrics are straight from the heart of Brian Cox; a mediation on love seen through the colliding stars, the deep ocean, the endless morphing universe. Beautiful.



You’re Not One Of Them (Bird’s Robe Records/ MGM) Geelong-born, LA-based quintet The Red Paintings have produced a scorching emo monster with You’re Not One Of Them, a string-heavy but racing post-rock extravaganza that will wreck the head of many a hormonal teenager. It is big and beastly and I think kind of brilliant – undoubtedly brilliant if blood-boiling angst is your preferred emotional key.



7. Brighter Than Gold THE CAT EMPIRE 8. Summer Rain SIMONE AND GIRLFUNKLE 9. Silver & Gold THE CHEMIST 10. My Knife Never Lies BLACK SPRINGS

Thing is equal parts Weezer and Teenage Fanclub, a little bit Wavves, a little bit Jay Reatard, a little bit Jeff the Brotherhood. On trend but still really tickles.




Good Times (Independent) Blue Mountain man Claude Hay wrote this ballsy, stomping track in honour of a pub called The Junkyard, where the locals are drunk and down to earth. I’m not a roots fan but there’s a clear audience for this tightly produced, funk-flavoured beast. Mid-career Barnesy would be plenty jealous.

1. Outback Jack Tracks EP ZANZIBAR

2. Floating Coffin THEE OH SEES 3. Send Them Away BEACHES 4. Human Spring BUCHANAN 5. Toothless Tiger JEN CLOHER 6. In Stranger Times JEREMY NEALE 7. It’s Alright, It’s Ok PRIMAL SCREAM

Embracism (Siberia Records/Terrible Records) The calling card for Callinan’s second album is an unapologetic spoken word performance reflecting on the making of manhood. Boys roll around in the dirt, beating each other into maturity, men front up to each other in bars, on sports fields, on the internet, in constant waves of physical love and physical violence. The instrumental bed for this track is thick and intense, full of warped electronic sounds and squealing samples, but the lyrics are overwrought and artless, as far as I’m concerned. I know this is kind of controversial because Callinan is supposed to be the second coming of Nick Cave and everything, but that is exactly the problem – he is just as ridiculous a poseur as his art rock predecessor.



I Will Steal You Back (Sony) It’s not quite The Middle, but it’ll do. Jimmy Eat World’s new single heralds the release of the album Damage, out in June. The chorus is concise and easy to follow, but the emotional tenor is grim. Per the title, it’s about a guy hell bent on reclaiming his lady property, although the details of his campaign are a little murky. Not bad for a big chart single.


Howl (Independent) A blues-rock track with a full, rattling sound that on any other week would get a better rap, but today suffers by comparison. The guitars are mighty and Hamish has a wry edge to his voice, but the song feels derivative.

Bad Thing (Sub Pop) Blissed out garage rocker King Tuff is playing Bermuda Float next week and some wise promoter has sent me his latest single. A coy but blasting, clattering but sweetly melodic tune, Bad

8. Meltdown GHOSTPOET 9. Higher Than the Sun PEACE 10. The Way BOBBY TANK

3RRR SOUNDSCAPE 1. Weekend UNDERGROUND LOVERS 2. Shaking The Habitual THE KNIFE 3. The Still And The Steep HEATH CULLEN 4. The Music Is You - A Tribute To John Denver VARIOUS ARTISTS 5. Wolf TYLER, THE CREATOR 6. Let’s Face The Music And Dance WILLIE NELSON


Transition (Independent) Major Chord is set to release his fourth album. Lead single and title track Transition starts beautifully then blooms and blooms and blooms, drums thundering at its peak, violin in stridently pitched lament, horns in solemn chorus. “All that you believe is falling apart,” he sings, “Let it fall, let it fall, let it fall.” Magic.


Mary Lou (Independent) Four-time WAM Song Of The Year winner Timothy Nelson has written a slow-swinging disco pop tune with these slick Bee Gees accents, sharp bursts of falsetto in the chorus that are sticky as all get out – instantly memorable. With squelchy synth and popping strings, this song has been carefully and craftily assembled for maximum danceability. A real low-key ass-shaker.


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In Stranger Times (Independent) Jeremy Neale’s In Stranger Times could not be more unbelievably fucking delightful. Charging garage pop of a jangly ‘60s persuasion, this golden, blistering, perfectly crafted tune is sending radiant beams of light down my spine. I don’t understand why Neale isn’t massive already. If he lived in the UK, he’d be starring in his own branded line of teenybopper films like a pre-bloat Elvis. He’d have his own brand of sunglasses! He’d be dating Alexa Chung! Download the song, it will blow your tiny mind.


7. Strange Pleasures STILL CORNERS 8. Dreaming of a Night Mango LP TIM GUY 9. Night Swim (Illusive/Liberator) OWL EYES 10. Beautiful Africa (Nonesuch/Warner) ROKIA TRAORE

BEAT’S TOP TEN SONGS ABOUT WATER/SEA/OCEAN 1. Under The Water MERRIL BAINBRIDGE 2. Seas To Far To Reach OKKERVIL RIVER 3. Sea Legs THE SHINS 4. Mother Sea BAT FOR LASHES 5. Under The Sea SEBASTIAN THE CRAB 6. Any Song By FRANK OCEAN 7. Drowning In A Sea Of Love NATHAN FAKE 8. In The Aeroplane Over The Sea NEUTRAL MILK HOTEL 9. American Water SILVER JEWS 10. Any Song By AQUA




FOURTEEN NIGHTS AT SEA Great North (Hobbledehoy Records/MGM)

Fourteen Nights At Sea are a band out of time. This may sound like a criticism, but it’s not. Like their self-titled debut, second album Great North is an immersive experience in an age of tie-ins and highly-leveraged content delivery. The band makes no attempt to work around your schedule: They simply do what they do, at their own pace. What they do is post-rock: Great floating drifts of the stuff. Gently picked guitar arpeggios, through to sweeping crescendos, with stately minor-key progressions throughout. Familiar? Yes. A tad predictable? Probably, yes. Thing is, just because Great North sticks to the script doesn’t mean that it’s not a very effective album. Tracked live, Great North has the feel and the natural sense of space that such an approach offers, but without too much of a compromise on definition: The arpeggios glimmer, great sheets of reverb spread across the sound field, and bass and drums swell up from below as required. All the elements are familiar, but more significantly, those elements are good. Fourteen Nights At Sea fill their songs with the right arpeggios, and the build to the right crescendos. Most importantly, the band don’t overplay their hand. They shy away from the “let’s all hit our distortion pedals at once and go crazy!” approach of bands like Explosions In The Sky and Mono, aware that such histrionics would diminish the hypnotic, tidal flow of songs like centrepiece Tired Hands (post-rock rule of thumb: the ten-minute song is always the centrepiece). Great North won’t make sense on shitty laptop speakers while you’re doing a spot of cheeky Facebook stalking, and if you think that post-rock is a daggy stylistic ghetto, then Fourteen Best Track: Tired Hands Nights At Sea won’t be able to bring you round. You get the If You Like These, You’ll Like This: Happy Songs For Happy sense that this doesn’t bother them in the slightest, though. People MOGWAI, Cinder DIRTY THREE In A Word: Oceanic EDWARD SHARP-PAUL

JOHNNY MARR The Messenger (Warner)

That The Smiths’ legacy is regularly defined by reference to Steven Morrisey’s stylish, and sometimes, poncy affectations and provocative lyrics is unfortunate. Without Johnny Marr’s gilded guitar licks, The Smiths may well have been just another foppish ‘80s pop band. The Messenger is Marr’s debut solo record (putting aside the album released under the Johnny Marr and the Healers some years ago). Like the perennially boyish Marr, The Messenger bristles with youthful charm. Tracks like The Right Thing Right is the missing link between the excitement of Swinging London and the anti-Thatcher resistance of Red Wedge (complete with classic wailing Marr guitar echo); European Me should be the soundtrack to England’s demands to Brussels bureaucracy and the irony of a 50-year-old punter writing a song like Upstarts shouldn’t be lost on anyone. Yet there are the moments when it doesn’t all come together. The Messenger wants to tell an engaging story but falls forlornly into a chair and labours over tired old musical ground, and Lockdown waves a subtle flag of resignation while pretending to incite a moment of passion. But those lulls are the exception, and never the rule. Generate! Generate! packs a punchy beat, and offers a metaphor for confronting the ever-brutal English music media. Sun And Moon is a modern English garage-pop track for the ages, the delicate but dangerous pop of New Town Velocity could tear down the marketing facade of any flaccid new suburban housing development and Word Starts Attack is The Smiths’ inverted take on Revolver-era Beatles. Johnny Best Track: The Right Thing Right If You Like These, You’ll Like This: THE SMITHS, THE Marr still has what it takes. STONE ROSES, MODEST MOUSE In A Word: Solid


The metalcore sound had its peak, in fact let’s say a peak, about eight or ten years ago, around the time of Killswitch Engage’s The End Of Heartache album. Remarkably in today’s musical climate, it has had a second wind and is fair and square in the centre of attention in the heavy music world right now. Aussie bands are very much at the forefront of that renaissance, with Sydney’s Northlane an integral part of that scene. Listening to their sophomore effort, Singularity, it’s easy to see why. It’s a beast of an album, bursting with metalcore power and offset with occasional glimpses of soaring melody, in true metalcore style. A lot of these type of bands end up sounding quite similar to one another, and upon one or two perfunctory listens, Northlane are no different, but listen a little deeper and a little longer and subtle differences and nuances begin to appear. These guys inject slightly more progressive elements into their sound and some more innovative ideas, especially in a rhythmical sense, plus an increased awareness of light, shade and atmosphere (see the excellent first single Quantum Flux for proof). They do it very cleverly, putting just enough of this progressiveness to keep things more interesting without alienating the central metalcore crowd. Singularity straddles that delicate line between Best Track: Quantum Flux moshable and interesting very nicely and should increase If You Like These, You’ll Like This: THE AMITY AFFLICTION, their national and international profile even further. HOUSE VS HURRICANE, IN HEART’S WAKE In A Word: Strong ROD WHITFIELD

THE BREAK Space Farm (Sony)

You can’t help but feel Peter Garrett reckons he made the wrong choice when he quit music for a career in politics. While Garrett’s political star began falling almost before it rose, the talented rump of Midnight Oil – the mad scientist (and architect) Jim Moginie, drummer Rob Hirst and Martin Rotsey – have managed to throw off the shackles of political agitation and, through The Break, rediscover the surf sounds that inspired them originally way back in the early 70s. Whereas The Break’s first album, Church Of The Open Sky, drew a direct line to The Atlantics, the follow-up album, Space Farm, is more of an eclectic psychedelic creature. Space Farm is bookended by some chanting from The Gyuto Monks of Tibet (and presumably courtesy of Brian Ritchie); it’s symbolic, though of what is open to conjecture. From there The Break explores the psychedelic edges of the surf genre. The title track is all thumping tom attack and wired melody; Day 300 is Ennio Morricone on a journey of self-discovery on the northern beaches of Sydney. Face the Music conveys a discipline anathema to the average surfer’s laissez-faire philosophy, Tumbling For Eons Through Turbid Atoms defies its pretentious title to create a sugar-sweet post-pop psychedelic trip and Majestic Kelp takes you out on the glassy waters and exposes you to the tranquil beauty of nature. Whatever Dumb Courage is the proverbial reflective morning after the previous night’s dangerous beach-side exuberance; Time For Flying is a free-wheeling fall through space. The paradox of Things Are Loud Here is its sparse focus, like a microphone trained on the microcosms of the natural world, Rotor is the glorious Spanish end to an evening of excitement in Bondi, and the romance of Sky, I Use You For a Mirror is so palpable it’s got its tongue down your throat before you’ve had a chance to introduce yourself. But the strangest moment on Space Farm comes with Ten Guitars, a slick lounge track featuring the vocal talents of Engelbert Humperdinck. While Humperdinck remains subject of occasional ridicule, he was more popular than Jimi Hendrix – whatever that means. Yet The Break don’t care about being cool, or any of Best Track: Space Farm that cheap reputational stuff. They’re in it for the music, and If You Like These, You’ll Like This: TAMAN SHUD, DICK that music is pretty damn good. DALE, THE ATLANTICS In A Word: Surf’’n’Space. PATRICK EMERY


Ballet In The Badlands (Create/Control)


Tooth & Nail (Cooking Vinyl/Universal) It can only be fitting to listen to what Billy Bragg has been up to the week the Iron Lady died. Bragg’s initial rise (in disgust) at the height of Thatcher’s Britain has marked his career of an era. Bragg has matured; he no longer sounds angry, he sounds resigned. Rather than taking pot shots at the passing targets of the day, he is painting with broader strokes, the trials of life, and it sounds like they are tiring him out. Tooth & Nail opens with the maudlin January Song, about the month he found out his mother was going to die. It illustrates the wariness in Bragg with the lyric, “This is how the end begins.” This flows nicely into No One Knows Nothing Anymore, it’s slide twang searching for meaning, questioning the chase for meaning and efforts to find the God Particle. Next up is the throw away Handyman Blues, containing some ropey wordplay, but it’s also the cheekiest track, giving the album some levity. I Ain’t Got No Home and Swallow My Pride, are reflective laments. Do Unto Others is a bit of a county stomp while Goodbye, Goodbye is a beautiful and sad number. There Will Be A Reckoning shows that Bragg still has some of his old anger bubbling away in him. Your Name On My Tongue has some fine instrumentation, a richer and more thoughtful sound for Bragg. The album closes out on Tomorrow’s Going To Be A Better Day, and as the title suggest there is no song with whistling that is a downer. You can’t stoke the fires with anger forever, nor would I ask Bragg to try. This is a beautiful, relaxed, thoughtful and mature album with plenty to offer. They won’t be singing any of these songs on barricades but I don’t want them to, it’s fireside and red wine music, a vintage of Bragg’s years, given time to breathe, to warm Best Track: Your Name On My Tongue the heart and cloud the memory from past defeats. If You Like These, You’ll Like This: FRANK TURNER, THE TALLEST MAN ON EARTH JACK FRANKLIN In A Word: Well-aged-whiskey

On their debut record WA three-piece The Chemist inhabit a sequestered station of existential duress where they explore bluesy demons with corporeal clarity. The production is controlled and forthright, which gives luring force to the swampy rock songs. When The Chemist strike into more upright rock territory, such as in the fiery Stripped Paint, it can feel a little strained, but for the most part they employ a swaggering pace, which optimally portrays a uniquely bent perspective. Album highlight Spray Paint Or Praise discusses material saturation and being unfulfilled by transient experiences. The vocal explanation “My hands are full but the world just keeps on giving,” leads into the repeated refrain “I just don’t feel a thing!” indicating a struggle to find any genuine affinity with worldly objects. When the early summation “I need something to which I can cling,” is later supplanted by “I need something to which I can drink,” it seems to imply that getting on the bottle is a remedial necessity in order to forget one’s apathetic predicament. The Chemist easily slot in next to certain insidious artists from across the Pacific; opener Heaven’s Got A Dress Code is a Cold War Kids-like expression of trying to make good amidst unfair rejection, and the way the subtle delivery of Nails In Mud creates tremulous sensations is akin to The Walkmen. Elsewhere the comparisons can be drawn closer to home; Benjamin Witt’s plaintive vocal in Sad Eyes resembles Augie March’s Glenn Richards and the wicked guitar riff that kicks off Strings Lickin’ Limbs recalls The Drones’ Best Track: Spray Paint Or Praise modal transgressions. But more than simply being a If You Like These You’ll Like This: Kicking Against The re-interpretation of their forebears, either at home or Pricks NICK CAVE & THE BAD SEEDS, Here Comes The abroad, the album is an assertive propagation of honest Sun NINA SIMONE, The Age of the Understatement LAST and intelligent songcraft. SHADOW PUPPETS In A Word: Derailed AUGUSTUS WELBY


Beat Magazine Page 63

GIG GUIDE ARTIST PROOF + GARDEN PARTY + MEL CALIA&#65279; Empress Hotel, North Fitzroy. 7:00pm. BELLE ROSCOE + ADAM HYNES + EMILY ULMAN Toff In Town, Melbourne Cbd. 7:00pm. CABBAGES & KINGS - FEAT: THE BAUDELAIRES + IZAAK THE TINKER THOMAS Gertrudes Brown Couch, Fitzroy. 8:00pm. COLLAGE - FEAT: GOODBYE MOTEL + CHOP SQUAD + SCARAMOUCHE + SINCE WE KISSED Espy, St Kilda. 9:00pm. DAN & AMY + AL PARKINSON + ROB MUIñOS Workers Club, Fitzroy. 7:30pm. $8. DEAD CITY RUINS Cherry Bar, Melbourne Cbd. 7:00pm. HOLY MOSES HEARTACHE + NORIKO + VELMA GROOVE Tote Hotel, Collingwood. 8:00pm. JOE OPPENHEIMER + JAMES FHAY + SEB MONT & THEE Bendigo Hotel, Collingwood. 8:00pm. $5. SIB + BAND + DAN PARSONS + THE STAFFORDS Old Bar, Fitzroy. 9:30pm. $6. SUPER UNSIGNED MUSIC FESTIVAL - FEAT: ART OF SUBTLETY + OCEANS TO ATHENA + SAVING CLEOPATRA + VELA + BLACK REVOLVER + CENTRE & THE SOUTH + MR WOO + NIKHAIL + SOFA KING + THE NARROW ROAD + THE WEARY Corner Hotel, Richmond. 6:30pm. $15. THE BIG SMALL The Public Bar, Melbourne. 8:30pm. THE FINKS + SAM COOPER Gasometer Hotel, Collingwood. 8:00pm. THE TROUBLE WITH TEMPLETON + ALI BARTER Northcote Social Club, Northcote. 8:00pm. $12. TULLY ON TULLY & KATIE WIGHTON + YEO Grace Darling Hotel, Collingwood. 8:30pm. $12. WAKEFIELD Dogs Bar, St Kilda. 9:00pm.

BUCKCHERRY + RICHIE RAMONE + THE ART Espy, St Kilda. 8:00pm. $49. DIAMONDS OF NEPTUNE + BLUEJAY + DANIEL JENKIN + SOMEBODY’S SUN Gertrudes Brown Couch, Fitzroy. 7:30pm. $7. EVERMORE + KEN WALKER + THE RITZ DJS Trak Lounge Bar, Toorak. 8:30pm. HOUSE OF LIGHT + EUPHORIACS + TANGRAMS + THE PRIMARY Grace Darling Hotel, Collingwood. 9:00pm. $7. KUMAR SHOME & THE PUNKAWALLAHS + HUE BLANES + KKS Grace Darling Hotel, Collingwood. 8:30pm. $10. LONDON CRIES Espy, St Kilda. 9:00pm. LUPINE + NUN OF THE TONGUE + THE MELANOMADS Old Bar, Fitzroy. 8:30pm. $8. MILK TEDDY + DD DUMBO + JEALOUS HUSBAND Tote Hotel, Collingwood. 9:00pm. ROSCOE JAMES IRWIN + CLIO RENNER + NICK BATTERHAM Empress Hotel, North Fitzroy. 7:30pm. RÜFÜS - FEAT: RUFUS + BACK BACK FORWARD PUNCH Ding Dong Lounge, Melbourne Cbd. 8:00pm. $17. SEVEN HEADS + FIVE ISLANDS + SPACE JUNK The Public Bar, Melbourne. 8:30pm. $7. SILVERSTEIN Corner Hotel, Richmond. 7:30pm. $31. SQUID INK + MAN CITY SIRENS + THE MOVE + THE NATIVE PLANTS Brunswick Hotel, Brunswick. 8:00pm. STREET FANGS + CHARM + LONG HOLIDAY Reverence Hotel, Footscray. 8:00pm. $5. TERM FOUR + DISASTERS + JURASSIC PENGUIN + YACHTBURNER Gasometer Hotel, Collingwood. 8:00pm. $10. THE NEW POLLUTION + BALLADS + THE GENERAL ASSEMBLY Yah Yah’s, Fitzroy. 8:30pm. $5. THE QUIVERS + GAMMA RAYS + LUNAIRE Bar Open, Fitzroy. 9:00pm. THE REBELLES + DJ PIERRE BARONI + DJ VINCE PEACH Cherry Bar, Melbourne Cbd. 8:00pm. TOM MILEK + SAGAMORE + SPRINKLED CASHEWS DJS Evelyn Hotel, Fitzroy. 8:30pm. $6. WAKING GIANTS + PANDORAN SKY + SEARCHER Espy, St Kilda. 9:00pm.



ADAM RUDEGEAIR TRIO Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $15. DIZZY’S BIG BAND Dizzy’s Jazz Club, Richmond. 7:00pm. $14. JULIEN WILSON QUARTET 303, Northcote. 8:00pm. $5. MELBOURNE JAZZ CLUB Claypots Tavern & Fair, St Kilda. 8:30pm. TAKTOK & SMES Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. TOBY Open Studio, Northcote. 9:00pm. VIVE LA DIFFERENCE Claypots Evening Star, Melbourne. 8:00pm.

ALWAN Claypots Tavern & Fair, St Kilda. 8:30pm. ARTIE STYLES QUARTET 303, Northcote. 8:00pm. $10. JAMES SHERLOCK HAMMOND TRIO Uptown Jazz Cafe, Fitzroy. 8:00pm. JOE CHINDAMO TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. KERBEROS Dizzy’s Jazz Club, Richmond. 8:00pm. $14. KRISTIAN BLACK Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $20. LA 45 First Floor, Fitzroy. 7:00pm. LEON THOMAS Open Studio, Northcote. 8:30pm. THE OVEREASYS Claypots Evening Star, Melbourne. 6:30pm. THE WHITE TREE BAND Red Bennies, South Yarra. 7:00pm. THURSDAY NIGHT SOUL SESSIONS - FEAT: LISA FAITHFUL + CHELSEA WILLSON Retreat Hotel, Brunswick. 8:00pm. TOBY Great Britain Hotel, Richmond. 8:00pm.


ACOUSTIC, COUNTRY, BLUES & FOLK LITTLE DESERT Some Velvet Morning, Clifton Hill. 8:00pm. MARISSA QUIGLEY & ALISON FERRIER Standard Hotel, Fitzroy. 8:30pm. OPEN MIC Grind N Groove, Healesville. 6:30pm. OPEN MIC Ontop In Ormond, Ormond. 7:30pm. OPEN MIC Musicland, Fawkner. 7:00pm. SIMPLY ACOUSTIC - FEAT: MONIQUE SHELFORD + DAN KROCHMAL + PAUL RUSKE Wesley Anne, Northcote. 7:00pm. THE ALAN LADDS Spotted Mallard, Brunswick. 8:30pm. THE SECRET CITY + JAMES SOUTHWELL + JOE CONROY + KLARA ZUBONJA + SALT LAKE CITY Bar Open, Fitzroy. 8:00pm. THE SHIVERING TIMBERS Retreat Hotel, Brunswick. 8:30pm. TINPAN ORANGE + MILES & SIMONE Workers Club, Fitzroy. 8:00pm. $22. WINE WHISKEY WOMEN - FEAT: ALICIA ADKINS + KATE LUCAS Drunken Poet, West Melbourne. 8:00pm.


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ACOUSTIC, COUNTRY, BLUES & FOLK ALEX LASHLIE TRIO + EMLYN JOHNSON Drunken Poet, West Melbourne. 8:00pm. ANGE BOXHALL Some Velvet Morning, Clifton Hill. 8:00pm. ENDA KENNY TRIO Lomond Hotel, Brunswick East. 8:30pm. GUY KABLE Labour In Vain, Fitzroy. 8:30pm. HOY & JACKY WINTER Post Office Hotel, Coburg. 8:30pm. LOUNGE THURSDAYS - FEAT: LIONESS + DJ MIKAEL + GRAND RAPIDS Lounge, Melbourne Cbd. 9:00pm. OLIVERS ARMY Spotted Mallard, Brunswick. 8:30pm. OPEN MIC Acoustic Cafe, Collingwood. 6:30pm. OPEN MIC Balaclava Hotel, Balaclava. 6:00pm. ROOSTER Wesley Anne, Northcote. 8:00pm. SHAUN KIRK + AL PARKINSON & BLUE EYES CRY Northcote Social Club, Northcote. 7:30pm. $13.


RECORD STORE DAY AUSTRALIA 2013 You’re reading Beat. You love music. So get yourself into and around World Record Store Day this Saturday April 20 to celebrate musicians in al of their myriad hues. Heaps of stores will do tonnes of limited edition vinyl releases and in-store appearances of some sweet local talent. Drain your account, tell your mates, take your crush, throw caution to the wind and have a brilliant bloody time. For full listings head to Collingwood. 8:00pm. ANIMAL HANDS + CLAWS & ORGANS. DJ LUCY ARUNDEL + VINAL RIOT Cherry Bar, Melbourne Cbd. 8:00pm. BALLARAT SKA ORCHESTRA The Luwow, Fitzroy. 9:00pm. BRITISH INDIA Corner Hotel, Richmond. 8:30pm. $28. BROFEST - FEAT: THIS FIASCO + ADJUSTING TO LIGHT + AMBROSIA + EVENT HORIZON + HANDS OF HOPE + SWIM THROUGH SEASONS Musicland, Fawkner. 8:00pm. $15. CASH SAVAGE + LA BASTARD + TIM NEILSON Workers Club, Fitzroy. 9:00pm. DARYL BRAITHWAITE The Hawthorn, Hawthorn. 8:00pm. $25. DICK DIVER + MILK TEDDY Tote Hotel, Collingwood. 7:00pm. EDEN MULHOLLAND + CULLEN Grace Darling Hotel, Collingwood. 9:00pm. $10. EMPRA + LIPSMACK + THE DIVIDERS + THE FURROWS Gertrudes Brown Couch, Fitzroy. 8:00pm. $10. FATTI FRANCES + DJ EL BASTARDO + JOHNNY TELAFONE + YAMA BOY The Public Bar, Melbourne. 8:30pm. $10. HUG THERAPIST + JAPAN FOR + KINGS CUP + OUTLINES + RIGHT MIND Reverence Hotel, Footscray. 8:00pm. $5. KALACOMA 303, Northcote. 8:00pm. KUNG-FU MONDAY + A VERY SMALL BAND + HEARTLESS VENDETTA + THESE DIRTY ROSES Espy, St Kilda. 8:00pm. LANE CHASER Brunswick Hotel, Brunswick. 8:00pm. MAJOR CHORD + CHARLES JENKINS + GEORGIA FIELDS Grace Darling Hotel, Collingwood. 9:00pm. $12. MARK MY WORDS + BATTLETRUCK + COLD GROUND + DECLARATION + FREE WORLD Bendigo Hotel, Collingwood. 8:00pm. $12. MAX SAVAGE Elsternwick Hotel, Elwood. 9:00pm. MERRI CREEK PICKERS + KRISTA POLVERE + THE MILLAR JUKES Yah Yah’s, Fitzroy. 9:00pm. MIDGE URE Billboard, Melbourne Cbd. 8:00pm. $65. NANTES & BATTLESHIPS + BATTLESHIPS + NANTES + MANOR Northcote Social Club, Northcote. 8:30pm. $15. RED INK Prince Public Bar, St Kilda. 8:00pm. ROAD RATZ + MARICOPA WELLS + WONDER LUST Barleycorn Hotel, Collingwood. 8:30pm. $5. RÜFÜS - FEAT: RUFUS + BACK BACK FORWARD PUNCH Ding Dong Lounge, Melbourne Cbd. 8:00pm. $17. SASKWATCH + MONEY FOR ROPE + THE BLUEBOTTLES Prince Bandroom, St Kilda. 8:00pm. $20. SHORTFALL (FALLING AWAKE LAUNCH) - FEAT: SHORT FALL + LUNG HAWKAI + PRETTY DULCIE Evelyn Hotel, Fitzroy. 8:30pm. $10. THE COVES + NO ZEBRA Victoria Hotel, Brunswick. 8:00pm. THE HOODANGERS Bar Open, Fitzroy. 10:00pm. THE JACKS + STRANGLEHOLD + THE BEGGAR’S WAY Gasometer Hotel, Collingwood. 8:00pm. $8. THE MERCURY THEATRE + ALITHA + LUNAIRE + THE AMBIENCE OF RAIN + YOSHITORO Tote Hotel, Collingwood. 7:00pm. $10. THE REVELLERS + DEL LAGO + DJ DRAW 4 + FOLEY + TOO SOON! Old Bar, Fitzroy. 8:30pm. $10. THE SMASH & CEREBRUS Musicland, Fawkner. 8:30pm. $10. THE TWOKS + JUDE PEARL + RED ROCKETS OF BORNEO Cornish Arms, Brunswick. 8:00pm. WINSTON + BORN N’ BRED + SINEAD BETH Empress Hotel, North Fitzroy. 8:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC DAVID GARDNER Dizzy’s Jazz Club, Richmond. 9:00pm. $20. EYAL & THE SKELETON CREW Bennetts Lane Jazz Club, Melbourne. 8:30pm. THE DAIMON BRUNTON QUINTET Paris Cat Jazz Club, Melbourne Cbd. 7:30pm. $15.


THE END Uptown Jazz Cafe, Fitzroy. 8:00pm. THE REBECCA MENDOZA QUARTET Bennetts Lane Jazz Club, Melbourne. 8:30pm. THE SCHLIVOVITZ ORCHESTRA Open Studio, Northcote. 9:00pm. TRIO BEM BRASIL Claypots Evening Star, Melbourne. 7:30pm.

ACOUSTIC, COUNTRY, BLUES & FOLK ALTA + HALCYON DRIVE The B.east, Brunswick East. 8:00pm. DAMON SMITH & THE QUALITY LIGHTWEIGHTS + CISCO CAESER + DJ XANDER Retreat Hotel, Brunswick. 9:00pm. ELIZABAND + CHRIS SMITH + MAP ENDS Spotted Mallard, Brunswick. 8:30pm. GREAT EARTHQUAKE Polyester Records, Melbourne. 6:00pm. JAMES FAHY Some Velvet Morning, Clifton Hill. 7:30pm. JOSH OWEN TRIO Baha Tacos & Tapas Bar, Rye. 8:00pm. KESHIE Penny Black, Brunswick. 9:30pm. LILY & KING Lomond Hotel, Brunswick East. 9:30pm. MARGIE LOU DYER + ALYCE PLATT Claypots Tavern & Fair, St Kilda. 8:30pm. MIA DYSON + JESS RIBEIRO Thornbury Theatre, Thornbury. 8:00pm. MIROSLAV SKORO Palais Theatre, St Kilda. 7:00pm. PHOENIX Pascoe Vale Rsl, Pascoe Vale. 8:00pm. $8. SHERRY RICH & THE NOTORIOUS BYRD BROTHERS + KIM VOLKMAN The Flying Saucer Club, Elsternwick. 8:00pm. $27. SPENCER P JONES Cherry Bar, Melbourne Cbd. 5:30pm. STEPHEN PIGRAM + GALLIE Caravan Music Club, Oakleigh. 8:00pm. $27. THE TEK TEK ENSEMBLE Post Office Hotel, Coburg. 9:30pm. TOBY + ROSIE BURGESS Wesley Anne, Northcote. 8:00pm.

SATURDAY APRIL 20 INDIE, ROCK, POP, METAL, PUNK & COVERS ABSOLUTELY LIVE - FEAT: ABSOLUTELY LIVE THE DOORS SHOW + EXILE + FORTUNATE SONS Espy, St Kilda. 8:30pm. $20. ALICE D + CASSIUS CLAY + RIDERS OF SIN Cornish Arms, Brunswick. 8:00pm. ANCHOR’S AWAY CLOTHING LAUNCH - FEAT: ARMOUR US + THE SPINSET + WE DISSAPEAR Brunswick Hotel, Brunswick. 12:00pm. BANG - FEAT: HEROES FOR HIRE + HOMETOWN Royal Melbourne Hotel, Melbourne Cbd. 9:00pm. $20. BIRDS & THE BEES SHOWCASE Empress Hotel, North Fitzroy. 7:30pm. BRUCE MATHISKE Geelong Performing Arts Centre, Geelong. 8:00pm. BRYAN ADAMS + AMY MCDONALD Rod Laver Arena, Melbourne. 8:00pm. $99. CATCH RELEASE + HOMEBOY STEVE + RYK’S PLANET Bridge Hotel, Castlemaine. 8:00pm. $8. CHARITY FUNDRAISER - FEAT: NEIL WISE + SIGNAL X + THE LEGENDS OF GOFPOS + THE NIGHT BEFORE TOMORROW Empress Hotel, North Fitzroy. 5:30pm. DV8 - FEAT: ADMIRAL ACKBAR’S DISHONOURABLE DISCHARGE + THE MURDERBALLS + WHERE’S GROVER Cbd Club, Melbourne Cbd. 10:00pm. DYING FETUS + PUTRID PILE + WHORETOPSY Evelyn Hotel, Fitzroy. 8:30pm. ELEMENTAL BURN + CLINT FLICK + FALSE PROPHET + MOUSTACHE ANT Espy, St Kilda. 9:00pm. $12. EVERMORE Ferntree Gully Hotel, Ferntree Gully. 8:00pm. $28.

EZRA LEE The Luwow, Fitzroy. 9:00pm. $5. IVORY ELEPHANT + DJ ADALITA + SHERIFF Retreat Hotel, Brunswick. 10:00pm. LAUGHING LEAVES & FOOD COURT + PRETEND EYE Grace Darling Hotel, Collingwood. 9:00pm. $5. LOW SPEED BUS CHASE + LITTLE VERTIGO 303, Northcote. 8:30pm. $5. MASS CULTS + LES MINIJUPES + MILD HORSES + THE UNDECIDED Yah Yah’s, Fitzroy. 9:00pm. MICK TAYLOR Corner Hotel, Richmond. 8:30pm. $60. NAKED BODIES + JOSEPH PAUL Tote Hotel, Collingwood. 5:00pm. NICOLETTE FORTE + JAMIE PYE + JESS PALMER Chandelier Room, Moorabbin. 8:00pm. $10. RECORD STORE DAY SHOWCASE - FEAT: THE HOUSE OF LIGHT + CHARM + GIANT MOTHS + MICHAEL PLATER & THE EXIT KEYS + MIDNIGHT SCAVENGERS + THE HAPPY LONESOME + THE KILNIKS + THE TATTERED SAILS Muscle Shoals Records, 11:00am. RECORD STORE DAY SPECIAL - FEAT: HIATUS KOYOTE + THE PUTBACKS Northside Records, Fitzroy. 2:00pm. ROCK FOR DOC - FEAT: KING OF THE NORTH + ALFIE ROCKER + BOB SPENCER + IAN HULME + JAMES MORLEY + PETER MASLEN Cherry Bar, Melbourne Cbd. 8:00pm. SLEEP DECADE + CONTRAST + SAGAMORE + SURF DAD Barwon Club Hotel, Geelong. 8:30pm. SOUL SLAP - FEAT: JOSH TAVARAS + CHEEKY GOOSE + IMOGEN BROUGH + LITTLE SECRETS + SYRE & FRESCO + THE AWHLS First Floor, Fitzroy. 7:00pm. SUB ATARI KNIVES + ANNA SALEN + PHIL PARA + THE KILLGIRLS + THICK LINE THIN LINE Espy, St Kilda. 9:00pm. TAKE YOUR OWN + AS A RIVAL + FEVER TEETH + IDLE HANDS Bendigo Hotel, Collingwood. 8:00pm. $5. TEXAS TEA + DJ KEZBOT + GRIZZLY JIM LAWRIE BAND + JEMMA & HER WISE YOUNG AMBITIOUS MEN Old Bar, Fitzroy. 8:30pm. $10. THE BALLS + DIRTY F + DUKES VEDA + STORMING VEGAS Brunswick Hotel, Brunswick. 9:00pm. THE BENNIES (HAZY BLAZY 420 SMOKE OUT SESSION) The B.east, Brunswick East. 8:00pm. THE DELTA RIGGS (ALBUM LAUNCH) + STILLWATER GIANTS + THE MESSENGERS Northcote Social Club, Northcote. 8:30pm. $12. THE GRISWOLDS + OCEANICS + PRIVATE LIFE Workers Club, Fitzroy. 8:00pm. $15. THE QUARTERS + DEAR ALE + HUNTER + THE DIVIDERS Bendigo Hotel, Collingwood. 8:00pm. $10. THE RUINER + HOTEL WRECKING CITY TRADERS Tote Hotel, Collingwood. 9:00pm. THE SKA VENDORS + KUJO KINGS + LOONEE TUNES Reverence Hotel, Footscray. 8:00pm. $15. THEM NIGHTS + DJ DRAW 4 + SOOKIE LA LA The Public Bar, Melbourne. 8:30pm. $8. TRAINWRECK + CULPRITS + ENNUI BREATHES MALICE + GOOD WILL HUNTING + PLEDGE THIS Gasometer Hotel, Collingwood. 7:30pm. UNDERGROUND LOVERS + THE MORNING AFTER GIRLS Corner Hotel, Richmond. 8:00pm. $26. VICE GRIP PUSSIES Prince Public Bar, St Kilda. 8:00pm. VYDAMO + WE THE PEOPLE Toff In Town, Melbourne Cbd. 8:00pm. WAR IN ARCADIA + MICHAEL YULE + REX KRAMER Revolver Upstairs, Prahran. 8:00pm. ZZZOUNDS & NICK VAN BREDA + JAMIE HAY AND RIBBONS PATTERNS + LUCY WILSON + PINCH HITTER + THE SHADOW LEAGUE Gasometer Hotel, Collingwood. 8:00pm. $10.

KAISHA Wesley Anne, Northcote. 8:00pm. LISA MILLER TRIO + SHANE O’MARA & ASH DAVIES Labour In Vain, Fitzroy. 8:00pm. MIA DYSON + JESS RIBIERO Caravan Music Club, Oakleigh. 8:00pm. $28. PROJECT INSPERADO Wesley Anne, Northcote. 5:30pm. QUEEN & CONVICT Retreat Hotel, Brunswick. 4:00pm. RECORD STORE DAY IN-STORE - FEAT: LISA MILLER & SHANE O’MARA + CHARLEM LS JENKINS + CHRIS WILSON + DAN WATERS + EAGLE & THE WORM + GRIZZLY JIAWRIE + LIZ STRINGER + MIKELANGELO + SUZANNAH ESPIE & IAN COLLARD + THE IDLE HOES + THE MERCURIALS Basement Discs, Melbourne Cbd. 8:00pm. SAMMY OWEN BLUES BAND Bar Open, Fitzroy. 10:00pm. STRINE SINGERS Retreat Hotel, Brunswick. 7:30pm. THE BRAD MARTIN PROJECT Rainbow Hotel, Fitzroy. 9:00pm. THE LUCILLES Union Hotel, Brunswick. 5:00pm. THE PHEASANT PLUCKERS Union Hotel, Brunswick. 9:00pm. TINPAN ORANGE + LAUREN GLEZER + ROSCOE JAMES IRWIN The Flying Saucer Club, Elsternwick. 8:00pm. TOBY BEARD Baha Tacos & Tapas Bar, Rye. 8:00pm.

SUNDAY APRIL 21 INDIE, ROCK, POP, METAL, PUNK & COVERS 3RD BIRTHDAY PARTY Post Office Hotel, Coburg. 4:30pm. BEERSOAKED SUNDAYS - FEAT: LA BASTARD + DJ LUCAS SKINNER + SERI VEDA + THE YARD APES Old Bar, Fitzroy. 8:30pm. $6. BETWEEN THE WARS TRIO + A COMMONER REVOLTS + DEAD PEASANT Reverence Hotel, Footscray. 3:00pm. BIRDS & THE BEES SHOWCASE Empress Hotel, North Fitzroy. 7:30pm. BRUCE MATHISKE Chapel Off Chapel, Prahran. 8:00pm. CATCH RELEASE + BLEEDING ROSE + JANE MCARTHUR + MONOTREME + THE NAYSAYERS Brunswick Hotel, Brunswick. 7:00pm. COHEED & CAMBRIA Palace Theatre, Melbourne Cbd. 8:00pm. CYCLONE DIABLOS + DJ PETE ROLLINS Lounge, Melbourne Cbd. 8:00pm. EPICA + EYEFEAR Billboard, Melbourne Cbd. 8:00pm. EVERMORE Thornbury Theatre, Thornbury. 7:00pm. $30. JACK HOWARD Prince Public Bar, St Kilda. 7:00pm. LIZARD PUNCH + ANARCHY IN THE UKELELE + FOLEY The Public Bar, Melbourne. 2:00pm. $8. MICK TAYLOR Corner Hotel, Richmond. 7:30pm. $60. MONSTER JEANS + BIG HEAD ELLA + BOMMY KNOCKER + JUST US LEAGUE Cherry Bar, Melbourne Cbd. 2:00pm. PURE EVIL TRIO + PUKTAH + VON EINEM + WHITE-


JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC BLACK JESUS EXPERIENCE The Horn African Music Lounge, Collingwood. 6:00pm. CLUNK ORCHESTRA 303, Northcote. 3:30pm. ENTROPY QUARTET Open Studio, Northcote. 5:00pm. HEADSPACE + BAD BOYS BATUCADA + MS BUTT + THE DALE RYDER BAND Espy, St Kilda. 5:30pm. JAMES SHERLOCK & STEPHEN MAGNUSSON Bennetts Lane Jazz Club, Melbourne. 8:30pm. MARGIE LOU DYER TRIO Claypots Tavern & Fair, St Kilda. 8:30pm. OPA 303, Northcote. 8:00pm. $5. SLEEPING BAG Open Studio, Northcote. 9:00pm. STAX ON SOUL REVUE - FEAT: SIDE STACKS Spotted Mallard, Brunswick. 5:00pm.

ACOUSTIC, COUNTRY, BLUES & FOLK ALEX LASHLIE’S GROWL + DJ TILLY ‘BILLY’ PERRY + JUMPIN’ JACK WILLIAM Some Velvet Morning, Clifton Hill. 8:00pm. BRENTON FOSTER BAND + ANDY MCGARVIE TRIO + CHRIS O’NEILL John Curtin Hotel, Carlton. 8:00pm. BRIDGET PROSS + CROTCHIT + MELODEY CLARE + TERRY SPRINGFORD + TRAVIS ADDISON Bendigo Hotel, Collingwood. 3:00pm. $7. CHECKERBOARD Bridge Hotel, Castlemaine. 4:00pm. CHERRY ARVO BLUES - FEAT: CHRIS WILSON + DJ MAX CRAWDADDY Cherry Bar, Melbourne Cbd. 2:00pm. CHUCK JENKINS & THE ZHIVAGOS Union Hotel, Brunswick. 5:00pm. EATEN BY DOGS Standard Hotel, Fitzroy. 7:30pm. FAYE BLAIS + GENEVIVE CHADWICK + JUNGAL Retreat Hotel, Brunswick. 8:00pm. GEOFF ACHISON Bay Hotel, Mornington. 3:00pm. HARMANIAX + WAZ E JAMES Drunken Poet, West Melbourne. 4:00pm. IAN COLLARD Marquis Of Lorne, Fitzroy. 5:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC - FEAT: ANTHEA SIDIROPOULOS & BAND Musicland, Fawkner. 8:00pm. CATFISH VOODOO Drunken Poet, West Melbourne. 9:00pm. CYCLO TIMIK Open Studio, Northcote. 9:00pm. HETTY KATE & THE JOHN MONTESANTE QUINTET Dizzy’s Jazz Club, Richmond. 9:00pm. $20. JEWELS OF ROCK N SOUL - FEAT: ANTHEA Musicland, Fawkner. 8:00pm. $10. NESSA QUINTET Open Studio, Northcote. 5:00pm. PAUL WILLIAMSON QUARTET Uptown Jazz Cafe, Fitzroy. 8:00pm. ROSS HANNAFORD & THE CRITTERS Caravan Music Club, Oakleigh. 3:00pm. $15. SEXTETO ZONA SUL Paris Cat Jazz Club, Melbourne Cbd. 7:00pm. $20. SPOONFUL Post Office Hotel, Coburg. 9:30pm. SWING TRAIN & GIANNI MARINUCCI Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. THE RITA SATCH BAND Bennetts Lane Jazz Club, Melbourne. 8:30pm. TRIO RIO 57 Claypots Evening Star, Melbourne. 8:00pm.

ACOUSTIC, COUNTRY, BLUES & FOLK 4 PETE’S SAKE + BROTHERS IN ARMS + ST JIMMY + SWEET LEAF + TRAVIS ADDISION Edward’s Place, Reservoir. 8:00pm. AMY GANTER & THE LOVE & SQUALORS + CHARLES J TAN + MANA Brunswick Hotel, Brunswick. 5:00pm. BEN KELLY Grind N Groove, Healesville. 8:00pm. COLLARD GREENS & GRAVY Elsternwick Hotel, Elwood. 9:00pm. ECHO DRAMA Penny Black, Brunswick. 9:30pm. GOYIM KLEZMER KAOS Claypots Tavern & Fair, St Kilda. 8:00pm. JACK ON FIRE + 100 ACRE WOODS Great Britain Hotel, Richmond. 9:00pm. JOHNNY CAN’T DANCE CAJUN TRIO + FRUIT JAR Victoria Hotel, Brunswick. 9:30pm. JOSH GROBAN Palais Theatre, St Kilda. 7:30pm. JP & THE EDISONS Lomond Hotel, Brunswick East. 9:30pm. SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 65


ACCESS ALL AGES Wednesday April 17th, 2012 With Ruth Mihelcic

It’s a sleepy kick off to Term 2 this time around, but nevertheless we’ve got a few things to keep you busy.


SASKWATCH This fun-loving troupe are playing two big gigs in Melbourne. Now you know, don’t waste any time and get a ticket. Saskwatch’s I Get Lonely infuses their trademark brand of soul with some of that garage-pop we love so much. It practically breathes the air of the ‘60s with jangly hooks on a bed of upbeat textured rhythms. As part of their East Coast tour, the band will play at The Prince Bandroom on Friday April 19 and Theatre Royal in Castlemaine on Saturday April 20. JAM SUNDAYS Musicland, Fawkner. 5:00pm. JIMI HOCKING Westernport Hotel, Hastings. 5:00pm. JOE FORRESTER + BIG SEAL Great Britain Hotel, Richmond. 7:30pm. JOHNNY LONGSHOT Royal Oak Hotel, Fitzroy North. 4:00pm. KAURNA CRONIN (PISTOL EYES LAUNCH) + AL PARKINSON + DEMI LOUISE + ILDIKO Evelyn Hotel, Fitzroy. 8:00pm. $10. LAMB BOULEVARD & THE UMBRELLA Penny Black, Brunswick. 5:00pm. MOUNTAIN & SWAMP Gasometer Hotel, Collingwood. 3:00pm. OPEN MIC Rose Hotel (williamstown), Williamstown. 3:00pm. POCKET PERSPECTIVE Wesley Anne, Northcote. 8:00pm. PRARIE KINGS Victoria Hotel, Brunswick. 5:00pm. RISING TIDE Wesley Anne, Northcote. 4:00pm. SHACKLETON Carringbush Hotel, Abbotsford. 4:00pm. SUNDAY FUNDAY - FEAT: ROWIE + NACKERS Big Mouth, St Kilda. 6:00pm. TEKTEK + KEN MAHER & TONY HARGREAVES Lomond Hotel, Brunswick East. 5:30pm. TEXAS TEA Retreat Hotel, Brunswick. 4:00pm. THE ANDREA MARR BAND Rainbow Hotel, Fitzroy. 4:00pm. THE HILLBILLY KILLERS Northcote Social Club, Northcote. 2:00pm. $28. WOODLOCK Penny Black, Brunswick. 5:00pm.


REINHARDT & IVAN LEON Lounge, Melbourne Cbd. 9:00pm. CHERRY JAM Cherry Bar, Melbourne Cbd. 6:30pm. MELPOMENI + KORALY DIMITRIADES Toff In Town, Melbourne Cbd. 7:00pm. $15. PORT PHILLIP GILGAMESH READINGS Claypots Evening Star, Melbourne. 7:30pm. UNPAVED PRESENTS SONGWRITER SESSIONS Old Bar, Fitzroy. 8:00pm.

COLLAGE - FEAT: DELSINKI + GALLANT TREES + JOSH DURNO + SINCE WE KISSED Espy, St Kilda. 9:00pm. HORSEMEAT + AUTO DA FE + HOME INVADERS The Public Bar, Melbourne. 7:00pm. MELBOURNE FRESH INDUSTRY SHOWCASE Revolver Upstairs, Prahran. 6:00pm. $15. THE ALAN LADDS + ANDY SZIKLA Cherry Bar, Melbourne Cbd. 9:00pm. THE BRUNSWICK HOTEL DISCOVERY NIGHT - FEAT: SIERRA LEONE + HONEYBONE + KARL LEEDEN Brunswick Hotel, Brunswick. 8:00pm. THE SEVEN UPS + THAT GOLD STREET SOUND + UP UP AWAY Evelyn Hotel, Fitzroy. 8:30pm. THEY MIGHT BE GIANTS Corner Hotel, Richmond. 7:30pm. $59. TRAPPIST AFTERLAND BAND + ANDY KENTLER + JMS HARRISON Old Bar, Fitzroy. 8:00pm.

GLENN HUGHES + MASSIVE Corner Hotel, Richmond. 7:30pm. $60. MONDAY NIGHT MASS - FEAT: THE SPINNING ROOMS + MATT BAILEY + TOM LYNGCOLN Northcote Social Club, Northcote. 6:00pm. THE BEEGLES + DIVIDE & DISSOLVE + SMOKE SIGNAL + STRAYLIGHT Evelyn Hotel, Fitzroy. 8:00pm. WE TIGERS The Public Bar, Melbourne. 7:00pm. $8.

BOSSA NOVA JAM Claypots Evening Star, Melbourne. 8:00pm. MELBOURNE IMPROVISORS COLLECTIVE PRESENTS - FEAT: BLUEPRINT + BLANK TAPE + SAM ZERNA QUARTET Gertrudes Brown Couch, Fitzroy. 8:00pm. $10. NOSTROS QUARTET Open Studio, Northcote. 8:00pm. ROMANJANCO Dizzy’s Jazz Club, Richmond. 8:00pm. $14. THE SAM BATES TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. VCA CONTEMPORARY MUSIC PERFORMANCE PROGRAM ENSEMBLE COMPETITION Bennetts Lane Jazz Club, Melbourne. 7:30pm. WAZ E JAMES BAND Claypots Tavern & Fair, St Kilda. 8:30pm.

SVEN SVALBE GROUP + DAVID DOWER 303, Northcote. 9:00pm. $8. THE ALLAN BROWNE TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. THE JANE CLIFTON TRIO Claypots Tavern & Fair, St Kilda. 8:30pm.




NIGHT OF FOLK AT THE TOFF - FEAT: OSCAR LUSH + GRIZZLY JIM LAURIE + WHITAKER Toff In Town, Melbourne Cbd. 7:30pm. OPEN MIC Wesley Anne, Northcote. 6:00pm. SONGWRITERS SHOWCASE Retreat Hotel, Brunswick. 8:30pm.

Define your genre in five words or less: Middle Eastern/rock. What can a punter expect from your live show? An old ancient memory. Middle-Eastern influenced rock, merged with percussive, shamanic magic. Think soundscapes, darbuka, accordion, violin and vocals. What’ve you got to sell CD-wise? I just released my second EP The End Of The Divide Chapter 2, you can grab a copy at the launch, or go to When’s the gig and with who? The EP launch with me and my band is on Saturday April 20 at the Wesley Anne, with support from Drummergirl Ensemble. What inspires or has influenced your music the most? Truth and feeling, bringing back that which has been forgotten, the ancient soul of our planet and how we all connect to her. Tell us about the last song you wrote. Shining The Light off the new EP. It’s about temptation and reconnecting with past love. Even though you feel like everything is against it, something in you knows this is the path you have to take. How do you stop your pre-gig jitters? Breathe. Anything else to add? If you never learn to howl you will never find your pack. Ahhhhhhhhhoooowwlllll!



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. 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 DRUMMER WANTED for established Alternative/Garage Beat Magazine Page 66

rock band based in Northern suburbs. Preferably over 18 with own transport but ultimately must be someone with an awesome personality. Listen on NotTodayAUS and if interested in jamming call Melanie: 0450 525 310 GUITARIST WANTED with Sabbath, D Purple, Zeppelin, Uriah Heap, Floyd, Hawkwind, Who, Lobby, Steppenwolf influences. 0420 523 205. * MALE, FEMALE, ALIEN BASS PLAYER WANTED! We`re a Melbourne based pro unit about to release our debut album. We love Q.O.T.S.A,Radiohead,The Kinks,Red Kross,The Beatles,Hendrix.The Pixies,etc. We need a pro player with great gear/attitude/ and transport. Vocal ability would be great.  We aim to take this thing as far as we possibly can. To rock with us Contact Stav: 0405 204 293

SERVICES FREE VENUE HIRE - Fully stocked bar - Huge capacity, whole venue or partial. Call Jesse 0411 803 579

Are you in a band? Is your local FReeZA committee running a Push Start Battle of the Bands event? Would you like the chance to perform onstage and potentially play at Push Over next year and win a bunch of rad prizes while you do? Now’s the time to jump onto, find your local committee and find out! There have already been a few battle heats around the place, while other committee are on the lookout for bands. If you’re not sure and you haven’t heard anything, take a second to find out. Manningham FReeZA’s Palooza Battle of the Bands is coming up in the third week of July. To apply you’ll need to download an application form and return it to or Manningham YMCA Youth Services by June 25. Also on the lookout is Infinite Entertainment (Wyndham FReeZA) who require application forms returned by June 4. Where to get an application form? Jump on the Push website and follow Resources > FReeZA Workers > Heats Documents 2013 > FPS Artist Application form (doc).







ZOOPHYTE + TOM TUENA BAND Espy, St Kilda. 8:30pm.

Their singles Fly and Drones set the charts ablaze and caught the attention of critics and punters alike, so it’s no surprise their debut album Beingsbeing is getting a spin. Nantes kicked off on their national tour late last month, and are set to play at the Northcote Social Club on Friday April 19 with Battleships.

Australia RESOURCES FOR EVENT MANAGERS, promoters & venue managers.

EMPLOYMENT FLAUNT IT. Internationally acclaimed producer of profeminist 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 MALE LIFE MODELS. Aaryon photography and media has ongoing work available to models 18+. No experience necessary. Email recent pictures and contact details to for selected interview. PAID PROMOTERS wanted for new Rock Club. Contact for more details. * 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


As mentioned it’s kind of a quiet week as far as all ages gigs go, there are a few things happening around town. In addition to the gigs listed below, there are free skateboarding workshops and events at Clunes Skate Park in Ballarat this Saturday from 10am, there’s also roller skating at Delacombe Stadium in Ballarat on the same day. If you’re into art then Signal Screen Commissions invites you to produce a screen based work that combines art and technology, as well as having the opportunity to participate in developmental workshops. Applications close on Monday, has the info you need. Young people aged 12 – 18 years can enter the PIXEL8 photo comp in Hobsons Bay. Give your impression of living in the area and you could score yourself some great camera equipment or a bunch of cash for your school. It closes May 6 and there’s more info at The next few weeks and month are going to be pretty busy for the all ages music scene, there’s a tone of cool gigs happening. Break The Ice hits the Lilydale Showgrounds next weekend with an epic lineup including Bane, Cold World, Rotting Out, Hopeless, Relentless, Iron Mind, Phantoms (Reunion), Survival, The Weight, Outright, Endless Heights, Thorns, and Civil War among many more bands. Get over to and grab yourself a ticket. Push Songs is here again to inspire young songwriters with its fantastic mentoring program and one-on-one workshops. You’ll get a session with Charles Jenkins, as well as sessions with special guests Jeff Lang, Liz Stringer, Kevin Mitchell, and Emily Lubitz. Get over to our site to fill out an application form by THIS FRIDAY. If you’ve got news that you’d like included here, hit me up at

ALL AGES TIMETABLE Friday April 19 Sierra w/ Ocean Grove, Abreact, The Departed, and Aradale, Kulcha Shift, 210 Timor Street, Warrnambool, 6pm,, AA Saturday April 20 360 degrees w/ 360 Allstars performance, Bboys Workshop, Circus Workshop, Looping / Vocals Workshop, breakdancing, basketball, freestyling, and BMX flatlanding, Colac Otway Performing Arts Centre, Cnr Rae & Gellibrand Streets, Colac, 2pm – 10pm, $20, Vicki Jeffrey on 5232 9516, AA Sunday April 21 AprilFest w/ Sierra, Pridelands, Above Suspicion, Aradale, Ocean Grove, and Hold Your Hope, Masonic Lodge, Lonsdale Street, Hamilton, 1:30pm – 4pm, $10, Briana Picken on(03) 5551 8450 or, U18
























Wed. April 17th: wine, whiskey, women

8pm: Kate Lucas 9pm: Alicia Adkins Thurs. April 18th:

8pm: Emlyn Johnson 9pm: Alex Lashlie Trio Fri. April 19th:

6PM: Traditional Irish Music Session with Dan Bourke & Friends Sat. April 20th:

9pm: Catfish Voodoo Sun. April 21st:

4PM: Waz E. James 6:30PM: Harmaniax Tues. April 23rd:

8PM: Weekly Trivia The Drunken Poet, 65 Peel Street (directly opposite Queen Vic Market), Phone: 03 9348 9797. SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 67


for more information or ad bookings call Aleksei on 9428 3600




Location: 212A Whitehall Street, Yarraville, 3012.


Location: 55 York Street South Melbourne VIC 3205. Established: 1996

Hours of operation: Monday - Friday 9am to midnight. Sat - Sun midday to 6pm. Sat - Sun 6pm to 1am for events and performances by arrangement.

What exactly do you provide for hire: Staging for all manner of events, such as full concert staging, instrument risers for musicians such as drum riser, keys risers, risers for backing vocals, choir risers, DJ tables. In addition to music related staging we provide stages for fashion shows, product launches, corporate events, film and television, outdoor events, pool stages and custom designs based on client request and scope of venue/location.

Rooms and facilities: Front theatre stage, 11 music rehearsal rooms, chillout lounge, dance floor, free WiFi, live music, pool tables, group bookings, boutique and tap beer, plus snacks available.

What events can you cater for? Megadeck caters for the full spectrum of customers ranging from those hosting a backyard party through to national tours and high profile musicians, artists and high end companies.

Instruments available for hire: 2 x Marshall combo guitar amps 1 x Marshall speaker cabinet (no head) 2 x Drum kit 2 x Bass amps (one stack, the other a combo) 2 x Roland keyboard

What sets you apart from other hire companies? Megadeck stages are the industry standard and stages are simply referred to as Megadecks. Our lightweight, versatile and modular staging systems means that it can go anywhere, over anything and its simplicity means anyone can use it.

Cost of rooms and special deals: Monday to Thursday 6 hrs $65, 3 hrs $50 Solo 6 hrs $40, 3 hrs $30 Friday to Sunday 6 hrs $55, 3 hrs $40 Solo 6 hrs $30, 3 hrs $20

Any favorite sound or lighting packages? Dry hire package with stages starting from $90 for 7 day use.

Parking and loading available? All day parking on Harris Street, with access to Kindred loading bay. Extras: Front theatre stage for live performance has a projector, theatre curtain, turntables, nexo rig and an in house sound technician for use.

Phone: 9687 0233 OR 0418 120 954 Website: E-mail:

Pick up and or delivery of equipment available? Full service of delivery and set up, dismantle and return, partial service of delivery and pick up only or self-service where customer can pick up and setup and return within 7 days. Insurance available when hiring equipment? All equipment comes with Public Liability insurance with cover up to $20,000,000 as well as Workers Compensation when Megadeck assembles and dismantles the staging. All staging is backed by Test safe Australia. Extras: Megadeck provides a range of various shaped stages such as rounds and angles as well as transport ramps, disabled access ramps, handrails, drapes, stage skirting and steps.

Artists and companies you have worked with? Big Day Out, Future Music Festival, Parklife, Harvest Festival, Mercedes Fashion Week, The Australian Open, Arts Centre Melbourne and Sothebys Australia.

Phone: 86893516 Website: E-mail:



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BEN HOWARD Sunday April 7, The Corner Hotel

Photo by Cassandra Kiely

PUBLIC IMAGE LTD Thursday April 11, The Palace Theatre John Lydon’s choice of name for his post-Sex Pistols outfit was a typically blunt swipe at both the cynical media-manipulation tactics of Pistols' manager Malcolm McLaren, and the mainstream media’s puerile attempts at constructing the political agenda. Two days before tonight’s PiL gig – the band’s first journey here in almost 25 years – Lydon again found himself at the centre of public controversy, contrived, exploited and feasted upon by the mainstream media. Compared to the infamous Bill Grundy interview of 1976, this was almost pissweak; if ever there was a fable of the decline in relevance of the media, this was it. Such matters are, at any rate, water off a duck’s back for the irrepressibly cantankerous and contrarian Lydon. Clad in a plaid jacket mid-way on the fashion spectrum between a juvenile delinquent’s flannelette shirt and an old man’s dressing gown, Lydon struts onto the stage, ready for musical combat. With his middle-aged spread and beady eyes, Lydon could have been any old geezer at the local pub wandering in for a pint and a game of darts. There’s no Keith Levine, Martin Atkins or Jah Wobble behind him – some wounds, it can be reasonably assumed, will be taken to the grave and beyond – yet the latest incarnation of PiL is as tight as ever. Lydon doesn’t so much sing as engage in a monotonic rant, throwing his head back periodically and causing his jowls to wobble in concert with the music.

The set is mainly old, a bit new. The crowd is in raptures for the older material – Four Enclosed Walls, Albatross, Death Disco (during which Lydon is seen to shed a tear in memory of his mother, and possibly his step-daughter Ari Up, who died last year). Flowers Of Romance offers arguably the highlight of the main set, its iconoclastic blend of krautrock and post-punk providing the definitive PiL sound. PiL’s latest album, This Is PiL, is PiL 30 years on; tracks like Deeper Water and Reggie Song are good songs, both in the tradition of, and transcending the PiL of yore. The main set concludes with a potent quinella: This Is Not A Love Song takes us back to the dance floors of 1981, and Public Image resonates as a call to arms in a manner not even Lydon could have envisaged all those years ago. The encore comprises three songs: the expansive Out Of The Woods, Rise (during which our vocal chords are further ravaged as we purport to emulate Lydon’s abrasive style) and Open Up. John Lydon’s a bitter old geezer, but he’s still better than anyone else around. PATRICK EMERY LOVED: This Is Not A Love Song. HATED: punters who seem to think a (post) punk gig justifies idiotic crowd behaviour. DRANK: Boag’s Draught, at prices double that on offer at the Croxton Park Hotel later in the evening.

MUTEMATH Friday March 22, Billboard The Venue Love hurts, you guys. I know because this show basically exacerbated an existing neck injury I had, but no one could help throwing themselves around to nearly every track. When Mutemath last came out to our city they played The Corner, and its stage felt almost unable to hold them. Billboard however has a nice big stage but remains an intimate space, and with its tiered wooden floor we were all guaranteed a view of Paul Meany’s babin’ babeness. It also allowed the band to position themselves in an even spread, which really reflects their democratic approach to performance. The four-piece entered with a killer drum march straight through the crowd, and once on stage opened up Odd Soul. Meany screamed some of the high notes, and Todd Gummerman mirrored those wails on the guitar. Pyrtania gave us the first taste of the keytar, and at its conclusion the boys performed a short but intense drum solo, bassist Roy Mitchell-Cardenas accompanying drummer Darren King on this bass drum elevated on a keyboard stand. Blood Pressure confirmed that the unison of this band is mega smart; every stop, start, fill, rise, is super tight. The huge vocal chord harmony before each chorus of the track was a heavenly thing, blowing your beard off and flinging it over a rainbow. You could see every tooth in Meany’s head as he busted his hump to create the harmonies. Tell Your Heart Heads Up featured some weird pointy ‘80s synth stuff, with small extra chords in between the big ones of the chorus. Meany did some cute faux bossa nova moves and then a keys solo, with this clever improv that built and hit off-beat chords in

time with King’s tom accents. We got a few looks into the coming new album, and they were great. Sounding like some of David Holmes best funky stuff, they gave everyone a chance to show off. Mitchell-Cardenas did some little low runs up the bass like someone doing military runs through tyres, Meany did some plinking, spattered electric piano solos, Gummerman grated out some jagged chords with the speed of a chef behind schedule and King simply blew the roof off. It was heart-wrenching stuff, with slightly electro beats care of some triggers that King has set up. At the end the guitars went completely warped like the conclusion of Radiohead’s Everything in its Right Place. Towards the end of the set the band played Startled, a track which they’d penned during this Australian tour for inclusion on the new album. Meany’s voice was still killing it after two hours, rivalling the legendary energy of Howlin’ Pelle Almqvist. After the blinking blow-up mattress came out and Meany surfed the crowd on it, the whole thing finished with a tribal space jam, and Gummerman doing bizarre things with his pedal board a la Jonny Greenwood. Mutemath are definitely growing their original sound and their fan base along with it. ZOË RADAS LOVED: The chandeliers which descended during certain moodier tracks. HATED: When it ended (again). DRANK: Lots of beer.

Featuring Rebecca Barnard Rachel BergeR Dave Callan Darren Carr Kate CeberanO | EVEN Hannah Gadsby Russell Gilbert Billy Miller | Lisa Miller Brian Nankervis Saskwatch Graveyard Train henry wagOns | Wishful Frank WOOdley Beat Magazine Page 70

We are 13 years past the millennium, if you are a folky singer-songwriter, finger plucking your way into the hearts of women, you start at minus ten. And if you are ever to  gain any credibility, you need to be able to bring something fresh to  a table that has almost been hacked to kindling by the mediocrity of Mumford & Sons. With this in mind, Ben Howard cuts an interesting figure; there is a grommet look about him, he’s a surfer and suffice to say, he doesn’t get through his entire set without mentioning Torquay. Opening with the title track of his debut album,  Every Kingdom, it’s easy to understand the mass appeal of Ben’s sound, he borrows a touch of reverence from José González and  his vocal  signature is scarily close to an English carbon copy of  Matt Corby. There is  a drama to this man’s compositions that sets him apart from the marijuana-induced apathy of Jack Johnson. The magic of the band behind Ben Howard begins and ends with India. Very few male solo artists are lucky enough to find a female voice that compliments their own  as well as India Bourne’s  divides Howard’s. Her  harmonies throughout the set were beguiling, when  not buried in the patchy  mix. Grumble. Grumble. She also plays the cello. Game, set, match. Old Pine  is sublime and stands up as one of the better examples for his often-maligned genre. Unfortunately, there are few moments as good as this and songs such as  Only Love  and  Keep Your Head

Up  slip into John Mayer territory, and not bluesy John Mayer – sappy John Mayer. It’s a workplace hazard, a tightrope men like Ben walk every day. It’s also a shame that so many songs are formulaic. Black Flies,  The Fear  and  The Wolves  all begin unambitiously; slowly building  in intensity until  Ben lets out an impassioned howl that joins an instrumental cacophony. Honestly, it is as if the songs are tailor made for season finales of Grey’s Anatomy. But all of this seems to work as the Grey’s Anatomy demographic is out in force. Shouts of “Marry me Ben!” from the crowd were deftly handled, “I think you got the wrong man!” A cry from the crowd for his stunning and rarely played B-Side, Depth Over Distance is graciously acquiesced in the encore, a move that proved to be the single useful contribution from an otherwise obnoxiously mouthy crowd. And finishing with album closer, Promise, half an hour after the proposed set time, Ben is charming and sweet as he bid his adoring doe-eyed femmes and overly affectionate couples good night. CHRISTOPHER LEWIS LOVED: Awkward onstage banter and stories that went nowhere. HATED: Inane exclamations from the crowd. DRANK: Pungent Pinot Noir.

JAKE SHIMABUKURO Friday April 5, The Corner Hotel One of the first true YouTube sensations – courtesy of his much-viewed cover of George Harrison’s While My Guitar Gently Weeps back in 2006 – you could say that ukulele master Jake Shimabukuro has definitively shattered preconceptions of his chosen instrument as merely an implement of simple folk music. But to characterise him as some kind of genre-bending ‘novelty’ artist would also be doing him a great disservice, as what really defines Jake’s performances is a depth of emotion that transcends any such gimmickry. Opening with the an energetic trio of songs including the flamenco-inspired Let’s Dance, the unassuming and frequently smiling Japanese-American got a rock star welcome from a quickly engaged audience. After a bit of banter (in which Jake revealed that his forthcoming album had been produced by the legendary Alan Parsons) it was on to a softer chapter of sorts with the beyond-beautiful Blue Petals Falling. For pieces like this, and the following Fields Of Gold, there was absolutely no shame in getting a little misty-eyed, such was the delicacy of Jake’s touch on his four strings. In fact, Jake went about proving that he could wring some profound music out of a mere three strings with the enigmatically spare Missing Three. Stretching his fingers to within an inch of their lives, he then simulated the rich

chord sounds of a mandolin with a piece devoted to his baby son, Gentlemandolin. And if those pieces didn’t say enough about Jake’s ingenuity on his instrument, then his rendition of Bohemian Rhapsody – all six crazy, bombastic minutes of it – sure did. When the long-awaited performance of While My Guitar Gently Weeps finally came, it was to a thoroughly enraptured audience; so determined were some punters to soak up the moment that a fight almost broke out when someone dared to carry on a conversation while it was happening. (Can you imagine a brawl at a ukulele concert?) Renowned for his humility and grateful demeanour, I’m sure Jake was merely flattering us when he effused that he was ready to "pack his bags and move" to Australia. Still, if he enjoyed himself half as much as the 20-minute-plus rave on his touring experiences would indicate, we shouldn’t have to wait another five years before the next tour. JESSE SHROCK LOVED: Music. Just the very idea of it. That’s what Jake does to you. HATED: Nothing really, apart from the fact that the new album wasn’t available as planned. DRANK: Beez Neez honey wheat beer.

THE PRETTY LITTLES Saturday April 6, The Tote In frontman Jack’s own words The Pretty Littles found themselves in the midst of ‘a rare treat’ when the Tote was filled to capacity on Saturday night, “my Mum and Dad couldn’t get in!” The band room was bursting at the seams with friends, family and a tangible sense of Saturday night excitement. The band put their own pretty spin on TV On The Radio’s Wolf Like Me to open. Keeping it in the family, Simon was sorely missed but was replaced by his senior sibling Nick. He fit in seamlessly, at one point giving a glimpse of his chiseled chest. The band cites a long list of influences including their idols The Vasco Era (Sid was in the audience) and they successfully invoked several. They even playing a cheeky homage to Matchbox 20, “an important band from all our childhoods, who didn’t get the recognition they deserved.” With some success following the release of their last EP Fairweather, produced by Tom Lansek of Big Scary, the boys sold out the launch of their latest seven track, I Am Not From A Small Town released earlier this year. From it, they played single Mumma, Hectic Psychotic and Small Towns. The band energetically subverted expectations

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with OmBeach (“you think it’s going to be a ballad but it’s not”) and slowed things down with their ‘folk’ number Mickey’s Got A Knife. There was an abundance of beers, babes and boogying. With girls on shoulders and gents surfing the crowd, my mate Jules could be forgiven for her remark “it’s like the Big Day Out, but at The Tote!” The band’s energy was contagious and the crowd was infected, with the boys joined by the babes (and I suspect a few of the baby-boomers) up on stage. With an indefinite break coming up, friends and fans took full advantage of the chance to see a band building a name for itself with strong vocals, impressive slashing skills and a sick live performance. Judging by their maniacal jumping and jiving, they were not disappointed. JO ROBIN LOVED: The weirdo who kept blowing on my bud Jules’ neck. HATED: The topless man behind me, swinging his shirt (counter to its intended function) around his head. DRANK: A pint.

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Beat Magazine #1367