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NEW ALBUM Food & Liquor II: The Great American Rap Album Pt. 1 NB: Around My Way (Freedom Ain’t Free), Lamborghini Angels & Bitch Bad

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SUNDAY 6 JANUARY

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with and

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ALPINE ALT-J BAT FOR LASHES CHET FAKER CLOUD NOTHINGS DIVINE FITS EL-P FLUME HENRY WAGONS & THE UNWELCOME COMPANY HIGH HIGHS HOLY OTHER JAPANDROIDS JESSIE WARE JULIA HOLTER KINGS OF CONVENIENCE MS MR NICOLAS JAAR NITE JEWEL OF MONSTERS AND MEN PERFUME GENIUS POLICA POND REAL ESTATE SHLOHMO SNAKADAKTAL THE MEN THE NEIGHBOURHOOD THE RUBENS TWERPS YEASAYER

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OVER 150 LIVE MUSIC EVENTS OF ALL STYLES AND GENRES!

20 SEP 7 OCT TO

2012

Visit www.musicfeast.com.au or call 8470 8888 for a full program

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SOL

T D OU


TERRASPHERE P R OD U C T ION S

TERRASPHERE P R OD U C T ION S

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TERRASPHERE P R OD U C T ION S

TERRASPHERE P R OD U C T ION S

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IN THIS ISSUE...

20

HOT TALK

24

TOURING

26

STEEL PANTHER

28

ARTS GUIDE, GIVEAWAYS, WITTENBERG

30

ART OF THE CITY, COMIC STRIP

32

DIAMOND CRIMSON BLOOD, ELVIRA

34

ED BYRNE, FIONA O’LOUGHLIN

53

ICEHOUSE, BRITISH INDIA, CONCERT FOR THE KIMBERLEY

54

INDUSTRIAL

55

SOMETHING FOR KATE

56

BEN FOLDS FIVE

58

MY DISCO

59

REGURGITATOR

60

GEORGIA FIELDS, LITTLE HURRICANE

61 62

ICEHOUSE P. 53

THE PRETTY LITTLES P.62

GRINSPOON DIAFRIX, ALT-J (), THE PRETTY LITTLES

64

FRINGE - NOW AND THEN, PETER COMBE

66

HUSKY, FRIGHTENED RABBIT, GOMEZ

67 68

TORTOISE HEAVEN THE AXE, WORKINGHORSE IRONS, JOE BONAMASSA

69

CORE/ METAL

70

MUSIC NEWS

76

ALBUM OF THE WEEK, SINGLES, CHARTS

THIS WEEK IN 100%:

RUDIMENTAL

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NOW AND THEN P.64

LITTLE HURRICANE P.60

PUBLISHER: Furst Media Pty Ltd. MUSIC EDITOR: Taryn Stenvei ARTS EDITOR / ASSOCIATE MUSIC EDITOR: Tyson Wray EDITORIAL ASSISTANT: Nick Taras SUB-EDITORS: Richie Meldrum INTERNS: Alexandra Duguid, Dylan McCarthy, Scarlett Trewavis, Jac Manuell, Kelly Snyders GENERAL MANAGER: Patrick Carr SENIOR ADVERTISING/EDITORIAL CO-ORDINATOR: Ronnit Sternfein BEAT PRODUCTION MANAGER: Pat O’Neill GRAPHIC DESIGNERS: Pat O’Neill, Gill Tucker, Baly Gaudin, Mike Krute. COVER ART: Pat O’Neill ADVERTISING: Taryn Stenvei (Music: Bands/Tours/Record Labels) taryn@beat.com.au Ronnit Sternfein (100%/Beat/Arts/Education/Ad Agency) ronnit@beat.com.au Aleksei Plinte (Backstage/ Musical Equipment) mixdown@beat.com.au Adam Morgan (Hospitality/Bars) adam@beat.com.au Kris Furst (beat.com.au) kris@furstmedia.com.au 0431 243 808 Jessica Riley (Indie Bands/Special Features) jessica@furstmedia.com.au CLASSIFIEDS: classifieds@beat.com.au GIG GUIDE SUBMISSIONS: now online at www.beat.com.au or bands email gigguide@beat.com.au

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77

ALBUMS

78

GIG GUIDE

86

LIVE

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


“MAYBE LATER” TOUR

MELBOURNE Fri 12th October – The Workers Club, 51 Brunswick Street, Fitzroy Supported By Bad Dreems + Bored Nothing New single “Maybe Later” out digitally now www.facebook.com/steppanther www.twitter.com/steppanther www.step-panther.bandcamp.com www.soundcloud.com/step-panther

ADAM LAMBERT PERFORMS LIVE! nal Pop See Internatio Lambert m a d A r, ta rs e Sup at the perform LIVE Guineas Day Beck Caulfield TH October 13 . s after Concert start the final race. ATION VISIT M R O F IN E R FOR MO ival.com.au rn a c p u c ld e lfi u ca

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HOT TALK

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THE PRICE IS RIGHT JOE BONAMASSA One of the finest blues rock guitarists on the planet, Joe Bonamassa, reaches the Palais Theatre next Thursday October 11, with support from Shaun Kirk. We have two double passes to give away. THURSTON MOORE A true icon of alternative music, ex-Sonic Youth frontman Thurston Moore brings his solo show to town as part of Melbourne Festival, playing Hamer Hall on Thursday October 25. We are giving away three double passes. DALLAS FRASCA Rad rock icon Slash has noted his fondness of Melbourne rock goddess Dallas Frasca’s album Sound Painter. That’s pretty amazing, huh? She is doing a launch show at The Prince on Friday October 12 and we’re giving away two doubles. Head to beat.com.au/freeshit if you know what’s good.

HAT FITZ & CARA Wiley Ways is the new album from QLD husband and wife team Hat Fitz & Cara Robinson. The album has been receiving high praise for the rocking blues pair. Rich in authenticity and with a striking honesty and rawness,  Wiley Ways is full to the brim with character; matching the charm, wit and personality of ‘Fitzy’ and Cara with every one of the 12 tracks. From old time blues and gospel to Celtic folk and country tinged tunes the pair and producer Jeff Lang have delivered a mighty fine album full of heart and joy. The dynamic duo will be touring nationally to support Wiley Ways. Check them out at The Workers Club on Sunday October 21 (2pm) or at Baha’s on Saturday 22.  There’s shows in Castlemaine and Geelong as well, check gig guides or online for details.

SHIHAD New Zealand quartet Shihad will be jumping the ditch to play their 'meanest hits' at The Espy this December. Last month Shihad released in New Zealand a career retrospective, a double disc compilation, entitled The Meanest Hits. To coincide with the albums' Australan release the band are playing a special set; The first half of their set sees Shihad presenting the raw classics from their debut EP Devolve and their first three albums Churn,Killjoy and their self-titled. The second half set highlights tracks from the big stage era where Shihad “ramped up production” - The General Electric, Pacifier, Beautiful Machine and 2010's Ignite. Shihad, as well as some special guests, will be playing The Espy's Gershwin Room on Friday December 14. Tickets are on sale via The Espy website.

TOTALLY ENORMOUS EXTINCT DINOSAURS Orlando Higginbottom AKA Totally Enormous Extinct Dinosaurs first began turning heads in 2010 when he released his third EP through the much loved record label Greco-Roman (partially run by Joe Goddard of Hot Chip) and a track called Household Goods... thus triggered the avalanche which has seen TEED move from strength to strength across the world. Having already been anounced for Falls and having sold out his one-off Sydney Oxford Arts Factory show last year, he has announced his own Melbourne headline show at The Corner hotel on Saturday December 29 with special guests City Calm Down. Tickets are from The Corner Hotel box office or website, on sale from 9am Thursday October 4.

MAXIMO PARK Previously announced for Falls and Southbound, Maximo Park will also play a headline show in Melbourne early next year. It’s been seven years since Maximo Park released their critically acclaimed and Mercury Prize nominated debut album A Certain Trigger, alongside with their breakthrough single Apply Some Pressure. Their recently released fourth album The National Health was recorded with the Gil Norton (Pixies, Foo Fighters, Patti Smith). Support will come from Glass Towers. Maximo Park play The Corner Hotel on Wednesday January 2. Tickets on sale now through The Corner box office.

BLONDIE Already announced as the first ever international headliner of Sydney's Homebake Festival, Blondie had added more Australian dates to their tour itinerary. Blondie emerged from New York in the late ‘70s and quickly became music, style and pop culture icons selling over 40 million albums globally throughout their 37-year career. Scoring hits with reggae, rock/disco, hip hop and pop songs alike, Blondie pioneered the early American new wave and punk scenes of the ‘70s. Joining Blondie will be special guests The Stranglers and The Saints. Blondie play the Sidney Myer Music Bowl on Monday December 3. Tickets through Ticketmaster.

EASY STAR ALL-STARS After a slot on New Year’s Eve’s Falls Festival and a successful run of headline shows not 12 months ago, Easy Star All-Stars return to Australia this October to showcase their reggae re-imaginings of some of the world’s most loved and important recordings. New York’s finest Reggae Tribute Super-group return to once again wow crowds with their homage to the greatest selling record of all time – Michael Jackson’s Thriller. The tour, titled Thrillah, reaches The Hi-Fi on Friday October 26. Tickets from the website.

f r o n t s p a c e 2 1 2 a W h i t e h a l l S t Ya r r a v i l l e

Ph 9687 0233 www.kindredstudios.com.au Thursday 4th October 6 . 3 0 P M

POTENTIAL UNLIMITED FIVE V U C D L AU N C H PA R T Y L I M I T E D F R E E B E E R U N T I L W E R U N O U T, T H E N D I S CO U N T E D D R I N K S !

Saturday 6th October 7 . 0 0 P M

THE MELBOURNE SYMPATHY ORCHESTRA WITH SPECIAL GUESTS RED SKY BURIAL, ROAR BOAR (NSW ), PINA TUTERI TICKETS AT THE DOOR $10

Sunday 7th October 3 . 0 0 P M

-

6 . 0 0 P M

ROSS HANNAFORD AND THE CRITTERS DADDY COOL FOUNDER O N E O F AU S T R A L I A' S F I N E S T R O C K G U I TA R I S TS T I C K E T S AT T H E D O O R $15 FULL $10 CONCESSION

Saturday 20th October 1 0 . 0 0 A M - 1 . 0 0 P M

SINGINGBOWL WORKSHOP WITH LAMA TENDAR P R O C E E D S G O TO WA R D S T H E T I B E TA N S CHILDREN FUND & THE MEDICINE B U D D H A TA N T R AYA N A M E D I TAT I O N TICKETS $50 FULL & $40 CONCESSION

FIRST AID KIT The unforgettably harmonic First Aid Kit return to Australia this summer following a sold-out tour earlier this year. Since then they've released their second successful full-length The Lion's Roar. For their third Australian tour, the Swedish sisters made famous by their YouTube Fleet Foxes covers will welcome the new year in their most compelling settings yet, with a show at Melbourne’s Forum Theatre on Wednesday January 2. Tickets are via Ticketmaster. First Aid Kit will also perform at Falls Festival.

SBTRKT Alongside an appearance at the upcoming Falls Music And Arts Festival, groundbreaking UK artist SBTRKT has announced his only headline Australian appearance. Australian audiences have fallen in love with the live SBTRKT experience, with two sold-out tours having taken place in the past year and a half. If you're yet to be acquainted, make sure you head down to witness one of the most dance's most exciting producers in action. SBTRKT performs at Billboard on Wednesday January 2. Tickets on sale now through Moshtix.

MY BLOODY VALENTINE Visionary volume-laden Irish band My Bloody Valentine had Australian fans delighted when they were announced as the headliners to the 2013 I'll Be Your Mirror ATP Festival, curated by The Drones. The release of 1992's Loveless saw the band strike upon the perfect amalgam of thrilling noise and melancholic bitter sweetness giving rise to My Bloody Valentine as the undisputed leaders of the alt-rock movement known as shoegaze. On their first visit to Australian soil in 21 years, they will also play a sideshow at the Palace Theatre on Friday February 22. Tickets are on sale from Ticketek at 12pm on Thursday October 18.

PURCHASE ONLINE @

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BOMBAY BICYCLE CLUB English quartet Bombay Bicycle Club have announced that they will be visiting for a brief tour this January to coincide with their appearance at Falls Festival. The band were only here back in March for their first Australian shows, as special guests of Elbow as well as some of their own headliner shows, which saw the band sell out Melbourne so quickly, it was moved to a larger venue to oblige the demand of fan who had missed out. Bombay Bicycle Club will be playing an all ages show in Melbourne on Wednesday January 2 at Festival Hall with guests The Paper Kites. Tickets are on sale from the Live Nation website.

THE DATSUNS New Zealand's The Datsuns have announced that they will be returning to Melbourne this December to celebrate the release of their new album Death Rattle Boogie. Recorded in Sweden at lead singer Dolf De Borst’s Gutterview studios and at Neil Finn’s Roundhead studios in Auckland, Death Rattle Boogie took shape under the watchful hand of Nicke Andersson, ex-member of Swedish hard-rockers, The Hellacopters, and is being released exactly ten years from the date of their self titled debut. The Datsuns will be playing three Victorian shows, starting with Ballarat at the Karova lounge on Wednesday December 19, with tickets avaliable from Oztix online, followed by two consecutive shows at The Espy on Thursday December 20 and Friday December 21, entry for both shows free. Death Rattle Boogie is out Friday October 12.


OMAR RODRIGUEZ-LOPEZ Progressive rock god and boundary-breaking artist Omar Rodriguez-Lopez has announced a sideshow to his appearance at the inaugural CherryFest. The guitarist from The Mars Volta and At The DriveIn has formed a close bond with Australia, having returned here twice in 2011 with The Mars Volta and as the Omar Rodriguez-Lopez Group respectively.  Rodriguez-Lopez will likely be joined by his brilliant rhythm section of bassist Juan Alderete and drummer Deantoni Parks.  With something like 4,000 albums to choose from, it is unclear which songs Rodriguez-Lopez will play, but just strap in and enjoy the ride. Omar Rodriguez-Lopez plays The Corner Hotel on Sunday December 2. Tickets on sale Monday October 1 from the Corner box office.

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Bat For Lashes

LANEWAY FESTIVAL

DALLAS FRASCA Following on the back of an already impressive list of 30+ shows Dallas Frasca is proud to announce the final launch dates for the official Sound Painter album tour. As far as accolades for rock'n'roll music go, it doesn’t get much better than legendary Guns N' Roses guitarist Slash not only spinning a copy of your album all around the USA in his tour van, but actually taking the time to let you know he digs it too. That’s exactly what’s happening right now for Melbourne’s Dallas Frasca and her sophomore album. See what the fuss is about when she officially launches it at The Prince Bandroom on Friday October 12. Tickets are from Oztix.

St Jerome's Laneway Festival continually showcases a more jaw-dropping selection of talent year after year. As you'd espect, they've upped the stakes yet again for their huge 2013 instalment. Gracing the laneways and pseudo-laneways around the country next February will be Alpine, Alt-J, Bat For Lashes, Chet Faker, Cloud Nothings, Divine Fits, El-P, Flume, Henry Wagons & The Unwelcome Company, High Highs, Holy Other, Japandroids, Jessie Ware, Julia Holter, Kings Of Convenience, The Men, Ms Mr, The Neighbourhood, Nicolas Jaar, Nite Jewel, Of Monsters And Men, Perfume Genius, Polica, Pond, Real Estate, The Rubens, Shlohmo, Snakadaktal, Twerps and Yeasayer. The 2013 St. Jerome's Laneway Festival takes place at Footscray Community Arts Centre on Sunday February 3. Ticket details at their website.

WILLIS EARL BEAL The mesmerising Willis Earl Beal will tour Australia for the first time in December and January, performing at Falls Festival and his own headline shows in Melbourne. Complimenting his soulful croon, Willis Earl Beal writes immediately arresting, warm, ernest and moving music. He’s made dozens of songs using whatever spare instruments and materials he could find in Albuquerque's flea markets, thrift stores and alleyways. A red electric guitar, forgotten acoustic guitars, a lap harp, a makeshift drum kit created from pots and pans. Catch the unique Beal when he plays an intimate Northcote Social Club show on Wednesday January 2. Tickets are from the website or Corner box office.

SHARON VAN ETTEN Singer, songwriter, collaborator and incredibly captivating performer, the irrepressible Brooklynbased    Sharon Van Etten is nothing short of indie rock royalty.  Already announced for Falls, Van Etten has added a Melbourne date just before the new year. Backed by her stunning three piece band, Sharon will showcase her bittersweet songs with all their raw intimacy and dramatic sweep. Sharon Van Etten plays The Corner Hotel on Sunday December 30 with special guests Grand Salvo. Tickets on sale now from the Corner box office.

AMANDA PALMER AND HER GRAND THEFT ORCHESTRA Amanda Palmer is returning to Melbourne, this time with her Grand Theft Orchestra. A pioneer of the punk, cabaret genre as both a solo artist and one half of The Dresden Dolls, Palmer has introduced the world to a brand of music that’s all whistles and no whimper. Palmer’s latest offering, Theatre Is Evil, is her first new studio album in four years and debuted at number ten in the Billboard 200 charts. Working with a full band for the first time: The Grand Theft Orchestra, featuring Michael McQuilken, Chad Raines and Jherek Bischoff, the album was recorded in Melbourne. Amanda Palmer And The Grand Theft Orchestra will be playing The Forum on Friday February 1, tickets go on sale from 9am, Friday October 12 through Ticketmaster.

BEACH HOUSE After flooring audiences earlier in 2012, Beach House are returning to hit Falls Music And Arts Festival at the end of the year. Riding high after releasing one of the standout records of 2012 in Bloom, Beach House will no doubt shine when they return to Australian stages, including a freshly announced run of sideshows. Beach House perform at The Forum on Wednesday January 9. 

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Beat Magazine Page 21


HOT TALK

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CATHERINE TRAICOS

King Gizzard and the Lizard Wizard

CHERRYFEST The second wave of acts for CherryFest has finally been announced. Joining Eyehategod, “art rock fusion” outfit from The Mars Volta guitarist, The Omar Rodriguez-Lopez Group, “kings of stoner rock” Dern Rutlidge and Henry Wagons at the festival will be Boston’s ska-punk band Big D and the Kids Table, King Gizzard and the Lizard Wizard, I Exist, Gruntbucket, Frankenbok, Dead City Ruins and River of Snakes, with even more acts to be announced in the near future.  CherryFest is happening at Cherry Bar, ACDC Lane on Sunday November 25 from 12pm. Tickets are on sale now from the Cherry Bar website. 

THE MESS HALL

BEST COAST All grown up and stripped of the fuzzed-out, lofi prototype, Best Coast have announced their triumphant return to our shores this upcoming summer with some intimate festival sideshows to their Falls and Southbound appearances. 2012 has been a milestone year for the band, releasing their critically acclaimed sophomore album The Only Place with a distinctively cleaner and more sophisticated sound. The band headlined tours of North America, UK, Europe and Australia, with appearances on Metallica’s Orion Festival and our own Big Day Out. Best Coast play The Hi-Fi on Wednesday January 2. Tickets are available from the venue website.

PBS OPEN DAY Ever wonder what goes on behind the scenes at much-loved radio station PBS? Wonder no more, as they’ve thoughtfully offered to fling open their doors on Saturday october 20 between midday and 3pm. Curious music lovers are invited down to the studios to access all of the nooks and crannies. There will be tours, balloons, a BBQ, face painting and most important of all, great music. They are located at 4 Easey St, Collingwood. Get inside your PBS.

THE SIREN TOWER There hasn’t been an Australian band like the Siren Tower in quite some time. That is, a band distinctly and unmistakably Australian. The country and culture that The Siren Tower celebrates in story and song on their brilliant debut album A History Of Houses has both dignity and conscience in tact. It is an Australia of indigenous, convict and immigrant history alike, because that is the truth of things, and the truth always makes for a better story. They play The Espy for a free entry showcase on Friday November 16.

Sydney duo The Mess Hall have announce a one-off show for the Northcote Social Club this November. The band have not played Melbourne since 2010, while touring for the release of their sixth album For The Birds. Since then the pair have been doing their own thing- Singer and guitarist Jed Kurzel writing the score for the acclaimed Australian film Snowtown, and drummer Cec Condon working together with Myles Heskett, Chris Ross and Spod as Machete Moon. The pair will be playing Melbourne at the Northcote Social Club on Saturday November 24. Tickets are $20+bf and are available from the Northcote Social Club website from Friday September 28. Special Guests are still yet to be announced. 

DIAFRIX Joining the already stellar lineup to the Queenscliff Music Festival is sensational hip hop duo Diafrix, who have just released their new album Pocket Full Of Dreams. Other brilliant lights on the QMF bill include Missy Higgins, Gurrumul, Cat Empire, You Am I, Something For Kate, Ian Moss, Baby Animals, Mia Dyson, Jordie Lane, Diesel, Shannon Noll, British India , TZU, Owl Eyes, The Beards, Clairy Browne & The Bangin’ Rackettes, King Cannons, Electric Empire, Deep Street Soul, Ruby Boots, Kingswood, Ngaiire, King Gizzard & The Lizard Wizard just to name a few. The Queenscliff Music Festival takes place from Friday November 23 Sunday November 25. Tickets from qmf.net.au.

CROOKED SAINT, ASHLEIGH MANNIX Just back in the country, Crooked Saint will be officially launching his double A side Hot & Heavy/ Outta Sight, Outta Mind with a joint headline East Coast Australian Tour with Australian songstress Ashleigh Mannix, who combines an ideal blend of folk, rock and blues with a hint of gentle pop. Catch them both when they play The Westernport Hotel on Friday October 12. Crooked Saint will then return to play The Empress on Thursday November 13 and Pure Pop Records on Saturday November 17.

Sydney based singer-songwriter Catherine Traicos offers up a beguiling blend of alt-country, blues, roots and folk, delivered by one of the most distinctive and beautiful voices in the contemporary Australian landscape. Catherine’s new album, In Another Life , captured and produced by Nick Huggins at his A Pocket Full Of Stones studio, takes a different approach to 2011’s Gloriosa, this time Catherine steps back into solo mode and deliverers a beautifully organic and personal album. To celebrate the release, Traicos will perform a special show at The Workers Club on Sunday October 28.

THE PING OF PONG Ever been to Thailand? Think you’ve seen a pong show? Think again. The real pong show is in Brunswick this Sunday October 7 from 2pm. The Ping of Pong is an old school table-tennis challenge designed to accompany a Sunday session among friends down at the Victoria Hotel around the start of each month. Everyone who is involved thinks this is the best thing to happen in Melbourne since Rove fucked off overseas. Played in doubles, the Ping of Pong invites all comers to test their pong skills against Brunswick’s finest. The winner’s get their drinks covered at the next event and more importantly their names engraved on the pewter mug that has pride of place behind the bar. Get to The Victoria Hotel on Victoria Street, Brunswick this Sunday at 2pm.  $10 jugs of draught all day, Get ups are encouraged, bats and balls provided. 

POLO CLUB Forget resting up for the race that stops the nation. Ding Dong Lounge are bringing back the Cup Eve party with an indie disco that will keep you up ‘til dawn and really help you take advantage of the public holiday. Polo Club will headline after their recent sold-out EP launch at The Toff In Town. Joining them is Harts, Tone Deaf and Midnight Run DJs and more acts to be announced. It’s on Monday November 5 and tickets are on sale now from Oztix.

THE DEFECTS Legendary Irish punk rock band The Defects will be gracing our lovely shores this month. Formed in 1979 the Defect recorded the classic Defective Breakdown album before calling it quits in 1984. In 2009 they were asked to reform the band to play at the 2010 Punk and Disorderly festival in Blackpool and they never looked back. Joining them for this massive event will be local punks Bulletproof, Rukus, Bastard Squad, The Worst and South Australia’s Perdition. They will be playing at the Reverence Hotel on Friday October 5 and tickets are through Oztix for $34.70.

P!NK Superstar P!nk makes her hugely anticipated return to Australia next year. After basically selling out everything in the world ever, she bring her The Truth About Love Tour to the Rod Laver Arena on Sunday July 7, Monday July 8 and Wednesday July 12, 2013. Tickets are on sale from the Live Nation website at 9am on Wednesday October 17. Beat Magazine Page 22

Harry Howard & The NDE

A DAY BY THE GREEN A Day By The Green returns to St Kilda Bowling Club for its eighth incarnation on Saturday October 13 featuring a super strong local lineup including Harry Howard & The NDE, The Mercy Kills, Cold Harbour, Seedy Jeezus, Burn In Hell and more. The wonderful day of music and bowls is only $15 entry, with kick-off at 3pm. You really shouldn’t miss it.

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Beat Magazine Page 23


TOURING

WHO'S ON TOUR, WHERE AND WHEN

PROUDLY PRESENTS:

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INTERNATIONAL STEVE MALKMUS & THE JICKS Corner Hotel October 3 CANNIBAL CORPSE Billboard October 5 JOE BATAAN & THE DEL BARRIO ORCHESTRA The HiFi October 5 LITTLE HURRICANE Ding Dong Lounge October 5 PARKLIFE Sidney Myer Music Bowl October 6 STEEL PANTHER Festival Hall October 7 HIGH WOLF The Gasometer October 7 XIU XIU The Gasometer October 9 JOE BONAMASSA Palais Theatre October 11 MELBOURNE FESTIVAL Various Venues October 11 October 27 MAROON 5 Rod Laver Arena October 12 EVERCLEAR The Hi-Fi October 13 TORTOISE, GRAILS Corner Hotel October 13 TENNISCOATS Toff In Town October 16 BILLY BRAGG Hamer Hall October 19, Melbourne Recital Centre October 20, Prince Bandroom October 30 ALT-J () Ding Dong Lounge October 20 MATCHBOX TWENTY, INXS Rod Laver Arena October 20, 21 GOMEZ Corner Hotel October 21, 22 MUMFORD & SONS Rod Laver Arena October 25 SMASH MOUTH The Palace October 25 WEDNESDAY 13 The Espy October 27 THE BLACK KEYS Sidney Myer Music Bowl October 31, November 1 ARRESTED DEVELOPMENT Prince Bandroom November 2 GREGORY PORTER The Toff In Town November 3, Wangaratta Jazz Festival November 4 THE CHERRY POPPIN' DADDIES Corner Hotel November 5 TOUCHE AMORE The Reverence Hotel November 9, Phoenix Youth Centre November 10. BEN HARPER The Plenary November 10 HARVEST FESTIVAL Werribee Mansion November 10, 11 GRIZZLY BEAR Billboard November 12 MIKE PATTON'S MONDO CANE Regent Theatre November 12 THE WAR ON DRUGS Northcote Social Club November 13 COLDPLAY Etihad Stadium November 13 REFUSED The Palace November 15, 16 AUSTRALASIAN WORLDWIDE MUSIC EXPO Various Venues November 15 - 18 RON POPE Chapel Off Chapel November 15

RADIOHEAD Rod Laver Arena November 16, 17 ELTON JOHN November 18 Rod Laver Arena GEORGE MICHAEL Rod Laver Arena November 21 VILLAGE PEOPLE The Palais November 24 CHERRYFEST Cherry Bar November 25 NICKELBACK Rod Laver Arena November 27, 28 SIMPLE MINDS, DEVO Palais Theatre November 29, A Day On The Green - Rochford Wines December 1 THE KNOCKS Toff In Town December 1 RICK ASTLEY The Palace November 30, Chelsea Heights Hotel December 1 THE SELECTER Corner Hotel November 30 OMAR RODRIGUEZ-LOPEZ The Corner Hotel December 2 BLONDIE Sidney Myer Music Bowl December 3 THE PRETTY THINGS Corner Hotel December 4, Caravan Club December 13, 14 NICKI MINAJ, TYGA Rod Laver Arena December 5 GRIMES Corner Hotel December 5, 6 SPIRITUALIZED The Hi-Fi December 6 HOT SNAKES Corner Hotel December 7 MEREDITH MUSIC FESTIVAL Meredith Supernatural Amphitheatre December 7 - 9 PRIMAL SCREAM The Palace December 7 TURBONEGRO The Hi-Fi December 7 LAGWAGON Corner Hotel December 9 JLO Rod Laver Arena December 11, 12 ALEXISONFIRE Festival Hall December 12 REGINA SPEKTOR The Plenary December 14 JB SMOOVE The Thornbury Theatre December 15 EARTHLESS Northcote Social Club December 15, 16 EVAN DANDO AND JULIANA HATFIELD Corner Hotel December 18, 19 MORRISSEY Festival Hall December 19 FALLS MUSIC AND ARTS FESTIVAL Lorne December 28, Marion Bay December 29 PYRAMID ROCK FESTIVAL Phillip Island December 29 January 1 PEATS RIDGE Glenworth Valley December 28 - January 1 SHARON VAN ETTEN The Corner Hotel December 30 SUMMADAYZE Sidney Myer Music Bowl January 1 MAXIMO PARK The Corner Hotel January 2 FIRST AID KIT Forum Theatre January 2 BEST COAST The Hi-Fi January 2 WILLIS EARL BEAL Northcote Social Club January 2 BOMBAY BICYCLE CLUB Festival Hall January 2 65DAYDOFSTATIC Corner Hotel January 4 BEACH HOUSE The Forum January 9 NIGHTWISH Palace Theatre January 14

SHARON VANETTEN The Corner Hotel December 30 DAVID BYRNE & ST VINCENT Hamer Hall January 14, 15 WEEZER Sidney Myer Music Bowl January 16 SUGAR MOUNTAIN FESTIVAL The Forum January 19 SO FRENCHY SO CHIC Werribee Park January 20 THE KILLERS The Palace January 22 GARY CLARK JR Corner Hotel January 22 CRYSTAL CASTLES Billboard January 22 OFF! Corner Hotel January 23 SLEIGH BELLS Billboard January 23 ANIMAL COLLECTIVE The Palace January 23 BAND OF HORSES The Palais January 23 JEFF THE BROTHERHOOD Corner Hotel January 24 THE BLOODY BEETROOTS The Palace January 24 ALABAMA SHAKES The Forum January 24 BIG DAY OUT Flemington Racecourse January 26 AMANDA PALMER AND THE GRAND THEFT ORCHESTRA The Forum February 1 ST. JEROME'S LANEWAY FESTIVAL Footscray Community Arts Centre February 3 DAVID HASSELHOFF Corner Hotel February 14 SWANS Corner Hotel February 15 ALL TOMORROW'S PARTIES Westgate Entertainment Centre February 16, 17 EINSTÜRZENDE NEUBAUTEN The Palace February 19 DR. FEELGOOD Corner Hotel February 21 NORAH JONES The Plenary February 21 MY BLOODY VALENTINE Palace Theatre February 22 LINKIN PARK, STONE SOUR Rod Laver Area February 26 SOUNDWAVE Flemington Racecourse March 1 ED SHEERAN Festival Hall March 5, 6 PORT FAIRY FOLK FESTIVAL Port Fairy March 8 – 11 BYRON BAY BLUESFEST Byron Bay March 28 – April 1 THE SCRIPT Rod Laver Arena April 6 P!NK Rod Laver Arena July 7, 8, 12

NATIONAL DAREBIN MUSIC FEAST Various Venues September 20 - October 7 PETER COMBE Northcote Social Club October 4 THE AMITY AFFLICTION Palace Theatre October 4, 5 CHOPPED ROD & CUSTOM FESTIVAL Newstead Racecourse October 5 - 7 SASKWATCH Corner Hotel October 5 SOMETHING FOR KATE Corner Hotel October 6, 7, 8 KING GIZZARD AND THE LIZARD WIZARD The Tote October 6, 7 REGURGITATOR The Hi-Fi October 11, 12 HUSKY Corner Hotel October 11 DAPPLED CITIES Corner Hotel October 12 ROCKWIZ Festival Hall October 12, 13 BRITISH INDIA Corner Hotel October 19 VELOCIRAPTOR The Tote October 19 CREEPSHOW The Espy October 20 OH MERCY The Hi-Fi October 25

PROUDLY PRESENTS:

MAXIMO PARK The Corner Hotel January 2 Beat Magazine Page 24

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LAST DINOSAURS Ding Dong October 21 (U18), Corner Hotel October 25, 26 JOSH PYKE The Palais Hepburn Spring October 24, Karova Lounge October 25, The Bended Elbow October 26 CLAIRE BOWDICH The Regal Ballroom October 26 GYPSY & THE CAT The Palace October 26 ROBERT FORSTER Thornbury Theatre October 26, Castlemaine Theatre Royale October 27, Caravan Music Club October 28 KASEY CHAMBERS & SHANE NICHOLSON The Regent Theatre October 27 LIOR Northcote Social Club October 31 LISA MITCHELL Athenaeum Theatre Wednesday October 31 MOJO JUJU Northcote Social Club November 2 COSMIC PSYCHOS The Tote November 2 MALDON FOLK FESTIVAL Maldon November 2-5 THE BEARDS The Hi-Fi November 3 HENRY WAGONS Thornbury Theatre November 5 TZU The Hi-Fi November 5 HUNGRY KIDS OF HUNGARY Northcote Social Club November 5 DEEP SEA ARCADE Corner Hotel November 9 REDCOATS Ding Dong Lounge November 10 YUNG WARRIORS First Floor November 16 MELBOURNE MUSIC WEEK Various Venues November 16 - 24 ANGUS STONE The Palace November 21 BALLPARK MUSIC The Palace November 23 QUEENSCLIFF MUSIC FESTIVAL Queenscliff November 23-25 JORDIE LANE Northcote Social Club November 29, 30, December 2 MISSY HIGGINS Palais Theatre December 4 JEFF MARTIN Cherry Bar December 7, The Northcote Social Club December 8 GOTYE Sidney Myer Music Bowl December 8 SUNNYBOYS December 8 Corner Hotel THE LIVING END Corner Hotel December 11 - 22 PARKWAY DRIVE Festival Hall December 22 CHILDREN COLLIDE The Espy December 28 TREVOR. A MUSIC FESTIVAL Churchill Island Nature Park January 12 DEAD CAN DANCE Palais Theatre February 6 RIVERBOATS MUSIC FESTIVAL Echuca-Moama February 15 - 17

RUMOURS Sharon And The Clams, Dr Dre, Britney Spears, Sufjan Stevens = New Announcements = Beat Proudly Presents


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Beat Magazine Page 25


STEEL PANTHER BY LACHLAN KANONIUK

It’s been a few years since LA rock monsters Steel Panther vehemently penetrated the world’s eardrums with the resounding battle cry of ‘Death To All But Metal’, and they’ve stayed true to their all-conquering ethos ever since. Evidently, the world – Australia in particular – has heeded the call. After a typically turbulent recording process, the band unleashed their second serving of unabashed hair metal glory, Balls Out – featuring tracks such as 17 Girls In A Row and It Won’t Suck Itself (featuring Nickelback’s Chad Kroeger, no less). Australian audiences first witnessed such numbers during the band’s arrival for the massive Soundwave Festival earlier in 2012, a tour which included some decent-sized double-headline Sidewaves with Alter Bridge. With the announcement of a swift return to our fair land to hit even bigger venues, it seems we can’t get enough of Michael Starr, Satchel, Lexxi Foxxx and Stix Zadinia. I first spoke to Starr ahead of the Soundwave visit at the start of the year, when he then laid clear Steel Panther’s less-than-wholesome intentions. “So that’s where we want to infiltrate – the vagina of Australia, and work that magic.” It’s safe to say we can consider ourselves infiltrated. “Oh my god, it was amazing. I think Australia has really great taste in music, that’s what I think it is,” Starr states the month before their triumphant return, rationalising the phenomenon that was their Soundwave appearance. “ We had no idea what the reception would be, and to come out on stage early – sometimes it was like noon – and it would just be packed. It was so fuckin’ fun, all the other bands on the tour would come on side of stage and watch our show. It was so flattering and so unexpected and overwhelming and fun. I dunno man, but to be received like that – I don’t want to sound corny – but it was really a blessing. We’re so stoked to have the opportunity to come jam there and fuck all those hot chicks too,” he beams. “Australian chicks are pretty fucking hot, dude.” “I gotta tell you man, it’s time for heavy metal to come back. I think people are sick and fuckin’ tired of listening to Justin Bieber.” The release of the debut record Feel The Steel was accompanied with a nononsense manifesto which laid out the gameplan of bringing back heavy metal. The following years saw a massive resurgence in the long-dormant genre – whether it’s in the form of massive arena tours from the original titans, or the runaway success that is

the Rock Of Ages stage/film production. So with their original goal seemingly achieved, what domains are left for Steel Panther to conquer? “I think we not only need to do world domination, but galaxy domination,” Starr declares. “First we have to start off by completely dominating the whole world. So far we have Australia, Europe, North America, Canada and now we need South America, Asia – we need everything. I think everyone should be able to enjoy heavy metal. Don’t you?” With Balls Out nearing its first birthday, the album has more than seeped its way into the conscious of the adoring Steel Panther fanbase. Sing-alongs to anthems such as Just Like Tiger Woods (sometimes replete with a spot-on Woods impersonator onstage) and Gold Digging Whore. It’s a response which has even exceeded Starr’s decidedly cocksure expectations. “It’s been really good, we’re not a traditional band that sells a lot of records. Most people just download our stuff for free, which is totally cool,” he states with refreshing aplomb. “Everybody knows our stuff. It’s been great. What we try to do when we’ve been touring is play 50-50 – in other words 50 percent off Feel The Steel and 50 percent off Balls Out. We try to mix it up as best we can. Even when we play a track from Balls Out that we think people may not really respond to, they seem to still get it and love it. So it’s been cool so far.” Seemingly each Steel Panther performance is imbued with the seal of approval from the rock gods of days

“IT’S TIME FOR HEAVY METAL TO COME BACK. I THINK PEOPLE ARE SICK AND FUCKIN’ TIRED OF LISTENING TO JUSTIN BIEBER.”

Beat Magazine Page 26

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

gone by – either the aforementioned side of stage nods of approval, the tour support requests, or even special guest onstage appearances. Are we witnessing the heavy metal torch being passed down? “No, I don’t think it’s been passed down. I think what’s happening and what you’re witnessing is everybody coming together in the community. We were touring with Def Leppard and Mötley Crüe, and they don’t need to pass down any fuckin’ torch, quite honestly. It’s more like, ‘Come on, welcome Steel Panther, welcome to heavy metal-ville, we’ve been doing it for 25 years’. Def Leppard taught us a lot of shit about what it means to be on the road, and what it means to be an arena act. It’s a lot different than playing clubs. But I think we’re all just coming together man and rockin’. It’s fun dude, watching Sebastian Bach jam, and fuckin’ hanging out with Scorpion. It’s a fuckin’ dream come true.” The Steel Panther following is spreading forth much like an out of control STI, to the point where fans focus their, at-times, lustful adoration to a singular band member. “Oh my god, are you kidding me? Lexxi Foxxx has a lot of chicks that dig the fuck out of him. It’s crazy. I think the reason they love him so much is because he’s safe. Then I have my share of fans as well, there are definitely Michael Starr fans, there are definitely Stix fans, there are definitely Satchel fans. You can always tell who the Satchel fans are because they’ll look you in the face and go ‘fuck you’,” he explains. Another Balls Out cut, I Like Drugs, showcases both the four-piece’s aversion to metaphor and their penchant for drugs. The recording of the album was beset by a revolving door rotation into and out of rehab facilities. It’s a miracle the album even saw the light of day. “I don’t think they were actually demons, but we got our advance for the record and it was bad timing,” Starr rues. “You should never advance a band all their money from the record before they record, because there is no incentive. Once you start partying we’re like ‘fuck’. But everyone’s fine now, we have a new manager who made us go on salaries so we don’t get any more than we need for the month, you know what I mean? There’s no extra money just sitting in our pockets, so we’re not going ‘what do we do with all this? Let’s go get some shit!’ That’s worked out really good, everyone’s cool, everyone’s really happy. That’s some advice I’d give anyone that’s trying to make it, don’t start shooting heroin. That’s a bad thing. I would just say if you’re going to shoot heroin, do it with your parents,” he states, imparting priceless wisdom. “Well I wouldn’t recommend that. Just stay away from the opiates. They’re pretty addictive. And you’ll end up doing shit you regret,” he elaborates. Cocaine is pretty safe.”

STEEL PANTHER wreak havoc on Festival Hall this Sunday October 7.


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Beat Magazine Page 27


THIS WEEK: ON SCREEN Presented by Indonesian Film Festival Inc. in association with Melbourne University Indonesian Students Association, the 7th Indonesian Film Festival is hosting a cinematic feast of Indonesian movies, as well as special events with the filmmakers and actors of the featured films, and many non-screening events such as workshops and public talks with Indonesian actors such as Wulan Guritno (Dilemma) and Arie Dagienkz (Mama Cake), and directors Anggy Umbara (Mama Cake) and Sammaria Simanjuntak (Demi Ucok). This year also sees the festival is returning to the Capitol Theatre as its main screening venue. The 7th Indonesian Film Festival begins Monday October 8, so for all session times and ticketing, head to iffmelbourne.com or to the Capitol Theatre box office.

ON STAGE One of Western Australia’s most innovative contemporary dance companies, Anything Is Valid Dance Theatre, are bringing their smash hit Life in Miniature to the Melbourne Fringe Festival. Life in Miniature is performed inside a caravan for an intimate audience of five, and takes you up close to the lives of two unknown travellers. To bring the show to the Fringe, company directors are driving their caravan all the way from an encore sell-out season in Western Australia at the MoveMe Festival, as life imitates art. Life in Miniature is a show about two people, one small space and time on the road! This is happening in their caravan parked at the River Terrace in Federation Square until this Saturday October 6. Tickets are $25 and available from the Melbourne Fringe website.

ON DISPLAY Public art has contributed a strong sense of identity to Docklands with 36 artworks situated in the parks, promenades and built into the architecture and landscape. Art works by established and emerging Australian artists have been inspired by themes of history and future, land and sea, humanity and technology. The ANL Maritime Art Prize and Exhibition award promotes excellence in maritime and seafaring subjects in art and assists in raising the profile of the 1.5 million merchant seafarers responsible for transporting more than 90 per cent of world trade. The art at Docklands is an unforgettable experience that will surprise and delight you. Enjoy a walk through Docklands and find out more about the individual artworks. The ANL Maritime Art Prize and Exhibition is happening as part of The Docklands Arts & Laughs Festival, happening at various venues around Docklands from Wednesday October 3 to Sunday October 7, so head to docklandsartsandlaughsfestival. com.au for more information.

BEAT’S PICK OF THE WEEK:

WITTENBERG BY BELLA ARNOTT-HOARE

Before the Bard’s manic depressive hero Hamlet was prince of ‘rotten’ Denmark, he was a student at Germany’s Wittenberg University, at least in the imagination of playwright David Davalos. In Wittenberg, he creates an unlikely meeting of minds of the university’s alumni: Dr John Faustus, Martin Luther and Shakespeare’s tragic protagonist, and with the two conflicting philosophers as his mentors, Wittenberg imagines how the depth of his existential crisis can be traced here. “Hamlet is going through a bit of a student crisis when he finds out the Earth revolves around the sun, rather than the other way round,” says Brett Luderman, who plays Hamlet in a precursor to the eponymous play. “He’s kind of dealing with this new revolution of his external surroundings, and stuff that he’s always said is not so true, and his notion of belief and whether he believes in things or not.” Though entirely fictional, the humorous play recognises the hypothetical influence these historical heavyweights would have had on a malleable Hamlet if they indeed attended the German University at the same time – including the struggle between their opposing views. “The two doctors or lecturers at his university who have taken Hamlet under their wing are so contrary. One of them is a theologian, so he’s all about God and Christianity, and the other one is about philosophy and science and the mind, and they both have an influence on Hamlet being torn and unable to make decisions because he’s always been between the two minds,” says Luderman. And here, the stage is set for a chaotic ideological conflict that Hamlet, the student, is in the centre of. In historical terms, Luther, who’s the head lecturer at the university, is known his controversial stance against fiscally-absolved sins. “Martin Luther is one of the priests dealing with the realisation that the church is actually corrupt and he doesn’t want to go against the bible, but he has to go against the church. But he has to make a whole lot of enemies to do the right thing. “Basically people were paying to have their sins resolved and that money was then going towards the greediness of the church, so Martin Luther was the guy trying to put a stop to that – you can’t pay for your sins to be absolved.” And the fictional Doctor Faustus is an Elizabethan character, who despite his intelligence, sold his soul to the devil for unrequited love. “Faustus traded his soul to the Devil for, well, anything, so that’s all about him exploring the notion of wanting things, and having things, and he’s got a love interest that he’s chasing but she doesn’t want him.”

FREE SHIT It’s not often we’ll have the same thing as Beat’s Pick Of The Week two weeks in a row, however we love to show our unwavering support of this year’s Melbourne Fringe Festival! Melbourne Fringe is the leading organisation for the independent arts in Victoria. They facilitate the presentation of contemporary work across all artforms, and have done so for the last 30 years. The Melbourne Fringe Festival presents the work of thousands of artists to large and committed audiences, with last year’s event including 3,393 artists in 330 shows, presented at 141 venues and locations across Victoria, to audiences of 256,800, and with a line-up just as many and varying acts this year, there is bound to be something that suits you! The Melbourne Fringe Festival is on until Sunday October 14, so head to the Melbourne Fringe website to check out the roster of acts happening around Melbourne.

Beat Magazine Page 28

TRON LEGACY AT IMAX To celebrate the IMAX re-release of Tron: Legacy 3D, IMAX Melbourne Museum and Armageddon Expo 2012 have announced that Tron star, Bruce Boxleitner, will be appearing at a special event screening on Friday October 12 at 6.30pm. Sci-Fi fans will get the opportunity to take part in an exclusive Q&A session with Boxleitner before re-living the stunning high-tech 3D blockbuster on the world’s third largest screen, and our galaxy’s ninth largest. Boxleitner stared alongside Jeff Bridges in Tron and Tron: Legacy, and is also known for his role in Babylon 5. We have five double premium passes – which include a meet and greet from 6pm with drink on arrival, signed Tron: Legacy poster, Q&A session followed by Tron: Legacy 3D film screening – to give away.

These strong personalities illustrate how religion and philosophical absolutes are often in opposition. “The writer’s kind of sitting on the fence a bit which is good, he’s not one way or the other, I don’t think. I guess in one way it’s saying the two things can’t be in the same room together, philosophy and religion. You have to make choices and you have to take action, you can’t sit around and hope it will all resolve itself. You can’t agree with everyone.” But dramaturges need not despair a jarring juxtaposition. According to Luderman the original Hamlet and this precursor are hopefully believable. “It’s a pretty seamless line between the two. His father passes away [at the beginning of Hamlet] and that’s what leads him back to Denmark which is how it starts, whereas in this play his dad’s still well and good and everything’s fine back home, so to be honest the only real change is his father’s death between the two.” Luderman’s previous experience hadn’t necessarily prepared him for this season, including The Laramie Project and Aliens which also ran at Red Stitch. “It’s probably a little bit different to what I’ve done before,” he says. “One of them was a documentary play and one of them was a naturalistic play, that was my comfort zone and this is really quite challenging, but also it’s very text-driven.”

Part of the challenge is acquainting himself with the language of Shakespeare, as Hamlet’s character only speaks Elizabethan. “It’s kind of weird going down the Shakespearean direction and that’s been challenging but really rewarding. The whole thing is just sort of falling in love with language again, playing with that and making it your own but it it’s different preparation wise. A lot of it’s been hard work and the other half’s been trusting the director.” When he began rehearsals for the play he had no comprehension of what the language he was spouting meant. As he’s honed his performance, the meaning has become clearer and he’s begun to enjoy speaking in the dialect. “It’s always hard for the first week because it just looks like words. But as long as you let the director do their job and just get out of the way, I suppose, the poetry of the language just comes out. “It is really helpful but it’s that thing of carrying the language through to the audience, rather than trying to naturalise it too much or put to much emotion in them, you just need to speak the words and really enjoy them.”

HATED

DOCKLANDS ARTS & LAUGHS FESTIVAL

Hated tells the tale of a tightknit, young punk band who breakthrough from the fringes of the underground scene and into the limelight when a childhood friend begins to manage them. Media hype and the lure of fame eventually create personal conflicts within the band, as Hated explores the effects of the music industry on careers and friendships. We have a few DVD copies to give away.

The inaugural Docklands Arts & Laughs Festival has put together an unbelievable lineup of artists and events. The festival is five days of comedy, cabaret, theatre, arts and music across three stages in the Docklands area. Acts include Ruth Roshan, Jane Badler, Fiona O’Loughlin, Dave Callan, Jeff Green, Tom Siegert, Stephen Cummings, Nick Charles, Dan Dinnen, Catfish Voodoo, Bluez Delux, Dream Boogie, Lloyd Spiegel and plenty more. Check out the website for more info, acts and times. It’s running from Wednesday October 3 – Sunday October 7, and we have a few double passes to give away.

SEARCHING FOR SUGAR MAN Still receiving grand praise from critics, including a 4/4 review from Roger Ebert, Searching for Sugar Man is a 2012 Swedish/British documentary film directed by Malik Bendjelloul, exploring the efforts of two fans of American musician Rodriguez – Stephen ‘Sugar’ Segerman and Craig Bartholomew Strydom – to discover if the rumoured death of the artist was true, and, if it wasn’t, to discover what had happened to him. We have ten double passes to give away.

ARTS NEWS, REVIEWS, INTERVIEWS ONLINE – BEAT.COM.AU/ARTS

Wittenberg shows at Red Stitch Actors Theatre from Friday October 5 to Saturday November 3.

Clickety-clack on beat.com.au/freeshit to win.


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“Bang on a Can may have become a venerable institution over the past 25 years but they’re still kicking down doors.” — National Public Radio (US) FIELD RECORDINGS MONDAY 5 NOVEMBER, 7.30PM EXCLUSIVE AUSTRALIAN PREMIERE

Minimalism, rock, world and classical music collide with film in nine new works.

BRIAN ENO’S MUSIC FOR AIRPORTS — LIVE WEDNESDAY 7 NOVEMBER, 7.30PM

The ambient electronic music masterpiece comes alive on stage in glorious analogue sound.

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THE COMIC STRIP CHECKPOINT CHARLIE COMEDY

With Tyson Wray. Got news, gossip, reviews, thoughts, tip-offs, complaints, hate mail? Email tyson@beat.com.au or send by ESP before Friday.

BROWN CLASS CINEMA

ELLING When you combine an intelligent, hypersensitive, poet, and a sex-obsessed 40-year-old virgin, things are bound to get messy, and in the utterly delightful theatre adaption Elling by Simon Bent, things will get messy. Directed by Pamela Rabe, the play illustrates the tale of Elling and Kjell Bjarne, two asylum buddies who are given a chance to see how they will survive in the world independently. With only a furnished flat and separate living quarters, their volatile sanity will be put to the test as these two men explore the simplicities of life that we take for granted. Based off a the acclaimed novel by Ingvar Ambjørnsen and the award winning Norwegian cult film of the same name, Elling is sure to be a delight of many ranges. Elling will open at the Southbank Theatre on Thursday November 1, 8pm; its season will run from Saturday October 27 – Thursday December 8. Tickets and more information about Elling can be found at mtc.com.au

FRIDAY ON MY MIND Friday On My Mind returns this month with a talk presented by writer Andrew Knight about mastering characters and ideas within writing. Co-founder of Arts Services, Andrew Knight, is considered one of the most reputable writers in Australia. He produced, co-created and wrote SeaChange, a highly successful late ‘90s series following a corporate lawyer as her lives crumbles around her. Knight has written five feature films, as well as top rating drama, comedy and live programs and all these experiences will be showcased in his Friday talk and more. Knight will cover the importance of character development, how to create successful characters, the importance of ideas in scripts and how to articulate them fluidly. Andrew Knight will be at Friday On My Mind on Friday October 5 at 5pm at ACMI.

NAME DAY Violeta Capovska is known for her ability to embed sensuality into natural elements, particularly flowers, and the Macedonian is celebrating her ‘name day’ through an exhibition of refined floral prints at fortyfivedownstairs. Name Day is inspired by the European tradition where communities gather during particular days of each year to celebrate certain groups of names. In Capovska’s exhibition she will not only be heralding her own name — a derivative of ‘Violet’ — but also that of other floral names: Iris, Jasmine, Rose, Ophelia and a plethora of others. Capovska’s exhibition will deconstruct, and rebuild, the process of naming (and re-naming) and its importance culturally, politically and individually. Name Day will be hosted as fortyfivedownstairs from Tuesday October 23 – Saturday November 3. Admission is free.

THEATER REFLEKSION’S BOXY GEORGE Boxy George is the newest work from international animation and puppetry company Theater Refleksion, and it’s coming to Melbourne for one weekend only. Detailing the story of George, a meticulous introvert whose life becomes tumultuous when an unknown box appears on his doorstep, Boxy George is combination of wit, poignancy and delight for parents and children alike. Boxy George will premiere for one weekend only at the ANZ Pavilion from Saturday October 27 – Sunday October 28. Tickets and more information can be found at artscentremelbourne.com.au

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Brown Class Cinema is a Perth-based cinema focused on bringing eclectic, interesting films to Australia that are rarely seen due to Australia’s current distribution model. This October sees the cinema company planning to expand with its first film festival in Melbourne this October. The ideal of any ‘90s nostalgic child, the festival will feature video games, basketball, microwave lasagna, graffiti, skateboarding and every other awesome thing you remember from those days. Eight films will be broadcast over 15 screenings in each city, including Fake It So Real, a documentary about the world of independent pro-wrestling, and I Want My Name Back another documentary detailing the journey of the hip hop artists The Sugarhill Gang. With dates still set for release, you can pass the time by checking out brownclasscinema.com.au

BOHEMIA Freedom. Beauty. Dreams. Bohemia offer these and much more to the world weary, the cynical, the culturally bereft. Bohemia is a world where you can shed the conservative skin of modern life, unleash your deepest yearnings and be who you truly wish to be. Their people will welcome you warmly, the atmosphere will liberate you, the bar will tease your tongue with liquor artistry, the kitchen will sate your appetite and their shows…well there is something for every taste, from the sublime to the ridiculous, the base to the refined. Laughter and horror, joy and tears, sin and sensuality. Music, dance, cabaret, burlesque, circus and art for art’s sake! Bohemia’s Night Garden Theatre is quite literally open to the stars, all year, every year, and its boards will showcase the finest talent Australia and the world have to offer. Every Wednesday to Sunday, Bohemia will be there for you to come and play with the young, the free and the beautiful. So join us! Leave your inhibitions at the door and celebrate the Bohemian ideal and the Bohemia Cabaret Club, 226-228 Coventry Street, South Melbourne.

SENIORS’ FILM FESTIVAL

SOFTBELLY COMEDY

SNUFF PUPPETS Snuff Puppets, Australia’s large-scale puppet theatre company, is set to release their brand new show Everybody, a play comprised of anarchic puppets let lose on their strings. Everybody is a metaphorical, metaphysical — and every other ‘meta’ prefixed word you can conceive — play about existentialism. Intestines, flesh, gore, loud music, black humour and an insinuation of cannibalism guarantee that Snuff Puppets’ Everybody will be memorable...or scarring, take your pick. Everybody will show for a strictly limited season at The Drill Hall, Footscray from Thursday November 8 – Sunday November 10. Tickets can be purchased through snuffpuppets.com.

IN A FOREST, DARK AND DEEP Follow Bobby and Betty on a dark journey into the depths of the forest when Winterfall at The Theatre Husk presents Neil LaBute’s latest work. Set in a creepy cottage in the woods, In A Forest, Dark and Deep promises psychological thrills and sibling rivalry for its Australian Premiere. After a successful season in London’s West End, LaBute, whose writing credits include Nurse Betty and Death at Funeral, will hand over directorial reigns to Dennis Moore. Likened to a modern day Hansel and Gretel, Christopher Connelly and Michele Williams will star as stressed out siblings. Opening Thursday October 25 at The Theatre Husk, Northcote, the show will run until Sunday November 11.

Show some respect for your elders at the Australian Centre for the Moving Image when it screens geriatric gemstones as part of the 2012 Seniors’ Film Festival. The festival will run as part of the Victorian Seniors’ Festival, which is managed by the Department of Health, Ageing and Aged Care and curated by Roberta Ciabarra. There will be a collection of classic musicals and melodramas along with spotlights on Cary Grant (what a dish!), Alfred Hitchcock and Vincente Minnelli. Seniority will be a question, with tickets costing $5 for seniors and $11 for all you young whippersnappers. The festival will commence on Sunday October 7 and wrap up on Friday October 12 at ACMI.

PROPORTION DISTORTION

CONFOUNDING: CONTEMPORARY PHOTOGRAPHY

LOVE LETTERS

Opening next week at the National Gallery of Victoria, Confounding: Contemporary Photography will explore the dimensions, realms and creations of human imagination, dreams and memories through a series of carefully selected works. Drawn from the NGV’s collection, photographers Roger Ballen, Pat Brassington, Eliza Hutchison and many more will transform the NGV International into a room that will entice, invoke and display imagination versus reality. Thomas Demand has contributed an uncanny cardboard work, described as a ‘strange beauty’ while Loretta Lux uses the perturbing gaze of children in her hyper-real work. Confounding: Contemporary Photography will open Friday October 5 and run until Sunday March 24 at the NGV International. Admission is free.

Tonight, Charlie has another huge lineup! Room favourite Harley Breen (MICF Piece of Wood winner) will rock the headliner mic with loveable lothario Luke McGregor hosting proceedings. Plus Jonathan Schuster (Raw Comedy winner 1983), Mick Neven and more! For just $5. You’re welcome. So come fill yourself with cheap piss and put your continence to the ultimate test as some pretty damn rad comedians spit funnies into the business end of a loud stick. Check in 8pm tonight at Eurotrash Bar, 18 Corrs Lane, Melbourne. Get down early for a seat.

Unravel the relationship between the body and proportion in fashion design with Proportion Distortion, a new exhibition at the National Gallery of Victoria. Five local designers, including above., Simone Says, Elyse Barker, Anisha Bhoyro and Molly Herben will produce work for the exhibition. Their garments will explore proportion, symmetry and distortion. On Thursday October 25 visitors will be invited to drop by the Proportion Distortion Fashion Hub, for demonstrations and conversations about the design process. The exhibition will be free to view from Saturday October 6 until Sunday November 11 at the NGV Studio. Love is in the air at Arts Centre Melbourne, with awkward teens and tender moments, in their latest co-production with St. Martins Youth Arts Centre. Love letters, written by Kylie Trounson and St. Martins’ Teen Ensemble and directed by Sarah Austin, takes inspiration from real life love letters, collecting and crafting them into a unique performance. The show is an exploration of first love, from the heartwarming to the hormone fueled. Remember those wistful days of wagging school to make out on Birramung Marr? Sigh. Melbournians can submit their love letters until Sunday October 14 via Facebook, email or post. Or lovers may deposit their letters in special letter boxes around Arts Centre Melbourne. Relive your rollicking first romances from Wednesday October 31 until Saturday November 3 at Art Centre Melbourne’s Fairfax Studio.

ARTS NEWS, REVIEWS, INTERVIEWS ONLINE – BEAT.COM.AU/ARTS

Josh Thomas is the star of Softbelly Comedy this week! It’s gonna be a packed one, with the star of Talkin’ ‘Bout Your Generation and his own upcoming sitcom! Plus we’ve got Ronny Chieng, Justin Hamilton, Karl Chandler, Khaled Khalafalla, Mark Trenwith and more! We’re in a new venue, above Pop Restaurant at 68 Hardware Lane, City, this Thursday October 4 at 8.30pm, for only $13! Get in super early!

THE VARIETY COLLECTIVE This week’s Variety Collective promises to be more fun than breakdancing to save a community centre! Direct from the UK they have rapper Milky T. His dope rhymes and phat beats will blow your mind! Returning from her European tour to rep her hometown of Melbourne it’s cabaret wunderkind Karin Muiznieks! Two of Australia’s most street wise comedians Shayne Hunter and Xavier Toby will be bringing the laughs too. Plus they’ve got a special guest and your host, the whitest man in comedy, Mr Michael Connell, will be bantering between acts and playing some sweet harmonica tunes (bring your Grandpa!) It’s on at Brunswick Green tonight. Tickets are just $10 at the door. Get in early for a meal, earlier for a seat.

THE MOULIN BEIGE The Moulin Beige ‘Outstanding Comedy Cabaret’ is launching a Thursday night residency at the Burlesque Bar in Fitzroy. Blending burlesque, comedy and cabaret, this fast paced vaudeville night will leave you feeling delightfully debased. Featuring special guests each week, the Moulin Beige plays host to world class variety acts and Melbourne’s most quirky and original local comic performers. Opening night on Thursday October 11 will feature: Daniel Oldaker, Poppy Cherry, Rod Lara, Rachel Leary, Liz Skitch and more. Every Thursday from 7pm, Burlesque Bar, 42 Johnston St, Fitzroy, $15/20, pre-book to receive a complimentary drink on arrival at burlesquebar.com.au

COMMEDIA DELL PARTE This week at the George Lane Bar they have Joel Creasey! Supporting Joel will be Chris Dewberry, Phil Andrews, Roland Hoffmann, Steele Saunders, Sofie Prints and Milky T. The room runs on a ‘pay as you like’ basis, so come along and have a great laugh, then pay what you believe the show is worth on the way out. Commedia Dell Parte runs every Thursday 8.30pm at George Lane Bar, St Kilda.

I LOVE GREEN GUIDE LETTERS PODCAST LIVE RECORDING For just under a year, the I Love Green Guide Letters podcast has been hilariously mocking the often bizarre letters people write in to The Age’s Green Guide TV & radio lift-out. This Saturday October 6 at 5pm they do it live at Rue Babelons in the City! Join Ed Kavalee (Get This, Joy Of Sets), Adam Rozenbachs (Spicks & Specks) and host Steele Saunders for a rare live taping of a show Beat called “An Ingenious Concept”! Presale tickets are only $10 from ilovegreenguideletters.com and while you’re at it check out the 40 plus free episodes.


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Beat Magazine Page 31


ELVIRA BY NICK TARAS

I like boobs. So when the opportunity arose to interview Cassandra Peterson – the actress famed for her appearances as horror hostess/pop culture icon/cleavage queen Elvira – ahead of her appearance at Monster Fest, I was interested to finally speak to the artist responsible for one of the greatest scenes in cinematic history: Elvira, running away from an evil warlock after stabbing him in the head with her stiletto, is blocked by a chained steel gate, but with the sheer force of her boobs alone, she is able to miraculously break through the robust barrier. On YouTube, the top rated comment for this impossible escape is “big tits power Full”, and I couldn’t have summed it up more eloquently myself.

DIAMOND CRIMSON BLOOD BY KATE MCCARTEN

Like all of her endeavours since, New York ex-pat Jane Badler began her varied career in showbiz in a particularly unique way: trying her hand at the juggernaut of beauty pageants, Miss America. Nearly 40 years later, against even her own most imaginative predictions, Badler finds herself as a 58-year-old electronic music recording artist and live performer based in Melbourne. Currently working on her third studio album with collaborators Matt Thomas and Byron St John, Badler is ready to mix some of her forthcoming music up into a dark and sexy cabaret show as part of the inaugural Docklands Arts and Laughs Festival this weekend. After competing as Miss New Hampshire in 1973’s Miss America, Badler made her acting debut on daytime television favourite One Life to Live. Like most actors though, she also had a pretty impressive knack for holding a tune. “Singing was the first thing I did when I was young actually. I sang in clubs when I was in university – I sang every weekend. I went to New York and sang, but then acting sort of took over and I stopped,” Badler recalls. And so, over the next few decades she managed to accumulate an IMDb profile longer than this article, most notably for her role as Diana in the cult sci-fi series V. In the late ‘80s though, Badler came to Australia to film the TV resurrection of Mission: Impossible, fell in love with an Australian businessman and began her new life in Melbourne, for which she is ever grateful. “When I first moved to Australia I found it very difficult to find acting work, so I got back into singing again. [Moving to Australia] forced me to look at many aspects of my art and of my life. Living in LA, I would’ve gone along a particular path and I think it’s been fantastic that instead I’m here. It’s been an amazing journey, and now [music] has taken over my life, and it’s what I love.” After rediscovering her greatest passion, Badler spent the intervening years on the live performance and cabaret circuits until moving into something she never envisioned, the recording studio. “I never thought that recording was what I wanted to do, but once I started I realised this is what I love most,” she admits. Working with Jesse Shepherd and Sir on her first two albums, The Devil Has My Double and Tears Again, she wanted to put even more of herself into her upcoming Diamond Crimson Blood, diving straight into the new world of songwriting. Badler explains, “It became very evident to me that you really do

not have any authority with a band or with an audience until you start to write songs as well. [There was a] lack of power, until the songs were coming out of myself.” And it is these more personal songs that will make up the essence of Diamond Crimson Blood the cabaret show. Turning predominantly electronic music into a live cabaret performance has been a process in itself; trying to find the right balance of electro and instruments while still keeping the music in tact. With music focused on topics like mortality and addiction though, cabaret does curiously seem to be the perfect stage for Badler’s stories. “I like dealing with dark themes, you know, regret, obsession, revenge. But some of the songs are still quite funny. There’s a bit of rapping, I do a lot of talking, a few poems, to try to make people understand the world that these songs exist in.” And as an actor, cabaret is a place where Badler feels at home and is comfortable exploring her on-stage persona. “I love to add elements that entertain people. When I go through my daily life I am one person, and when I perform I allow myself to be this other person; this other person that I need to express in order to exist.” And alongside Dave Callan, Greg Fleet and a slew of burlesque dancers, both Badler and this other person are excited to help bring sexy back to the sorely underutilised Docklands area as part of this weekends first Docklands Arts and Laughs festival. Jane Badler performs Diamond Crimson Blood: An Electronic Fantasy at Spiegeltent Docklands this Saturday October 6 as part of Docklands Arts & Laughs Festival.

THEATRE REVIEW:

PINOCCHIO BY JACK FRANKLIN The Windmill Theatre’s Pinocchio is a very beautiful and very flawed production. The cast work their literal and figurative tails off, the production is second to none, but the concept is at best only half finished, much like the wooden boy at the centre of the tale. At its core, Pinocchio is a story about a wooden boy whose nose grows when he lies, but here, Pinocchio’s nose is merely incidental. Director and creator Rosemary Myers with writer Julianne O’Brian have opted for a mishmash of original and Disney storylines and as a result have been left without a clear focus. Geppetto, a lovely Alirio Zavarce, has the first number in the show, a touching lament about being incomplete and before you know it he is chipping away at a stump from which is created a walking, talking wooden boy. Nathan O’Keefe is a wonderful Pinocchio with limbs and awkwardness reminiscent of a clowning Frank Woodley, however the Pinocchio he is playing is a lot less magical. Instantly he is ashamed of his ‘father,’ we as the audience are given no time to bond with the character before he first complains he needs to be cool – a strange complaint as we have not seem him have any contact with the outside world. Pinocchio’s journey flips and flops from this point on, it might be about respecting your parents, it might be about Beat Magazine Page 32

lying, it could be a long drawn out warning against the evils of paedophiles as represented by the sneering Stromboli (Geoff Revell) or it could be about being true to yourself. The reality is that it tries to be all these things and manages to do none successfully in its two plus hours running time. Striving to be a musical for the whole family, a mark that has been missed with the tone is firmly planted deep into panto territory, perhaps one of the best pantos you will ever see but panto all the same. Jokes for the ‘adults’ are of the ‘give me the clap’ calibre, sucking any whimsy and joy out of the experience, they undercut the earnest, childlike performances that should be the show’s focus. The sets, costumes and digital projections are a joy, they are cleaver and witty, the Cricket puppet is beautiful and the underused nose is fantastic. The songs are enjoyable, bouncing the plot along without managing to be entirely memorable. Much like its title character, Pinocchio needs to decide what it wants to be because unfortunately the result is a show only for those looking to keep the kids occupied. Pinocchio played at the Malthouse Theatre.

“That was just improvised, spur of the moment,” she laughs in recollection. “It wasn’t planned or set-up or anything. It was actually the director’s idea. I was trying to get through the gate, and I sort of stuck my boobs through and he goes, ‘Oh my god, keep that! Do that again!’ and just sort of threw that in there.” Elvira gained iconicity as a gothically-erotic, Morticia Addams-styled horror hostess in TV show Movie Macabre (1981-1993), with her satirical wit and comical charm countervailing her spooky appearance. Elvira’s on screen charisma and seductive costume titillated audiences, enabling widespread popularity of the show. Following several film appearances including a feature film titled Elvira, Mistress of the Dark, the Elvira character swiftly extended beyond cult figure and into the horror mainstream, spawning Halloween costumes, comics, action figures, pinball machines and more throughout the ‘80s and ‘90s. “Elvira’s a combination of three things: sexy, spooky and funny. And I think it’s really equal parts, and I think I attract different types of audiences for each of the different things. I obviously attract the ‘dirty old man – boobs part’ but I attract people who like [Elvira] for the comedy sense, and then I attract the Goths and the horror buffs for the spooky part. So it’s funny how I get this very, very odd fan base that like me for completely different things. It’s not just the people you would think coming out, like horny old guys, it’s the Goths too and it’s gay men and it’s regular families who look normal,” she pauses, “well, on the outside anyway”. “Everything and anything, it’s very bizarre…it’s from little children up to, well I even had somebody so old that they were dead. Somebody’s son brought their dad’s ashes to a signing I was doing recently and he said, ‘My dad always wanted to meet you and he passed away a month ago and I’m bringing him to see you now’, and I signed on this box of ashes: better late than never. “It’s absolutely 100 per cent real. I have a picture signing the ashes. The guy was like, ‘My dad is smiling down right now,

you can’t imagine’”. In speaking with Peterson, it becomes clear that the comedic element of Elvira largely finds its basis in the actress herself, who learned much of her improvisational skills in comedy crew The Groundlings, who also claim alumni such as Will Ferrell and Kristen Wiig. “When you have to host that type of low budget B-[grade] horror films, you’ve got nowhere to be but humour. Nobody can take them seriously that’s for sure. You’ve got to try do something to make them palatable or nobody would watch them anymore; they’ve been around for so many years and people have seen them so many times, that’s sorta the reason we chose to go with [making] fun of them. Elvira will be visiting Australia for the inaugural Monster Fest – which labels itself as a celebration of the “weird and wonderful in the international cult cinema palette”. Monster Fest will feature a hunt for Australia’s next Elvira-influenced horror star, and the winner will become a horror hostess on their website and social media. “One thing that’s really fantastic about playing a character like this is that I look completely different and nobody ever recognises me, so I can go about my regular business and no-one knows who I am, so I have a life outside of the character. I love playing the character because I can get away with murder. I joke people, insult them, anything I want to, and they just think it’s adorable; nobody gets upset. The character is really ballsy and confident; a lot more confident and ballsy than I am in my real life. Fortunately a lot of freedom to just be silly and whacky and sexual and outgoing and stuff that I wouldn’t do in my everyday life. It gives you a lot of freedom to just be really insane and people don’t hate you”. Monster Fest will feature several events running from Wednesday October 31 to Friday November 9. To enter the competition to become the new queen of horror-hosting, check out Monster Picture’s Facebook page. Elvira will be the special guest at Night of the Women, where the finalists for the competition will be judged on Wednesday November 7. Tickets to the events throughout Monster Fest are available from cinemanova.com.au. Premium tickets (where fans will be granted exclusive access and several meet-and-greet opportunities with Elvira) are also available.

FILM REVIEW:

SEARCHING FOR SUGAR MAN BY GREG KING Once again proving that fact is often stranger than fiction, this fascinating documentary about Sixto Rodriguez, a forgotten ‘70s folk singer, unfolds like a musical mystery story. Swedish filmmaker Malik Bendjelloul hails from a background in music videos, having worked with the likes of Bjork and Elton John, and this documentary marks his feature debut. It is obvious that Bendjelloul is passionate about the fascinating story it tells. Bendjelloul spent some four years of his own time and money on compiling the film and tracking down many of the people involved. The son of Mexican migrant workers, Rodriguez was an aspiring Detroit folk singer who looked a little like Jose Feliciano, and who was hailed as an Hispanic Bob Dylan because of his poetic lyrics and songs espousing social consciousness. In the early ‘70s he was approached by an executive from Motown records, and recorded a couple of albums. His debut album Cold Fact bombed, as did the follow up Coming From Reality, and the record company promptly dropped him. Rodriguez quit the music business and returned to working as a carpenter and labourer, toiling away in relative obscurity. Rumours abounded that he had spectacularly committed suicide on stage. But a bootleg copy of his debut album found its way to South Africa, and his protest songs and anti-establishment lyrics struck a chord with the anti-apartheid movement and the push for freedom. It was said that every affluent white household in South Africa at that time owned three records – The Beatles’ Abbey Road, Simon and Garfunkle’s Bridge Over Troubled Waters, and Rodriguez’s Cold Fact. The record was banned by the repressive South African regime, but nonetheless Rodriguez became more popular in South Africa than either The Beatles or The Rolling Stones. Capetown record shop proprietor Stephen Segerman was eager to learn more about the background of this singer. For Segerman, who grew up in the apartheid

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era, Cold Fact was “the soundtrack of our lives. Every revolution needs a soundtrack.” With the help of music journalist Craig Bartholomew-Strydon he began trying to track down the musician using the scant clues offered in the lyrics. He also used the internet to send out a plea for information from anyone who might know more about the enigmatic and reclusive singer. And to his surprise, he heard back from Rodriguez’s daughters in Detroit. Rodriguez was very much alive, working in construction, and unaware of his fame half a world away. This satisfying, well-made and surprisingly uplifting documentary is structured like a detective story, and it keeps audiences in suspense for much of the time as details about Rodriguez’s fate are teased out. Bendjelloul has included interviews with many of the people who had worked with Rodriguez in the early years to provide a fascinating insight into the humble and unassuming man who became a reluctant rock hero. Many of the interviewees express a sense of regret and sadness about his overlooked potential. There is also the mystery of what happened to his unpaid royalties, and a cagey record company executive is clearly uncomfortable addressing this issue. Bendjelloul incorporates some archival footage of those turbulent times in South Africa’s history to give us some context of the era. Searching For Sugar Man screened at the Melbourne International Film Festival earlier this year as part of the sidebar focus on new Swedish cinema. This is a potentially crowd-pleasing documentary that is sure to be a winner when released commercially. The film should also do wonders for the accompanying soundtrack album, which samples much of his music. Searching For Sugar Man will be screened in selected cinemas from Thursday October 4.


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OFFICIAL SELECTION SYDNEY FILM FESTIVAL 2012

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Beat Magazine Page 33


ED BYRNE BY TESS WOODWARD

Irish comedian Ed Byrne has performed at festivals across the globe, appeared on television shows like Conan, done factual broadcasting for BBC, and frankly had a varied and rich career. He now returns to Australia for a few national shows. “The worst heckle I ever got was in Sydney actually”, Ed reflected with amused nostalgia. “The gig went relatively well. This really drunk woman opened one eye and just went ‘blah blah blah’. It was one of the worst on-stage moments of my life.” Thankfully, Ed hasn’t let this experience deter him from revisiting. He proved quite positive overall, often pointing out a silver lining regardless of how thin it was. I assume comedy could be more susceptible to suffering in cultural translation. Ed doesn’t think of the trepidation with international audiences, not even being thrown by particularly drunk heckling Australians. Instead he relishes the effect comedy has on his experience of travel. “The interesting thing about doing stand-up comedy is that it’s a great way to see a country and experience its people. You have to understand the culture of a people to know what makes them laugh.” This is not to say it is nothing but a culturally-enriching experience, performing to audiences of different backgrounds. America won the hardest audience award for Ed. “Things that you assume would work just bomb and it can catch you off guard. Their attitude to things can be in stark contrast to the rest of the world.” The universal themes Ed can verbally capture and create would assist in his finding international audiences conquerable. Women and their need to discuss problems in bed, being a nerd, this is all stuff that a vast array of countries could empathise with. “I didn’t deliberately start talking about more and more nerdy stuff. I actually think that when I started out I made an effort to look quite cool. I guess you just reach a point in your life where you don’t give a shit anymore. You just accept that this is who you are. “Being a nerd was something I didn’t utilise in the past. I guess it’s now a far more prevalent thing. Between Bill Gates and Simon Pegg and The Big Bang Theory, it’s a far more acceptable notion.” Thankfully Ed found his comedy identity, just in time for an award he himself deemed as the “most obscure award in acting”. Ed Byrne was awarded the Best Supporting Actor at the Monaco International Festival of Non-Violent Film. “I didn’t even know I’d been nominated until I got the

award. It’s a shame because I’ve been nominated for things before and I never win. The one time I’d been nominated and could be excited that I’d won, I wasn’t told.” Too often people envision a rather glamorous life for anybody in the entertainment or television business. It isn’t all Oscars and critical acclamation. “I got sent the award in the post and it’s just a framed piece of paper. The glass in the frame was even broken which took the shine off ever so slightly.” Possibly initiating some bad Buddhist karma, Ed would actually not consider himself a fan of non-violent films. “Generally I like at least some cartoon violence.” Ed appeared on the Graham Norton Show with Robert Downey Jnr who had just been nominated for an Oscar. He recalled Robert Downey Jnr discussing his Oscar nomination and decided he should bring up his triumphant acclamation. “It reminded me of a scene from Tropic Thunder where they introduce five-time Oscar winner Kirk Lazarus and MTV Movie-Award winner of best kiss Toby Maguire.” While you can appreciate the sentiment, you couldn’t look at Ed Byrne’s career and be unimpressed. He won a Perrier Award at the Edinburgh Festival; he’s performed on Conan, Mock the Week and so many more. He has also performed at top comedy festivals across the globe. “The Edinburgh Fringe is a big deal for me because that’s where I met my wife.” Ed continued with a list of other perfectly valid reasons the Edinburgh Fringe remains close to his heart. After hearing the first, you can see why that was the only answer he was able to give without getting better acquainted with sleeping on the couch. “I did grow up there too, so I think it’s a good diplomatic answer.” That was indeed well played, Mr. Byrne. Ed also confessed that another revered festival for him personally was the Montreal Festival. The feeling for him was ‘business-like’, setting it apart from all others

he has attended. “It’s the one place where it feels like comedy is taken very seriously. It feels like you could be at an autoindustry convention in the fact that people take your job so seriously. I’m almost expecting somebody to come up and say, ‘Hey did you hear about that comedydelivery system they’re working on?’” Recently Ed has done some factual broadcasting for the BBC. “The money is nice! No I suppose it’s just fun to do while you’re writing your next show. I won’t tour again until next year so I can’t just sit around with my thumb up my ass.” Wise words from a comedy veteran for any young comics. If you thought your years between shows was

Ed Byrne performs at the Athanaeum Theatre on Monday October 22.

FIONA O’LOUGHLIN BY TESS WOODWARD

Comedian Fiona O ’Loughlin has been a regular on Spicks and Specks, Rove Live, Good News Week, and appeared on Dancing With The Stars and Celebrity Apprentice to name a few of her feats. There’s a reason this lady is on high demand. She is sassy, straightforward, and to put it simply: she is sidesplittingly funny. Dancing With The Stars sounded like a particular highlight of her arrant array of television appearances. “I loved every single second of it. It’s the first exercise I’ve done in my whole life. You have to work out with a fit, gorgeous, Adonis, 27-year-old man. It’s the only way you’ll ever get me to exercise again. “I think when you first do stand-up, nothing will ever frighten you as much again. I didn’t get nervous because I never said I was a dancer. What’s the worst that could happen? You could fall over, who cares? Having already done stand-up it’s almost like I’ve seen the fires of hell.” In perhaps a slightly less enjoyable quest and with far less sexy guidance, Fiona also attempted Celebrity Apprentice. She was kicked off the show first, describing the experience as ‘disappointing’ but not an ‘unhealthy amount’. On being disappointed, Fiona said she was mostly dissatisfied at: “not being paid for the next week! But I knew I didn’t have a hell’s hope of getting past week one. That side of my brain just doesn’t activate.” Fiona is indeed more creative than business. As such, I wondered what she thought of education failing to properly nurture creativity, in favour of more academic pursuits. “I think in a hundred years we’ll look back at what we were doing and realise it’s nonsensical. Basically it’s still the same format as it was 100 years ago. They put kids in a room, facing the front, and looking at a board. The world has changed so much since that first classroom was set up, it’s unrecognisable. I don’t understand why we are still hanging on to this archaic institution, it seems crazy.” Fiona admits she personally doesn’t have a magical solution; she will leave it to the academic-types that the education system benefited most. Instead Fiona remains content in telling her kids “the education system is a toothless tiger, don’t let it frighten you.” While her children are encouraged to enrich their lives with creativity, Fiona admits: “it’s hard for your loved ones to see you, it’s pretty terrifying. I’ve heard it all from my children. Generally they argue with me about stretching the truth. It didn’t happen on this date, or it wasn’t that Uncle.” Fiona admitted she felt nervous having her mother seeing her perform too. “My mother was quite critical of me. I remember once she said to me, ‘Why can’t you be more like Joan Rivers?’ I thought why can’t you be less like Joan Crawford?” Fiona’s mother was at least prepared for her career choice. “I don’t think it was much of a surprise for Mum and Dad. There were seven of us but the seven siblings

Beat Magazine Page 34

going to be a pleasurable thumb-filled-ass experience, you are sorely mistaken. Finally I asked Ed if there was anything he wanted to say about his upcoming show in Australia. Ed replied: “oh…. no.” I must admit I wasn’t expecting to see the full stop to his reply quite so soon but Ed left it at that. I suppose Ed’s career really speaks for itself. Why would one bother promoting themselves when they will sell-out audiences regardless?

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just spent our lives trying to make each other laugh, that was our culture.” Fiona’s sister also pursued comedy, launching her career as a comic actress simultaneously to Fiona at the Adelaide Fringe. “Mum and Dad were getting on a bit when they had her. I always liked to say she looks beautiful but she’s basically just made up of old sperm and old eggs”. Describing her sister as a concoction of antiquated eggs and sperm does conjure up an image of familial tomfoolery. This playful nature seems to have been passed down to Fiona’s daughter, who has a show in the upcoming Melbourne Fringe called Funny Rabbits. How does Fiona feel about her daughter now using their relationship as material? “Proud, excited, nervous. I saw her do a show for the first time in Edinburgh last year. “She opened her show with a beautifully, well-constructed joke about me. The comic in me thought it was gold, but the mother in me was thinking, ‘I’m gonna kill you!’ I get it from both sides, I get critiqued and now I get to be a nervous mother as well.” When she isn’t fretting about, or threatening to kill her daughter, Fiona toured with The Divine Miss O. Fiona has decided to opt for more light-hearted material this year, shifting focus to ageing and being “a cranky old lady”. Crankiness as a theme is indeed lighter than her last show, which was about her experience as an alcoholic. Many might assume that such material is psychologically arduous to revisit every night. “On A Wing And A Prayer was completely autobiographical so I could spin it and say it was emotionally draining, but it just wasn’t. They were some of the funniest stories that I’ve got. Every night was really cathartic, I loved it.” Fiona O’Loughlin performs at the Wonderland Spiegeltent on Sunday October 7 as part of the Docklands Arts and Laughs Festival.


2012 MELBOURNE FRINGE FESTIVAL A GUIDE TO UNHAPPINESS: THE MAGIC AND PHILOSOPHY OF SUNNY LEUNIG A Guide To Unhappiness: The Magic And Philosophy Of Sunny Leunig is the creation of The Story So Far co-host Sunny Leunig, a magosopher (a person who practices both philosophy and magic), musician and filmmaker. When describing his production, Leunig laughs and with meticulous thought says, “A Guide To Unhappiness is a show that combines music, theatre and philosophy that has the potential to site your mind to solemn thought.” An apt definition of a play that delves into existential musings from philosophers such as Jean-Paul Sartre, Friedrich Nietzsche and Leunig himself. “It can sound really nihilistic saying that there’s no meaning in life. On face value that can sound quite depressing, but it’s actually uplifting. It’s kind of saying [that] you [should] rebel against the meaninglessness of it and find the meaning to it or create your own,” explains Leunig with a surprising amount of optimism. “Philosophers used to talk about a full life and a full life accommodates sadness. I think that a lot of modern societies think of life just about happiness. It’s the blues that make us human, and happiness makes us human [too]. I think if we examine our lives, there’s a certain sadness there, but it doesn’t have to be a depressing thing, it can actually be an emotion that creates a deeper relationship with the world.” It’s this exploration of life and its contemplation that creates the tale of Guide To Unhappiness, a journey inspired by Leunig’s own European trip in pursuit of

his favourite philosopher’s origins. It takes him from the beginning of Western philosophy in Greece with Socrates to the contemporary philosophies of Albert Camus, who according to Leunig is “technically not a philosopher, but uses philosophy in his writing”. Using existential philosophy in his acts is not a recent development either. Leunig’s fascination with existentialism stems from his university days when he created a short film called Larry The Philosophical Cow. “It was just a guy dressed up in a cow suit among real cows,” jokes Leunig modestly. “It was about a cow that wanted to leave the herd because the other cows couldn’t understand his philosophical views.” This is what creates the empathetic quality of A Guide To Unhappiness, while performer and writer Jono Burns brings a theatrical element that Leunig lacked. “Jono really challenged me in the drama or dialogue aspect,” admits Leunig, explaining that Burns’ contributions brought a more refined structure to the production. “I’ve done shows as a magosopher before and it’s more me talking to the audience, whereas, Jono’s contribution is his characters that I [can] bounce off.” This addition also allowed Leunig and Burns to create a more credible realm where the audience’s imagination creates the setting, dimension and time. “[We used] interactions through the other characters mainly [to create the setting], but I’m also story-telling to the audience as well. The drama is played out through flashbacks. We’re

ROYAL RUMBLE 2012 Hola hombres! Fringe time is falling fast and we need the hottest of hot tamales to participate in the grandest of Grand Finales! The gamest of the game to the lamest of the lame because it’s back and we want you in Royal Rumble 2012! If you weren’t here last year, you’re probably still kicking yourself (if you can bend that far) as Royal Rumble was and is the biggest smack down performance entertainment extravaganza of the year! See the best of the Fringe Arts performers battle it out in a no-holds-barred epic wrestling tournament. Take out your frustrations on your favourite producer or the act you love to hate in a full sized WWF Wrestling Ring! So don’t pull your hair out...Let someone else do it! Get ready for the ultimate in circus, burlesque, vaudeville and violence. So if you want to leap, lift, twist, twirl, bounce, burn, bust, balance, punch, perch, stretch, strip, spaz, spin, swallow, suspend, cavort, contort, drop, drag, dance, fart, flame, fly, flop, flip, hump, hug, heave or whore your way to glory then please email eden@redbennies.com and tell them what you are thinking of doing.

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really going minimal with it. It’s not prop driven.” Then where does the magic come in? All magical parts of the play are interspersed throughout and consist of magic tricks learnt or created by Leunig, including ones that his Bulgarian gypsy aunt taught him as a child. Though he never intentionally set out to become a magosopher, he explains that his connection with his aunt caused him to fall into the title through his love of magic and philosophy. “I always to myself as a hapless, awkward magician and not like a David Copperfield; I’d like to think it’s a little bit more poetic with the philosophy side there as well.” It’s this philosophical and magical blend that creates a versatile, unique eccentricity that is A Guide To Unhappiness: The Magic And Philosophy Of Sunny Leunig.

Venue: The Lithuanian Club, 44 Errol Street, North Melbourne Dates: October 6 - 13 (Except Monday October 8) Times: 6.45pm (Sunday 5.45pm) Tickets: Full $20, Conc. and Tuesday $15

SLOW CLAP: TRUTH

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Venue: Red Bennies, 373 Chapel St, South Yarra Date: October 14 Time: 7pm Tickets: Full $18

THE IMPROV CONSPIRACY: THE HAROLD The Improv Conspiracy are bringing Chicago-style longform improv to Melbourne with The Harold! Developed in 1967 by legendary improviser Del Close, (teacher to Tina Fey, Amy Poehler, John Belushi, Mike Myers, Stephen Colbert, Bill Murray et al), this freeform performance allows improvisers to explore all kinds of themes in this hilarious piece. In a typical Harold performance, a team of improvisers create a 30 minute performance off a single suggestion from the audience, all completely improvised. Yes, really – 100 per cent totally improvised. Any number of weird and wonderful themes and concepts can be covered via comedic scenes, physical group activities involving the whole cast, personal truthful monologues, and even the occasional completely improvised song. Two birds discussing which people make the best targets to poop on? A fox who makes a Hannibal Lecter-esque transformation after killing geese for pleasure? The most upbeat, nicest pimp and prostitute you will ever meet? Anything is possible in the format that could only be described as “controlled chaos”. All The Improv Conspiracy players come from a variety of backgrounds, many having trained in some of the best schools and troupes in Australia and the US (The Big Hoo Haa, Second City, UCB, iO West), while others have come from drama and musical theatre -

BY AVRILLE BYLOK-COLLARD ARD

there are even a couple of n00bs who started performing this year! Each of the shows at The Croft Institute will feature two Harold performances with different casts. No two are the same! Venue: The Croft Institute, 21 Croft Alley, Melbourne Dates: October 3-6, 10-13 Time: 8pm Tickets: Full $15, Conc. $10

Truth is the latest critically acclaimed physical/dance/ character comedy from Australia’s hottest experimental comedy/art makers Slow Clap. Having just returned from a breakthough season at the Edinburgh Festival Fringe and on the back of a sold out season at the Melbourne International Comedy Festival, Slow Clap are presenting Truth for one week only as part of the Melbourne Fringe. In this follow-up to last year’s smash hit, the heartwarming alternative comedy The Hermitude of Angus, Ecstatic, Slow Clap present another full-throttle mix of storytelling, character comedy and dance. Employing his signature style of narrative physical comedy, multi-award winning performer Vachel Spirason stars in this fast-paced production that combines yarnspinning, lunacy and disco. Co-created by multi-award winning theatre-maker Stephanie Brotchie, Truth is a must-see this fringe. Venue: Lithuanian Club, 44 Errol St, North Melbourne Dates: October 3 - 5 Times: 7.45pm Tickets: Full $20, Conc. $17

2012 MELBOURNE FRINGE FESTIVAL 26 SEP – 14 OCT Tickets selling fast at melbournefringe.com.au BEAT B A MA MAGAZINE’S N S FRINGE R G FESTIVAL T A G GUIDE D 2012 2

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2012 MELBOURNE FRINGE FESTIVAL SPONTANEOUS BROADWAY: JUBILEE!

Spontaneous Broadway is back at Fringe, 12 years on from its original debut at the 2000 Fringe Festival. Over a decade of made-up musicals has produced countless only seen once classics. “A young girl who was nine wrote the song title, ‘IKEA is the gutter that drains my soul’, because she has been dragged around IKEA that morning with her parents,” explains one of the shows founders Russell Fletcher, most recently seen in the Yes Prime Minister stage show. “That became a musical set in IKEA. Her parents swore that they did not coach her in composing that song title. We call the bucket (where the audience places song suggestions) the bucket of dreams, and we get so many great ideas. The generosity of the audience coming in a sharing is wonderful and they get to experience what it is like to be a songwriter. It creates a great spirit. Every show is a brand new show.” So how does an improvised musical actually function? The set up of the show is this: the audience all put their ideas in a bucket and the performers go through the ideas, turning them into songs. They each pitch their songs to the audience. They improvise the song and set up the story of the musical. The audience votes on which one they want and that’s the first half of the show. The second half is the musical itself. “The danger of it, it could collapse into chaos and meaninglessness at any moment,” Russell laughs. “The show is fantastic because in a way I am a safety net, in the second half I direct and narrate the musical, so I poke the story along in different directions. Also I am a mean, Machiavellian puppeteer, who makes sure if the actors are getting too comfortable I challenge them. We also get a lot of fun out of the improvisers trying to rise to the challenges that myself or an audience member has written down.” Spontaneous Broadway has a core cast of four performers as well as an all-star guest list of cameos on any given night. “Over the last few years we have evolved a bit, with some fantastic people who either have a comedy background or a musical theatre background or an improvisational background or a combination of those skills,” says Russell. “It is an exciting time, we have been workshopping with people like Brent Hill, who was in Rock of Ages, musical theatre

BY JACK FRANKLIN

star Sally Bourne (Moonshadow), Gillian Cosgriff a WAAPA graduate who is a singer-song writer, Mike McLeish who was Keating in Keating! The guy who wrote Keating! The Musical Casey Bennetto, will be featuring with us in the last weekend. He is amazing, he is a fantastic comic performer, he has also done John’s role as the musical director, but he also appears as Chooka the great Australian rock and roll musical roadie. “Cal Wilson, who everyone should know about, a fantastic stand-up performer and improviser. Emily Taheny, the last thing she did on TV was Shaun Micallef’s Mad As Hell, she has done a lot of sketch comedy and is an amazing performer with a beautiful voice. One of the improv gods of the world, Rik Brown is a staple performer with us these days, great to watch. And Andrew McClelland is the fourth core member of our team for the Fringe, he has been a very solid performer in the Melbourne Comedy and Fringe scene over the last ten years and he is looking very trim.” Other guests lined up include Scott Edgar (Tripod), Marney McQueen (Hairspray!), Amanda Buckley (Impro Australia) and George Kapiniaris (Il Dago, Underbelly). Given that songs are being made up on the fly, one can assume that there is a fair bit of rhyming knees with please, the oldest rhyme in rock’n’roll. “There is a lot of rhyming work with jerk,” confesses Russell. “We try not to be too original and too clever because we will only fail, so what we try and do is have a really fantastic time and make sure our team mates are as well. We try and challenge ourselves as much as we possibly can. We throw each other dodgy rhymes, rhyme with orange, rhyme with chimney. See if you can rhyme with petulant. We throw those at each other and sometimes to ourselves, sometimes you open your mouth and you don’t know what you are going to say, then something comes, it’s very exciting. The feeling of love that is in the room, the audience are on the roller coaster with us, we are making it up on the spot, living and dying by our wits. So I love that experience, it is unique to improv. For me it is entertainment for everyone. I believe the show should be able to entertain everyone in the room, from every demographic, it’s not elitist. If you hate musical theatre you will love the show, you will just delight in the skills of the performers and the heart they have.” Venue: Lithuanian Club, 44 Errol St, North Melbourne Dates: October 3 - October 7 Times: 7.30pm (Sunday 6.30pm) Tickets: Full $28, Conc. $22, Tuesday $20

BLOODLINES: A GOTHIC CABARET A Halloween-flavored delight, come on this musical joyride through realms of nightmare and horror with your innocently demonic guide Bradley Storer. In this gothicindie cabaret, Bradley will take you on a sidesplitting and pants-wetting tour through the dark tales dug up from the crypts of his own family history. A show for lovers of horror and dark cabaret, the angelically demented Bradley intertwines these twisted tales with songs ranging from Nick Cave and Tom Waits all the way to Rodgers and Hammerstein and Kylie Minogue. Just remember: it’s only a story.

Venue: The Butterfly Club, 204 Bank Street, South Melbourne Dates: October 11 –14 Times: 7pm (Sunday 6pm) Tickets: Full $23, Conc. $20, Group $18

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MAN VS WILDLIFE This world premiere of Man vs Wildlife is an adults only stand-up comedy show with a difference. The audience will have a chance to hold and touch LIVE animals, while learning about their plight for survival in our fragile environment. But this educational conservation conversation is cleverly camouflaged by music, storytelling and good old fashioned stand-up comedy as written and performed by Triple J’s RAW Comedy State Finalist, Darren Lever. Watch Darren rock out with his croc out!

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Venue: Broken Mirror Productions, Upstairs 2C Staley Street, Brunswick Dates: October 3-6, 9-13 Time: 8pm Tickets: Full $18, Conc. and Tuesday $15, Group $12

FUNNY RABBIT

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Bill hasn’t always been a stand-up comedian. He used to be a full-time pet rabbit. Before that he was just an ordinary bush rabbit. One day, he crawled out of the rabbit hole and fell into the world. Into the darkly demented world of stalkers, scotch and punch lines. Now he’s stuck and he’s not even nocturnal. Written and performed by Biddy O’Loughlin, Funny Rabbit is one of the hidden gems of the Fringe this year. Venue: Lithuanian Club, 44 Errol St, North Melbourne Dates: October 3 - 13 (except Mondays) Times: 8pm (Sundays 7pm) Tickets: Full: $15, Conc. $12, Group and Tuesday $10

REVIEW: TEGAN HIGGINBOTHAM: MILLION DOLLAR TEGAN BY NICK MASON Petite comic Tegan Higginbotham returns for round two of her acclaimed Melbourne International Comedy Festival show, Million Dollar Tegan. Armed with an engaging story, the hilarious Higginbotham impresses from start to finish. Higginbotham presents an endearing tale of blind ambition, laying bare her first ever brush with pro-boxing. Citing Higginbotham’s slight frame and eminent warmth, few would suppose her interest in the sport, let alone her merits as a competitor. Higginbotham herself even stoops to address the fact that she’s no raging bull. But then that’s why Million Dollar Tegan works so well: it’s an underdog story. It’s a show of candid trepidation, with Higginbotham’s honesty ensuring  an intimate one-to-one vibe with her audience. It’s easy to empathise with the peaks and troughs of Higginbotham’s journey, from her gym’s sickening training regimes to her first bout nerves. Of course, Million Dollar Tegan is charged with an abundance of hearty laughs, Higginbotham’s comedy seamless and selfassured. Fittingly, her comedic repertoire mirrors the skill-set of your average boxer. Higginbotham, astutely aware of her affable presence, is sure to land light jabs of blue humour to keep proceedings fresh and surprising. Her playful

FUNNY RABBIT

endeavour to test the level, as well an apparent love for pop culture, help to enrich an already amusing and engaging narrative. Her avenues towards laughs are many and varied, making for a consistently entertaining hour of comedy. Venue: North Melbourne Town Hall, 521 Queensberry St, North Melbourne Dates: October 3 - October 13 (Except Mondays) Times: 7.45pm (Sunday 6.45pm) Tickets: Full $20, Conc. $18, Tuesday and Group $15

BLOODLINES A GOTHIC CABARET

“Behind every comic genius is a psycho”

The Butterfly Club

The Loft, Lithuanian Club 28th Sept - 13th Oct

(not Mondays)

Thursday 11th October - Sunday 14th October 7.00pm, Sun 6.00pm (60min)

8.00pm, Sun 7.00pm (60min) Full Price: $ 15, Concession: $ 12, Tuesday: $ 10, Group: $ 10 (per person for 4 people)

3 36

Full Price: $ 23 | Concession: $ 20 | Group: $ 18 (per person for 8 people) BEAT AT MAGAZINE’S A N ’ FRINGE R F FESTIVAL ST V G GUIDE 2 2012 1

Photo: Steve Edwards

Fringe Hub -


ICEHOUSE BY LEIGH SALTER

For Iva Davies, the clichéd mullet and leather jacketed ‘80s Oz-rock persona was something of a false image. The Sydney-based multi-instrumentalist, while writing future classic singles for his band Flowers in the late ‘70s, was moonlighting as a bowtied oboist in a symphony orchestra, in order to give himself options. “I was living a real double life back then!” In the coming years, Davies, would find himself front and centre of one of the most successful rock bands in the country, before disappearing without a word in the mid-‘90s. Equally unexpected was the break in Icehouse’s 17 years of relative silence, when in July last year, an unannounced ‘secret’ gig at The Espy, was swamped by hundreds of fans who’d turned up in the hope the rumours were in fact true. The huge response soon prompted further dates being booked, and ultimately led to a tour in celebration of the respective anniversaries of the band’s two biggest albums: Primitive Man and Man Of Colours. Before the so-named Primitive Colours tour hits town, Iva looks back at the songs that made him a household name and tells why he decided to make such an understated return. “Part of the reason we did that show was basically to see if there was still interest in the band.” he admits. “Before that show, I really wasn’t confident at all but when the word got out that the surprise guests were us, there were lines around the block, which was a huge relief,” Davies recalls. “It was also quite appealing

playing a proper pub gig again. It was a bit of a return to our roots as well.” After Icehouse called it quits in 1995, Davies, holed up in his home studio, threw himself into writing scores for the Sydney Dance Company and a Millennium performance piece called The Ghost Of Time which centred around an updated version of the Icehouse classic, Great Southern Land. For all intents and purpose though, it seemed as if Davies had suddenly turned his back on Icehouse and pop music in general. “Playing in a band is actually a very gruelling lifestyle,” he reasons. “I’ve always needed to offset all that by grabbing as much quiet time as I can in order to work, which means pulling the phone out of the wall just so I can avoid any distractions. That’s always how I’ve made music, whether that’s pop or film scores,” he adds. “I look at someone like Prince, who I know for a fact had a studio on 24 hour stand-by while he was in Sydney a few months ago, just in case he had an idea for a song but for me, I’ve never been able to stop and start the process at will. It’s a bit of fragile bubble that once broken can never be regained.” His method of musicmaking, no matter how isolating, resulted in a tonne of

credible hits throughout the ‘80s. Radio in particular loved Icehouse so much that, based on playlists alone, one would have assumed they were the most popular band in the country for a time. Davies’ memory of such support however is less than enthusiastic. “I never wanted to be known as the ‘Electric Blue guy’,” he laughs, distancing himself somewhat from the 1987 single. “That song was actually our only number one hit in Australia, but it wasn’t what I thought best represented Icehouse as I saw us. Although it is the song that I still get asked about more than any other even to this day.” In truth, second album, 1984’s Primitive Man was Icehouse’s first real mover on the local and overseas charts, however label doubt over the finished product’s hit-potential pushed Davies into an unexpectedly rewarding situation. “The American record label, who wanted to push the Primitive Man album, sent us back to the drawing board because they didn’t think we had a hit single on there,” he explains. “Basically I ended up sleeping on the floor in Giorgio Moroder’s studio – who was of course this massive disco producer in Hollywood, where we had recorded most of the album – and in the wee hours, using this guitar with a missing string, I wrote Hey Little Girl, which became our first international hit.” Talk of Moroder prompts Davies to confirm his allegiance to the rock world. “I was never a disco fan at all. Led Zeppelin and T-Rex were what I really was into at the time.” As it happened, it was during the same year Moroder was enjoying success with the uber-cheesy Together In Electric Dreams, that Icehouse delivered what would become their signature single and sure-fire Oz anthem – the haunting Great Southern Land. “That song went through quite a number of changes before it was completed,” Davies recalls. “I remember the producer on that track had just done Billy Idol’s Hot In The City, which was a

massive hit record at the time, and he replaced all of my synth parts with live drums and so on, and basically make it into like a big Billy Idol-type production piece, but it was just awful. But the finished version you know today was basically the untouched demo that had taken me around two hours to mix and complete and it ended up becoming this massive thing that has become our real defining moment. I really was disconnected with what it was people seemed to love about that song at the time though. I just thought, well I’ve written a song about Australia and so I had better not screw it up.” ICEHOUSE headline the Trevor Festival, taking place on Saturday January 12 on Churchill Island (Phillip Island), playing alongside Ash Grunwald, The Bamboos, Sweet Jean and more. The Primitive Colours tour comes to Melbourne’s re-jigged Hamer Hall on Monday November 5.

BRITISH INDIA BY JOSHUA KLOKE

Declan Melia and Nic Wilson sit across from me in one of the more posh boardrooms at the offices of Mushroom Music. The guitarist/vocalist and guitarist for local act British India shift in their seats, taking some time to become comfortable in their new surroundings. Long accustomed to setting up shop in crowded, sweaty pubs, British India’s recent signing with Mushroom means the band are beginning to see their hard work pay off. Three albums in, British India will be releasing their new record with Mushroom, and it may very well mean the start of a new chapter for the garage-pop foursome. “We’re chin-deep in the recording of our new album,” says Wilson, “and we’re looking at a release early next year.” “There’s a lot more people to deal with now,” says Melia. “There’s a lot more people that have to put a stamp on it, for better or worse.” “So far, so good, though,” adds Wilson. “We’ve never been anti-label for the sake of being antilabel. It just took us awhile to find the right fit. We did that for years, release albums without labels and that sort of thing,” confirms Melia. “We then got to the point when you know what kind of result you’re going to have when you release an album yourself. And this time around, we thought, ‘Well, let’s see what happens when we release an album with someone else,’” concludes Wilson. When British India do indeed release their new record, fans can expect some of the more eclectic material that the band’s ever released, as evidenced by the recent

single, I Can Make You Love Me. It would be easy to connect the dots and assume that British India’s relatively new sound can be attributed to their new label, however both Melia and Wilson insist that’s not the case. “We felt like we could probably get away with something a little darker, a little different this time around,” says Wilson. “More so, it was probably necessary for us to try something new. I don’t want to say more advanced, but something new,” he continues. While they insist they’re proud of Avalanche, their 2010 full-length, there’s hints dropped throughout our 20-minute conversation that their newest record will indeed bring a different sound. However, it’s never been the intention of the band to change direction whenever they feel like it. Now slightly slumped in their chairs the two insist, rather casually, that they never set out to map new sonic landscapes. “There was never a credo,” says Melia. “You never really choose what to write, it sort of chooses you, doesn’t it?” says Wilson. “We never sit down and say, ‘(mocks enthusiasm) Alright, it’s hit time boys!’”

Instead, British India take a different approach. The band sees themselves as workaholics when it comes to the writing process. They’re constantly penning new tracks; case in point, when asked how big the pool of songs they had to work with on this new record was, both Melia and Wilson roll their eyes and laugh. “Too many to count,” they say, nearly in succession. “The writing process is different for us, as we’re always just writing songs. Even when we stop, collect a few songs to go on the record, we’re still continuing writing for whatever happens next,” continues Wilson. “There will be songs on this record that we’ve written before Avalance came out,” notes Melia. You have to wonder then, that if they weren’t told when to stop, British India may never finish writing. It’s a notion that isn’t lost on the band. “We basically get told by the powers that be — the beings above — to stop writing and recording,” jokes Wilson. “We’d never get anything done otherwise,” adds Melia with a smile. The constant gigging that the band does, throughout cities and towns big and small in Australia hasn’t hurt

the band’s songs either. In fact, for British India, it keeps things fresh. “There’s still a lot of leverage,” says Melia. “This record, the one we’re working on right now, it feels like our first record, in that we’re really road-testing the songs. If you would’ve asked us what this record was going to sound like a year ago, we would’ve had a very different answer to how it’s sounding now.” The continued evolution in the band’s sound means the best of British India may be yet to come. With a new label in tow and a new album on the horizon, it won’t be long before the band is on the road again, where they find themselves most comfortable. Because it’s there that they are truly able to call their own shots. “British India can be pretty stubborn,” admits Wilson. “We’ll listen to what other people have to say, but we’re not unaccustomed to just putting our foot down. We’re not too proud to be self-critical.”

on their fan base, but Butler has never been that sort of artist. “My base is quite different,” he admits. “My opinion has always been very integrated into everything I do so I guess I have less to lose on that front. There is a great quote by someone, I always forget who said it, ‘Never underestimate the power of a small group of committed people to make a great change on this planet. In fact, it’s the only thing that ever has.’ It’s really true, it’s not musicians or politicians or millionaires that can make a difference, it’s individuals. The individuals who are making a big difference up in the Kimberley are a group of very committed people who want to protect their land and culture and it’s not for any political reasons, it’s just for common sense reasons. They love how beautiful the place is and they don’t want it destroyed by fly-in flyout cultures and by mining companies that don’t really have any respect for land or culture. No one will ever know the names of those people and they are doing massive things.” The event is designed to generate support for those opposing the short-sighted project with a view to influencing the government’s approval. According to Woodside’s 2012 Half-Year Shareholder revue, they have already enjoyed an $812 million profit for 2012 but these

are all just facts and figures with lots of zeros, intangible to most. Killing turtles and dolphins and wasting water while abusing finite resources – that’s tangible. At the end of the day, it seems essential to ask Butler whether he worries that he is merely preaching to the choir. “That is always, you know, the concern,” he admits. “I do get interested in who’s gonna be in the lineup because if you have too many like-minded bands on the bill then you’re going to bring a like-minded audience and you’re not going to be reaching anyone new. I try to keep it diverse, I’m aware of it, and I think that’s the reason why it’s free. Hopefully it won’t be just fans but people who want to be a part of a musical event about something that they may have heard about on the wind and they’ll get to find out even more. You’re always going to have the issue of preaching to the converted but small things make a difference and if you [and] 20 people are turned on and educated (and I think it’ll be much more than that), then we’ve done our job.”

BRITISH INDIA roll into The Corner Hotel on Friday October 19. They also play Queenscliff Music Festival, taking place from Friday November 23 Sunday November 25.

CONCERT FOR THE KIMBERLEY BY KRISSI WEISS Music and political issues have been intrinsically linked since the dawn of the melody but ascertaining exactly what influence artists have is difficult. John Butler and his Trio along with Clare Bowditch will perform a free concert in Melbourne’s Federation Square to raise awareness on the James Price Point gas factory set for construction on the pristine Kimberley coast of WA. Missy Higgins will send a message of support during her tour of the US and former Australian Greens leader Dr Bob Brown will address the crowd. The issue is simple — and simultaneously daunting. Woodside (with commercial partnerships established with BHP Billiton, Shell, Mitsubishi and Mitsui once the project is up and running) want to build Australia’s most expensive industrial development (with cost estimates ranging from $30 billion to $50 billion) along the Kimberly coast. The coast is a nursery for the world’s largest Humpback population and is home to a startling amount of endangered species. The Northern Kimberley is the only region in Australia with no recorded mammalian extinctions (yet) and sits on the Aboriginal song line. The project – 30 billion litres of effluent will be pumped into the ocean from the proposed plant, will cover 2,500 hectares, require the dredging of 34 million tonnes of seabed leaving a marine dead zone of 50 square kilometres and will use up to eight billion litres of fresh water a year. It has not yet been approved by Federal parliament and there are alternatives that are far more viable. Butler states that he is not opposed to mining, a box

that anyone who opposes obviously environmentally destructive mining activities is shoved into, but that he vehemently opposes this project based on common sense. Mining may be Australia’s greatest economical export and people argue that without it, we couldn’t pay the bills. However, if your child is a prostitute and that was their only way of paying the bills, they’d probably be advised to enter another industry. Butler is idealistic when it comes to projects such as these and laughs off the suggestion that it is strange to interview an artist when they aren’t selling something. “How refreshing,” Butler begins with laughter. “Art is an expression of our opinions and our point of view. I understand why people don’t want to be political. Speaking about politics of and by itself is a little bit boring. But when you speak about life – life is political, life is spiritual, life is economical – it’s so many different things. I don’t know if you can separate them.” Some musicians avoid the political realm and the world of social commentary, afraid of the impact it will have

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

CONCERT FOR THE KIMBERLEY will kick off at 6pm at Federation Square on Friday October 5 with John Butler Trio and Clare Bowditch. It’s free too. Beat Magazine Page 53


INDUSTRIAL STRENGTH MUSIC INDUSTRY NEWS & GOSSIP

with Christie Eliezer * Stuff for this column to be emailed to <celiezer@netspace.net.au> by Friday 5pm KYLIE BEATS KYLIE AT HELPMANNS

THINGS WE HEAR

Kylie Minogue’s Kylie Aphrodite Les Folies Tour 2011 beat Minogue’s other Anti-Tour at the Helpmann Awards for Best Australian Contemporary Concert. Also in the category were Cold Chisel and Keith Urban. Prince’s Welcome 2 Australia show took Best International Contemporary Concert over Foo Fighters, Roger Waters and Sade. Tasmania’s MONA FOMA won Best Contemporary Music Festival over Bluesfest, Future Music and Vivid Live. The JC Williamson Award for outstanding contribution to the industry went to the late Dr Jimmy Little AO and arts publisher Katharine Brisbane.

* Mötley Crüe drummer Tommy Lee let slip that Crüe and Kiss will tour Australia together early next year. Joe Perry confirms Aerosmith definitely have Australia on their world tour in 2013. * Is this tour exhaustion talking? Bon Iver’s Justin Vernon told US radio that he intends to “wind down” the band explaining, “I really feel the need to walk away from it while I still care about it.” The band’s management later explained Bon Iver will just take a break after a two-year world tour. * Sydney’s Annandale Hotel used the wonderful world of social media to hunt down two Einsteins who broke in at 6.30 am. They stole $5,000 from the till, nicked a bottle of Midori [liqueur] and then sat down for ten minutes to have a beer and a banana Paddle Pop. All this time the ‘Dale’s security cameras were recording their faces. They’ve turned themselves in. * The Russian priest who defended punkies Pussy Riot has been defrocked by Russian orthodox church. * Ricki-Lee Coulter still spinning over the fan who got her autograph on her body and then got it tattooed. “Can’t believe it!” she spluttered on Facebook. * Channel [V] screens a special on Parklife 2012 on Sunday October 14 at 5pm. * Paul Heaton’s tour in mid-Oct cancelled due to “personal circumstances.” * After 15 years and 350 shows, 78 Saab are calling it a day. * Looks like the producers of the Cosmic Psychos’ doco who’ll finish off filming at the band’s rare show at the Tote on Friday November 2 will get better footage. A second show was announced, for Saturday November 3, after the first sold out.

ANOTHER DANCE FESTIVAL FOR AUSTRALIA Another overseas dance festival is looking at staging early next year. America’s Lights All Night has teamed with Australia’s Chugg Entertainment to stage here. The city and dates are still being worked out. Now in its third year, Lights All Night runs Dec. 29-31 in Dallas with a bill including Tiësto, Bassnectar, Nervo, Crizzly, Avicii, Dallas’ Play-N-Skillz and Calvin Harris.

GREEN DAY: WHAT CAUSED THE MELTDOWN? What sparked off Green Day singer Billie Joe Armstrong’s public meltdown in Las Vegas which led to his going into rehab? After a year on the wagon, he was drinking heavily on the day of the iHeart Radio Music Festival, according to drummer Tres Cool’s ex-wife Claudia Suarez Wright in a radio interview. “In Las Vegas there’s a lot of temptation to drink and it’s tough to be around when you’re fighting against it,” she said. Green Day had their 45-minute set cut by 20 minutes to make way for Usher. A screen popped up to say they had a minute left. He screamed, “Give me a fucking break. One minute left! You’re going to give me fucking one minute. Let me tell you something – I have been around since 1988 and you’re going to give me one fucking minute! I’m not fucking Justin Bieber you motherfuckers!” He smashed his guitar and stormed off.

LINKIN PARK STORM YOUTUBE Linkin Park became the first rock band to achieve over one billion hits on YouTube, through their LinkinParkTV channel. Their 2009 single New Divide notched up 131 million views alone. Red Hot Chili Peppers and Green Day are the next biggest rock bands on YouTube, with 327 million and 245 million views respectively on their channels. Lady Gaga was the first artist to hit one billion in 2010, but she has been beaten by Justin Bieber (2.8 billion) and Rihanna (two billion).

KATH LETCH RETURNING SOUTH After her two year contract as General Manager of Community Broadcasting Association of Australia (CBAA) Kath Letch will return to Melbourne. She will stay at the CBAA until a replacement is announced in early 2013.

THOMAS HEADS FOX, TRIPLE M Cathy Thomas is new General Manager of Fox FM and Triple M in Melbourne to replace Ben Amarfio who quit to take up a position at Cricket Australia as General Manager of Marketing, Digital and Communication. Meantime, Fox is losing its afternoon presenter Tim Lee, who says he’s leaving after three years (and ten years with Austereo) “to avoid getting stale.”

THORNBURY SIGN MONEY FOR ROPE Thornbury Records will issue Money For Rope’s debut selftitled LP in early November. It is the first album release for the vinyl-only label which launched in April and released singles by Damn Terran and River Of Snakes. The album was produced by Steven Schram (The Vasco Era, Devastations, Little Red). Label owners Meg & Clay said, “We were blown away when we first heard it, it’s such a world-class release. They’ve certainly come a long way from their 2am generator party set at Boogie festival a few years back!”

MAUBOY, GURRUMUL, YUNG WARRIORS WIN AT DEADLYS In the music section of the indigenous Deadly awards, Jessica Mauboy won Female Artist Of The Year while her Galaxy took Single. This year instead of her hair stylist, Mauboy brought her mum and thanked her “for allowing me to be who I am.” Other winners were Gurrumul Yunupingu (male artist), Last Kinection (band), Troy Cassar-Daley (album, for Home), Yung Warriors (hip hop), Marcus Corowa (new talent) and Thelma Plum (Sydney Opera House). The Jimmy Little Award for Lifetime Achievement went to The Sapphires screenwriter Tony Briggs and the Original Sapphires. APRA took presented its APRA Song of the Year award to Busby Marou’s Biding My Time for earning the most APRA income by an ATSI songwriter.

PURPLE SNEAKERS LAUNCHES NEW LABEL Club promoters and DJs Purple Sneakers launched a digital singles-only label, exposing the sort of new music they expose in their clubs (in Melbourne, Canberra and soon, Sydney) and blog which introduced The Rubens, Alpine, Rufus and Elizabeth Rose to the 50,000 to 60,000 who hit the site each month. “We’ll release the sort of music we’d play in our clubs,” says founder Martin ‘PhDJ’ Novosel. The first release is by Purple Sneakers DJs.

FUTURE ENTERTAINMENT LAUNCHES ‘FAN’ INITATIVE Future Entertainment, who run the Future Music and Summadayze festivals, as well as numerous club tours, launched an initiative called Future Fans. Consumers sign up to futurefans.com.au. They promote the festivals and events to friends and family through social media and other networks. In return they get cash through commission, and reward points which get them CDs, tickets, artist-meets merchandise and other prizes including holidays and a car. Future Entertainment Director Brett Robinson said Future Fans not only provided a new way to purchase tickets to their events but allowed them to earn cash and get prizes. “We also believe that loyalty should be rewarded. Our festivals wouldn’t be possible without the positive support of our fans so it’s fantastic to be able to give something back to them.”

ROAD CREW REUNION

OXFORD ART FACTORY. MARQUEE, LIFTS THE BAR

A reunion of all road, rigger, lighting and sound crews who worked in the industry before 1982 is being held in Melbourne on Monday November 26. The response has been overwhelming. Already about 130 from around the country have confirmed they are attending, some flying in from America and Asia. Ian Peel, one of the organisers, tells this column, “We as a collective were an important part of music legacy, and that must be remembered.” If you were a roadie from that era and want to attend, Peel is at ichibantuna@hotmail.com.

Oxford Art Factory was lauded as venue with Best Music Offering at the Australian Bar Awards. It beat out fellowSydneysiders The Standard and Upstairs Beresford, Melbourne’s Corner Hotel, Survivor! Club of Legends, The Toff of the Town and Blue Diamond, and Perth’s Ellington Jazz Club. The awards were held in Sydney. In the Nightclub category, the Marquee took the honours from Sydney’s Ivy Saturdays, Kit & Kaboodle, Melbourne’s Survivor! Club of Legends, Eurotrash and Eve, and Adelaide’s Liimbo.

NOMINEE

Q&A

Michael Chugg’s Chugg Entertainment has been brought in by Sydney’s Homebake promoters IMC and Village Sounds to co-produce the December event. “Right now in the live market our local acts are doing as strong business, in some cases even better, than some international acts – so it’s a great time to get involved,” said Chugg. “There is so much love for this festival and we just can’t wait.” Chugg and Homebake previously collaborated on charity events as Wave Aid, Live Earth and Sound Relief.

ARIA PREPS FOR FINE ARTS, ARTISAN, ANNOUNCEMENT ARIA announces winners of the Fine Arts and Artisan categories on Wednesday October 3 when it will also announce the nominations for the remaining genres. Fine Arts covers the best albums in classical, jazz, world music and soundtrack. The Artisan division is for producer, engineer and cover art. The cover art sees Gotye’s father Frank De Backer for his work on Making Mirrors, and late photographer Rennie Ellis for the print he gave for the cover of Oh Mercy’s Deep Heat. See ariaawards.com.au for full list.

GALLAGHER VS BRAND Good buddies Noel Gallagher and Russell Brand have been winding each other up in public. It began when Gallagher left a message on the comic’s answering machine after the Olympics, “After two weeks of glory, to have left it to a junkie in a top hat to murder The Beatles to round off what was a brilliant celebration of Great Britain.” Brand plays the message at his shows each night before calling Noel’s home to leave this message, “Murdering The Beatles? At least I didn’t dig ’em up and base my career on ’em!” Gallagher had the last say about his fling with Geri Halliwell: “At least I’m not shagging Geri. I mean, out of all the Spice Girls – not Ginger!”

MURPHY NAMED JAZZ YOUNG ELDER Tamara Murphy and her band Murphy’s Law have received the second PBS Young Elder of Jazz Commission. It promotes innovation and excellence in jazz composition by a Vic artist under 35. The Commission provides $10,000 to create and present a new work to be broadcast on PBS and premiered at the 2013 Jazz Festival. “The PBS Commission enabled me to take my idea for a composition and develop it onto the stage,” Murphy said. “This has been an amazing experience for me as well as great exposure for my band.” Applications for the 2013 Commission close Wednesday October 31, details on the PBS site.

THE HERD ZIP IT The Herd are zipping it (being silent) for 24 hours on World Mental Health Day (Wednesday October 10). It is a new campaign to raise awareness for mental health with funds divided between Black Dog Inst, headspace, Lifeline & Suicide Prevention Australia. The Herd’s fundraising page is at zipit.org. au/page/view/53398, or go to zipit.org.au.

WANNA DJ AT DAPPLED CITIES’ GIG? Dappled Cities are offering a DJ in each state the chance to spin tunes at the shows on their Lake Air tour. Fire up your Spotify account and upload your Lake Air DJ set playlist to the Dappled Cities Facebook page.

NEXT WAVE PARTNERS WITH JUMP MENTORING The Australia Council appointed Melbourne’s Next Wave Festival as its partner to deliver its JUMP Mentoring next year. It supports creative folks in the early stages of their career by working with a mentor on a project. Said Next Wave’s artistic director Emily Sexton, “We think this model of collaboration between industry and government is terrific; partly for how well it channels money directly to early career artists, and now – curators, editors, producers and collectives. This is a big moment for Next Wave. We are thrilled to be sharing our rigorous and sought-after development approach with more, and different, people.” Applications close October 19 on its site.

MENTAL HEALTH SONG WORKSHOPS

Split: One Direction’s Liam Payne and dancer Danielle Peazer after two years, due to the abuse she’s copped on social media for being his galpal. Hospitalised: Cat Power for a weekend for an undisclosed medical issue, but she happily posted photos of her meals, even her discharge pack! Injured: America’s Got Talent contestant The Horse (Zac Gordon) who during a stunt involving him jumping from a two-story roof and landing crotch-first on a wooden plank, ended instead on a bucket of cement being used to hold the wood in place. He broke several ribs and shat in his shorts on impact. Suing: Insane Clown Posse act against the FBI for labelling their fans, the ‘Juggalos’, as a criminal gang in its National Gang Threat Assessment report, alarmed by its “destructive and violent nature”. They wear face paint, drink soft drink Faygo and support acts on Posse’s label Psychopathic. Arrested: 18 arrests for drug possession at Newcastle’s Fat As Butter festival, and 60 detained for underage drunkenness, police said, adding the crowd of 11,000 was well behaved. Died: US crooner Andy Williams (‘Moon River’), 84, bladder cancer. necessary, just learn to shape your story into a song, and gain confidence in performing. They’re held every Thursday at Olympic Adult Education Centre, 233 Southern Rd, Heidelberg West between 3pm - 6pm.Cost $5. RSVP interest to skybeanz@ gmail.com.

FRINGE, MUSIC VICTORIA, TEAM UP To mark Melbourne Fringe Festival’s 30th birthday, it’s struck a partnership with Music Victoria. A free event at The Fringe Club (North Melbourne Town Hall) is Now And Then – 1982 vs 2012. Over two nights (Thursday October 4 and 11) names from 1982 and 2012 perform songs from the era. Appearing are Paul Stewart (Painters and Dockers), Ian “Quincy” McLean (Blue Ruin, Scrap Museum), Angie Hart (Frente!), Jae Laffer (The Panics), Cash Savage (Cash Savage and the Last Drinks), Phil Gionfriddo (Dynamo, Chrome Nips), James O’Brien (Boat People) and Jimmy Stewart (Clinkerfield) with Helen Croome of Gossling, Gian Slater, Stella Angelico, Xani Kolac from The Twoks, Axolotl and Bamboos member Ella Thompson.

ST KILDA TRADERS: BRING BACK THE BUZZ The St Kilda Village Traders Group launched its Bring Back The Buzz campaign. Delivered by its president, Bianca Dawson, it put out a challenge to winners of the City of Port Phillip council election on October 27. The Group is “frustrated by unreasonable bureaucratic red tape, are tired of crazy by-laws, and are fed up with a growing lack of consultation by elected representatives.” One of the points was, “Reconsider their unreasonable restriction of music rights and performance rights within the precinct and support businesses and traders with fast and cost effective resolutions on this matter.” Also work with them to ensure the future of the St Kilda Festival.

THREE MORE PANELS FOR FACE THE MUSIC Next month’s Face The Music summit at the Arts Centre has announced three more panels. See facethemusic.org.au. The digital music services and streaming panel, moderated by Industrial Strength’s Christie Eliezer, discuss with Nick O’Byrne (AIR, Big Sound), Frank Rodi (APRA) and Kate Lio (Big Pond Music, MOG) their future in Australia, which ones artists should embrace, and if websites will be redundant in ten years. The Sync panel sees moderator Karl Richter (Level Two) discuss with Not Drowning Waving’s Amanda Brotchie (also a film director) and John Lee (Mountains In The Sky) and publishers Chris Gough and Adrian Marchesani the opportunities out there, who chooses the music, and the impact for artists. Adrian Basso (CBAA) will discuss with Chris Johson (AMRAP), Simon Winkler (RRR) and Janelle Johnstone (PBS FM) the state of community radio, engaging with AMPRAP and digital radio, and how to get your music on the air.

NEW PUBLICITY TEAM FOR PYRAMID ROCK In its ninth year, the Pyramid Rock Festival has brought in Ashley Sambrooks of Show Off Services and Zac Abroms of Viceroyalty to handle its publicity. “We’re looking forward to bringing the latest digital innovations, cutting stories and good times to the Pyramid Rock campaign,” the pair said.

Songwriters/performers Heidi Everett (and mental health advocate) and Nicholas Ogburn are through October running a series of songwriting and performance workshops for people who identify with mental health. No music experience

JAGERMEISTER INDEPENDENT MUSIC AWARDS

LIAM MCGORRY FROM SASKWATCH

What does it mean to you to be an independent artist? For me, it’s just the freedom to play the music we love in a setting where we’re not being told what to do. What is the biggest challenge to being an independent artist? I guess being wary of money and how you spend it. And the best bit? Being able to play, record and tour with your best mates. What is your favourite Australian artist/band of all time and why? Tough! There are so many. It’s probably out of The Avalanches, Dan Kelly and Eddy Current. All are just really original, great live, great songs/sounds and inspiring in their own ways. What makes Australian music special? For me it’s the depth of talent. There are just so many amazing and original bands, songwriters and musicians Beat Magazine Page 54

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out there in Australia, particularly in our hometown (Melbourne) at the moment. It’s really terrific. What did you do when you found out you were nominated? I think we were all pretty surprised. It’s great to get nominated for awards but even better to know that people listened to our record. So thanks to everyone that has listened or bought it. Who is your favourite opponent from the other nominees in your category? Hard one. They’re all upper-echelon Australian acts. Probably Lanie, she’s done some really cool stuff in the last year! How will you celebrate if you win? We’re up against some tough opposition so I’m not going in expecting to win or anything, but if for some reason it happens, I’m sure it will be a pretty long night... probably

will be regardless. What are your plans for the rest of 2012? We’re currently in the middle of our debut LP tour around the country, so once that’s done we’ve got a few festivals coming up like Meredith and Pyramid which we’re pumped for. We’re also starting work on the

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second LP soon too, which I can’t wait for. SASKWATCH are nominated for Best Independent Blues And Roots Album Of The Year at the 2012 Jagermeister Independent Music Awards. The winners will be announced on October 16.


SOMETHING FOR KATE BY KRISSI WEISS

Something For Kate’s late ‘90s sound (think Electricity) sits starkly next to the tracks of Echolalia and the ‘00s era and now they have entered a whole new era. The members are older and tour-weary (but still brimming with passion) frontman Paul Dempsey has fulfilled his solo, acoustic needs with 2009’s Everything Is True that he wrote and recorded with dedicated secrecy, (it’s hard to venture out on your own when one third of your band is also your wife), and technology has evolved at lightning speed. Album number six, Leave Your Soul To Science is ready and SFK have never sounded more realised, diverse or relaxed. Dempsey laughs early on in the conversation when asked whether he is exhausted from nearly two decades of interviews and ostensibly talking about himself, his motivations, and his emotions. “It doesn’t seem to warrant complaining that people want to talk to you because you make music,” Dempsey says genuinely. “It seems like something you should be grateful for. When people hear music and they really relate to it, it becomes a part of their inner world. I think for young people it really, really becomes a part of their inner world that gets to a point where they define themselves by the music they’re in to.” With nearly six years having passed since their last album, SFK have had enough of a break for people to start slotting this album into the ‘comeback’ or ‘reformation’ file. The time frame required for that is almost impossible to establish but people love to jump on that bandwagon – it adds a sense of drama and mystique to a band. “Frankly [the break] was always the plan,” he says. “After making our last record and touring for a couple of years the decision was made that I would go and make a solo record and that after that we would make another Something For Kate record. I guess none of us knew it would be five or six years but it didn’t change anything. We see each other as often as we always have, we live near each other, so it’s not like we were out of touch and had to organise to reconvene – we’re actually friends.” The desire to step out from the comfort of a solidly successful band is something singers have done throughout the ages. Other band members do it as well but, you know, it’s the singer. Dempsey is delightfully open about his motivations. “I think I needed to prove to myself that I could write and record and play everything on an entire record,” he says. “I just wanted to experience that, to feel what it was like to follow my own instincts and basically, to be completely self-indulgent and do everything my way. Also, the three of us just needed a break and to not roll straight into album number six because it might not have been as good as we now feel about this one.”

“IT’S NOT LIKE WE WERE OUT OF TOUCH AND HAD TO ORGANISE TO RECONVENE – WE’RE ACTUALLY FRIENDS.” Leave Your Soul To Science is grittier than might be expected. Dempsey’s voice has evolved in his time as a solo troubadour but while many other bands begin to mellow with time, SFK have returned with a fairly explosive album. Previous SFK albums have been meticulously orchestrated with a complex range of layers but LYSTS encapsulates the purity of rock. “The organic approach was there all along from the early inception stages,” he says. “We were definitely conscious of not wanting to layer everything until you have this dense wall of sound. That was how we were feeling about our last records, that there was too much information and we needed to stop that. We wanted to do something that had space and that didn’t feel so put together. The instinct was there all along that less was more. We followed that right through into the studio and, you know, we booked eight weeks to record it and we finished in less than a month.” Dempsey feels that although Leave Your Soul To Science is a blunt departure from his solo album, that period of song writing has influenced the choices he and the band have made this time around. “I made a solo record that was quieter and more acoustic based and then I toured that for two years. Now it was really fun to pick up an electric guitar and to play with Clint [Hyndman] and Steph [Ashworth] and to make some noise again. I guess that’s why this record is a bit louder. I definitely am always trying to push my voice in new directions and also, having done solo gigs for a couple of years where it’s just me and my acoustic guitar with nothing to hide behind, you really have to become a better singer. You have to hold people for a two hour show with just your voice and a guitar so I really feel that my vocal chords have had a real work-out and as a result I feel more confident and motivated to use my voice in different. I’ve been doing this for so long and more importantly, people have been listening to me for so long and I have one of those voices that people either really like or don’t like but I guess I want to sing differently and see what I can do differently. I’m really enjoying my falsetto these days.” SOMETHING FOR KATE play The Corner Hotel on Saturday October 6 (sold-out), Sunday October 7 (sold-out) and Monday October 8. They also play Queenscliff Music Festival, which takes place from Friday November 23 - Sunday 25. Leave Your Soul To Science is out via EMI.

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BEN FOLDS FIVE BY MEL ROACH

Three years since calling it quits, Ben Folds Five are finally back. The trio from North Carolina came together in 1993, proclaiming themselves ‘‘punk rock for sissies’’ and breaking through with singles like Underground, Brick and Army while the mass of the alt-music world was moshing to ‘90s grunge. There was seven years, three albums, and a multitude of hits, which made their way from the ‘States onto all the best triple j Hottest 100 comps – but in 2000, Ben Folds Five announced their split; an amiable hiatus with little given in the way of explanation. When I get the chance to talk to drummer Darren Jessee, in the lead-up to the hugely anticipated new Ben Folds Five album, The Sound Of The Life Of The Mind, and a subsequent album tour that will see them playing Harvest next month, my first question is obvious: what was the straw that broke the camel’s back? “That all still remains somewhat of a mystery,” he answers coyly. “The overall feeling was that we were all very tired. We were a band that during that time was touring non-stop throughout the course of our albums, and I think we were just exhausted. I think we just needed to take a break, so we called it quits. It’s much easier to reflect upon it all now, though.” The band reunited briefly in 2008 for the Front To Back concert series organised by a soon-to-spiral MySpace, which invited artists to perform an entire classic album live. Ben Folds Five played 1999’s The Unauthorized Biography Of Reinhold Messner from start to finish. “I guess the reunion did take off with that MySpace show. I think just getting back and playing together was good,” Jesse explains. After the concert Ben Folds, who by then had a burgeoning solo career, asked Jessee and bassist Robert Sledge to record a few tracks with him for his retrospective album, The Best Imitation Of Myself, which came out in 2011. “That’s when it all kind of took off.” The material for Ben Folds Five’s new album was a collaborative effort between the three bandmembers. It took them only six weeks to write and record the bulk of it in Folds’ Nashville studio. “Since the first album came out in 1994, we had been playing and touring our songs like most bands, you write your first batch of songs, then tour them, and then you make a record, or vice versa,” Jesse explains. “But The Unauthorised Biography Of Reinhold Messner and The Sound Of The Life Of The Mind were both pretty much written on the spot in the studio.” It helped that the bandmates had kept their music muscles toned, they’d been keeping busy during the 13-year hiatus. Jessee formed a band called Hotel Lights, who have released three independent records and to this day are still quite active: “It’s a band that hasn’t finished up, and we don’t plan to any time soon,” he says. Sledge, who now has a family in North Carolina (“he’s a very good and dedicated father”), has been working in production for small bands, teaching music, and playing in local rock group The Bob Sledge Band. Ben Folds, of course, never really stopped. He’s released six solo LPs since 2008, judged a televised a capella competition called The Sing Off, collaborated with writer Nick Hornby on the Lonely Avenue LP (Hornby on lyrics, Folds on music), and worked with Amanda Palmer, Neil Gaiman and Damian Kulash as 8in8, writing, recording and producing eight songs in eight hours, which were available online within 24 hours.

“EVERYTHING WE DO WITH THIS BAND IS DONE TO ULTIMATELY MAKE US HAPPY, AND WE HOPE THAT THIS TRANSLATES TO THE FANS.” Much like Palmer’s last album, which raked in $1.2 million through KickStarter, The Sound Of The Life Of The Mind was crowd-funded, with Ben Folds Five asking fans to donate for the recording and release. Within two weeks, BFF reached 200% of their initial goal, and they couldn’t have been more thrilled. “Everything we do with this band is done to ultimately make us happy, and we hope that this translates to the fans. Obviously we are so grateful to those people who are still excited about it,” Jessee enthuses. Grateful, sure, but were they surprised? “Ben has maintained a consistent touring schedule and fan base, and the records we made in the ‘90s were pretty big – people liked us, we felt pretty popular – so initially we expected a very small, hardcore group of fans to get excited and donate, but we were very happy that there was a lot more than that!’’ Much of that response came down to Ben Folds of course, who has maintained the rabid loyalty of BFF’s fans through his series of acclaimed records and soldout tours. Indeed, all the official information you’ll find online about the reunited band is hosted on Folds’ solo website – a telling sign of his centrality to BFF’s success. “I don’t actually know why someone hasn’t started an independent Ben Folds Five site,” Jesse says. “I’m only to assume that because we can reach more of an audience with Ben’s followers, we’ll just run everything through him.’’

The Sound Of The Life Of The Mind is out now through ImaVeePee Records, via Sony Music Australia. BEN FOLDS FIVE play Harvest Festival with Beck, Beirut, Sigur Ros, The Dandy Warhols, Liars and more at Werribee Park on Saturday November 10 and Sunday November 11 (sold out). Beat Magazine Page 56

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MY DISCO BY PATRICK EMERY

Ben Andrews, guitarist with My Disco, had been a fan of Steve Albini long before My Disco had the opportunity to record with Albini in the latter’s hometown of Chicago. It was while in Chicago a couple of years ago that Andrews and his band mates had the serendipitous opportunity to see Albini play with Shellac, the brutal noise rock band formed by Albini in the early ‘90s. Andrews says Shellac’s influence goes beyond the simple musical influence – Shellac’s take-no-prisoners, self-confident style provided a blueprint for My Disco’s philosophical bent. “I liked their whole ethos of ‘their way or the highway’, and that had a big affect on us, with sticking true and being fiercely independent,” Andrews says. In the middle of October, My Disco will join Shellac for the latter’s appearance at this year’s Melbourne International Arts Festival. “I’ve only seen them once when we were in Chicago, which was pretty cool to see them in their hometown, and now we get to play with them in our hometown,” Andrews says. Having travelled to Chicago to record the band’s 2008 album, Paradise, with Albini, as well as recording a few tracks from last year’s Little Joy, Andrews agrees it’s interesting to compare Albini the producer, sorry engineer, with Albini, that stage performer. “Producer is a bit of no-no term with him – he sees himself as an engineer,” Andrews says. “On stage, he’s got a bit of an angst thing about him. But essentially he’s just a relaxed dude who’s pretty approachable, and that comes across when he’s playing live, because Shellac these days is pretty much like a comedy routine as much as it is a rock band. So he’s pretty transparent for the most part.” The show with Shellac, and a string of east coast headline shows immediately prior, will see My Disco launch the band’s new 12”. Featuring two new tracks and a couple of remixes courtesy of Justin Broderick (Godflesh) and Factory Floor, the 12” offers a brief entree for My Disco’s next record, notionally slated for the middle of 2014. “The 12” just came about coincidentally,” Andrews says. “Liam (Andrews, Ben’s brother and My Disco bass player) is living in London at the moment, and he came back in March and April for a tour we did of Australia and south-east Asia, and we just so happened to write these songs at that time. We just tracked it and recorded it, and the label was really into the new jam, so we thought lets put out a 12”.” The decision to ask Factory Floor and Justin Broderick to remix a couple of My Disco tracks came about through a combination of the existing friendships, and the band’s US label’s influence. “We’d been friends with Factory Floor for a few years, and we’d played with them a couple of times in London,” Andrews says. “They’re really good people, and we’d stayed in touch. They’re really busy at the moment, but we just wrote them and they were still happy to help out. With the Justin Broderick remix, that came about through the label. Jeremy is good friends with him, and Godflesh. Both remixes sound completely different, which I think is really good.” While My Disco has kept up a very rigorous touring schedule over the past few years, last year matters came to a head when Andrews’ brother Liam was involved in a traffic accident on the eve of My Disco’s Australian tour. For a band that had already endured life-threatening illness, and having bags stolen while on tour in Canada in 2009, Liam’s accident continued a string of bad luck. It also provided a brief moment of respite while Liam recovered. “We haven’t had the best luck as a band,” Andrews says. “We had to cancel a whole Australian tour after that happened. And we’d been working towards the American tour for about a year or so, and we just managed to do it – Liam had just got out of hospital, and had just recovered. So there was a period of time when we could have done nothing, but we went ahead with it as usual.” While Andrews says My Disco has managed to develop a loyal following in Malaysia and, to a lesser extent, Singapore and Indonesia, at this stage there aren’t any definite plans to head into China to take advantage of the increasingly lucrative Chinese rock market. “We’ve been offered full tours of China, including Hong Kong,” Andrews says. “It feels like it could be good, but after all the touring we’ve done, maybe it could be the bad parts of China. I’m not sure I really want to fly domestically in China and long train journeys,” he laughs. My Disco plans to reconvene in Melbourne in early 2013 to begin work on their fourth album. “[The new album] seems to be along the loose structure ideas of what’s on the 12”,” Andrews says. “It’s a bit slower, with a bit more ambient sound to it, not quite as fierce as we’ve had it in the past. The songs aren’t really written as much, just jammed out, especially guitar wise.” Andrews doesn’t think the label of ‘math rock’ has much resonance for My Disco; he prefers the descriptions offered by the band’s overseas fans. “I really like the way we get described in countries where English isn’t the first language, like ‘hypnotic post-punk trance’. Most of it is pretty funny, and they often capture the sound better than English speakers,” Andrews says.

MY DISCO support Shellac at their Melbourne Festival show at The Hi-Fi on Friday October 19 (sold-out). They also play Tinning Street Galleries, Brunswick on Friday October 12 with support from Standish/Carlyon. Tickets are available on the door only. Beat Magazine Page 58

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REGURGITATOR BY ZOË RADAS

Quan Yeomans isn’t in Melbourne, he’s in “animating hell.” Our interview is a break for Regurgitator’s frontman, as he’s been working solidly for weeks on a video clip for Bertie Blackman. It becomes apparent pretty quickly that the dryly humorous guitarist and vocalist is used to having a million projects on the go, but he’s definitely feeling this one. “I’m in a polar fleece onesie, I haven’t been out of it for like a week. I had a holiday in Hong Kong which was fucking great, then I came back to Melbourne in misery. So I figure after this I’m going to go out, start making friends again, touching real things instead of moving shit around on a computer screen. All I can see is pixels. Are you made of pixels? Because I can’t be speaking to you if you’re not.” Regurgitator’s last album SuperHappyFunTimesFriends was released as a free download in 2011. The band are a dish best served live, and Yeomans admits that this is how Regurgitator generate most of their income. “The world is a library,” he explains. “It may not last, but at the moment it feels that way and I think it’s a great thing. We make our money by playing live, and the occasional publishing thing that comes through from films or whatever. But I think you have to kind of evolve with technology and if technology screws you, you have to move on.” Some kinds of shows are better than others, though: “I think we kind of work better as a club band. Every time we play a festival I feel like kind of a dick. I don’t know, I can’t seem to entertain more than a thousand people at once. I don’t have anything to say, I don’t take up enough room on stage, it’s kind of weird. Club shows are easier to connect.” Having performed at WA’s Southbound festival a few times, Yeomans reflects on the other opportunities our western state affords. The band recently played a show in Port Headland, one of the mining communities close to Karratha on the coast. “Oh man, have you been up that way? Man, it was so weird, it was like being in a Mars future colony, or like a terraforming community. The receptionist there said she had not left the compound for six months because there’s literally everything you need there. There was like 8,000 people, it was insane. I had it in my mind that all these beast men would kind of spill from the earth with dilated eyes and kind of coal-covered skin. But actually, everyone was really lovely.” The upcoming RetroTech tour will see Regurgitator play their first two albums, Tu Plang and Unit, in their entirety. The RetroTech presser mentions Public Enemy’s decision to play entire albums on tour as the chief prompt for Regurgitator’s plan. “It’s just easy,” Yeomans laughs. “You don’t have to do any kind of work. It’s just like go back, learn all the songs. It’s almost like someone else has written them actually. I look back, ‘Who is this band? I don’t even know who these people are.’ We haven’t played a lot of [the songs] for like ten, twelve years.”

“I THINK WE KIND OF WORK BETTER AS A CLUB BAND. EVERY TIME WE PLAY A FESTIVAL I FEEL LIKE KIND OF A DICK.” Regurgitator have chosen Chinese band Hedgehog and Indonesian two-piece Senyawa to support them on the tour, and the latter sound especially captivating. “Actually [bass player] Benjamin [Ely] saw them live and was like, ‘Fuck, we’ve got to get these guys, they’re incredible.’ [One] guy makes his own instrument, it’s like a half [custom] half string thing made of wood, and the other guy just wails some crazy shit over the top of it. Yeah, I’m really looking forward to them. I mean apart from the whole nostalgic bullshit that we’re playing. [They’re the] first band that’s opening for us, if, if the Department Of Immigration doesn’t get all fucked on us.” The conversation moves on to other kinds of art, and Yeomans expresses amenity with my current read, a graphic novel by Charles Burns. “I haven’t had time to read anything for the last two months because I’ve been so hard at it, but I’m actually trying to write my own [comic] at the moment and it’s going nowhere.” He then reveals he’s written five volumes, which I’d say is a stellar stab so far. “But I said I’d try and get it done this year. It’s very unlikely it’ll happen.” Yeomans’ project timelines must look like a laser light show in his head, but for someone this naturally prolific it can’t really be any other way, presumably. Just don’t expect a lot of twaddle on social media where he keeps you up-to-date with things, as he doesn’t rate the practice at all. “I don’t know why, because I love writing, but I just don’t feel the point of like, talking about shit that I’m doing, when I’m doing it. If you’re not doing it, then you’re not focused on it. You’re tweeting or you’re fucking blogging, then you’re not doing what you’re supposed to be doing so you never get anything done.” Pretty good point, and coming from someone whose advice you should cherish if you want to get to anything near the man’s creative output.

REGURGITATOR play The Hi-Fi on Thursday October 11 and Friday October 12 (sold-out), as part of the RetroTech tour. DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Beat Magazine Page 59


GEORGIA FIELDS

BY KRISSI WEISS

This month Melbourne’s latest indie/pop/quirk success, Georgia Fields, is launching her latest single, Snakes & Ladders, as a follow up to her indie-orchestra tour and Rockwiz rite of passage. She’s received some enthusiastic endorsements from the various indie-pop gatekeepers of Australia but is still taking her time, ensuring that her music is solid and her live show tight. Success comes to those who wait. The singer/songwriter is also successfully maintaining a dedicated writing schedule while gigging enough to stay on the radar. Her latest single is a hint towards her sophomore album that is slowly taking shape, even though it’s still in an infantile stage. “This year was spent mostly writing and preparing to make my second album, which I’ll start tracking next year,” she explains. “I met producer-engineer Joe Hammond through mutual friends, and he’d been on my radar since I heard his work with The Harpoons, The Boat People and Kikuyu.  A few months ago, we got talking at a party about putting pianos through amps, and I thought it might be fun to make a single with Joe at his studio Pots & Pans – so we did. We put combo organs through overdrive pedals, got Dave Rogers playing some chaotic electric guitar, dusted off my 1981 Omnichord and Joe even sampled some weird woodblock thing and used his mad-scientist sound skills to turn it into a wobbling robotic melody. Snakes & Ladders is available for free download at georgiafields. bandcamp.com.” When an artist decides to work under their own name, but not within the confines of a solo stage show, it can lead to ambiguity as to what roles the other members of the band play. “That’s something I wrestle with a lot,” she says. “When I started gigging in Melbourne I performed with a regular set of musicians and the band had their own name, but when they went their separate ways I started working with different musicians for different shows and recording projects. Then

I had the good fortune of working with a revolving assembly we called the mini/indie-orchestra – strings, brass, woodwind, and vibraphone. Things were in a state of flux for a while, and it didn’t make sense to name a band because each show might have different instrumentation and different players. Over the past year or so I’ve been working pretty regularly with drummer Tim Coghill and bassist Dave Rogers, and we have electric guitarist John Palmer making his debut in the band at The Empress Hotel this weekend. I’ve been feeling that it’s time to come up with a name for these sublimely talented fellas. Perhaps we’ll take suggestions at the show. Come down and heckle.” Even Fields seems wary of labels like ‘one to watch’ and the reality of those statements converting into tangible opportunities. “I don’t think you can expect reviews or endorsements from journalists to translate into real world opportunities,” Fields explains. “The only thing that can do that is writing good songs.” And that is really the only thing she should worry about. Finding her place, and her audience, as she bestrides the line between indie-pop songstress and art-house musician is something she is both aware of and happy to embrace. “I love pop music – the melodies, the forms, the lyrics and the sequins,” she says. “A lot of music that the general public might consider ‘artsy’, if there’s repetition of melody and a good hook, I hear it as pop music. One of my oldest friends and most treasured musical collaborators, Judith

Hamann, is an incredibly accomplished cellist who plays a lot of experimental, new music. We met in the high school orchestra, I swiftly gave up cello to focus on singing after I heard her play, and her love of noise landscapes and unconventional sounds inspired me early on to consider the idea of songs and sounds. We worked together to come up with the accompaniment for Sinking Relation Ship. I knew I wanted a winding machine noise to go with the lyric ‘mechanical romance alive.’ We tried hitting different woodblocks, trawled machinery samples, until she suggested a cordless drill. But that process was pretty idiosyncratic to that particular song. I don’t purposefully try and think of wacky things to put in my songs for the sake of it – it has to be an organic writing process.” Some artists use songwriting as a way of purging emotional baggage while others need to be balanced and focused to create their sound. Where Fields sits within these two schools of thought is answered with refreshing honesty and just enough weirdness to start to figure out Fields’ personality. “‘Balanced’ and ‘focused’ are words not often

placed next to my name in sentences,” she says. “And yes, I do purge emotionally when I’m writing. It’s taken me a few years to get comfortable with the fact that I write from a personal space. I used to think that made me less of a writer, less technically competent somehow. Even when I’m writing fictitious stories, I’m still approaching it from a personal angle – I can’t not. I start with the words first. I might have a line or a concept, or a few phrases in a rhythmic meter. Then when the time is right, I will sit down at the piano and coax out the melody. The process could probably be compared to doing a poo. You need to have something ready to come out, but you’ve also got to have the urge, and somewhere quiet and private to go. Hopefully what comes out in the song writing process will not resemble faecal matter, but you can never be sure.” What more needs to be said?

on our album cover so we just felt like it symbolised the band.” Another prop, initially unintentional, is Spina’s favourite footwear. “I always play barefoot, it just seems a little bit easier,” she says. “I really like to wear cowgirl boots and for our first couple shows I tried playing with my shoes on, and I was just kind of frustrated, until one time I took ‘em off and I put ‘em in front of my kick drum, and then I kind of really liked the way that they looked there. Now I always make sure that I have my boots and I set ‘em right in front of my drum before we play.” Spina is clearly eager to be coming to our shores for the tour. “I’m just really excited because I don’t know that much

[about Melbourne], so I think it will be really fun to see the culture, and the environment, and also to see the music venues! Because that’s just a really cool added benefit of travelling to play; to see what it’s like to be in the music [scene] all the way in Australia.” These two unmitigated babes will bring their art and swagger to Melbourne this week, and are a highly recommended watch for those who like their rock lazily tender and raw.

GEORGIA FIELDS will be launching Snakes & Ladders at The Empress Hotel with Elephant Eyes and Major Chord on Saturday October 6.

LITTLE HURRICANE

BY ZOË RADAS

These days, if you are a snare drummer in a marching band you’ll likely carry your drum on a rack, which is about as comfortable as it sounds. Old marching bands used traditional baldrics to sling their drums, and this caused the drum to be tilted in such a way so that the left side was much higher than the right side. In order to play in a comfortable position, the player flipped their left hand over so that the palm faced upward, creating an underhand grip. Drummer in twopiece San Diego outfit Little Hurricane, Celeste ‘CC’ Spina, betrays her marching experience when she uses this grip to play the dirty blues the band have become lauded for. “The way I hold [the sticks] is actually backwards, and very wrong from the traditional marching band [style],” she explains, as it’s her right hand which she holds reversed. “But I did play in the marching band in middle school and junior high, and then for a year in high school.” From these beginnings, Spina became a chef before she decided she wanted a musical life. “I worked in all sorts of restaurants,” she says in her sweetly high voice. “I was a pastry chef for a few years, I was a sushi chef, I worked the hot line – that’s like the grill. The fish station, the pasta station, I kind of did the whole gambit.” When she hung up her knives and picked up her sticks, she looked to Craigslist to find a bandmate who could complement her raw style. The first person she got in contact with was Anthony ‘Tone’ Catalano. “He was the first person I responded to and ended up being the only person I responded to,” she laughs. “I worked in a bar at the time, and it was on the same street that we both lived on – we lived a few blocks away from each other. And from the minute that he came in I just kind of got a good feeling, and then from our first practice it just felt like that was what I was looking for.” The connection is palpable during live sets: Spina and Catalano shoot conspiratorial looks and small smiles at one another as they sing call-andanswer tales about lost loves, lies and loneliness. Catalano is a first-rate guitarist, with a soaring voice that

60 SECONDS WITH

THE FEARLESS VAMPIRE KILLERS

Define your genre in five words or less: Spaghetti western guitar pop. Do you have any record releases to date? What are they? Where can I get them? We sure do. We just released our brand new single Mexico. It’s on iTunes as we speak, waiting for you with open arms. In 2008 we released an EP; it’s sold out but our manager got himself a copy on eBay, so try your luck there. In 2009 we released a 7” single Loaded Gun; we sell that one at shows. Finally, in October last year, we released our debut album Batmania. You can get it on iTunes and all good record stores. What do you think a band has to do these days to succeed? We’re not entirely sure yet. But when we work it out, look out world! But seriously, who knows? We’ve tried everything from Beat Magazine Page 60

often sounds reminiscent of Jack White’s. In a promo video the band shot for their upcoming Australian tour to promote self-released debut record Homewrecker, it’s clear he’s quite a taciturn man in reality. “Yeah, he’s pretty quiet,” Spina agrees. “It’s kind of funny that he enjoys being on stage so much and has what I think is a really great stage presence. [He’s] kind of a little bit more shy, definitely.” He did make the effort with Spina, writing to her twice before the first meeting was arranged. “On the second time [he wrote] he mentioned that he had played in jazz bands in high school, and I just knew that you kind of know what you’re talking about [if you’re in a] jazz band, you know. To play in school, and to be trained at a younger age, it just sparked my interest.” The way Little Hurricane set up their stage for gigs utilises a bit of extra effort for a lot of extra bang. They use op shop buys as props to create a prairie lounge room kind of air, with amps concealed inside cabinets and suitcases. “We actually got a custom road case for it,” Spina says when I question how they manage to tour with the carved cabinet that houses the primary amp. “It’s really beat up; we’ve had that since our very first show so it’s definitely seen its wear and tear. We are bringing it to Australia, just because we feel like it’s really important to have that and the lamp, which we’ve also had since the first show. And it ended up

protein shakes to Cryogenic Chamber Therapy. If it doesn’t start working out for us shortly we’re going to resort to writing songs and playing gigs, which is definitely not what I signed up for. If I don’t get to go yacht shopping in the next 12 months I’m going to do a Bachelor of Arts and get a job at McDonalds. Name an interview question you wish someone would ask you, and answer it. If you could combine two breakfast cereals into one to make the ultimate cereal, what would they be? Fantastic question Beat Mag! Thanks for asking! My instincts would tell me to go with ‘Jack Daniels and Coke’, but I guess some people may argue that they aren’t cereals. Keeping that in mind we’ll probably have to rule out ‘Cigarettes and Coffee’ too. So, let’s go with Coco Pops and Crunchy Nut. All the goodness of hazelnut and honey mixed in with the chocolate glory of Coco Pops.

Anything else to add? The Mini’s suspension system, designed by Sir Alec Issigonis’s friend Dr. Alex Moulton, used compact rubber cones instead of conventional springs. This ingenious space-saving design also featured rising progressiverate springing of the cones, and provided some natural damping, in addition to the normal dampers. Built into the subframes, the rubber cone system gave a raw and bumpy ride accentuated by the woven-webbing seats, but the rigidity of the rubber cones, together with the wheels’ positioning at the corners of the car, gave the Mini go kartlike handling that became famous.

THE FEARLESS VAMPIRE KILLERS launch their single Mexico at The Workers Club on Saturday October 6.

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LITTLE HURRICANE play Ding Dong Lounge on Friday October 5. Homewrecker is out now through Shock.


GRINSPOON BY MEL ROACH

“I believe records are just about capturing a photograph of the time,” says Grinspoon’s Phil Jamieson. They’re wise words from a long-standing artist, especially one who’s had to answer the same questions for so many years. After nearly two decades on the Australian music scene, and in the public eye again with a brand new album, Grinspoon are used to both sides of the media coin one of the nation’s longest-standing outfits, Phil, Pat, Joe and Kristian have stood side by side while the bands of their peers have risen, fallen, and broken to pieces around them. From taking off in 1995 after winning the very first triple j Unearthed, to receiving an ARIA Award, from getting a 1.5 star rating in Rolling Stone, to going double platinum – it will take a lot to break these lads. Phil, sporting red chipped fingernails, a leather jacket and classy shades and Pat Davern (in his classic golf hat) spent time out on Sydney Harbour to chat.  “We’ve been lucky enough not to have fallen on our face too many times, and I guess there’s not so much pressure on us being in a rock band,” Davern says, of being back in the media hoopla again. As Jamieson runs in and out of the interview, Davern hangs tight to fill me in on the details; if Jamieson is the creative force behind the band, Davern seems like the glue that holds it together. “We have a bit of artistic license to pretty much do the fuck what we want,” he says. “I guess if you do the crime you do the time. If you’re in the public eye and you put yourself out there, sometimes you will have to explain your actions – but only if you really feel like it.” Jamieson agrees, “I didn’t start this band to be told what to do – that’s what rock’n’roll is all about,” he laughs. “It’s all about freedom to me, having no rules, but as far as the media goes it’s all a bit of bullshit really. I reckon if your tunes are okay, then, well, you’re pretty okay!” Recording their new album, Black Rabbits, in California, the boys brought in producer Dave Schiffman, who’s worked with acts like Nine Inch Nails, Dead Meadow and The Dandy Warhols. “We learnt a lot from Dave,” Davern says. “Your approach to making a record in Los Angeles, it’s a different approach to making a record here. There’s a lot of techie stuff [to learn], like Pro Tools editing and also work ethics. He’s different to anyone we’ve worked with before. He’s such a genuine guy, as well.” “I sang into an SM7, which is the most unforgiving mic in the world,” Jamieson says. “I mean, these things were born to record a bass guitar and I was gripping to it with both hands and they’re like, ‘This is what Chris Cornell uses,’ and I’m like, ‘WELL I’M NOT FUCKING CHRIS CORNELL!’. I learnt from Dave about a good work ethic — no long lunches, no cocaine, no bullshit — just get in and do it. And he had a real desire to do the record. Other producers were more of a heavy metal kind, whereas [Black Rabbits] represents more of a power pop record for us – this record has a whole heap of melody. Dave was perfect. There’s a bunch of people we could have gone with that just wanted to pay their mortgage, but he wanted to do it – there’s the difference.”

“I DIDN’T START THIS BAND TO BE TOLD WHAT TO DO – THAT’S WHAT ROCK’N’ROLL IS ALL ABOUT” When it came to recording, the boys had a few friends drop in to help. You Am I’s Tim Rogers had a stop-over in LA, so popped into the studio to visit the band and lay down some guest vocals. The Living End’s Chris Cheney also came by to get involved, and Grinspoon couldn’t have been more grateful. “Those guys were brilliant, down-to-earth, lovely Australian men, peers of ours and people we really look up to,” Davern says. “Super respect,” Jamieson nods. “I mean, Tim and Chris have been friends of ours for years, and to have them even want to come into the studio, let alone record, is a great honour.”  Scott Russo from Unwritten Law also came by, but his vocal cameo ended up being a little problematic. Not only did he demand a $500 down payment in order to be featured on the album, but there were a few hiccups along the way. “He did a track, and then he went in and–” at this point in the narration, Jamieson runs to a door to act out Russo walking through it and snorting cocaine. “He was trying to record with Dave, and Dave was like ‘GET HIM OUT!’. You should have seen it – he still had all this coke and shit on his nose!” he laughs. Pumped with interesting riffs, fantastic basslines and powerful, sing-along choruses, Black Rabbits is vintage Grinspoon at their best. “[If] this album gets smashed by whatever blog wants to rubbish it, they are wrong!” Jamieson says. “Black Rabbits is a fucking good album, and I wouldn’t put it up against Temper Trap if I didn’t think it was fucking good. That’s a fact! I’m my own worst critic, for reals. If Black Rabbits wasn’t worthy of a release, then you wouldn’t be hearing it. No one would.”

Black Rabbits is out now through Universal. GRINSPOON play the Big Day Out along with Red Hot Chili Peppers, The Killers, Yeah Yeah Yeahs and loads more at Flemington Racecouse on Saturday January 26. DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Beat Magazine Page 61


DIAFRIX

BY ADAM ROBERTSHAW

Last week saw the release of Pocket Full Of Dreams, the new full length by the Africanborn hip hop duo, Diafrix. I caught up on the phone with one half of the duo, the friendly and slightly excitable Momo. He’s a man with a reason to be excited. Pocket Full Of Dreams, their second album is already being hailed as the pair’s finest work yet. The laid back rhythms and polished production of singles Easy Come Easy Go and Running It have already got plenty of attention from triple j. The quality of the production is not surprising, due to the fact it was helmed by Styalz Fuego, the man responsible for other huge Australian hip hop releases such as 360’s multi-platinum Falling And Flying, as well as tracks by Aston Shuffle and Australian hip hop’s new poster boy Seth Sentry. “Yeah yeah,” Momo stutters, tripping over his words as he fires them out like a hyperactive kid. “We’re really happy with it and can’t wait for it to drop so the masses can hear it. It took a little while to get done and we’re really happy with the way it’s sounding so yeah, we’re excited. [Styalz Fuego] is such an amazing guy to work with, he’s just so talented bro, and prolific and he always delivers.” As well as a top class production, Pocket Full Of Dreams has also been spiced up by big names in Australian pop/ hip hop such as the aforementioned 360, as well as guest appearences by Daniel Merriweather, Stan Walker, Dwele and N’Fa Jones. With all these artist doing their own thing too, it goes without saying that the Australian hip hop scene is in a healthy state right now. Momo agrees. “What do I think of the Aus hip hop scene? I think it’s something that every

year, there’s something new, and new artists now are getting a bit more exposure whereas before it was like, The Hilltop Hoods were so far ahead of everyone else and it’s great ‘cause they opened up so many doors for everyone else so it’s great to see so many more artists and diverse artists coming through.” Perhaps it’s the sheer diversity of Diafrix’s music that has meant that it appeals to such a wide audience. There are moments of soulful hip hop, electro-pop and even indie rock on the new record. Talking to Momo it’s clear that this was not just an attempt to cover as much ground and please as many people as possible, but more out of a plain and simple eclectic taste in music. “One of my other favourite songs [on Pocket Full Of Dreams] is called Throwback which is reminiscing about old school ‘90s hip hop and R&B and the shit that we grew up on. As a kid I listened to old soul stuff like Gladys Knight, Marvin Gaye, Sam Cook, all the way to Bob Marley. My hip hop phase was J Dilla, Jurassic 5 all that sort of stuff. [These days] I’m listening to all kinds of music. I’ve been bumping a lot of Miike Snow lately, I love Kendrick Lamar, and another dude called BJ The Chicago Kid is

awesome. There’s so much music on Spotify now so every day you learn a new artist. It’s awesome!” All of the above influences can be heard running throughout Diafrix’s music, however there is also another obvious influence that comes from their African heritage. Momo himself arrived in Australia at the age of three, when his family sought refuge from their homeland of the Comoros Islands. His partner in Diafrix, Azmarino hails from Eritrea but has also lived in Jordan, Italy and Switzerland before settling as a refugee in Australia. The pair are proud of their heritage and are glad to be able to use music as a positive force to raise awareness of their plight. “We’ve both had different experiences and there are many people in Australia that share similar experiences and over the years it’s come out in our music, kind of being a voice for people that can relate to these experiences who don’t really get the opportunity to be heard in a beautiful kind of perspective. It’s usually media telling us their view on what it is or how they live so us being able to say that, to express that to the public I think it’s a great thing.” Diafrix will be expressing themselves to the public later this month as they tour in support of the new record, starting with two dates at the Northcote Social Club.

Momo is in high spirits about getting out and playing live. “We’re actually going into rehearsal tomorrow,” he explains. “We’ve got a drummer on board now, we’ve got our DJ and we’ve got three backup singers as well just to fatten up everything.” With festival season upon us, it’s a damn good time to be performing live for any Australian band. You’ll be able to catch Diafrix on the festival circuit this summer. “Yep the one that I definitely can say is Homebake, which is one we’ve never played before and I’ve heard a lot of good things so I’m looking forward to heading down there and playing that”. If you do go catch Diafrix, be sure to look up their track Helicopter and learn the accompanying dance. Does Momo have any tips on how to do it? “Yeah,” he laughs. “Just put your hands in the air and wave them around. I think they’ve got to watch some Bounty Killer clips before they try it!”

that brought them to the limelight. “We were finding that we were getting a little bit of attention with press and stuff, and we didn’t really like the tradition of band photos – we found them really boring, and we [were] sort of like, ‘Well why do people need to know what we look like?’ What’s important is the music, not whether or not we’re all really good looking... which we’re not,” he laughs. “It was partly that; you know, trying to break those conventions, I suppose. But also, we find it more interesting if you don’t show your faces, you sort of have to find new ways to make a band photo relevant and interesting, and you actually have to get much more original results if you’re working within those parameters, instead of being told to stand against a wall and look at the camera.” Continuing on with their lack of, what they believe to be, “conventional behaviour”, Gus explained that their debut record, An Awesome Wave, wasn’t just one of those albums that had hundreds of songs written for it and then choose the best ones. “That works for some bands,” he says “some really good bands. But, for us, we tend to sort of work really slowly on our ideas and sort

of bring them together over a period of a few months. “It’s an album that, in a way, took a few years to make. Like Matilda was recorded three years ago, and it’s quite old...By the time we got signed last November, we had about six tracks that we knew we wanted to have on the album, so we kept making the album. We booked some studio time in January of this year and recorded sort of another half a dozen tracks, and that finished the album.” Getting ready to play alongside the likes of Bat For Lashes, Chet Faker, Flume and Melbourne’s very own Alpine at next year’s Laneway Festival, Alt-J are getting all mustered up to bring their A-game for their fresh audiences. “We’ve been working on a couple of things. We have a cover in the works which may involve a really well known Australian singer – I won’t say more than that. But yeah, there definitely might be a couple of surprises for you guys.”

know anything about drums but I had a fair amount of an inkling that he was quite a talent. But he’s into hardcore music – I mean, he likes all music, he’s into absolutely everything, but he really does like [bands] like Parkway Drive and The Amity Affliction.” Metal drummers are certainly among the most technically talented stickmen. “Just recently we played in Ballarat and this guy came up to [Batrouney] after the gig and he said, ‘I don’t normally like your kind of music, I don’t normally like rock‘n’roll but for some reason I really liked you guys.’ Will said it was because he was throwing in a few extra kicks here and there. He’s a pretty kick-heavy drummer which is great, and I suppose he’s added something [special] which wouldn’t have been there. He’s great, he’s a freak.” The songwriting process sounds democratic with input evenly attributed between all band members. Parsons usually begins with guitar chords and things unfurl

from there. “I just kind of write something and then take it to the boys and it’ll morph into something that I never imagined and it’ll be brilliant and good and we’ll all be happy and we’ll play. Or sometimes it’ll all be there, it chops and changes.” He laments that he isn’t as prolific as he used to be, but suggests “maybe it’s because I’m getting better, I hope?” It does seem that way, with their tracks receiving increasing attention, most notably from Dom Alessio and Caz Tran on the band’s triple j Unearthed page. The Littles will shortly be in the league of their forefathers The Vasco Era, so get on to this EP launch before they start touring in places further away than Ballarat.

DIAFRIX plays the Northcote Social Club on Friday October 19 and Saturday October 20. Pocket Full Of Dreams is out now. They also play the Queenscliff Music Festival taking place from Friday November 23 - Sunday November 25, and Homebake on Saturday December 8 at The Domain in Sydney.

ALT-J ( )

BY SIMONE ZIADA

Some of you may affiliate the band name with the ever-so-popular Mac keyboard shortcut, whereas others of you will more than likely know the name for the band behind it. Having graced countless ‘up-and-coming’ and ‘bands to watch’ lists all over the world, it’s finally time for the lads from Alt-J to grace our shores with their presence. And from what I understood speaking with keyboardist Gus Unger-Hamilton, the undying excitement that they have about heading our way is only overshadowed by the minor threat of a snake and spider invasion. A real problem, I assured him, which is only visible in the bushlands and outback of our country. Recently announced as part of the 2013 Laneway Festival, Alt-J are counting down the days until each and every one of them visit our country for the first time. In the meantime, Gus spoke to me about the band’s writing and recording process, why genres shouldn’t exist, their issue with band photography, and just how an alpha symbol came to be one of the most well thought-out band names that we’ve seen in a long time. “We actually used to be called Films and we had to change our name because there was a band already called ‘The Films’. So Will, the guitarist, actually came up with the name. He came up with the idea of a delta symbol for the name, and then we kinda thought that it was really cool, but how would we pronounce it? So we named it after the keyboard shortcut ‘alt-j’, and we thought that it was quite a good band name. “The genre, the sound, I don’t think that we’ve really given ourselves too much with labelling music. The way I see it is that, these days, you don’t really need to know what

kind of music you’re going to listen to before you listen to it whereas, you know, a couple of years ago, before you actually went and bought a bad record, you might have wanted to know what kind of music it was. But now, somebody says ‘Check out Alt-J’, and you can go and do it straight away online, so the whole genre or labelling of music is slightly redundant in a way. It’s so easy to check out new music without having to worry about whether it’s the kind of music that you think you’ll like or not. “In terms of how we found our sound, it comes down to our first band practice. Something sort of clicked really quickly, and it really worked. We didn’t really stop to question what sort of music we were aiming to make, or what sort of music we were making, because it was just kind of working, so we thought not to question it but to just carry on, and we pretty much haven’t looked back since then.” Unlike many new and upcoming bands, however, Alt-J took it upon themselves to ensure that it was their music

ALT-J ( ) play Ding Dong Lounge on Saturday October 20. They then return for St. Jerome’s Laneway Festival on Sunday February 3 at Footscray Community Arts Centre. Tickets on sale Friday October 5.

THE PRETTY LITTLES

BY ZOË RADAS

Hardworking, hardrockin’ Melbourne outfit The Pretty Littles are about to launch their latest EP and singer Jack Parsons is thrilled – about as thrilled as someone with a sense of humour this dry can get. Parsons and his three bandmates valiantly overcame some astonishing tambourine trouble to create I Am Not From A Small Town – produced by Alexander ‘Rudy Mah’ Markwell of The Delta Riggs – a band which The Pretty Littles embrace amongst their influences. They’ve also got one of the best clips out I’ve seen all year, for single Mumma. Just you watch it and try not to smile. “It was the greatest thing ever,” Parsons says of the clip, which features the four dudes’ dads each on the Littles’ respective instruments: jamming, drinking tins, hanging out and just being generally delinquent. “They’d never really met, they’d kind of shaken hands and seen each other here and there. When you’ve been married and you’ve got kids and stuff, there aren’t that many opportunities where you can just lose your mind. So these guys had that opportunity and just seized it. That’s my mum that walks past,” he says gleefully. At one point the row of dads are sloping against a wall and a mature lady passes, they all woop at her and then cheer one another. “She came over to drop over some sandwiches and stuff, and we said, ‘You’ve got to be in this.’ Just classic dad jokes all day, and we just sat there laughing for six hours.” The approach to the clip reflects the band’s raw, hookdriven sound, affectation and tricks aren’t a part of the Littles’ mettle. “I reckon video clips are the pits,” Parson says. “You know when you see bands in fields,

Beat Magazine Page 62

or by a river, something like that. And they’ve got all their amps there but there’s no microphones, or no leads, and they’re on sand dunes, and you’re like, ‘What are you there for? What does this mean?’ What a pain in the arse, getting all your fucking stuff there and back.” The band had their own problems when it came to nailing one of the last pieces of the EP puzzle, as a series of photos on the Littles’ Facebook page Parsons titled The Tambo Chronicles demonstrate. “We’d already finished the EP. And we went to [Rudy’s] parents’ house, and had a few beers and kind of [worked out] some percussion and backing vocals. And our drummer Will really struggled with the tambourine. And then Rudy had a go, and then I had fucking no rhythm at all when I had a go. Will got it in the end.” Will Batrouney’s tambourine skills have no bearing on his general aptitude – he’s a brilliant drummer, and imbues the Littles’ tracks with incredible energy and flair. “I agree,” Parsons says with that hint of a smile you can detect behind everything he says. “I don’t really

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THE PRETTY LITTLES launch I Am Not From A Small Town at Ding Dong Lounge on Saturday October 6, supported by Cold Hiker.


CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

Beat Magazine Page 63


NOW & THEN

BY KRISSI WEISS

The Melbourne Fringe Festival turns 30 this year and there is certainly no threat of it becoming all downhill, menopause and talkback radio from here. The enthusiastic folks behind the great Fringe are still wanting to celebrate the milestone and, as part of the festivities, The Fringe Club in North Melbourne will play host to two evenings of musical celebrations via Now & Then – 1982 vs. 2012. Some of the city’s finest will join a crack backing band playing a track from 1982 and 2012. Paul Stewart of Painters and Dockers, Ian “Quincy” McLean (Blue Ruin, Scrap Museum), Angie Hart (Frente!, Holidays on Ice), Jae Laffer (The Panics), Cash Savage (Cash Savage and the Last Drinks), Phil Gionfriddo (Dynamo, Chrome Nips, Bowers), James O’Brien (The Boat People) and Jimmy Stewart of Clinkerfield will be joined by Helen Croome of Gossling over two Thursday nights. Croome was yet to jam out her 1982 song choice, and attempting to push through into a childlike state of sunshine on a gloomy Melbourne day when she chats about the Fringe celebrations. “I’m writing children’s music today but it’s doing my head in a little bit though,” Croome says with her own child-like voice and warm expression. “It’s music to accompany a book by Justine Clarke and she’ll play that while she reads it when she goes on tour.” Is it the lollipop lollipops or hot potatoes that are driving her crazy? “You just have to be so happy all the time,” she says with a note of exhaustion. “It’s hard to look out the window today in Melbourne and feel happy. It’s pretty yucky, so I’m using all my strength to keep cheerful.” Croome is a well-established Melburnian these days but growing up, it wasn’t until she escaped from the country and into the arms of the Fringe Festival and various other Melbourne cultural events that she cemented her plans to move from her hometown. “I grew up in the country in Albury, Wodonga so I used to come down every school holidays to feel a part of

the city and get some culture and then I’d go back to the country again,” she explains. “I think I always knew, from then, that I wanted to move to Melbourne when I turned 18 to study and so I could be surrounded by that, by the art, and that sort of thing. In more recent years, going to the Fringe Festival and watching friends perform has been something that makes me very excited to be a Melbournite.” With Croome performing one of her own songs as well as a cover from 1982, her choice for the latter is a little surprising. That element of surprise is something, however, that she very consciously planned. “I’m performing Forever Now by Cold Chisel,” she says. “I wasn’t a massive fan of Cold Chisel growing up so I have to get stuck into the lyrics and make sure I’m on top of it. I chose it myself, it wasn’t assigned. They sent us a list of suggestions and I thought it would be fun and something really different to what I’d normally do.” Cold Chisel are a band tainted by their audience and misrepresented reputation but it’s hard to argue against the notion that Don Walker is one of Australia’s

greatest ever songwriters, a man whose tales of ordinary Australian life were brought to life through the sublime musicianship of the rest of Chisel. Surely, though, Croome is going to approach the song with a Gossling-esque style. “I think I’m actually going to rock out as much as I can,” she says. “Which is something so different to what I normally sound like. When I was first approached to do the project I was excited to be able to do a project that people wouldn’t expect of me as an artist. A lot of people think I’ve got this little gentle voice, that I can’t rip through a song, so I’m excited to perform a song like that where I can show people what I’m capable of.” Hearing Croome slam out Forever Now is going to be something to behold and it’s these sort of projects

that help her escape her artistic bubble and stay motivated. Collaboration and stepping out of her comfort zone keep a smile on Croome’s face. “It actually helps motivate me and inspire me to keep going with music,” she says. “I think if I just did my Gossling stuff all the time I’d get a bit bored and lose track of it and why I love music. I love collaborating with other people and doing projects like this, especially the 360 thing in the hip hop genre, it keeps me excited about music and what I’m doing.”

out a season at the Adelaide Fringe Festival. “I find I share a similar sense of humour to children,” reveals Combe. “I laugh at what they laugh at. The inner child has burned very brightly inside me all my life. I’m very healthy, which helps, and my sense of humour keeps me young. I still very much enjoy making music. I am really very fortunate. I have four wonderful kids and a very supportive partner.” Combe’s two upcoming live shows at the Northcote Social Club, one for adults and one for both big and little kids, will include great tracks old and new which families will be able to enjoy together including the title track from Quirky Beserky about a young turkey

and his geographically confused adventures, the rather cute I Heard There Were Fairies..., Combe’s entertaining take on The Emperor’s New Clothes, not to mention the classics.

Corner Hotel on Saturday October 27 with Holliava which should be another great night.

currently looking into producers to work with for the record, or records. We may have a enough material for a few releases. We shall wait and see. Outside of that, we hope to see more of Oz after the release/s with a few tours.

NOW & THEN – 1982 VS 2012 will take place over two Thursday nights, October 4 and October 11, at North Melbourne Town Hall. Entry is free.

PETER COMBE

BY JOSH FERGEUS

Peter Combe has been a much loved children’s entertainer for more than three decades. In recent years, he has begun playing overage shows at pubs around the country for those who grew up with songs like Combe’s Newspaper Mama and Wash Your Face In Orange Juice. “Performing on the road is a great joy for me, it’s quite wonderful,” says Combe. “After 20 years they still love the songs so much and sing them with such enthusiasm. It always gives me goosebumps to see young adults singing the songs as if they didn’t have a care in the world. “Of all the things I do in music, performing is always the most enjoyable,” muses Combe. “It’s the reward for all the effort. Inspiration doesn’t always come easily. Writing, arranging and recording are also hard work – they can be complicated things to organise.” No wonder, when over 90 musicians joined Combe in recording his latest album. The release of the album, Quirky Berserky (The Turkey From Turkey), marks 30 years since the release of his first album, Vagabond. Combe evidently has not suffered from a lack of inspiration, despite the fact that Quirky Berserky is his 22nd release. Every possible minute the compact disc format has to offer is packed full. “There is actually a physical limit to the amount of music you can fit on a compact disc,” asserts Combe, who has certainly tested that with album. “There’s only about 25 seconds unused on this one! “Good children’s songs are characterised by memorable melodies, well-written lyrics that often have a quirky edge to them and are what I call ‘trend

60 SECONDS WITH What have you been up to since we last chatted? Quite a bit. We finished up an East Coast tour (Sydney/Melbourne/Adelaide/ Regional VIC/NSW) with the Bodyjar NTR show at The Espy – which was such a fantastic show. Since then we had a bit of a lineup change and we’ve been busy writing new tunes. So, the bands lineup has changed, tell us about the new guys ? We have gotten a new guitarist, Hayden. He used to play and sing in A.U.D.I.O, so we know him well and he brings left handed guitar skills and the guy can sing, so harmonies have doubled overnight. Our new bass player Rian, was actually playing bass for a band that we played with at the Bodyjar NTR show. We liked what we saw... made him a horrible offer Beat Magazine Page 64

resistant’,” Combe says. “They’re a bit like a good recipe or a loved folk song that gets passed on to the next generation with a great deal of affection.” The new songs include Combe’s interpretations of classic fairy tales, a highly instructive set of songs reminding kids that in Australia Z is pronounced ‘zed’, not ‘zee’ (thank you, Peter), and multiple tracks featuring the vocal talents of children including Combe’s grandson, three-year-old Oliver, who completely steals the show. “It was almost an after-thought,” says Combe of Red Says Stop (Just Oli) which features a solo performance from his grandson Oliver. “I played it to a few people and they all loved it. It’s rather like a bonus track – the last song you hear on the album. Most three-year-olds can’t sing in tune, because they simply don’t know how to, but Oli is a remarkably musical boy.” Combe insists he’s being objective when it comes to “the best three-year-old singer in Australia”, and the evidence is plain to hear. Oli can really sing. “It took a little while to get a good take in the studio, but once he got it there was no stopping him! I have a funny feeling it’s going to end up as the hit track on the album and I’ll end up being completely upstaged.” Combe is in no danger of being upstaged, having sold over a million albums and DVDs, performed to thousands at Falls Festival, and having staged a sold

PETER COMBE performs with the Quirky Beserky Bellyflop In A Pizza Band at the Northcote Social Club on Thursday October 4 for an adults-only show at 7.30pm and with dancers and special guests for a school holiday matinee at 2pm. Tickets are available at northcotesocialclub. com or by calling 1300 724 867.

STRATHMORE he could have easily refused...and he’s with us now. Have the new members in the band brought about a change to Strathmore’s sound ? A little bit. Playing with new musicians always brings new ideas and I think the new stuff is perhaps a little bit ‘tougher’ than our Everynight Tonight EP. We will be playing a few new tracks at our upcoming shows, ‘road testing’ them as they say before recording them. Tell us about these shows – who with/where? We are playing this Saturday October 6 at The Reverence Hotel with our good mates The Jonesez and Strickland. We haven’t played at The Reverence since it opened, so we are excited to play there and to share the stage with great bands. We are at The

What are your plans for the future? We will look to record in the coming months. We are

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HUSKY

BY JOSHUA KLOKE

The boys of Melbourne’s own Husky have come a long way since eating soggy chips on Southbank. It was there that I last spoke to the band, almost a year to the day. Then, they were prepping their debut full-length, Forever So, and marvelling over a recent opening slot for Gotye. Largely wide-eyed and inquisitive, the folk four-piece have spent the last year working on their ascension up the ranks of the folk elite. Relentless touring and promotion have been kind to the band, Forever So was picked up by seminal label Sub Pop, meaning Husky became the first Australian act to be signed by the Seattle tastemakers. They’ve toured North America and Europe, finding particular success in Germany, where lead singer Husky Gawenda notes they’ve been “three times this year.” It’s no surprise then that Gawenda takes time to answer a few questions in Germany, where he’s “en route from Leipzig to Hamburg,” he says. “We’re playing the Reeperbahn Festival today,” he continues. It’s about as far from Southbank as one can get, but constant motion has become part of life for Husky. “Touring the USA and Europe has been incredible,” he says after being asked about some of the highlights the band’s recent jet-setting lifestyle have brought them. “Germany has been a highlight. Also there have been a lot of highlights over in the States - Portland, Austin, New York and San Francisco.” Gawenda lists some of the epicentres of cool as his highlights, though some of the cities the band has visited have not been unsurprising. It’s refreshing to see that despite the thousands of kilometres logged on the band’s tour van, their wide-eyed sense of mysticism has not disappeared entirely. “I think everyday has been surprising,” he notes honestly.

“Things are always different in reality to what you imagine they will be. Every new town surprises me. The different cultures and people; even from state to state in the USA there are wild and fascinating differences.” Though Gawenda seems comfortable waxing poetic on the vagaries of touring in the United States, when asked about some of the disappointments of the last year, his tone quickly turns to a sarcastic one. “Things have been a bit tamer than I hoped after reading Hammer of the Gods, an account of Led Zeppelin’s touring shenanigans. We haven’t even trashed a hotel room yet,” he jokes. Of course, their consistently affable demeanor could have something to do with their tame approach to the road. Regardless, one of the most successful musical exports in recent memory will soon return to Australia for a headline tour. Having become successful abroad the old-fashioned way, through months of touring, Husky haven’t spent as much time on their native soil as some fans would’ve liked. Combined with the backlash some artists receive when they achieve a

level of mainstream success, it’s worth asking Gawenda if he fears their reception from their hometown crowd won’t be especially warm. “I don’t think our success is great enough to warrant any sort of backlash,” he says. “It’s true we have been away for most of the year. But the times we’ve been back, for our tour in April and for Splendour in the Grass, have been really important to us. Australia is our home. Our audience there, they’re like family. I hope they haven’t forgotten us.” Referring to their crowd as “family” is all the more arresting when you consider that, over the last year, the members of Husky have become a family of their own. Spending countless hours in cramped quarters together has influenced not only their relationship as people, but their relationship with their songs as well. “We all have our ways of escaping,” he says. “Books, films, music. When we can, we take some time out. Finding time to be on your own is important. It’s a little unnatural, four grown men at such close quarters all the time. But we are close friends and love and respect each other, and that also means we can tell each other when something is getting on our nerves. That’s important.” “I think if anything (spending so much time together) has given us a kind of closeness and even a sort of telepathy when we play,” continues Gawenda, touching on how the closeness has impacted the songwriting process.

“We are like a unit now, we know what each other are thinking, we can anticipate each other’s next move. It’s made us tighter.” That tightness will surely be heard in some of the new tracks Husky have been writing and may very well premiere at upcoming shows. The picturesque cities and towns Husky have been setting up shop in lend themselves to the subtle beauty within the bands roaming folk. The road may not be the best place to pen new tracks, but Gawenda insists he’s been making the most with what he’s been given. “Yeah I’ve been writing a lot,” he says. “The road is good and bad for writing. It can be hard to find the right time and space to write. But when you do, there’s plenty of scenery, outwardly and inwardly, to draw inspiration from.” There’s a thoughtfulness in the way Gawenda details the last year, one heard in their music as well. Quintessential nice guys, Gawenda and Husky have proven that good things do indeed happen to good people. As much as the band has seen, they take nothing for granted. It was never their plan to take their music abroad, but they’re happy to continue. “A dream, maybe,” he says. “A plan, no. I never planned any of this. We’ve already done so much more than I ever thought we would.”

[they get] binned for the time being. Because if it becomes compromised, it becomes watered down.” Aside from that, the seemingly difficult situation of being spread out across the globe doesn’t really get in the way of anything. When I question whether logistics have ever prompted the band to consider – heaven forfend – packing it in, Blackie gives a little laugh in the negative. “I think we might switch to hologramatic touring, just send our holograms to do it,” he jokes. “After this tour, we’re actually taking a break and it’ll be the first time we’ve done that. This time, it’s just been so long on the road we’ve decided to take a break and then we’ll just regroup.” The presser truly isn’t lying where it says that Gomez won’t be back for a while after these shows. “It will be a long time, yes,” Blackie confirms. “Even if we were going straight into another record it would be like, a number of years anyway. I think it’s going to be quite a while before we get back into making another record.” As our allocated time dwindles, I decide to ask Blackie whether he remembers a certain incident during the band’s 2004 Melbourne show, at The Forum. A young lady

threw a pair of tiny, pink, polka-dotted undies at singer Ian Ball, which hit him on the leg. Blackie then picked the knickers up and stretched them across the two points of a keyboard stand so that they were distorted to the size of a whale’s arse, and warped the message of ‘LOVE ZOE’ written across the fabric into a rather terrifying memo of devotion. “I don’t recall that,” Blackie says, sounding extremely uncomfortable but gracious. “Are you sure it was me? I think that might have been Tom because he’s over by the keyboard. Well, thank you very much, it’s greatly appreciated.” With so many dedicated fans in Melbourne, Gomez’s two dates here are going to be a treat for all who managed to grab tickets. I myself am looking forward to what promises to be one of the gigs of the year. “Great,” Blackie says warmly. “We’ll look out for the pants.”

“We have five heads instead of one,” Scott says proudly. “You can get so caught up in your own little world – the sleepless nights I had making the last record, I didn’t have any this time around. “I’m really enjoying that the rest of the band is contributing to the songs, and those are my favourite parts of the songs. Whereas before I was a little bit anal about having control over the process, and I had to let go because I was repeating myself and getting bored. I don’t think I can go back to the old way now”. The result is State Hospital, a clutch of songs that are too disparate to fit on the next album, but too good not to be heard – more objective facts. Or, as Scott puts it, they deserved to be “more than just a B-side”. “They don’t really hint at what the next album will sound like, except for maybe State Hospital, the title track. The rest of them are sort of like the weird cousins. I don’t know what it says about the album. The EP served a few purposes, as a stopgap, to get back into people’s ears, but we just really didn’t want to forget about them.” Frightened Rabbit’s 2006 debut Sing The Greys, like so many other debuts, was an odds and sods package, the result of various recording sessions and a flurry of songwriting before Scott had given much thought the direction of the band – and it was a barely a band at that

stage anyway. Get the album out, see if there are any bites, and figure out the rest later. Second album The Midnight Organ Fight was largely the emotional outpourings of a bad breakup, or an amalgamation of many. Equal parts glum, bitter and melancholy, it was a catharsis of demons and darkness that was leagues away from the anthemic joy of follow up The Winter Of Mixed Drinks. At the time of touring The Midnight Organ Fight, Scott’s brother and Frightened Rabbit drummer Grant joked that if Scott wrote good songs when in a bad mood, then the band would be forced to occasionally insult him for the best results. Thankfully, this tactic no longer seems necessary, as the songs now dictate the mood rather than the other way around. “The tone on the new EP and next album – I’ve been trying to spread my scope lyrically to other people’s lives more, it’s not about me anymore. The last album was semi-fictional with some truths included, but this time, I started to try and write about other things. It’s more like an author’s role in writing fiction. I could write about being heartbroken until the cows came home, but I wanted to challenge myself this time.”

HUSKY return to Australia to play The Corner Hotel on Thursday October 11.

GOMEZ

BY ZOË RADAS

There’s been a very darling love affair between Australia and Gomez for a long time. Fifteen years, in fact, as the title of the British lads’ upcoming collection of shows will remind us admirers: The Quinceañera Tour. They’re also leaving the setlists for these shows up to the fans, with attendees able to vote for the songs they most want to hear prior to each date, through the band’s website. Bassist Paul ‘Blackie’ Blackburn says it’s a way of giving back to the listeners who have been so loyal to Gomez throughout the band’s lifetime. “We’ve got a lot of material from over those years,” he says, speaking to me on the telephone from his hometown of Brighton, England. “People who’ve stuck with us and the like, it’s kind of a way of giving them the opportunity to hear what they want to hear. It keeps us on our toes as well. Each day we’re always waiting for what the tracks people have picked are going to be, we usually get them around sound check time.” That doesn’t give the five-piece, whose lineup has not changed since the band’s inception in 1996, much room if there’s an unexpected pick. “Sometimes there might be the odd two or three songs that throw a spanner in the works and then you’re suddenly like, ‘Uh, right, how’re we going to figure this out?’ But it’s actually quite exciting as well.” Gomez’s last album, Whatever’s On Your Mind, received much press around the manner in which the band wrote its tracks. Blackburn, Tom Gray and Ben Ottewell all reside in Brighton while Ian Ball and Olly Peacock are denizens of Los Angeles and New York, respectively. Using a kind of online ‘hub’ where tracks could be uploaded, the band members each added or removed or augmented their way

through a slew of ideas, eventually whittling them into a small collection which they then finally took into the studio. “The point where we were all apart and just sending things through was the initial idea-generating stage,” Blackie says in his distinctly polite accent. “We ended up with 50 or 60 ideas, and then most of that stuff got put aside, binned, pretty well. So you end up with about ten ideas, from all that, that you decide to work on. Basically, when we went into the studio there was a sense of agreement.” Playing with ideas online seems to have its drawbacks, though. There’s no way to immediately address a difference in opinion, so weird feuds like those that nerds on Wikipedia have, where a contested date is viciously changed back and forth forever, seem unavoidable. “Passive aggression instead of just straight forward confrontation? I’m just not going to say anything about that,” Blackie chuckles. “It’s a weird dynamic being involved in a creative process with a number of people who have different ideas about things, and everybody does have different ideas about things. Generally, it’s not so much a diplomatic process. If there’s songs that people really aren’t agreeing on then

GOMEZ play The Corner Hotel on Sunday October 21 (sold out) and Monday October 22. Whatever’s On Your Mind is out now.

FRIGHTENED RABBIT

BY MITCHELL ALEXANDER

When Frightened Rabbit first came to Australia to support their brilliant tear-soaked 2008 album The Midnight Organ Fight, they curiously brought in the New Year playing at the Queensland love-in Woodford Folk Festival. When they returned to support their equally brilliant – not being biased, just stating the facts – third album The Winter Of Mixed Drinks in 2010, they returned to Woodfordia, this time for Splendour In The Grass. Of course, the band did play a few sideshows along the way, but at this early stage in the interview I feel compelled to ensure primary songwriter Scott Hutchison that Australia does, for the most part, spend time indoors. That we have venues with four walls and a roof that aren’t all out in the middle of a rainforest. But Scott’s a clever boy, he’s already seen it for himself. “Oh you’re in Melbourne? That’s a lovely place,” says the chipper Scottish voice on the end of the phone. “Yeah, it reminds me of living in Glasgow”. Choosing to take that as a compliment – Glasgow is no New York, but it’s not Sierra Leone either – I launch into questions about the band’s latest EP, State Hospital. It’s a miniature album that, along with a fourth album planned for early 2013, signifies big changes for the band. For starters, what began as Scott’s bedroom solo project has expanded over the years to a five-piece band, the latest addition being guitarist/keyboardist Gordan Skene. Next, the EP and as-yet-untitled new album were produced by Leo Abrahams, swapping out their regular dude Peter Katis. Where Katis is considered indie rock royalty (previous production credits include Interpol and The National), Abrahams may be a more obtuse, adventurous choice, with a timeline peppered with aural

Beat Magazine Page 66

explorers like Brian Eno, David Byrne and Jon Hopkins. “Everything had to change with this album, we felt that there had already been so many changes so we went further,” explains Scott. “We felt that, if we went back to Peter again –although I would love to work with him in the future – we would lose the new energy we had. “When Leo came along, he was so passionate about the music, he seemed like the obvious choice.” And finally, after years of solely holding the reins of the Frightened Rabbit wagon, Scott has welcomed songwriting contributions from each band member. This doesn’t always go down well in bands that were once tightly controlled – think Metallica’s Some Kind Of Monster or when Brian Wilson’s brain began to bubble – but Scott’s only seeing positives, which is rare for a guy who started out writing gut-wrenching ballads about sceptic relationships and suicide.

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FRIGHTENED RABBIT’s new EP State Hospital is available now through Atlantic Records/Warner.


TORTOISE BY JOSHUA KLOKE

Jeff Parker is relaxing at his Chicago home, hanging out with his kids after a day spent museum-hopping. It takes awhile to get the guitarist for avant-garde act Tortoise to discuss his band, after touching on Chicago’s museum and culinary history. You can understand why Parker wouldn’t want to dive into a lengthy discussion about Tortoise; their camp has been relatively quiet as of late. They’ve been touring sporadically since the release of 2009’s Beacons Of Ancestorship, but there are no immediate plans to record a new album. Parker soon gives insight into what Tortoise has been up to. “We’ve been playing a few shows here and there,” says Parker, reached on the phone. “Our record label (Thrill Jockey) is celebrating their 20th anniversary and they’ve re-issued a lot of our back catalogue on vinyl. And that inspired us to re-learn some of our old songs. We’ve expanded our performing repertoire by 30 or 40 percent. So we’ve got a bunch of other songs that we can play now, which is cool.” The band’s expanded repertoire is especially redeeming considering that it’s been over three years since the release of Beacons Of Ancestorship. Touring without a record to promote can be at once restrictive and liberating. It’s not easy to breathe new life into songs that have been played many times before, though Parker believes the key to touring without a new record is to fight to find a creative energy. “We’ve been together for a long time and this lineup itself has been together since 1996,” Parker says in earnest. “I honestly believe that it keeps getting better. Sure, we might have been playing the same songs for a long time, but we keep putting creative energy into the songs and they keep evolving. And they keep getting better.” Parker continues, noting that perhaps the media coverage might be blowing the situation out of proportion. “In a lot of ways, it isn’t any different. The only real difference is in terms of promotion. Because there’s that fresh interest from the media in the story that you’re telling. But then again, I am talking to you,” he says before laughing heartedly.

Tortoise’s decision to tour has brought the five-piece together for rehearsals and standard preparation, which given each member’s involvement in other projects, is no small task. Drummer John McEntire continues to gig and record with The Sea and Cake, on top of his work as a producer and engineer. Bassist Douglas McCombs released Riot Now! with Eleventh Dream Day, and Parker himself released the jazzinfused Bright Light In Winter as part of the Jeff Parker Trio earlier this year. With each of the members occupying their time post-Beacons Of Ancestorship in many facets, it’s worth asking Parker if it’s difficult to find a common energy once they get back into a room together. “Sometimes it takes awhile to get the momentum going, especially when we’re working on something new,” he says. “Once we find that groove, things are pretty easy then. We’re able to rely on our 20-plus years as a band to figure out what to do. And usually we can make it work.” “Making it work,” sounds easy enough, but as even the most casual of Tortoise fans can attest, their tracks aren’t exactly models of simplicity. Layered thick, their instrumental tracks evolve from seemingly innocuous beginnings into dense sound-scapes. What sets Tortoise apart is their ability to pull in the reigns of their tracks, before all hell breaks lose. It’s a deft claim that not many modern instrumental acts can make. Parker insists the band takes measures to ensure their tracks maintain cohesion. “Beacons is one of the more ‘live’ studio albums we’ve

“I HATE TO GET ALL ZEN ABOUT IT, BUT TO HAVE AN UNCARVED BLOCK IN FRONT OF YOU IS GOOD.”

ever done,” he says. “A lot of our compositional techniques would rely on the process we took in the studio. But with Beacons, we felt like that had become a crutch for us, relying on the studio. So we actually assembled the material outside of the studio and then went in, and recorded it live. It’s hard taming that kind of stuff down if it’s what we believe to be the bare essentials, and there’s not a lot of layering. As far as the past stuff, we definitely had to tell ourselves when to stop,” he continues. “Sometimes the record label would give us a deadline to ensure that we’d actually finish the record up.” While Parker’s mention of label-imposed deadlines isn’t meant as a dig, it’s easy to imagine Tortoise, 20plus years into their career, existing as their own entity. Jeff Parker can relax, as his band has worked hard to get where they are today. While he doesn’t take a

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relaxed attitude towards his work, he’s not about to get stressed over the future of the band. In fact, he’s not about to get stressed over much. The music of Tortoise is that of vast, untouched landscapes. And for Parker, to write the music of Tortoise, he’s got to get in the same type of headspace. “The ideal headspace would be to simply have a blank slate,” he says. “I hate to get all Zen about it, but to have an uncarved block in front of you is good. You don’t want to have anything in the way. A wide open, uncluttered mind is what works best I think.”

TORTOISE hit up the Corner Hotel on Saturday October 13 with Grails (USA), New War and sleepmakeswaves.

Beat Magazine Page 67


HEAVEN THE AXE

BY ROD WHITFIELD

Blistering Melbourne heavy-rock act Heaven the Axe have a brand new video coming out very shortly for their song Enemy from their debut album Sex, Chugs And Rock ‘N’ Roll. This band are all about loud and dirty rock ‘n’ roll, hot chicks, beer, tough cars and wild times, and the video captures this to an absolute tee. But there is also a more serious story and message behind the clip, and the band’s feisty lead vocalist Phoebe Pinnock joined us recently at a cafe in Northcote to fill Beat readers in on the dramatic events that inspired some of the scenes depicted in the video. “Well the whole clip was inspired by myself and my husband getting arrested,” she begins the long and sordid tale. “We were out in Chapel St one night, we had a music industry meeting. We’d had barely anything to drink, I was driving. I was there with the band and some other friends. We were walking back to our car and the police drove past us, but then they came back around and they approached my bandmate Matt, our other guitarist, and they said, ‘Empty your pockets, we want to search you’, and I went up to them and said, ‘Hang on a minute, you can’t just approach us for no reason and expect him to empty his pockets. He’s with me, we’re leaving, what’s the reason for you approaching us?’ Because we had done nothing to warrant their attention. “The guy couldn’t give me a reason, or refused to give me a reason, we just had to blindly do whatever he said. I am a believer that anyone can write a rule. Some people maintain a certain level of authority where their rule happens to be the go and other people’s rules are insignificant. But these sort of issues became very apparent in my life at that time. So I decided that just because I was born, doesn’t mean I had to agree to this person’s rules, and I don’t care that they’re wearing a police uniform. I know that I haven’t

done anything wrong as an educated citizen. I don’t need to be held captive and my bandmate doesn’t need to be subjected to humiliation without a reason. So I stepped in and refused that they search my bandmate for no reason. “So anyway, the situation escalated in that the police officer in Chapel St called a SWAT team to come and intimidate me, and they all rocked up, about four cop cars, and they were all wearing SWAT team bulletproof vests. And I rang my friend who’s a police officer and said, ‘What are my rights here?’, and he told me that they need to give me a reason, he said, ‘Ask for a reason’. So I asked for a reason, and then they arrested me, put me in the paddy wagon, and took me back to the Chapel St police station, where all my belongings were searched. “So my husband said, ‘You can’t take my wife!’, so they arrested him as well, and they took him back and charged him, and put him in the lockup for four or five hours for being found drunk in a public place. He’d probably had four beers over five hours. So he wasn’t actually drunk, but the police officers’ law is that if they deem, by their opinion, that you’re drunk, without any actual proof then you are. “So he was in lockup all night. I spoke to the superintendent

at the police station, I stated my case that I was sober, that I didn’t believe the police officer had any reason to have us there. They let me go, but they’d locked my husband up. “He got a fine for being drunk in a public place, which was $500, which was untrue. And then six months later, on ANZAC Day, this cop rocks up on my doorstep in plain clothes, by himself on a public holiday and gave me a court summons, for two very minor fines, like not producing my ID, so I had to go to court. “We looked into it, we had all these glowing references. My solicitor advised me not to state my claim in court about how the police were acting wrongfully and to say that I was sorry, to get out of the case that way... so basically we walked away with all these bullshit fines, a whole lot of time wasted fighting a fine and all this stuff which was the policeman’s way of saying, ‘We have all the power and you have none.’

“I strongly disagreed with that whole thing, which inspired me to make the film clip!” The irony of it all was that the band were actually working for a charity at the time, organising a bunch of concerts around Australia to raise money and awareness for anti sex slavery. It’s a sad story, but one which will only serve to make the band and their resolve stronger.

HEAVEN THE AXE launch the video clip on Saturday October 13 at the new ‘Level 2 The Club’ venue in Northcote, with 4Arm, Bugdust and Chinatown Angels in support. Disclaimer: Beat Magazine doesn’t endorse the opinions stated in the above piece, nor have we had the opportunity to offer a right of reply.

THE WORKINGHORSE IRONS

BY KRISSI WEISS

Melbourne psychobilly band The Workinghorse Irons will be releasing a self-titled EP through Ian Haug’s new Airlock Records label after auspicious beginnings. “Whirlwind start” and “meteoric rise” – these terms are bandied about when talking about music, so much so they have lost all meaning and often have little in the way of a tangible explanation. But put simply, The Workinghorse Irons got together and six months later they were jetting around Brazil as part of the Psycho Carnival Festival, peppering that trip with coveted support slots for Nekromantix, Man Sin and Sick Sick Sick. For a group sitting well within a niche genre, they’re doing pretty damn well so far. Double bassist and singer, Joey Crapis, gets things started with a chat about the band’s origins. “The band began in 2009 as a five-piece changing to a four-piece in September 2010,” Crapis explains. “The current lineup has been together since August 2011. Scott and Nick are original members with me joining in August 2010. I originally joined just to play bass but after the original singer left, I took up both duties.” The Workinghorse Irons were “discovered” at Cherry Bar, but what exactly does it mean to be discovered these days? “We played a set at the Cherry and we were supporting Intoxica,” he says. “The place was packed and we played really well. I was carrying my bass through the crowd to get to the back band room and a woman approached me saying she loved the band and that her husband wanted to chat to me. He said he loved the band too and if we ever wanted to record he has a studio in Brisbane, he then said that his name was Ian Haug. I said,

‘the Powderfinger guy?’ he then said, ‘Yeah, I was in a little band called Powderfinger’, gave me his number and through numerous emails we organised to get up there and record the EP.” That’s being discovered, it would seem. It has appeared to be a swift journey from humble pub gigs to international touring and Crapis explains that the opportunity to head to Brazil was another case of opportunity arising from both their talents and word-ofmouth. “A fan in Japan heard our music and got in touch asking if we would tour there as she had some connections and could help us out with shows,” he explains. “We were obviously very interested and wanted to do it. The fan was [a] Brazilian living in Japan, some time passed by and she got in contact with us to tell us she was moving to the UK but would give our details to the Psycho Carnival organisers. Through a series of emails and phone hookups, the tour of four shows in Brazil was organised.”

Apparently, the band’s time in Brazil developed both their contacts and strengthened their musicality. “The people in Brazil are so accommodating and treated us really well,” he says. “One show in Brazil was in a university town called Sao Carlos. This tiny pub was the only bar in the place. The thing about gigs in Brazil is they start really late; the first of four bands started at 11pm. We got there at 8pm and the pub was empty. Within an hour, this almighty storm hit the place, there’s water getting in everywhere, and it lasted two hours or so with not a soul coming. I said to the rest of the guys, ‘Man, nobody’s going to turn up’. But slowly people started to emerge and by 3am the place was packed out with over 200 people. We played our show, it was 42 degrees, 100% humidity, and people were rushing the stage. It’s still a highlight of my musical career.” With Ian Haug’s overwhelming years of experience, support from someone like him is invaluable. Haug apparently gave the band just as much emotional support as technical prowess in the studio. “You know, Ian has this calmness about him, and even though when we recorded the EP we did three shows in four days as well as recording, Ian was always getting us grounded which was vital,” he says with obvious admiration. “Ian taught us that less can sometimes be more and to pick our moments and do things

smarter. We have the live show down pat and we were trying to recreate that in the studio, which we didn’t have to do. Without being confrontational about it, Ian made us test ourselves and try different things, which we then brought to our live show. Both Ian and Yanto [Browning], Ian’s right hand man, just love music and give you an appreciation of why you do it – you sometimes need that. It can certainly get under your skin if it’s not working the way you want it so I think Ian’s musical knowledge as well as being able to read the signs puts him in good stead.” The band are intent on keeping the momentum going, embarking on both touring and recording in equal measures. “We have [the] upcoming tour with Nekromantix and [we’ll] do the Brisbane, Sydney and Melbourne leg for that,” he says. “There’s our EP tour of Melbourne, Brisbane, Sydney, and Adelaide. Another EP is in the works and [a tour of] Perth in the New Year, so we are busy. We also hope to do Europe or USA in 2013.”

Jorge Tripps, founder of Way Huge Electronics and now a designer at Dunlop Manufacturing. “We share a storage facility together where I rehearse,” Bonamassa says. “Jorge is my neighbour and we’ve become really good friends over the last seven, eight years. Jorge goes, ‘Hey, I’ll build you a wah. Why are you playing that Vox? I’ll build you a Crybaby.’ Then he built me this Fuzz Face and I used them for years. I didn’t know I had anything special. But Jorge would go ‘Here’s something we don’t make. It’s a ‘67 with a different capacitor, a very early style wah.’ I love the sweep. It’s temperamental and it howls, but when it warms up and it’s on it’s awesome. There’s none better. Same with the Fuzz Face: it’s built as a low-gain Fuzz Face for humbuckers. We started making them as a signature thing, but we researched and developed these things for five years.’ Aside from continued touring, Bonamassa has just wrapped

up his portion of work on the third BCC record. “The album’s coming out great! My bit is finished. It’s a fine, solid effort by a good dais of musicians. It certainly fills a niche. My favourite reviews was one of those English ‘too hip for the room’ magazines, who reviewed it poorly and said ‘These guys are living in the past, blah blah blah, made a record that sounds like 1972.’ And I go, ‘That’s the whole point! We’re not trying to be the Arctic Monkeys, they already exist. We’re not trying to break bread with the young kids that are on the charts and happening. We offer an alternative to what’s on the radio. New songs done as if they were recorded in 1972, done by musicians who play in that style.”

THE WORKINGHORSE IRONS will be returning to the Melbourne stage on Saturday November 10, at Cherry Bar. They support Necromantix at The Hi-Fi on Friday October 5. Their self-titled EP is out now through Airlock Records.

JOE BONAMASSA

BY PETER HODGSON

It’s been a big year for blues guitar hero Joe Bonamassa so far. In January he unveiled his set of signature Seymour Duncan guitar pickups and a pair of Dunlop pedals (a Crybaby wah-wah and a Fuzz Face fuzz) then rocked the Ernie Ball 50th Anniversary party in LA. In April he unveiled a new Gibson ES-335 signature model, in May he released Driving Towards The Daylight, which sees him return to his blues-rock sound after exploring other textures on recent recordings, and he’s been hard at work on the third Black Country Communion album. In October he hits Australia for the second time, playing shows in Perth, Brisbane, Newcastle, Sydney, Adelaide and Melbourne. Daylight features plenty of firey blues-rock playing and some gorgeous guitar tones. “It’s been well-received,” Bonamassa says. “We’re not really blues to begin with, but close enough!” Particularly in Australia: the album features a cover of Jimmy Barnes’ Too Much Ain’t Enough Love featuring Barnesy himself on lead vocals, written by Barnes alongside Randy Jackson, Neal Schon (Journey), Jonathan Cain and Tony Brock. Aside from a few great Bonamassa originals, tracks include songs by Robert Johnson, Howlin’ Wolf, Koko Taylor, “super-nice guy” Bernie Marsden, Tom Waits and Bill Withers. Quite the stylish dude, Bonamassa knows the value of presentation and of setting a mood for the music. The cover of Daylight is a perfect example of this. “This one was my idea,” He explains. “We had the title, Driving Towards The Daylight, and in the initial few mock-ups they sent me a picture of a headlight from a Pontiac. I said, ‘Surely we can do better than this.’ So I sent them back a bunch of pictures of old racing posters and said, ‘this is what we want Beat Magazine Page 68

to do. The old Monaco posters.’ I’m a vintage nut, so that’s what I do!” The result is a bold, evocative image that sets the scene for the driving blues-rock inside. It’s now six months since the Bonamassa pickups were officially launched at the NAMM Show, and he regularly hears from players who have installed them in their guitars. There have even been quite a few reports of folks buying a set without yet owning the Les Paul they plan to eventually put them in. “My favourite part is when someone writes on Facebook, ‘I’m not a fan of you. In particular, I dislike your music - but I like your pickups.’ Either way, that’s a satisfied customer, y’know?” As for Bonamassa’s signature Crybaby pedal, “Most of the buying public wants a true bypass wah. I’m the only idiot that actually prefers it with the treble loss. For me it’s always easier to add treble into the sound than it is for me to subtract it. I know a few tricks to get rid of it but it’s generally harder and more of a pain in the ass.” Both the Crybaby and Joe’s new Fuzz Face model go back to

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

JOE BONAMASSA plays The Palais Theatre on Thursday October 11.


CORE

PUNK, SKA, HARDCORE

NEWS, REVIEWS AND GOSSIP BY EMILY KELLY: EK1984@GMAIL.COM

Melbourne hardcore band Outright introduced a pretty excellent concept for their current Dedication tour. In order to celebrate the “music, ideas and DIY community spirit” that the Melbourne scene shares, they’re setting up a Mix Tape Lucky Dip at their merch desk each night. They’re encouraging punters to put together a mixtape, add it to the box, then take another one in return. Said the band on their Facebook page “you might come across your next favourite band, hear something new or different, find an unreleased song or B-side, get a gift to share with a mate or just be stoked to know you are offering all of the above to a stranger in the room just by sharing what you love.” Well ain’t that sweet. This concept – despite requiring dudes to be vaguely organised which can be quite the task – is just one of the ways Melbourne can currently boast one of the best live music scenes in the world. A Death In The Family’s Jamie Hay has revealed that he’ll release his debut full-length this November. King Of The Sun gets a release via Hobbledehoy on November 2 before Hay hits the road with Lincoln LeFevre, who will be supporting his new one Resonation. Lock in The Reverence on Saturday November 10. Pre-orders for both albums are available now. Speaking of pre-orders, Conation have their new album up for pre-order on their bandcamp page as well. Recorded in August in a pop up studio in the Carlton Trades Hall, they reckon it’s a concept release moving through the inner and outer contexts of Melbourne’s city dwelling homeless. Genome is out mid-October and a national tour with Totally Unicorn follows. CherryFest have added even more bands to their existing lineup for November 25. Big D And The Kids Table will bring some ska flavor to the event, King Gizzard And The Lizard Wizard will bring lo-fi rock, and I Exist will bring the motherfucking riffs! Also added were Gruntbucket, Frankenbok, Dead City Ruins and River Of Snakes. Omar Rodriguez-Lopez will return to Australia this summer with his band. They’ll headline Cherry Fest in Melbourne as well as chuck a headlining gig at The Corner on December 2. Tickets are available now. The Cosmic Psychos have sold out their first gig at The Tote, only to announce a second one on Saturday November 3. Better grab tickets while they’re hot people.

CORE GIG GUIDE WEDNESDAY OCTOBER 3: Strangers at Cherry Bar THURSDAY OCTOBER 4: The Amity Affliction, The Ghost Inside, Architects, Buried In Verona at The Palace MC Lars , Lets No Pretend, The Engagement at Next FRIDAY OCTOBER 5: The Amity Affliction, The Ghost Inside, Architects, Buried In Verona at The Palace Cannibal Corpse, Psycroptic, Disentomb, Entrails Eradited at Builklboard Jericco, Circles at Evelyn Anchors, The Decline, Apart From This, Join The Amish at The Bendigo Damn Terran, The Peep Tempel, The Once Overs, Clavians at The Tote SATURDAY OCTOBER 6: Nekromantix at The Hi-Fi Something For Kate, Ben Salter at The Corner Hotel Hoodlum Shouts, Margins, Sleeptalker, Maricopa Wells at The Bendigo D At Sea, The Playbook, Sound Of Seasons at Bang SUNDAY OCTOBER 7: Steel Panther, The Art at Festival Hall D At Sea, Millie Tizzard, Canidae, The Spinset at Phoenix Youth Center. Something For Kate, Ben Salter at The Corner Hotel King Gizzard and The Lizard Wizard, The Meanies, Ritchie 1250, The Brides Of Christ at The Tote Chuck Ragan has collected a bunch of tales from the road for this new book The Road Most Travelled. It features stories from members of The Gaslight Anthem, Rise Against and At The Drive-In. The book’s available online at Chuck’s website and – just quietly – looks amazing.

CRUNCH!

LOCAL AND INTERNATIONAL GOOD SHIT WITH PETER HODGSON: CRUNCHCOLUMN@GMAIL.COM

GIG ALERT: SERPENT SERMON TOUR

GIG ALERT: VOYAGER

Sweden's kings of unholy black metal chaos Marduk will invade our shores to headline the Serpent Sermon tour this summer. Joining them on the crusade will be Australia's own curators of the abyss Portal, and Melbourne's blackened horde Order Of Orias. Tickets are on sale now from Moshtix, and for the month of October they will be at the special price of $39.99 plus booking fee. The mayhem hits The Hi-Fi on January 11.

Perth prog-metallers Voyager are hitting the road in November in support of their still-going-strong November 2011 album The Meaning Of I. The band recently unveiled a video for the track Seize The Day filmed using smartphone recordings from fans shot at their March 2 hometown gig.

ACTIN' LIKE A MANIAC… The lineup for the Whiplash Festival IV tour has been announced and it's pretty friggin' brutal. Hedlining this year is Denmark's Mnemic. Other bands include Dawn Heist, Lynchmada, Subjektive, Scar The Surface, Merauder, Katabasis, Prescient, Decimatus, Kunvuk, Abreact and Any Last Words. Get lashed at The Hi-Fi on October 28. General sales are $55 plus booking fee, available from Moshtix and thehifi.com.au. Sponsored by Nuclear Blast, Ibanez, StringSite.Com, Riot Entertainment, Farski Photography, Venom Nightclub, Through the Collapse Radio show, Metal Obsession, Reverb Street Mag, Oceanic Sharks Booking Agency, Xtreme Zine, Sudden Rush, Shinigami Records, Firestarter Distribution & The Flaming Arts Agency and DS Enterprises.

HEAVEN THE AXE TO DEBUT NEW VIDEO They've been called 'Australia's Toughest FemaleFronted Hard Rock Band' but y'know what? They're one of Australia's toughest bands regardless of gender. Heaven The Axe debut their new video for the song Enemy at Level 2, Northcote on Saturday October 13. The clip was made over the period of a year on a 'carton of beer' budget, and you may remember reading about the call for extras way back in January or February. So if you answered the call, rock on up on October 13 to revel in your fame! Enemy is from the band's current album Sex, Chugs, & Rock 'n' Roll.

SEBASTIAN BACH NAMES NEW AXEMAN Hawthorne Heights will return to our shores this December (for the first time in almost six years). It’s their first visit since they lost their guitarist who passed away on the band’s tour bus in 2007, and their first since they released Fragile Future and Skeletons. See them with Sydney’s Sienna Skies at Bang on Saturday December 8 or at Frankston’s Pelly Bar on Sunday December 9. Norma Jean posted via Twitter that they’re firming up tour plans saying “Australia. You can start getting stoked. We’re coming! Info ASAP”.

METAL, HEAVY ROCK, CLASSIC ROCK

Former Skid Row vocalist Sebastian Bach has named Jeff George as his new guitar player after parting ways with 22-year-old Nick Sterling. Back says Nick, who appeared on his latest album Kicking And Screaming, had a problem with the contract for a concert that was to be televised. And speaking of Skid Row, that band's bass player Rachel Bolan plays on the new Stone Sour two-part concept album, House of Gold & Bones. But Bolan won't be able to join the band on stage, since he'll be busy with Skid Row, so Stone Sour has named Johny Chow (Cavalera Conspiracy) as their new live bass player.

CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

ZAPPA ROXY FILM ON THE WAY AT LAST December 2013 is the 40th anniversary of the performances at the Roxy Theatre on Sunset Boulevard which formed the basis of Frank Zappa's Roxy & Elsewhere album. The Zappa Family Trust has quite thoroughly identified all parts and participles of the audio and video recordings of this famous run of shows, and will finally, utterly deliver it as an epic concert film in theatres, DVD and on Blu-Ray some time before December 2013. In the meantime, in anticipation of the actual movie, the ZFT will release a prequel to the soundtrack. Or as Gail Zappa describes it, "75 minutes and 49 seconds of Roxy without the Elsewhere." The ZFT is also about to release a new series called Road Tapes on their Vaulternative imprint, with the first salvo to be fired around Halloween – always a sacred time for Zappa fans.

HAMMERFALL LIVE DVD/CD SET MAKES LIFE WORTH LIVING The mighty Hammerfall are currently on a planned hiatus, with plans to reconvene after 2013 to continue forging their particular brand of metal majesty, but in the meantime they're releasing Gates Of Dalhalla, a DVD/Blu-Ray and 2-CD set derived from their 15year anniversary show from July 28 on the historic open-air stage Dalhalla, built in an old quarry near the small Swedish village Rättvik. Prominent guests included original lineup members Jesper Strömblad and Mikael Stanne, as well as ex-guitarist Stefan Elmgren. Oscar Dronjak says: "The set contained 26 tracks and lasted 2 hours and 15 minutes, by far the longest and most comprehensive gig of our entire career! We played songs from every album and then some, there were lots of guests and pyros, and we had 80 Marshall cabinets and the big shield with the HF logo carved out in the middle hanging brought out of storage, all set in an extremely unique venue. You really have to see it to understand, this concert really captured the essence of HammerFall live in 2012 very well!" Gates Of Dalhalla is released on November 30.

Beat Magazine Page 69


MUSIC NEWS

YOUR COMPREHENSIVE LOCAL GUIDE

For all the latest news check out beat.com.au

MOROCCAN KINGS Moroccan Kings are launching their new EP, Battlefrogs at The Evelyn Hotel on Saturday October 6. The band is putting together a very detailed and special show for the launch. Two singles have already been launched (Grizzly Bear and Superman) from the Battlefrogs EP so far, and the accompanying film clip for the Grizzly Bear single has been getting a lot of attention on YouTube and Rage. The launch has two awesome support bands, two of Melbourne's favourites, King Of The North and Sheriff. Pre-sale tickets are $7 presale or $10 on the door.

THE DETONATORS

CREEPSHOW HALLOWEEN FESTIVAL 2012 Attention creatures of the night. Melbourne’s biggest Halloween party, Creepshow Halloween Festival, returns to The Espy on Saturday October 20. See the entire venue transformed into a haunted mansion, playing host to seductive burlesque dancers, creepy DJs and a horde of spine-tingling bands. Performing live will be Engine Three Seven, The Khyber Belt, Ten Thousand, Over-Reactor, Bronson, Anna Salen Vs Mario Bros, Sharaya, LeBelle, I Am Duckeye, Cloud City, Massive, Kettlespider, Arcane Saints and heaps more. Dress to kill and you may just win a prize for your efforts. Be a part of Creepshow 2012, tickets $21 available from The Espy website and all Oztix outlets.

The hard working quartet known as The Detonators have become Australia’s kings of roots rock'n'roll. Their original music, to which all members contribute, is best described as a lethal combination of rockabilly, blues and early rock'n'roll. The Detonators have toured all corners of Australia, done all major blues and roots festivals more than once and have ventured into Europe with their high-powered original show. The band is constantly gigging and has a huge local and interstate following. With five CDs in their arsenal, they have recently had their music on the film Charlie and Boots as well as the Australian TV series Underbelly. Cold Chisel have labelled The Detonators as their favourite band and have used their support at their sold out Rod Laver gigs. Dancing shoes and drinking arms are compulsory for any good time Detonators show. Catch them this Sunday October 7 at The Retreat with The Little Sisters. Free entry.

RICHARD CLAPTON

THE ZANES

THE SHARDS

Formerly known as Children In Bloom, The Zanes' first single from their upcoming EP, Not A Lot To Like, was released this week. To celebrate, they are launching the song at The Grace Darling Hotel on Friday October 5, supported by Mansion, Alaska, Canos and Gabe Lynch. Tickets are $10 on the door.

Best Of events aims to provide a live music experience that supports local artists in Melbourne. The first Best Of Brunswick event will be held at The Victoria Hotel on Friday October 5 and will showcase local bands, native to the Brunswick area, including: The Shards, These City Lights and Rubber Dubbo. All from 9pm.

Richard Clapton has teamed up with guitarist and emerging song writer Danny Spencer to record his 13th Studio Album Harlequin Nights. After 40 years in the business, his music remains fresh and the lyrics are just as poetic and engaging as ever. Perhaps it is the sold out gigs from Hobart to Darwin with Australia’s finest young musicians in his band that keeps him on top of his craft. Harlequin Nights is music for the times we live in. Richard Clapton performs next in Melbourne at The Palms, Crown Casino on Friday October 5.

THE DUB CAPTAINS

'ALLO DARLING

ANDY KENTLER

Yah Yah’s is the perfect setting to enjoy the 15-piece pseudo-reggae giant up close as they perform their inimitable brand of pacific reggae and surf-rock. Defined by their unique lyrical narrative and exceptional fivepart vocal harmonies, The Dub Captains feature a cast of thousands to deliver the up-lifting oceanic songs that have seen the band become a real live staple in Fitzroy over the last few months. Joining the guys and girls on the night will be the celebrated instrumental surf-dogs The Greasy Hawaiians who have been plying their Dick Tale influenced trade for over 15 years. Friday October 5 at Yah Yah’s, free entry. Late tunes by Link Meanie.

Allo Darlin’ are very excited to be preparing for their first ever Australian tour. The UK-based band will be visiting Melbourne in October to play songs from their self titled debut and their latest record Europe. Although based in London, two members of Allo Darlin' originally hail from Australia – singer Elizabeth Morris and bassist Bill Botting. Excited about seeing old friends and making new ones, the band will also be brushing up on ABBA and AC/DC covers when they visit Elizabeth’s hometown of Rockhampton to act as wedding band for one night. They play The Tote with Monnon Alone and The Stevens this Thursday October 4.

One time member of Melbourne band Skinwalker as well as a member of the influential Sydney band Glide, singer/songwriter Andy Kentler performs songs from his forthcoming LP due for release in December. Every track from Andy Kentler’s recently released EP has been played and championed on Triple R FM’s Skull Cave hosted by music guru Stephen Walker. See Andy Kentler  play at Yah Yah’s during his mini October residency on Sunday October 7 and 14 with different special guests each week, Megan Bawden (ex Busload Of Faith which also featured Bad Seed and Dirty Three’s Warren Ellis on fiddle), free entry.

DAVE LARKIN BAND & BEN SALTER DUO Dave Larkin Band and very special guests Ben Salter Duo (just back from an epic European tour) are giving a little back to the people by throwing a huge freebie at The Retreat  on Friday October 5. Music starts at 9pm. For more details, go to davelarkin.com.au

THE PRETTY LITTLES The Pretty Littles are about to release their second EP We Are Not From A Small Town which they recorded with Alex Markwell of The Delta Riggs and Paul Maybury. The band have played with an impressive list of Australian acts including Bonjah, The Cairos, Kingswood, The Rubens, Children Collide, The Vasco Era, The Panda Band, The Delta Riggs, The Salvadors, DZ Deathrays even Jo Jo Zep and The Falcons reunion show at The Forum. The Pretty Littles are set to tour with Sydney kids Creo. The tour will only hit major cities. No small towns. It's just the way it worked out, and Ding Dong Lounge is one of them on Saturday October 6.

THOMAS CONVENANT Down south to launch their new EP, catch Thomas Convenant at Revolver Upstairs Thursday October 20. Joining this Sydney-sider is female punk duo Chaos Kids who will have your head thrashing all night, as well as Revolver regs Scaramouche. Tickets are $5 through Moshtix or $7 on the door from 8pm.

60 SECONDS WITH…

PAPER HOUSE

Define your genre in five words or less: Folk, rock, electronica, pop, experimental. Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? Björk, Sarah Blasko, Massive Attack.

DAREBIN MUSIC FEAST SONGWRITERS’ AWARD GRAND FINAL

LIZANNE RICHARDS Lizanne Richards (formerly Lady Grey) will showcase new material from her forthcoming debut album. Expect a soulful evening filled with rhythm and blues alt-folk tunes delivered with intensity and sass. The highly anticipated album has been produced by ARIA-award winner and guitarist Shane O’Mara. The Wesley Anne, Sunday October 7, 8pm.

MAGNUSSON AND WILSON This prolific duo goes back over 15 years in groups such as Festa, SNAG, Assumptions, and the Julien Wilson Trio, alongside their roles in ensembles led by international artists Mike Nock, Charlie Haden, Josh Roseman and Barney McAll. The M/W quartet will perform tunes from their New York recording Kaleidoscopic, which featured pianist Barney McAll, drummer Jim Black and Bassist Mark Helias. Tonight, Bar 303, 8pm.

LOVE IT, LOST IT, DRUNK IT, FOUND IT VARIETY CABARET The Melissa Main Band presents Love It, Lost It, Drunk It, Found It, cabaret tales of romance, loss, vice and fortune, in the sumptuous Velvet Room. The evening begins with an open mic variety hour (to perform, book via email) followed by performances by the award-winning songwriter and special guests. Thursday October 4, The Thornbury Theatre, 6.30pm.

Beat Magazine Page 70

THE DARJEELINGS Supported by Darebin Music Feast Freeza, Darebin City Council and Little Wing Productions present a special all-ages event, launching the debut EP from Melbourne’s favourite indie-zpop sweethearts The Darjeelings with supports from Seven Year Itch and Golden Brown. Saturday October 6, Northcote Town Hall, 7pm.

ANARCHY IN THE MUK #2 Following the smashing success of Anarchy in the MUK #1, the Melbourne Ukulele Kollective return to bop, mosh and pogo their way through the halls of Brit pop, rock and punk. From Damned to Dusty, Cure to Clash, Beatles to Blockheads! God save the uke. Friday October 5, 7.30pm, Northcote Town Hall.

Darebin’s Top Songwriter’s battle it out at the Grand Final on Sunday October 7. Judged by a distinguished panel of high-profile local musicians, previous winners include Jordie Lane, Sal Kimber and Ben Mason, so you know it’ll be good. Oh, and free! At the Northcote Town Hall.

ALANNA AND ALICIA Folky-jazzy twin sisters Alanna & Alicia bring their sweet harmonies and fine original songs to the festival, where they will host an exciting night of eclectic music. Featuring the multi-instrumentalist, looping, beatboxing songwriter Mal Webb and the beautiful Portuguese Fado singer Carolina Cordeiro with Leni. Great choice for closing night, Sunday October 7 at Bar 303 from 7.30pm.

THE BON SCOTTS

YOUNG TALENT INDIAN DANCE FESTIVAL

Melbourne’s favourite folk-pop act, The Bon Scotts, are releasing an exciting acoustic EP featuring rarities and B-sides. Only 100 copies will be available and fans can only get their hands on one at the show, free with entry. Join them for a night not to forget at the Wesley Anne this Saturday October 6 from 8pm.

Featuring different Indian dance forms by young talents. In keeping with the multicultural diversity of the City of Darebin, this event will also bring in a cross-cultural comparison. Dance with live music to showcase the young talents from Darebin this Friday October 5 at Preston City Hall from 7pm.

WATCH INTERVIEWS, CHATS & AWKWARD SILENCES... BEAT.COM.AU/TV

What do you love about making music? Making our own self-contained worlds filled with our innermost thoughts and expressions. What can a punter expect from your live show? One writer described our live show as “offering you candy and then pushing you in the dirt”. It’s a pretty dynamic show that takes you to a lot of different places – there are times of pure pop elation and times when we descend into noise. What’ve you got to sell CD-wise? We released our debut EP A Suitcase Full Of Hope And A Safety Mat just over a year ago, which is available for purchase through our website paperhousemusic.com, or through iTunes and CD Baby. We are currently working on a full-length album, the first single of which will be launched on Wednesday October 10. When’s the gig and with who? We have our single launch coming up at The Toff In Town on Wednesday October 10. We will be playing with two amazing bands – Second Hand Heart and Canary, and we will be giving away a copy of our new single to everyone who comes on the night! When, and why did you start writing music? I grew up with some pretty serious musical brainwashing from my parents, so I think that was the reason I began writing and playing music from the age of seven. The first song I wrote was actually about a poisonous blue ringed octopus which I was almost stung by during a trip to the beach. It must have made an impact on me because I’ve been writing and playing music ever since.


ANIMAUX

ALI E Wednesdays in October sees the return of fuzz songstress Ali E to The Retreat's front bar for a residency of informal proportions. Described as bringing her own unique twist to the best of shoegaze, soul and alt-rock, Ali E will be joined by her band made up of a veritable super-group of Melbourne musos including Damn Terran, St Jude, The Once Overs and Howl At The Moon. Piecing together an amazing lineup of supports, Ali's thrilled to be joined on consecutive weeks by Alysia Manceau (The Velocettes), Andre Hooke (Khancoban), Phil and Liam (The Bowers), Ryan Nico (Tinsmoke) and Amaya Laucirica. Free entry, music from 8.30pm.

After playing three month-long headline residencies in the last eight months to packed out band rooms and sharing the stage with the likes of Trombone Shorty, Eagle And The Worm, Set Sail and Saskwatch, and scoring radio play all over the country, Animaux (pronounced an-ee-mo) will launch their latest single Paradise at the Toff In Town this Thursday October 4. Coupled with the B-side track This Time, Animaux promise to deliver yet another addition to their already impressive catalogue of catchy pop songs. Produced by Adam Rhodes (The Cat Empire, Angus & Julia Stone, Jackson Jackson), Paradise is the second stand-alone single released by Animaux this year. Incorporating tasty horn melodies, sultry backing vocals and a tight groove, Paradise proves to be Animaux’s most polished release to date. Catch the single release tomorrow night with special guests Francolin, Albert Salt and Smoking Toddlers in support. Tickets $8 via Moshtix or $10 on the door from 8pm.

Jeff Loomis’ complex shredding has been a central part of the progressive but powerful and thrashy edge often attributed to Nevermore’s trademark sound. Taking the classic techniques he learned from listening to legends like Jason Becker and Yngwie Malmsteen as a teen and applying his own ingenuity, Loomis has carved his own niche and created an instantly recognisable style. Don’t miss your chance to see Jeff Loomis live and be in the audience for your chance to win a Schecter SGR C7 electric guitar. Proudly presented by Allans Billy Hyde and Schecter Guitar Research, the Melbourne dates are Thursday October 4 from 7pm at the Allans Billy Hyde Bourke St store and an in-store appearance from 1pm at the Blackburn store. For clinic bookings phone: 9654 8444 or visit allansbillyhydes.com.au for more information.

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DARCEE FOX Having released their debut EP in early September, Darcee Fox are embarking on a series of shows throughout October to promote Snakebite, the Melbourne rock outfit’s first release. They’ll be playing at Kate’s Party on Friday October 5, The Bendigo Hotel on Saturday October 13, The Sound Bar on Saturday October 20 and Revolver Upstairs on Saturday October 27. Be sure to catch one of Darcee Fox’s high energy shows around Melbourne to see some of the tracks off Snakebite live in the flesh.

DEEP STREET SOUL JEFF LOOMIS GUITAR CLINIC

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Without doubt, there are only a handful of contemporary bands who can really nail the authentic, gritty and soulful feel that so many groups attempt to create, and Melbourne’s Deep Street Soul are one of those outfits. Taken from the recent Deep Street Soul album Look Out, Watch Out, the band will be launching their new 7" Hold On Me at The Toff In Town on Saturday October 6 with The Perfections.

THE ARCHETYPAL Having spent the last seven months developing their dark/soulful sound The Archetypal bring fans their debut single We're All Going Home on Wednesday October 3 at The Workers Club. Supported by special guests Centre And The South and Tiny Little Houses, The Archetypal bring you a rhythmically gripping, lyrically intense, wall of sound. Doors at 7pm and entry is $4, or $7 with the single.

THE RE-MAINS Ten years down the track and with their ninth CD release, Vregedonomy out on Vitamin, The Re-Mains continue to push the country rock'n'roll envelope. Vregedonomy – which roughly refers to the craziness and chaos loose in the world – is a ten-track album that moves from the understated Americana of opener Road to your Heart, through to soulful '70s-rock in Didn’t Mean It and undiluted country rock'n''roll in Devilhand. An allstar choir including Leah Flanagan and Jackie Marshall, remembers lost comrades in Dead Friends, while the likes of My Hands Are On Fire haul in Gleny Rae Virus and the spirit of Bob Dylan for a fiddle-fired romp. Catch them as they bring their dusty brand of country rock'n'roll to The Retreat this Saturday October 6, supported by The Vendettas, and with the lovely Layla Fibbins of The Sideshow Brides guesting on banjo. Entry is free.

CHERRY BAR Ripe and bursting at the seams with juicy musical treats, Cherry Bar is set to go off this week. New Melbourne locals Red X are kicking off a month-long residency every Tuesday evening, two sets from 9pm. Make them feel at home. Entry is free. Wednesday sees up and coming rockers Strangers take the stage to add fuel to the rumour mill that they are fast becoming the most talked about new rock act in Australia. Geelong outfit The Sweethearts will attempt to fit 15 soul sisters on the Cherry stage on Thursday October 4, the night is set to continue 'til the wee hours of the morning with DJs Peach and Pierre Baroni. Entry is $10 at the door. Kick off your Friday with a cheeky cocktail, followed up by an epic night of single launches. Two soul-garage pop rock-inspired drummers Money For Rope warm up the evenings proceedings followed by another rocking two-piece King Of The North, check these guys out if Them Crooked Vultures tickle your fancy. Saturday is set to be a generous serving with Mandy Meadows & The Madness Method: ska, pop and rock, it's the new genre of spock. The night rounds out with Feed Your Munkie and Shanty Town, Black Cherry DJs and DJ Mermaid. Chase away your Sunday arvo blues with some Americana delivered fresh from 2pm by Chris Russell's Chicken Walk with Dean Muller on drums. So good. Punk, punk and punk is the score of Sunday Evening with The Jealous Much, Queen Anne's Revenge and much more. Free all day and all night. It's open mic night on Monday October 8, so head down and lend your support.

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MATT WALKER Hard to believe that it’s been seven years since the last Matt Walker release. It may be a long time between releases but Matt has been exceptionally busy working on countless albums and projects for others as producer, session player, soundtrack composer and collaborator. His commitment to other projects may often overshadow his own work, but he has nevertheless won a coveted ARIA award for his 2000 release Soul Witness, as well receiving two nominations the previous year for I Listen To The Night. It goes without saying that within the Australian music industry, there is much respect for Matt Walker. FUSE is incredibly excited to present his new album In Echoes of Dawn, which sees Matt Walker extend his masterful array of instrument proficiency to present an almost entirely solo album. Get to the show early, initial copies will come with a bonus disc Lost Ragas, featuring 50 minutes of instrumental music recorded before and during the process of making the album. Sunday October 7 at The Toff In Town, tickets $20 on the door from 7pm or $15 via Moshtix.

MC DREW MONEY

PAGEANTS The debut album by Melbourne sandal-gazers Pageants is released through Sensory Projects on Friday October 5. To mark this illustrious event, Pageants play in the opulent surrounds of Polyester Records’ city store from 6pm on the day of release. The album Dark Before Blonde Dawn was recorded with Jack Farley (Twerps, St Helens, Beaches, Pearls) at Transient Studios and mastered by Casey Rice (The Dirty Three, MUM SMOKES, The Ancients) in Melbourne in 2011. Very special guests on the album are Geoffrey O’Connor (Crayon Fields, Montero) and Jono Edmonds (Pets With Pets). Pageants are one of the true subterfuges of recent times, entwining raucous garage-rock with smooth tropical vibes, humourist observations, and an occasional defeatist air. Songwriter Ben Pell is true of the phrase, a diamond in the rough, or a rough diamond even; his understated vocals offering a warmth, a sincerity, and a larrikinism that isn't common enough in these serious times.

DESTROY SHE SAID

YUNG WARRIORS

Local hard-rockers Destroy She Said are set to launch their debut album Down To Dirty this Saturday October 6 at The Espy front bar with special guests Hellhounds The Deep End, and China Vagina. The fivepiece will also be recording the show for a live album so head down and be part of live-music history.

Off the back of their smash single Standing Strong, Australian emcees and Deadly Award Nominees, Tjimba & D Boy aka Yung Warriors are back on the road for their Hip Hop Corroboree National Tour. The tour reaches First Floor in Fitzroy on Friday November 16. Tickets are $12 presale from Oztix of $15 on the door.

DRUNKEN POACHERS

KKS

Stealing and drinking their way into the Victoria Hotel this Sunday October 7 are Drunken Poachers who will be performing two sets of country/bluegrass/Irish-folk from 5pm. Entry is free.

KKS is a Melbourne-based soul/groove band. They deliver an original take on classic influences of Erykah Badu, Miles Davis, D’angelo and Herbie Hancock. They play The B.East this Sunday October 7, free entry from 9pm.

MC Drew Money and The Dollars officially launch Dorkestra, his debut EP. Geek hiphop/nerdcore artist, MCDM takes the stage at The Victoria Hotel this Saturday October 6, with support coming from The Dollars. Also playing on the night are some fresh, young MCs such as Jack Hewitt, Yung Philly and The Mudcrabs. Come down and release your inner geek from 9pm onwards, free entry.

ENJOY LIVE MUSIC FROM SOME OF MELBOURNE’S BEST LOCAL MUSCIANS

FRIDAY SEPTEMBER 14TH FROM 8PM

JOHN DELORD PROJECT SATURDAY SEPTEMBER 15TH FROM 4-7PM -7PM

DICKEN ST PREACHERS FROM 8PM

JAHMAKN IT FUNKY SUNDAY SEPTEMBER 16TH SHARE THE EXOTIC LATIN AND CUBAN SOUNDSS

SON 3 3-6PM RUMBA MANANA 6:30-9:30PM

SHAR THE EX OTIC LATIN &ES CUBAN SO UNDS ENJOY LIVE MUSIC FROM SOME BEST LOCAL MUSICOF MELBOURNE’S IANS

EVERY SUNDAY

SON 3 SANTIA G

Beat Magazine Page 72

The Wine Dark Sea have sailed from Perth to bring their fine sounds to Melbourne in October for a string of shows to launch their debut EP Stories Better Never Told. Featuring the stellar songwriting of Perth’s finest Tracey Read with her five-piece band, expect tales of the sea, life, and world-worn wisdom intricately woven into soaring melodies pure and simple. Thursday October 4 at The Old Bar, 8.30pm with MSG and the Ocean Party, Saturday October 6 at Pure Pop from 4pm and Sunday October 7 at Edinburgh Castle at 4pm with Razzamatazz (feat. Members of New Estate, Flywheel and Deep Country).

SKYWRITERS CODE

BLACK NIGHT CRASH

There's a big lineup at Pony this Thursday October 4 with a mixed bag of punk, blues and riffs from three of Melbourne's most interesting up-and-comers. After forming in 2010, Skywriters Code honed their skills in the practice room until finally unleashing on the public with their live debut in 2012. They are a four-piece punk/ alternative rock band from the SE 'burbs of Melbourne. Joining them, and returning to Pony, are Dreadall. They’re a crew of four dudes with very differing tastes and inspirations, who come together to create sick tunes and mad times. They love nothing more than the rushed set-ups and screaming guitars of a live show. Kicking things off on the night is Cotangent, a wellestablished three-piece blues-rock act fusing style of the '60s and '70s into original music of the modern age.

Melbourne’s best Saturday indie-rock night just doubled in quality and quantity. The Book Club at the Rochester Castle is now open upstairs behind the secret book case. The drinks are chilled, the lights are dimmed and the stage is set for bands to start playing in the coming weeks. This Saturday October 6, DJ DelBoy (Shock Records) will be spinning an array of upcoming and unreleased tracks from the world over, along with some of his personal favourites that he picked up while working for famous Shock Records in Australia and X-FM in the UK.  Downstairs, Black Night Crash DJs will be spinning all of the latest and greatest indie rock, Brit pop and shoegaze from the past, present and from the future.  Get more bang for your buck with $6 pints o’ cider and beer anede $6 vodkas between 9-11pm. Free entry all night from 9pm-3am. 

JAM FOR AUTISM AWARENESS

THE HONDAS

GOES LIVE

THE WINE DARK SEA

Melbourne’s DIY punk quartet, The Hondas, are launching their new single, Cop Song at The John Curtin Hotel on Thursday October 4. The Hondas make music in the same way as fish and chip shops make their fish and chips. They stick to their proven formula of stupid guitar rock and punk music and never try to serve any gourmet burgers. However, their unswerving commitment makes their fish and chips the best in town. Come get the best rock‘n’roll fish and chips tomorrow night with appetisers provided by Big Smoke, Sweet Teens and (half) Naked Bodies. You can even take away a copy of Cop Song to nurse your hangover for the next morning. Door opens at 8pm. Full course dinner at the cost of only $10.

Revolver Upstairs and Soundkraft present Jam for Autism Awareness (supporting Little Learners Autism Program). Featuring Avi & The Uprising (India), and Melbourne's Hamish Anderson Band, The Lost Boys, and Andrew Papadopoulas. The event aims at raising awareness and funds in support of Little Learners Autism Program. A collaborative using music to advocate social change and self realisation, Avi & The Uprising have tasted success being in Top 60 with over 75,000 plays on BalconyTV, along with the likes of Mumford & Sons, Victor Wooten and The Buzzcocks. The bands from the night bring an eclectic mix of folk rock, indie, acoustic, and cover songs to support the cause and let music be the voice of reason. Revolver Upstairs, tonight. Doors open 7.30pm. Entry fee is an optional donation.

THE MINGIN' CAJUNS The Mingin’ Cajuns are hitting The Great Britain Hotel for an evening of filthy frivolity and swampy sing-along. Fronted by the infectious Billy Abbot, these rambling lads are a breath of fresh air, never taking things too seriously. With an exceptional lineup of double bass, guitar, violin, accordion and clarinet, these gents are sure to get asses shaking. Catch them on Sunday October 7 at the respectable time of 7pm and pay no entry fee.

KALEIDOSCOPE

SORDID ORDEAL

After playing sold out shows in Melbourne earlier in the year, Wollongong three-piece Kaleidoscope are bringing their hard psych-rock style back to play the infamous Pony late show this Thursday October 4. With a relentless tour schedule and a solid EP behind them, Kaleidoscope are attracting the attention of music lovers across the country and the globe, gaining positive reviews from the USA, France, Ireland and more. With the excitement of a new release as well as the experience learned from touring with big name acts, the late spot at Pony promises to be a night that will live up to expectations.

Sordid Ordeal are returning to Pony and playing their first big Melbourne show since their two massive shows at the Wagga Wagga Jazz and Blues Festival earlier this month. Friday October 5 will be no ordinary night, featuring four vastly different bands sharing two things in common: great sound and stage show! Young guns Redfield take the stage first with their epic grunge wall-of-sound, followed by the suave, heavy-hitting rockers Son Of Set. The Unkind will bring their horror punk element with plenty of blood running down their faces as they play their hearts out for Freddy Krueger. And lastly, Sordid Ordeal cap the night off with their furious punk, poisonous blues and raging rock anthems.

ECHO DRAMA

MANI AND THE RISSOLES

The party will be jumping at Bar Open this Friday October 5 when Melbourne experimental dub/ reggae band Echo Drama drop in for a couple of sets of shaking action. Having formed in 2011, the band is a culmination of diverse musicians joining forces with a shared passion for reggae grooves and dub textures. With strong influence from the world of hiphop, Echo Drama explore the depths of dub through intricate composition and arrangement with an urban flavour. The dynamic pulse of the rhythm section lays the foundation for soaring horn melodies, velvet soul vocals and tight rhymes, all delivered with infectious reggae flavour and dub sensibilities. Doors 10pm, free entry.

Produced by Matt D’Arcy and mastered by Jack the Bear, Mani And The Rissoles’ Debut EP, Omega, is an aural delight to every music lover out there. Prior to production, the songs on this EP were crafted to performance perfection, through a vigorous and thorough gigging period in and around the heart of Melbourne. Musically, Omega oozes creativity with musical virtuosity and subliminally unorthodox song structures. Lyrically, these songs are emotionally engaging, as the songs delve into different situations of pushing past torrid endings to brighter beginnings. Be sure to check out Mani And The Rissoles on Saturday October 6 at their EP launch at Revolver Upstairs, as they own the stage and bring the Omega sound to you. Doors open 8pm. Tickets $15 available via Moshtix or $18 on the door.

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CRAIG WESTWOOD

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

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HUMANS AS ANIMALS Humans As Animals have a courageous style that takes you to and from places you never expect. An underhanded popinfluenced funk derby with a narrative that unfolds over a month in October at The Toff In Town. The impressive array of supports such as Hiatus Kaiyote, The Putbacks, The McQueens and others, show Melbournian’s embracing the hard working and undefeatable five-piece that is Humans As Animals. The live show includes a new fit out for The Toff and incorporates Shadow Puppetry and Motion-Controlled lighting to name just a couple of perks. Find everything you ever wanted including hours of live video, full album and a Monstermentary film of their live double gig night at The Evelyn and Pony in September. Their residency continues this Tuesday October 9, tickets $10 on the door.

KELLY BREUER Kelly Breuer and her trio are showcasing their debut EP, Smile It's Free, at The Great Britain Hotel this Thursday October 4. Following a highly-spirited single launch-show in Adelaide, Breuer and band are heading out to the east coast to charm crowds with their captivating and intimate sets. Supported by Laura K Clarke from 8pm, free entry.

THE VOLCANICS & BARRY SAVAGE AND THE LITTLE CAESARS

GUITAR GALLERY BLUEGRASS SESSIONS

Made up from members of legendary underground '80s cult bands The Shindiggers, The Gas Babies and The Breadmakers, and more recent outfits such as Bored, Divorce Ranch, The Futuras and The Black Popes, Barry Savage And The Little Caesars sound like they were raised by werewolves on the south side of Chicago after their school bus went missing in a blinding blizzard. They’re set to tear it up with retro reverb-laden twangy The Volcaniks – think Dick Dale meets The Chantays and sharing a wave with Quentin Tarantino and Pulp Fiction. Surf's up. See these two fantastic outfits shoot it out at The Great Britain Hotel this Saturday October 6, doors from 9pm and entry is free.

That's right folks. Every Monday night in every month bring your banjo, mandolin, washboard, fiddle, flatmate and join in the old time bluegrass jam session. Or just come down and watch as The Oldie gets transformed to a scene from an Appalachian mountainside. A band plays first then the jam starts. 8.30pm start and it's always free. Monday nights at The Old Bar. Cheap jugs all night.

DRIFTER Drifter have emerged from a self imposed exile in the basement of an abandoned cult compound. Surviving on the remnants of unfinished doomsday drinks and the teachings of Heaven’s Gate, the band are ready to blow minds. Heading up the charge on Thursday October 4 at Yahs Yah’s and supported by Devil¹s Pawn and Gerard Daley (ex-Stunt Car Drivers), they will not accept no for an answer. Grab your followers and put on your Sunday best, Drifter are going to take you to the promised land. Free entry.

JERRICO After three years together, 137 blistering shows, 11 festival appearances, many sold-out headlining gigs, a solid offering of two highly successful EPs and the release of one live album featuring three brand new tracks, a courageous yet confident move that shows off the bands real strength, Melbourne rock maestros Jericco are now back to offer a taste of things to come. Jericco are now set to release the second single from their forthcoming debut album, which is due later this year. The new single Dance Like No One's Watching will be followed by the Dance national tour, featuring the cream of the crop in the Australian independent live music scene including awesome Melbourne band Circles as main support. Catch them this Friday October 5 at The Evelyn from 9pm.

SHADOWQUEEN After the successful release of their debut single Don't Tell, rock powerhouse trio Shadowqueen launch their debut album on Thursday October 4 at The Evelyn Hotel with acoustic support from Melbourne heavyweights Rusty, Pete & Brett from Electric Mary and Bellusira. Shadowqueen's female singer/bass player Robbi Zana has a mighty powerful voice, rich earthy and sweetly aggressive with just the right amount of huskiness. Filled out by the intense riffage of Si Hopman on guitar and the pounding drums of Alex Deegan, this trio play a tight, flawless rock, melodic, yet raw enough to appease any aficionado. Shadowqueen have produced a pearler of a debut album, a powerful and heavy melodic-rock album that references classic, modern and traditional Aussie rock and has something for just about everyone, their live show is a spectacle not to be missed. Doors 9pm.

THE SCAM

DAN KROCHMAL

The Scam are a three-piece punk band from the Gold Coast, Australia. Since playing their first show in November 2009, The Scam has showed no signs of slowing down unleashing their own authentic brand of street punk on venues all over Australia. Playing alongside some of Australia's best punk bands as well as international acts like The Casualties, Guttermouth, DOA, The Business and The Jet Boys (just naming a few), they are now coming to play The Bendigo this Thursday October 4 for an awesome free show with fellow banana benders Deputy Dipshit, Taswegians, Stay Down, and local muckrakers Glen & The Peanut Buttermen and Spew N Guts. Head along and join the fun.

Dan Krochmal's music is a visceral infusion of catchy pop hooks with brooding, grunge-inspired indie-rock anthems and soulful ballads and he has just recorded his first EP. He'll be joined on stage by folk songstress Fontaine, who will fly you to another planet with her voice and dreamlike melodies; quirky young folk/popsters Sol who will get you rocking out with their eclectic blend of organic soul, jazz, blues/folk and raw surf-pop; and talented young singer-songwriter Frank Dixon, who will inspire you with his sweeping tunes and emotive piano-work. Thursday October 4 at Revolver Upstairs. Tickets $7 on the door at 7.30pm or $5 through Moshtix.

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TENDRILS Former child prodigies Tendrils are Charlie Owen and Joel Silbersher, who have collectively played in bands such as the Beasts Of Bourbon, God, Divinyls and Tex Perkins & The Dark Horses play a rare show at Yah Yah’s on Saturday October 6 performing songs from their two beloved albums. Thoroughly enchanting, these artists will draw you into their web of musical deceit. The special guest on the night is seminarian Matt Bailey (Paradise Motel, SIR, Lee Memorial) who has just completed recording his third album which has yet to be named, but is once again produced by Brent Punshon (Adalita, Smog, Nation Blue, The Slits) at Melbourne’s Head Gap Studios. This is a free show – you have no excuse to not head on down. Band start at 9pm.

PAPER HOUSE

LANTERN

With their live show described as “offering you candy and then pushing you in the dirt”, Paper House have gained a reputation for their captivating and dynamic live shows. Built on atmospheric drones, electronic clicks and scratches augmented by live drums, angular melodies, self contained worlds, a healthy dose of echo and noise guitar, Paper House plays with genres with hints of folk, rock, jazz and experimental influences. Featuring special guests Secondhand Heart, who cross musical genres blending elements of folk, rock, blues and roots with a strong lyrical focus to create their own unique style, and Canary who meld “left-of-centre” instruments, synths and layered sounds building songs which are thematically diverse and emotionally poignant. At this special single launch, Paper House will be giving a free copy of their new single to everyone who attends on the night! The Toff in Town, Wednesday October 10. Doors from 7.30pm. $7+bf presale from Moshtix or $10 on the door.

Lantern's self-titled EP is the Degraves St lads' finest moment, expressing their Melbourne street-smart brand of rock. A no-holds-barred production, the polished five tracks recruited one of America's master mixers Kennie Takahashi of Black Keys, Beck and Danger Mouse fame to cut, paste, echo and sprinkle a touch of magic . Standout track To Kill A Sunrise meanders through a musical journey of complex textures being graciously interrupted by an alto sax solo (ala Pink Floyd) care of Malvern Pound who happened to be busking on the corner of Degraves just upstairs from the Institute studio during recording. Thom Mann (Ennis Tola, Phil Ceberano) and Daigo Nakai (the dreadlocked Japanese jazzy chef at Purple Peanuts) will handle the rhythm section for the launch along with Savvas Michael (of solo project Sky Chi) and Philosophy Coffee aficionado Dr.Ash Woodward. Melbourne folkers Atluk and Carly Van will support at IDGAFF on Sunday October 7. Doors open at 7pm, tickets are $7 at the door.

THE YAK IS BACK

WAYWARDBREED

The B.East is proud to announce the return, of sorts, of their beloved Yak to hang humbly upon their wall; and to celebrate Fat  Yak  brewery has come to the party with a free keg of beer to give away. As reported by The Age, the sudden and mysterious disappearance of their family Yak, Bryan Yakety, a few months ago had left the guys at The B.East a little forlorn. So when information pertaining to his finding and acceptance into a federal witness protection program emerged, they were both confused and relieved. It turns out ol’ Brian had made a few unpayable debts during his stay on Lygon St and had been witnessed lurking with some of the streets more shadier characters. His welcome home party is tonight at The B.East.

Waywardbreed began in late 2008 as a solo project for Justin Avery (ex-The Spoils). After recording his debut album of sweet, gothic folk titled Rising Vicious in early 2010, he spent much of the next two years touring solo in Europe. Since returning to Melbourne, Waywardbreed has sprouted more members, performing live through the winter, and has nearly completed a second album, entitled Gathering For The Feast to be released later in 2012. Waywardbreed marks the beginning of Spring by returning to the front bar of The Retreat Hotel for a short series of gigs and has invited some friends along. Tonight Waywardbreed will round out the month with two sets from 8.30pm. What's more? Entry is free.

TIGERTOWN

THE SPITFIRES

Leading on from the success of their debut EP in 2011 and standout track Lions And Witches earlier this year, Sydney’s Tigertown have revealed their stunning new single Morning Has Finally Come accompanied by a striking video clip and a string of dates throughout October to celebrate the release of their forthcoming EP Before The Morning. They touch in to The Workers Club this Sunday October 7.

Musically and ideologically somewhere between the incendiary snarl of punk and the unflinching selfassuredness of Brit-pop; The Spitfires are a band typified by their sense of fun, but are far from a mindless array of melodies and nothing sentiments. At their most focused, The Spitfires are downright reactionary. They play Bar Open on Friday October 12.

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THE SUNDANZE KID The Sundanze Kid set to release independent blues and rock album, The Light In The Darkness, following successful UK release. Recorded in London and inspired by Muddy Waters, The Rolling Stones, Nick Cave, Buddy Guy, SRV, the album includes dirty acoustic blues inspired tunes with foot stomping energy.  Special guests feature Glenn Ford (solo album out soon), the delightful Tim Wilson and the unique combo of Dead Pilot.  Bar Betty in Collingwood this Friday October 5. Free entry – doors open at 7.30pm.  The album is available for $10.  Bring your drinking shoes.

MONEY FOR ROPE & KING OF THE NORTH This Friday October 5, Cherry Bar presents another Cherry Singles' Double A-side seven-inch launch with two of Melbourne's finest up-andcoming rockers, Money For Rope and King Of The North. Money For Rope will be unleashing their smack in the face single Bruise, while the exciting King Of The North are releasing Hope Is For The Faithless. Tickets $13 only on the door.

THE CACTUS CHANNEL

HEAVEN THE AXE

Melbourne’s intrepid young funk sensations The Cactus Channel are hot-footing it back into town to wrap up their national album tour with a homecoming party at Ding Dong on Friday October 12. Funky as hell, heavier than heaven, melodious as candy, and catchy as all get-out, The Cactus  Channel have been turning heads all over the place with their dynamite debut Haptics,  featuring the high-octane single  Emanuel Ciccolini  (as seen on Rage every Saturday morning for the past six weeks and counting). The huge lineup for the Ding Dong party features Public Opinion Afro Orchestra and a bevy of discerning selectors playing funk and soul sides between bands.  Haptics  is available now on beautiful gatefold vinyl, CD and digital through HopeStreet Recordings/ Fuse Music Group in all good record stores and on the night at Ding Dong. Tickets on sale now from Oztix.

Heaven The Axe, dubbed "Australia's toughest female fronted hard rock band" by live reviewers are launching their debut video clip at new multilevel venue in Northcote, Level 2 on Saturday October 13. Singer and songwriter, Phoebe describes the film clip, which was made over a year on a "carton of beer" budget with a world class commitment, as her way of expressing her disgust at the legal system, after her and fellow bandmates were approached by police who arrested her and her husband, fellow guitarist Steve Watts, for refusing that their other bandmate, Mat Silcock, be held and searched with no reason offered. Phoebe decided that she had power with her medium to express the apathy in Australian culture, whereby we pay our fines, we are subjected to an inhumane and one -sided regime. Don't miss your chance to be invited into their world of multimedia with a vengeance.

PHEASANT PLUCKERS Acoustic rhythm and roots is probably the best way to describe this band’s sound, home-grown in Melbourne. The Pheasant Pluckers love writing songs – their passions are obvious in their music and sincere in their performance, but they also revere great songs by great writers as is always evident in their selection of covers – Dylan, Earl, even Page/Plant often find their way into the Pluckers song list. They play The B.East this Friday October 5 from 9pm. Free entry.

GEORGIA FIELDS She’s toured with her Mini-Indie-Orchestra, and duelled the legendary Normie Rowe on RocKwiz. Now, six-months after her sold out show at The Famous Spiegeltent, Georgia Fields returns with a new single Snakes & Ladders. Fields has relinquished her ukulele in favour of distorted combo organ, electric guitar, and the analogue purr of a 1981 omnichord. The result is part lowfi bounce, part dream-pop swoon. She launches it at The Empress this Saturday October 6.

DAMN TERRAN Without doubt, there are only a handful of Australian bands who can really nail the authentic, gritty and growling feel that so many groups attempt to create, and Melbourne’s Damn Terran are one of those outfits leading from the front. Two vital factors in creating genuine post-punk is having a band with prerequisite spirit made of bravery and originality, and Damn Terran happen to be rich in that respect. Born from the blood of brothers (and a sister from another mother and father) and forged in a pit of noise, the triumvirate of Damn Terran, Leigh Ewbank (drums), Lachlan Ewbank (guitar/vocals) and Ali Edmonds (bass/ vocals) have created a musical synchronicity that belies their mere two year lifespan. Earlier this year Damn Terran released their very excellent 7" single Rebels through new Melbourne imprint Thornbury Records. Following Rebels is the new and extremely nifty track Pills, which features guest vocals from Shane Parsons of DZ Deathrays. Damn Terran plan to finish recording their debut (and self-titled) album with Ben Ely (Regurgitator) this December. In celebration of Pills Damn Terran will a special show at The Tote this Friday October 5.

WATCH INTERVIEWS, CHATS & AWKWARD SILENCES... BEAT.COM.AU/TV

DAN LETHBRIDGE & THE CAMPAIGNERS 2012 saw the release of Dan Leithbridge's second album Oh Hawke, drawing resounding praise from the Australian music community. Oh Hawke is a meticulous collection of songs recorded on a 16-track; mixed by ARIA award-winning producer Shane O' Mara. Taking cues from classic songwriters of today and yesteryear, along with his own unique musical vision, Lethbridge's songs are a stunning mix of the light and dark, the old and the new. He performs a rare, full-band show with his five-piece, The Campaigners this Thursday October 4 at The Retreat. Joining them as special guests on the night will be Bill Jackson and Pete Fidler.

KING GIZZARD AND THE LIZARD WIZARD After chalking up appearances at Meredith, the Big Day Out and mental hospitals, plus turning front rows of venues around the country into chasms of sweat and spilt lager, King Gizzard And The Lizard Wizard are back with their much hyped debut record 12 Bar Bruise. It’s filled with energetic slabs of psych-garage, ocker wit and the type of scuzzed out hysteria that picks you up and hurls you down bluntly without permission. This is no exercise in calculated drone. Clocking in a speck under 35 minutes, there’s no room for mulling here. 12 Bar Bruise; call it a psych-mutant, call it collective chaos, one thing is for sure – King Gizzard And The Wizard Lizard are back in fine form. And if you can count that as raining spit, then the forecast is good. They launch this bad boy at two special shows at The Tote this weekend – Saturday October 6 (with The Living Eyes and Dreamin' Wild) and Sunday October 7 (with The Meanies and Richie 1250 & The Brides Of Christ). Doors at 6pm. Free BBQ. What's not to love?


LAMARAMA Lamarama, the 14-legged Melbourne monster collective, is a sensory assault on one’s being. An assault of the wonderful kind. Be ready to experience a psyche-funkadelic folk-tronic auralgasm then they play The B.East this Saturday October 6 from 9pm.

MUSIC NEWS

YOUR COMPREHENSIVE LOCAL GUIDE

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LITTLEFOOT ANCHORS This is Anchors' last show before they go away to burn all our money and soil their reputation with people who haven't met them yet. Joining them will be The Decline from WA, gig mates Apart From This, and Join The Amish, who are fuckin' ripper. It's at The Bendigo Hotel this Friday October 5, and everyone will be drinking tequila. Anchors formed in Melbourne in 2008. They play fast aggressive punk. Apparently their shows are average, but their Tarago navigation skills are second to none.

VHS CLUB Barfly Trevor Block wanted to recreate an archetypal '80s shelf of VHS tapes. He’s been sharing his collection at a casual, weekly VHS night at Fitzroy’s Old Bar. There’ll be cult classics like Mad Max, fan favourite sequels like Beneath The Planet Of The Apes, and defiantly obscure movies like Syngenor. There's no big projection to watch it on, just sit at the bar and watch it on the big TV. Although Trev might not be there every Monday they've decided to keep it going. Popcorn, booze and VHS. Every Monday from 6pm free, watch the gig guide for which movies will be shown.

60 SECONDS WITH…

LANTERN

Define your genre in five words or less: Lyrical landscape acoustic rock.

Fancy a bit of dirty fuzz and ear bleeding tunes? Littlefoot send out a howling wave of destruction with their unique blend of garage/punk. They're back to take the stage at Pony for a spring treat having released their debut EP titled Kill Yr Face earlier this year. Last time Littlefoot played a late show at Pony they promised that they would straight-up pound punters with screeching guitars, powerful drums, groovin' bass, face-melting solos all fronted by howling vocals. They delivered last time, and no doubt they will again this Friday October 5 at 2am.

JUSTIN FREW Drawing on the influences of country greats like Hank Williams, Johnny Cash and Lee Hazlewood and modern writers like Nick Cave and Tom Waits, Justin Frew’s music is all about loners, drifters, outsiders, small towns and late nights. It’s regret and sorrow, it’s solace in a drink. It’s finding humour in dark places. It’s that hint of light at the end of a long dark tunnel. Based in Wollongong NSW, Justin has been writing and performing his own dark country blues for over 20 years. He and his band the Loose Intentions have played & toured with the likes of Conway Savage (The Bad Seeds), Brothers Grim & the Blue Murders, The Cambodian Space Project and Bob Log III. Justin's new EP Catch Justin Frew at Identify – Adoptees Play for Change. Royal Melbourne Hotel, Sunday October 21 at 6.30pm.

HEAVY LOWS Born from the ashes of Adelaide label Faux Friends, the new label Heavy Lows “seeks to promote current Australian music across all genres and geographical locations.” Focusing on tapes, CDs and digital with later plans for vinyl, Heavy Lows has marked its first release with Major Crimes’ Black Hill, described as “psychedelic sleight-of-hand from Adelaide, melting harsh realms into mellow retreats.” Other upcoming releases include an Asps/Rites Wild split tape, a re-release of Bitch Prefect’s Live At Deadshits Motel and work by Legendary Hearts, Beige Abrasion, Regional Curse, Old Mate and Sightseeing, among many others. The label is being launched with a free gig at Bar Open this Thursday October 4 featuring Superstar, Glow, Spite House, Straylight and Rites Wild, so come down and join the queue of Heavy Lows’ admirers.

SCARAMOUCHE Melbourne rock band Scaramouche are currently on the road unleashing their sizzling live show across Australia's East Coast, gearing up for the imminent release of their brand new EP Welcome To The Parlour. Welcome To The Parlour, their second EP, will be officially launched on Friday October 19 at Cherry Bar, ACDC Lane. This follow-up to debut EP Access Denied (2011) captures the essence of Scaramouche’s high-energy live show, marking a more mature, edgier sound that still retains Scaramouche’s characteristic swagger. Performing alongside them are fellow Melbourne-based rockers The Dukes of Deliciousness and Apache Medicine Man. To score a free hard-copy of the EP simply purchase a pre-sale ticket ($13) from the band before the show and make sure you're at Cherry Bar on Friday October 19

HOODLUM SHOUTS Hoodlum Shouts are one of the best bands going in this country right now, a brooding and powerful concoction of volume, songcraft and Australiana. They've been likened to "Midnight Oil on valium" and their recent release Young Man, Old Man (Poison City) is rightfully turning many a head. Margins brings together members of prestigious volume-merchants The Nation Blue, Blacklevel Embassy and Warped (among others) to create something you wouldn't necessarily expect – quiet, tender, sprawling and beautiful compositions of an understated depth. Check out their 2012 release Divide. Sleeptalker are a recent invention of members of Grenadiers, Paper Arms and The Burning Sea from Adelaide. Combining the lyrical and noisy approach of Grinderman with the subtle brutality of The Drones, they have just put out a well received three-track demo. This is their first trip to Melbourne. Maricopa Wells are Melbourne's finest young alt-country prospect, evoking Lucero and Gaslight Anthem in a jangling, gruff, and passionate set of heartfelt rock. With the recent addition of a second guitarist they will set the night off in impressive style. Opening the show is Electric Fucking Dudewolf, the Clark Kent of Melbourne rock. All of this happens on Saturday October 6 at The Bendigo Hotel in Collingwood. For a lazy $10 you get a showcase of some of the best and most varied rock music the Australian underground has to offer right now.

CYANIDE TEETH Vae Victis Promotions is run by Vincent Marsicovetere and Ziggy Vae Victis. Their aim is to organize gigs for up-andcoming bands of all genres. They are proud to present Cyanide Teeth, Catharsis and Lunar Echo at The Tote. Catharsis are an instrumental metal band that blows your mind with catchy melodies and complex rhythms. Lunar Echoes are an instrumental rock band with a diverse style featuring a large emphasis on progressive song structure and evolving riffs. Cyanide Teeth are a two-piece drum and bass band consisting of Lucas Andrew and Connor O'Keane. All three bands are new to the scene and excited to play The Tote tonight. $5 from 8pm.

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? Aren’t these guys the backpackers we just saw selling copy watches in the back alley? Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? Something off the Danger Mouse and David Lynch Dark Night Of The Soul album seeing as we were mixed by Kennie Takahashi, the project’s soundscaper. He definitely gave us a ‘sound’ which is his and can be heard throughout his work with Autolux, Beck, and Broken Bells. He breathed life into the tracks and gave them textures and nuances – we love Kennie and of course Brian Lucey, the masterer (Black Keys). If your music was a chocolate bar, which one would it be, and why? Seeing our singer Savvas is chocoholic this question is most appropriate. Have you heard of the Nestle Drifter? It’s a British chocolate bar: two wafer fingers covered in caramel and then dipped in milk chocolate; dense, layered and will let you drift away! Tell us about the last song you wrote. One of the last songs I wrote was on a bullet train travelling from Nagoya to Tokyo. As the train stopped at a station on the way, an elderly man jumped on with what looked like his grandsons. He looked super chilled and bought them an ‘ekiben’ (bento box sold at a station) each and just kicked back in his seat. I peered over at him and studied his face and tried to guage what kind of life he must’ve led in the past. I put pen to paper while sitting on the train and wrote away... It’ll be on my future EP titled Post Japan. What’ve you got to sell CD-wise? Our self-titled Lantern EP is available on iTunes and you can find printed copies at Polyester, Basement Discs and Missing Link. Also look for the Sky Chi album by Savvas at the just mentioned stores. When’s the gig and with who? At the intimate IDGAFF, 160 Hoddle Street, with those fiddle-bearing folkers Atluk and the gorgeous Carly Van. It’s going to be a laid back acoustic-based evening affair, this Sunday October 7. Anything else to add? Don’t expect us to sound as good as the recording, ‘cause Kennie won’t be there! But we’ll give the energy and vibe, putting in our all to give a great show.

CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

Beat Magazine Page 75


ALBUM OF THE WEEK COLLARBONES

SYN SWEET 16

Die Young (Two Bright Lakes /Remote Control)

WEDNESDAY 3 OCT)BER

SCOTDRAKULA CAT CAT AMANITA MILDLIFE DRILL FOLLY ENTRY $5, 8PM

THURSDAY 4 OCTOBERR ALBUM LAUNCH

SHADOWQUEEN ELECTRIC MARY (ACOUSTIC) BELLUSIRA (ACOUSTIC) ENTRY $15, 8.30PM $2.50 POTS, $5 VODKAS!

FRIDAY 5 OCTOBER SINGLE LAUNCH

JERICCO

CIRCLES BRANCH ARTERIAL GLASS EMPIRE

ENTRY $15 DOOR, $12 PRESALE THRU MOSHTIX, 8PM

SATURDAY 6 OCTOBER

LOVE, EVELYN MARKETS

The second album from this Adelaide/Sydney duo is all about matters of the heart. Die Young is a more solid collection than 2011’s Iconography, the music rooted in an uncluttered, glitchy dubstep that gets a little warmth from some smoochy, R&B-heavy vocals. Marcus Whale’s soulful, sometimes desperate tales of young love and heartache dominate, with the exception of Soul Hologram, a two-minute instrumental bridge of ambient wash. Behind all of the vocal gymnastics and ‘Say it ain’t so, boy’ attitude is a sinister slant on teenage crushes, with feelings of possession and obsession bleeding through on tracks like Missing, in which Whale coos “I’ll be so close/I could almost kill you.” Travis Cook’s icy, clipped beats are in keeping with the lyrics’ deceptively sharp edge, culminating in the beautiful, sometimes brutal sound of two broken hearts beating as one. If you’re going to capture those emotion-fueled teenage years honestly, it has to be a bit pained, right? If Whale and Cook’s first album proved that the duo gelled despite (or maybe even because of) their distance from each other, Die Young’s revelation is that they are even more potent when they then collaborate with those outside of the Collarbones club. Some of the album’s strongest tracks feature guests and are stacked at the start. The stunning Hypothermia has Guerre (Lavern Lee) cutting through trance beats and a top-form Whale cry with some atmospheric pitch-shifted vocals; its accompanying video clip is well worth the watch too, unless you are at risk of having seizures. On the title track, not to be confused with the new Ke$ha song of the same name, HTML Flowers (Grant Gronewold)

1. Ride LANA DEL REY 2. Salem PAWS 3. Cruel Summer BLACK MARBLE 4. Transdental Youth THE MOUNTAIN GOATS 5. Soft Fall SUN AIRWAY 6. Bend Beyond WOODS 7. Violent Cries COLD SHOWERS 8. On & On THE SEA & CAKE 9. From Afar VANCE JOY 10. The Party Is You TEETH & TONGUE

3RRR SOUNDSCAPE contributes a slick rap to a woozy, minimalist ode to celebrity lives cut short. But even after these key songs, Die Young continues to surprise and satisfy, with each of the ten tracks upping the ante on the sound established on the Collarbone’s fine debut. The key to the success of this invigorating release is that it embraces pop and accessibility to really connect to the listener, and it does so without losing any of the duo’s left-field appeal. CHRIS GIRDLER Best Track: Hypothermia If You Like These, You’ll Like This: Untrue BURIAL, Total Loss HOW TO DRESS WELL, James Blake JAMES BLAKE In A Word: Infatuated

SINGLES BY LACHLAN

ENTRY $10, 8.30PM

MOROCCAN KINGS

The worst thing about David Byrne and St Vincent touring together is trying to decide whom I want to smooch on the lips more.

ENTRY $10, $7 PRESALE THRU MOSHTIX, 9PM

TEETH & TONGUE

EP LAUNCH

KING OF THE NORTH SHERIFF

SUNDAY 7 OCTOBER MATINEE SHOW

RAYON MOON DRUNK MUMS HONEY BADGERS, TBC ENTRY TBC, 1.30PM

YOG

GOING SWIMMING BLACKWATER RIFF THE GROVES ENTRY $10, 7.15PM

MONDAY 8 OCTOBER RESIDENCY

FRANCOLIN OH PEP!

LUKE BRENNAN & THE STICKY VALENTINES ENTRY $2, 8.30PM $10 JUGS!

TUESDAY 9 OCTOBER RESIDENCY

HOWARD AGILITY MOLE HOUSE PACK BEARS ENTRY $2, 8PM $10 JUGS!

COMING UP TIX AVAILABLE THRU MOSHTIX: FRANCOLIN (MONDAYS IN OCTOBER) HOWARD (TUESDAYS IN OCTOBER GLASS TOWERS – SINGLE LAUNCH (OCT 12) NE OBLIVISCARIS (OCT 13) GHOST ORCHID – BAND LAUNCH (OCT 19) WE ROB BANKS – SINGERS FINAL SHOW (OCT 20) THE BELLASTRADES – EP LAUNCH (OCT 26) THE SMART – QLD (OCT 27)

The Party Is You (Remote Control) It only takes around a minute for The Party Is You to scale some fairly lofty heights. For the remaining four minutes however, the track meanders with some fairly naff timbales action and dull guitar lines. Cornelius’s impressive vocals are betrayed by the busy, aimless instrumentation – sounding something like a low rent Jack Ladder & The Dreamlanders.

PRIMITIVE CALCULATORS

Cunt Life (Chapter) When I was in high school there was this dude called Ginny and I went around to his house once and he filled his sister’s acoustic guitar up with Lynx and proceeded to perform a song he called Jesus Has A Cunt then he flicked a lighter over the guitar hole and blew out the casing pretty good and burnt his hand up pretty bad. It was pretty sick. Cunt Life is also pretty sick. Aussie punk stalwarts Primitive Calculators snarl over some hammering Suicide beats, making connections between life’s many holes and the titular subject.

BAT FOR LASHES

All Your Gold (EMI) Easing in with a barebones, muted melody, All Your Gold pays off big time with a splendid triumph of a chorus. Taken from Natasha Khan’s upcoming third LP The Haunted Man (sounds spooky!), the single indicates a continuation of the top-shelf quality of her first two full-lengths.

HOW TO DRESS WELL

& It Was U (EMI) It’s taken a long while, but How To Dress Well has finally grown on me. It shouldn’t work – the white boy falsetto, the faux gospel harmonies – but it does, and them some. The build-up invades so surreptitiously that you can’t help be taken aback by the pounding chorus. This is baby-making music. Get sweaty.

THE CRIBS

Glitters Like Gold (PIAS/Liberator) It never really quite happened for The Cribs. Probably never will. While their compatriots managed to penetrate Australia with a royal thrashing on the Js, the UK’s brothers Jarman (not to be confused with the Adelaide Crows’ mighty Jarman brothers) failed to fire post Johnny Marr’s stint with the band. Sounding more Cali than Yorkshire, Glitters Like Gold lacks the menace of the band’s earlier releases – coming across as an ill-timed hop on the surf-revival bandwagon. Beat Magazine Page 76

TOP TENS

YEASAYER

Reagan’s Skeleton (EMI) I always get Yeasayer and Passion Pit mixed up, but I think it’s best to just avoid both of them. Reagan’s Skeleton is dumb. Like, really fucking dumb. What we have here is a slightly danceable near-parody showcase of Reaganomics-damnation with a confounding B-grade horror motif. All will be forgiven though if the film clip actually features dancing skeletons. That would be awesome.

1. Until The Quiet Comes FLYING LOTUS 2. Lonerism TAME IMPALA 3. Sublunar KANE IKIN 4. My God Is Blue SÉBASTIEN TELLIER 5. Still Life KYLIE AULDIST 6. Algiers CALEXICO 7. Melody’s Echo Chamber MELODY’S ECHO CHAMBER 8. High Highs HIGH HIGHS 9. Sugaring Season BETH ORTON 10. Kanye West Presents Good Music: Cruel Summer VARIOUS ARTISTS

COLLECTOR’S CORNER MISSING LINK 1. Dopesmoker LP SLEEP 2. Horizontal Action 7” PSYCHOSURGEONS 3. I Bet On Sky CD/LP DINOSAUR JR. 4. Linea De Fuego CD/12” BITTER SWEET KICKS 5. Lawless Soundtrack CD NICK CAVE/ WARREN ELLIS 6. Epicloud - Deluxe CD DEVIN TOWNSEND 7. The Seer CD SWANS 8. Uranium Genocide TAPE DEATHMOB 9. Victims Of Faith LP PISSCHRIST 10. All Gone CD/LP POP SINGLES

AIRIT NOW

Last Four Dollars (Independent) Now this is gonna go down a treat at Meredith. Not one for overreaching, Fraser plays it simple with his homage to Americana. I believe it. It’s strange how some kid from the coast can sound like a down and out dustbowl balladeer, exuding whiskey-soaked wisdom that you’d expect from an octogenarian bluesman on his deathbed. World class.

1. I Awake SARAH BLASKO 2. Waking Up Your House Again CATHERINE TRAICOS 3. I Defy You CHILDREN OF THE WAVE 4. In Echoes of Dawn MATT WALKER 5. Must Be Desire MOJO JUJU 6. Ghosts THE PRESETS 7. Choy Lin FISHING 8. When I’m Dead DEAD HEADS 9. My Gun THE RUBENS 10. Riot VELOCIRAPTOR

MY DISCO

PBS TIPSHEET

FRASER A. GORMAN & BIG HARVEST

Wrapped Coast (Temporary Residence) Well we saw it coming. My Disco parlay their repetition-heavy minimalist rock for something resembling repetition-heavy minimalist techno – trading cyclonic drums for pulsating, still-primitive clanks of percussion. The subtle cloud of guitar effects brews in the sidelines like a harbinger of doom as dread-inducing chants enter the fold. Best experienced with smoke machines and heavy strobes. Teeth-grindingly good.

SINGLE OF THE WEEK

HENRY WAGONS FEAT. ALISON MOSSHART

Unwelcome Company (Spunk/Cooperative) Something amazing happened earlier in the year in a tiny barn out near Tallarook. A deity-like apparition emerged in bespectacled cowboy getup, microphone in hand, to stun an earlymorning festival crowd with a karaoke rendition of Folsom Prison Blues. It was at that point in time that the song no longer belonged to Johnny Cash. How could it? It was now Henry Wagons’. Unwelcome Company is a series of climaxes that reasserts the notion that Henry BasedGod Wagons is the finest musician that this nation, if not the universe, has ever created. I don’t feel worthy to bask in this splendour. I’m concerned for Alison Mosshart as her music career has hit its unequivocal high point, it’s only down from here. The guitar solos here are so brilliant that the instrument should be retired from music henceforth as a sign of respect. Thank you Henry Wagons.

FOR MORE REVIEWS GO TO BEATTV.COM.AU/REVIEWS

1. Love Your Crooked Neighbour With Your Crooked Heart CHARLES JENKINS AND THE ZHIVAGOS 2. Love This Giant DAVID BYRNE & ST VINCENT 3. Still Life KYLIE AULDIST 4. Sugaring Season BETH ORTON 5. Melody’s Echo Chamber MELODY’S ECHO CHAMBER 6. Sorta Heavy Metal SUPER XX MAN 7. Moms MENOMENA 8. Self Titled LONE TYGER 9. When Eternity Ends SACRED GATE 10. Vaporware/Scanops BEE MASK

BEAT’S TOP TEN SONGS ABOUT BALLS 1. Ballskin DOOM 2. Get Low LIL JON 3. Deeez Nutz DR DRE AND SNOOP DOGG 4. Big Balls AC/DC 5. W Balls (Tha Shiznit Intro) SNOOP DOGG/ LION 6. Balls To The Wall ACCEPT 7. My Ballz D12 8. Balls In Your Mouth KID ROCK 9. Chocolate Salty Balls CHEF FROM SOUTH PARK 10. Sometimes It Takes Balls To Be A Woman ELIZABETH COOK


ALBUMS

VARIOUS

Boogie! Australian Blues, R&B And Heavy Rock From The ‘70s (Warner Music)

FOR MORE REVIEWS GO TO

BEAT.COM.AU/REVIEWS

DIE! DIE! DIE!

Harmony (Records Etcetera) With each album Dunedin trio Die! Die! Die! release, they prove themselves to be the complete opposite to a one-trick pony – each album striving forward, displaying an evolution and maturity in the band’s composing abilities all the while maintaining the raw aggression they became known for way back in 2005. Now with album number four Harmony on the loose, they have once again taken a giant stride forward without completely losing the past. Erase Waves is confronting; the guitar sharp, piercing its way through while frontman Andrew Wilson doesn’t just seem to spit out his words but sends them out like barbed projectiles. In a similar vein to Sideways Here I Come sandwiched between two relentless punk songs on their 2008 album Promises Promises, contrasting greatly to it pre and successors, Seasons Revenge is the closest to a croon Wilson has ever been. Michael Prain’s rolling drum rhythms are matched with the distorted and lamenting guitar, making for a song that is aesthetically romantic. Harmony continues to fluctuate with No One Owns A View, and Wilson returns to his spiteful delivery of words and harsh guitar. 16 Shades Of Blue begins with waves of light sound, a little white noise breathing in and out before being abruptly woken from a dream by Wilson’s voice, angry guitar and Prain’s hasty drums all at once, all making for an antagonistic yet completely memorable pop song. What Die! Die! Die! have successfully managed to create is an abrasive and unforgiving punk album that also effortlessly oozes a pop sensibility. Harmony is a collection of ten Best Track: Seasons Revenge brash punk songs that you can sing along to, that can If You Like These, You’ll Like This: Pulled Over...Your get stuck in your head, and their ability to recreate their Eyes Are Telling Me Different Son KUT U UP, Young brazen live energy is enough to keep you nervous for more. Machete BLOOD BROTHERS In A Word: Captivating ALEXANDRA DUGUID

When cult New York band Endless Boogie visited Australia earlier this year, the band had only one major Australian tourist destination in mind: the regional Victorian town of Sunbury, host to Australia’s most famous rock’n’roll festival in the ‘70s. Led by iconic Australian rock’n’roll figures such as Lobby Loyde and Billy Thorpe, Sunbury brought together a crowd of sweaty suburban pub dwellers and the occasional agitated Sharpie to celebrate the denim, beer and power chords of the nascent Australian blues rock scene. It’s that historical sub cultural setting that’s captured on the double CD Boogie! Australian Blues, R&B And Heavy Rock From The ‘70s. A roll-call of the best and toughest Australian boogie and blues artists from the era, Boogie! is a timely reminder that Australian rock’n’roll was punching above its weight long before the international charts took notice. Chain’s Black And Blue still packs the moonshine-strength punch it did 40 years ago; Billy Thorpe And The Aztec’s CC Rider is all shrieks, blues and iconoclastic sonic imagery. Bands such as the prog-folk styled Spectrum (I’ll Be Gone), the bubble-prog Madder Lake (12 lb Toothbrush, Booze Blues) and the proto-stoner Buffalo (Sunrise (Come My Way)) are both of their time, and transcend time; and while Renee Geyer (Dust My Blues) plays on, there will never be a female rock performer quite like Wendy Saddington (Backlash Blues). While the Australian boogie bands stayed true to the genre’s American blues origins, there’s a particular Australian cultural sensibility that comes through in tracks like Skyhooks’ Saturday Night, Ted Mulry Gang (Darktown Strutters Ball), Daddy Cool (Daddy Rocks Off), Ferret’s Janie May, Chain’s Gertrude Street Blues and even the whimsical Captain Matchbox Whoopee Band (Your Feet’s Too Big). And it’s pleasing to see pub rock icons such as Cold Chisel (Goodbye (Astrid Goodbye), Home And Brokenhearted), The Angels (Am I Ever Gonna See Your Face Again) and Rose Tattoo (Bad Boy For Love) located within a broader musico-cultural tradition (the latter is also indirectly represented via Band of Light’s The Destiny Song (featuring a young Ian Rilen) and Buster Best Track: Lobby Loyde And The Coloured Balls GOD Brown’s Something To Say (fronted by Gary ‘Angry’ If You Like These, You’ll Like This: ENDLESS BOOGIE, Anderson). That tradition that may have faded like a pair well of worn denim jeans, but it hasn’t lost its appeal. THE STEINS, MATT SONIC, SHERIFF In A Word: Boogie

PATRICK EMERY

DAVID BYRNE & ST. VINCENT

Love This Giant (4AD/Remote Control)

JOHN MAUS

A Collection Of Rarities And Previously Unreleased Material (Ribbon Music/Domino) Retro-pop fetishist John Maus sports a knack for saying things that don’t really need saying (here on I Don’t Eat Human Beings) and things that shouldn’t need saying, but unfortunately still do (Rights For Gays from Love Is Real). In the live setting, Maus is beset by despair. The often hopeless and paranoid themes of his work manifest into arresting displays of physical contortion with the actual musical performance being relegated to barely an afterthought. A Collection Of Rarities And Previously Unreleased Material is a title devoid of metaphor, in line with Maus’s penchant for the perfunctory. Spanning the course of a decade, the record remains surprisingly cohesive thanks to some deft remixing by Maus. Tracklisting isn’t dictated by chronology, but is arranged with some sense of thematic thread. The aforementioned I Don’t Eat Human Beings performs brilliantly as a soaring closing point. Darker territories are explored with the self-effacing Big Dumb Man, and the brilliant Mental Breakdown. My Hatred Is Magnificent reduces the titular emotion into a molecular level over an otherwise benevolent pop beat. Fish With Broken Dreams, a track recorded in 1999 (the oldest on the collection), is Maus at his most dramatic – a curious precedent to the more inhibited tensions on his later work. While last year’s outstanding We Must Become The Pitiless Censors Of Ourselves was a levelled, and ultimately triumphant, statement, this collection acts as an indiscriminate Best Track: No Title (Molly) cerebral bore into the terrible, dark psyche of a genius. A If You Like These, You’ll Like This: Mature Themes more than worthwhile garnish to Maus’s genius triptych ARIEL PINK’S HAUNTED GRAFFITI, Love Is Real of studio LPs. JOHN MAUS LACHLAN KANONIUK In A Word: Complementary

SASKWATCH

Leave It All Behind (Northside) There is an art to translating a dynamic live sound to the recorded format. Welloiled musical machines like The Roots have struggled translating their raw live appeal. For some bands their studio recordings don’t do their sound justice, no matter how talented they may be. While their namesake may be elusive, Melbourne nine-piece Saskwatch have no trouble showcasing their unbridled soulful sound over 12 bristling tracks on their studio debut Leave It All Behind. The fact that this ensemble has gotten these tunes down is evident from the moment opening instrumental track The Delinquent kicks in. After the espionage tinged vibes have set the stage they take the tempo down a little for the slow burning lovelorn anthem Don’t Wanna Try. Like all classic soul divas lead vocalist Nkechi Anele delivers every word with a guttural and sensual intensity. This is best showcased on standout cuts such as the title track and the hard-driving Second Best. As a live soul outfit with a classic-inspired sound it is at times hard to avoid that dreaded tribute or cover band trap. The fact the album features a cover of the Kylie Minogue and Robbie Williams duet Kids may not help. These factors aside, Saskwatch have delivered Best Track: Leave It All Behind If You Like These, You’ll Like This: They Say I’m a cracking testament to their undeniable talent for crafting nourishing and party starting soul music. Different BETTY DAVIS, Good Things ALOE BLACC In A Word: Nourishing ANDREW HAZARD HICKEY   

EVERY MONDAY

DO YOU KNOW WHAT I MEAN POP CULTURE TRIVIA TUES OCT 16TH

ASH OFFICER (NZ)

TUES OCT 30TH

MAX SAVAGE

(MAXX SAVAGE & THE FALSE IDOLS) TUES NOV 13TH & 27TH

BEN SALTER (THE GIN CLUB) TUES NOV 20TH

GRIZZLY JIM LAWRIE

David Byrne and St Vincent’s art-rock project has been announced as the first act for this year’s MONA FOMA and it’s a good match for the grounds of Tasmania’s black-art den. Inspired by a Dark Was The Night collaboration between Bjork and Dirty Projectors, the like-minded twosome showcase their own distinctive vocals on the 12 tracks compiled for Love This Giant. Forming a united front, they defend their vocal standing against an oppressive, bombastic backdrop of brass. The end result is dense and urgent, the music constantly prodding and poking the performers. It’s a case of everything but the kitchen sink, and the kitchen sink in this case is Annie Clark’s guitar – a big part of St Vincent’s sound, here it’s almost completely sidelined. Thankfully the horns pull back slightly for the Clark-penned Ice Age and she works a bit of sass into album highlight, Weekend In The Dust. Only later in the album does she seem to get a bit lost amongst the busyness. Byrne is generally in good form here, all formal dysfunction and wide-eyed incredulousness on typically analytical songs such as I Am An Ape and I Should Watch TV. The main drawback of his compositions is that sometimes they ride along on one strong idea and then finish a little abruptly. It’s not the best work from either artist and is Best Track: Weekend In the Dust If You Like These, You’ll Like This: Grown Backwards something of a novelty, but it’s all good, theatrical fun. DAVID BYRNE, Actor ST VINCENT CHRIS GIRDLER In A Word: Outsiders

BOB DYLAN Tempest (Sony)

Ever since he gave the proverbial one-finger salute to his precious folkie audience almost 50 years ago, critics, punters and any half-witted industry type has been condemning Bob Dylan to the garbage bin of musical history. But still Bob keeps coming back, sometimes good, sometimes strange, always intriguing. So what does Bob Dylan have left to say in 2012? Judging by Dylan’s latest record, Tempest, plenty, and most of it doused in the blues. There’s the whimsical vaudeville Duquesne Whistle, which finds Dylan’s cigarette-ravaged voice channelling Louis Armstrong (with lyrics co-written by former Grateful Dead lyricist Robert Hunter), or the Fats Domino-inspired tenderness of Soon After Midnight. On Narrow Way Dylan charts an action-packed seven-minute journey to the heart of the blues; if Dylan wasn’t so much of a bloody contrarian, you’d assume the lyrics to the track were an autobiographical assessment of his time in the music caper. Or maybe it’s the dialogue in Long And Wasted Years that is Dylan’s personal narrative – we’ll never really know. Pay In Blood shows Dylan in slick rock’n’roll mode, basking in the glittering spell of West Coast indulgence; on Early Roman Kings Dylan is in John Lee Hooker mode, making blues gold from bugger all ingredients. On Tin Angel Dylan stumbles through a classic Stagger Lee-styled country rock tale where the imperfection of humanity is on display for all to see; the ballad Roll On John closes out the record with the ghost of The Band loitering in the background. But it’s the almost 14 minute epic title track that offers the best glimpse of Dylan’s current state of being. It’s a rambling story like your grandfather might embark on after a couple too many ports, and an audience too scared Best Track: Tempest If You Like This: You’ll have forgiven Bob for all those to leave. And that’s what Bob Dylan is these days. We moments when he looked like he’d completely lost don’t know if it’s going to be any good, but somehow he still manages to deliver. the plot In A Word: Bob

WED OCT 3RD

MIKE MCCARTHY ‘RECORD LAUNCH’ CHAD MASON (WAGONS) AND JESS LOCKE THURS OCT 4TH

THE HONDAS ‘COP SONG’ SINGLE LAUNCH W BIG SMOKE, SWEET TEENS AND (HALF) NAKED BODIES FRI OCT 5TH

WE THE PEOPLE ‘MY CASTLE EP’ LAUNCH W THE RED LIGHTS AND NEBRASKATAK SAT OCT 6TH & SUN OCT 7TH

FULT TILT JANIS

JANIS JOPLIN TRIBUTE SHOW - MELBOURNE FRINGE FESTIVAL

RUSTY@JOHNCURTINHOTEL.COM FOR MORE ALBUM NEWS AND REVIEWS GO TO WWW.BEAT.COM.AU

PATRICK EMERY

TUES OCT 9TH

LIFT OFF

THE REFUNDS AND FLACCID PALMS THURS OCT 11TH

RMIT PRESENTS... A NIGHT OF MUSIC FRI OCT 12TH

DJ MANCHILD (PBS FM) FREE IN THE FRONT BAR SAT OCT 13TH

COERCE AND TOTALLY UNICORN THE BRODERICK AND URNS SUN OCT 14TH

JEN KNIGHT & THE CAVLALIERS AL PARKINSON AND THE TESKY BROTHERS - COMING LATER 20/10 - WIRE BIRD SINGLE LAUNCH 21/10 CATHC RELEASE EP LAUNCH 26/10 TULLY ON YULLY SINGLE LAUNCH 27/10 CHARLES BABY RECORD LAUNCH 10/11 BITCH PREFECT W BEACHES

Beat Magazine Page 77


GIG GUIDE WEDNESDAY 3 OCT ROCK/POP COLLAGE Espy, St Kilda. 8:00pm. CYANIDE TEETH + CATHARSIS + LUNAR ACHOES Tote Hotel, Collingwood. 8:00pm. $5. HAND MADE MUSIC Wesley Anne, Northcote. 8:00pm. LITTLE LEARNERS FUNDRAISER - FEAT: AVI & THE UPRISING + ANDREW PAPADOPOULAS + HAMISH ANDERSON BAND + THE LOST BOYS Revolver Upstairs, Prahran. 7:30pm. MIKE MCCARTHY + CHAD MASON + JESS LOCKE John Curtin Hotel, Carlton. 8:00pm. NICK MURPHY Kent St Bar, Fitzroy. 8:00pm. RACHEAL BY THE STREAM (EP LAUNCH) + EVEN DAWN + JUSTIN LOVE + SEXY SELECTA Northcote Town Hall, Northcote. 7:30pm. $10. SINKING TEETH Old Bar, Fitzroy. 8:30pm. $6. SONIC SPHERES - FEAT: MARCO FUSINATO + CHARLES IVES SINGERS + SCRATCH ENSEMBLE + SNAWKLOR + THE DONKEY’S TAIL Northcote Social Club, Northcote. 7:30pm. $10. STEPHEN MALKMUS & THE JICKS + BEARHUG + THE MURLOCS Corner Hotel, Richmond. 7:30pm. $44. STRANGERS + ROMEO KNIGHTS PLAY THE WHO + THE VAGRANTS Cherry Bar, Melbourne Cbd. 8:00pm. THE ARCHETYPAL (SINGLE LAUNCH) + CENTRE & THE SOUTH + TINY LITTLE HOUSES Workers Club, Fitzroy. 7:30pm. $4. THE POPE’S ASSASSINS Bar Nancy, Northcote. 10:00pm. $10. THE PRIMARY COLOUR + JUXTPOSE + VIRTUAL PROXIMITY Bar Open, Fitzroy. 8:00pm.

MUSIC FEAST FOR KIDS - FEAT: THE SUNSHINE SISTERS Northcote Town Hall, Northcote. 11:00am. $13. OPEN MIC Dancing Dog, Footscray. 7:00pm. OPEN MIC Thornbury Local, Thornbury. 8:00pm. OPEN MIC Great Britain Hotel, Richmond. 9:00pm. OPEN MIC Brunswick Hotel, Brunswick. 8:00pm. OPEN MIC Grind N Groove, Healesville. 7:00pm. OPEN MIC Idgaff Bar & Venue, Abbotsford. 8:00pm. OPEN MIC Musicland, Fawkner. 7:30pm. OPEN MIC & JAM NIGHT Grind N Groove, Healesville. 8:00pm. THE ANIMATED MUSEUM OF EXPERIMENTAL STUPIDITY Bar Nancy, Northcote. 8:00pm. $13. WINE WHISKEY WOMEN - FEAT: FREYLA HANLY + NICOLETTE FORTE Drunken Poet, West Melbourne. 8:00pm.

JAZZ/SOUL/FUNK/WORLD MUSIC COLLECTIVO 29 TANGO QUINTET Open Studio, Northcote. 8:30pm. DIZZY’S BIG BAND Dizzy’s Jazz Club, Richmond. 8:00pm. $14. JULIE BAILEY Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $20. MAGNUSSON & WILSON QUARTET 303, Northcote. 8:00pm. $5. REBECCA BARNARD & BILL MEYERS SINGALONG + BILL MEYERS + REBECCA BARNARD Caravan Music Club, Oakleigh. 7:00pm. $15. THE REMCO KEIJZER QUINTET Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15.

THURSDAY 4 OCT

ACOUSTIC/COUNTRY/BLUES/FOLK

ROCK/POP

ACOUSTICS ANONYMOUS The 86, Fitzroy. 8:00pm. ADRIAN STOYLES Standard Hotel, Fitzroy. 8:30pm. ALI E + ALYSIA MANCEAU Retreat Hotel, Brunswick. 8:30pm. DON HILLMAN’S SECRET BEACH Clifton Hill Hotel, Clifton Hill. 8:30pm. JULIA SANDEL & THE UCCELLINI Northcote Town Hall, Northcote. 8:00pm. $18. LOKI + CANARY + TOM MILEK Grace Darling Hotel, Collingwood. 9:00pm. $10.

1AM LATE SHOW - FEAT: KALEIDOSCOPE Pony, Melbourne. 1:00am. ADAM WALDRON + MIDDLE AGE WEIRDO + THE WINTERS Reverence Hotel, Footscray. 8:00pm. $5. ALO DARLIN’ + MONNONE ALONE + THE STEVENS Tote Hotel, Collingwood. 8:00pm. $5. AMITY AFFLICTION + ARCHITECTS + BURIED IN VERONA + THE GHOST INSIDE Palace Theatre, Melbourne Cbd. 8:00pm.

King Of The North

Money For Rope

KING OF THE NORTH, MONEY FOR ROPE Australian alt, hard-rock duo King Of The North are releasing their latest single Hope Is For The Faithless this Friday October 5 at Cherry Bar. Their powerful brand of unique dynamism and massive sound is set to continue so get down early to secure a ticket as they’re door-sale only, $13. Hard-hitters Money For Rope are also launching a new single of their own, titled Bruise, and their reputation for face-smashing, intense tunes that twist and swivel violently will ensure this will be a corker of a night.

60 SECONDS WITH

There’s absolutely no reason you wouldn’t go to King Gizzard’s Saturday October 6 show at The Tote Hotel, unless it’s because you’re going to their Sunday October 7 show at The Tote Hotel. If you go Saturday, you get to see The Living Eyes and Dreaming Wild support and if you go Sunday you’ll be treated to The Meanies, Richie 1250, The Brides Of Christ. Delicious barbeque both days. If you haven’t seen King Gizzard live yet then this is the perfect opportunity to experience the insanely radical rock‘n’roll of seven guys going batshit. Hell, go to both. We are. Tickets are $13.30. ANIMAUX (PARADISE LAUNCH) + ALBERT SALT + FRANCOLIN + SMOKING TODDLER DJS Toff In Town, Melbourne Cbd. 8:00pm. $8. APART FROM THIS + CALVALCADE + UP & ATOM Brunswick Hotel, Brunswick. 8:00pm. BLUEVEIN + CRAIG MATTINGLEY TRIO + SIMON ARBOUR Idgaff Bar & Venue, Abbotsford. 8:00pm. BRIDGEWATER + DOM HONE Cornish Arms, Brunswick. 8:00pm. CONTANGENT + DREADALL + SKYWRITERS CODE Pony, Melbourne. 8:30pm. DAN KROCHMAL + FONTAINE + FRANK DIXON + SOL Revolver Upstairs, Prahran. 7:30pm. $5. DRIFTER + DEVIL’S PAWN + GERARD DALEY Yah Yah’s, Fitzroy. 9:00pm. FIRE BEHAVING AS AIR + ECSTATIC SOUND CIRCLE Northcote Uniting Church, Northcote. 7:00pm. $10. HEAVY LOWS - FEAT: SUPERSTAR + GLOW + RITES WILD + SPITE HOUSE + STRAYLIGHT Bar Open, Fitzroy. 9:00pm. MEDéCINS SANS FRONTIèRES CHARITY GIG FEAT: TULALAH + PARAPLUIE + SLEEPY DREAMERS + THE PLAINS Empress Hotel, North Fitzroy. 7:30pm. $12. OLLIE MCGILL & THE GENIE 303, Northcote. 8:00pm. $10. PETER COMBE & THE QUIRKY BERSERKY BELLYFLOP IN A PIZZA BAND (ALBUM LAUNCH) Northcote Social Club, Northcote. 7:30pm. $23. SAROX Bar Nancy, Northcote. 9:00pm. SHADOWQUEEN (ALBUM LAUNCH) + BELLUSIRA + PETE & BRETT (ELECTRIC MARY) + RUSTY Evelyn Hotel, Fitzroy. 9:00pm. $15. STICKY FINGERS Workers Club, Fitzroy. 10:00pm. $10. STONEGARDEN + THE MERCURY THEATRE Ruby’s Lounge, Belgrave. 8:00pm. TEMPLE + COOPER STREET + FIRESTONE & HONEY + SHORTFALL The Prague, Thornbury. 8:30pm. $10. THE BB SPLITS Bar Oussou, Brunswick. 7:30pm. THE BLACK LULLABY (EP LAUNCH) + FIGHTS FOR GIANTS Grace Darling Hotel, Collingwood. 9:00pm. $12. THE HONDAS (SINGLE LAUNCH) + (HALF) NAKED BODIES + BIG SMOKE + SWEET TEENS John Curtin Hotel, Carlton. 8:30pm. $10. THE MINPINS Bar Oussou, Brunswick. 7:00pm. THE SCAM + DEPUTY DIPSHIT + GLEN & THE PEANUTBUTTER MEN + SPEW N GUTS + STAY DOWN Bendigo Hotel, Collingwood. 8:00pm. WINE DARK SEA + MIA SCHOEN GROUP + THE OCEAN PARTY Old Bar, Fitzroy. 8:30pm. $8.

YELLOWCAKE

So then, what’s the band name and what do you ‘do’ in the band? They call me Drama-J and I’m an MC, with me is my man, my partner in crime, Loyal, better known for his unique drumming, representing our crew YellowCake. As founders of YellowCake we both play important roles in the crew. Loyal is the man behind our beats and music, he also organises the band and pushes our musicians to perfection (especially on stage) and I basically organise our MCs and keep ‘em motivated to bring our A-game every time and anytime so lyrically we are equipped in the studio but more importantly on stage. Together we organise shows and the visions for YellowCake. What do you think people will say you sound like? I think we have our own unique sound and with so much diversity and talent in the crew my description of YellowCake would be an urban mixture of different styles containing hip hop, reggae and soul that creating what we call “MAGIC!” What do you love about making music? What we love about making music is the fact that you can never know enough when it comes to music, you are Beat Magazine Page 78

KING GIZZARD & THE LIZARD WIZARD

always learning new things challenging yourself to reach perfection. Also being able to get an audience to see and feel the passion in our music, our ability to relate to society and the power to create memorable moments for the people. See we see music as a part of life, every time you hear a song it’ll take you back to the feeling and that moment you had at that specific time. What do you hate about the music industry? We hate the fakeness in the industry of artists and musicians who have no passion or love for music and are deceived but more thoroughly focused on money, fame and riches and everything that comes with being a successful artist, music isn’t a job it’s a gift and a passion. What can a punter expect from your live show? Flamboyant flows put together creatively to make music that puts you in the mood to hit the dance floor! Coz that’s what we do. What’ve you got to sell CD-wise? We’ve got an EP launch in December at sale prices of $10 also our mix tape YellowCake Official is flying around for free along with various artists from YellowCake like Mose’

ACOUSTIC/COUNTRY/BLUES/FOLK LA NOUVELLE The Resurrection, Brunswick East. 8:00pm. A QUIET NIGHT OUT Monsieur Truffe, Brunswick East. 6:00pm. ACOUSTIC NIGHT 29th Apartment, St Kilda. 8:30pm. CAROLINA & LENI Bebida, Fitzroy. 8:00pm. DAN LETHBRIDGE & THE CAMPAIGNERS + BILL JACKSON & PETE FIDLER Retreat Hotel, Brunswick. 9:00pm. FREINGEIST Bar Nancy, Northcote. 8:00pm. $10. GUY KABLE Labour In Vain, Fitzroy. 8:30pm. JEFF LOOMIS Allans Billy Hyde, Blackburn. 1:00pm. JEFF LOOMIS Allens Billy Hyde, Melbourne. 7:00pm. $15. KELLY BREUER + LAURA K CLARKE Great Britain Hotel, Richmond. 8:00pm. KHRISTIAN MIZZI + MARIEL KOROIBULU & THE HARMONETTES + THE LAUREN GLEZER BAND + THE TROPEA PROJECT Wesley Anne, Northcote. 8:00pm. $8. MANDY CONNELL Wesley Anne, Northcote. 6:00pm. MUSIC FEAST FOR KIDS - FEAT: THE SHIVERING TIMBERS Northcote Town Hall, Northcote. 11:00am. $13. OPEN MIC Acoustic Cafe, Collingwood. 6:30pm. OPEN MIC Arcadia Hotel, South Yarra. 7:00pm. OPEN MIC Drunken Poet, West Melbourne. 8:00pm. SMOKIN’ SAM & CARGO BLUES BAND + JOHN WILLIAMS & THE BLUES SHAKERS Musicland, Fawkner. 7:30pm. $10.

JAZZ/SOUL/FUNK/WORLD MUSIC AL KENNEDY & VICTORIAN COLLEGE OF THE ARTS Dizzy’s Jazz Club, Richmond. 8:00pm. $14. ALWAN Claypots Tavern & Fair, St Kilda. 8:30pm. BLOW The Horn African Music Lounge, Collingwood. 8:00pm. HEY BIG SPENDER - FEAT: SHIRLEY BASSEY Bennetts Lane Jazz Club, Melbourne. 7:30pm. $25. JAMES HAMPTON Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $15. JAZZ PARTY Open Studio, Northcote. 8:30pm. MELISSA MAIN BAND Thornbury Theatre, Thornbury. 6:30pm. $10. MOTOWN THURSDAYS Fashion Lounge, Melbourne. 5:00pm. RBS LIVE - FEAT: LURCH & CHIEF + AGILITY Red Bennies, South Yarra. 10:00pm. $10. SALSA EXPLOSION - FEAT: DEL BARRIO First Floor, Fitzroy. 10:00pm. THE GATHERING PLACE - FEAT: ALBARE & ITD BAND + WARREN WILLS The St Kilda Synagogue, St Kilda. 7:00pm. THE NICK HAYWOOD QUARTET Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. THE SWEETHEARTS Cherry Bar, Melbourne Cbd. 8:00pm. $10. TOBY WREN (CD LAUNCH) Uptown Jazz Cafe, Fitzroy. 8:00pm.

FRIDAY 5 OCT and MC JC with their individual mix tapes as well. Mose’ has also dropped his album called Onslaught featuring Menlo Park and the whole YellowCake family and that’s selling on iTunes When’s the gig and with who? Our gig is on the Saturday October 6 at Level 2, with DJ Fingaz, DJ Xrated, DJ C-Ram and Dj Khalua on the wheels of steel to Gee Up the night with new and old school hip hop. Doors open at 9pm ‘til 4am. Anything else to add? Check out our Facebook page YellowCake Official to stay in tune with YellowCake shows, EPs and mix tapes. Also available for sale are our YC T-shirts and hoodies. Check us out.

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

ROCK/POP 2AM LATE SHOW - FEAT: LITTLEFOOT Pony, Melbourne. 2:00am. A LONG WAY TO THE TOP 10TH ANNIVERSARY CONCERT - FEAT: AXIOM + BRIAN CADD + COL JOYE + DINAH LEE + DOUG PARKINSON + DRAGON + IAN MOSS + JIM KEAYS + MARCIA HINES + MI-SEX + NOISEWORKS + RUSSELL MORRIS + GLENN SHORROCK + JOHN PAUL YOUNG + LITTLE PATTIE + LUCKY STARR + MATT TAYLOR + PHIL MANNING + SPECTRUM Rod Laver Arena, Melbourne. 8:00pm. ANCHORS + APART FROM THIS + JOIN THE AMISH + THE DECLINE Bendigo Hotel, Collingwood. 8:00pm. $10. CANNIBAL CORPSE Billboard, Melbourne Cbd. 8:00pm. $59. CASEY DEAN + ARYN APPLEBERRY + CHRIS MILLER + EZEKIEL OX The Prague, Thornbury. 8:00pm.


CISCO CEASAR Penny Black, Brunswick. 9:30pm. COVERS NIGHT - FEAT: STRAIT SHOOTERS Musicland, Fawkner. 7:30pm. $10. DAMN TERRAN + CLAVIANS + THE PEEP TEMPEL Tote Hotel, Collingwood. 8:00pm. DIESEL Thornbury Theatre, Thornbury. 7:00pm. $35. ECHO DRAMA Bar Open, Fitzroy. 10:00pm. GOLD CHISEL + BASKETCASE + VAN HAGER Espy, St Kilda. 9:00pm. GRUNTBUCKET + LOS NEUTRINOS Tago Mago, Thornbury. 8:00pm. GUNN MUSIC - FEAT: SUDDEN STATE + BAREFOOT DEADLEYS + ICE ON MERCURY + RIOT IN TOYTOWN Revolver Upstairs, Prahran. 7:45pm. $12. HEY GERONIMO + BOBBY FLYNN + THE GRISWOLDS Workers Club, Fitzroy. 8:30pm. $10. JERICCO (DANCE TOUR) + BRANCH ARTERIAL + CIRLCES + GLASS EMPIRE Evelyn Hotel, Fitzroy. 9:00pm. $12. KING PARROT + ABRASION + BURNING IN WHITE + DECIMATUS + RED SKY BURIAL Evelyn Hotel, Fitzroy. 8:00pm. $15. LA DANSE MACABRE - FEAT: BRUNSWICK MASSIVE DJ COLLECTIVE Rainbow Hotel, Fitzroy. 9:00pm. LIEUTENANT JAM + THE VOCAL LOTION Highlander, Melbourne Cbd. 8:00pm. $5. LIZARD PUNCH + EDITH VIGNAL + RAJ MATES + THE HAZELMAN BROTHERS IdgaďŹ&#x20AC; Bar & Venue, Abbotsford. 8:00pm. LOST WEEKENDS + ALBERT SALT + ARCADE MADE + DARK ARTS Espy, St Kilda. 8:30pm. MONEY FOR ROPE + KING OF THE NORTH Cherry Bar, Melbourne Cbd. 8:00pm. $13. MONKEYâ&#x20AC;&#x2122;S PIRATE + JOSEPH MAIREAD & THE TIGER LILLY BLUES + THE ANIMATORS 303, Northcote. 8:00pm. $12. PRIMITIVE CALCULATORS (SINGLE LAUNCH) + LOST ANIMAL + STANDISH/CARLYON Northcote Social Club, Northcote. 8:30pm. $14. SMALL TOWN INCIDENT Empress Hotel, North Fitzroy. 8:00pm. SORDID ORDEAL + REDFIELD + SON OF SET + THE UNKIND Pony, Melbourne. 9:00pm. SUMMERSET AVENUE + BRIGHTER AT NIGHT + RECKLESS FOOLS + STRICKLAND Espy, St Kilda. 9:00pm. THE AMITY AFFLICTION + ARCHITECTS + BURIED IN VERONA + THE GHOST INSIDE Palace Theatre, Melbourne Cbd. 8:00pm. THE COVES (ALBUM LAUNCH) + CLAIRE BIRCHALL BAND + MICHAEL PLATER & THE EXIT KEYS Old Bar, Fitzroy. 8:30pm. $5. THE DUB CAPTAINS + GREASY HAWAIIANS Yah Yahâ&#x20AC;&#x2122;s, Fitzroy. 9:00pm. THE FIGHTING + COTTON SIDEWALK + SONS OF ABRAHAM Cornish Arms, Brunswick. 8:00pm.

60 SECONDS WITH

MATT WALKER The lyrically evocative Matt Walker is back from whichever fern-laden cave he went into to create his ďŹ rst album in seven years, In Echoes Of Dawn (by â&#x20AC;&#x2DC;fern-laden caveâ&#x20AC;&#x2122; I mean that heâ&#x20AC;&#x2122;s been working tirelessly as producer, session player and composer for a string of other artists). Walker laces acoustic guitar, mandolin, lapsteel and piano across the record, which sees him playing 95% of all sounds you can hear. The masterful musician will be showing oďŹ&#x20AC; his fresh handiwork at The ToďŹ&#x20AC; in Town on Sunday October 7. Tickets are $15+bf. THE SHARDS + RUBBER DUBB + THESE LIGHTS Victoria Hotel, Brunswick. 9:00pm. THE ZANES (SINGLE LAUNCH) + CANOS + GABE LYNCH + MANSION ALASKA Grace Darling Hotel, Collingwood. 8:30pm. $10. THESE WILD ANIMALS + FEARLESS ESCAPE + LOCK STOCKâ&#x20AC;&#x2122;N GYPSIES + NICK BROWN The Baroness, Brunswick. 8:00pm. WARBRAIN + HALFMAST + OUTRIGHT + OUTSIDERâ&#x20AC;&#x2122;S CODE + RIGHT MIND Brunswick Hotel, Brunswick. 9:00pm. WE THE PEOPLE (MY CASTLE LAUNCH) + NEBRASKATAK + THE RED LIGHTS John Curtin Hotel, Carlton. 8:00pm.

ACOUSTIC/COUNTRY/BLUES/FOLK ANARCHY IN THE MUK - FEAT: THE MELBOURNE UKULELE COLLECTIVE Northcote Town Hall, Northcote. 7:30pm. $15. CHARLES JENKINS Basement Discs, Melbourne Cbd. 12:45pm. CONCERT FOR THE KIMBERLEY - FEAT: CLARE BOWDITCH + JOHN BUTLER TRIO Federation Square, Melbourne. 6:00pm. DAN BOURKE Drunken Poet, West Melbourne. 6:00pm. DAVE LARKIN + BEN SALTER + DJJTRAFFIC JAM Retreat Hotel, Brunswick. 9:30pm. JENNY M THOMAS & THE SYSTEM Bennetts Lane Jazz Club, Melbourne. 8:00pm. $18. LITTLE HURRICANE + AINSLIE WILLS Ding Dong

ANCHORS Extremely attractive Melbourne punk rockers Anchors are playing their last show before heading away on tour. Supported by Join The Amish, Apart From This and WAâ&#x20AC;&#x2122;s The Decline, theyâ&#x20AC;&#x2122;re very loud, aggressive, raw and attractive. What, did I already say that? Who what, who cares. The show will be at The Bendigo Hotel in Collingwood on Friday October 5, and tickets are only 10 clams. Lounge, Melbourne Cbd. 8:00pm. $35. LLOYD SPIEGEL + THE SNOWBALL EFFECT Rubyâ&#x20AC;&#x2122;s Lounge, Belgrave. 8:00pm. $15. MADELENE Wesley Anne, Northcote. 5:30pm. MICK PEALING & THE PRAIRIE OYSTERS Caravan Music Club, Oakleigh. 8:00pm. $23. MOOSEJAW RIFLE CLUB Gem Bar, Collingwood. 7:00pm. PAPERCRANE + CANARY + LISA SALVO & TOM KLINE + MANCHOIR Wesley Anne, Northcote. 8:00pm. $10. PAUL REID + WATSON & WATSON Thornbury Theatre, Thornbury. 8:00pm. PETER BAYLORSâ&#x20AC;&#x2122; ROADHOUSE ROMEOS Lomond Hotel, Brunswick East. 9:30pm. PHEASANT PLUCKERS The B East, Brunswick East. 9:00pm. RICHARD CLAPTON The Palms, Southbank. 8:00pm. SAMARA WILLIAMS Thornbury Local, Thornbury. 10:00pm. SING ANYWAY - FEAT: BRUNSWICK WOMENS CHOIR Northcote Town Hall, Northcote. 8:00pm. $25. SOIREE MUSIQUE Bar Oussou, Brunswick. 8:00pm. STRONG PUSH Town Hall Hotel, North Melbourne. 10:00pm. SUNDANZE KID (ALBUM LAUNCH) + DEAD PILOT + GLENN FORD + TIM WILSON Bar Betty, Fitzroy. 7:30pm. THE 4-PEACE BAND Beaumaris Rsl, Beaumaris. 8:00pm. THE NICHAUD FITZGIBBON QUARTET Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. $10. THE UNTOUCHABLES + JOSH MOORE Balaclava Hotel, Balaclava. 8:00pm.

ABBIE CARDWELL & THE CHICANO ROCKERS

Define your genre in five words or less: Vintage ten-piece Mexican Rocanrol. What do you love about making music? I love the total creative freedom! Where else could I find such mixed-up Mexi-Melbourne sounds, dress up in crazy mariachi-inspired costumes and party with nine friends every show? What do you hate about the music industry? Thatâ&#x20AC;&#x2122;s a strong word, but it would have to be the fact that musicians are the last ones to make any money in this industry. Of course we do it for more reasons than money alone, but wouldnâ&#x20AC;&#x2122;t it be grand if more of us could afford to do it full-time? What can a punter expect from your live show? They can expect a sudden desire for tequila and witness the most unlikely dude up the back to dance in public for the first time in their life!

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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? â&#x20AC;&#x153;Shit dude! Check out the mariachi outlaws in there!? Weâ&#x20AC;&#x2122;re missing out!â&#x20AC;?

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DRINK SPECIALS FRIDAY NIGHTS: 4pm â&#x20AC;&#x201C; 10pm $5 Coronas, $5 Kopparberg Cider Bottles, $8 Cocktails, $8 Mountain Goat Pints MONDAY NIGHTS: 5pm â&#x20AC;&#x201C; 9pm $12 Mountain Goat Jugs TUESDAY/WEDNESDAY/THURSDAY: 5pm â&#x20AC;&#x201C; 9pm $6 Mountain Goat Pints

FOOD SPECIALS MONDAY:$12 Curry Night. TUESDAY:$12 Parmas and Burgers. WEDNESDAY: $15 Steak Night THURSDAY: $12 Parmas and Burgers. SUNDAY:$12 Roast of the Day

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Beat Magazine Page 79


CHOPPED ROD AND CUSTOM 2012 STEPHEN MALKMUS AND THE JICKS Returning Down Under after a two-year hiatus, Stephen Malkmus And The Jicks are playing The Corner Hotel tonight as part of their Mirror Traffic tour. Having recorded the album at LA’s Sunset Sounds Studio and releasing it in 2011, they’re finally ready to don the Akubra and head to Australia for the first time since ‘09. With support coming from Bear Hug, get down tonight for a long-awaited Jicks fix.

JAZZ/SOUL/FUNK/WORLD MUSIC AETHER Northcote Uniting Church, Northcote. 8:00pm. AN EVENING WITH I VAGABONDI Darebin Intercultural Centre, Preston. 7:30pm. $15. BILL SUMMERS AFRO LATIN JAZZ QUINTET Prince Bandroom, St Kilda. 8:00pm. $49. DIFFERENT CULTURES DIFFERENT VOICES - FEAT: THE SPECTRUM CHOIR Darebin Intercultural Centre, Preston. 3:00pm. JOE BATAAN + DEL BARRIO ORCHESTRA + DJ CHIRS GILL + DJ EMMA PEEL The Hi-fi, Melbourne. 8:30pm. $49. MACLAINE & SIDNEY TRIO Dizzy’s Jazz Club, Richmond. 9:00pm. $20. MIX METHOD + GRAND BAZZAR The Vineyard, St Kilda. 11:00pm. MUSIC FEAST FOR KIDS - FEAT: ASANTI Northcote Town Hall, Northcote. 11:00am. $13. PAT POWELL + DJ DUCHESS + DJ MOHAIR SLIM + SKA VENDORS The Luwow, Fitzroy. 8:00pm. $5. SASKWATCH (ALBUM LAUNCH) + MINING BOOM + THE HARPOONS Corner Hotel, Richmond. 8:30pm. $15. THE BOMBASTICS Purple Emerald, Northcote. 10:00pm. THE FEM BELLING QUARTET Bennetts Lane Jazz Club, Melbourne. 8:30pm. $25. THE MAY JOHNSTON BAND Tony Starr’s Kitten Club, Melbourne Cbd. 10:00pm. $5. THE STEVE MAGNUSSON TRIO Uptown Jazz Cafe, Fitzroy. 8:00pm. TRIO AGOGO 303, Northcote. 6:00pm. TRIO CIGANKA Open Studio, Northcote. 8:30pm. $5.

SATURDAY 6 SEP ROCK/POP 2AM LATE SHOW (DOUBLE HEADLINE) - FEAT: THE BOB GORDONS + THE HALF PINTS Pony, Melbourne. 2:00am. ACRE + BEAR THE MAMMOTH + CAT OR PILLER + YOSHITORO Pony, Melbourne. 9:00pm. BANG - FEAT: D AT SEA + SOUND OF SEASONS + THE PLAYBOOK Royal Melbourne Hotel, Melbourne Cbd. 9:00pm. BIZOO KA ZINE - FEAT: THE FROWNING CLOUDS + BRENDAN BLACK + DEAD SHADES + DJ CISCO ROSE +

PANEL + THE GOOCH PALMS + WORKSHOPS Old Bar, Fitzroy. 6:00pm. $12. BON SCOTTS Wesley Anne, Northcote. 8:00pm. C*NTS + CELERY Tote Hotel, Collingwood. 5:00pm. CLAMPDOWN Rochester Castle Hotel, Fitzroy. 9:00pm. CREATE/DESTROY + CONSCIOUS CONTROL + FALSE PROPHET + HARBOUR THE HOSTAGE + MOUSTACHE ANT The Prague, Thornbury. 8:00pm. DIAMOND CRIMSON BLOOD - FEAT: JANE BADLER + BRYON ST JOHN + MATT THOMAS Wonderland Park, Docklands. 9:30pm. $25. FEARLESS VAMPIRE KILLERS (SINGLE LAUNCH) + CANARY + WARMTH CRASHES IN Workers Club, Fitzroy. 8:30pm. $12. FREAKS OF THE DEEP + SONIC JUNGLE + THE HOT LAPS + THE R.I.P RIDES Espy, St Kilda. 9:00pm. $5. GEORGIA FIELDS Empress Hotel, North Fitzroy. 8:00pm. HELLHOUNDS + CHINA VAGINA + DESTROY SHE SAID: LP LAUNCH + PHIL PARA + THE DEEP END Espy, St Kilda. 9:00pm. HOODLUM SHOUTS + MARGINS + MARICOPA WELLS + SLEEPTALKER Bendigo Hotel, Collingwood. 8:00pm. $10. HOUSE OF ROCK Inflation, Melbourne. 9:00pm. $15. KALEIDOSCOPE Cornish Arms, Brunswick. 8:00pm. KING GIZZARD & THE LIZARD WIZARD + DREAMIN’ WILD + THE LIVIING EYES Tote Hotel, Collingwood. 8:30pm. MANDY MEADOWS & THE MADNESS METHOD + FEED YOUR MUNKIE + SHANTY TOWN Cherry Bar, Melbourne Cbd. 8:00pm. $13. MARCH IN MOSCOW + ANIMAL HANDS + JEKHYL + JOHN LAWRENCE Brunswick Hotel, Brunswick. 9:00pm. MC DREW MONEY & THE DOLLARS + JACK HEWITT & THE MUDCRABS Victoria Hotel, Brunswick. 8:00pm. MELBOURNE FRESH - FEAT: MANI & THE RISSOLES: EP LAUNCH + AIMEE GLASS + NOTHING HURTS ROBOT + PORTRAITS OF AUGUST + RETURN TO YOUTH Revolver Upstairs, Prahran. 8:00pm. $15. MINIBIKES (ALBUM LAUNCH) + BAYOU + HEAVY BEACH Northcote Social Club, Northcote. 8:30pm. $10. MOROCCAN KINGS (EP LAUNCH) + KING OF THE NORTH + SHERIFF Evelyn Hotel, Fitzroy. 9:00pm. $7. NEKROMANTIX + GREEN MACHINE The Hi-Fi, Melbourne. 8:00pm. $48. QUARTER LIFE CRISIS + ANNA SYMRK Rainbow Hotel, Fitzroy. 9:00pm. RED INK + SHADED GREY + THE QUARTERS Ferntree

This has got to be one of the coolest festivals of the year. Dirt-churning choppers and traditional hot rods fangin’ down a two-lane speedway while you sip your cocktail in the Tiki Palace bar and Lanie Lane leads a pack of soulful, wicked artists playing alongside. Now in its fifth year of pleasing thousands of fans, the Chopped Rod and Custom festival is held only a little ways out of Melbourne in Newstead, across the weekend of October 5, 6 and 7. Tickets are available from Moshtix, and there’s a range of passes you can get depending on which days you’d like to go and whether you want to camp. Gully Hotel, Ferntree Gully. 8:00pm. $15. SET THE NIGHT ON FIRE - FEAT: ABSOLUTELY LIVE: THE DOORS TRIBUTE + EXILE: THE ROLLING STONES TRIBUTE + FORTUNATE SONS: CCR TRIBUTE Espy, St Kilda. 8:00pm. SOMETHING FOR KATE + BEN SALTER Corner Hotel, Richmond. 8:30pm. SOUNDS OF SEASONS Fist2face, Ringwood. 8:00pm. STRAY LOVE + CLIENT LIAISON Penny Black, Brunswick. 9:30pm. TENDRILS + MATT BAILEY Yah Yah’s, Fitzroy. 9:00pm. THE ALIVE & GIGGLING ROADSHOW Northcote Uniting Church, Northcote. 7:30pm. $25. THE BOB GORDONS + CLOWNS + DELLAGO + FOXTROT Idgaff Bar & Venue, Abbotsford. 8:00pm. THE DARJEELINGS + GOLDEN BROWN + SEVEN YEAR ITCH Northcote Town Hall, Northcote. 7:00pm. THE PRETTY LITTLES (EP LAUNCH) + COLD HIKER + CREO Ding Dong Lounge, Melbourne Cbd. 8:00pm. $10. THE RE-MAINS (ALBUM LAUNCH) + DJ SHAKY MEMORIAL + THE VENDETTAS Retreat Hotel, Brunswick. 9:30pm. THE VOLCANIKS + BARRY SAVAGE & THE LITTLE CAESARS Great Britain Hotel, Richmond. 9:00pm. VOODOO SWAMP DADDIES + BEWARE BLACK HOLES Tago Mago, Thornbury. 9:00pm. WINE DARK SEA Pure Pop Courtyard, St Kilda. 4:00pm.

ACOUSTIC/COUNTRY/BLUES/FOLK ACOUSTIC REVUE - FEAT: JAMIE PYE + JENNY BIDDLE + SUSAN LILY Chandelier Room, Moorabbin. 8:00pm. $10. BAKERSFIELD GLEE CLUB Union Hotel, Brunswick. 5:00pm. BLACK & BLUE Brunswick Hotel, Brunswick. 5:00pm. BRUNSWICK BLUES SHOOTERS Lomond Hotel, Brunswick East. 8:00pm. CHILLS IN THE HILLS - FEAT: CAL THOMS + CONNOR STEEL + HIDING WITH BEARS + WOODY PITNEY Ruby’s Lounge, Belgrave. 8:00pm. $12. DAVID RUIZ & ELLIOT JOE Bebida, Fitzroy. 8:00pm. GEOFF ACHISON St Andrews Hotel, St Andrews. 1:00pm. GEOFF ACHISON & THE SOULDIGGERS St Andrews Hotel, St Andrews. 9:00pm. $5. JUDE PEARL Purple Emerald, Northcote. 10:00pm. LAMARAMA The B East, Brunswick East. 9:00pm. MATT GLASS Wesley Anne, Northcote. 5:30pm. MELODY MOON Palais, Hepburn Springs. 6:30pm. $15.

MICK PEALING & THE PRAIRIE OYSTERS Caravan Music Club, Oakleigh. 8:00pm. $23. OL TIMEY STRING BAND Victoria Hotel, Brunswick. 4:00pm. PHEASANT PLUCKERS Labour In Vain, Fitzroy. 5:00pm. RAISED BY EAGLES Union Hotel, Brunswick. 9:00pm. SHORT ORDER SCHEFS Retreat Hotel, Brunswick. 7:30pm. SPENCER P JONES Drunken Poet, West Melbourne. 9:00pm. THE WARRAINS Maritime Union Of Australia, West Melbourne. 2:30pm. THE MOCKINGBIRDS Retreat Hotel, Brunswick. 4:00pm. THE WIKIMEN Empress Hotel, North Fitzroy. 4:00pm. WACO SOCIAL CLUB Town Hall Hotel, North Melbourne. 10:00pm.

JAZZ/SOUL/FUNK/WORLD MUSIC BENOIT PIOULARD + BISON GRASS + OBLAKO LODKA Gasometer Hotel, Collingwood. 8:00pm. $15. BOHJASS + EDEL PLASTIK + GLORY B + LO-RES + THE DAMIEN ELLIS BAND 303, Northcote. 6:00pm. $5. DE LA CALLE Open Studio, Northcote. 8:30pm. DEEP STREET SOUL + THE PERFECTIONS Toff In Town, Melbourne Cbd. 8:00pm. $12. ELLY HOYT LEE MC ALLISTER & THE JAMES SHERLOCK QUARTET Bennetts Lane Jazz Club, Melbourne. 8:30pm. $25. JASPORA + DJ JUMPIN’ JOSH The Luwow, Fitzroy. 8:00pm. $10. JOE CHINDAMO Dizzy’s Jazz Club, Richmond. 9:00pm. $20. KUNATAKI Open Studio, Northcote. 4:30pm. LOVE YOU LONG TIME Thornbury Theatre, Thornbury. 7:30pm. $20. MUSIC FEAST FOR KIDS - FEAT: FLAP! Northcote Town Hall, Northcote. 11:00am. $13. REN WALTERS & STEVE MAGNUSSON Uptown Jazz Cafe, Fitzroy. 6:00pm. SOULFEAT Tony Starr’s Kitten Club, Melbourne Cbd. 10:00pm. $5. SWING TRAIN Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. $25. THE PAUL WILLIAMSON QUARTET Uptown Jazz Cafe, Fitzroy. 8:30pm. WARREN HOWDEN + AL PARKINSON Thornbury Local, Thornbury. 9:30pm.

MONEY FOR ROPE VS KING OF THE NORTH Money For Rope

Money For Rope ask King Of The North

You jump onto the pipe above the stage at Cherry on Friday night, which breaks, covering you in waste water and shit. When you dip into your own band’s merch box for a clean shirt, do you wear it inside out or not? Nah. Go topless, put sunnies on and choose which Money For Rope drummer I should hang out with. Money For Rope convince the Cherry Bar staff to pour you a ‘Filthy McKenzie’. Do you partake knowing that there’s every chance you’ll sleep in a park after drinking it? ‘Filthy McKenzie’? Sounds like something to do with that waste pipe! I’d have one, if at least one of your drummers had one too. You’re in the middle of an incredible guitar solo when Beat Magazine Page 80

King Of The North

your strap breaks and all of a sudden you’re playing air guitar. Do you go for the whammy? Either go for the whammy or most likely pick up one of the many left over drumsticks on stage and do a Jimmy Page dazed and confused-style bow jam.

is driving, the guitarist is passenger. Which side do you aim for knowing the resultant injury will be two arms in plaster casts? Depends on how many drummers are driving.

French tabloids gave us the benefit of seeing a potential heir to the English throne naked, thereby proving she is not a robot from outer space. Morally wrong or prudent for the sake of the future? Yeah, one of your drummers (I can’t remember which one) showed us the photos. Like Wally, I feel that everyone should be able to go the beach and ‘whip ‘em out’, but photos of boobs are great, so…?

How many drummers do you have? We have the perfect number of drummers. It’s good vs evil. It’s love vs hate. It’s life vs death. It’s money vs rope.

You’re in an unavoidable car crash situation where you’re going to hit a pole head on at high speed. The drummer

King Of The North ask Money For Rope

Which one is your favourite? The original one who left the band. Would you consider three drummers? Maybe even Wally, in the middle with glow in the dark sticks? Actually all three with glow in the dark sticks? That would look rad! We have considered three. But let me ask you: Would you

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eat the deadly fugu fish while skydiving in the nude on heroin just because you can? Have your two drummers ever dropped a stick at the same time? How did you know we had two drummers? Why did you ask question number one? Better than that, they’ve snapped sticks at the same time, ‘cause they’re mean-arse motherfuckers. So this Friday at our Cherry show, can we borrow one of your drum kits? Anytime. Have you got a spare pick? MONEY FOR ROPE and KING OF THE NORTH launch their split 7” vinyl at Cherry Bar this Friday October 5.


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Beat Magazine Page 81


60 SECONDS WITH

THE SUNDANZE KID

Define your genre in five words or less: Blues. Why should everyone come and see your band? It’s a fun night, I’m surrounded by great people. We all like to meet new folk and see friendship groups crossover and grow. It’s sometimes hard to find community these days, so these nights are special like that. When are you playing live/releasing your album/EP/ single/etc? The Light in the Darkness is being launched on Friday October 5 at Bar Betty, Smith St. You can score a copy of the album at the gig. What makes you happiest about what you’re doing? It’s the release of emotion. The certainty of my music. The feeling that everything just stops while I play. It’s a significant place to be. What is your next thing? On the night you’ll get to see the next movement. It’s like a split set, where I say good bye to the album and hello to the future. It’s more bluesy, more dirty, more sweaty, more guitar, more slide. More fire. What part of making music excites you the most? I love hearing stories like Seasick Steves’, where you just

go about your thing and perhaps someday everyone will be talking about you. I like the idea that I can just keep playing for the love of it and that anything can happen. That dreams can come true. But you always got to be careful about what you wish for, so you got to be sure about what you want. I’m excited about playing when I’m a real old fella. Tell us about the last song you wrote. Classic heart break song: Russian Doll Promises. Despite all the heart ache and holding onto something, sometimes some things just don’t change. ‘And I don’t know how to bring us back again / You’re like a Russian Doll girl that never ends / It’s an emotional game that nobody wins / Maybe we’d be better off as friends.’ Anything else to add? Melbourne’s such a great city to live in, where live music is given so much honest support. So to all the punters and venues and free magazines good on ya – buy yourself a drink.

ANDY KENTLER + MEGAN BAWDEN Yah Yah’s, Fitzroy. 4:00pm. BLASPHEMOUS SUNDAYS Kent St Bar, Fitzroy. 7:00pm. CARLY VAN + ATLUK + LANTERN Idgaff Bar & Venue, Abbotsford. 7:00pm. $7. D AT SEA + CANIDAE + MILLIE TIZZARD + THE SPINSET Phoenix Youth Centre, Footscray. 1:00pm. $15. DIAMARU + DEAR ALE + MESSED UP Bar Open, Fitzroy. 6:30pm. DRUNKEN POACHERS Victoria Hotel, Brunswick. 4:00pm. HEADSPACE + BAD BOYS BATACUDA + THE DALE RYDER BAND Espy, St Kilda. 4:30pm. HIGH WOLF Gasometer Hotel, Collingwood. 7:00pm. HOWLING DOLLHOUSE & MR WOO Wheelers Hill Hotel, Wheelers Hill. 7:00pm. K-MART WARRIORS + STAY DOWN + THE BOB GORDONS + THE SAVAGES + WOTROT Brunswick Hotel, Brunswick. 3:00pm. KING GIZZARD & THE LIZARD WIZARD + RICHIE 1250 & THE BRIDES OF CHRIST + THE MEANIES Tote Hotel, Collingwood. 5:00pm. MINGIN’ CAJUNS Great Britain Hotel, Richmond. 6:00pm. SASKWATCH Palais, Hepburn Springs. 7:30pm. SOMETHING FOR KATE + BEN SALTER Corner Hotel, Richmond. 6:30pm. SOUND OF SEASONS (MAKE BELIEVE TOUR) National Hotel, Geelong. 7:00pm. STEEL PANTHER Festival Hall, West Melbourne. 7:00pm. $65. THE EASTERN + BROKEN HEARTBREAKERS + THE NYMPHS Workers Club, Fitzroy. 12:30pm. $15. THE JEALOUS MUCH + QUEEN ANNE’S REVENGE Cherry Bar, Melbourne Cbd. 7:00pm. THE NIGHT BEFORE TOMORROW Northcote Uniting Church, Northcote. 1:00pm. TIGERTOWN + TOURISM Workers Club, Fitzroy. 8:00pm. $12. WINE DARK SEA + RAZZAMATAZZ Edinburgh Castle, Brunswick. 3:00pm.

BACKWOOD CREATURES Labour In Vain, Fitzroy. 4:00pm. BEN SMITH + RUSTY PICKERS Drunken Poet, West Melbourne. 3:00pm. CHERRYWOOD + MONTY & THE DEAD HORSES Old Bar, Fitzroy. 7:00pm. $6. CHRIS WILSON - FEAT: CHRIS WILSON JASON LUISSON Rainbow Hotel, Fitzroy. 4:00pm. DAREBIN MUSIC FEAST SONGWRITER’S GRAND FINAL Northcote Town Hall, Northcote. 1:00pm. DERRICK & ROB Yarraville Club, Yarraville. 7:00pm. DUKESY & THE HAZZARDS Empress Hotel, North Fitzroy. 7:00pm. GREG CHAMPION & THE USEFUL MEMBERS OF SOCIETY St Andrews Hotel, St Andrews. 2:00pm. JAM NIGHT Musicland, Fawkner. 2:00pm. MAGGIE RIGBY Open Studio, Northcote. 3:30pm. MATT WALKER (IN ECHOES OF DAWN LAUNCH) + LUCIE THORNE + SEAN MCMAHON’S WESTERN UNION Toff In Town, Melbourne Cbd. 6:00pm. $15. MELTING POT Wesley Anne, Northcote. 1:00pm. $8. NICK CHARLES & BLUE STRINGS + MARTY KELLY & AUBURY MAHER Lomond Hotel, Brunswick East. 4:30pm. SARAH CARROLL SWEET DELORES & THE WHIRLING SPURS Rainbow Hotel, Fitzroy. 3:00pm. SINGER SONGWRITER SESSIONS - FEAT: SONIA SERIN + RACHAEL BYRNES Chandelier Room, Moorabbin. 3:00pm. SINGING AWAY THE BLUES - FEAT: LLOYD SPIEGEL + SOUL BLUE + SWEET FELICIA & THE HONEYTONES + GOSPEL BELLES + MARISA QUIGLEY + PAULIE BIGNELL & THE THORNBURY TWO + ROCKY & THE TWO BOB MILLIONAIRES Thornbury Theatre, Thornbury. 1:00pm. $15. THE DETONATORS + THE LITTLE SISTERS Retreat Hotel, Brunswick. 3:00pm. THE DUKES OF DESPAIR Grand Hotel, Yarra Glen. 2:00pm. THE FEISTY FEASTY TRASH BAND Northcote Town Hall, Northcote. 2:30pm. THE RABALTHAZARS Purple Emerald, Northcote. 3:30pm. THE RE-MAINS Standard Hotel, Fitzroy. 6:30pm. UNPAVED - FEAT: LIZ STRINGER + ST JUDE + SEAN MCMAHON’S WESTER UNION Northcote Social Club, Northcote. 12:30pm. $17. VAN WALKER Carringbush Hotel, Abbotsford. 3:00pm.

ACOUSTIC/COUNTRY/BLUES/FOLK

JAZZ/SOUL/FUNK/WORLD MUSIC

AINTREE SWEET Penny Black, Brunswick. 4:00pm. ALANNA & ALICIA + CAROLINA CORDEIRO + MAL WEBB 303, Northcote. 6:30pm. $10.

ALWAN Open Studio, Northcote. 7:30pm. $10. COSMO COSMOLINO Northcote Town Hall, Northcote. 4:00pm.

SUNDAY 7 OCT ROCK/POP

CLASSIFIEDS

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MUSICIANS WANTED ACOUSTIC ACTS WANTED for Bar Betty in Smith Street, Fitzroy. Paid Gig. Please phone Sandra or Michelle on 9417 3937. Bar Betty - 129 Smith Street, Fitzroy. BANDS & PROMOTERS WANTED. Any style for Collingwood venue. First gigs welcome, live CD recording available. Contact Jane after 12pm on 0425 796 828. METAL/PUNK BAND SEEKS SINGER similar to Zack from RATM. No fuckheads. Call Ruben on 0479 089 893 VENUE IN FITZROY IS SEEKING BANDS in style of Beat Magazine Page 82

JAZZ NOTES Bar Oussou, Brunswick. 3:00pm. KKS The B East, Brunswick East. 8:00pm. LAZYBONES TROMBONE JAZZ GROUP Wesley Anne, Northcote. 7:00pm. $10. MANSFIELD STREET ALLSTARS Tago Mago, Thornbury. 3:30pm. PHOEBE & THE NIGHT CREATURES Dogs Bar, St Kilda. 8:00pm. SASKWATCH (ALL AGES) Palais, Hepburn Springs. 2:00pm. $10. THE TOBY WREN QUARTET Bennetts Lane Jazz Club, Melbourne. 7:30pm. $15.

MONDAY 8 OCT ROCK/POP MONDAY NIGHT MASS - FEAT: THE AESTHETICS + KRAKATAU + SCHOOL GIRL REPORT Northcote Social Club, Northcote. 5:00pm. SOMETHING FOR KATE + BEN SALTER Corner Hotel, Richmond. 6:30pm. $40. THE RAMSHACKLE ARMY + MAX SAVAGE Espy, St Kilda. 7:30pm.

ACOUSTIC/COUNTRY/BLUES/FOLK BLUEGRASS NIGHT & JAM SESSION Old Bar, Fitzroy. 7:30pm.

JAZZ/SOUL/FUNK/WORLD MUSIC MARC HANNAFORD SAM PANKHURST & THE ALLAN BROWNE TRIO Bennetts Lane Jazz Club, Melbourne. 7:30pm. $15. MELBOURNE COMPOSERS BIG BAND 303, Northcote. 8:00pm. $8. MELBOURNE YOUTH JAZZ ORCHESTRA Hamer Hall, The Arts Centre, Melbourne. 10:00am. VCA CONTEMPORARY MUSIC PERFORMANCE ENSEMBLE SERIES Bennetts Lane Jazz Club, Melbourne. 6:30pm. $8.

TUESDAY 9 OCT ROCK/POP BRUNSWICK DISCOVERY - FEAT: BRITTLE STAR + LEIGH ROBERTSON + REUBEN JT DUFFY & MELLA DEE HARMONY Brunswick Hotel, Brunswick. 7:00pm. CHARM + SLAQUER + TENDER BONES Old Bar, Fitzroy. 7:00pm. COLLAGE Espy, St Kilda. 7:00pm. FINE MOTOR SKILLS + THE HUGH MCGINLAY BAND 303, Northcote. 7:30pm. HUMANS AS ANIMALS + LAMARA + THE PUTBACKS Toff In Town, Melbourne Cbd. 7:00pm. $10. LIFT OFF + FLACCID PALMS + THE REFUNDS John Curtin Hotel, Carlton. 7:00pm. MELBOURNE FRESH INDUSTRY SHOWCASE Revolver Upstairs, Prahran. 6:00pm. $15. RED X Cherry Bar, Melbourne Cbd. 7:00pm. TEN GALLON HEAD Retreat Hotel, Brunswick. 7:30pm.

ACOUSTIC/COUNTRY/BLUES/FOLK CRADLE MOUNTAIN Labour In Vain, Fitzroy. 7:30pm. HOWARD + AGILITY + MOLEHOUSE + PACK BEARS Evelyn Hotel, Fitzroy. 7:00pm. $2. HOWLIN’ STEAM TRAIN + THE HARLOTS Northcote Social Club, Northcote. 6:30pm. $12. IRISH SESSION Lomond Hotel, Brunswick East. 8:00pm. OPEN MIC Empress Hotel, North Fitzroy. 7:30pm. OPEN MIC Wesley Anne, Northcote. 6:00pm.

JAZZ/SOUL/FUNK/WORLD MUSIC MAKE IT UP CLUB Bar Open, Fitzroy. 8:00pm. MARTIN CORCORAN & GIANNI MARINUCCI + BOX HILL HIGH Dizzy’s Jazz Club, Richmond. 7:00pm. $14. QUINCE JAM Open Studio, Northcote. 7:30pm. TAL COHEN QUARTET Bennetts Lane Jazz Club, Melbourne. 7:30pm. $18.

acoustic, funk, soul, rock-a-billy. Please send demo to drink@the86.com.au

up). Don’t overlook this til you’ve found out more about it. Rebecca 9495 6555 or www.feck.com.

SERVICES

PAID PROMOTERS wanted for new Rock Club. Contact mark@gunnmusic.com.au for more details.

MAN WITH A VAN. Best value movers in Melbourne. Now with trucks!!!! Equip with 1 or 2 experienced men, trolleys and removal blankets. Available 7 days. Check out www. manwithavan.com.au or call us on 9417 3443.

EMPLOYMENT EXPERIENCED BAND BOOKER WANTED. If you’re experienced in booking bands and want to work with an experienced well known venue booker at a great venue in Melbourne’s music heartland then send us an email. Let us know a bit about yourself, what type of bands you’ve booked, where, contacts you have and how long you have been in the game and importantly what you may be able to bring. Be quick. Send email to: shimgapi@gmail.com FLAUNT IT. Internationally acclaimed producer of profeminist erotica looking for confident, adult women to smash the stereotypes and earn good money ($500 and

TUITION GUITAR COURSE FOR ADULTS - 10 week course. Starting October 11th 2012. Book now! Visit www.katzmusic.com.au or call 9530 0984 / 0425 788 252. * SONGWRITING COURSE - 6 week course with singer/ songwriter Bobby Valentine. Starting October 9th, 2012. Places are limited. Book now! Visit www.katzmusic.com.au or call 9530 0984 / 0425 788 252. *

MISCELLANEOUS MASSIVE GARAGE SALE. Everything from little knick knacks to new household furniture. 715 Mt Alexander Rd, Moonee Ponds. 9am-2pm Saturday October 6th. Free tea!

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

+ BEAT PRESENT... whatson@thepush.com.au

ACCESS ALL AGES Wednesday October 3, 2012 With Ruth Mihelcic Welcome to week 2 of the school holidays guys! What’s new in the all ages music scene this week? For starters The Living End is stoked to announce their first under 18s Melbourne show in over six years! Now everyone can rock out and enjoy ‘The Retrospective Tour’ in which Australia’s legendary rock ‘n’ roll sons play their albums back-to-back, start to finish. You youngins’ can hear their first album The Living End at the Corner Hotel on December 22, but get your tickets asap because if their other shows are anything to go by, this one will sell out super fast. In FReeZA news, Maroondah Youth EV’s have just announced Closure In Moscow will be headlining their Rocktober show on October 12. Their facebook page has all the deets (google it, kids). While you’re there, enter their canvART Art Competition for your chance to win a place in a free four week workshop to design a canvas for the City of Maroondah’s Style Wars exhibition. Completed works will be displayed permanently at EV’s Youth Centre, and will be judged on originality, creativity and expression. Enter by Monday by contacting Youth Services’ Tara Benning at tara.benning@maroondah.vic.gov.au. Wodonga’s FReeZA committee is looking for some new members. If you’d like to get on board and volunteer at dance parties and other youth events, contact youth participation officer Adam Hollis on (02) 6022 9704 or email ahollis@wodonga.vic.gov.au. And lastly the 2012 Rural City of Wangaratta Youth Awards are now open! Young people aged 12–25 years who are living; working or studying anywhere within the rural city can be nominated in the categories of Sport, Employee, Community Service, Youth Leadership, Inspiration, Individual Music, Visual Arts, Performing Arts and Youth Ambassador 2012. You can grab nomination forms www.wangaratta.vic.gov.au or contact Katy Hawkins on 5722 0819. Entries close October 12.

ALL AGES TIMETABLE Thursday October 4 Rock-A-Bye Baby w/ Cherrywood, Fitzroy Town Hall, Napier Street, Fitzroy, 11am – 12pm, $5 adults, children are free, free entry for the first 50 concession card holders, www.facebook.com/ rockabyebaby.pbs, AA Friday October 5 The Amity Affliction w/ The Ghost Inside, Architects, and Buried in Verona, Palace Theatre, 20 - 30 Bourke Street, Melbourne, 2pm, $49.50, oztix.com.au or 1300 762 545, U18 Boogies Youth Nice, 80’s Disco Party w/ DJ Daniel Bodington from Bodz Productions, Ross Creek Community Hall, 655 Sebastopol – Smythesdale Road, 6pm – 10:30pm, Free, Sarah Dalton on 5220 7177 or www.goldenplains.vic.gov.au, AA Saturday October 6 Sound of Seasons, Fist 2 Face, 146 Maroondah Highway, Ringwood, www.soundofseasons.com. au, AA North West Skate League w/ local bands, Yarraville Skate Park, Williamstown Road, Yarrville, 12pm – 4pm, Free, Dejah Grull on 9091 4700 or www. facebook.com/freeza.maribyrnong, AA Darebin Music Feast w/ The Darjeelings (CD Launch), Seven Year Itch, and Golden Brown, Northcote Town Hall, 189 High Street, Northcote, 7pm – 10pm, $10, Kate Duncan on 8470 8001 or www.northcotetownhall.com.au, AA Sunday October 7 Glenthompson Medieval Community Day, Glenthompson Primary School, Henty Highway, Glenthompson, Free, Briana Picken on (03) 5551 8450 or www.wdhs.net, AA D at Sea w/ Millie Tizzard, Canidae, and The Spinset, Phoenix Youth Centre, 72 Buckley Street, Footscray, 2pm – 6pm, $15, Dejah Grull on 9091 4700 or www.facebook.com/freeza.maribyrnong, AA Steel Panther, Festival Hall, 300 Dudley Street, West Melbourne, 7pm, $64.85, ticketmaster.com. au or 136 100, AA


THURSDAY OCT 4TH

FRIDAY 5/10, 10 PM

GUY KABLE

STRONG PUSH SATURDAY 6/10, 10

LIVE ACOUSTIC FROM 8.30PM PM

WACO SOCIAL CLUB

SATURDAY OCT 6TH

PHEASANT PLUCKERS COUNTRY BLUEGRASS FROM 5PM

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THE STAFFORDS FRIDAY 19/10

CHELSEA DRUGSTORE

SUNDAY OCT 7TH

BACKWOOD CREATURES

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GREAT BRITAIN HOTEL THURS 4 OCT

LAURA K CLARKE + KELLY BREUER FROM 8PM

SAT 6 OCT

BARRY SAVAGE & THE LITTLE CAESERS + THE VOLCANIKS FROM 8PM

SUN 7 OCT

THE MINGIN’ CAJUNS FROM 7PM

COMING UP: SUN 4/11 - MAGGOTFEST THURS 22/11 - MELBOURNE MUSIC WEEK LIVE MUSIC SAFARI

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WITH PETER SPARK & FRIENDS ACOUSTIC SHOW FROM 8.30

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TOWN HALL HOTEL

447 CHURCH ST RICHMOND 9429 5066 www.greatbritainhotel.com.au

33 ERROL STREET, NORTH MELBOURNE (03) 9328 1983 FOR BAND BOOKINGS PLEASE CONTACT MILES: TOWNIEBANDS@GMAIL.COM

Wed. October 3rd: wine, whiskey, women

8pm: Freya Hanly 9pm: Nicolette Forte Thurs. October 4th:

8pm: Open - Mic Fri. October 5th:

6-8pm: Trad. Irish Music Session with Dan Bourke & friends Sat. October 6th:

9pm: Spencer P.Jones Sun. October 7th:

4pm: Rusty Pickers 6:30pm: Ben Smith solo Tues. October 9th:

8pm: Weekly Trivia

“All Shows Always Free” The Drunken Poet, 65 Peel Street (directly opposite Queen Vic Market), Phone: 03 9348 9797. www.thedrunkenpoet.com.au SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 83


BACKSTAGE

REHEARSAL PROFILE

KINDRED STUDIOS

THE PLACE FOR MUSICIANS

for more information or ad bookings call Aleksei on 9428 3600

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Location: 212A Whitehall Street, Yarraville, 3012. Hours of operation: Monday - Friday 9am to Midnight. Sat - Sun Midday to 6pm. Sat - Sun 6pm to 1am for events and performances by arrangement.

Toyland

Recording Studio

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 Parking and loading available? All day parking on Harris Street, with access to Kindred loading bay.

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,

Extras: Front theatre stage for live performance has a projector, theatre curtain, turntables, nexo rig and an in house sound technician for use.

Instruments available for hire: 2 x Marshall Combo Guitar Amps 1 x Marshall Speaker Cabinet (no head) 2 x Drum Kit 2 x Bass Amp (one stack, the other combo) 2 x Roland Keyboard

Phone: 03 9687 0233 or 0418 120 954 Website: www.kindredstudios.com.au E-mail: info@kindredstudios.com.au

STORE PROFILE

CRANBOURNE MUSIC DRUM SUPER STORE

Toyland in Northcote for recording bands, singers or any other audio project Recording, Mixing and Mastering Call Adam Cal on 9482 2111 or 0412 060 664

www.toyland.com.au

BACKSTAGE NOW RUNS IN FULL COLOUR! For new full colour ad pricing please contact Aleksei on 9428 3600 or email mixdown@beat.com.au Established: We opened to the public in early July 2010 and will continue to provide the best gear, prices and expert advice a drummer can find. Location: 132 High St, Cranbourne Vic, 3977. Hours Of Operation: Mon – Fri 9:30 – 6:00 Sat – 9:30 – 5:00 Sun 12:00 – 4:00 Main brands and/or Musical products you specialise in retailing: DW Drums, Yamaha acoustic and electronic drums, Mapex, Pearl, Roland, PDP, Paiste, Meinl and many more brands. Beat Magazine Page 84

BACKSTAGE: BEAT’S ONE STOP SHOP FOR MUSICIANS

Services offered: Providing fantastic prices on all equipment in store and sales alongside great friendly service. Your point of difference: Regular in-store drum clinics and performances. Drummers include; Derrick McKenzie – Jamiroquai, Akira Jimbo, Michael Barker – Ex John Butler Trio, Lucius Borich – COG/Floating Me, Johnny Rabb plus many more. Any upcoming events? Roland V-Drums Championship 20/10/2012 and Gerry Pantazis Live 31/10/2012 Phone: (03) 5995 5933 Website: www.cranbournemusic.com.au, Facebook: www.facebook.com/drumsuperstore


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HUNDREDS OF OTHER PACKAGING OPTIONS AVAILABLE! FOR A PRICE ON ANY PACKAGE AT ANY TIME VISIT: WWW.IMPLANT.COM.AU/QUOTES Beat Magazine Page 85


LIVE JAMES MORRISON

XAVIER RUDD

Wednesday September 26, The Forum

“I bet you were expecting a man up here with a trumpet!” On stage in a minimal white t-shirt, jeans and an acoustic guitar slung over his shoulder, James Morrison jokes about the confusion he is often met with on account of the Australian jazz musician who goes by the same name. The Forum is firmly packed with your nine-to-five-goers and middle aged women. In a corporate crowd like this it is amusing to watch the etiquette so readily applied within the office transpire to a music venue. Moving towards the front of the stage I weave, slide and push past people. Despite the firm lips and cold stares I am met with, no one says anything and instead oblige by stepping out of the way. There is an abundance of iPads, laptops and other expensive pieces of technology which would normally fall under your 'Concert No-Nos'. It was of no surprise then, that when James did eventually grace the stage he was met with less enthusiasm than he would with a younger demographic. In a large venue this entire show felt like a much more intimate performance. There were no crazy dancers or much audience noise in general so the pressure was on James to keep the show lively. With a jovial presence and incomprehensible but insanely attractive accent, this wasn’t too pressing an issue for him. Opening with Beautiful Life his velvety vocals filled every crevice of The Forum with this upbeat and soulful number. His two backing vocalists were matched in short black velour jumpsuits and large hoop earrings, decorating the five piece live band. He has a voice that is distinctive through its use of vibrato creating tones which are simultaneously smooth yet powerful complimenting his wide vocal

NADA SURF

range. With hardly any pitch errors he is truly a joy to see live. Alternating between use of the acoustic guitar and just his voice, his repertoire was simple yet beautiful. The type of performance tailored towards a smaller venue, the band spiced up the act, especially his backing vocals. Upon the first few notes of I Won’t Let You Go the otherwise still audience rippled into slow dancing, with the exception of one guy who broke out in an intense head thrusting dance which was awkward to watch. James was able to work the crescendo in this piece to perfection. His most well known song was 2006 hit You Give Me Something. Prior to singing it he apologised to the audience about the mullet he subjected us to during the time this song was released. The audience forgave instantly en masse. This was the number that garnered the most impressive audience response and with a great guitar break topped with heartwrenching bass lines this was easily the highlight of the night. Going off stage shortly after, he obliged to audience calls of “encore” performing two more songs finishing with Wonderful World. Although the performance would have suited a sit down venue, overall it can be described as stunningly minimal. TAMARA VOGL

LOVED: His voice. Truly heart-wrenching. HATED: The lack of audience participation (lose yourself suits!). DRANK: Water

Friday 21 September, The Corner Hotel

Ah, the old boy-girl vocal combo in a psych rockesque band, conjuring up images of The Jefferson Airplane and, maybe in a pinch, Fleetwood Mac. When it works, it’s a sight to behold greater than the sum of both parts. But when you’ve got flashes of synchronicity bookended by a sense that the band doesn’t really need both singers, well that’s just plain silly. This is the sin committed by Lurch and Chief, so it’s a credit to them that they still can leave a pretty good taste in your mouth (a backhanded compliment if ever there was one). Ignore how awkward Hayden Somerville and Lil Hall appear onstage when the other one is leading the band and you’re left with some intense Jack White vocal squeals from Somerville and catchy, slinky neo-psych grooves. If the band was recruited to ease you into the night, then The Gold Hearted are here to snap you back into consciousness. Comfortable Summer Lovin’ riffs are swapped out for punchy power pop barre chords and anthemic choruses like a so-so Gaslight Anthem tribute band (backhanded compliment number two!) Unfortunately either the guys at the sound desk or the lads onstage thought the best way to serve this up was with hernia-inducing bass rumbles and up-to-11 amps, and this writer soon took shelter outside before organs started a self-destruct sequence. In little time at all thanks to The Corner’s two stages – just enough time for bodily recovery – headliners

Nada Surf are pounding out their gorgeous melodic power trio sound...except they are power trio no more. Scandal! Frontman/guitarist Matthew Caws, bassist Daniel Lorca – ugh, those dreadlocks – and drummer Ira Elliot are augmented by second guitarist Doug Gillard tonight. An occasional member of Guided By Voices, Dillard’s inclusion cranks up the college rock nostalgia trip into previously unknown levels. If someone brings out a hypercolour t-shirt this room may collapse. Thankfully this doesn’t happen, but a 20 year career greatest hits set does to the joy of the crowd. Caws perfectly executes quip after quip between songs, but Ira is the true star on backup harmonies and general smart-assery. Oh, and Doogie Howser hair. Personal favourites of the two hour and change set where the three minute pop perfection of Whose Authority and a loving cover of The Go-Betweens’ Love Goes On. Three highly disparate bands but one pretty great night. MITCH ALEXANDER LOVED: Hayden Somerville’s shirt. Name your price. HATED: The last post-match crowd of the year spilling onto Swan Street. DRANK: No space left after The Corner’s monster nachos and spleen cramps.

Thursday August 13, The Palace

The best thing about a Xavier Rudd concert is that everyone is so relaxed – half the crowd have had a few beers and get into the spirit by singing and dancing, and the other half have smoked a few joints and they just swivel their heads to the music. The best thing about Rudd’s style is that it never really wavers from its roots, but it continually sounds fresh and inspired. He hasn’t drifted too far from the fast-paced one-man drum/guitar/didge/ harmonica infusion that made him famous. The most notable addition to his newest tracks is bird calls. For some reason they featured heavily in a number of new tracks. Not that it was a bad thing; it was just an obvious sound. He opened with a big musical intro, hammering the drums and wailing on the didge in front of a red sunset background. The vibrations went through the whole room and lifted everyone’s spirits instantly. The only thing that was really distracting was the guy standing on the side of stage painting, as it was hard to see exactly what he was painting. Ruddy later explained that the painting would later be auctioned, and the profit would go to a chosen charity. He’s a good kid. The weakness of Rudd’s act is exactly the same as its strength, in the fact that it’s a one man show.

UP LATE WITH KATE

While it’s impressive, it also means that he can’t do everything at once. To play one instrument means that he has to neglect another, instead of incorporating everything like you could with a supporting band. While the crowd were supportive of his new material, it seems his older songs still had sentimental value. Everyone sang along for Let Me Be, Messages and his new-ish song Follow The Sun. A strong-smelling smoke filled The Palace when he covered Bob Marley’s Buffalo Soldier, which was to be expected. For the encore I was hoping that he’d end with a 20 minute version of To Let, like I’d seen before, but instead he came out with a couple of supporting guitarists for a new track. The supporting guitarists left after that and Rudd finished with the beautiful Bow Down and Spirit Bird. CHRIS BRIGHT LOVED: The super-relaxed (and probably stoned) crowd and their love for the music. HATED: The one wanker who must have taken pills and was dancing and screaming like a complete bell-end. DRANK: Melbourne Cans.

Saturday September 22, Northcote Town

Sitting somewhere between dreaded tribute show and cabaret performance – Darebin Music Feast’s Up Late With Kate was at the very least Kate Bush fans only chance to experience their idol’s hits in a live setting. Bush retired from touring 33 years ago, and seldom releases new music, yet her ability to fascinate and inspire musically has never waned. Over time, that reverence has translated as everything from bad cover versions to camp parodies, and while all done with a sense of admiration, have only served to highlight how hard it really is to ‘do Kate Bush’. This fact was surely in the minds of those guests brave enough to try and interpret the enigmatic singer’s numerous classics tonight at Northcote Town Hall in a celebration of all things Bush. The artists involved in tonight’s show come from all areas of music and stage, but are united geographically within the surrounding arts-rich Darebin electorate. The show’s MC, co-ordinator Benn Bennett, provides links between each artist, shares some Kate anecdotes and even awkwardly gives his own spin on a few of her songs. However, this attempt at taking on so many roles makes him hard to connect with. Leaning more on his guests to carry the performance side of things would have boded well. The talent, after all, was phenomenal and every act rose to the challenge with genuine class. Jimmy Stewart’s re-working of Cloudbusting in the style of Kim Salmon for instance, is proof early on that there’s no guessing as to ‘how’ the artist’s would approach their chosen song. Comedian Scott Edgar (of Tripod fame) takes on Hounds Of Love on solo electric guitar – which owes little to the original’s template, yet lost nothing in his surprisingly tender re-telling. Though a tad more literal, Tina Del Twist, perfectly embodies a sad old character actor for Wow, as dictated by its lyric. Though creating the first truly grand moment of many is Sarah Ward, who’s show-stopping This Woman’s Work, is so true to the original, a nearsighted Kate Bush tragic would be pressed to pick

it as a cover. The real triumph of the night however belongs to Sat In Your Lap. Sung as a duet between Ward and Bennett with accompaniment on drums by a topless, horned female percussionist, the trio bring the song’s nightmarish video to life right before us. The business end of the concert arrives following a quick interval in which fans flock to inspect the one prop on stage: the actual dress worn by Queen Kate in her Sensual World video, apparently procured for this event via Guy Pearce! (I didn’t ask.) As unpredictable as the first, the second act boasts accapella gems, In The Warm Room and Dream Of Sheep; an outstanding piano and vocal run through of The Man With The Child In His Eyes by an unfortunately staged Ali McGregor – her back is to the audience – and a smouldering Running Up That Hill by Rebecca Barnard. The finale, a fun, all-in sing-a-long of Bush’s signature hit, Wuthering Heights is a hot mess, but nobody really cares as we all join in, howling through the chorus. The occasional amateurish bits in this mostly wellpresented celebration are easily forgiven, with perhaps one exception. Benn Bennett’s ill-advised Babooshka performance, in which he, while clad in a sarong nappy, slams an image of Kate into a rubbish bin full of broken glass for no apparent reason. The performers for the most part however treated the material well, keeping the camp comedy routine to a minimum and avoided falling into a Kate-karaoke situation, and overall put on a show worthy of such a rare talent.

How will you celebrate if you win? We won’t win, but for the last four weeks the locals have been teaching us how to “make fun” in “joy” many.

THE PEEP TEMPEL are nominated for Best Independent Hard Rock Or Punk Album Of The Year at the 2012 Jagermeister Independent Music Awards. The winners will be announced on October 16.

LEIGH SALTER LOVED: Kate’s dress. Sarah Ward. The audience participation in Cloudbusting. HATED: That all Kate’s post-1989 material was ignored. The rubbish Babooshka performance. DRANK: Complimentary bubbles.

JAGERMEISTER INDEPENDENT MUSIC AWARDS BLAKE, STEVE AND STEWART FROM...

THE PEEP TEMPEL What does it mean to you to be an independent artist? It means everyone involved with this band believes in and is committed to what we are doing. It is very hard work keeping an independent band together and on the road. Everyone must take their turn driving on the Autobahn too.

encore, when our European tours crossed paths in September.

What is the biggest challenge to being an independent artist? Constantly being broke.

What did you do when you found out you were nominated? We had breakfast in Tilburg after performing at The Incubate Festival in The Netherlands the night before, then got in our van and drove to Cologne for the next tour date.

And the best bit? European riders. What is your favourite Australian artist/band of all time and why? Currently it is Digger And The Pussycats for letting us play New Race by Radio Birdman with them at the Sonic Ballroom in Cologne during their Beat Magazine Page 86

What makes Australian music special? You need to ask a German that question. They seemingly have no idea what we are singing about but still seem to dig it.

Who is your favourite opponent from the other nominees in your category? We have not had a chance to listen to the other albums yet. We’ll do that soon.

What are your plans for the rest of 2012? Get back to Australia and spend plenty of time at the beach.

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Beat Magazine #1340  

Beat Magazine #1340