Brag#630

ISSUE NO. 630 SEPTEMBER 16, 2015

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

MUSIC, FILM, THEATRE + MORE

INSIDE This Week

F IDL A R

The LA punks take an unexpected left turn.

ROBER T F ORS T ER

An iconic Australian songwriter returns to the scene.

A R T & A BOU T

A year-long artistic exploration of unusual Sydney spaces.

HOW T O CH A NGE T HE W OR L D

The story of Greenpeace comes to the silver screen.

Plus

CIRC A SURV I V E G AY PA R IS A L MUR R AY

A STATE OF GR ACE THE SONGS OF TIM & JEFF BUCKLEY BROUGHT BACK TO LIFE

WITH SPECIAL GUEST

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BRAG :: 630 :: 16:09:15 :: 3

rock music news

the BRAG presents

welcome to the frontline: what’s goin’ on around town... with Gloria Brancatisano and James Di Fabrizio MICHAEL P CULLEN Lazybones Lounge Thursday November 19

five things WITH

RAE HOWELL

Growing Up 1.

I grew up in a very musical family. My sisters and I all played piano and a brass instrument. My dad still plays, so of course I was immersed from a young age. It was clear for me that I’d take it and run, create and perform, so I built the Sunwrae Ensemble after studying music composition at Melbourne Uni and it’s grown from there.

2.

Band 3. Your There can be up to 12 in

The Music You Make 4.

It’s a contemporary cinematic style, all instrumental, with hypnotic rhythms classically influenced, and a twist of jazz flavours and improvisation.

I’ve just released a doublevolume solo record called Invisible Wilderness, recorded in Minneapolis, USA. Volume I was recorded on a Steinway concert grand and is accompanied by a sheet music publication. Volume II is more abstract, sidestepping the traditional piano sound, performed

on a Fender Rhodes and various upright ramshackle pianos that immerse the listener in different textures, including the hammers, felts and pedalling (featuring the natural reverb of the sostenuto and celeste pedals). Think Nils Frahm meets The Necks, Steve Reich and The Cinematic Orchestra.

5.

Music, Right Here, Right Now The music industry is a strange beast. There is so much going on and of course the internet has made it much easier (and difficult!) to get your music out there. I’m lucky in London to be surrounded by the best touring and local bands and musicians in the world, so being immersed in it daily gives me great pleasure.

last week’s BRAG cover stars Bring Me The Horizon. They join a solid lineup that so far also includes Refused, Bullet For My Valentine, Dead Letter Circus and Failure.

After spanning two days in 2015, the festival now returns to a one-day format in 2016, which you’ll be able to see at Sydney Olympic Park on Sunday January 24.

PHAT FAT FREDDY’S

As well as announcing the upcoming release of their new album, Bays, seven-piece party crew Fat Freddy’s Drop will make their way to Australia for their biggest headline tour to date.

The band’s last album, Blackbird, sold 175,000 copies and fed into three sold-out shows at the Sydney Opera House. The forthcoming Bays (due Friday October 23) was written and recorded at the band’s own Bays Studio in Wellington and features the single ‘Slings And Arrows’. Get down with Fat Freddy’s Drop on Friday February 26 at the Hordern Pavilion, where they’ll be joined by Hiatus Kaiyote and Thomas Oliver.

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AWESOME INTERNS: Elias Kwiet, Tegan Reeves, Aaron Streatfeild, Eden Gillespie REGULAR CONTRIBUTORS: Nat Amat, Prudence Clark, Tom Clift, Keiron Costello, Christie Eliezer, Patrick Emery, Tegan Jones, Lachlan Kanoniuk, Emily Meller, David Molloy, Annie Murney, Adam Norris, George Nott, Daniel Prior, Kate Robertson, Natalie Rogers, Erin Rooney, Spencer Scott, Natalie Salvo, Leonardo Silvestrini, Jade Smith, Lucy Watson, Rod Whitfield, Harry Windsor, Tyson Wray, Stephanie Yip, David James Young Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 fax - (02) 9319 2227 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG. ACCOUNTS RECEIVABLE: Luke Forrester: accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121 DEADLINES: Editorial: Friday 12pm (no extensions) Ad bookings: Friday 5pm (no extensions) Fishished art: No later than 2pm Monday Ad cancellations: Friday 4pm Deadlines are strictly adhered to.

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4 :: BRAG :: 630 :: 16:09:15

Boy & Bear

LAWLESS ON TOUR

A BOY & BEAR EXPLOSION

Local indie rockers Boy & Bear are hitting the road to celebrate their soon-to-drop third LP Limit Of Love (due Friday October 9). The announcement comes after a relentless 2014 schedule that saw the group play 170 shows across three continents. On top of that, Boy & Bear have just released an adventurous new video for lead single ‘Walk The Wire’, featuring the explosion of guitarist Killian Gavin. The boys will be at the Hordern Pavilion on Friday February 12 – hopefully with an unharmed full lineup.

LOVE ME LIKE ELLIE

UK singer-songwriter Ellie Goulding has announced a special one-off show in Sydney this October off the back of her performance at the AFL Grand Final. While her AFL appearance alongside Bryan Adams and Chris Isaak comes at the dismay of Nationals MP Andrew Broad (who reckons such an Aussie event deserves exclusively Aussie music, cause ’Straya), her latest single ‘Love Me Like You Do’ went three times platinum Down Under, broke a record for the most streamed song in one week and hit number one in more than 80 countries. Goulding will be playing the Enmore Theatre on Sunday October 4.

on the Canadian and North American legs of their Node world tour; Finnish metal gods and former Eurovision champs Lordi; and

25-year-strong punk rock veterans Unwritten Law are returning to Australia for a run of national dates on their Love Is The Law tour.

The San Diegans – who are behind singles like ‘Seein’ Red’ and ‘Save Me (Wake Up Call)’ – will be here playing tracks from their extensive, seven-album-strong catalogue to fans in Adelaide, Coolangatta, Brisbane, Melbourne, Newcastle, the Central Coast, Sydney and Perth. They’ll be joined by Aussie favourites Grenadiers. See them when they take over the Metro Theatre on Friday December 11.

Iron Maiden

MONO TONES

Iconic Japanese post-rockers Mono are heading Down Under and across the ditch on tour this December. The instrumentalists, who have been active for upwards of 15 years, surprised everyone with their first use of vocals on ‘The Hand That Holds The Truth’ from their last release – 2014 double album The Last Dawn / Rays Of Darkness. Now they’ll be bringing the beautiful and brittle melodies of their famously intense and exhausting live act to Perth, Melbourne, Brisbane, Sydney and Auckland. See them when they hit Newtown Social Club on Sunday December 6.

THEY JUST KEEP WAVING

More and more bands are being announced for what is shaping up to be a pretty damn exciting 2016 incarnation of Soundwave. The latest additions include local heroes Northlane, who have of late been playing sold-out shows

AEROPLANE OF PAIN

When rock legends Iron Maiden return to Australian shores next year, they’ll fly in on a new and upgraded Ed Force One – their infamous private plane piloted by none other than lead singer Bruce Dickinson. Dickinson has previously helmed a Boeing 757 that featured in 2009 doco Iron Maiden: Flight 666, but the group has decided that a new Ed Force One – a 747 – is needed to carry the entire band, crew and equipment. Moreover, they’ll be trusting Dickinson with their lives for 88,500 kilometres of flight time across 35 counties. The tour announcement comes in celebration of Iron Maiden’s latest release, double studio album The Book Of Souls, which just debuted at number two in Australia. Catch ’em on Friday May 6 at Allphones Arena. xxx

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Oxford Art Factory Saturday October 3

With: Meg Morley Where: Colbourne Avenue When: Thursday September 24

MANAGING EDITOR: Chris Martin chris@thebrag.com 02 9212 4322 ONLINE EDITOR: Tyson Wray SUB-EDITOR: Sam Caldwell STAFF WRITERS: Adam Norris, Augustus Welby NEWS: Gloria Brancatisano, Lauren Gill, Eden Gillespie, Tegan Reeves, Aaron Streatfeild

GIG & CLUB GUIDE COORDINATOR: Sarah Bryant - gigguide@thebrag.com (rock); clubguide@thebrag.com (dance, hip hop & parties)

THE ART

Rae Howell photo by Anne Skilbeck

Inspirations I get my inspiration from travelling mostly, stepping outside my comfort zone. I’ve been fortunate to visit many different parts of the world for various music projects or residencies, so immersing myself in other cultures and their music plays a big part.

These new places, faces and experiences have always given me the inspiration and energy I need to create music.

my ensemble, hand-picked for their individual musical expertise, and the lineup changes for each project/tour. This Australian tour is pared back, so most concerts are solo, primarily to showcase the magic of solo piano and launch my records and sheet music publication. I’m based in London now, so being split between countries makes it tricky to tour together all the time.

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BRAG :: 630 :: 16:09:15 :: 5

live & local

free stuff

welcome to the frontline: what’s goin’ on around town... with Eden Gillespie, Aaron Streatfeild and Tegan Reeves

WITH

since I can remember, so I don’t know anything about the first song I wrote – I can imagine it being about heartbreak from a very naïve point of view!

which I’m incredibly proud of. I wrote it quite quickly and then the process of recording, producing, mixing and mastering took time. I also released a video clip along with the single, so it’s one of my most important releases.

The Last Song I 2.

Released The last song I released

Songwriting 3.

Secrets With most of my songs,

was ‘Red Car, Cold Heart’,

a guitar pattern happens

COME SEE SYE

Former Kill The Capitol frontman Sye has announced he will be playing at this weekend’s BEAMS Arts Festival and a handful of other local shows around Sydney.

A self-taught musician and ex-pro surfer, Sye’s music is heavily drawn from his childhood, growing up in orphanages and foster homes around Sydney. His sound is an otherworldly mix of folk, punk, pop

The Song That 4.

Makes Me Proud The song I am most proud of so far is my latest release, ‘Red Car, Cold Heart’. When I finished writing it, I immediately felt like it was a step above my other releases, and means a bit more to me.

Something about ‘Red Car, Cold Heart’ that not many people know is that I wrote it in about an hour – it was a really quick process and I was pretty

happy with the result! I put it down for a night and came back to it the next day feeling the same way, and that’s always a good sign to me.

The Song That 5.

Changed My Life Bon Iver’s cover of ‘I Can’t Make You Love Me’ (originally written and performed by Bonnie Raitt) is an important song for me. I remember the first time I heard it and I was just mesmerised; I must have listened to it 20 times over and over that night!

The emotion he is able to capture in that song is amazing and really struck a chord for me. The way Bon Iver emotes in his music is a big inspiration to me, and I heard it at a point in my life when I was deciding where I wanted to go in the next few years,

education-wise. I would say that this song was one of the many reasons I decided to complete a Bachelor of Music at the Australian Institute of Music, which happens to be one of the sponsors of the Surry Hills Festival!

AIM was one of the best music decisions I’ve made, and I’m really excited to be able to support the Surry Hills community by playing alongside some incredible artists at the Surry Hills Festival.

What: Surry Hills Festival 2015 With: I Know Leopard, Noire, The Stiffys and more Where: Ward Park and Shannon Reserve When: Saturday September 26

Melbourne band Sol Nation are hitting the road to launch their latest album, Melting Pot. The members of the world music collective say that their passion is to perform, and to be sure, they are known for bringing an exciting and vibrant stage presence. Their sound is a fusion of reggae, samba and funk, and along with influences from East Timor and Africa, is a great reflection of the diverse music scene Down Under.

We’re giving away five double passes to see Sol Nation at Camelot Lounge on Friday September 25. To enter the draw, head to thebrag.com/freeshit.

Xxx

REMEMBERING AMY

The lineup has been announced for an Amy Winehouse-themed Covers For A Cause show to celebrate what would have been the soul singer’s 32nd birthday. It’s been more than four years since Winehouse’s tragic death and this event aims to celebrate her achievements and life. A host of performers will cover some of the most popular hits from her catalogue. The lineup includes Gabby Bloom, The Sweet Jelly Rolls, Vanessa Raspa, Alyce Schulte and The Bad Bitch Choir and Amali Ward. Tease your beehives, practise that vibrato and make your way to the Soda Factory this Wednesday September 16.

SOL NATION

LUCY LOWE

first, then I come up with the melody and lyrics at the same time to go along with the melody. When I get into the process of writing a song, it usually happens quickly and all pours out at once. I have never been a person that comes back to an unfinished song a few weeks later to complete it.

The First Song I 1.

Wrote I’ve been writing songs

Rae Howell_Credit – Anne Skilbeck

songwriters’ secrets

head to: thebrag.com/freeshit

and opera. He is currently working on his debut album with internationally renowned producer Sven Tydeman of Kitty Groove Studios, due for release in early 2016.

Sye’s BEAMS appearance takes place this Saturday September 19. He’ll also be at The Dock on Thursday September 24 and The Bearded Tit on Monday November 9.

Michael P Cullen

STANMORE LANEWAY FESTIVAL

The first edition of the Stanmore Laneway Festival is set to kick off this weekend. The Inner West’s new fest features a cast of local bands, DJs, food trucks and even a photo booth. The local event is part of the Oxjam 2015 DIY festival series, with all funds raised going directly to fi ght global poverty. Live music on the day will come courtesy Service Bells, Bones Atlas, Teem, Keepers and Total Radio Silence, with DJ sets from Andrzej Kapowski Presents, Lucrezia Invernizzi-Tettoni and more. Entry is by donation with 100 per cent of proceeds going to Oxfam’s life-saving work around the globe.

The festival will be held in Merton Lane, Stanmore on Saturday September 19.

MICHAEL P CULLEN

I Know Leopard

Baritone crooner Michael P Cullen will grace the local stage alongside his band The Soul Searchers for the first time this November to play songs from his latest release, True Believer. The album was recorded to analogue tape and produced by The Church’s Tim Powles. Expect a moving performance at Lazybones Lounge on Thursday November 19.

Little May

A LITTLE MORE MAY

SURRY HILLS FESTIVAL

The annual celebration of Sydney’s favourite inner city suburb, Surry Hills Festival, has boosted its stocks with a second lineup announcement for this year’s event.

Leading the new list of music acts are triple j-approved I Know Leopard, joining the likes of Noire, The Stiffys and Sons Of The East on a high-profile schedule across two stages. Surry Hills Festival isn’t just about the music, of course, with plenty of artistic, food and beverage talent on display throughout the day. When it comes to live performance, though, the lineup now fills out to include The Pigs, Lyre Byrdland, On The Stoop, Leah Flanagan and more. All the action takes place on Saturday September 26.

6 :: BRAG :: 630 :: 16:09:15

Between being announced for the Falls and Southbound festivals, and in addition to a number of dates across Australia, the UK, US and Europe, Little May have announced an online art campaign to culminate in the launch of their debut album For The Company, which is due out Friday October 9. The campaign, entitled #ArtForTheCompany, is an effort to celebrate creativity across all forms of art and will feature 11 of Little May’s favourite local artists. Each piece of artwork is inspired by a track from the band’s upcoming album, with the development of the artworks being tracked through the #ArtForTheCompany hashtag. Featured artists include Mulga, Antwerpen and Furry Little Peach. Little May are touring Australia this month and will hit up Oxford Art Factory on Friday September 18, supported by Gordi and Jim Lawrie. The physical art exhibition will run from Friday October 2 – Sunday October 4 at Goodspace, above the Chippendale Hotel.

thebrag.com

thebrag.com

BRAG :: 630 :: 16:09:15 :: 7

Industrial Strength Music Industry News with Christie Eliezer

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THINGS WE HEAR * Which promoterâ&#x20AC;&#x2122;s plans to revive his festival event is being scuttled by disgruntled creditors? * Which Melbourne club is set to launch a sister venue on the Gold Coast? * Which retired entrepreneur, when hearing about promoter Andrew McManusâ&#x20AC;&#x2122; legal problems, rang a music author and told him: â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s your birthday present, write your next book on him!â&#x20AC;? * At the end of The Preaturesâ&#x20AC;&#x2122; set at Cairnsâ&#x20AC;&#x2122; Tanks Arts Centre, the crowd showed its appreciation by showering the stage with undies and bras. * Meanwhile, on Megan Washingtonâ&#x20AC;&#x2122;s tour, she not only came out during opening act Simon Relf of The Tambourine

Girlsâ&#x20AC;&#x2122; set for some toe-tappers, but later covered his song â&#x20AC;&#x2DC;Townes Van Zandtâ&#x20AC;&#x2122; during her own set. * The folks at Disney donâ&#x20AC;&#x2122;t seem to like Thy Art Is Murder. It refused them permission to play two shows at the House Of Blues (which it owns) in the US with Parkway Drive. It could be the bandâ&#x20AC;&#x2122;s name, it could be the title of new single â&#x20AC;&#x2DC;Holy Warâ&#x20AC;&#x2122;, or it could beâ&#x20AC;Ś well, the band doesnâ&#x20AC;&#x2122;t know either. * Iron Maidenâ&#x20AC;&#x2122;s Bruce Dickinson told Canadaâ&#x20AC;&#x2122;s Le Journal De Montreal that he regrets not punching Axl Rose over a 1988 incident in Quebec City when Guns Nâ&#x20AC;&#x2122; Roses opened for them. Rose had dissed French-Canadian fans for speaking French to him. â&#x20AC;&#x153;I shouldâ&#x20AC;&#x2122;ve come onstage and given him a punch. How could he dare speak to my audience in

SUICIDE, DEPRESSION RIFE IN ENTERTAINMENT BUSINESS Suicide and depression are plaguing the Australian entertainment industry, according to a report conducted by Victoria University and released through Entertainment Assist. It found that workers in the industry are up to seven times more likely to contemplate suicide than the general population and roadies are almost nine times more likely. The report found that intake of alcohol, marijuana, cocaine, ecstasy and speed is much higher in the industry than for most Australians, and is worsened by low pay, erratic working hours and limited social contact. See thebrag. com and entertainmentassist.org.au for detailed findings.

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Some impressive names have been locked in to perform at the Carlton Dry Independent Music Awards. They include Airling, Bad//Dreems, Dead Letter Circus, Frank Yamma and Harts. The tenth edition of the awards take place on Thursday October 22 at the Meat Market, North Melbourne.

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MAN CHARGED OVER FAKE RONSON GIG The Major Fraud Squad has charged a 34-year-old Perth man over the nonexistent Mark Ronson gig, for which some punters paid up to $1,100 to attend. The man allegedly claimed to the Matisse Beach Club to be a Ronson representative and booked him for a DJ set at its Winter Funk Fest on July 24 this year. Ronson, who was in Byron Bay playing Splendour In The Grass on the night, warned fans about this â&#x20AC;&#x153;BSâ&#x20AC;? show. Fans were told after the doors opened that Ronson couldnâ&#x20AC;&#x2122;t play for â&#x20AC;&#x153;logisticsâ&#x20AC;? reasons. The accused is set to appear at the Perth Magistrates Court on Thursday October 1.

FKA TWIGS, ALL TIME LOW WIN AT INDIE AWARDS The winners at the AIM Independent Music Awards in London included FKA Twigs (track of the year for â&#x20AC;&#x2DC;Two Weeksâ&#x20AC;&#x2122;), All Time Low (best live act), Enter Shikari (album The Mindsweep) Young Fathers (difficult second album White Men Are Black Men Too), Swans (hardest-working band), Wolf Alice (breakthrough act) and Erased Tapes (small label).

NEW CEO FOR ARN

Tony Kendall, formerly the director of sales at Bauer Media, has been announced as the new CEO of the Australian Radio Network, which runs the Kiis and Pure Gold networks. One of his roles is to expand the iHeartRadio platform in Australia.

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Sydney Festival has ticketing vacancies from mid-December to the end of January, including roles as box office coordinator and supervisor. Deadline is Monday September 28, see sydneyfestival.org. au. Publicity, marketing and programming internships are also available.

SKID ROW LOOKING FOR STATION MANAGER Marrickville-based Radio Skid Row,

that way? I always regretted not having done so.â&#x20AC;? * Rogue Traders, again fronted

by Natalie Bassingthwaighte, did their first show in seven years at a corporate gig at Jupiters on the Gold Coast. A source tells us more shows are planned but new recordings are not on the list as yet. * Despite being made bankrupt, 50 Cent uploaded to Instagram a video of a mansion heâ&#x20AC;&#x2122;s building in Africa, where he says heâ&#x20AC;&#x2122;s moving to. * Metal fans strike back! When EDM festival Stereosonic lands in Adelaide on Saturday December 5, a hard rock festival is being held at Fowlerâ&#x20AC;&#x2122;s Live to counteract. Dubbed F@#K Stereoâ&#x20AC;&#x2122;s // Letâ&#x20AC;&#x2122;s ROCK, it features Shihadâ&#x20AC;&#x2122;s Jon Toogood, Melbourneâ&#x20AC;&#x2122;s Love Junkies and Flyying Colours, Sydneyâ&#x20AC;&#x2122;s Lepers & Crooks and local acts.

which broadcasts to the Inner West, is looking for a station manager to oversee operations and coordinate staff and 60 volunteers. Applications close Wednesday September 23 â&#x20AC;&#x201C; send them to office@ skidrow.com.au with the subject line â&#x20AC;&#x2DC;Station Manager Positionâ&#x20AC;&#x2122;.

BON SCOTT STATUE HITS TARGET

AC/DC fans have raised the required ÂŁ45,000 required for a Bon Scott statue in Kirriemuir, Scotland, where the legendary singer was born. But theyâ&#x20AC;&#x2122;re still taking donations for an â&#x20AC;&#x153;extra-specialâ&#x20AC;? garden to be created around the statue, made by sculptor John McKenna. Kirriemuir already has Bon Scott Place, a memorial plaque, an AC/DC section in the local museum and the annual Bonfest.

GOING FOR (DJ) BROKE

Sydneyâ&#x20AC;&#x2122;s DJ Broke has won the national DMC DJ Championships, held at Melbourneâ&#x20AC;&#x2122;s Laundry Bar. Second place went to Melbourneâ&#x20AC;&#x2122;s B Two, and third to fellow Victorian DJ Smooth.

KISS, WANDERERS TEAM UP FOR T-SHIRT

Kiss and the Western Sydney Wanderers have teamed up to produce a range of Kiss Red And Black Army T-shirts, available at wanderersshop.com.au until Friday October 9. It follows the launch of the KISS Magpie Army T-shirt in Victoria last month.

BEDLAM SIGNS KALEIDOSCOPE Bedlam Records has added Wollongong surf-rock trio Kaleidoscope to its roster, alongside Boss Moxi, Gallu$, Essick, The Durries, Blunt B and Jon. Their Neighbourhood Kids EP is set to drop this October as they tour with Brisbaneâ&#x20AC;&#x2122;s Walken.

HOW COOL ARE YOUR A&R INSTINCTS? Want to earn some bragging rights about how cool your A&R instincts are? Spotifyâ&#x20AC;&#x2122;s new web app Found Them First crunches your data to give the title of â&#x20AC;&#x153;first listenerâ&#x20AC;? to the first 15 per cent of people who were registered as listeners to selected artists. The eligible artists must have had 20 million streams accumulatively and a growth rate of 2,000 per cent between January 2013 and June 2015. Some acts like James Bay, Vance Joy, Sheppard and Years & Years have even recorded thank you videos for those who helped push them into the mainstream. Maybe you could demand a cut of their royalties?

OXJAM RAISES THOUSANDS The inaugural Oxjam Festival, held last month, drew 12,000 to 12 industry events and 170 grassroots shows throughout Australia, raising â&#x20AC;&#x153;thousands of dollars to help Oxfam fight poverty around the worldâ&#x20AC;?. MTV kicked things off at its Sydney headquarters with DJ sets from Yolanda Be Cool, Cosmoâ&#x20AC;&#x2122;s Midnight, Set Mo and more. Gigs by I Oh You Records and tour agency UNDR ctrl sold out, each raising $2,500. Other industry crews were Noisey, One Day, Goodgod, Heaps Gay and Purple Sneakers, who ran parties in Sydney, Melbourne, Brisbane and Adelaide.

* Anti-Nazi German punk band Die Ă&#x201E;rzte are heading to the top of the German charts with â&#x20AC;&#x2DC;Schrei Nach Liebeâ&#x20AC;&#x2122; (â&#x20AC;&#x2DC;Cry For Loveâ&#x20AC;&#x2122;), their 1993 track which they re-released in protest against refugee arson attacks. * Federal Nationals MP Andrew Broad joined the chorus against the AFLâ&#x20AC;&#x2122;s non-use of Australian acts at its Grand Final. He wants Arts Minister George Brandis to talk to the AFL. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ve seen what foreign artists provide with some very untasty Meat Loaf over the years,â&#x20AC;? he said in Canberra. â&#x20AC;&#x153;A great Australian event should have great Australian music.â&#x20AC;? * Melbourneâ&#x20AC;&#x2122;s King Parrot are on their sixth North American tour in the past 18 months, while 5 Seconds Of Summerâ&#x20AC;&#x2122;s first major show in New York, at Jones Beach Nikon Ampitheater, was a sell-out.

STRAIGHT OUTTA COMPTON TOPS BOX OFFICE

The N.W.A biopic Straight Outta Compton repeated its US success in Australia by coming in straight to number one at the box office, pulling in $4.528 million on 323 screens. Zac Efronâ&#x20AC;&#x2122;s EDM turkey We Are Your Friends has managed $335,000 so far.

FBI REACHES OUT TO FEMALE DJS FBi Radioâ&#x20AC;&#x2122;s new DJ training and mentorship program, Dance Class, aims to grow female participation in the EDM scene. It is open to anyone over 18.

Through October and November, the five students chosen will learn skills in DJing, radio presenting and navigating the music industry, before spending a month with an FBi mentor ahead of their first gig.

SYDNEY TALENT WINS AT GLOBAL CONTESTS Some of Sydneyâ&#x20AC;&#x2122;s own talent has shone at two global contests. The Nashvillebased Unsigned Only Music Competition drew 7,000 entries from around the world, of which 28 were recognised as winners. The grand prize went to the duo of Brisbaneâ&#x20AC;&#x2122;s Jared Porter and NZâ&#x20AC;&#x2122;s Kaylee Bell. The Screenshot category was won by Lucy Lowe â&#x20AC;&#x201C; who also got an honourable mention in Vocal Performance â&#x20AC;&#x201C; with Stone Parade and Wren receiving honourable mentions. Allie & Ivy took second place in Adult Album Alternative and Nova and The Experience got an honourable mention. Liam Burrows got second place in Vocal Performance and an honourable mention (along with Danielle Deckard) in Adult Contemporary.

Day (Kirrawee) took second place for Christian music. The Blackbird Collective got an honourable mention in the Folk/ Singer-Songwriter category and Anna Mannering (Albury) for Teen. Meanwhile, Sydney rapper D. Minor (Daniel Harvey Palu) won the Vocal Rap category of the World Championship of Performing Arts in California.

Lifelines Ill: Brit keyboard maestro Rick Wakeman, 66, has cancelled all gigs for the next 12 months due to ill health. Heâ&#x20AC;&#x2122;d had three heart attacks by the time he was 25.

Ill: US sax player Steve Mackay (Violent Femmes, Stooges), 65, is in intensive care in California with sepsis, an infection that can lead to organ failure.

Died: Rico Rodriguez, 80, trombonist with The Specials.

Died: a 22-year-old woman was struck by a car while crossing the highway after an AC/DC concert in Canada.

Died: US guitarist Don Griffin (The Miracles, Anita Baker), 60, in a car accident in Denver.

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LIVE PERFORMANCES FROM : AIRLING / BAD // DREEMS / DEAD LETTER CIRCUS / FRANK YAMMA / HARTS / THURSDAY OCTOBER 22, 6.30PM

AT MEAT MARKET, 5 BLACKWOOD STREET NORTH MELBOURNE

CONGRATULATIONS TO ALL THE 2015 NOMINEES BEST INDEPENDENT ARTIST #1 DADS CHET FAKER COURTNEY BARNETT HERMITUDE VANCE JOY

BEST IN NDEPENDENT JAZZ ALBUM ALLAN BROWNE QUINTET - ITHACA BOUND BARNEY MCALL - MOOROOLBARK GIAN SLATER - STILL STILL MIKE NOCK OCTET - SUITE SIMA SARAH MCKENZIE - WE COULD BE LOVERS

BEST INDEPENDENT ALBUM #1 DADS – ABOUT FACE COURTNEY BARNETT – SOMETIMES I SIT AND THINK, AND SOMETIMES I JUST SIT FLIGHT FACILITIES – DOWN TO EARTH HERMITUDE – THE BUZZ (FEAT. MATAYA & YOUNG TAPZ) VANCE JOY – FIRE AND THE FLOOD

BE EST IN NDEPENDENT DANCE, ELECTRONICA ALBUM COLLARBONES - RETURN FLIGHT FACILITIES - DOWN TO EARTH HERMITUDE - DARK NIGHT SWEET LIGHT SEEKAE - THE WORRY TA-KU - SONGS TO MAKE UP TO

BR REAKTHROUGH INDEPENDENT ARTIST OF THE YEAR #1 DADS BRIGGS CLIENT LIAISON JAPANESE WALLPAPER TOTALLY MILD BEST INDEPENDENT SINGLE OR EP BAD/ /DREEMS – CUFFED & COLLARED COURTNEY BARNETT – DEPRESTON COURTNEY BARNETT – PEDESTRIAN AT BEST HERMITUDE – THE BUZZ (FEAT. MATAYA & YOUNG TAPZ) VANCE JOY – FIRE AND THE FLOOD BE EST IN NDEPENDENT HIP HOP ALBUM BARO - 17/18 BRIGGS - SHEPLIFE CITIZEN KAY - DEMOKRACY ONE DAY - MAINLINE SETH SENTRY - STRANGE NEW PAST

BE EST INDEPENDENT DANCE, ELECTRONICA OR CLUB SINGLE COLLARBONES - TURNING GENERIK - THE WEEKEND (FEAT. NICKY VAN SHE) HAYDEN JAMES - SOMETHING ABOUT YOU NICKY NIGHT TIME - GONNA GET BETTER (FEAT. NAT DUNN) RÜFÜS - YOU WERE RIGHT BE EST IN NDEPENDENT CLASSICAL ALBUM ALICIA CROSSLEY - ALCHEMY AMIR FARID - AMIR FARID PLAYS JAVAD MAROUFI: GOLDEN DREAMS AND OTHER WORKS AMY DICKSON / SYDNEY SYMPHONY ORCHESTRA - ISLAND SONGS AUSTRALIAN BRANDENBURG ORCHESTRA - BRANDENBURG CELEBRATES ZUBIN KANGA - PIANO INSIDE OUT

BE EST INDEPENDENT COUNTRY ALBUM AMBER LAWRENCE - SUPERHEROES FRANK YAMMA - UNCLE JIM LAWRIE - EONS RAISED BY EAGLES - DIAMONDS IN THE BLOODSTREAM TROY CASSAR-DALEY - FREEDOM RIDE BE EST IN NDEPENDENT BLUES AND ROOTS ALBUM C.W. STONEKING - GON’ BOOGALOO FRASER A. GORMAN - SLOW GUM GURRUMUL - THE GOSPEL ALBUM MARLON WILLIAMS - MARLON WILLIAMS PAUL KELLY presents THE MERRI SOUL SESSIONS - PAUL KELLY presents THE MERRI SOUL SESSIONS BE EST INDEPENDENT HARD ROCK, HEAVY OR PUNK ALBUM BRITISH INDIA - NOTHING TOUCHES ME KING GIZZARD & THE LIZARD WIZARD - I’M IN YOUR MIND FUZZ NORTHLANE - NODE THE PEEP TEMPEL - TALES THE SMITH STREET BAND - THROW ME IN THE RIVER

PRESENTED BY

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M A J O R PA RT N E R

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A STATE OF GRACE

THE BUCKLEY SPIRIT REVIVED

BY ADAM NORRIS

A

tribute show can be an unruly beast.

Though often noble in intention, recreating classic bands or albums means playing with a particularly sentimental fire. Songs become unrecognisable, guest musicians struggle to find a connection.

Yet with a production such as A State Of Grace, celebrating the music of both the late Tim and Jeff Buckley, the enlisted talent is of rare pedigree. Gary Lucas, friend and collaborator to the younger Buckley, is the musical director overseeing a troupe that includes celebrated Canadian-American performer Martha Wainwright, among several outstanding others.

“I think this is a little bit different to some of the other tributes I’ve done, yes,” Wainwright says. “I think there is more consideration to keep to the spirit in many ways. Especially with certain songs. It’s a difficult balance, and obviously being a female singer it will be different right away. I think with Jeff’s music, it’s really the music of a young man, so it’s an interesting thing for me to sing. There’s a separation between me and the person he was, our lives and our perceptions of things.

“It’s bittersweet, that’s for sure,” Lucas says via Skype, his signature hat almost hiding his face completely. “But that was always a hallmark of the music we did. A lot of songs began as guitar instrumentals I’d composed with [Jeff’s] voice in mind. His voice was calling to me in the distance; I could always imagine it there. But those songs are all very bittersweet – they go through these

In addition to being respected as one of the world’s greatest guitarists, Lucas was also instrumental in Jeff Buckley’s early career, co-writing both the songs ‘Mojo Pin’ and ‘Grace’. Their collaborations were further enhanced with the 2002 album Songs To No One, recorded in the early ’90s after Lucas met Jeff rather unexpectedly at a tribute concert honouring his father.

“I was totally unaware that Tim had a son until the producer of that tribute, Hal Willner, introduced me to this guy Jeff, who had come forward and wanted to pay respects to his dad on the show. And I was totally surprised!

I didn’t know Tim had a son, and neither did they. But it was a great moment, and I have to commend Hal for tremendous foresight.

Somehow he intuited that I would be a good creative fit with Jeff.

“When I first met Jeff at the Church of St. Ann’s in Brooklyn, he was full of enthusiasm for my having worked with Captain Beefheart, for instance.

He loved Beefheart, so I think that was a plus to him. Plus it turns out he’d just been spying on me and this female singer I was working with, doing a song in the chapel. Jeff was there, unbeknownst to me, lurking in the back in the shadows.”

Wainwright’s own exposure to Jeff Buckley came early in her career, as she moved from Montreal to develop her musical ambitions in New York City. There, she found a community still reeling from the loss in 1997 of one of the most distinct and enduring voices to emerge in a culture already brimming with

aspirant talent. She, like so many others, quickly grew enamoured of the virtuosic album, Grace.

“I didn’t know Jeff. I only moved to New York a year after he had died, when I was 20, but his spirit loomed incredibly large. Everybody was playing his music, it was almost omnipresent. I was in the East Village, and people were still very much mourning him. He was really a kind of god to them. Still is. So that’s what I know, and that’s kind of what I’ll be trying to bring, that knowledge of how much he still means to people. For me, the music and lyrics are the things that last longest.

Knowing people are still playing both Tim and Jeff in new ways.

“It’s always fun, hearing people cover your songs and bringing something new. They really make it their own. I do think in some small way I’ve influenced a certain set of female singers. I’ve met a couple who do seem to be influenced by some of my aggressive songwriting,” Wainwright laughs. “My emotive singing, or something. I think a lot of singers have a sound that they just can’t escape. I certainly had that.

Even when I was ten, I sounded like I was singing through a pack of cigarettes. Sometimes you just have to work with the voice you’ve got, and you play around with that until you settle into something that’s hopefully unique. I’d say that was the case with Tim, and most definitely with Jeff. I think so many young male artists in particular were influenced by his singing style. You can hear that around still, and so I really think that’s a kind of immortality.”

A State Of Grace will arrive at the Enmore Theatre as part of its world premiere tour Down Under – almost 20 years since Jeff Buckley played that very same venue on his final Australian tour. While both Jeff and Tim were equally engaging songwriters, it is Buckley Jr. who local audiences are likely more familiar with. Despite this, Lucas has little doubt that people are going to be stunned by the

“THEY’RE NOT TYPICAL POP SONGS, THEY’RE NOT FORMULAIC. THEY HAVE MOOD SHIFTS AND ARE A MORE REALISTIC MODEL OF THE WAY THINGS REALLY ARE. EVERY DAY HAS UPS AND DOWNS, FULL OF MOMENTS OF HAPPINESS, SADNESS.” 10 :: BRAG :: 630 :: 16:09:15

Martha Wainwright similarities between father and son. The strength of the performers assembled here is one thing, yet as Wainwright herself has noted, it is the songs that will capture and engage, finding endless resonance in listeners to come, as Grace continues to sound across bedrooms and barrooms the world over.

“I’m hoping people have that ‘wow’ moment!” Lucas laughs. “‘Wow, this was a phenomenal, new way of listening to some of our favourite artists!’ Probably they won’t know Tim as well as they know Jeff, but hopefully they’ll see a unity there between father and son, and that to me is the backstory that has never really come forward before.

Not many people know just how connected Jeff was to his father, even though in interviews he tried

to disassociate himself. You know – ‘Don’t try and put me in the same boat as Tim, I’m my own artist.’

“But I know that he knew his father’s music backwards and forwards, he loved it. So I want people to have a feel-good moment. [Like] they just saw a celebration of two phenomenal artists. That’s what we want.”

What: A State Of Grace: The Music Of Tim & Jeff Buckley With: Martha Wainwright, Casper Clausen, Willy Mason, Camille O’Sullivan, Steve Kilbey, Cold Specks Where: Enmore Theatre When: Sunday September 27

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Tim Buckley photo by Larry Beckett / Jeff Buckley photo by Merri Cyr

“But I really wanted to do this because I think that Jeff and Tim are such great artists, and I’m quite happy to be along for the ride. Gary has some strong ideas on how he wants to do it, and I’m keen to try it as Jeff would sing them. But if that doesn’t work, we’ll find something else. They’re versatile songs, so we’ll be starting from the original and going from there.”

time changes that tell stories full of mixed messages. And I think that’s one of the reasons these songs still endure. They strike a chord that resonates with people. They’re not typical pop songs, they’re not formulaic. They have mood shifts and are a more realistic model of the way things really are. Every day has ups and downs, full of moments of happiness, sadness. I think the songs here show all of that.”

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Tesseract A Polarising Force By Daniel Prior songwriting and skills in sound experimentation.

“There’s no fixed way to do it. The best way is to get inspiration, to listen to everything going on in the world – especially music, in general, but even movies or books might give us ideas. If there was a formula, I’d say that sometimes we work backwards, which works for us because you create a pinnacle, and from there you know how you can build into it. That’s a way to keep things fresh, but it’s still not fixed.”

The risk and reward of experimentation fluctuates dramatically. With each stride along the boundaries of genre, Tesseract gamble with taking a step too far.

But while such a feeling would paralyse some artists, Williams feels it’s a definitive signal of a band’s confidence with its own sound.

xxx

C

ategorical labels are limiting for any creative endeavour.

To be summarised in a word or two undercuts the effort and imagination put into a song or an album, for instance. The metal scene, awash in subgenres, is a veritable label minefield for any band looking to define itself on its own terms. In the case of British outfit Tesseract, people have been trying to pin them down ever since they came into being over a decade ago.

Bass guitarist Amos Williams explains that Tesseract’s ability to avoid pigeonholing is down to a mix between the band’s restless nature and its organic exploration of – and experimentation with – genre.

“People expect the unexpected, so simple unpredictability would be expected,” Williams says. “With us, it’s more a case of letting the song dictate where it needs to go. We get feedback, rather than a need to force it a particular direction. It could go to extremes of soft or heavy. But honestly, we don’t know where it’ll go until we press ‘stop’ in the studio.”

Alongside the development of Polaris – the band’s third album and first with UK label Kscope – has come a high level of expectation from the fans, both in terms of musical adventurousness and emotional depth. Despite the pressure, years of experience have taught Tesseract how to keep outside influences from interfering with their creative process.

“It’s not conscious or at the forefront of our minds,” says Williams.

“We’re definitely trying to hone a story, and I would hope that we’re getting better and better at our arts reflecting our realities. As much as we may have our public space to be inspired by, we try always to have inward reflection and let what we need to say come through in as pure a way as possible.”

While the Brits have had many emulators in the broader progressive scene, few have come to rival their natural creative fluidity – one that enables them to slip from one defining characteristic to another without allowing a label to stick. Williams puts it down to Tesseract’s organic

“It’s fine if people don’t like what we do. We’re not for everybody. But if we made a bad song, it would be our fault. When you’re touring and playing the same songs over and over and over, you need to be happy with it. It’s a punishment to make a song you’re not happy with just to please people, and it’ll drive you mad.”

With the release of Polaris, Tesseract are kicking off a six-month world tour in Australia, hitting Brisbane, Sydney, Melbourne, Adelaide and Perth in October. But the starting locations for the tour are more than just a happy coincidence.

“It’s always great going to Australia,” says Williams. “It’s energetic and the scene is pretty strong. When we put the tour together, Australia was always on the list, and we had to decide if we wanted to take the

opportunity to go now or in 18 months’ time. We all said, ‘Let’s go now – kick the whole tour off on a high note!’ It seemed like a no-brainer when the tour came together.”

With excitement and anticipation for the tour building to fever levels, the band’s experience and maturity keeps things centred.

“Between the tours and the studio, you have to grab what time you can,” says Williams. “You need a break sometimes, if only to reconnect with family and friends. When you leave on tour, it all carries on without you.

So you need to reconnect to keep grounded. It’ll be good to be back on the road, ride the energy amongst us all and get amongst our fans. You’ve got to take those moments where you can, otherwise they can just slip away. The thing we have to keep in mind is that all of this isn’t the be-all and end-all of life.”

Tesseract begin their Australian tour a month after Polaris’ scheduled release this week. Bearing such an indefinable sound in the metal genre, Williams laughs when asked how to describe Tesseract to potential new listeners.

“Keep an open mind and I’ll bet you you’re going to hear something different on each playthrough,” he says, still trying to avoid any labels.

“We put a lot of effort into our music and we’d hope each listen reveals something new to you.”

What: Polaris out Friday September 18 through Kscope/ Rocket With: Caligula’s Horse, Plini Where: Factory Theatre When: Thursday October 15

Pvris The White Noise Effect By Augustus Welby

P

vris are a three-way partnership between vocalist Lyndsey Gunnulfsen, guitarist Alex Babinski and bassist Brian MacDonald. Last year, the band teamed up with producer Blake Harnage (Versa/VersaEmerge) to give life to their debut album, White Noise. The record came out in November, and it’s been go, go, go ever since. This week, the tireless rockers arrive on Australian shores for the first time. They haven’t had a moment’s rest during the last 18 months, but they ain’t complaining.

“This is the most touring we’ve done since we first started out,” Gunnulfsen says. “It’s gruelling, but I feel like we kind of adapted to it and we’re getting used to it. We got our touring schedule for the next year and a half and the only month we’re free is in December. It’s kind of daunting, but we’ve already adapted to it and just gotten used to it – or figured out how to enjoy being away from home as much as we are.”

Pvris formed in Lowell, Massachusetts in 2012 and gained prominence on the local scene almost immediately. With the release of their debut EP, Paris, in March 2013, they eclipsed the confines of their hometown and haven’t looked back since. From the outset, they had no scruples about shooting for the stars.

12 :: BRAG :: 630 :: 16:09:15

To casual observers, it might seem like White Noise sprung forth with very little lead-up. However, given the band had released music as far back as late 2012, there was a decent cultivation period.

“It felt like a long time,” Gunnulfsen says. “We all had to earn our stripes and pay our dues and play local shows to like ten people and work full-time jobs. The two years prior to having the record out, we were always hustling and just working hard to even make this a possibility. Now it’s finally paying off. To other people it seems like this happened out of nowhere, but we’ve been working hard since day one and busting our asses.”

Co-written by Gunnulfsen and Harnage, White Noise is a good representation of not only the band’s diverse influences, but also a growing eclecticism in the tastes of the average listener.

The record manages to intertwine everything from electropop and alternative rock to pop-punk, and it also contains moments of soulful delicacy. Gunnulfsen says the genre merging isn’t particularly contrived.

“I feel like it’s a natural thing and a subconscious thing that just kind of happens. Our main focus is just making music that we would want to listen to and music that we’re proud of and music that we’re happy with. That’s the ultimate goal, and I think by doing that and not feeling pressured to fit into a category or appeal to a certain

audience, it brings the best out of your music. By just vibing off something and doing whatever you want, it makes it speak for itself.”

White Noise came out courtesy of Rise Records. Having the support of an influential and well-regarded label is invaluable. Plus, the label didn’t attempt to steer Pvris’ songwriting in any direction.

“Rise is actually completely handsoff with the creative process. They literally just were like, ‘Right. You’re in the studio from this time until this time. Whatever you hand in is what we’re going to work with.’ Which is super cool. I don’t think they were expecting what we handed in to them but they definitely were shocked in the best way.”

Pvris’ core trio will be joined by a live drummer at the forthcoming

Australian shows. Carrying out a heavy touring schedule means spending a lot of time in each other’s faces. Inevitably, this leads to minor confl icts, but the trick is to not be too sensitive.

“I feel like we’re all just like siblings,” says Gunnulfsen. “Brian and Alex are my brothers and then the rest of our crew are all like older brothers and sisters.

You’re forced to live with these people whether you like it or not.

I feel like the ultimate thing is communication. If you argue with someone or get on someone’s nerves, you just go out and say it and get it out of the way, and that way you can get over it and move forward. A big thing that keeps us all sane and keeps us happy is we’re all huge goofballs and we’re always playing pranks on each other or laughing at stupid stuff.

“Laughter and just being positive is another huge thing.”

Pvris’ debut Australian tour involves just a brief run of shows down the east coast, but they’ll get in front of some big crowds playing alongside Philadelphian alt-rockers Circa Survive. “We’re excited to visit, we’re excited to see the Circa guys play,” says Gunnulfsen. “We’re excited to just see Australia because we’ve never been before. It’s one of the places we all really want to visit, so we fi nally get to with an awesome band as well.”

What: White Noise out now through Rise/Warner Where: Supporting Circa Survive at the Metro Theatre When: Saturday September 19

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xxx photo by xxx

“Our whole mindset with music or anything we do is if you have the opportunity to go as far as you can possibly go, you should absolutely aim for that, but you shouldn’t expect that,” says Gunnulfsen.

“So we don’t expect to be the biggest band in the world. We never expected to have all the

opportunities and all this hype and amazing feedback on the record that we’ve gotten, but we wanted that.”

!

W NO OK BO

Saturday 10 October 2pm & Monday 12 October 7pm City Recital Hall Angel Place, Sydney The crisp articulation and rich timbres of the acclaimed French Modigliani Quartet is a perfect match for music that demands both strength and clarity. Performing a selection of masterpieces by Haydn, Schubert, Beethoven, Dohnรกnyi and Westlake.

Visit musicaviva.com.au/Modigliani Book Now cityrecitalhall.com or 02 8256 2222

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BRAG :: 630 :: 16:09:15 :: 13

Fidlar Too Bold To Obey By Augustus Welby

W

hen news got out that Fidlar’s second album, Too, was on its way, you’d have been forgiven for not expecting much in the way of artistic diversity from the LA skate punks. However, while there are a number of songs of furiously bashed-out powerpop, lead single ‘40oz On Repeat’ is an indication the band hasn’t phoned in a repeat of its self-titled debut. Interspersed with a bristling pop-punk backbone and lyrical references to booze-guzzling, ‘40oz On Repeat’ is a fairly bleak account of loneliness and financial insecurity, accentuated by sections of raw, acoustic vulnerability.

The track presages a record that takes several unexpected turns, such as the speak-sung ‘Sober’, the downbeat confessional ‘Overdose’, and the funk-metal fuck-you ‘Punks’.

“In rock’n’roll – garage, punk, whatever this world that we fit in is – it’s scary for bands to try new things,” says Fidlar frontman Zac Carper. “Especially when one thing worked. It can go either of two ways: people can fucking hate it, or people can like it. But you can’t live your life wondering what people are going to think about what you do. We needed to change it up, because we’re just those kind of people. I didn’t want to make the first record over again. For me that’s the most lazy, selling out kind of thing that we could’ve done.”

With the release of their 2013 debut and its lead single ‘Cheap Beer’, Fidlar built a reputation as rowdy party boys. Unwittingly, Carper had begun to comply with this public impression, before realising how insincere it was.

“Max [Kuehn, drums] was fuckin’ in

high school when he joined Fidlar. I was 20 when I started Fidlar. I just turned 28. Everything just changes.

For me, it’s not a bad thing. I know punk rock fans don’t really want you to change, they don’t want you to make money; you ‘selling out’ means you have a career [laughs]. There came a point for me where I was just like, ‘You know what? I don’t fucking care about that anymore.’

“Songwriting-wise, I just got bored writing the same fucking songs over and over again,” Carper adds. “It might have been different chords, different melodies, different lyrics, but in the core it was the same song about being fucked up and all this shit.”

Along with the increase in dynamics, Too is sonically harderhitting than its predecessor.

Abandoning the DIY, self-recorded approach that gave birth to Fidlar, the band hopped over to Nashville and teamed up with producer Jay Joyce. While the fi nished product vindicates this decision, Carper had some trouble adjusting.

“First fucking day I almost lost my mind,” he says. “It was one of those things where I produce records myself, so I want it to sound a certain way – I have a vision of it. But sometimes you’re a little too close to it, too. The song ‘Punks’, I wanted it to sound a certain way. I was arguing with the producer, I was arguing with the guys, and then finally at the end of the night I went home and thought about it and I was like, ‘I’ve got to give up control over this, because I’m going to lose sight of what the journey is.’

“Sometimes when you don’t have an idea of how you want it to

sound, the possibilities are endless and whatever comes out, comes out of the process. So I just let go, and once I did that I learned a lot more. I became a lot smarter, because I realised that I didn’t know everything.”

On the subject of relinquishing control, after wrapping up the mammoth run of touring behind Fidlar, Carper went on a lone songwriting retreat, which is when the majority of the songs on Too took shape. After that process, however, the band’s remaining three members were given the opportunity to contribute.

“There’s not too much arguments with our band, to be honest,” says Carper. “They have opinions and

stuff like that, and that’s why we had a producer. If they wanted something a certain way and I wanted something a certain way, we looked at the producer and the producer would make that decision. Having the producer was like having somebody that was just looking out for what’s best for the song.

“Doing my first record by myself, it was so close to how I wanted it to sound, and I made the first record sound a certain way. It was the same thing with this record – I was too close to it. Then once I let go I was just like, ‘OK, I trust the producer, I trust my band members, let’s do this.’ Letting go of control was the best thing that ever happened to me.”

Some songwriters are happy to spend their whole career roaming through a clearly defined sonic sphere, with no desire to enact an artistic progression. But having opened up to new ideas, Carper’s entire songwriting outlook has shifted.

“The older you get, the more you learn things in general. I want to try different things, I want to try to write different types of songs, I want to experiment. That’s what a lot of musicians want to do. Some don’t, which is totally cool, but I do. I have that weird thing where I need to keep working, I need to keep doing things.”

What: Too out now through Warner

6–10 JANUARY 2016

T I C K E TS O N S A L E N OW

parkeselvisfestival.com.au 14 :: BRAG :: 630 :: 16:09:15

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PRESENTS

A CLASSIC WEEKEND CELEBRATING AMERICANA MUSIC & CULTURE, WITH A TWIST

BAHAMAS (CAN) • SHANE NICHOLSON • HOLY HOLY • WAGONS

MELODY POOL • BEN SALTER • ALL OUR EXES LIVE IN TEXAS LACHLAN BRYAN & THE WILDES • THE LONESOME HEROES (USA) • OLYMPIA

VAN WALKER • RUBY BOOTS • PERRY KEYES • FRASER A GORMAN • LOST RAGAS DASHVILLE PROGRESS SOCIETY • GREEN MOHAIR SUITS • LEO RONDEAU (USA)

BETTY AND OSWALD • MICK DALEY’S CORPORATE RAIDERS • BEN WRIGHT SMITH PAPA PILKO & THE BIN RATS • WILLIAM CRIGHTON • CHRIS PICKERING • BELL ST DELAYS DAVID GARNHAM & THE REASONS TO LIVE • JAMES THOMSON • ELWOOD MYRE • GOATPISS GASOLINE MAGPIE DIARIES • DAN WATERS • GLENY RAE’S SMOKIN’ BLUEGRASS BREAKFAST & MORE + Kickback onsite camping, songwriter collaborations, tributes & showcases. + Classic cars & bikes, the best American inspired food and beverages

Tickets Now On Sale | Visit the website for more info & to grab your tickets

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BRAG :: 630 :: 16:09:15 :: 15

Gay Paris Masters Of The Dark Arts By Augustus Welby if their audience is a good way to judge how it goes live.

“We’ve got a lot of friends that have heard it who are like, ‘It’s the song, man.’ What’s the song for Gay Paris? I just think it’s a catchy rock’n’roll song.”

The album recording and release was made possible by a crowdfunding campaign; a strategy Gay Paris also used to finance 2013’s The Last Good Party. In the unstable world of contemporary music, crowdfunding has become an effective DIY outlet, giving some power back to the people.

However, it’s rarely a stress-free exercise, and it’s probably not guiltfree either.

xxx

“I

’m very difficult, I apologise,” says Gay Paris frontman Luke Monks. It’s an unusual way to commence an interview, but Monks’ self-appraisal goes some way towards explaining the furious demeanour of the band’s new LP, Ladies And Gentlemen, May We Present To You: The Dark Arts, which is out this week. While it’s not an overwhelming head-thump, and promises to fuel some unruly onstage scenes, the record is steeped in hearty aggression.

“We end up doing things we think aren’t heavy, and people just think everything’s heavy,” says Monks.

“We think we’ve written a pop song, and apparently it’s not. If you talk about primal energy, maybe we’re talking about the natural state of the band. We’re a better live band than we are anything

else, I think. That said, I feel like we’ve been quite ambitious in some of the things we’ve done that I worry about how to replicate live.”

Now, Gay Paris haven’t gone ahead and made an overwrought studio LP with orchestral detailing and countless extra tracks of percussion, but The Dark Arts does contain a few moments of relative extravagance.

“We got the Bad Bitch Choir to come in and help us out,” says Monks. “We got Nerdlinger and Rick Dangerous and The Silkie Bantams to come and do some vocals. I think ‘Sackcloth’ [‘The Sackcloth Saint Of The Cornfield’], there are 72 vocal tracks, so we got a bit histrionic with vocals. But I’m willing to sing in three octaves live, given the power of Satan. That

probably won’t happen… reality being what it is.”

“The guilt is definitely there, but guilt is part and parcel of being in this band, which should be about art but is also an exercise in… it’s exploitation, I guess,” says Monks.

“We exploit ourselves and we exploit the people who apparently appreciate what we do.

As Monks has already suggested, for the most part the album circumvents anything that remotely resembles the pop sphere.

However, that’s not the case with the record’s lead single, the aforementioned ‘Sackcloth’, which is easily the most accessible song in Gay Paris’ three-album catalogue.

“I said, after we crowdfunded The Last Good Party, that I wasn’t comfortable with doing it again.

I put trepidation and my moral concerns on hold because the band is a democracy and the other three guys were up for it. It is fraught, it’s perilous, I don’t think that it’s great, and I do see a dropoff in the success of it. Or maybe people are asking for more.”

“We tried to put some other vocals over the chorus, and then I was like, ‘I’m just going to sing the guitar riff,’ and we were like, ‘Actually, we’ve got a hook.’ But then the first road test it got was on tour with Sleepmakeswaves. We were playing wedged in between math rock instrumental bands on either side of us, so I don’t know

As is the band’s eccentric wont, the Dark Arts PledgeMusic campaign included some fairly audacious rewards for those willing to fork out large sums of money.

Namely, there was the opportunity the drop acid and play Dungeons & Dragons with Monks, and the chance to join Gay Paris on a pub crawl around Sydney.

on the radio, then who’s going to complain? Not me!” Badger laughs.

Badger adds), Sol Nation got the perfect view of the event. “It was the most amazing thing I’d ever seen!” Almeida says.

“The pub crawl was purchased by a pair of fine gentlemen in Brisbane, and we haven’t engaged our end of the bargain yet, but we will be taking these fellows drinking,” says Monks. “Unfortunately, no-one thought it was worth paying a lot of money to play Dungeons & Dragons with me. Happily, I did shortly thereafter get sick of not doing acid and playing Dungeons & Dragons and found my own group to do such activities with.”

Gay Paris’ relationship with listeners isn’t always quite so positive. It seems the blatant accessibility of ‘Sackcloth’ has confused some newcomers. “People who got to hear it as their first taste of Gay Paris, just through some YouTube comments, were like, ‘I heard you were going to be like Clutch. This is weak.’ Or, ‘This is hipster c**ts trying to be metal.’ I just thought, ‘This is great. If you still think that’s trying to be metal, what fucking metal are you listening to?’

It must be either the greatest or the worst metal in the world.”

The ‘metal’ tag is often thrown around in discussions about Gay Paris. The validity of this claim is debatable, but it’s of no great worry for Monks.

“I wish we were a more metal band.

We’re not cool rock’n’roll dudes.

We’re metal dudes. I’ve got no beef with being called metal or hard rock, or hipster for that matter. We are the band that we are. I think us doing the tagging, it’s quite false, because I don’t see there being picket fences that you can’t jump over or kick down.”

What: Ladies And Gentlemen, May We Present To You: The Dark Arts out Friday September 18 through MGM Where: Newtown Social Club When: Saturday September 26

Sol Nation A World Of Influences By Patrick Emery

C

olin Badger concedes there’s probably a subliminal political aspect to Sol Nation, the multicultural musical outfit he formed with lead vocalist Paulo Almeida in 2007. “I guess the subliminal message is that music brings people together,” Badger says. “We probably wouldn’t know each other if it wasn’t for the music, so we’re an example of how music brings people together – as long as you can play, you’re in! It doesn’t matter what your background is, or where you come from – it’s good if you’re different.”

Sol Nation was conceived in the aftermath of the demise of the Dili Allstars, the Timorese-Australian band featuring Badger, Almeida and Badger’s Painters And Dockers colleague Paul Stewart. “With the Dili Allstars we were strongly focused on the Timor independence movement,” says Almeida. “After a while, a lot of the members started going their separate ways. But we didn’t want to stop completely, so we started Sol Nation.”

Along the way, Sol Nation picked up various musicians, each bringing 16 :: BRAG :: 630 :: 16:09:15

“The idea is that we have people with different musical backgrounds, and we mix up the styles,” says Badger. “There’s kind of a reggae bass there, but we kind of mess with that. That keeps it musically interesting. Mark [Grunden], the drummer, is pretty good with African and Brazilian rhythms, so we mix that with the reggae and try and come up with our own thing rather than copy anyone else.”

With such a diverse demographic and cultural profile – members include Deline Briscoe from The Black Arm Band, Egypt-born Ann Metry on bass guitar and Zimbabwe-born percussionist Zeca Mesquita – the risk is always a sound that’s too complex. It’s a risk, however, that Badger and Almeida say the band is able to avoid.

“I think one of the tricks to writing songs is to keep it simple,” Badger says. “I might have been guilty of putting too many chords in at some stage, but then I say to the rest of the band, ‘It’s not kindergarten!’”

The band’s debut album – aptly titled Melting Pot – was produced by former Little River Band guitarist David Briggs. With Sol Nation’s live set often featuring elaborate jams, Briggs’ quest was to condense the music into a more truncated form suitable for the album format. “It’s turned out a lot more poppy than I expected, but if that helps it get

Sol Nation’s musical journey has taken them across Australia, from Arnhem Land in the Northern Territory to Cairns in North Queensland and New Caledonia in the South Pacific. Almeida cites a New Year’s Eve gig in Darling Harbour as a particular highlight.

“The stage was a floating stage in the middle of the river, and you needed to catch a ferry to get to the stage. We played just before the fireworks, so we had to be onstage just before the fireworks started,” he says. As the fireworks rained down around them in the exclusion zone, covering the band members in ash (“There were all these boats dotted around, all filled with explosives!”

Almeida and Badger agree that regional and country audiences respond to the band’s music in a particularly enthusiastic manner.

“Whenever we play the Theatre Royal in Castlemaine, the audience gets excited as soon as Colin touches his guitar,” Almeida laughs.

“When you go somewhere where there’s not much happening, people really enjoy it,” says Badger. “So you just put your heart and soul into it and don’t stop.”

With the release of Melting Pot, Sol Nation are hitting the road, travelling to Sydney this month

and northern Queensland in October. Badger hopes the band can continue to pursue its original quest to bring people together through music, and to see as much of the country, and the world, as it can.

“There’s kind of a party vibe behind the band. The whole idea was to get out there and play festivals and travel,” Badger says. “Hopefully the new album will open some doors.

We’ll go anywhere we can – have guitar, will travel!”

What: Melting Pot out now independently With: Travelaz Where: Camelot Lounge When: Friday September 25

thebrag.com

xxx photo by xxx

Almeida, who left Timor with his family almost 30 years ago, sat down with Badger and commenced writing songs for the fledgling Sol Nation. From the outset, Badger and Almeida were keen to create music that would fit a festival atmosphere, rather than the traditional pub circuit. “I’ve played in pubs for years and years,” Badger says, “and there’s nothing wrong with that, but there are other things as well. Being able to travel and go to interesting places is exciting.”

a unique musical background and vibe to the band. The result is a vibrant potpourri of musical styles.

“People ask us if we can describe our music, and I can’t!” Almeida laughs.

Robert Forster Imagine That By Patrick Emery

I

t’s been seven years since Robert Forster released his last solo album, The Evangelist.

At the time, Forster was still working through the grief at the death of his long-time friend, musical partner and fellow founding member of The Go-Betweens, Grant McLennan. Sensing the need for a break to clear his head and embark on a different musical direction, Forster envisaged a gap of five years before releasing his next album. But in music, as in life, things don’t always work out to plan, and it’s taken until now for the arrival of Songs To Play.

“It was meant to be five years, but it became seven. I just wanted to have a gap in my career,” Forster explains. “I’d done The Evangelist in 2008, and I knew that that album marked the end of an era, and that whatever I did next would be a new step. I thought the best way to mark that would be the passage of time. So it was planned to be five years, but it pushed out to seven.”

Forster had written The Evangelist in the wake of McLennan’s death, with the sombre tone of many of the songs reflecting his state of mind.

“That 18 months [after McLennan’s death] was quite intense,” Forster says. “I was in a very different place. I was dealing with a lot of grief, obviously – ‘fog’ is the wrong word, but a different state of mind. I was attached to these feelings, and I was attached to these particular songs. And they all spilled out on that album.”

Robert Forster photo by Stephen Booth

But even while working on his last album, Forster had a strong sense of where he wanted his next release to go, and how he wanted to record it. “I wanted to work with a different producer, I didn’t want to record in England, I wanted to recorded in analogue, not Pro Tools, I wanted to work with new musicians,” he says. The change in personnel and production style would help him create songs “that maybe flew off the guitar a little bit better – that there would be a bit more upbeat material”.

In 2011, Forster assembled his supporting cast: Scott Bromiley and Luke McDonald of The John Steel Singers (whose 2010 album Tangalooma was produced by Forster), drummer Matt Piele from Forster’s touring band, and Forster’s wife Karen Bäumler on violin and vocals.

“They all contributed enormously – I really gave the album over to people,” Forster says.

“Scott and Luke from The John Steel Singers especially – they’re master instrumentalists and have a great feeling for instrumentation and production ideas. When we started practising back in 2011, I had ten demos that I’d written

and I just said, ‘Take them wherever you want, don’t just plonk all along a bass or guitar,’ which I knew they wouldn’t do anyway.”

Apart from the occasional live gig, Forster’s collaboration with his wife of 25 years had hitherto been limited to jamming “in the kitchen and the lounge room”.

“So it was taking these elements – a drummer who I’d been out on the road with, these two guys whose record I’d produced and my wife – it was quite an odd group of people, all of whom are quite strong. We just did it.”

With his time split between writing, performing and finalising the release of the first instalment of the Go-Betweens box set, it would take another four years before Forster reconvened his ensemble to record Songs To Play. True to Forster’s original vision, it’s an album of upbeat tracks and whimsical lyrical exploration. The opening song, ‘Learn To Burn’, has shades of Talking Heads, The Modern Lovers and Roxy Music (“I didn’t plan it that way, but I love all of those artists”), while tracks such as ‘Songwriters On The Run’ – written in Germany as a play on a news story about a couple of escaped criminals whose plight captured the German public’s fascination – reflect Forster’s deft literary touch. On ‘Let Me Imagine You’, ‘I’m So Happy For You’ and ‘Love Is Where It Is’, Forster is the romantic poet, casting a rose-coloured glance at the world and people around him.

“Personally, I guess I am [a romantic] – I’m 58 years old and I’m a practising songwriter,” Forster says. “I have to be romantic – there’s no other way for me to exist! It is a very romantic profession once you get to my age, and that’s what I’ve done.”

As a variation on a theme, Forster uses ‘I Love Myself (And I Always Have)’ to explore his own sense of self-worth, and to play with audience perceptions of the song’s title and meaning.

“Every artist likes playing with the audience and their perceptions of a song, and what they think is going to happen next,” he says. “So the first two lines of the song are the song title, but then it changes, and you realise it’s not going to go off with a lot of silly one-liners, but goes off into different territory that relates to the title – so that’s what I did.”

What: Songs To Play out Friday September 18 through EMI Where: Oxford Art Factory When: Thursday November 26

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Marshall Okell And The Pride Revisiting The Classics By Augustus Welby

I

n 2013, Marshall Okell released his first album since parting from his backing band The Fro. Birdy not only marked Okell’s transition into performing as an outright solo artist, but it was a quieter, more emotional outing than his earlier work. It was widely publicised that Okell encountered some personal trauma in the lead-up to Birdy, which inspired a soulful edge in his songwriting.

“It was definitely a hard few years,” he says, “but it made me stronger and softened me up all at once.”

During the last 12 months, Okell has been hard at work on the follow-up to Birdy. The Ballina local admits that persevering through those trying experiences – the loss of his father, as well as a dear friend – had a lasting impact on the way he approaches songwriting.

However, he’s returned to the boisterous blues rock sound he’s best known for.

Muddy Waters, AC/DC and The Allman Brothers Band, for guidance. “That’s the shit I have been listening to my whole life.

I’m so lucky to have old hippie musical parents who had a great ear for kick-arse bands. Even the old Aussie rockers, you know; Easybeats, Billy Thorpe, [Kevin] Borich. It was always on the stereo or in the car. We did a lot of travel as a kid. Music made the travel groovy, man.”

Thanks to a successful crowdfunding campaign, Nick DiDia came on board to mix the forthcoming record. With DiDia conveniently based on the North Coast at Studios 301 in Byron Bay, Okell is a fan of his career work.

“I think the old fellas did some sort of voodoo on me,” he says. “Can’t stop riffing into the universe these days. Hendrix, [Johnny] Winter, Woodstock-style – there’s a lot of that on the record.”

“Nick DiDia has mixed some of my favourite albums,” he says. “Pearl Jam – Vs., Powderfinger – Internationalist, Rage Against The Machine – Evil Empire, Stone Temple Pilots – Core. I met Nick judging the grommets in the busking competition for Byron Bluesfest.

We had a groovy time helping the kids out, I hit him up to mix the record, showed him a few tracks and here we are.

In order to readapt to the gutsier sound, Okell looked towards his formative influences, including

“It’s been a whacky, emotional, healing, creative two-and-a-half years to say the least. I can say

that the music is back in full mojo positive energy force and the recordings I think have captured that raw energy again.”

Okell has long been a proud resident of the NSW North Coast.

The support and encouragement from his hometown has played an important role in fostering his music career.

“The venues and people up here seem to like my style of the blues and let me play my own music all night long. Three-hour original gigs

taught me how to keep the punters thirsty and happy, and it’s a deadly workout. I love walking, breathing and living in the Bundjalung country. The mob up here are so passionate and true to their culture.

It’s a blessing to be a part of.”

Backed by his touring band The Pride, Okell will headline this month’s Wollombi Music Festival.

Located at the foot of Hunter wine country, Wollombi doesn’t get a great deal of live musicians coming through, but Okell’s no stranger.

“[I’ve] played a few shows out there now, slept in the wagon under the trees, met a heap of groovy, kind, caring, whack locals and really can’t wait to come and have a boogie with you all again.

It looks like a great lineup.”

What: Wollombi Music Festival 2015 With: Knox Fiji, 19 Twenty, Transvaal Diamond Syndicate and more When: Saturday September 26

Circa Survive Family Man By David James Young

xxx

believe our luck that we get to watch them play every night”). Once touring in support of Descensus concludes, there will be a shift to focus on Saosin. When queried on a potential Australian debut for the Green-led lineup of the band, he replies with a laugh and a reminder to “never say never”. For the time being, however, Green is spending time with his literal family – his wife, Meredith, as well as his three young sons, James, Luke and William.

Green has found a notable following through social media for videos and photographs of the Green children out and about, using the hashtag #littlegods to document nearly every step of the way in their young lives.

It’s even moved into a clothing line – all of which was completely unexpected by the man himself.

A

nthony Green is a man who is lucky enough to have three families in his life, each bringing him avenues of creativity and a wholly supportive community that surrounds it. There’s Circa Survive, the atmospheric post-hardcore outfit now in its 11th year together, formed in the wake of Green’s departure from previous band Saosin. Last year saw the release of Circa Survive’s fifth LP, Descensus, itself a product of the third time the band has completed a two-year cycle, beginning with 2010’s Blue Sky Noise: record, release, tour, rinse and repeat. While a new Circa album may seem to appear like clockwork, Green explains that the cycle comes from a constant craving for new ideas between the five members of the band.

“We’re the kind of people that are always creative and always writing

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or recording something,” he explains. “Even if it’s not for Circa, we’re always writing and making music. When we get back together to write a record, there’s always something there – the process doesn’t really stop for us. It’s really important for us to keep both going at the same time – to have things away from the band that interest us musically, focusing on different projects. As long as that creative muscle is working, we’re out finding new influences and new ideas – and that all comes back to the music itself. It might seem as though we’re on a factory line, but we’re just always making music. It actually makes it easier.”

One of those separate projects for Green in recent times, ironically enough, is the very band the singer removed himself from originally –

the aforementioned Saosin. It was announced in 2014 that the Californians would reunite with their estranged former vocalist for a run of shows to celebrate the ten-year anniversary of Green’s sole release with them, the Translating The Name EP. This particular family reunion has proven to be far more fruitful than anyone concerned could have ever anticipated.

“Originally it was just going to be a one-off,” says Green. “Then, we had so much fun with the shows and revisiting that time in our lives, we decided to start writing music again.

We’ve been working on a record that is going to come out next year, and we’ll probably tour it in Circa’s downtime. It’s great to have this in the back pocket – it’s something that we’re all having so much fun with.

We’ve all grown a lot in the last ten

years, and the record we’ve been working on is so great. I can’t wait for people to hear it.”

As for how his Circa peers have reacted to the reformation, Green assures us that they have collectively approved. “I think they were a little wary at first,” he adds. “I think they were unsure of my intentions. Ultimately, though, I think they’ve seen the world of good that it’s done me and the rest of the guys in the band. It’s really helped me to make peace with who I was at that point in my life, and be able to reconcile it with who I am now.”

Circa Survive will return to Australia this month for a run of headlining dates with Pvris, for which Green is considerably excited (“It’s always a kick down there, man,” he enthuses.

“I am a huge Pvris fan – I can’t

“When my wife and I got Instagram, I think our first son was really little,” Green says. “We just got it as a way to send pictures to each other – it wasn’t something we were expecting. It just happened! We never really intended to have a following or anything like that. I don’t even think of it like that – it’s just a great way to show people what you’re involved in, whether that’s music, family, design, fashion, whatever it may be. It’s a fun thing for us, and the fact that so many people have gotten involved with it honestly makes us enjoy it all so much more.

“I know a lot of very private people, but I honestly don’t feel like we give all that much away with these photos. It’s another way to share and express joy – the same way that music does.” Plus, it couldn’t hurt to throw in some Circa Survive plugs along with the cute photos, right?

“That’s what it’s really all about,” teases Green with a laugh. “I mean, the kids are cool and all, but it’s just a marketing ploy to get other parents into checking out my band.”

What: Descensus out now through Ada/Warner With: Pvris Where: Metro Theatre When: Saturday September 19

thebrag.com

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

arts in focus

art & about

Art & About: Near Kin Kin outside Customs House

sydney’s new spaces

also inside:

HOW TO CHANGE THE WORLD / AL MURRAY / JUSTYNA KISIELEWICZ / ARTS NEWS & REVIEWS thebrag.com

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arts in focus

free stuff head to: thebrag.com/freeshit

five minutes WITH

T

ell us about the concept behind your fascinatingly named Spew Bag Challenge.

I was looking for something to pass the time on a flight; I had the bag and some kids’ pencils, and started doodling. I thought ‘Fully Sick’ would be an appropriate name for it. From then, every time I took a flight I would draw on

another bag and it grew into this big project.

How did a series of doodles lead you to an impressive freelance career?

It started as a passion for the history of typography, which grew as I observed the different forms it can take. I’ve worked for lots of commercial clients such as Heinz, QANTAS and The New

Romeo And Juliet

GEMMA O’BRIEN FROM PROJECT 5

York Times, and I also do some art-based projects as well such as Project 5.

Typography is your background – how big is the field in Australia these days?

I think both the field and the interest from the general public have grown a lot in the last five to ten years. It used to be a small field with people specialising in typography, but now lots of people use it in their craft, there are workshops available and it is a continuously growing community.

Project 5: Volume 7 is a threeday live art event raising money for disadvantaged youth. What will you be working on for the event?

There are two components – I and three other artists will be participating in a three-day live

BONUS STAGE’S BONUS GUESTS

The co-deputy leader of the Greens Party, Senator Scott Ludlam, and Dante Basco are set to appear as special guests at the Bonus Stage Oz Comic-Con After Hours Show. Senator Ludlam will be discussing the importance of federally funding the Australian games industry, and Basco, best known as the firebender from Avatar, will also make an appearance. There will be a live game show hosted by Carlo Ritchie and Ben O’Brien, with live appearances from game show characters, cosplay, sketches and a dose of gaming comedy. The After Hours Show will be held at Giant Dwarf on Saturday September 26.

painting exhibition, and then we have also prepared some works specifically for the public exhibition, which will be on display over the two weeks.

How well does your art translate from smaller form ‘spew bags’ to larger canvasses? Are there any challenges specific to each, beyond the obvious issues of space?

Even when working large-scale, the key is to draw small-scale first.

It is important to take into account the physical interaction with the work, and always make the small details impactful.

CRIMSON PEAK

Guillermo del Toro’s new gothic thriller Crimson Peak tells the story of a girl being lured to the mountains in search of a mysterious stranger whom she has fallen in love with. The mountains are full of secrets and haunting stories, inevitably plunging her into a dark place from which there’s little chance of escape. The camera follows the protagonist as she embarks on a quest to find love and truth. This indie film stars Tom Hiddleston, Jessica Chastain, Mia Wasikowska, Charlie Hunnam and Jim Beaver, and opens in cinemas on Thursday October 15.

We have ten in-season double passes to give away. To be in the hat, click to thebrag.com/freeshit.

Crimson Peak © 2015 Universal Studios. All Rights Reserved.

arts news...what's goin' on around town... with Tegan Reeves, Eden Gillespie and Aaron Streatfeild

What: Project 5: Volume 7 as part of Art & About 2015 Where: Darling Quarter When: Friday September 18 – Saturday October 17

The Illusionists 1903

DUMI MOYI

Carriageworks will host a cult-inspired dance show, Dumi Moyi, by the renowned French choreographer, François Chaignaud.

Chaignaud’s dance style is influenced by the strange and surreal – think creepy cults and religious fanaticism, and you’ll land somewhere close to the strange beauty Chaignaud brings to the stage. Dumi Moyi combines choreography with the rhythms of Ukrainian, Filipino and Sephardic music to create a baroque recital.

The show will be held at Carriageworks from Wednesday September 30 – Saturday October 3.

ALLUSIONS TO ILLUSION

This December, the Sydney Opera House will set the scene for some of the world’s best illusionists, hand-picked from around the globe. Inspired by magicians of the good old days, The Illusionists 1903 showcases some of the most dangerous and thrilling illusions ever created. From the team behind The Illusionists and The Illusionists 2.0, the newest instalment will feature seven varying characters, taking audiences back to the bygone era of the spectacle. After shows in Brisbane and Adelaide in early 2015, it will be Sydney’s turn to host The Illusionists 1903 in a strictly limited season from Saturday December 19 – Monday December 28 at the Concert Hall, Sydney Opera House.

DUNCAN TRUSSELL LIVE Parkes Elvis Festival

THE BELL TOLLS INTO 2016

Bell Shakespeare’s 2016 program will feature a collection of plays that delve into love, despair and the foibles of humanity. Opening the year is Romeo And Juliet, which sees the return of Kelly Paterniti to Bell Shakespeare, playing the role of Juliet. Alex Williams (Underground: The Julian Assange Story and INXS: Never Tear Us Apart) will fill the role of Romeo in this tale of starcrossed lovers. The 2016 program, in which Peter Evans debuts as artistic director, also includes Shakespeare’s Othello and a new translation of La Femme Savants by Justin Fleming in the form of The Literati. Bell Shakespeare is also offering a free ‘In Conversation’ event with the directors of both Romeo And Juliet and Othello, allowing audiences the chance to experience a unique behind-thecurtain insight into the productions.

Bell Shakespeare’s 2016 season, dates and tickets are detailed at bellshakespeare.com.au.

Romeo And Juliet will show at the Playhouse, Sydney Opera House from Saturday February 20 – Sunday March 27.

FLICKS AT THE GREENS

A HUNKA HUNKA BURNIN’ ELVIS

Brace yourselves: the Parkes Elvis Festival is shakin’ its way back onto the schedule in January. 20,000 mad Elvis fans made their way to the New South Wales country town this year for a celebration of all things Presley, which has come a long way indeed since its 1993 debut as a small birthday party for the local newspaper editor. And to think Parkes was previously known for little more than a giant satellite dish. The 2016 program announcement unveils a summer-friendly festival theme this time around: ‘Fun In Acapulco’, based on Elvis’ Mexican escapades in the 1963 film of the same name. US tribute artist Donny Edwards will be on hand, while the famous street parade returns alongside the Elvis Gospel Service and the Renewal of Vows Ceremony hosted by an Elvis celebrant. And for Sydneysiders, there’s only one way to travel to the festival in style: by taking the Elvis Express from Sydney to Parkes on Thursday January 7. The 2016 Parkes Elvis extravaganza runs from Wednesday January 6 – Sunday January 10.

Uh-huh-huh, thank you very much.

The Greens North Sydney will host a monthlong outdoor cinema festival starting this week.

With winter officially over, you now have no excuse to be balled up on the couch watching re-runs of Grand Designs. From Wednesday September 16 – Sunday October 11, a huge range of movies will be screened on the bowling greens, including Dirty Dancing, Moonrise Kingdom and Dope, among a plethora of others. Visit thegreensnorthsydney.com.au for details.

PETER HELLIAR LIVE

Peter Helliar will be performing at a one-off Sydney stand-up show this December. Best known from his days on Rove and regular appearances on Channel Ten’s The Project, Helliar has been active on the comedy scene since the early ’90s. He’s also responsible for the hit ABC TV series It’s A Date. Catch Helliar at his only local show of the year at Giant Dwarf on Friday December 4.

thebrag.com

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The Duncan Trussell Family Hour, an internationally adored comedy podcast, is set to make a live recording in Sydney this November. Trussell and special guest Johnny Pemberton are stationed in the US and between them have appeared on a handful of hilarious shows such as Curb Your Enthusiasm, Adventure Time, Drunk History and It’s Always Sunny In Philadelphia. Expect a diverse show covering everything from drop bears to Tony Abbott’s love for Speedos. The live podcast is set to record at the Factory Theatre on Sunday November 8. Trussell will perform a stand-up show at the Metro Theatre the night before, on Saturday November 7.

WITH

HEATH FRANKLIN FROM CHOPPER

T

he latest edition of your show features some ‘known associates’ – what can you tell us about The Line Up? It’s going to be me working harder than James Brown, then when I go on an IV drip backstage to restore vital fluids lost from exertion, another member of Australian comedy’s A-team will come out and rip it in half, rinse and repeat relentlessly. It will be like Mad Max: Fury Road but with comedy instead of cars.

A spotlight on what’s happening at the Sydney Fringe Festival through the month of September…

[COMEDY]

As far as infamous Aussie lineups go, this rivals the Ned Kelly Gang – but which of the two groups would win in a fight?

The first rule of fighting the Kelly Gang is don’t arrive by train. Then, after that, it depends where we held the fight. If you fought the Kelly Gang in open ground with pistols, all that armour would give them the upper hand. If I got to choose where to fight the Kelly Gang, I would pick at the bottom of a river or an Olympic swimming pool.

What is it that audiences Down Under love about the bad boy?

Good boys are boring, aren’t they?

They have nothing to talk about. Oh, you did your tax on time and ate a healthy breakfast. Boo! I’m bored.

I think Australia is becoming an increasingly frustrating place to live too, so people really enjoy the escape of someone who can commit horrible acts of violence to people and things that deserve it.

Is Aussie larrikin humour going through a bit of a renaissance at the moment?

I don’t know if we are going through a renaissance, to be honest. Australia’s favourite pastime is waiting for a new comedy show to come on television

SHOW PROFILE

five minutes

He’s Just Not That India

and then put the boot in straight away.

We’ll tolerate any sort of garbage in drama and sit back and consume any sort of pre-digested condescending reality crap, but one dud moment in a new Australian comedy show and everyone is howling for it to be cancelled so its budget can be used to reanimate Graham Kennedy’s corpse so we can all sit back like idiots and crap on about the good old days. Then we watch some of this stuff again and realise it wasn’t even that good.

What is it about Chopper that keeps him relevant?

I think he is relevant because he is

critical of everything. He would have been critical of fax machines and now he is critical of social media. I hope he’s like a bullshit detector – just point him at whatever and see how he reacts. Being a criminal gives him access to the depths of human depravity but being a reasonably smart guy means he can switch seamlessly between being erudite and telling someone to get fucked.

What: Heath Franklin’s Chopper: The Line Up Where: The Comedy Store When: Friday September 18 and Friday September 25

The show: Jeeves shares his personal story about coming out to his parents as a comedian, having left his career as a future doctor in medicine, and the dreams his parents have now buried of him being the Good Indian Boy.

The talent: Jeeves has been doing comedy on the Sydney scene for about five years. He is a Raw Comedy State Finalist, uploads comedy sketches every week on his YouTube channel, and is passionate about making people laugh. Having come clean to his parents about his secret comedy career and sold out this show for the Sydney Comedy Festival, Jeeves is now firing all engines and breaking more than just a sweat to be one of your favourite Australian comics.

The crowd: If you have parents, if you are ethnic, if you know ethnic people, if you have dreams and a real need to fulfill those dreams, or if you have a cat, come and see this show.

Price: $18 (Wednesday) / $20 (Friday) Where: The Factory Floor, Factory Theatre When: Wednesday September 23 and Friday September 25

Rock Giveaway What's been on our TV screens this week Head to: thebrag.com/freeshit

S AY W EA IV G

DASHVILLE SKYLINE! FESTIVAL GIVEAWAY! WIN TIX!

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ountry music (and more) is heading to the Hunter Valley in the form of Dashville Skyline, a festival weekend that boasts a program of raw, Aussie songwriting with an old-time influence.

The event is styled to capture elements of the birth of Americana in the late ’60s, and beyond to the broader stylings of swamp rock and blues. This year’s lineup includes Holy Holy, Canada’s Bahamas, Wagons, Lachlan Bryan and Olympia.

WIN!

For your chance to win a double pass to Dashville Skyline on Saturday October 3 and Sunday October 4, visit thebrag.com/ freeshit.

Left: Holy Holy / Above: Wagons

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How To Change The World [FILM] A Green History By Adam Norris a good trust with him, and I truly feel he made a masterpiece.”

The success of the movie notwithstanding, the legacy of Greenpeace – and similar movements such as Sea Shepherd and the World Wildlife Fund – remains stronger than ever.

Never before has outrage at the degradation of natural environments and the decimation of animal populations been so vocal, and this is thanks in no small part to the gargantuan rise of communication technologies. It is certainly a far different landscape to the 1971 protest against atomic testing in Alaska that the film investigates.

“It really shows what pioneers they were, because they really didn’t have much,” says Emily.

“A 16-millimetre camera, a few canisters of film they could maybe capture a few minutes on. That was pretty much it. Once you got the shot, you kind of ran back to the boat to get back to land and show the world. They were really pretty archaic tools that they were using, and yet they still understood the power of those tools to create a much more immense change in the world.

I

t’s an old philosophy to leave the world in a better state than when you found it. Admirable, yet few of us can truly attest that the world has benefi tted from our brief tenure. Sure, you might have family and friends who will mourn you for a generation or two, but via our carbon footprint alone, our individual impacts have historically been a bit of a drain.

While the scales haven’t quite tipped yet, in recent decades the (occasionally ignorant) harm we have wrought on the planet has been addressed by more and more impassioned people; everyday folks inspired to step up against industrial forces to halt the irreparable damage being done to

our environment. Greenpeace has become synonymous with these efforts, and as the documentary How To Change The World is unveiled across the world, environmentalist and filmmaker Emily Hunter is already following in the footsteps of her late father, Bob Hunter; activist, journalist, and co-founder of Greenpeace. “[Jerry Rothwell] did an amazing job. Really he was the director of a seven-year history that has a different story depending on who you talk to,” laughs Emily.

“My family is over the moon. It was a dream of my father’s that stretches back 35, 40 years ago. He had wanted to tell this story, but at that time getting the

finances meant turning it into a Hollywood film. Documentary didn’t quite have the same flair and mainstream appeal that it does today. So this story of the original Greenpeace pioneers has been trying to be told long before I was born, because Dad knew this was a story of ordinary people doing the extraordinary, and that it would inspire people.

But through different producers and different celebrities, nothing ever happened.

“We actually thought the project was cursed for the longest time. It wasn’t until a couple of years after my father passed away that this director met with us and pitched the idea of a documentary. We felt

Justyna Kisielewicz [VISUAL ART] Colour From The Darkness By Tegan Jones

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ainbow-coloured candy, Minnie Mouse ears and Lolita sunglasses – they’re hardly the images one would expect to find coming from a former student of the Academy of Fine Arts in Warsaw. But Justyna Kisielewicz is no ordinary European artist, and this princess of pop culture is about to prove to Sydney just how rebellious the colour pink can be via her latest body of work, Growing Up Is Overrated.

Like any great artist, it seems like Kisielewicz was born to play the part. “The first painting that I did was when I was three years old on my mum’s thesis,” she laughs. “I always wanted to study art, but when the time came for me to take the exams I couldn’t because I was so sick. I had to think of something less physically heavy, because standing whilst painting all the time requires a lot of strength.”

Her need to switch trajectories, as well as a lifelong love affair with Western culture, made her next step clear.

“I liked American Studies and was interested in American culture, which you can tell by looking at my work, so it was the perfect match, I guess.

It also helped me to expand my horizons, because I got to know many interesting people and read a lot. When I was finally admitted to the Academy of Fine Arts in Warsaw, I knew what I wanted to do, what I wanted to paint and what stories I wanted to tell.”

Kisielewicz’s interest in pop culture, and its exploration in her art, was also cultivated at an incredibly young age. “In communist Poland there was a shortage of everything, so it was really difficult to get that stuff, and I wanted to have them,” she says. “There was a girl who sat next to me at elementary school and her mum was a translator in Germany, and she used to bring her cool stuff like Mickey Mouse and pink 22 :: BRAG :: 630 :: 16:09:15

“Today, in a way I think we’re spoilt, but we also have much more of an ability because our tools are way more democratic.

It’s not the broadcast era where a few elite get those controls, who decide what images, decide who gets what story out there.

“Now it’s the average person, and we’re seeing much more citizen journalism evoking conversation, leaking information and sparking social movement, because they’re capturing things that would otherwise go unnoticed. And that’s a very powerful tide, and I think that’s why we are seeing a rise in social movements. The marketing of those stories is possible in a way that never existed before.”

While Emily acted as researcher for the film, and is herself deeply entrenched in the conservationist movement (even finding herself taken hostage after protesting on the Galápagos Islands), this remains the deeply personal story of her father, who passed away in 2005. As such, the documentary stands as an informative call-toaction, but also as a poignant familial reminder.

“It’s been hard, and the first couple of times I couldn’t watch the whole thing. There are still parts now that will make me cry. I love it, but at a personal level it’s just hard, because the footage is so raw and real, it really takes you back into the ’70s. And my father’s voice – even when it’s told through an actor – his writing is so clear through that narration, it feels like a piece of my dad has come back alive.

It’s really quite bittersweet. But I’m glad, of course, that it’s happened.

This is the story he was always trying to tell, and it’s finally able to be shared to the public. Because I do see such an impact with people young and old who see this film, and that’s what he wanted.

“I think it’s in the consciousness of people all around the world, because we’re facing those realities now. We’re no longer in a time when we just protest something, we’re at a time where we’re trying to heal the issues that we face. There is a larger underground, and whether you call yourself an activist or an environmentalist, I think those terms don’t need to apply. I think there are so many people out there who want to make a difference, small or large. And that force, that humanity, that’s what gives me hope.”

What: How To Change The World (dir. Jerry Rothwell) Where: In cinemas Thursday September 17

What: Growing Up Is Overrated Where: Friends Of Leon Gallery When: Thursday September 17 – Sunday October 11

pencils, and I wanted them. But the only way of having them was to draw it. It was cool, because it meant that I could have any Disney character that I wanted.”

But it was far from smooth sailing for the artist as she got older. Studying art in a communist country meant that her penchant for bright colours and Western-inspired subject matter strayed far from the norm.

“The way I talk about it now makes it sound so easy-peasy, but the reality back then was a little more black than pink. The problem with the Academy in Warsaw is that they’re very conservative. They told me that I couldn’t do what I was doing because it was too bright, too colourful. They said that the greatest art is created in anguish and suffering.

“One of the professors expelled me from a drawing studio and I was also sent to the rector’s office because he said I stirred trouble, and there was a lot of controversy around my art. He asked what he should do, and I said, ‘Well, you can just expel me from the Academy and I’ll be totally grateful, because it seems like you guys don’t know anything about modern art and are so stale.’”

But not even Kisielewicz’s teachers could deny her talent for too long. They saw the potential in the artist’s brightly coloured perspective on both art and the world around her.

“One of my professors was a really well-known artist in Europe and the greatest thing he ever told me is that you have to do what you want to do. He said that I had inclinations for pinkish images and Disney deep within me, and that I had to do it. And I thought, ‘Yeah, this is in fact who I am.’ I had to discover myself or I was going to fail.”

Minnimal Fun by Justyna Kisielewicz

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Art & About [FESTIVAL] The Element Of Surprise By David Molloy

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ince 2002, the Art & About festival has engaged Sydneysiders and visitors alike with its diverse and eclectic range of art stuffed into every nook and cranny of the city. Like a smaller, less tourist-guzzling version of Vivid, it splashes a blend of performance, music, installation art and exhibitions across the CBD for the whole of September.

Until now, that is. Art & About is, as of this year, leaping out of the barriers of September and promising a full 12-month calendar of events to flood our city with creative works all year round. Project manager and acting creative director Stephen Gilby is just one of many contributors who are extremely excited about this brave new direction.

“What it does is it gives us an opportunity to not just focus on that one month when you might have all these fantastic things happening,” he says. “It means that throughout the year you can expect to see more things on every corner, every space in the city; things from major contemporary projects and installations [and] performances through to collaborative partnerships, or just thought-provoking exhibitions.”

For those who were already planning their September around Art & About’s photography exhibitions, talks and live works, Gilby has ensured the first month of this new schedule is kicking off in style.

“We’ve got a kind of mini-festival for this first year of transition into our annual program,” he says, revealing

that the opening night gala has been replaced with nine consecutive nights of music “right in the heart of the city” in a brand new pop-up bar on the Sydney Town Hall terrace.

“What we’re basically creating is an outdoor garden bar in homage to spring and the arrival of the warmer weather, with different sorts of live music; a really diverse lineup of music every evening,” Gilby says.

Featured in this flashy, New Yorkstyle setting will be the acoustic stylings of Dave Leaupepe and Joji Malani from Gang Of Youths, husband-and-wife indie-pop duo Microwave Jenny, Latin jazz from Emma Pask, R&B from Jones Jnr., rockabilly from Pat Capocci, a kids’ evening, and a host of DJs to keep the good vibes buzzing into the night. It culminates with a performance by local legend Paul Capsis singing alongside a 20-strong gospel choir, Café Of The Gate Of Salvation.

Taking over the Town Hall terrace is typical of this festival’s goals, based around its ability to find new and intriguing sites in which to host local and international works.

“We’ve had a general theme, which is ‘Art In Unusual Places’,” says Gilby. “That’s what Art & About is for – it’s there to put artists into places where you just wouldn’t expect them, and that’s what we really want to try and bring to the people of Sydney.

You know, surprise you!”

The tagline bears great resemblance to what it did when the festival was

first created, born of “a desire to take art out of the galleries and out of those big institutions, and bring it out into the public, to the people”, Gilby says.

the new program, with core sculpture Near Kin Kin – a 21-metre-high tower of bamboo that can be entered at ground level – currently being installed in Customs House Square.

“Very straightforward, very simple.

We’re not doing anything too obscure with it, we just want to bring people some art and let them enjoy it.”

“When you walk inside the sculpture it’s like you’re encased inside within this bamboo forest, and you can look up through the canopy to the sky above you,” Gilby says.

Echoing the sentiments of Sydney Contemporary director Barry Keldoulis, Gilby sees the city as more than what the tourism board portrays – beaches, the great outdoors and glamour.

“There’s a lot of real depth within Sydney, there’s so many artists practising out there… we can work with artists to develop and create work, and new work, new things that people can see and experience and engage with in a meaningful way, so we are very much still in the business of making sure that there are opportunities there for artists within Sydney.”

There is plenty to be excited about in

The sculpture, created by Sydney designers Cave Urban, is reflective of a focus on sustainability and environmental responsibility that, intriguingly, was not a planned theme of the festival.

“That’s just what came through,” says Gilby. “There were a lot of applications that came through to us – about 330 this year, so a huge number – and the ones that we have chosen like Blue Trees, like the [H20] Water Bar, like Near Kin Kin, they’re just the very best of the works that came through that really, we thought, resonated, and will really be things that the people of Sydney and visitors to Sydney are really going to

enjoy and be able to engage with.”

The program for the year also includes the return of Art & About’s patented Australian Life and Little Sydney Lives photography exhibitions, outdoor “immersive” screenings by Golden Age Cinema, and installation work Blue Trees, which “engages with people in the creation of the work itself”.

But for Gilby, the most exciting aspect of this year’s festival is that it stretches across the next 12 months.

“It’s going to be a year of things happening all the time, different times in different places throughout the year, and that’s fantastic.

We’ve never been able to do that before, and it really just gives more opportunity where you can go out and stumble across something new and exciting that really speaks to you.”

What: Art & About When: From Friday September 18 More: artandabout.com.au

Al Murray [COMEDY] A Nod To The Guvnor By Adam Norris

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hen the operator connects my call, she asks if I would like to speak to Al Murray – the English comedian voted as one of the top stand-up comics in the world – or his garishly patriotic alter ego, The Pub Landlord. Had I known this was a possibility beforehand, I would almost certainly have gone for the latter – after all, how often do you get to chat with somebody fictitious?

But it says a lot about Murray’s aptitude for switching personalities at a moment’s notice.

Ahead of his return to Australia for Just For Laughs Sydney, we chat about what keeps the comic fresh.

“Well, it’s not quite that easy!” Murray says as I compliment his versatility. “I have to kind of summon him up from somewhere stupid inside me. I’ve been doing it for such a long time, it’s become a matter of, ‘OK, here we go!’ And he talks in a very ridiculous way. Like me, he likes the sound of his own voice, but that’s about the only similarity.

“That said, he’s still my creation. He’s partly my way of addressing the world. If I had to do me, I wouldn’t know where to start. If you have a character, though – someone who puts such energy into things and has such a strong voice – I know where to start. I often think one of the problems in stand-up is how you get onto a subject, and why you want to talk about it in the first place. But The Pub Landlord, right, just goes, ‘Well, fuck me, the state of the world right now, what a nightmare!’ And then he’d get stuck in.”

While The Pub Landlord is exactly the kind of vehicle Murray can use to push lines and tease certain stereotypes, he is not some hollow mouthpiece for the comedian to spout faux-xenophobic sentiment or cheap gags. He has been living with and crafting this character for over two decades now, and it is a testament to the Landlord’s adaptability that he remains so popular. Though if Murray ever needed a shield for a particularly noxious punchline, he might be a handy figure to have at the ready.

“Ha! So far it hasn’t been a worry, and I still get to do the stuff I want to do. I’ve got one friend who I listen to, an old mate of mine who sometimes says, ‘You know, I don’t know about

that.’ And I listen to him, but for everyone else, there are so many different opinions. You can tell pretty quick in an audience if something is working or not. But there’s not some hidden, hideous gem I haven’t dared unleash yet. But who knows? When you’re writing, you never know quite what’s around the corner.”

The writing side of a comedian’s life tends to be uncharted territory for discussion. Many people seem to treat comics as punchline jukeboxes, casually summoning gags from some absurdist inner fount. But for Murray, the reality is much more practical, and humour comes from keeping a sharp eye on what is exciting enough to make the grade.

“God, who knows how we all really do it.

I can only speak for myself, really, but I’m kind of methodical. I write everything down, I save everything. I’ll try to learn it, then I’ll fail to learn it, then I’ll take it all again and put it through a kind of wrangler. [Humour] can be quite a curious thing, but writing, that’s what’s really curious. The big problem with it is that you have to sit down and actually do it. People like to think that comics are struck by inspiration from above, or they happen to overhear something funny someone said on a bus, blah blah. But it’s as much to do with sitting down and writing the fucking stuff, unfortunately.

“I save everything. When I come to write a new show, I look at all the stuff left behind that I hadn’t been able to make work. I have this kind of leftovers file, and very often with ideas it isn’t that they didn’t work, it’s that you didn’t find the way to make them work. You need to try and look back over things at every angle, and you always need to keep things fresh.”

Murray’s One Man, One Guvnor tour is widely anticipated here in Australia, thanks in no small part to his commitment to keeping each show unique. Coming from preposterously huge performances in the UK – including at London’s O2 Arena and sold-out West End gigs – the show is proving to be a rare chance to catch both Murray and his amusingly ethnocentric creation, with each performance distinct from the last.

“You want tonight to be the night. Whatever

show you’re at. You want it to be unique for the audience, and one of the ways of doing that is by improvising. I improvise the first half-hour of the show, and because I’m in character …

I don’t know if it’s easier, but it tends to define what I can do, improvise-wise. You learn what the edges are, the boundaries that you run between.

“So I improvise that first bit, and all the people who’ve been picked up along the way get

reincorporated into the show, fed back into the story. It’s like keeping different plates spinning at once and at the end we all come crashing down together.”

What: One Man, One Guvnor as part of Just For Laughs Sydney 2015 Where: Playhouse, Sydney Opera House When: Monday October 19 – Wednesday October 21

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

Death And The Maiden

■ Film

CUT SNAKE In cinemas Thursday September 24 As for characterisation, Russell’s turn as Merv ‘Sparra’ Farrell is often frustratingly one-note. His minimal dialogue makes him too conspicuous for one attempting to start afresh. And speaking of one-note, Robert Morgan’s copper is pure caricature, and a scene in which he threatens Paula is almost comical in its aggression.

Cut Snake

The real surprise here is Stapleton – at first seeming like your average run-of-the-mill weightlifting tough-nut sociopath, there’s a true complexity to Pommie of which Blake Ayshford’s screenplay makes solid use.

He has deep, compelling reasons for his behaviour, although occasionally he engages in momentary acts of brutality seemingly just to remind us of his violent potential. His attempted rape of a prostitute, for example, seems heavy-handed, out of character and unnecessary.

Shame on me, really, for walking into a film with low expectations simply because it’s a rural Australian crime drama – i.e. the only films we make here, apparently. Cut Snake manages to surprise with its complex characters and distinctive cinematography, elevating it above your run-of-the-mill ‘Aussie’ flick.

Merv Farrell (Alex Russell) is settling into a new family and a new life in Melbourne, complete with his own home and an engagement ring for his girlfriend, Paula (Jessica de Gouw), when Pommie (Sullivan Stapleton) shows up. Brutish

There are also scenes that dance between condoning and demonising natural impulses, and an ending which trips lightly away from forcing a moral stance from the creative leads.

It’s a weak choice for an otherwise nuanced and bold screenplay.

and charismatic, Pommie has just got out of prison, and is hell-bent on seeing Merv return to the world he left behind.

For yet another film set in small-town outback Australia, Cut Snake looks a treat thanks to Simon Chapman’s cinematographic efforts. Director Tony Ayres keeps the boil on from the word go, building tensions in unexpected places – there’s the classic hero’s dilemma of Merv choosing between his new life and the old, and another, more pressing question that lingers as subtext until bursting into the light.

However, there’s more than enough strength in the film to lift it above its foibles. Cut Snake is no Animal Kingdom, but it’s still got plenty of bite and blood, and will hopefully inspire more annoying ‘Aussie genre’ filmmakers to beef up their characters’ backstories.

David Molloy

■ Film

Life

LIFE In cinemas now “There’s an awkwardness there – it’s pure, you can’t fake it,” says photographer Dennis Stock of the young star on the rise, James Dean.

It’s a peculiar line to leave in a film that attempts to do precisely that, seeking to capture the reality of the notoriously inscrutable public figure, outside of the aura he carries on screen. It can’t be said that Life is wholly successful on that front, but its strength lies in the aura it generates all of its own.

Stock (Robert Pattinson), a photographer for Life Magazine, is assigned to a young actor, Dean (Dane DeHaan), making waves on the eve of his debut feature, East Of Eden. The two form an uneasy friendship as they get each other’s measure, both struggling to come to terms with where their lives have led them.

The instincts of screenwriter Luke Davies have led him to a fine angle on the story, exploring the balance of power between photographer and subject. While the film is very low-key, Charlotte Bruus Christensen lenses it with grace and subtlety, and the performances as guided by director Anton Corbijn are tender.

DeHaan’s performance as the legendary Dean is an unusual one – perhaps accurate, perhaps not, as his soft, lilting voice does lend a surreality to the film that feels out of place.

Nevertheless, he blends into the Bohemian

setting, looking quite the part, if a little too baby-faced.

something to the cold colour palette, the sense that everyone in this world is tired and strained, the constant sense of yearning for something lost or never found.

It’s matched by Pattinson, who (ever shaking off the taint of the Twilight saga) proves once again his versatility and restraint in crafting the dislikable Stock. Both operate in a realm of uncomfortable masculinity that is rarely seen and very engaging, but let down by an uninspiring script.

This may be core to why such an esoteric title is applicable, because this hard-to-describe sensation is so much more affecting than the film’s key message. ‘Live your life like there’s no time left’ is not exactly groundbreaking.

The plot construction feels inconclusive, lacking in a lasting purpose; it’s been described as ‘arthouse’ despite having no sense of aspiration to it. But there is something to this film – a sensation that it leaves in the viewer, a melancholy that can’t be attributed simply to Dean’s fate. There’s

BEAMS Arts Festival

Though it is a film of simple means, and weakened by too much affect, Life has an intangible value, just the same as its subject.

David Molloy

Arts Exposed What's in our diary...

The BEAMS Arts Festival is a free creative event set to transform the streets of Chippendale into an artistic hub this weekend. The event has been crafted as a night of ‘enlightenment’, presenting all forms of art from local talents who live around the area.

For aspiring Picassos and Van Goghs, there will be a chance to show off your creative skills with hands-on art workshops. There will also be plenty of live music and dance performances, making up one of the most vibrant and buzzing art events of the year. The festival will be held along Balfour Street, Little Queen Street and surrounding laneways of Chippendale and in the Chippendale Green public park. True to the artistic personality of the festival, each street has been assigned a different colour to make the festival easier to navigate. Don’t miss out on the trippy light shows that will brighten (and enlighten) your creative pathway.

DEATH AND THE MAIDEN Playing at Wharf 1, Sydney Theatre Company until Saturday October 17 Though the Polanski film version of Death And The Maiden left a lasting impression, it had little to do with the direction or performances. It wasn’t even the script, although Ariel Dorfman co-wrote it based on his own play. It was the premise that seemed most promising, so full of dark potential, and Leticia Cáceres’ production stays true to the troubling ambiguity of Dorfman’s original.

Set in an unknown country (albeit one that closely resembles post-Pinochet Chile) democratically establishing itself following years of tyranny, human rights lawyer Gerardo Escobar and wife Paulina live in an isolated beach house. One evening, helpful stranger Dr. Roberto Miranda arrives, initiating a searing psychological thriller. Paulina, once abducted, raped and tortured by unseen government captors, is convinced by the voice of Miranda that he was the man behind her torment. After subduing the doctor, she compels her husband to act in Miranda’s defence, and thus the tension is set.

It is a disturbing if fascinating set-up, and the cast does an admirable job of making the stakes seem immediate and real. In what is arguably the least ‘meaty’ role, Steve Mouzakis nevertheless brings an everyman appeal to Gerardo. He appears as witness and executor of the truth, and although his delivery is initially hesitant and his chemistry with Paulina somewhat awkward, he soon slides into place.

Susie Porter delivers a rather more uneven performance. Though we are witnessing a character torn apart by past demons, who must alternate between intensity and questionable calm, her swings seem too studied and at times overdrawn. Yet we do not doubt the emotional honesty of her portrayal, and the harrowing strength and fragility of Paulina is made very real.

Still, the strengths of the production are Nick Schlieper’s outstanding set design – a rotating stage of three stark white rooms – and Eugene Gilfedder’s Miranda. You never once question the joviality, fear, outrage and remorse of his character, even if the sincerity of these emotions is itself entirely suspect. Is this the man who inflicted such atrocities, or someone struck by chance to be the intimate of Paulina’s madness?

There is a particularly memorable scene where we find a voice recorder projecting a confession into an empty room. The import is not who hears these words, but that they are said at all; that truth – even the shaky suspicion of truth that we witness here – is spoken aloud and remembered. This is a stirring production, one that it is pleasing to finally see staged with such integrity.

Adam Norris

For more details visit beamsfestival.com.au.

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thebrag.com

Death And The Maiden photo by Jeff Busby

Chippendale, Saturday September 19

■ Theatre

out & about

Game On Gaming news with Adam Guetti

SEPT What's On 2015

EB GAMES EXPO

If you’re a hardcore gamer, chances are you know all about E3 – the video game mecca held once a year in Los Angeles. Well then, you should also know that EB Expo is the closest replica you’ll get on our shores. Taking place at Sydney Showgrounds from Friday October 2 – Sunday October 4, expect this year’s expo to be filled with goodness. From cosplay competitions to a performance from The Umbilical Brothers and amusement sideshow rides, there’s a little something for everyone.

Oh, and there are also games. So many games – including (but certainly not limited to, Call Of Duty: Black Ops III, Fallout 4, Assassin’s Creed Syndicate, Halo 5, Star Wars Battlefront and too many more to list. General admission tickets will set you back $39.95 for each session.

Queer(ish) matters with Lucy Watson

OZ COMIC-CON We all hear about San Diego Comic-Con, but did you know Australia has its own, too? Yes, Oz Comic-Con is one of the best destinations around for pop culture fanatics, and the good news is you don’t have to wait long to experience it – this year’s show is taking place on Saturday September 26 and Sunday September 27 at Sydney Exhibition Centre, Glebe Island. Aside from the chance to get your hands on the usual range of comics, collectibles and games, make sure you also check out a few of the celebrity panels – including the likes of Richard Dean Anderson (Stargate SG-1), Rachel Nichols (Continuum), Jim Beaver (Supernatural) and Sam Lloyd (Scrubs). Tickets for the event start from $15.

Disney Infinity 3.0

W

hen Disney Infi nity y launched in 2013, it captured the hearts and minds of children and the inner children of adults alike. Here was a game that took the toys-to-life concept, then placed the incredibly enticing Disney stamp all over it. Two years later, and how is the series planning on keeping you interested?

Simple: just add Star Wars.

FIGURING IT OUT

BONUS TIPS

Review: Disney Infinity 3.0

If you’ve somehow missed the Disney Infi nity bandwagon, the basic gist is simple.

Your Infi nity 3.0 Starter Pack comes with an Infi nity base, a Play Set and two figurines. Once you’ve booted up the game, Play Sets can be added by placing the relevant item on the base, while characters can be switched in and out of the game in a similar fashion. Should you want to boost your collection, your possibilities are (almost) endless. The current purchasable roster includes Yoda, Frozen’s Olaf, Mulan, Mickey Mouse and way more.

Yes, Disney Infinity 3.0 finally does what we’ve all been waiting for – it merges the Star Wars franchise not only into the series’ impressively detailed figurines (which may set you back quite a few pretty pennies should you wish to collect them all), but into the surprisingly enjoyable Twilight Of The Republic Play Set that comes bundled with the core Starter Pack. After what was a fairly lacklustre Marvel campaign last year, Twilight Of The Republic largely benefits from the creative flexibility Star Wars allows. Planet hopping, a variety of foes to slice up and an assortment of mission types all help keep things fresh.

TURNING YOU INSIDE OUT

But nothing has helped elevate the series more than the involvement of Ninja Theory. The team behind beloved action slashers like DmC: Devil May Cry, its contribution is instantly noticeable – helping rework Infi nity’s combat into a much more refined experience. Its biggest compliment is that it finally feels like a meaty video game, irrespective of age. All in all, although the six-hour runtime may irk some, Twilight Of The Republic is a solid pack-in that’s bound to create smiles.

Aside from Republic Of The Jedi, Disney Infi nity 3.0 has one more way to suck hours away from your life – the Inside Out Play Set. Based within the world of Pixar’s latest critical darling, the adventure doesn’t actually follow the events of the film. Instead, your mission begins after Riley falls asleep while watching a scary movie – sending her subconscious into a tailspin. Cue a range of clever 3D and 2D platforming challenges as her emotions (Anger, Fear, Joy, Disgust and Sadness) are left to pick up the pieces. The Play Set retails for $39.95.

Once you’re done you can move right onto the Toy Box – Infinity’s lovechild of Minecraftt and standard level editor. It’s in Toy Box that nearly anything goes. Give the Hulkbuster a lightsaber, have Darth Vader duke it out against Mickey – you’re more than welcome to.

Encouraged, even. Once you’ve worked your way through the tutorial-like Hub you’ll be left to create your own game types, deck out interiors or just run around punching bad guys in the face. Nearly every aspect has been tinkered with, but sidekicks are probably the most helpful – tiny friends who can complete tasks like tending to crops or act as an actual lifesaver in battle.

There’s such a wealth of content in Disney Infinity 3.0 that it’s almost daunting, and that’s not even taking into account Toy Box Takeoverr (another great dungeon crawler-esque add-on).

But no matter your age or how you look at it, make no doubt about it – the force is strong with this one.

EMPIRE STATE OF MIND

M

aking headlines last week was a study that found that gaydar is not a thing. Essentially, the study proved you could not tell someone’s sexuality based on looking at photos of their face. Instead, it argued gaydar is actually a damaging form of stereotyping.

Upon first glance, I was supremely pissed at this study and its lack of consideration of things like body language, interaction with others and so on. That was until I started reading the comments from people who are (statistically speaking) probably straight, insisting that it’s easy to tell if a man is gay because he is effeminate, that lesbians walk like men, and basically being ignorant straight people.

The issue is, things like body language and stereotypes, which I’ve previously written about for this column, are supremely useful for other queer people. The same goes for any other subculture, really. They’re used as markers for those within your community to signal to them that you’re one of them.

They start becoming harmful when those outside the community claim knowledge or ownership of them.

So perhaps gaydar is a thing, but only among queers. I read an article recently about Lesbian Fuck Eye (LFE). LFE is the look that simultaneously recognises and acknowledges each other’s queerness, and expresses desire. For me, it’s not always sexual desire, but also a desire for community, for recognition of shared experience.

Stereotypes help get us to LFE, but LFE is the confirmation. I get on the bus and see a woman with short hair and a plaid shirt.

If she doesn’t even notice me, chances are she’s straight. If she looks up and holds my gaze for just a second, there’s that moment of acknowledgement.

I get stared at in public, a lot. When you meet someone’s gaze, it’s easy to tell if they’re looking at you because they recognise you and the community you both share, or if they’re staring because

they think you look weird. While it’s hard to explain, it’s not exactly rocket science.

This article called it Lesbian Fuck Eye. My friends and I have called it The Look.

My primary school teacher friend gets it from lesbian parents. My office worker mate sees it in bus drivers, hairdressers, bartenders. The Look gives us the chance to acknowledge our community in a world where it’s barely ever visibly present (bar Wednesday nights in Newtown – though one night a week isn’t really good enough).

Of course, The Look and many other aspects of your gaydar rely on some degree of subcultural recognition. Today, we have the luxury of so many subcultural markers that we can get away with presenting queer, to a queer audience, without necessarily conforming to a harmful stereotype imposed by a straight culture. As LGBT representations become more apparent in pop culture, we are gifted with more markers to signify one’s sexuality than straight audiences can keep up with.

The study did make one good point though – why does it matter what someone’s sexuality is? And that’s just it – it doesn’t, unless you want to fuck each other, or be a part of each other’s community. That’s why The Look works: both parties are desiring each other, whether that desire be sexual, or simply a desire for recognition. If a queer person chooses not to engage in The Look, or other body language signifiers, or chooses not to use subcultural markers of sexuality, then their sexuality is irrelevant, because they aren’t seeking to display it to others.

Gaydar only really applies to those happy to be marked.

this week…

Pablo Calamari @ Love Club This Friday September 18, Love Club is launching its new weekly late-night event at the Bridge Hotel with Pablo Calamari. It kicks off at midnight and runs until 7am weekly, so keep it in mind every time you get kicked out of the CBD. This Saturday September 19 sees a new queer party

launched in the Blue Mountains’ Victoria & Albert Guesthouse. 1050 features Sydney regular Ben Drayton, and looks to be a fun mountain rave holiday getaway.

On Sunday September 20, Stereogamous, alongside Picnic, are putting on a Teddy Bear’s Picnic. Details are TBA at time of writing, but

Stereogamous check out Stereogamous’ Facebook for more info.

Queer Screen runs from Tuesday September 22 – Sunday September 27 at Event Cinemas George Street. There’s a bunch of excellent films on, including Boulevard, the opening night Australian premiere that features Robin Williams’ last dramatic role.

Adam Guetti

The most exciting Play Set, however, is the one you’ve been dying to play – Rise Against The Empire.

It’s here you’ll be able to join the legendary Luke Skywalker and Princess Leia as they overthrow the evil Galactic Empire in one of the most adorable recreations ever. It’s out Thursday October 8.

thebrag.com

Boulevard

BRAG :: 630 :: 16:09:15 :: 25

BARS BRAG

B R A G ’ S G U I D E T O S Y D N E Y ’ S B E S T WAT E R I N G H O L E S

Ash St Cellar 1 Ash St, Sydney CBD (02) 9240 3000 Mon – Fri 8.30am-11pm

100 Cumberland St, The Rocks (02) 9247 2229 Mon – Sun 10.30am-midnight

Assembly 488 Kent St, Sydney CBD (02) 9283 8808 Mon – Tue 5-11pm; Wed – Fri noon-midnight; Sat 5pm-midnight

Balcony Bar 46 Erskine St, Sydney CBD (02) 9299 3526 Mon 5pm - late; Tue – Fri noon-midnight; Sat 5pm-midnight

The Australian Heritage Hotel

BAR100 100 George St, The Rocks

(02) 8070 9311 Mon – Thu noon-late; Fri – Sat noon-3am; Sun noon-midnight Bar Eleven Lvl 11, 161 Sussex St, Sydney CBD (02) 9290 4712 Thu 4-9pm; Fri – Sat 4-11pm The Barber Shop 89 York St, Sydney CBD (02) 9299 9699

BLACK PENNY

Bondy’s L1, 16 Philip Ln, Sydney CBD (02) 9251 2347 Thu – Fri 5pm-late; Sat 5pm-late Bulletin Place First Floor, 10-14 Bulletin Place, Circular Quay Mon – Wed 4pm-midnight; Thurs – Sat 4pm-1am deVine 32 Market St, Sydney CBD (02) 9262 6906 Mon – Fri 11.30am-11.30pm; Sat 5.30-11.30pm

bar

OF

ADDRESS: 648 BOURKE ST, SURRY HILLS OPENING HOURS: MON – SAT 7AM-MIDNIGHT / SUN 7AM-10PM

The Baxter Inn Basement 152-156 Clarence St, Sydney CBD Mon – Sat 4pm-1am

TH

EK

A Work In Progress 50 King St, Sydney CBD (02) 9240 3000 Mon – Fri noon-2am

The Attic 275 Pitt St, Sydney CBD (02) 9284 1200 Mon – Fri 11am-1am; Saturday 5pm-1am

Mon – Wed, Sat 4pm-midnight; Thurs – Fri 3pm-midnight

E

WE

bar

Frankie’s Pizza 50 Hunter St, Sydney CBD Mon – Fri noon-3am; Sat – Sun 4pm-3am Gilt Lounge 49 Market St, Sydney CBD (02) 8262 0000 Wed 6pm-midnight; Thu & Sat 6pm-2am; Fri 5pm-2am The Glenmore 96 Cumberland St, The Rocks (02) 9247 4794 Mon – Thu, Sun 11am-midnight; Fri – Sat 11am-1am Goodgod Small Club 53-55 Liverpool St, Sydney CBD (02) 8084 0587 Wed 5pm-11pm; Thu 5pm-1am; Fri 5pm-3am; Sat 6pm-3am Grain Bar 199 George St, Sydney CBD (02) 9250 3118 Mon – Sun noon-late Grandma’s Basement 275 Clarence St, Sydney CBD (02) 9264 3004 Mon – Fri 3pm-late; Sat 5pm-late The Fox Hole 68A Erskine St, Sydney CBD (02) 9279 4369 Mon 7am-3pm; Tue – Fri 7am-evening The Grasshopper 1 Temperance Ln, Sydney CBD (02) 9947 9025 Mon – Thurs & Sat 4pm-late; Fri noon-late

What’s on the menu?

We’re open from dawn till dusk – come in early for a buildyour-own-breakfast and wash it down with our local signature coffee roast from Annandale’s Blacksmith Roasters. Our share plates are perfect for groups and include pork belly bites with an orange and cardamom glaze, and asparagus and taleggio arancini.

On Monday nights we have our 50 cent chicken wing challenge – the record sits at 48 wings and has yet to be beaten, but if burgers and fries are more your thing you can’t go past our $12 Tuesdays. The pork belly, red cabbage, provolone cheese and apple compote is king.

Care for a drink?

We offer Sydney’s widest range of all-Australian craft beer, cider, ginger beer, gin, whisky and wine. Choose from 30 local Australian craft beers, 36 whiskies and 25 gins. Our fridges and shelves are constantly rotating so you’ll discover a new gem every week. Our cocktail list features twists on classics with each cocktail containing at least one Australian spirit. But if there’s one signature that describes Black Penny in a glass, it would be Pirates Gold: Dead Man’s Drop spiced rum, double drip coffee liqueur and fresh Blacksmith espresso.

Sounds: Live and local, and it kicks off on Thursday night and rolls through to

Sunday evening. Every Thursday night we have our (three-year and counting) Bourbon and Blues Showcase. Catch Big Blind Ray, Alice Terry and Dr. Don Hopkins for a south-of-the-border bluesand soul-drenched bourbon session of love. Harvey weaves his three-instrument muse on Friday nights and Hannah Robinson and friends hit acoustic highs on Sunday afternoon.

Highlights: It’s definitely our enviable range of all-Australian craft beer, cider, ginger beer, gin, whisky and wine matched with food and live music.

The bill comes to: Food and drinks per person: $40-60.

Harpoon Harry 40-44 Wentworth Ave, Sydney CBD (02) 8262 8800 Mon – Sun 11:30am-3am The Lobo Plantation Basement Lot 1, 209 Clarence St, Sydney CBD 0415 554 908 Mon – Thu, Sat 4pm-midnight; Fri 2pm-midnight The Loft UTS 15 Broadway, Sydney (behind 2SER) (02) 9514 1149 Mon – Wed 2pm-10pm; Thurs – Fri 2pm-late Mojo Record Bar Basement 73 York St, Sydney CBD (02) 9262 4999 Mon – Wed 4pm-midnight; Thu, Sat 4pm-1am; Fri 3pm-1am The Morrison 225 George St, Sydney CBD (02) 9247 6744 Mon – Wed 11.30am-midnight; Thu 11.30am-1am; Fri – Sat 11.30am-2am; Sun 11.30am-10pm 11.30am-10pm The Palisade 35 Bettington St, Millers Point (02) 9247 2040 Tue – Fri noon-2.30pm & 6pm-9.30pm; Sat 6pm-9.30pm

Black Penny

26 :: BRAG :: 630 :: 16:09:15

– Fri 3pm-late; Sat – Sun 5pm-late

Mon – Sat 6pm-late; Sun 11am-3pm

Papa Gede’s Bar Laneway at the end of 348 Kent St, Sydney CBD Mon – Sat 5pm-12am

Bellini Lounge 2 Kellett St, Potts Point (02) 9331 0065 Thu – Sun 6pm-late

Ramblin’ Rascal Tavern 199 Elizabeth St, Sydney CBD Mon – Sat 4pm-midnight; Sun 6pm-10pm

The Beresford 354 Bourke St, Surry Hills (02) 8313 5000 Mon – Sun noon-1am

Rockpool Bar & Grill 66 Hunter St, Sydney CBD (02) 8078 1900 Mon – Sat lunch & dinner The Rook Level 7, 56-58 York St, Sydney CBD (02) 9262 2505 Mon, Sat 4pm-midnight; Tue – Fri noon-midnight The SG 32 York St, Sydney CBD 0402 813 035 Tues – Fri 4pm-midnight; Sat 6pm-midnight Shirt Bar 7 Sussex Ln, Sydney CBD (02) 8068 8222 Mon –Wed 8am-8pm; Thu – Fri 8am-10pm Since I Left You 338 Kent St, Sydney CBD (02) 9262 4986 Mon – Wed 5pm-10pm; Thu – Fri 5pm-midnight; Sat 6pm-midnight Small Bar 48 Erskine St, Sydney CBD (02) 9279 0782 Mon – Fri noon-midnight; Sat 5pm-midnight The Smoking Panda 5-7 Park St, Sydney CBD (02) 9264 4618 Wed – Sat 4pm-late Stitch Bar 61 York St, Sydney CBD (02) 9279 0380 Mon – Wed 4pm-midnight; Thu – Fri noon-2am; Sat 4pm-2am The Swinging Cat 44 King St, Sydney CBD (02) 9262 3696 Mon – Sat 4pm-midnight Tapa Vino 6 Bulletin Place, Circular Quay (02) 9247 3221 Mon – Fri noon-11.30pm Uncle Ming’s 55 York St, Sydney CBD Mon – Fri noon-midnight; Sat 5pm-midnight York Lane 56 Clarence St, Sydney CBD (02) 9299 1676 Mon – Wed 6.30am-10pm; Thu – Fri 6.30pm-midnight; Sat 6pm-midnight

121BC 4/50 Holt St, Surry Hills (02) 9699 1582 Tue – Sat 5pm-midnight Absinthe Salon 87 Albion St, Surry Hills (02) 9211 6632 Wed – Sat 4-10pm

Mr Tipply’s 347 Kent St, Sydney CBD (02) 9299 4877 Mon – Sat 10am-late

Arcadia Liquors 7 Cope St, Redfern (02) 8068 4470 Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm

Palmer & Co. Abercrombie Ln, Sydney CBD (02) 9240 3172 Mon – Wed 5pm-late; Thu

Bar H 80 Campbell St, Surry Hills (02) 9280 1980

Black Penny 648 Bourke St, Surry Hills (02) 9319 5061 Mon – Sat 7am-midnight; Sun 7am-10pm Brooklyn Social 17 Randle St, Surry Hills 0451 972 057 Tue – Sat noon-2am Button Bar 65 Foveaux St, Surry Hills (02) 9211 1544 Mon – Sat 4pm-midnight Café Lounge 277 Goulburn St, Surry Hills (02) 9016 3951 Mon – Thu 5pm-midnight; Fri – Sat 4pm-midnight; Sunday 4-10pm Casoni Italian Bar & Eatery 371-373 Bourke St, Darlinghurst Tue – Thu 5pm-11pm; Fri – Sat 5pm-midnight; Sun 5pm-10pm Central Tavern 42 Chalmers St, Surry Hills (02) 9212 3814 Mon – Sat 10am-2am; Sun 10am-10pm Ching-a-Lings 1/133 Oxford St, Darlinghurst (02) 9360 3333 Tue – Wed 6pm-11pm; Fri – Sat 6pm-1am; Sun 5pm-10pm The Cliff Dive 16-18 Oxford Square, Darlinghurst Wed – Sat 6pm-4am The Chalet Lvl 1, 235 Victoria St, Darlinghurst 0449 998 005 Thu – Sat 5pm--2am The Commons 32 Burton St, Darlinghurst (02) 9358 1487 Tue – Wed 6pm-late; Thu – Fri 12pm-late; Sat – Sun 6pm-late The Darlie Laundromatic 304 Palmer St, Darlinghurst Mon – Sat 5pm-11pm Darlo Bar 306 Liverpool St, Darlinghurst (02) 9331 3672 Mon – Sun 10am-midnight Eau De Vie 229 Darlinghurst Rd, Darlinghurst 0422 263 226 Mon – Sat 6pm-1am; Sun 6pm-midnight The Forresters 336 Riley St, Surry Hills (02) 9212 3035 Mon – Wed noonmidnight; Thu – Sat noon1am; Sun noon-10pm Gardel’s Bar 358 Cleveland St, Surry Hills (02) 8399 1440 Tue – Sat 6pm-midnight Gazebo 2 Elizabeth Bay Rd, Elizabeth Bay (02) 9357 5333 Mon – Fri 4pm-midnight; Sat – Sun noon-midnight

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COCKTAIL OF THE WEEK

RASPBERRY BERET

Pour it in your mouth-hole... (responsibly).

Earl’s Juke Joint 407 King St, Newtown Mon – Sat 4pm-midnight; Sun 4-10pm

@ BONDI HARDWARE 39 HALL ST, BONDI BEACH

Freda’s 107-109 Regent St, Chippendale (02) 8971 7336 Tues – Sat 4pm-midnight; Sun 4pm-10pm

Origins: Created with pure love by Jeremie, Hardware’s famous bearded French bartender.

Ingredients: • 45ml bourbon • 15ml black raspberry liqueur • 20ml lime juice • 30ml cranberry juice • 30ml raspberry puree • A handful of mint

The Hideaway Bar 156 Enmore Rd, Enmore (02) 8021 8451 Tue– Thu 4pm-midnight; Fri – Sat noon-1am; Sun noon-10pm

Method: Shake all ingredients and double strain, top with soda

Hive Bar 93 Erskineville Rd, Erskineville (02) 9519 9911 Mon – Fri noon-midnight; Sat 11am-midnight; Sun 11am-10pm

Glass: Highball glass Garnish: Sprig of mint Best drunk with: Hardware’s polenta, quinoa and goat’s cheese bite with delicious thyme aioli.

During: A long, passionate, candle-lit date night.

While wearing: A beret (of course) And listening to: Prince (of course)

Kelly’s On King 285 King St, Newtown (02) 9565 2288 Mon – Fri 10am-2.30am; Sat 10am-3.30am; Sun 11am-11.30pm

More: bondi-hardware.com.au

Goros 84-86 Mary St, Surry Hills (02) 9212 0214 Mon – Wed 11:30am-midnight; Thu 11:30am-1am: Fri 11:30am-3am; Sat 4pm-3am

The Local Taphouse 122 Flinders St, Darlinghurst (02) 9360 0088 Mon – Wed noonmidnight; Thu – Sat noonmidnight; Sun noon-11pm

The Hazy Rose 1/83 Stanley St, Darlinghurst (02) 9357 5036 Wed – Thu 5pm-midnight; Fri – Sat 3pm-midnight; Sun 3-10pm

Love, Tilly Devine 91 Crown Ln, Darlinghurst (02) 9326 9297 Mon – Sat 5pm-midnight; Sun 4-10pm

Hello Sailor 96 Oxford St, Darlinghurst (02) 9332 2442 Tue – Sun 5pm-3am Hinky Dinks 185 Darlinghurst Rd, Darlinghurst (02) 8084 6379 Mon – Sat 4pm-midnight; Sun 1-10pm Hollywood Hotel 2 Foster St, Surry Hills (02) 9281 2765 Mon – Wed 10am-midnight; Thu – Sat 10am-3am Hustle & Flow Bar 105 Regent St, Redfern (02) 9310 5593 Tue – Sat 5pm-midnight Jekyll & Hyde 332 Victoria St, Darlinghurst (02) 9360 5568 Wed – Fri 4pm-late; Sat 8.30am-late; Sun 8.30am-evening Li’l Darlin Darlinghurst 235 Victoria St, Darlinghurst (02) 8084 6100 Mon – Sun 4pm-late Li’l Darlin Surry Hills 420 Elizabeth St, Surry Hills (02) 9698 5488 Mon – Fri noon-late; Sat 4pm-late LL Wine and Dine 42 Llankelly Place Potts Point (02) 9356 8393 Mon – Thu 5pm-11pm; Fri – Sat noon-late; Sun 11am-10pm

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Low 302 302 Crown St, Surry Hills (02) 9368 1548 Mon – Sun 6pm-2am Mr Fox 557 Crown St, Surry Hills 0414 691 811 Tue – Wed 5pm-late; Sat 10am-midnight; Sun 10am-10pm The Norfolk 305 Cleveland St, Surry Hills (02) 9699 3177 Mon – Sat noon-midnight; Sun noon-10pm Old Growler 218 William St, Woolloomooloo 0422 911 650 Tue – Sat 5pm - midnight The Passage 231A Victoria St, Darlinghurst (02) 9358 6116 Mon – Sat 5pm-late Play Bar 72 Campbell St, Surry Hills (02) 9280 0885 Tues – Sat 5pm-midnight Pocket Bar 13 Burton St, Darlinghurst (02) 9380 7002 Mon – Wed 4pm-midnight; Fri – Sat 4pm-1am; Sun 4pm-midnight The Print Room 11 Glenmore Rd, Paddington 0424 034 020 Wed – Fri: 3pm-late; Sat 12pm-11pm, Sun 12pm-10pm Queenie’s Upstairs 336 Riley St, Surry Hills (02) 9212 3035 Tue – Sat 6pm-late & Fri noon-3pm

Tea House 530 King St, Newtown Mon – Fri 5pm-midnight; Sat – Sun 5.30pm-midnight

Peekaboo 120 Bourke St, Woolloomooloo 0403 747 788 Mon – Thu 4pm-10pm; Fri – Sat 4pm – 12am Roosevelt 32 Orwell St, Potts Point 0423 203 119 Tue – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm Rosie Campbell’s 320 Crown St, Surry Hills (02) 8356 9120 Mon 5pm-midnight: Tue – Sun 4pm-midnight Shady Pines Saloon Shop 4, 256 Crown St, Darlinghurst Mon – Sun 4pm-midnight The Soda Factory 16 Wentworth Ave, Surry Hills (02) 8096 9120 Mon – Fri 5pm-3am; Sat – Sun 6pm-3am Surly’s 182 Campbell St, Surry Hills (02) 9331 3705 Tue – Sun middaymidnight Sweethearts Rooftop 33/37 Darlinghurst Rd, Potts Point (02) 8070 2424 Mon – Thu 2pm-11.30pm; Fri – Sun noon-11.30pm This Must Be The Place 239 Oxford St, Darlinghurst (02) 9331 8063 Mon – Sun 3pm-midnight Tio’s Cerveceria 4/14 Foster St, Surry Hills Mon – Sun 5pm-midnight Vasco 421 Cleveland St, Redfern 0406 775 436 Tue – Sat 5pm-midnight The Village Inn 9-11 Glenmore Rd, Paddington (02) 9331 0911 Mon – Sun 12pm-late The Wild Rover 75 Campbell St, Surry Hills

Knox Street Bar 21 Shepherd St, Chippendale Tue – Thu 4pm-l0pm; Fri – Sat 4pm-11pm

(02) 9280 2235 Mon – Sat 4pm-midnight; Sun noon-10pm The Winery 285A Crown St, Surry Hills (02) 9331 0833 Mon – Sun noon-midnight

Anchor Bar 8 Campbell Pde, Bondi (02) 8084 3145 Tue – Fri 4.30pm-late; Sat – Sun 12.30pm-late Bondi Hardware 39 Hall St, Bondi (02) 9365 7176 Mon – Wed 5pm-late; Fri noon-midnight; Sat 9am-midnight; Sun 9am-10pm The Bucket List Shop 1, Bondi Pavilion, Queen Elizabeth Drive (02) 9365 4122 Mon – Tue 11am-5pm; Wed – Sun 11am-late The Corner House 281 Bondi Rd, Bondi (02) 8020 6698 Tue – Sat 5pm-midnight; Sun 3pm-10pm Fat Ruperts 249 Bondi Rd, Bondi (02) 9130 1033 Tue – Fri 6pm-late; Sat – Sun 2pm-late Mr Moustache 61-79 Hall St, Bondi Beach (02) 9300 8892 Mon – Fri 5pm-11pm; Sat noon-11pm; Sun noon10pm Speakeasy 83 Curlewis St, Bondi (02) 9130 2020 Mon – Sat 5pm-11pm; Sat – Sun 4pm-10pm Spring Street Social (and Jam Gallery) Underground 195 Oxford St, Bondi Junction (02) 9389 2485 Tues – Sat 4pm-3am Stuffed Beaver 271 Bondi Rd, Bondi (02) 9130 3002 Mon – Sat noon-midnight; Sun noon-10pm

The Angry Pirate 125 Redfern St Redfern (02) 9698 9140 Tue – Thur 5pm-midnight; Fri – Sat 3pm-midnight Bar-racuda 105 Enmore Rd, Newtown (02) 9519 1121 Mon – Sat 6pm-midnight The Bearded Tit 183 Regent St, Redfern (02) 8283 4082 Mon – Thu 4pm-midnight; Fri – Sat noon - midnight; Sun midday - 10pm Blacksheep 256 King St, Newtown (02) 8033 3455 Mon – Fri 4pm-11pm; Sat 2pm-11pm; Sun 2pm-10pm Bloodwood 416 King St, Newtown (02) 9557 7699 Mon, Wed – Thu 5pm-late; Fri – Sat noon-late; Sun noon-10pm

Kuleto’s 157 King St, Newtown (02) 9519 6369 Mon – Sat 4pm-late; Thu – Sat 4pm-3am The Little Guy 87 Glebe Point Rd, Glebe (02) 9200 0000 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3pm-10pm Mary’s 6 Mary St, Newtown (02) 4995 9550 Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm The Midnight Special 44 Enmore Road, Newtown (02) 9516 2345 Tues – Sat 5pm-midnight; Sun 5pm-10pm Miss Peaches 201 Missenden Rd, Newtown (02) 9557 7280 Wed – Sun 5pm-midnight

The Chip Off The Old Block 3 Little Queen Street, Chippendale (02) 9318 0815 Tue – Sat 4pm-11pm

The Moose Newtown 530 King St, Newtown (02) 9557 0072 Wed – Sat 6pm-midnight

Cornerstone Bar & Food 245 Wilson St, Eveleigh (02) 8571 9004 Sun – Wed 10am-5pm; Thu – Sat 10am-late

Mr Falcon’s 92 Glebe Point Rd, Glebe (02) 9029 6626 Mon – Thu 4pm-midnight; Fri 3pm-midnight; Sat noonmidnight; Sun 2pm-10pm

Corridor 153A King St, Newtown 0422 873 879 Tue – Fri 3pm-midnight; Sat 1pm-midnight; Sun 1pm-10pm Cottage Bar & Kitchen 342 Darling St, Balmain (02) 8084 8185 Mon – Wed 5pm-midnight; Thu – Sat noon-midnight; Sun noon-10pm Different Drummer 185 Glebe Point Rd, Glebe (02) 9552 3406 Mon – Sat 4.30pm-late Doris & Beryl’s Bridge Club and

Newtown Social Club 387 King St, Newtown (02) 9550 3974 Mon 9am-6pm; Tues – Fri 9am-8pm; Sat 10am-8pm The Oxford Tavern 1 New Canterbury Rd, Petersham (02) 8019 9351 Mon – Thu midday-10pm; Fri – Sat midday-11pm; Sun midday-9pm Raven’s Eye 127 King St, Newtown (02) 9517 2081 Mon – Thu 5pm-midnight; Fri – Sat 11.30am-midnight; Sun

11:30am-10pm The Record Crate 34 Glebe Point Rd, Glebe (02) 9660 1075 Tue – Sat noon-midnight; Sun noon-10pm

Your bar’s not here? Email: chris@thebrag. com

The Royal 156 Norton St, Leichhardt (02) 9569 2638 Mon – Thu 10am-1am; Fri – Sat 10am-3am; Sun 10am-midnight

Sun 8am-10pm

Secret Garden Bar 134a Enmore Rd, Enmore 0409 284 928 Mon – Sun 1am-11pm

InSitu 1/18 Sydney Rd, Manly (02) 9977 0669 Tue – Fri 5pm-midnight; Sat 9am-midnight; Sun 9am-10pm

Soho in Balmain 358 Darling St, Balmain 0407 525 208 Tue – Sun 5pm-midnight Temperance Society 122 Smith St, Summer Hill (02) 8068 5680 Mon – Thu 4pm-11pm; Fri – Sat: middaymidnight; Sun: midday10pm Thievery 91 Glebe Point Rd, Glebe (02) 8283 1329 Tue – Thu 6pm-11pm; Fri 6pm-midnight.

Sat 11pm-3pm & 6pm-midnight Timbah 375 Glebe Point Rd, Glebe (02) 9571 7005 Tue – Thu 4pm-10pm; Fri noon-11pm; Sat 3pm-11pm; Sun 4pm-8pm Wilhelmina’s Liquid and Larder 332 Darling St Balmain (02) 8068 8762 Tues – Fri 5pm - late; Sat – Sun 8am - late The Workers Lvl 1, 292 Darling St, Balmain (02) 9555 8410 Thu – Sat 5pm-3am; Sun 2pm-late ZanziBar 323 King St, Newtown (02) 9519 1511 Mon – Sat 10am-4am; Sun 10am-12am Zigi’s Wine And Cheese Bar 86 Abercrombie St, Chippendale (02) 9699 4222 Tue 4pm-10pm; Wed – Sat 2pm-late

Alberts Bar 100 Mount St, North Sydney (02) 9955 9097 Mon – Wed 11.30am-10pm; Thu 11.30am-11pm; Fri 11.30am-midnight

Honey Rider 230 Military Rd, Neutral Bay (02) 9953 8880 Tue – Sat 4pm-midnight; Sun 4pm-10pm

The Hunter 5 Myahgah Rd, Mosman 0409 100 339 Mon – Tue 5pm-midnight; Wed – Sat noonmidnight; Sun noon-10pm Jah Bar Shop 7, 9-15 Central Ave, Manly (02) 9977 4449 Mon – Fri 4pm-late; Sat 9am-late; Sun 9am-10pm The Local Bar 8 Young Ln, Neutral Bay (02) 9953 0027 Tue – Fri 11.30am-midnight; Sat 7am-midnight; Sun 7am-10pm Los Vida 419 Pacific Hwy, Crows Nest (02) 9439 8323 Mon – Wed 5pm-midnight; Thu – Sat 11.30am-midnight; Sun 11.30am-10pm Manly Wine 8-13 South Steyne, Manly (02) 8966 9000 Mon – Sun 6.30am-late The Mayor 400 Military Rd, Cremorne (02) 8969 6060 Tue – Wed 5pm-late; Thu – Sat noon-late; Sun noon-10pm Miami Cuba 47 North Steyne, Manly (02 99775186 Tue – Thu 8am-10pm; Fri – Sat 8am-1am; Sunday 8am-4pm Moonshine Lvl 2, Hotel Steyne, 75 The Corso, Manly (02) 9977 4977 Thu 5pm-2am; Fri 1pm-2am; Sat noon-2am; Sun noon-midnight The Pickled Possum 254 Military Rd, Neutral Bay (02) 9909 2091 Thu – Sat 9pm-1am

Firefly 24 Young St, Neutral Bay (02) 9909 0193 Mon – Thu 5-11.30pm; Fri 4-11.30pm; Sat noon11pm; Sun noon-10pm

SoCal 1 Young St, Neutral Bay (02) 9904 5691 Mon – Tue 4pm-late: Wed – Thu midday-1am; Fri – Sat midday- 2am; Sun midday-midnight

The Foxtrot 28 Falcon St, Crows Nest Tue – Wed 5pm-midnight; Thu 5pm-1am; Fri – Sat 5pm-2am; Sun 4pm-10pm

The Stoned Crow 39 Willoughby Rd, Crows Nest (02) 9439 5477 Mon – Sun noon-late

The Hayberry Bar & Diner 97 Willoughby Road, Crows Nest (02) 8084 0816 Tue – Thu 4pm-12am; Fri & Sat noon-midnight Sun noon-10pm

The Treehouse Hotel 60 Miller St, North Sydney (02) 8458 8980 Mon – Fri 7am-late; Sat 2pm-late

Hemingway’s 48 North Steyne, Manly (02) 9976 3030 Mon – Sat 8am-midnight;

Wilcox Cammeray 463 Miller St, Cammeray (02) 9460 0807 Tue – Thu 4pm-10pm; Fri BRAG :: 630 :: 16:09:15 :: 27

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

ALBUM OF THE WEEK BRING ME THE HORIZON That’s The Spirit Sony

BAIO The Names Liberator/Glassnote

Chris Baio is better known for bass-wielding in Vampire Weekend, but has turned his hand to crafting his own take on electronica. After a two-track EP in 2012, which went straight for the dancefl oor, his first album opts for a more varied experience.

‘Brainwash Yyrr Face’ sets the quirky tone and tempo right from the outset, but the unexpected vocals bring the song down and put it straight into house territory.

Towards the end of the track, a banjo piece brings the quirk back, hard, and it’s a fitting opening to an album of varied influences and a melting pot of sonics.

Title track ‘The Names’ and ‘Sister Of Pearl’ are probably the closest sounding to his OG band, but with an ’80s feel – the former having an almost Smiths vibe and the latter sounding very Talking Heads. ‘I Was Born In A Marathon’ and ‘Matter’ bring the dance back again, yet essentially this isn’t at all an ‘electronic’ or dance record, but rather a solid pop album taken at with a lefthanded hatchet.

Baio wears his heart on his sleeve, as with his influences, and while he might be trying to make you dance, he’s equally created a forward-thinking approach to retro-pop.

Julian Ramundi

Despite the bombastic nature of the music, the

BLIND MAN DEATH STARE Born A Centimetre From The Finish Line Independent/Bandcamp If you were ever a fan of punk outfit The Pints, get ready to have your socks blown off. After several years’ hiatus, the boys recently re-emerged under the new name Blind Man Death Stare. This comeback EP features three equally outstanding tracks that not only stay true to their former reputation, but also incorporate some fresh elements.

The title track and first song on this short-but-sweet release is a straight-up punk rock anthem. After an almost progressive intro, the song builds anticipation before escalating into ripping guitars and vocals. ‘Old People Should Grow Up’ seamlessly ups the ante, creating something that’s nearly within the realm of oldschool hardcore. Faster drumming, grungier vocals and explosive guitars take the intensity to a whole other level. ‘Despite Despair’ wraps up the EP neatly, showing a more melodic and emotive side to the band.

Despite the brief length of Born A Centimetre From The Finish Line, Blind Man Death Stare are still able to showcase their versatility. The only downside to this record is that because it’s so short, you’ll find yourself playing it over and over again to revel in its awesomeness.

Diversity aside, That’s The Spirit remains chockfull of momentum and absolutely sure of its overall direction. This is a multi-faceted, multi-dimensional rock album that impresses with its musicality, creativity and broad appeal. Bring Me The Horizon are onto a winner here.

Rod Whitfi eld

ANGIE

TIJUANA CARTEL

DEFEATER

Free Agent Rice Is Nice

Psychedelicatessen MGM

Abandoned Epitaph

On her sophomore album Free Agent, Sydney-based singer Angela Garrick (of Circle Pit and Straight Arrows fame) continues the exploration of self that started with her debut, Turning. While the journey is far from over, the path ahead seems far less muddy. Earnest songwriting can be fraught with challenges, but some artists execute it with total authenticity.

Tijuana Cartel are one impressive musical outfit. Combining delicate mariachi guitar with electronic details – think Jose Gonzalez with The Chemical Brothers’ electro beats – it’s a fresh, innovative genre fusion.

Having wowed audiences all over the world, they’re back with the new album Psychedelicatessen.

Abandoned, the fourth studio album from Boston-based hardcore band Defeater, maintains the high standard of their earlier releases, and continues the story that began in their debut, Travels. All of Defeater’s music exists within this fictional landscape – the band has stated that nothing it creates will stray from this concept, which follows the violent struggles of a fictional New Jersey family.

Opener ‘Breathing In Blue’ is barebones lo-fi pop, fuelled by piano.

‘Crocodile Tears’ is swaddled in reverb with a heavily overdriven guitar sound; the production not dissimilar to Ty Segall’s early output.

‘Down For The Count’ is a pulseraising hedonistic thumper, while ‘A Man Asleep’ holds its head high for an instrumental piece, dabbling in experimental noise. ‘Out Of Age’ turns the psych rock up a few notches – howling guitar leads battle with Angie’s vocals for a spot in the limelight, and it’s a fair fight. The lyric “We’re living, we’re breathing, we’re seething” feels like a call-to-arms, and it’s a suitable thrasher of a song.

Free Agent rises and falls in the all right places; nothing rattles your bones offensively. The depressive downswings meld slowly but surely into the manic upswings.

One thing’s for sure; this tasty little morsel certainly doesn’t disappoint.

Angie has produced an emotionally driven piece of work that is still heavily focused on musicality.

Bel Ryan

Krystal Maynard

Tex Miller

Break-up albums are a weird entity. On the evidence of this record, Sister Jane sound as vital as ever, and yet it’s an artefact from a band that has long since seen the writing on the wall and parted ways.

Frontier Broken Stone/Remote Control

28 :: BRAG :: 630 :: 16:09:15

In an age where there’s so much music to consume, it’s easy to be numbed by the endless glut of radio singles and half-baked albums.

However, on Psychedelicatessen, this is not possible. With diverse instrumentation and intriguing sounds throughout, you become fully immersed in this record after a few listens. ‘Endlessly’ draws you in with massive synth drops and flamenco guitar, plus a nice bit of distortion in the background. The multiplex elements create something interesting enough to prevent it getting stale during its three-and-ahalf-minute duration. ‘Music Parasol’ is one of many tracks to feature a trance-like disco beat, which is certain to get you dancing around your lounge room.

With each new album, one of Tijuana Cartel’s main philosophies is to completely reinvigorate their sound. On this record, they’ve created another unique stack of worldly tunes, which are set to captivate your next dinner party or dancefloor session.

INDIE ALBUM OF THE WEEK

SISTER JANE

Xxx

An expansive rock effort from the former purveyors of a distinctively metalcore sound.

The fifth album from Bring Me The Horizon, That’s The Spirit, has already been hailed in certain parts as the “rock album of the decade”. While I certainly wouldn’t go that far, it is extremely impressive. After a lush atmospheric opening, the album lurches into 11 dynamic, varied modern rock tracks. Although the two aspects can seem mutually exclusive at times, this is an album of soundscapes and excellent songs – songs that feature massive, fist-thumping, anthemic choruses and strong emotional content.

record also has an ethereal quality, with the overall production and subtle use of electronics giving it a dark but appealing atmosphere. Highlights include ‘True Friends’, which is grandiose and quite exhilarating, and ‘Blasphemy’, featuring more of that same pomp and circumstance. ‘Oh No’ is an almost bouncy, poppy closer to the album; quite unexpected and adding yet another flavour to what is a highly diverse record.

The account left by the band on its Facebook page as to how this undoing came about is ambiguous at best – citing a life-changing experience and fi nal parting words at a bowling alley in Strathfi eld.

Yes, Sister Jane are no more – but they have thankfully provided us with one last hurrah.

They leave with a bang, to be sure. Frontier covers a lot of ground – propulsive Krautrock on

‘Whole Wide World’, a groove on ‘The Farmer’ that fondly recalls Steely Dan, and on opener ‘Road To Evil’, vocalist Dan Davey is able to oscillate between a pleasant, muted vocal and one that makes you want to pass him a glass of water through the stereo.

As fi nal albums often do, this record essentially exists as a time capsule. Some post-breakup albums can feel like a bizarre communication from a band that has since become ghosts.

It’s not until the 11th and final song, ‘Vice & Regret’, that Abandoned reaches its peak. Of course, this might be because Defeater have mastered the art of building tension on the way to heavy and complex finales. The closer features ridiculously fast drum work and gutwrenching lyrics to make you feel nothing but hopelessness, echoed by the lyrics, “I am no-one, I am nothing”. Elsewhere, lead single ‘Spared In Hell’ is a good indication of the explosive guitars, roaring vocals and reckless drumming found on the rest of the album. However, despite being immaculately played and produced, there’s a sense of predictability to each track. A band as capable as this could surely push the envelope further.

Nonetheless, it’s awesome to see bands breaking the mould with releases that not only offer great music, but also take a unique stylistic approach.

Bel Ryan

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

MEGAN WASHINGTON - There There BEIRUT - No No No THE BEATLES - Rubber Soul

PIXIES - Doolittle NEW ORDER - Get Ready

But a record as red-blooded as Frontier captures Sister Jane at the top of their game.

Nicholas Johnson thebrag.com

live reviews What we've been out to see...

TONI BRAXTON

Sydney Opera House Sunday September 13

happiness at singing with her idol is palpable, and it’s hard not to be won over.

A genuine commercial phenomenon who has sold some 67 million records, Toni Braxton’s first visit to these shores is marked with a level of pandemonium at odds with her super slick and often feather-light music. From the opening ‘He Wasn’t Man Enough’, which sees a stopstart rhythm recede into the background of her honeyed vocals, fans at the front are clamouring to touch their idol and their obvious devotion is rewarded in a crowd-pleasing, interactive affair.

A couple of times security are keen to intervene with potentially over-eager fans, but Braxton herself handles the feverish enthusiasm with aplomb and proves every bit a star presence. After a fairly baffling video excerpt of her family’s reality TV show, she re-emerges in a sequin-studded jumpsuit to heavybreathe her way through ‘You’re Makin’ Me High’ and then alternately coo coquettishly and vamp it up for a cover of The Isley Brothers’ ‘Between The Sheets’.

She’s forever plucking audience members up onto stage, like on ‘Another Sad Love Song’, where one confident gentleman struts around like a seasoned pro and even takes it upon himself to shout out Braxton’s sisters Trina and Towanda on backing vocals. Later, she brings couples up to dance with her, be serenaded and even just pose for selfies. It brings a level of spontaneity to what could have been an overly slick, regimented production and produces moments of joy, like when Braxton is so struck by the booming voice of one audience member that she invites her onstage. The woman’s delirious

Sister Trina gets one song of her own to shine, but mostly the focus is on the impossibly youthful-looking Toni, who obliges the fans by taking some requests, including ‘Yesterday’ and ‘Spanish Guitar’. She wisely plays up the silliness of ‘I Wish’, perhaps the most saccharine-sounding song to contain lyrics about hoping your ex contracts a disease, before ending with the silken slow jam ‘Un-Break My Heart’. When the definitive history of ’90s R&B is written, there’ll be a whole chapter on this song.

Daniel Herborn

IRON CHIC, POSTBLUE, SWEATER SEASON Newtown Social Club Thursday September 10

Less than a year into their existence, Sweater Season have rapidly developed into a must-see Sydney band. A side project for one half of Oslow – who themselves are fresh from a Motion City Soundtrack support and a Poison City Weekender appearance alongside the other two acts on the bill – the quartet are a blend of Slowdive guitar tone, proto-grunge dynamics and the more reflective, sombre moments of Sonic Youth’s mid-period. Single ‘Top Heavy’ is proving to be one of the year’s sleeper tracks, while ‘Happy’ unleashes sunkissed guitars on shoegazing misery. ’Tis the season, after all.

It was around this time last year that Postblue were playing another Weekender-based tour, alongside Pity Sex, at this very venue. While there are mainstays here – the fantastic ‘Ugly’ and ‘Honey’ – the band has also changed things up in its time away from the Inner West. For one, Postblue are a quartet again – that’s Hopeless alum Brett Sutton on guitar – and they have a batch of slower, dreamier new songs in their arsenal. The as-yet-untitled finisher is the highlight, allowing the set to fade gently into a haze with its ethereal lead guitar

and surprisingly gentle rhythm section.

Although attendance numbers unfortunately dwindled following the withdrawal of Modern Baseball, New York punks Iron Chic know all too well the show must go on. Besides, there is still plenty to celebrate, even in the face of the unfortunate circumstances leading to the headliners’ cancellation. This marks Iron Chic’s maiden voyage to Australia, and it is clear many have been waiting a considerable amount of time to see them.

Perhaps the best way to describe the Iron Chic fandom is ‘cultish’ – there’s only a small group, but those that are here know every word to every song. Including the backing vocals.

Theirs is a solid live presence, almost in defiance of the fact it is the band’s fourth show in as many days. Lead singer (and Kevin Owens doppelgänger) Jason Lubrano throws himself around the stage, bounding fearlessly into all-in chorus after all-in chorus. Sitting in on the tour, too, is guitarist Mattie Canino – formerly of Latterman and currently of RVIVR – who plays and sings so excitedly, it’s like he won a competition to play onstage with his favourite band. Those who initially rushed to get a refund have truly missed out on a consistently entertaining mixed bill.

David James Young

PHOTOGRAPHER :: ASHLEY MAR

MEGAN WASHINGTON, THE TAMBOURINE GIRLS The Basement Thursday September 10

From the moment she joined support act The Tambourine Girls for a beautiful duet of The Everly Brothers’ ‘All I Have To Do Is Dream’, Megan Washington demonstrated her authority. She alone was pulling the strings, including those of the heart.

An audience member beside the stage who’d mistaken an intimate gig at The Basement for a 3am stumble into Ding Dong Dang was given a stern look and an “I’ve got my eye on you” gesture. The spectator didn’t dare sing another note all night. When she returned for her own slot just after 10pm, with just a piano (and occasionally her guitarist) to share the stage with, Washington’s command of the audience was even more obvious.

Stripped-back arrangements paved the way for her deeply personal lyrics and jazz-trained voice to not only touch your heart, but rip it out.

Although her friend Simon Relf – alone this evening as The Tambourine Girls – had performed it earlier, Washington took on his ‘Townes Van Zandt’, blowing Relf’s version out of the water and briefly suggesting the ex-Deep Sea Arcade guitarist should give up his day job and tout his talent as a serious songwriter. “I got a lot to be happy about / That I want to start being happy about … I saw the distance in your eyes like you lived a thousand lies / I wanted to live one like you.”

During a gig in which death and guitar were, as Washington admitted, the main themes, the (relatively) light-hearted ‘Teenage Fury’ and ‘The Hardest Part’ stopped the crowd getting too introspective. The showstopper was ‘Begin Again’, a song that finds its power in its raw emotion and honesty. The best singer-songwriters bare a bit of their soul in every performance. You can count Washington among them.

David Wild

PHOTOGRAPHER :: ASHLEY MAR

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13:09:15 :: Manning Bar :: Manning Rd Camperdown 9563 6000

10:09:15 :: Metro Theatre :: 624 George St Sydney 9550 3666 OUR LOVELY PHOTOGRAPHER

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PRIVATE BALMAIN! SINGING AVAILABLE IN

send your listings to : gigguide@thebrag.com

pick of the week DZ Deathrays

Sydney Park

Small World Festival The Church + DZ Deathrays + PVT + Jack Ladder and The Dreamlanders + more 12pm. $73.95.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Mulder Pulford Nonet Lazybones Lounge, Marrickville. 8:30pm.

Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Bam Bam Orient Hotel, The Rocks. 9pm. Free.

Covers For A Cause - Winehouse Wednesday - feat: Amali Ward + Alyce Schulte & The Bad Bitch Choir + Vanessa Raspa + The Sweet Jelly Rolls + Gabby Bloom Soda Factory, Surry Hills. 5pm. Free.

Gleebees Choir The Gasoline Pony, Marrickville. 7pm. $5.

Luna Newtown Social Club, Newtown.

7pm. $41.

The Iron Horses Frankie’s Pizza, Sydney. 6pm. Free.

Wells

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The Lass O’Gowrie Hotel, Wickham.

8pm. Free.

POP, METAL, PUNK & COVERS

ACOUSTIC, COUNTRY, BLUES, FOLK

Angela Ayers Revesby Workers Club, Revesby.

12pm. Free.

Baltimore Gun Club Frankie’s Pizza, Sydney. 10pm. Free.

Biodiversity Band Night - feat: Little Hart + 10th Man + Camay + DJ Tito UTS Underground, Ultimo. 4pm. Free.

Capital 3 Band Mr Falcon’s, Glebe.

10:30pm. Free.

Dee Donavan Revesby Workers Club, Revesby.

12pm. Free.

Ecca Vandal Goodgod Small Club, Sydney. 8pm. $13.90.

Fait Accompli Newtown Social Club, Newtown.

7pm. $13.

Grooveworks Revesby Workers Club, Revesby.

12pm. Free.

Joe Echo Duo Orient Hotel, The Rocks. 9pm. Free.

Live At The Sly feat: Ruth Carp & The Fish Heads + Swamp Fat Jangles + Lazey Cole & The Lazy Colts Slyfox, Enmore.

7:30pm. Free.

Roymackonkey + Baltimore Gun Club

Adam Eckersley Band + The Soorleys The Basement, Circular Quay. 7pm. $12.

Hoochie Mama + Mojo Men + 5 Blues Drive Valve Bar, Agincourt Hotel, Ultimo. 7pm. $10.

The Squeezebox Trio Mr Falcon’s, Glebe.

7pm. Free.

THURSDAY SEPTEMBER 17 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC King Tide + Project Collective Ska The Basement, Circular Quay. 7pm. $13.

Thursdays In Jam - feat: El Moro + DJ Av El Cubano Jam Gallery, Bondi Junction. 9pm. Free.

INDIE, ROCK,

ACOUSTIC, COUNTRY, BLUES, FOLK Conrad Sewell Newtown Social Club, Newtown.

8pm. $22.

John Milligan The Push Bar, The Rocks. 7:30pm.

Free.

John Vella Duo Crown Hotel, Sydney. 8pm. Free.

Mary Jane Guiney Lazybones Lounge, Marrickville. 9pm. $15.

Nathan Cole 99 On York, Sydney.

5:30pm. Free.

Sam Newton Coogee Bay Hotel, Coogee. 10pm. Free.

Spit Roasting Bibbers Fortune Of War, The Rocks. 8pm. Free.

Steve Crocker Chatswood RSL, Chatswood. 5pm.

Free.

SATURDAY SEPTEMBER 19

WEDNESDAY SEPTEMBER 16

FRIDAY SEPTEMBER 18

+ Versus Fate Frankie’s Pizza, Sydney. 7pm. Free.

Stevie Vee Revesby Workers Club, Revesby.

12pm. Free.

The Dandelion + Zig Zag + Black Zeros + Mezko Oxford Art Factory, Darlinghurst. 8pm. $11.60.

The Shouties Acoustic The Gasoline Pony, Marrickville. 7pm. $5.

The Wash + The Shnand + Florentine + Neu Adult Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

ACOUSTIC, COUNTRY, BLUES, FOLK Alex Lloyd + Sarah Belkner The Vanguard, Newtown. 6:30pm. $28.80.

Big Blind Ray Lazybones Lounge, Marrickville. 9pm. $10.

Glenn Esmond Fortune Of War, The Rocks. 7pm. Free.

John Milligan The Push Bar, The Rocks. 7pm. Free.

Zack Martin Marrickville Bowling Club, Marrickville.

7pm. Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Anna Salleh Foundry616, Ultimo.

8:30pm. $27.50.

Koi Child Beach Road Hotel, Bondi Beach. 8pm.

Free.

Sexy Sunday Jam Bellini Lounge, Potts Point. 7pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Allison Forbes The Oriental Hotel, Springwood. 8pm.

Free.

Andy Mammers Town Hall Hotel, Balmain. 10pm.

Free.

Andy Miles’ Night On The Prawns The Gasoline Pony, Marrickville. 7pm. $7.

Blake Tailor Hornsby Inn, Hornsby. 7pm. Free.

Cath & Him Dee Why RSL, Dee Why. 9pm. Free.

Chasing Everest + Versus Fate + Mail Day + Cosmic King Sweaty Betty’s Bar, Miranda. 8pm. $13.

Fraudband + Sounds Like Sunest + Miners & Milkk Marrickville Bowling Club, Marrickville.

7:30pm. $10.

Jack Horner PJ Gallagher’s, Enfield, Enfield.

9pm. Free.

Jimmy Bear Quakers Inn, Quakers Hill. 8pm.

Free.

Josh Shipton And The Blue Eyed Ravens + Maxine Kauter Band + Ben Aylward Valve Bar, Agincourt Hotel, Ultimo. 9pm. $10.

Katchafire Metro Theatre, Sydney. 8pm. $44.05.

Little May Oxford Art Factory,

Darlinghurst. 8pm. $20.

Mick Hambly Orient Hotel, The Rocks. 5:45pm.

Free.

Oliver Thorpe Mr Falcon’s, Glebe.

9pm. Free.

Reckless Orient Hotel, The Rocks. 10pm. Free.

Shy Guys Revesby Workers Club, Revesby.

8:30pm. Free.

Tezza & The Twistops Penrith RSL, Penrith.

8pm. Free.

The Jungle Giants + Art Of Sleeping + Hockey Dad Enmore Theatre, Newtown. 7pm. $43.28.

SATURDAY SEPTEMBER 19 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Koi Child Goodgod Small Club, Sydney. 8pm. $13.30.

Sexy Sunday Jam Bellini Lounge, Potts Point. 7pm. Free.

ACOUSTIC, COUNTRY, BLUES, FOLK Big Rich Picton Hotel, Picton.

8pm. Free.

Blake Wiggins Fortune Of War, The Rocks. 8pm. Free.

Conrad Sewell Newtown Social Club, Newtown.

8pm. $22.

Glenn Esmond Fortune Of War, The Rocks. 3pm. Free.

Justine Wahlin + Method Lazybones Lounge, Marrickville. 7:30pm. $15.

Mojo House Band - feat: Jesse & James Mojo Record Bar, Sydney. 7pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS 80s Mania - feat: Paul Young + Nik Kershaw + Go West + Cutting Crew Enmore Theatre, Newtown. 8pm. $89.10.

AM 2 PM Town Hall Hotel, Balmain. 10pm.

Free.

Big Strong Brute

LESSONS

ALL GENRES, ALL AGES, ALL LEVELS No Experience Necessary

FIRST LESSON FREE if you book before 31 Sept!

Relaxed, comfortable, home environment. for more info

Call 0438 671 725

or email vanessa.a.raspa@gmail.com Oxford Art Factory, Darlinghurst. 8pm.

Free.

Big Swing Band Penrith RSL, Penrith.

2pm. Free.

Blake Tailor PJ Gallagher’s, Enfield, Enfield.

9pm. Free.

Cath & Him Wentworthville Leagues Club, Wentworthville.

10pm. Free.

Chich And The Soul Messengers The Gasoline Pony, Marrickville. 3pm.

Free.

Circa Survive + Pvris Metro Theatre, Sydney. 7pm. $54.35.

Eddie Boyd And The Phatapillars Stag And Hunter, Newcastle. 8:30pm.

Free.

Evie Dean Penrith Panthers, Penrith. 5:30pm.

Free.

Geoff Davies The Push Bar, The Rocks. 7:30pm.

Free.

Holy Holy + Fractures Oxford Art Factory, Darlinghurst. 8pm. $23.10.

Jellybean Jam Penrith RSL, Penrith.

9pm. Free.

Jimmy Bear Orient Hotel, The Rocks. 5:45pm.

Free.

Katcha Mr Falcon’s, Glebe.

9:30pm. Free.

Lolo Lovina Camelot Lounge, Marrickville. 7pm. $20.

Pat Capocci Sydney Town Hall, Sydney. 5pm. Free.

Penny Lane Novotel, Rooty Hill.

6:30pm. Free.

Rebel Rebel Carousel Inn Hotel, Rooty Hill. 8pm.

Free.

Skyscraper Manly Leagues Club, Brookvale. 9pm.

Free.

Small World Festival 2015 - feat: The Church + DZ Deathrays + PVT + Jack Ladder And The Dreamlanders

+ Palms + All Our Exes Live In Texas + Bon Voyage + Summer Flake + Green Buzzard + The Lulu Raes Sydney Park, St Peters. 12pm. $73.95.

Stanmore Laneway Festival - feat: Service Bells + Bones Atlas + Teem + 6 Keepers + Total Radio Silence + Andrzej Kapowski Presents + Lucrezia Invernizzi-Tettoni Merton Lane, Stanmore. 4pm.

Free.

The Frocks Colonial Hotel, Werrington. 9pm.

Free.

They Call Me Bruce Plough & Harrow, Camden. 8pm. Free.

Venom Clubnight feat: Transcendent Sea + Helens Gate + The Underground Architect + Versus Fate + Jon Doe Valve Bar, Agincourt Hotel, Ultimo. 9pm. $15.

Wildcatz Orient Hotel, The Rocks. 10pm. Free.

Xparte Revesby Workers Club, Revesby.

8:30pm. Free.

SUNDAY SEPTEMBER 20 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Tángalo Glebe Town Hall, Glebe. 3pm. $22.

ACOUSTIC, COUNTRY, BLUES, FOLK Conrad Sewell Newtown Social Club, Newtown.

8pm. $20.

Glenn Esmond Trio The Greens North Sydney, North Sydney. 3pm. Free.

Matt Toms Strawberry Hills Hotel, Surry Hills.

The Jungle Giants

BRAG :: 630 :: 16:09:15 :: 31

g g guide gig g

g g picks gig p

send your listings to : gigguide@thebrag.com 4pm. Free.

Ricardo Steyer Mr Falcon’s, Glebe.

6:30pm. Free.

Stuart Jammin + X-Iled Harlequin Inn, Pyrmont. 3pm. Free.

Ted Nash Fortune Of War, The Rocks. 6pm. Free.

The Slowdowns Marrickville Bowling Club, Marrickville.

4pm. Free.

Tracey Bunn + Mick Daley The Gasoline Pony, Marrickville. 5pm. $5.

INDIE, ROCK, POP, METAL, PUNK & COVERS Baltimore Gun Club + New Archetypes + Disclaimer + Amber Lies + Psycho Smiley Valve Bar, Agincourt Hotel, Ultimo. 3pm. $10.

Cath & Him Bull & Bush Hotel, Baulkham Hills. 2pm.

Free.

Chich And The Soul Messengers Botany View Hotel, Newtown. 7pm. Free.

Fox Company Frankie’s Pizza, Sydney. 4pm. Free.

Jack Colwell + Post Paint Newtown Social Club, Newtown.

6pm. $10.

Lennox Lust

Orient Hotel, The Rocks. 4:30pm.

Free.

McCauley Raiders Penrith RSL, Penrith.

2pm. Free.

Open Mic Epping Hotel, Epping. 5pm. Free.

Play Along With Sam - feat: Sam Moran Wentworthville Leagues Club, Wentworthville.

10:30am. $20.

Rick Robertson + DJs Graham M + Husky Manly Wharf Hotel, Manly. 3pm. Free.

Sidebar Sundays feat: Dave White Side Bar, Sydney.

9pm. Free.

Sleeping With Sirens UNSW Roundhouse, Kensington. 7pm. $61.07.

The Mighty Surftones Lazybones Lounge, Marrickville. 6:30pm.

Free.

UK Anthems Orient Hotel, The Rocks. 8:30pm.

Free.

MONDAY SEPTEMBER 21 INDIE, ROCK, POP, METAL, PUNK & COVERS

wed

up all night out all week...

Frankie’s World Famous House Band Frankie’s Pizza, Sydney. 9pm. Free.

John Maddox Duo Mr Falcon’s, Glebe.

7pm. Free.

Marty Orient Hotel, The Rocks. 9pm. Free.

ACOUSTIC, COUNTRY, BLUES, FOLK Joan Baez Sydney Opera House, Sydney.

8:30pm. $100.

Ricardo Steyer Mr Falcon’s, Glebe.

7pm. Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Sonic Mayhem Orchestra Lazybones Lounge, Marrickville. 8:30pm.

Free.

TUESDAY SEPTEMBER 22 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

INDIE, ROCK, POP, METAL, PUNK & COVERS Anton Orient Hotel, The Rocks. 9:10pm.

Free.

Gordi + Twin Caverns Sydney Town Hall, Sydney. 5pm. Free.

Open Mic The Bourbon, Potts Point. 7pm. Free.

Rock ‘N’ Roll Karaoke Frankie’s Pizza, Sydney. 9pm. Free.

ACOUSTIC, COUNTRY, BLUES, FOLK Alma Music Presents Lazybones Lounge, Marrickville. 8:30pm.

Free.

Live & Originals @ Mr Falcons feat: Isis Ashton & Cainan Ashton + Joseph Kalou + Hannah Robinson + Honida Beram With Katherin Vavahea Mr Falcon’s, Glebe.

7:30pm. Free.

Songsonstage feat: Russel Neal Gladstone Hotel, Chippendale.

7:30pm. Free.

Sunset Jazz - feat: Jazz Society Hermann’s Bar, Darlington. 6pm.

Free.

(9:00PM - 12:00AM)

17 Sept

(9:00PM - 12:00AM)

fri

18 Sept

(10:00PM - 1:40AM)

5:45PM  8:45PM

SATURDAY AFTERNOON

sat

19 Sept

5:45PM  8:45PM

SUNDAY AFTERNOON

sun

20 Sept

mon

32 :: BRAG :: 630 :: 16:09:15

King Tide + Project Collective Ska The Basement, Circular Quay. 7pm. $13.

Luna Newtown Social Club, Newtown. 7pm. $41.

THURSDAY SEPTEMBER 17

Koi Child Beach Road Hotel, Bondi Beach. 8pm. Free.

Little May Oxford Art Factory, Darlinghurst. 8pm. $20.

The Jungle Giants + Art Of Sleeping + Hockey Dad Enmore Theatre, Newtown. 7pm. $43.28.

SATURDAY SEPTEMBER 19

Alex Lloyd + Sarah Belkner The Vanguard, Newtown.

6:30pm. $28.80.

80s Mania - Feat: Paul Young + Nik Kershaw + Go West + Cutting Crew Enmore Theatre, Newtown. 8pm. $89.10.

Ecca Vandal Goodgod Small Club, Sydney. 8pm. $13.90.

Circa Survive + Pvris Metro Theatre, Sydney.

7pm. $54.35.

Fait Accompli Newtown Social Club, Newtown. 7pm. $13.

Conrad Sewell Newtown Social Club, Newtown. 8pm. $22.

Roymackonkey + Baltimore Gun Club + Versus Fate Frankie’s Pizza, Sydney.

7pm. Free.

Holy Holy + Fractures Oxford Art Factory, Darlinghurst. 8pm. $23.10.

Bells + Bones Atlas + Teem + 6 Keepers + Total Radio Silence + Andrzej Kapowski Presents + Lucrezia InvernizziTettoni Merton Lane, Stanmore.

4pm. Free.

SUNDAY SEPTEMBER 20 Fox Company Frankie’s Pizza, Sydney.

4pm. Free.

Jack Colwell + Post Paint Newtown Social Club, Newtown. 6pm. $10.

Sleeping With Sirens UNSW Roundhouse, Kensington. 7pm. $61.07.

MONDAY SEPTEMBER 21 Joan Baez Sydney Opera House, Sydney. 8:30pm. $100.

Stanmore Laneway Festival - Feat: Service Holy Holy

FRIDAY SEPTEMBER 18 Anna Salleh Foundry616, Ultimo.

8:30pm. $27.50.

Conrad Sewell Newtown Social Club, Newtown. 8pm. $22.

Fraudband + Sounds Like Sunest + Miners & Milkk Marrickville Bowling Club, Marrickville. 7:30pm. $10.

Katchafire Metro Theatre, Sydney.

8pm. $44.05.

Katchafire

tue

21 Sept

(4:30PM - 7:30PM)

(8:30PM - 12:00AM)

(10:00PM - 1:15AM)

WEDNESDAY SEPTEMBER 16

The Dandelion + Zig Zag + Black Zeros + Mezko Oxford Art Factory, Darlinghurst. 8pm. $11.60.

thu

16 Sept

King Tide

(9:00PM - 12:00AM)

22 Sept

(9:00PM - 12:00AM)

thebrag.com

BRAGâ&#x20AC;&#x2122;s guide to dance, hip hop and club culture

brag beats also:

inside:

club guide + club snaps + weekly column

tuxedo

petite noir the coming of noirwave thebrag.com

BRAG :: 630 :: 16:09:15 :: 33

brag beats

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

dance music news club, dance and hip hop in brief... with Chris Martin, Aaron Streatfeild and Tegan Reeves

five things WITH

KLP

The KLParty tour is back on the road, and hitting up the Beach Road Hotel this Wednesday September 16 for Sosueme. KLP’s signature event brings together good vibes and great dancefloor action courtesy the triple j host and DJ, augmented this time around with support from Kiwi house purveyors Terace. The event kicks off a big week at Bondi, with Koi Child hitting stage on Friday September 18 for Night Lyfe.

KOI CHILD

TUNE IN TO CHANNEL ZERO

Growing Up 1.

Shannon Cruz Patterson: I’m sure the earliest song I can remember loving was ‘We All Stand Together’ by Paul McCartney.

But as far as being a diehard fan goes, I was trying to dance like Michael Jackson since I was about three or four. My parents listened to everything from Simply Red to Biggie Smalls and my grandfather still stands on tables singing Beatles and Elvis classics. Music’s always been a massive part of my life, but almost always just as a listener. I’d sing or rap along to anything I could without realising it was practice for something that might one day become my own.

2.

Inspirations Tom Kenny: Everyone in the band has pretty diverse tastes, but D’Angelo would have to be up there – Voodoo is, like, the Bible of groove; there’s so much to appreciate about the way every

KLPARTY AT THE BEACH ROAD

single little thing is placed and played on that album. An entire world of stank. Hiatus Kaiyote are another band favourite (we got to support them a couple weeks ago!); Choose Your Weapon is so livid and colourful. MF Doom, Flying Lotus, Dimlite, Slum Village, The Roots… and of course Tame Impala/Kev [Parker] has been inspiring in so many ways.

3.

Your Crew SCP: With seven people in a ‘hip hop nu jazz’ band I think it changes a lot and we all bring something new to the table with each new project. Sometimes it’s raw and punchy, other times it’s smooth and kissy. The one-hour set is a journey we’re looking forward to sharing with a good crowd. I think it’s gonna be a great party.

The Music You Make 4.

And Play SCP: If you listen to the two singles

Benedek

we’ve released so far, ‘Slow One’ and ‘Black Panda’, then take those and sorta imagine a range between the two extremes – that’s what you can expect at our shows. Some compare us to Badbadnotgood, with a rapper.

Music, Right Here, 5.

Right Now TK: The sense of community in the music scene is great! There’s so much hanging out and crosspollination, and more than enough extremely talented people just doin’ their thing. There’s some incredible local acts like Mei Saraswati, Mathas, Leon Osborn, Mudlark, Nick Allbrook, and Hideous Sun Demon (who share our drummer Blake).

This is broadcast like you’ve never seen it before. While the mainstream networks focus on reality television and rerun comedy programming, Channel Zero melds AVDJing with hip hop. No, you won’t find it on your TV remote – Channel Zero takes flight at Play Bar this Saturday September 19, featuring a team of selectors whose expertise at the art of audiovisual performance must be experienced in person. VJ Spook and Adverse will deliver hip hop video sets, and entry (as always) is free.

DOFFING A DIRTCAP

The Dutch know how to throw a party. As anyone who’s had a night out in Amsterdam will know, it’s like a weirder version of the game-changing dance action going on across the border in Germany. Now Chinese

Laundry is embracing the strange, bringing Holland’s own Dirtcaps out this Friday September 18. After a massive run of club nights through the European summer, they’re hitting our shores to headline a bill that also features Hydraulix, Autoclaws, Chenzo, Lennon, Blackjack, Sippy, TKTKS and Korky Buchek.

CLUBBERS GUIDE TO PACHA

Ministry of Sound’s all-conquering Clubbers Guide brand is hosting its spring event at Pacha Sydney this weekend. Ivy will play host to a boom lineup led by Timmy Trumpet this Saturday September 19, celebrating the genre-bending experiments of trumpet and DJing that have propelled him to national stardom.

Also on the bill are the likes of Glover, Jesabel, Alex Preston, Fear Of Dawn & Friends, Chris Arnott and heaps more.

Havana Brown

Where: Beach Road Hotel / Goodgod Small Club When: Friday September 18 / Saturday September 19

LOST DISCO GETS SPOOKY

Lost Disco has announced the lineup for its 2015 Halloween party. The bill includes some of house and techno’s biggest names, including Mr. G, Fur Coat and the Australian godfather of dirty house and techno, DJ HMC. Dust off your best Halloween costume for more than 11 hours of hedonistic horror. The event will be held on Saturday October 31 at North Sydney’s Greenwood Hotel, with more acts to be announced in the coming weeks.

PUKKA UP FOR SUMMER

BENNY AND THE DECKS

Red Bull Music Acadamy has confirmed details of its latest national club tour, starring Benedek and Moon B from the Washington label People’s Potential Unlimited. Funk fusion is the name of the game, as Benedek (AKA Nicholas Benedek) prepares to spread the gospel of funked-up hip hop, soul and jazz with audiences around the land.

Meanwhile, Moon B (Wes Gray) has emerged from the underground over the last few years to feature in commercially mixed compilations and mixes by the likes of Actress and Andras Fox. The tour comes to Goodgod Small Club on Saturday October 10, and as always, entry is free with an online RSVP.

34 :: BRAG :: 630 :: 16:09:15

Ibiza’s biggest boat party, Pukka Up, is returning to Sydney once again for an early intro to summer.

They’re expecting 500 “international partygoers” (whatever that means) on board come Saturday October 24, joined by a sizeable and impressive lineup of DJs led by I Am Wolfpack and Social Hooliganz. The ship has sailed to such faraway places as Shanghai, Dubai, Paris, Ireland, Barcelona, Canada and Bahrain, but there’s no better location for a celebration than Sydney Harbour.

Mojoman, Wendell Hoten, Bilman, Lepke, N/A DJs, Wildfox, Josh Hopper, Kartello, Frikton, Jordz and White Fox fill out the bill.

SPRING INTO MARQUEE

Queen of da club Havana Brown is one of the many big-name DJs visiting Marquee this spring. The high-gloss venue is playing host to an abundance of superstar spinners throughout September and October 2015. Featured names include the likes of Los Angeles producer Tydi (Friday September 25), New Zealand rapper Savage (Friday October 2), Will Sparks (Saturday October 3) and the DJ-turned-pop-singer Brown (Saturday October 17), plus many more. Visit marqueesydney.com for full details and to book.

thebrag.com

Tuxedo Funk To The Fore By Augustus Welby

‘T

uxedo’ is another name for a dinner jacket. Broken down to an acronym, ‘dinner jacket’ becomes ‘DJ’. So, by the infallible rules of word association, Tuxedo is an extremely appropriate denomination for the collaboration between hip hop producer Jake One and neo-soul crooner Mayer Hawthorne. Diverting from their respective day jobs, the pair released their debut LP back in March. It’s clear from the outset that Tuxedo was designed to make you dance.

The duo will tour Oz for the first time this month. While the album is jammed full of impressive originals, their stage shows are labelled ‘Disco DJ Sets’. “It’s a combination of everything,” says One. “We’ll play maybe four or five Tuxedo records, we’ll play a tonne of unreleased remixes we did, new Tuxedo songs.

Mayer will sing a couple of hits.”

“It’s more of a sing-along,” says Hawthorne. “But then there’s a live performance. We’re DJs – we both were DJs before we even started this whole thing, so that’s what we do.”

“It’s cool as a DJ when your songs are the biggest songs of the night,” adds One. “You’re playing everybody else’s music and then yours comes on and everybody goes crazy. That’s always fun.”

A collaboration between the pair has been on the cards for nearly a decade, after they discovered a shared interest in ’80s boogie-funk music. But even once they started working on tracks, neither of them thought Tuxedo would become a fully-fledged project.

“For me, it was a break from rap,” says One. “I was doing so much

hip hop that just even listening to these up-tempo records, it was so much different than the beats I was making. So I made a couple of mixtapes, just fuckin’ around. It was just a different kind of outlet.”

“I definitely was not thinking about that at all, until Jake sent me some tracks,” says Hawthorne. “I was just blown away by how authentic it was, how good he was doing it. Even up until a couple months before we released the album, it was still just a thing we were doing just purely for our own amusement so that we could ride around and listen to it.”

Jake One came to prominence as a member of the G-Unit production team, and in recent years has worked with Brother Ali, Wale and Drake. A gifted multi-instrumentalist, Hawthorne first grabbed attention in 2009 with the ’60s-mining debut A Strange Arrangement, and has issued two further solo records since. But despite reaping critical acclaim for their work in hip hop and soul, Tuxedo was specifically conceived to inhabit the realm of funk.

“I just made a concerted effort to first of all make it fast,” says One. “Most of my rap beats are in the mid-80s or 70s [beats per minute]. So to go up to 110 BPM, what you’re playing note-wise is probably going to be a little less active, cause it’s faster.

Those first ones I did, they were dope, but they didn’t really have the changes I probably should’ve had, and bridges. I just didn’t know how to do all that stuff. I’m still approaching it from a rap perspective at that point.

“The hip hop aesthetic is to make the best four bars possible and not worry about the intro, outro, pre-

chorus and all that,” he continues.

“It just has to hit when it first drops.

That’s what I’m primarily good at, so Mayer comes up and puts [on] some of the other little aesthetics and makes it a little more song-friendly.”

“I maybe add some more finesse,” Hawthorne says. “But it was really like, neither one of us wanted to just redo the records that we already knew. We wanted to come up with something different. Some of the early demos were a lot closer to the stuff we were trying to emulate.

Once we figured out that wasn’t working as well for us, that we should be ourselves, I think that’s when it really clicked.”

Hawthorne and One were partly motivated to form Tuxedo after noticing a lack of contemporary music that authentically reawakened

the late-’70s/’80s post-disco boogie sound.

“At the time when we first started making this stuff, back in ’06-’07, there was nothing like it anywhere in popular music,” says Hawthorne.

“Then we started hearing songs like [Daft Punk’s] ‘Get Lucky’ or Bruno Mars’ ‘Treasure’ and then we realised, ‘Maybe everybody else is ready for this now.’ But it was kind of a kick in the ass for us, because we had been sitting on 20 songs like that. We were just doing it for ourselves, because there was nothing like that available for us to buy.”

Indeed, tapping into the zeitgeist might’ve been the last thing they expected to do, but Tuxedo joins records such as Daft Punk’s Random Access Memories,

Mark Ronson’s Uptown Special, Unknown Mortal Orchestra’s Multi-Love and Miami Horror’s All Possible Futures as a contemporary torchbearer for electronically inscribed funk. The album proves it’s a creatively fruitful collaboration, and they’ve every intention to keep Tuxedo alive.

“We’re already halfway into the next one,” says Hawthorne. “It took us a while to figure out what Tuxedo really should be. Then, once we got it, towards the end of the first album, then it just kicked into overdrive. Now we’re coming up with songs every day.”

What: Tuxedo out now through Stones Throw/Inertia Where: Jam Gallery When: Saturday September 26

Petite Noir The Newest Wave By Augustus Welby

W

hen he’s not making music, Petite Noir goes by the name Yannick Ilunga. Although Ilunga grew up in Cape Town, South Africa, his French stage moniker is a nod to his Congolese heritage. Likewise the title of his debut full-length, La Vie Est Belle / Life Is Beautiful, which came out last week. The album follows on from January’s The King Of Anxiety EP, which touched on indie rock, trip hop and Afrobeat in a steady, laidback manner. By contrast, the album is forcefully rhythmic, and at times aggressive.

“I’m in a different space at the moment – well, when I was writing the album – than I was when I was writing The King Of Anxiety,” says Ilunga. “They almost have the same kind of emotion – two different sides. One’s more laidback and sweet, the other one’s a bit more harsh.”

If you pay attention to the album’s lyrics, a lot of positive themes emerge, starting with the title of the record that doubles as its opening line. Accordingly, several songs allude to the power of love – the solace and joy that comes from loving each other and loving oneself. However, La Vie Est Belle is not without its darker moments.

“I think the album’s a lot more political,” says Ilunga. “It’s a lot deeper than what we see, what we hear. The lyrics are quite deep.

They’re not as literal as The King Of Anxiety.”

The motives of outwardly political music aren’t always blatant. It could stem from a feeling within the artist that something needs thebrag.com

to be urgently and immediately expressed, or it could be part of a well-wrought agenda an artist wants to communicate with the audience. In Ilunga’s case, he was directly infl uenced by his surroundings.

much more open to music than it used to be, growing up,” says Ilunga. “I’m also getting better at bringing all the infl uences together. I think that’s something that I know how to do pretty well – put all the music down together.”

“I’m quite spontaneous when it comes to writing music, so the first thing that comes to my mind, I put down,” he says. “And those were the first things that came into my mind when I was writing the album, which means the political situations are not very good.” He pauses before adding: “It’s related to life as a black man.”

Production-wise, La Vie Est Belle is an incredibly accomplished debut, and Ilunga wasn’t the sole contributor. “We used two producers: Oli Bayston [Boxed In], who’s more like a pop kind of person, and Leon Brichard [Ibibio Sound Machine], who is more African-infl uenced.”

The album was made in London, which has been Ilunga’s primary base for the past few years. But despite living there, it wasn’t just life in London that triggered the political turn in his music.

“I moved there four years ago, but I still come back to Africa quite a bit,” he says. “I’m travelling all the time, so it’s more global-themed really. But [London] defi nitely has an infl uence.”

Debuting with the single ‘Till We Ghosts’ in mid-2012, Petite Noir immediately attracted attention for his confl ation of everything from highlife to hip hop and post-punk.

Before long he’d made fans out of Solange Knowles and Yasiin Bey, the latter of whom later appeared on a remix of ‘Till We Ghosts’. The broad stylistic embrace continues on the album, though the more you get to know the material, the more Noir’s unique personality distinguishes itself.

“I listen to anything. Well, I don’t listen to anything, but my mind is

However, as opposed to The King Of Anxiety, Ilunga took executive control over La Vie Est Belle.

“The King Of Anxiety, I sort of wrote the lyrics and the producer made the music around it. So it was more a writing process in the studio. I was with the producer, we were both writing with guitars and stuff. But La Vie Est Belle was like me alone writing on a computer and then taking it to the producer to beef it up.”

Even though Ilunga was calling the shots, the two producers played an integral role, attuning to his vision and helping to capture it in high defi nition. “They were both really strong and really good at what they did and they got the right musicians to play the music, and I’m really grateful.”

Ilunga is no artistic dictator, but at just 24 years old he’s quickly developing into an intently driven visionary. La Vie Est Belle is presented as the embodiment of his self-coined ‘noirwave’ ethos.

It’s slightly difficult to grasp exactly

what noirwave encompasses, but it’s centred on freedom of expression and a departure from externally imposed shackles.

“People have been noirwave [before], but it just wasn’t called noirwave,” Ilunga says. “I think I’m a representation of someone that doesn’t want to be part of the

system. It’s a new wave with an African aesthetic. It’s almost more of a movement and a mindset.

It’ll defi nitely be the new pop culture, one day, and just infi ltrate everything.”

What: La Vie Est Belle / Life Is Beautiful out now through Domino/EMI BRAG :: 630 :: 16:09:15 :: 35

Off The Record Dance and Electronica with Tyson Wray

Daniel Bortz

elbourne’s Let Them Eat Cake festival has dropped the lineup for its 2016 incarnation, and while we already knew that some of the acts on the bill would be here over the NYE period (such as Four Tet and Motor City Drum Ensemble), there’s a slew of new electronic talent that we can soon expect to see Sydney dates for. Names on the bill include Com Truise, Daniel Avery, DJ Tennis, Machinedrum and Seven Davis Jr. Stay tuned to thebrag.com for Sydney shows when they’re announced [cough Field Day cough].

M

Those legends over at S.A.S.H have locked in a huge headliner for their next daytime party – Daniel Bortz. His penchant for sublime, pulsing, low-slung house has seen the German land releases on the likes of Circle Music, Crosstown Rebels, Fiakun, Get Physical and Innervisions. Fun fact: I was super late on Bortz, but after listening to Tycho’s sunrise set from this year’s Burning Man, I was instantly converted when his tracks ‘Tomorrow We Start A New Life Again’ and ‘Monkey Biznizz’ entered the mix. It’s going down from 1pm on Sunday October 25 at the Greenwood Hotel with support from Gabby, Jake Hough, Matt Weir and Kerry Wallace.

It’s about friggin’ time – DJ Nobu is finally coming for his debut tour Down Under.

Hailing from Chiba in Japan, Nobu is the man behind the legendary Future Terror

parties, and he also runs his own label Bitta. Expect a smattering of twisted techno, obscure house gems and avant-garde electronic when he hits the Bridge Hotel on Friday October 30. Support will come from Ears Have Ears, Magda Bytnerowicz, Methodix and Revenant.

After a killer collaboration earlier this year showcasing Marcel Dettmann, the cats behind Charades and House Of Mince are teaming up once again to present another of the leading names in techno – Rødhåd.

A DJ’s DJ, he’s adored by the likes of Ben Klock, Luke Slater, Laurent Garnier, Sven Väth and Dave Clarke, and is a regular at clubs such as Concrete, Rex, Lux and Fuse and festivals including Awakenings, Weather and Melt. Go hard or go home on Friday November 27 at Oxford Art Factory.

Tour rumours: you better believe we’ll be seeing a return from goddamn Fred P (AKA Black Jazz Consortium) within the next two months. Oh, and Maribou State will be heading our way again mighty soon – tour announced next week.

Best releases this week: I have been spinning Hugo Gerani’s GCR001 (on Good Company) all week since it dropped. Other highlights include MadderModes’ Green Corn Moon (Millions of Moments), Lee Webster’s Soul Replied (I Used to Sleep at Night), Adalberto’s Toolbox (Acidicted) and Max McFerren’s Sipps (1080p).

Rødhåd

RECOMMENDED SATURDAY SEPTEMBER 19 Kangding Ray Bridge Hotel Gabby Burdekin Hotel

FRIDAY SEPTEMBER 25 Mark Henning Goodgod Small Club

SATURDAY SEPTEMBER 26 Nick Höppner Burdekin Hotel

SATURDAY OCTOBER 3

Harpoon Harry Daniel Bortz Greenwood Hotel

SATURDAY NOVEMBER 21

SATURDAY OCTOBER 31

FRIDAY NOVEMBER 27

DJ Nobu Bridge Hotel

Baauer Oxford Art Factory

Mr. G, Fur Coat, DJ HMC Greenwood Hotel Harvey Sutherland, Andy Hart Waves

French Fries Burdekin Hotel

SATURDAY NOVEMBER 14

Public Possession

Lapalux Chinese Laundry

FRIDAY OCTOBER 30

Maurice Fulton Chippendale Hotel

SUNDAY OCTOBER 25

FRIDAY NOVEMBER 20

Nina Kraviz Greenwood Hotel

Justin Martin Chinese Laundry

Eric Cloutier Marrickville Bowling Club Rødhåd Oxford Art Factory

FRIDAY DECEMBER 4 – SUNDAY DECEMBER 6

Subsonic Music Festival: KiNK, Dop, Rick Wade, Roman Flügel + more Riverwood Downs Mountain Valley Resort, Barrington Tops

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

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

36 :: BRAG :: 630 :: 16:09:15

thebrag.com

club guide g

club picks p up all night out all week...

send your listings to : clubguide@thebrag.com

club pick of the week Gabby

SATURDAY SEPTEMBER 19 Burdekin Hotel Burde

Something Else

Feat: Gabby + Wonky + Tristan Case + more

Xxx

9pm. $16.50.

WEDNESDAY SEPTEMBER 16 CLUB NIGHTS Salsa Wednesdays - feat: DJ Miro + Special Guests The Argyle, The Rocks. 8:30pm. Free.

Side Bar Wednesdays - feat: Bangers & Mash Side Bar, Sydney.

9pm. Free.

The Wall The World Bar, Kings Cross. 9pm. Free.

THURSDAY SEPTEMBER 17 HIP HOP & R&B

Sarsha Simone + DJ Trey Play Bar, Surry Hills.

7pm. $10.

CLUB NIGHTS Five Dollar Thursdays - feat: DJs Steve Zappa + Skinny Scubar, Sydney.

8:30pm. Free.

Kicks The World Bar, Kings Cross. 9pm. Free.

Mixed Tape - feat: DJs Hermann’s Bar, Darlington. 5pm. Free.

The Midnight Swim Sessions - feat: Thomas Studdy Goros, Surry Hills.

8pm. Free.

FRIDAY SEPTEMBER 18 HIP HOP & R&B

Jones Jnr. Sydney Town Hall, Sydney. 5pm. Free.

Sydney Cypher Supremo - feat: DJ Adverse + Makoto + Run Jay Play Bar, Surry Hills.

6pm. Free.

CLUB NIGHTS

Bassic - feat: Dirtcaps + Hydraulix + Autoclaws + Chenzo + Lennon + Blackjack + Sippy + Tktks + Korky Buchek Chinese Laundry, Sydney. 9pm. $27.70.

Blvd Fridays - feat: L.A.M Marquee, Pyrmont.

10pm. $13.40.

Derriere - feat: Rotating DJs Goros, Surry Hills.

6pm. Free.

El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 10pm. Free.

Feel Good Fridays feat: DJs Bar100, The Rocks.

5pm. Free.

Florida Blanca Supper Club + Bar Publico - feat: DJs Harpoon Harry, Sydney. 6pm. Free.

Frankie’s Pizza Fridays - feat: Rock ‘N’ Roll DJs Frankie’s Pizza, Sydney. 9pm. Free.

Fridays Frothers feat: Babysham + Jesse Sewell Side Bar, Sydney.

9pm. Free.

Jam Fridays Jam Gallery, Bondi Junction. 9:30pm.

Free.

Sam Wall Manly Wharf Hotel, Manly. 8pm. Free.

Scubar Fridays - feat: DJs On Rotation Scubar, Sydney. 8pm.

Free.

Student DJs Hermann’s Bar, Darlington. 5pm. Free.

The Elements Of Tech And Bass feat: Thierry D + Ellagator + Ohmage + Sarris + The Bassix + Rowdy One Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

SATURDAY SEPTEMBER 19 HIP HOP & R&B

Channel Zero - feat: VJ Spook + Adverse Play Bar, Surry Hills.

6pm. Free.

G-Wizard + Horizon + K-Note + Zero Cool Marquee, Pyrmont.

10pm. $23.70.

CLUB NIGHTS Aden Mullens & Raye Antonelli Manly Wharf Hotel, Manly. 6pm. Free.

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

Hills. 10pm. Free.

Florida Blanca Supper Club + Bar Publico - feat: DJs Harpoon Harry, Sydney. 6pm. Free.

Frankie’s Pizza Saturdays - feat: DJs Frankie’s Pizza, Sydney. 9pm. Free.

Frat Saturdays - feat: Jonksi + Guests Side Bar, Sydney.

7:30pm. Free.

Le Fruit DJs Goros, Surry Hills.

8pm. Free.

Lndry - feat: AC Slater + Cassian + Friendless + Skin & Bones + Coda + Propaganda + Here’s Trouble + DJ Just 1 + Dolla Bear Chinese Laundry, Sydney. 9pm. $27.70.

Pacha - feat: Timmy Trumpet + Glover + Jesabel + Alex Preston + Fear Of Dawn & Friends + Chris Arnott + A-Game + Dylan Sanders + Samrai + E-Cats + Mike Hyper + PW + DLE + Yoji + Baby Gee + Nanna Does Ivy Bar/Lounge, Sydney. 6:30pm. $38.

Scubar Saturdays feat: Live DJs Scubar, Sydney.

8:30pm. Free.

Something Else feat: Gabby + Wonky + Tristan Case + Tech No More + James Petrou + Dean Relf + Litmus + Jaded Burdekin Hotel, Darlinghurst. 9pm. $16.50.

Trench - feat: Kangding Ray + Hannah Lockwood + Gabe Fernandes + Matt Lush + Xxx Bridge Hotel, Rozelle.

9pm. $20.

SUNDAY SEPTEMBER 20 CLUB NIGHTS

Picnic Social Harpoon Harry, Sydney. 4pm. Free.

S.A.S.H Sundays Home Nightclub, Darling Harbour. 3pm. $10.

AC Slater

THURSDAY SATURDAY SEPTEMBER 17 SEPTEMBER 19 Sarsha Simone + DJ Trey Play Bar, Surry Hills. 7pm. $10.

Channel Zero - Feat: VJ Spook + Adverse Play Bar, Surry Hills. 6pm.

Free.

FRIDAY SEPTEMBER 18

G-Wizard + Horizon + K-Note + Zero Cool Marquee, Pyrmont. 10pm. $23.70.

Bassic - Feat: Dirtcaps + Hydraulix + Autoclaws + Chenzo + Lennon + Blackjack + Sippy + Tktks + Korky Buchek Chinese Laundry, Sydney.

9pm. $27.70.

Blvd Fridays - Feat: L.A.M Marquee, Pyrmont. 10pm. $13.40.

Jones Jnr. Sydney Town Hall, Sydney.

5pm. Free.

Sydney Cypher Supremo Feat: DJ Adverse + Makoto + Run Jay Play Bar, Surry Hills. 6pm.

Free.

The Elements Of Tech And Bass - Feat: Thierry D + Ellagator + Ohmage + Sarris + The Bassix + Rowdy One Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

Lndry - Feat: AC Slater + Cassian + Friendless + Skin & Bones + Coda + Propaganda + Here’s Trouble + DJ Just 1 + Dolla Bear Chinese Laundry, Sydney.

9pm. $27.70.

Pacha - Feat: Timmy Trumpet + Glover + Jesabel + Alex Preston + Fear Of Dawn & Friends + Chris Arnott + A-Game + Dylan Sanders + Samrai + E-Cats + Mike Hyper + PW + DLE + Yoji + Baby Gee + Nanna Does Ivy Bar/Lounge, Sydney.

6:30pm. $38.

SUNDAY SEPTEMBER 20 S.A.S.H Sundays Home Nightclub, Darling Harbour. 3pm. $10.

Timmy Trumpet

MONDAY SEPTEMBER 21 CLUB NIGHTS

Mashup Monday feat: Resident DJs + DJ Thieves + Recess + Otg + Chivalry + More Side Bar, Sydney.

8pm. Free.

TUESDAY SEPTEMBER 22

Herbs to get you happy, healthy and romantic.

The Happy Herb Shop thebrag.com

CLUB NIGHTS

Coyote Tuesdays The World Bar, Kings Cross. 9pm. $10.

Xxx

with our magical botanical extraction machines!

HIP HOP & R&B

Acaddamy + Sleak + A-Game + Six Fingers Kit & Kaboodle, Kings Cross. 8pm. $10.

347 King St, Newtown BRAG :: 630 :: 16:09:15 :: 37

snap

VIEW FULL GALLERIES AT

thebrag.com/snaps

s.a.s.h by day

PICS :: AM

up all night out all week . . .

13:09:15 :: Greenwood Hotel :: 36 Blue St North Sydney 9964 9477

2PM – 3AM HOME TERRACE 101/1-5 WHEAT ROAD, DARLING HARBOUR WWW.SASH.NET.AU 38 :: BRAG :: 629 :: 09:09:15

sosueme - ft joy.

PICS :: JA

y a d n u S y r e Ev

09:09:15 :: Beach Road Hotel :: 71 Beach Rd Bondi Beach 9130 7247 OUR LOVELY PHOTOGRAPHER

S :: JAMES AMBROSE :: KATRINA

CLARKE :: ASHLEY MAR

thebrag.com

EXPLORER KORINA SALE PRICE

EPIPHONE RRP $999

LPM ETUNE VS

GIBSON RRP $1749

$599

SHOP WORN CLEARANCE DON'T MISS OUT!

SALE PRICE

$1049

BILLY JOE

GIBSON RRP $5999

SALE PRICE

$3899

CLEARANCE ITEM!

LES PAUL KORINA SALE PRICE

GIBSON GIBSO

SHOP WORN CLEARANCE DON'T MISS OUT!

RRP $8399

$5500

CLEARANCEE ITEM! CLEA

SG SPECIAL

GIBSON RRP $1849

SALE PRICE

$1109

SHOP WORN CLEARANCE DON'T MISS OUT!

LES PAUL TRIBUTE SALE PRICE ZENITH BASS

EPIPHONE RRP $1599

SALE PRICE

$799

GIBSON RRP $2099

CLEARANCE ITEM!

$1199

SHOP WORN CLEARANCE DON'T MISS OUT!

TOM DELONGE

EPIPHONE RRP $1099

SALE PRICE

$825

CLEARANCE ITEM!

More GREAT GUITAR deals available in-store!

ANNANDALE 55 Parramatta Rd

9517 1901

The RRP is the recommended retail price as set by the Australian distributor of the product.

While stocks last. Products pictured are for illustration purpose only.

www.gallinsmps.com.au