Brag#646

ISSUE NO. 646 JANUARY 20, 2016

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MUSIC, FILM, THEATRE + MORE

RÜFÜS

Also

N FU LL B LO OM

MAP & PLAYING TIMES P.29

Plus

T HE H AT E F UL E IGH T

S AVA GE S

FAT BOY SL IM

K ILT ER

Kurt Russell stars in Tarantino's bloodthirsty new flick.

The non-conformist Englishwomen remain committed to their cause.

The man born Norman Cook on 25 years of dancefloor dominance.

Leading the Goat Island Sounds lineup on the harbour this Australia Day.

L OU B A R L O W M A A JID N AWA Z CH A IR L IF T NO T HING BU T T HIE V E S B A R T W IL L OUGHB Y FAT W HI T E FA MILY A ND MUCH MOR E

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rock music news

the BRAG presents

welcome to the frontline: what’s goin’ on around town... with Sam Caldwell, Augustus Welby and Anna Wilson

PARTY IN THE PADDOCK

songwriters’ secrets WITH

LOUISE LOVE The Last Song I Released 2.

Tantric Shuffle is a four-song EP. My first album was brooding, but this new EP is more uptempo and jumps around in its style. I’d say it’s a much happier release.

I wrote and produced it at home and Casey Rice mixed it.

3.

1.

was 17. I don’t remember which song came first, but I remember they were all loud.

Song That Makes Me Proud 4. The

My favourite song is usually the one I have just fi nished writing.

I am also pretty proud of the single from Tantric Shuffle, ‘Get Back’. ‘Get Back’ manages to be a song that is happy and uptempo, but not cheesy. It expresses something personal and important, but it feels light.

You can also dance to it.

GLEN MATLOCK, EARL SLICK & SLIM JIM PHANTOM Newtown Social Club Sunday February 28

LORD HURON Oxford Art Factory Wednesday March 23

5.

The Song That Changed My Life I am going to answer with an album instead of a song. I think Debut by Björk is a perfect pop album. Every song is a complete construction, with the right amount of space, quirk, angles and repetition. It changed my life because I aspire to write songs like that.

ELLE KING Metro Theatre Thursday March 24

SHAKEY GRAVES

What: Tantric Shuffle out now independently Where: The Newsagency When: Monday February 1

The Basement Thursday March 31

DON’T IT FEEL GOOD?

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: Anita Connors, Joseph Earp, Anna Wilson, Augustus Welby ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: Katrina Clarke, Ashley Mar, Dylan Demarchi ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 les@thebrag.com Tony Pecotic - (02) 9212 4322 tony@thebrag.com PUBLISHER: Furst Media MANAGING DIRECTOR, FURST MEDIA: Patrick Carr - patrick@furstmedia.com.au, (03) 9428 3600 / 0402 821 122 DIGITAL DIRECTOR/ADVERTISING: Kris Furst kris@furstmedia.com.au, (03) 9428 3600 GIG & CLUB GUIDE COORDINATOR: Sarah Bryant - gigguide@thebrag.com (rock); clubguide@thebrag.com (dance, hip hop & parties) AWESOME INTERNS: Elias Kwiet, Joseph Earp, Anna Wilson, Anita Connors REGULAR CONTRIBUTORS: Nat Amat, Prudence Clark, Tom Clift, Christie Eliezer, Tegan Jones, Lachlan Kanoniuk, Emily Meller, David Molloy, Annie Murney, Adam Norris, George Nott, Daniel Prior, Tegan Reeves, 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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It’s been 27 years since the ’80s, AKA the decade fashion forgot, and judging by the synthy sounds of recent years, that’s long enough to make them officially cool again. In celebration, seven international ’80s superstars are coming out as part of the Totally ’80s concert to perform their classic hits at the Enmore Theatre. The lineup features the likes of Men Without Hats, Katrina (of Katrina and The Waves), Martika, Berlin, Limahl (of Kajagoogoo fame), Paul Lekakis and Stacey Q, joined by Australia’s own Countdown faves Wa Wa Nee and Real Life!. Crack out the leg-warmers and head down to the Enmore on Saturday July 16 – it’ll be safe to dance, we promise.

HIGHS AND LOWS

Minnesota indie rockers Low are returning to Australia this autumn for the first time in nearly six years. Low hit the scene in 1993, forming around the husband-andwife duo of Alan Sparhawk and Mimi Parker, and have since dropped 11 studio albums. Most recently came Ones & Sixes – co-produced with BJ Burton and featuring Wilco drummer Glenn Kotche – and fans will hopefully hear hits from the other two albums they’ve done since they were last Down Under – C’mon (2011) and The Invisible Way (2013). Get low to Low when they’re joined by Mike Noga at the Factory Theatre on Friday April 8.

Low

THE KING OF BLUESFEST

Brooklyn breakthrough Elle King has announced her debut headline tour Down Under off the back of an appearance at Byron Bay’s famous Bluesfest. Releasing her debut LP Love Stuff early last year, the singer-songwriter was recently nominated for two Grammys for Best Rock Song and Best Rock Performance for her hit ‘Ex’s & Oh’s’, which spent three weeks at number one on the Billboard Alternative Charts. She’s toured with the likes of Of Monsters And Men, Ed Sheeran and James Bay, and now you can see her at the Metro Theatre on Thursday March 24, presented by the BRAG.

MAXIMUM FROST

Singer-songwriter/producer Max Frost will bring his soulful electronic pop to Aussie shores for the first time this March. The 23-year-old Texan dropped his second EP Intoxication in September last year to rave reviews. The release featured the single ‘Paranoia’, which received much love on the triple j airwaves. Frost is known for his high-energy live shows, having bossed the stage at such huge festivals as SXSW, Firefly and ACL – something that will no doubt be seen when he hits Newtown Social Club on Thursday March 3.

FRANKLY ACOUSTIC

Former My Chemical Romance rhythm guitarist and backing vocalist Frank Iero AKA Frnkiero has announced an acoustic show for Sydney. Iero was originally booked to play at this year’s Soundwave, and following the festival’s cancellation, his debut Aussie solo tour looked doubtful. Thankfully, he knew better than to disappoint his Australian fans, and is coming Down Under for a couple of acoustic shows in Melbourne and Sydney.

This is a chance to get up close and personal with Frnkiero as he performs material from his latest offering Stomachaches (released under the moniker Frnkiero AndThe Cellabration).

Catch Frnkiero on Thursday January 28 at Utopia Records.

NECK MINUTE

Masters of improvisation The Necks will celebrate 30 years in the biz with an intimate studio performance at The Studio, Sydney Opera House. Following the success of their 18th album Vertigo, the Sydney trio will once again perform to an undoubtedly rapturous audience. Chris Abrahams (piano), Lloyd Swanton (double bass) and Tony Buck (drums) are globally renowned for their unique approach to creating spontaneous music of shimmering beauty and simplicity. This performance takes place as part of the Opera House’s contemporary music program, which also features upcoming shows from the likes of Brian Wilson, D’Angelo and Hot Chip, as well as the annual Vivid LIVE festival. The Necks’ show goes down Monday March 7.

BORN AT THE RIGHT TIME

Sydney indie kings Dappled Cities have announced a return to the stage with a special one-off hometown show. Since the release of 2012’s Lake Air, the five-piece have been hard at work creating their fifth studio album, which reportedly veers towards a more raw electronic jam, combining the glory of the ’70s with influences from the modern day. Fans can expect to hear a taste of the new material along with favourites of albums past when Dappled Cities return to the stage at Newtown Social Club on Friday February 5.

OF MICE AND MODESTY

One of America’s most-loved indie rock outfits Modest Mouse will return to Australia in March. Already announced for the 2016 edition of Bluesfest, the tour marks their first sojourn to Australian shores in five years. It also follows their first album in eight years, Strangers To Ourselves (out now through Epic/Sony), which reached number three on Billboard’s US albums chart. See them at the Enmore Theatre on Monday March 21.

HEY! COME OUT AND PLAGUE

The undisputed leader in horror-punk, Murderdolls frontman Joseph Poole AKA Wednesday 13, will return to Australia in April this year. Over the last two decades, Wednesday 13 has been one of rock’s most prolific protagonists, with a vile imagination that has endeared him to countless fans of riff-driven macabre, most recently dropping solo album number six, Monsters Of The Universe: Come Out And Plague, at the start of last year.

It’s all happening on Saturday April 16 at the Factory Theatre.

Modest Mouse

thebrag.com

Shakey Graves photo by Jarred Gastriech

Songwriting Secrets Sometimes I start with lyrics, sometimes with chords, and other times I build from the drums up. When I write, I feel like I’m searching and sculpting.

There is a lot of trial and error and I throw a lot of stuff out. I started producing electronically five years ago and this has given me a lot more space to explore and find clarity in my sound. My need for clarity has given my music a somewhat minimalist vibe.

The First Song I Wrote I wrote my first bunch of songs with my first band when I

ft. Violent Soho, Spiderbait, The Preatures and more Burns Creek, Tasmania Friday February 19 – Saturday February 20

therocks.com BRAG :: 646 :: 20:01:16 :: 7

live & local

free stuff

welcome to the frontline: what’s goin’ on around town... with Anita Connors, Joseph Earp and Anna Wilson

speed date WITH

SHAMIR

BYRON KNIGHT FROM SEA LEGS gig ever was Club 77 at Kings Cross. It was a friggin’ daytime gig; who books a gig at Kings Cross in the middle of the friggin’ day?! We played at 1pm to three people, our set friggin’ sucked so bad, we were hungover and not into it for obvious reasons.

It turns out the three people in attendance were from Sony Music coming to check us out… epic fail. Probs worked out for the best though, cause Sony will take all your money.

4. Current Playlist I’m just gonna leave my Hottest 100 picks here: Foals – ‘What Went Down’; Gang

humble little surfing town of Bateau Bay. We have been jamming together since we were young bloods. We formed a band called Sea Legs. We play rock’n’roll, the hooky type, the type that makes you feel sort of nice. What are we looking for in a fan? They just need to worship the band and retweet our shit.

2. Keeping Busy You betcha. Over the past five months we write-ed and recorded our sophomore EP

Daddy’s Girl, released Daddy’s Girl into the world, toured the EP along the east coast of Oz, and have been shooting a video for our latest single!

Best Gig Ever Our best gig ever would have to 3. be a headline show at Byron Bay’s Great Northern back in November 2014. It was shoulder to shoulder, full of young bloods (Schoolies types) – [the] funnest set ever.

Kevin Bacon was in the crowd and joined us onstage during the last song of our set and played tambo. Not even lying. Our worst

Of Youths – ‘Magnolia’; Jarryd James – ‘Do You Remember’; Mac DeMarco – ‘The Way You’d Love Her’; RÜFÜS – ‘You Were Right’; Sufjan Stevens – ‘Should Have Known Better’; Tame Impala – ‘Let It Happen’; Unknown Mortal Orchestra – ‘Multi-Love’; #1 Dads – ‘Two Weeks’ (Like A Version); Kendrick Lamar – ‘Alright’.

5. Your Ultimate Rider Four times unlimited use of tap beers. One box of Gurkha Black Dragon cigars. A packet of blue Warheads. A David Hasselhoff sausage sizzle. And anything extra that David wants… I don’t care.

What: Daddy’s Girl out now independently Where: Moonshine, Hotel Steyne When: Saturday January 23

synth sensation Josh Moult, bringing a hard rock edge to the band’s new material.

Buried Feather return from the wilderness to Newtown’s Union Hotel on Friday January 29, supported by local power-poppers Metal Babies, before visiting the Vic On The Park on Saturday January 30 with Heavy Daze.

COURTYARD SESSIONS PROGRAM

The wildly popular Courtyard Sessions outdoor music event returns to Chippendale’s Seymour Centre this year with a series of free events. Featuring an eclectic lineup of emerging artists, alongside a pop-up bar and gourmet barbecue, the courtyard is the perfect place to kick back with friends and discover new music. Setting the tone on opening night with an acoustic solo set is Louis London’s own Ed Saloman (Friday February 5). Highlights of this year’s program also include the soulful stylings of Iluka (Friday February 12), country kid Jordan Millar (Friday February 19) and the folksie lulls of Fanny Lumsden (Friday March 4). Chill out on a summer evening weekly from Friday February 5 – Friday March 18.

The Belligerents

Las Vegas musician Shamir is making quite the name for himself as a genre-jumping beatsmith. His debut album Ratchet was released mid-last year, and it’s simply a head-first collision through soul, R&B, house, disco, hip hop and ’90s pop. It’s evident that the embarassingly talented youngster is as at home rapping ‘On The Regular’ as he is crooning on ‘Demon’. Heading to Australia as part of the lineup for Laneway Festival, Shamir will treat Sydneysiders to his quirky sounds and countertenor vocals when he performs at Oxford Art Factory on Thursday February 11. We have one double pass to give away. Head to thebrag.com/ freeshit to enter the draw.

Shamir phtoo by Ruvan Wijesooriya

Your Profile Our parents had kids. We are some 1. of those kids. We all grew up together in the

head to: thebrag.com/freeshit

GET FUNKED

Sydney’s Funk Engine are kicking off another funkin’ year of music with a gig at Marrickville’s Django Bar. The four-piece – known for their original music and down-and-dirty interpretations of jazz and funk classics – are still riding high off the back of their 2014 debut, produced by the ARIA-winning Llew Kiek, and a strong year of gigging in 2015. While they gear up for album number two this year, they’ll be keeping the crowds dancing – this time on Friday January 29.

COULD THAT SOMEONE BE…?

Live At The Sly’s next headliners Mac The Knife promise to “go off like a bucket of prawns in the sun”. How’s that for some vivid imagery?

Given their reputation for booking only the most cutting edge of up-and-comers, it will come as no surprise that those behind Live At The Sly have selected another killer lineup. Mac The Knife, a blues/surf-punk five-piece from Newtown, have secured the headline slot, with supporting duties falling on Hunch and the excellently monikered Dead Brian. The next Live At The Sly happens at Slyfox on Thursday January 21.

SUE ME, SUE ME

The good people over at Bondi’s Beach Road Hotel are ending January with a bang after some hugely successful shows this year already. First up is Sosueme tonight (Wednesday January 20) – set to feature such acts as The Belligerents and Wild Honey as well as DJ sets from Samrai and The Delta Riggs. Doors are at 8pm, but you better get in quick, because Sosueme has hit full capacity every week this month. Following that is Friday January 22’s Night Lyfe party featuring Bozo, then crowd favourite Torren Foot at Saturday January 23’s Yours. In typical Beach Road fashion, all shows are free – so be sure to get down and check out some excellent live music.

AT THE MUSICA COPA

Bend it like the Australian music industry at this star-studded charity five-a-side football tournament. Now in its third year, Musica Copa is the brainchild of UNDR Ctrl’s Paul Stix and Purple Sneakers’ Martin Novosel. It offers a unique feel-good fundraising and networking experience in the name of sport to raise money for charity. 20 music industry teams will compete for glory in this year’s Musica Copa when it returns to Marrickville’s KIKOFF Soccer Centre in February, including teams from FBi Radio, Future Classic and Spotify, while Jack Daniels, Red Bull Music Academy, Smirnoff and Void have all got on board as sponsors for the year. There’ll also be $14,000 in prizemoney to be won by the top four finishing teams for their nominated charities. The Loop’s Channel 11 presenter Scott Tweedie is returning as MC. For the first time this year, the tournament will be open to the public on Saturday February 6 with Musica Copa El Publico: local five-aside teams will be able to enter the day-long tournament for the chance to win their own bumper cash prize and raise even more money for charity. Musica Copa 2016 kicks off on Friday February 5.

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The Grates

JUST WHAT THE DOCTOR ORDERED

After the success of his last appearance at Marrickville’s Lazybones Lounge, Dr Taos has been invited back for a monthly residency on the first Wednesday of each month. Billed as Dr Taos’ Medicine Show, this promises to be a unique take on alt-folk swamp rock. Supporting him at his first residency gig are triple j Unearthed talents Justine Wahlin – who recently released her debut album A Long Way From Home – and singersongwriter Fleur Wiber. Dr Taos begins his residency on Wednesday February 3 and will also be performing at Corridor in Newtown on Monday February 8.

BURIED, NOT DEAD

Melbourne psych-rock outfi t Buried Feather are re-emerging after a year off with a threecity tour and a new album set for release this year. The four-piece are set to hit the stage this month to perform their signature mix of fuzzed-out sounds and hazy drones. The lineup has been tweaked with the addition of Sheriff’s Callum Routledge on kit and

’STRAYA ROCKS

It’s ‘grate’ news for The Rocks’ Australia Day celebrations this year, with the headline act now locked in. Grungey pop-rock act The Grates have been announced for the day, joining already confirmed acts such as Tuka and Melbourne Ska Orchestra. Although there’s no shortage of other opportunities available to anyone looking to party on Australia Day, The Rocks’ event is fast shaping up to be a strong choice, and one very worthy of your attention.

And it won’t cost you a dime. Festivities will kick off in The Rocks on Australia Day, Tuesday January 26.

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Industrial Strength Music Industry News with Christie Eliezer

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THINGS WE HEAR â&#x20AC;˘ Which drummer confessed to this column that he didnâ&#x20AC;&#x2122;t really enjoy his bandâ&#x20AC;&#x2122;s biggest gig to date? Two songs in, he hit his eye with a drumstick and spent the rest of the show trying to focus while his eye swelled. â&#x20AC;˘ Which festival worker ended up in hospital with burns on their face? â&#x20AC;˘ Flea from the Red Hot Chili Peppers has a new David Bowie tattoo. In the wake of the Starmanâ&#x20AC;&#x2122;s return to space, there were 100 million Facebook interactions by 35 million people in the first 12 hours, his plays on Spotify spiked 2,700%, and 14 albums rushed back into the UK charts, plus 19 into the Australian top 150. Sarah Blasko did a stunning version of â&#x20AC;&#x2DC;Life On Marsâ&#x20AC;&#x2122; for triple jâ&#x20AC;&#x2122;s Like A Version segment, tweeting: â&#x20AC;&#x153;Really thrilled to be doing this in Bowieâ&#x20AC;&#x2122;s honour.â&#x20AC;? SXSW founder Roland

STUDY FINDS ARTS AND MUSIC GOOD FOR MENTAL HEALTH A University of Western Australia study has found that being engaged in the arts â&#x20AC;&#x201C; including going to concerts and listening to music â&#x20AC;&#x201C; for at least two hours a week is good for mental well-being. â&#x20AC;&#x153;Arts engagement increases happiness, confidence, self-esteem and reduces stress and social isolation,â&#x20AC;? said Dr. Christina Davies, who led the study as part of her Healthy Arts PhD. â&#x20AC;&#x153;It results in the creation of good memories and has an impact on a personâ&#x20AC;&#x2122;s knowledge and skills. People need to give themselves permission to be creative and to make time for the arts activities and events that they enjoy.â&#x20AC;? The study was published in BMC Public Health.

JOSH PYKE PARTNERSHIP RETURNS FOR THIRD YEAR The Josh Pyke Partnership, set up with APRA, is back for a third year. It gives a $7,500 grant for an emerging musician to kick-start their career with a business plan, plus mentorship

by Pyke and a meeting with manager Gregg Donovan (Wonderlick Entertainment) and booking agent Stephen Wade (Select Music).

Apply by Thursday March 31 at joshpyke. com/projects/jp-partnership. Last yearâ&#x20AC;&#x2122;s winner Gordi has gone on to great things â&#x20AC;&#x201C; see elsewhere in this column.

HUSSLE STRIKES DEAL WITH UNIVERSAL SWEDEN Ministry Of Sound Australia imprint Hussle Recordings has struck a deal with Universal Music Sweden to expand its music through Europe. In the past two years, Hussle has sold three-quarters of a million singles in Australia.

These included Timmy Trumpet and Savageâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Freaksâ&#x20AC;&#x2122; (five times platinum), Joel Fletcher and Savageâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Swingâ&#x20AC;&#x2122; (four times platinum) and Will Sparksâ&#x20AC;&#x2122; â&#x20AC;&#x2DC;Ah Yeah So Whatâ&#x20AC;&#x2122; (platinum). â&#x20AC;&#x2DC;Freaksâ&#x20AC;&#x2122; went top ten everywhere from Sweden, Finland and Poland to South Africa, Zimbabwe and Kenya. â&#x20AC;&#x2DC;Ah Yeah So Whatâ&#x20AC;&#x2122; is a hit in Sweden.

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The inaugural national hard rock Legion Music Fest has partnered with crowdsourcing platform GiggedIn to give more Aussie acts a chance to get on the bill. Legion founder John Sankey said, â&#x20AC;&#x153;We made a commitment to support local bands and the local industry and we meant it.â&#x20AC;?

Bands are asked to submit a song, a music video link, a short bio and a photo to giggedin. com/legion-music-fest by Thursday March 3. A judging panel made up of Sankey, Legion organisers, record label execs, producers and music media will choose the final six in each state. Public vote decides the winners. â&#x20AC;&#x153;We turn to the fans for all major decision-making, so why should this be any different?â&#x20AC;? said Sankey.

Pledge at pozible.com/legionmusicfest, and see more info at legionmusicfest.com.

BOOMERANG GETS MORE SUPPORT

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Byron Shire Mayor Simon Richardson has joined Archie Roach, Paul Kelly and Troy Brady as a Friend of Boomerang, filming a video of support for the festival. Boomerang, which celebrates indigenous culture with all Australians at the Bluesfest site, is currently crowdfunding, with a week to go. Check it out at indiegogo.com/projects/boomerangindigenous-arts-culture-festival.

US DEAL FOR RĂ&#x153;FĂ&#x153;S On the eve of dropping their second album Bloom and a US run including Coachella and

Swenson and a friend sneaked out with paint to Bowie Street in Austin, Texas, and changed it to David Bowie Street. â&#x20AC;˘ Metallica blubbered apologies to Canadian tribute band Sandman, who received a cease and desist letter from the heavy metal icons for infringing copyright.

The band members say it was sent out without their knowledge by an â&#x20AC;&#x153;overzealous attorneyâ&#x20AC;?. â&#x20AC;˘ Out next month is a book called Way Out West by George Matzkov, which looks at Perthâ&#x20AC;&#x2122;s alternative rock scene between 1976 and 1989. It comes with a CD of tracks from that era. â&#x20AC;˘ The Ghost Insideâ&#x20AC;&#x2122;s drummer Andrew Tkaczyk has revealed he lost his right leg in the fatal bus crash in El Paso, Texas, in which both drivers died, and which also sent singer Jonathan Vigil and guitarist Zach Johnson to hospital. â&#x20AC;˘ Latest Aussie certifications: the Molly soundtrack from the teleseries about

Molly Meldrum has gone gold, while The 12th Manâ&#x20AC;&#x2122;s The Very Best Of Richie hit platinum. (Just for the record, Adeleâ&#x20AC;&#x2122;s 25 has now reached eight times platinum in Oz.) On the singles side, Troye Sivanâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Wildâ&#x20AC;&#x2122; is platinum and both Guy Sebastianâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Black & Blueâ&#x20AC;&#x2122; and Hilltop Hoods feat. James Chatburnâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Higherâ&#x20AC;&#x2122; are gold. â&#x20AC;˘ The Office of Liquor, Gaming and Racing (OLGR) is performing compliance checks, targeting the suburbs of Parramatta and Manly for drunk behaviour by patrons, â&#x20AC;&#x153;undesirable liquor promotions and activitiesâ&#x20AC;? and sale of booze to minors. â&#x20AC;˘ Food And Beverage Magazine has â&#x20AC;&#x153;officiallyâ&#x20AC;? renamed the Jack Daniels and cola drink â&#x20AC;&#x2DC;The Lemmyâ&#x20AC;&#x2122; in tribute to the late MotĂśrhead leader. The renaming came after a change.org petition got 40,000 signatures. â&#x20AC;˘ Last weekendâ&#x20AC;&#x2122;s Illawarra Folk Festival drew 11,000 punters.

Firefly, EDM act RĂ&#x153;FĂ&#x153;S have scored a US record deal with Foreign Family Collective.

The label only issues singles, but representive Harrison Mills says that when it heard the album, it had to â&#x20AC;&#x153;put out the complete album.

Itâ&#x20AC;&#x2122;s one of the best albums weâ&#x20AC;&#x2122;ve come across in the last decade.â&#x20AC;? RĂ&#x153;FĂ&#x153;S, known as RĂ&#x153;FĂ&#x153;S DU SOL in North America, have a new single out, â&#x20AC;&#x2DC;Say A Prayer For Meâ&#x20AC;&#x2122;.

TWO GLOBAL BOOKING DEALS FOR GORDI Sydney folktronica singer-songwriter Gordi has signed two global booking deals and is working on an international record deal.

The 22-year-old, who showcased at CMJ in New York, is now represented in the UK and Europe by Coda Agency (and repped by co-founder Rob Challice, who looks after Sufjan Stevens and Warpaint) and in the US by Billions founder David Viecelli, who looks after Arcade Fire, St. Vincent and Foy Vance. Gordi won the APRA Josh Pyke Partnership Award and was nominated for triple j and FBi SMAC awards.

INERTIA SIGNS TIGERTOWN, FAIT Inertia has signed two more acts. Sydneyâ&#x20AC;&#x2122;s Tigertown will release their EP Lonely Cities on Friday February 5, which includes new single â&#x20AC;&#x2DC;Bullet From The Gunâ&#x20AC;&#x2122;. Charlie and Chris Collins were in the US working with writer/producers Tommy English, Chris Zane, Tim Pagnotta and Captain Cuts, as well as with St. Lucia, who theyâ&#x20AC;&#x2122;ll join on tour when they return to the US for SXSW. Inertiaâ&#x20AC;&#x2122;s other signing was Perthâ&#x20AC;&#x2122;s Fait (Elise Higgins), who has a new track out called â&#x20AC;&#x2DC;Solaceâ&#x20AC;&#x2122;. Her 2014 debut EP Atmosphere got one million Spotify plays and sheâ&#x20AC;&#x2122;s now moved to Sydney.

DEADLINE FOR ARTS AND DISABILITY FUNDING The Australia Council for the Arts is calling for applications for dedicated funding for artists with disability by Tuesday February 2. It provides up to $25,000 for development grants and up to $50,000 for projects involving individuals and groups. This is the second of a three-year initiative after a successful trial in 2014. Last year, 15 projects shared $300,000.

Go to australiacouncil.gov.au.

20 MORE AUSSIES SHOWCASING AT SXSW 20 more Aussies will showcase at Austinâ&#x20AC;&#x2122;s South By Southwest in March. Of the 550 artists named in its third round were Sydneyâ&#x20AC;&#x2122;s DMAâ&#x20AC;&#x2122;s, Gang Of Youths, Wave Racer, Big White, Spookyland, Tigertown, Cosmoâ&#x20AC;&#x2122;s Midnight, Vallis Alps, Kita Alexander and Julia Jacklin. From Victoria are Stonefield, Harts, Mr. Rogers, Pretty City, WILSN and D.D Dumbo. From Brisbane are DZ Deathrays, 8 Ball Aitken and Scraps, with Matt Gresham from Fremantle.

DONATE TO ROADIES FUND Since 2012, the Australian Road Crew Association (ARCA) has been working to help roadies in crisis. The work is physically hard, hours are lonely, pay rate low, income sporadic, and few have provision for ill health or retirement. No wonder roadies have nine times more suicidal thoughts than the rest of the community. Support Act Ltd has stepped in and will deliver a crisis relief service through its infrastructure. It will also provide a tax deductible receipt for anyone donating $2 or more to the Roadies Fund. Donations can be made online at supportact.org.au/ givehelp and by writing â&#x20AC;&#x153;ROADIEâ&#x20AC;? in the donation field.

Lifelines Born: son Bowie to Take Thatâ&#x20AC;&#x2122;s Howard Donald and wife Katie, who gave birth two days after David Bowieâ&#x20AC;&#x2122;s death.

Hospitalised: Colin Vearncombe, the voice behind Black, in a coma with a serious head injury after a car accident in Ireland.

Injured: one of WAU Managementâ&#x20AC;&#x2122;s Sydney managers Julian Marshall was transporting some ARIA trophies for its Melbourne acts including Northlane. While he was waiting for a cab at Melbourneâ&#x20AC;&#x2122;s Tullamarine airport, the box broke, and the pointy ARIAs fell on his feet in a painful ordeal.

Ill: Minnamurra, New South Wales singer-songwriter Timothy Bowen, 25, is battling lymphoma. His sister, Nashville actress and TV presenter Clare Bowen, successfully battled kidney cancer 20 years ago as a child.

Injured: Sydney keyboardist and fiddle player Clare Oâ&#x20AC;&#x2122;Meara broke her ankle after falling down the stairs at home when sleepwalking.

Sheâ&#x20AC;&#x2122;s still performing with Beccy Cole and The Bushwackers at the Tamworth Country Music Festival.

Charged: A 31-year-old man and a 33-year-old woman, with accessory to the fact, over the murder of former Sydney DJ Donovan Mileham at a Kent Street hotel last November 17. Fairfax reported that another man, Hasan Fazliliar, 30, was arrested and charged late last year in relation to the murder.

Jailed: a Lana Del Rey stalker after breaking into her home and posting pictures on social media.

In Court: Californian band Avenged Sevenfold are suing Warner Bros. Records to get out of their six-album contract after four albums. They say that after changes at the label, they are hardly in a â&#x20AC;&#x153;nodding relationshipâ&#x20AC;? with staff. Warner is counter-suing, saying it has invested money into the bandâ&#x20AC;&#x2122;s future recordings.

Died: Giorgio Gomelsky, 81, a blues enthusiast who booked The Rolling Stonesâ&#x20AC;&#x2122; first gigs (at his London club The Crawdaddy, the first of which happened before three people) and managed The Yardbirds, before moving to New York, where he opened up his home as a performance space for experimental musicians such as John Zorn, Richard Hell and Bad Brains.

Died: Celine Dionâ&#x20AC;&#x2122;s husband and manager RenĂŠ AngĂŠlil, 73, from cancer, two days before her elder brother Daniel also died of the disease.

thebrag.com

mardi gras film festival

feb 18 - mar 3 2016 full program out now

WAITING FOR B

DRAG BECOMES HIM

BARE

4TH MAN OUT

FRI 26 FEB 6.45PM

SAT 27 FEB 7PM

FRI 26 FEB 9PM

THU 3 MAR 8.30PM

A heartwarming crowd-pleaser which follows a group of Beyoncé fans camping out for two months to get the best seats in her São Paulo concert. A very fun documentary similar to the legendary Paris is Burning.

RuPaul’s Drag Race fans love season 5 winner, Jinkx Monsoon. Drag Becomes Him is a raw and unseen look at Monsoon’s life from his working class upbringing to being on the road as a glitzy, internationally beloved drag performer.

Sarah is led into a world of drugs, stripping, spirituality, and sex.

Set in the vastness of Nevada’s landscape and the neon lights of its seedy nightlife, Bare features a superb lead performance from Dianna Agron (Glee).

A blokey twentysomething mechanic finally comes out to his three best straight male friends after a night of drinking. The four men embark on a touching and amusing journey to discover what being gay is really like.

Ticketing and more info at

queerscreen.org.au

The

FO R R EST ERS

S

HOU E OF FREE

ROCK Thurs. JAN. 28 ENTRY

LIVE

8 p.m . to 12 a.m.

BANDS

SLICK ARNOLD DIME THE VACATIONISTS

$5 dollar PISTONHEAd tins $5 dollar APPLE THIEF CIDER tins BRAG :: 646 :: 20:01:16 :: 11

RÜFÜS

T

NATURAL SELECTION

he so-called ‘difficult second album’ hasn’t lived up to that name for RÜFÜS and their confident frontman, Tyrone Lindqvist. “I feel like we weren’t ever challenged,” he says of the recording process behind Bloom, which is due out this week. “I don’t ever feel like there was a struggle, or us trying something that didn’t feel comfortable. We’d never really consciously go, ‘This will be something that we’ve never done, let’s do it,’ and then it was hard. It was always easy.”

“Touring Atlas for a year and a half, we were so hungry to get back in the studio,” Lindqvist says.

“While you’re touring, you get so much time on planes or [in] hotel rooms, so we’re all just sharing random tunes from anyone we hear, so that we come to this melting pot of shared music.

By the time we got to the studio, there were heaps of things that we wanted to try and explore. We had heaps of stuff that we could just draw upon if we were lacking inspiration.”

Despite the ease with which their tunes came to the surface, the Sydney-based dancefloor-fillers weren’t exempt from the ups and downs of the creative experience.

Lindqvist admits recording an album can still be a long slog.

Even if that failed, the band’s positive mindset and temporary home in Berlin gave its members a safety net when they settled in for a few months in late 2014. “When we went to Berlin, we had two months over there, and not getting to write for that long [beforehand] made us that hungry to try a million and one things,” says Lindqvist. “The fact that you get to try – and don’t really have a fear of trying – is so nice, and I reckon that made the record for us, just because we tried so much. It’s something you can’t really make if you haven’t gone on those little wild goose chases.”

“I think the hardest bit’s when you’re making an album and you have three guys that are really passionate about making something you’re all really proud [of] – you get on such extreme highs when you stumble on a chord pattern or a song or whatever. It could be shit, but in the studio you feel such a buzz. You go through the moments where it’s like a roller coaster; you get on those highs and then three months down the track you’re like, ‘How are we going to all be happy with this thing that we’ve made?’ and then in another four months you’re like, ‘Fuck, this is amazing! We’re going to push it!”

After releasing their highly successful debut Atlas in 2013, captivating Australia’s dance scene and touring internationally for 18 months, RÜFÜS were itching to start work on new music – and they had a myriad of inspiration at hand.

12 :: BRAG :: 646 :: 20:01:16

BY EMILY GIBB grounded and rooted. I think we were just really excited to do that.

On the first album we didn’t really do that as much; we were using soft synths and we were more in the box – less hardware, you know, less imperfections on the first one.

And we were trying to embrace imperfections a lot more on this one.

of the record. At the other end, third single ‘Innerbloom’, the album’s epic closer, is a lush return to reality after 52 minutes of the raw and sunny dance RÜFÜS have carved out as their own sound.

“I’m really proud of ‘Innerbloom’,” says Lindqvist. “We had so much fun that we didn’t really think about it, we just knew that we wanted to let it go for as long as it needed to go until we were bored of it ourselves. Even just sonically, it’s a real nod to our time in Berlin. It felt like an honest, naked song, like us literally taking our clothes off, standing there and going, ‘Hey! This is pretty hard to do, thank you so much!’ So that’s really nice. And that it’s the last track on the record – I feel like that’s exactly the feeling that I want to feel after having heard [it]. That’s what I’d love, for people to come away and go, ‘Oh man, that’s actually really nice!”

“THE FACT THAT YOU GET TO TRY – AND DON’T REALLY HAVE T MADE A FEAR OF TRYING – IS SO NICE, AND I RECKON THA THE RECORD FOR US, JUST BECAUSE WE TRIED SO MUCH.”

The appetite for experimentation proved fruitful. As the title of its opening track ‘Brighter’ suggests, Bloom is a richer yet more personal record than its predecessor, and the Berlin influence permeates throughout.

“We were listening a lot to David August,” Lindqvist explains.

“He’s from Berlin and his album Times was full of textures and audio-based stuff that feels really

“When we set out to do the record, we were listening to The Avalanches and sample-based stuff. They sample things that are 30 to 40 years old, and we really wanted to try that. We gave it a go so many times and it didn’t really feel right for us.”

What clearly did feel right was anything natural. As with Atlas, the outside world never seems far away while listening to Bloom. All songs had working titles named after animals, including ‘Seahorse’, ‘Ocelot’ and ‘Alligator’, and subtle surprises filter through to prick the interest of keen ears throughout – including the tinkle of shells, whale noise guitars and pouring rain.

Those organic samples, Berlinsoaked bass, longing lyrics and gospel harmonies add euphoric soul to Bloom, with the aforementioned ‘Brighter’ introducing the uplifting sentiment

After the recording had wrapped, the group first heard the finished product in a picturesque setting while on an American tour with Odesza last November.

“We listened to it through the mastered copy on our drive from Detroit to Chicago. It was snowing and our driver’s like,” Lindqvist imitates with an amusing American twang, “‘Oh, gotta stop over and get beef jerky, we could get snowed in!’ Then we got the email saying the masters had come through and we all plugged in our

headphones and pressed play very easily. Getting to sit back and listen to it was just so sick; it was so nice for us to just sit back and listen to what the fuck had happened in the studio for the year. Especially being on tour, it’s such a topsyturvy space, so to get to have that moment where we were just listening to the record was pretty special.”

Even before its release date, Bloom has already delivered plenty for RÜFÜS, with an ARIA Award and gold sales for single ‘You Were Right’ and a spot on the 2016 Coachella lineup rounding out the six months since fans’ first taste of the new material. When asked if there are any pre-release nerves for what’s set to be the summer soundtrack of the year, Lindqvist laughs.

“To be honest, I have none. You’ve gotta remember who’s making it and why – for me and the guys, I didn’t make it for anyone else.

It sounds selfish, but we went overseas to have fun, to make this project that we were excited about, and we made it. To get to listen to it from start to finish, feeling so proud and sure that is what we want to put out in the world, it kind of strips any nerve. You can’t give me a nerve from that. I made what I wanted to hear and I made it with my two best mates, and we are all stoked with it.

“I’m never going to know what A, B, C or D think. The only thing I’ll ever know is how I feel towards that record, and same with the guys, and we couldn’t be more proud.

Like, I really love it.”

What: Bloom out Friday January 22 through Sweat It Out

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BRAG :: 646 :: 20:01:16 :: 13

Lou Barlow Wave After Wave By David James Young record. I think it helps ground me, and it helps me approach the other bands with an open mind and a clean spirit. I’ve always tried to work on a few things at any time.

Dinosaur and Sebadoh are electric bands, but I’ve always played acoustic music. Many of the betterknown songs that I’ve written have started out acoustically. I’ve always liked the idea of folk music taking different shapes – folk music informed by punk rock, being an alternative to what’s generally accepted as folk music. I think that’s the kind of music that I’ve come to make as a solo artist.”

W

hen Lou Barlow answers the phone, he is recovering in a mountainside town in the south-west of Massachusetts, following a week-long residency at New York’s Bowery Ballroom with the band widely considered to be his day job, Dinosaur Jr. The indie rock legends performed the run of dates in celebration of the 30-year anniversary of their debut LP, simply titled Dinosaur, and brought on guests as varied as Henry Rollins, comedian Todd Barry and My Bloody Valentine’s Kevin Shields.

Although Barlow has played on six of the band’s ten albums, there was quite an extended period of exile from the group following his firing in 1989. It would take 16 years to get

the original trio back together again – a return that Barlow did not take on lightly.

“I entered it with an open mind,” he says. “I didn’t know where it would go, but I accepted it in as neutral a fashion as I could. I was just hoping for the best – and now, ten years and four albums in, I think it’s worked out the best way that it could. The shows we just played were really incredible. It was a lot of work to put in for them, and we were really busy in the weeks leading up to it. The payoff was really, really nice.”

The last few years have seen Barlow on one of his most creative

streaks to date. 2012 marked the release of Dinosaur Jr.’s tenth LP, I Bet On Sky; itself followed by Defend Yourself, a 2013 album by another Barlow-related project, Sebadoh, which was the band’s first in 14 years. Now, Brace The Wave is Barlow’s third album to bear only his name. It’s a lush, stripped-back and warm folk record that’s far removed from the manethrashing fuzz of his other bands.

It’s an intentional move on behalf of Barlow, who says a return to performing solo was an inevitability.

“I tend to work in cycles,” he explains. “Naturally, if I’ve done a Sebadoh and a Dinosaur Jr. record, I’m inclined to do a solo

Brace The Wave was recorded over a period of just six days with long-time friend, producer and engineer Justin Pizzoferrato. The album features heavy usage of a baritone ukulele, which Barlow converts into various custom tunings and plays in his own unique manner. Having originally received the instrument as a gift from his mother in his early teens, the now-49-year-old has spent most of his life approaching it from a left-field perspective.

“I started writing songs on the ukulele back in the ’80s,” says Barlow. “That was when I was first really starting to write songs on my own. For instance, the Sebadoh song ‘Brand New Love’ began as a song that was just on the ukulele.

I’ve never approached it in the same way that most people tend to think of the instrument – I always put on heavier strings and use my own tunings for it. I incorporate a few different strumming styles that tend to work best purely for the ukulele, and I’ve always been drawn to the size and the sound of it. There’s something about playing with four strings that I’ve always been drawn

to – bass, ukulele, and I’ve got a customised guitar that I use in Sebadoh that takes out the D and the G strings, where I modify the tunings to reflect the ones on the uke.”

Barlow is returning to Australia for the first time in nearly two years as a part of this year’s Sydney Festival. He intends to play a large portion of Brace The Wave, as well as favourites from his back catalogue stretching across all his various projects. Although he might not be able to reach the lengths of the famous 30-song set Sebadoh played some years ago, he looks to incorporate as much as he can.

“It’s impossible to cover everything,” he says with a laugh. “I’m really looking forward to sharing these new songs, though. I recreate most of the new record live, and I try and take requests on the fly if I am at all able. I’ve got my uke, I’ve got my guitar and I’ve got an old vintage synthesizer from the ’70s that I use with a loop pedal. It was originally used as a bass synthesizer, and it’s monophonic, which means you can only hit one note at a time. I really enjoy using it playing live. I like to use the synthesizer in my sets the way that folk singers like to use the harmonica. I’ve always loved the combination of acoustic instrumentation and synthesizers.

People have been doing it forever, but it’s something I think needs to be explored more. I’m fascinated by it.”

What: Sydney Festival 2016 Where: Magic Mirrors Spiegeltent When: Tuesday January 26 And: Brace The Wave out now through Domino/EMI

Bart Willoughby An Uncorrupted Soul By Adam Norris talk, he has just finished a long day of children’s workshops.

“Teaching. It’s really weird,” Willoughby muses. “I’m teaching percussion, so I started with really small instruments, teaching how to use their fingers to hit the bongos.

The main bongo is too big for them, so if I give them a small one I can have them concentrate on their fingers. What I try and do is work out what their capabilities are, so I start small so they can understand what areas they’re hitting. The hands come later – first fingers, [then] palm.

They’ll end up using the whole hand to create by the end. In other words, they learn how to talk with the drum. “[The kids] help me remember. I always come back to where I began.

And also, it’s a nice way of bringing music that’s not corrupt in a way.

Music is so corrupt at the moment, it’s nearly worse than art. I think commercial things are a perfect example of how the industry takes the music away from the people. You have to pay for everything.”

B

art Willoughby is a man of many firsts. He was part of the first Australian indigenous rock band, No Fixed Address, to tour overseas.

He was the first Aboriginal man to perform on Countdown, the first to sign a record deal, and the first to score, perform and direct the music

14 :: BRAG :: 646 :: 20:01:16

for a feature film (1992’s Jindalee Lady). He received an Indigenous ARIA Lifetime Achievement award back in 1993, and shows no sign of slowing down anytime soon. With the 2016 edition of Yabun Festival just a week away, Willoughby is already planning for the future, and when we

It is easy to dismiss offhand the commercial perils of the music industry today – many acknowledge the ferocity and greed of the market, yet carry on dancing to the same beat. But Willoughby has borne witness to the darker side of the industry for decades now. In 1981, he starred in Ned Lander’s awardwinning feature Wrong Side Of The Road, which depicted the racism faced by indigenous musicians in rural venues. Asked if he is pessimistic about how far Australian attitudes towards indigenous acts have developed since then, Willoughby admits that he is.

“Music in Australia is fraught with

weird entities. It doesn’t become the music industry, it becomes something else that somehow leaks into the innocence of the community. It’s thinking money all the time, so it doesn’t have time for compassion. It looks like there’s a certain mob, and it’s a bit like Groundhog Day – they keep doing the same thing, and that’s why commercial music is only interested in major chords. It’s so confusing that it works.

“Music is like being in the middle of everything. You can go one extreme to the other, it’s so flexible.

Lots of people don’t get to find their character in music because it’s so in the middle. It’s a bit like life. If you don’t know what you’re looking at, you can easily turn left and right and forget about that beautiful experience of finding out the meaning, because it is there for individuals, and each individual will find that in different ways.”

Though the Pitjantjatjara artist’s reflections are certainly touched with a trace of despair at the course of our cultural development, he remains hopeful that the next generation can be encouraged to embrace their creative and spiritual selves; to become reacquainted with Mother Nature. Willoughby’s performance at Yabun Festival will feature his entire band and showcase just how accomplished these performers are. But mostly, it is going to be a celebration of the eternal ability of music bringing people together and reminding them of the things in life Willoughby believes matter most.

“Somehow the [culture] today can destroy the innocence of my soul if I’m not careful, which it has done to a lot of people. If you look at how many stars made it, to how many we

never got to hear, who got squashed, you don’t get to see those beautiful people. Most of these people were like me and other individuals, but I think I’m stronger because I did grow up prepared for this chaos. I’m sticking to my guns, to the very end of life as we know it. I know it’s a battle. What am I fighting against?

It looks like I’m fighting against bad entities. I want to preserve the innocence of imagination, so that our compassion can be strong with the innocence of Mother Nature.”

At 55, Willoughby insists that he is still only just beginning his musical odyssey. It has been a long and remarkable road, and there was never any doubt he would travel it in his own way.

“I think I know what I’m looking at. By the time I was 16 or 17, I pretty well knew what I was looking at in life. You can’t explain it really, you don’t know how to use the words yet. I’d just be out playing, singing something, and that’s like talking, I think. But that takes a lot of years, and you have to centre yourself, because you can go left, you can go right. I use the music to centre myself so I don’t get corrupted by anything else. There are certain things in the middle that can take you away from the middle. Try and use all the colours to make some distinction.”

What: Yabun Festival 2016 With: Radical Son, Yarwah, Evie J Willie and more Where: Victoria Park, Camperdown When: Tuesday January 26 And: Also appearing at The Bowl Rebellion, Marrickville Bowling Club, Tuesday January 26

thebrag.com

BRAG :: 646 :: 20:01:16 :: 15

Savages From The Search To The Answer By Augustus Welby “Originally I think we were doing it for ourselves, first and foremost – expressing things that we needed to express at that point that were essential to carry on,” says frontwoman Jehnny Beth. “This first record was more of a statement.

It was a way to set the rules for ourselves – to find our own place, our own voice, establish ourselves.

You come out of nowhere on your first record and you sort of have to be heard. The first step is the hardest, I think, to make sure you don’t take a step that someone else has taken or at least [do it] in your own terms.

“People don’t suspect artists to come out that way, or to start that way. There’s always this thing about, ‘You can do that once you’re established.’ Which is something that Savages never really accepted, because we really thought it was the opposite – you have to do that when you start, otherwise you’ll never do it, even when you’re established. There’s never a good time to set out your own rules when you’re a musician and you’re an artist, so you might as well start it as soon as possible so people can get used to it.”

conformity and authentic living in the contemporary world. The Englishwomen’s profile continued to expand upon the album’s release, but in spite of the widespread attention, they remained tenaciously committed to bold artistic expression.

“It’s something that starts within ourselves, then between ourselves,” Beth says. “It’s almost like each song is a new chapter or is a new common knowledge we’re going to share together – a new rule, establishing a new reality, another stone in the big wall of reality that we’re building together. What life is, what we think of life, what judgements we make, what choices we make, what kind of people we are. And each song has a message.

Each song is part of defining what kind of people we want to be, what kind of life we want to lead. So it starts with ourselves, defining our own space, and then of course there’s the audience, so after that it is shared and it almost doesn’t belong to you anymore and you move onto other things.

“But there is the idea of music and message being closely connected.

Especially with the use of mantras, repetition, it’s a way to convince yourself of something, and it’s leading up to change. I think we’re using songs and words in a way as a healing process for things that need to be changed. I have the firm conviction that if you repeat some things enough times, then they become real. If you say ‘I love you’ to someone enough times – ‘I love you, I love you, I love you, I love you’ – it becomes real. With music it’s even more effective.”

Adore Life pays credence to Beth’s firm conviction. In the pseudotitle track ‘Adore’ she affirms her

belief in life, while ‘The Answer’ is a similarly insistent declaration of love’s healing power. The record isn’t exactly happy listening – there are no brilliantly decorative exclamations of life’s beauty – but despite giving attention to the cruel side of romantic love and the oppressive impositions of society, it comes across as an affirmation of life.

“I think if I write it in a song, I have to live by it,” Beth says. “If I say, ‘Love is the answer,’ I have to remind myself that I wrote that. It’s a way for me to make progress quicker.

I think in life sometimes you can have epiphanies and you can make discoveries about yourself, but to actually apply them is taking ages.

I like to take shortcuts, sometimes a bit too much, but I like to take shortcuts with myself and with people. If I see there’s a change to be made, I will try to change it as soon as possible, even if it seems impossible. It can be quite intense.

So music and writing words for Savages has been helping me in that way. I can’t shy away from these feelings – they’re out there.

“On this record I have also tried to not be hiding these feelings that are transitionary feelings, which are feelings of jealousy, abandon, fear.

All these feelings are necessary transitions towards a better feeling, a greater feeling. But you need to go through all these by-products of love in order to love and to digest them. In a way, the record had to include these kinds of things in order to be true.”

What: Adore Life out Friday January 22 through Matador/ Remote Control

Fat White Family To Mother With Love By Patrick Emery

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ias Saoudi and Saul Adamczewski, vocalist and guitarist respectively in English agit-prop rock’n’roll band Fat White Family, are adamant that there’s never been a single motivating concept or artistic idea behind what they do. “There was never any plan or scheme when we first got together,” Saoudi says.

Even the band’s live performances – which have seen Saoudi strip naked and taunt the audience – are simply natural, organic events. “The idea of doing pre-meditated confrontation is something I find strange,” Adamczewski says.

“I think we’re antagonistic by default,” Saoudi adds.

But scratch the surface, and there’s more to Fat White Family than meets the eye: the band is avowedly politically motivated, though more in the sense of countering the apathy it perceives in the world around it. “One of the most important things that was important to us when we formed the group was how apathetic everyone else was,” Saoudi says. “As human beings, we feel like we believe in the right sort of human beings – it’s not pretentious, it’s just a natural human instinct. It shouldn’t even be a talking point – if everyone is politically apathetic and we stand out because we’re not, then something must be wrong.”

And the medium of rock’n’roll is, Adamczewski and Saoudi contend, an intrinsically political medium within which to operate. “Rock’n’roll can be used by proxy as anticapitalist, or other ways,” says Adamczewski. “It’s probably been used in every political sphere over the years.”

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Formed in 2011 in South London, where the original six band members were living together and playing in other groups, Fat White Family came to broader prominence with the release of Champagne Holocaust in 2013.

Taking musical cues from The Cramps, The Gun Club, The Fall and The Birthday Party – and with lyrical content ranging from the sensual pleasures of oral sex, to perverted carnal pleasures, to the mysteries of the JFK assassination – Champagne Holocaust saw Fat White Family portrayed as the new enfants terrible of the rock’n’roll scene. One reviewer dismissed the album as ‘tasteless’; Pitchfork described the band as “diseased, drug-addled and utterly corrupt”.

Scroll forward a couple of years, and Fat White Family are gradually gaining respect from the music media and industry that once derided them – not that they want it, mind you.

“The reaction we got for a long time was very hostile,” says Adamczewski, “but I think that’s gradually changing, because people are starting to see that there’s a buck to be made, or some sort of kudos to be usurped. As we’ve progressed, more and more creeps accept us.”

“We haven’t been given a seat at the table yet – but I don’t think we really want one,” chimes Saoudi.

“Fuck the tables!”

Fat White Family’s latest record, Songs For Our Mothers, is a departure from the sound and lyrical content of Champagne Holocaust: gone are the jagged blues-punk and Fall-esque postpunk riffs of the band’s first album;

in their place a mixture of glam rock licks and a darker, more contemplative atmosphere. Initially, Saoudi and Adamczewski deny that there was any preconceived plan: what appears on the record was simply what came out of the creative and recording process.

“We didn’t want anything different on this record – the way that we are, and the way that we organise ourselves, we don’t really sit down and come up with a fundamental plan,” Adamczewski says.

“You’ve just got to make this stuff up – you don’t really think about it,” adds Saoudi.

But the clue to the album lies in the darkness of tracks such as ‘Lebensraum’, ‘Duce’, ‘Love Is The Crack’ and ‘We Must Learn To Rise’. With the band’s internal relationships buckling under the weight of touring, substance abuse and fractious personalities, the writing and recording of Songs For Our Mothers became – subconsciously at least – a

cathartic event, allowing the band members to explore those feelings they were unable to express outwardly.

“One of the interesting parts of making an album is that the meaning behind songs becomes more clear when you look back on it,” says Adamczewski.

“That’s one of the most rewarding aspects, actually,” Saoudi agrees.

Indeed, the promotional blurb accompanying Songs For Our Mothers says the album is “an invitation to dance to the beat of human hatred”. While Adamczewski suggests the album is, on face value, “music that’s there for people to live, and also a reflection on the sour times in which we live,” it is more about the hatred festering away within Fat White Family itself.

“There was a breakdown in the relationships within the band, there was a lot of substance abuse going on, things were generally dark,” Adamczewski explains. (Late last

year, he withdrew from a European tour, and it was rumoured he’d leave the band – his presence in today’s interview suggests his imminent departure has been greatly exaggerated.)

“We didn’t expect to end up at that place – it all actually went quite dark,” Saoudi says, his voice faltering ever so slightly as he remembers the situation the band found itself in. “What came out is just what we were feeling at the time. Hopefully the next record will be more jolly – a barrel of laughs!”

Finally, with an album titled Songs For Our Mothers, the obvious question must be asked: what do the band’s mothers think of the album? “My mother’s only heard a few of the songs when we’ve played live,” Saoudi says. “And she was shocked and appalled,” he laughs.

What: Songs For Our Mothers out Friday January 22 through Without Consent/[PIAS]

thebrag.com

Savages photo by Colin Lane

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y the time Savages released their debut LP Silence Yourself in mid-2013, they’d already reached a certain level of international renown. The album combined musical aggression with lyrical explorations of gender relations, female liberation, non-

Art of any kind – be it poetry, music, textile or video installations – can serve the utilitarian purpose of bringing people together or articulating feelings other expressions aren’t able to.

From an internal perspective, meanwhile, creativity can be a coping mechanism for an artist, a way of escaping the pressures of society. In the case of Savages’ forthcoming second LP, Adore Life, it ticks both boxes. While there are a lot of intensely personal qualities to the record, it’s designed to be

shared – the arrangements are very physical and the songs touch on several universal topics. Despite its communicable character, however, their ideas generally stem from a feeling within.

“THE MANCUNIAN MISERABILIST GETS A MAKEOVER IN THIS MEXICAN RE-IMAGINING”

“COME FOR THE BALLOONS, STAY FOR THE SPACE–ROCK ANTHEMS ABOUT THE INEVITABILITY OF OBLIVION” THE GUARDIAN

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MEXRRISSEY MEXICO GOES MORRISSEY MEXICO | AUSTRALIAN EXCLUSIVE

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CELEBRATE NEW YORK CITY LUMINARY ARTHUR RUSSELL AT A RARE PERFORMANCE OF HIS PIONEERING 1975 MASTERWORK.

ARTHUR RUSSELL’S INSTRUMENTALS DIRECTED BY PETER GORDON USA | AUSTRALIAN PREMIERE

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BRAG :: 646 :: 20:01:16 :: 17

Chairlift Closing The Circle By Joseph Earp aroline Polachek wears a lot of hats.

She’s one half of indie-pop duo Chairlift; the musical polymath behind the Ramona Lisa moniker; a songwriter who has penned tunes for the likes of Beyoncé; and, according to the stylist at a recent photo shoot, the owner of some quite greasy hair.

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“Working on the record was such a beautiful, beautiful year. Really living inside that music as we were making it, it was…” Polachek takes a breath. “I mean, I don’t know what word to use other than ‘nourishing’. I would come home at night feeling so excited and so satisfied and so excited to get back into the studio the next day.

“I just got back to my apartment from a shoot with [a] magazine, which was hilarious because it was only supposed to take a couple of hours,” Polachek says brightly. “But I showed up and they told me my hair was too greasy. So they gave me shampoo and I had to go to the bathroom and wash my hair in the sink, which was totally humiliating.”

“Patrick [Wimberly, Chairlift’s other half] and I for the most part would show up at the studio without anything written … We [would] start a beat together and then I could put it on my laptop and go in the next room and work on it for two hours and come back, and Patrick and I could sort of compare notes.”

She laughs. “I was just standing there in my jeans and my bra with my head in a sink. And the ironic thing was, two hours later they had styled my hair to look exactly the way it did when I first walked in … I do like the way my hair looks when it gets greasy. But I guess [the] magazine has a slightly different idea on what women’s beauty looks like.”

It’s not the first time Polachek has faced such scrutiny. “I don’t shave my armpits,” she says.

“I haven’t since college. And three years ago Chairlift put out a music video and the whole comment board was fixated on [that] fact.

Which I thought was pretty dumb.”

‘Dumb’ is an understatement, particularly given the fact such surface-level concerns bypass not only Polachek’s fierce intelligence, but also her poppy yet strikingly nuanced skills as a songwriter. Over the course of a 15-minute conversation, she namechecks sources as varied as Prefab Sprout and Kate Bush, all while speaking with reverence of the creative period that spawned Moth, the latest Chairlift record.

Polachek is remarkably candid when it comes to the specifics of how Moth was written.

Unafraid to lay bare the process, she speaks with searing honesty. It’s that self-same honesty and autobiography that has been present in her songwriting since the days of 2008’s Does You Inspire You, Chairlift’s very first record. In fact, in some ways, a departure from such autobiographical writing is what marks out ‘Romeo’, one of Moth’s lead singles.

“When we made that beat, I knew automatically the song wanted to be about running. I don’t have any great running stories myself. So I said, ‘Greek mythology is where all the best stories in the world come from …

Let’s take a look and see if there are running stories.’ Hours later we had lyrics for ‘Romeo’.”

It’s not the lyrics to ‘Romeo’ that people have been poring over, however. Such scrutiny has been assigned to ‘Ch-Ching’, a song with a chorus comprising the numbers “27-99-23”.

There are some arguments online that the string of digits is an HTML colour code; more still that it’s the reference for a Bitcoin locker.

“It’s actually a combination lock,” says Polachek, happily demystifying. She chose the figures after she had written the preceding line – “Now catch that combination” – and decided she needed a string of numbers to fit with the imagery. A nearby combination lock provided them.

Now out of Moth’s fruitful writing period, Polachek finds herself in the odd interim after the record’s writing and before its release.

She speaks openly of the anxiety that gets interwoven with anticipation during such purgatory. “There’s always that worry: what if people don’t like it? What if people really love it? All of these situations are so alien and so outside of my relationship with the music. It’s kind of a trippy moment to be waiting for it to come out.”

Most of all, Polachek is concerned what Charlift’s long-time fans might think. “Part of me doesn’t want to let them down,” she says. That said, she’s aware that sometimes – not always, but on occasion – the most loyal fans are those

who most resist the new. “Sometimes people don’t want to see artists change, which can be baffling. The fact is … Our first record is very different from our second, and our second is very different from our third, so you know, I think we’d be lying to ourselves as artists if we didn’t take risks.”

That said, Moth is in some ways like the closing of the circle. “It is sort of interesting at this point to go back and see how there are some uncanny similarities between this record and the very first album,” she says. “I think even if we do approach things thinking that it’s different, there’s a part of our writing that will fundamentally always be the same.”

There is something there, then; something that belongs to Polachek and Wimberly. Something relentlessly, unavoidably unique. Something quintessentially Chairlift.

What: Moth out Friday January 22 through Columbia/Sony

Nothing But Thieves The Only Way Is Essex By Anita Connors was our first kind of vision for the sound, and then we touched on all these other aspects. And then Dom [Craik, guitar/keyboard]’s really into dance music and producing, so then there’s elements of that.”

The fi ve-piece officially formed in 2012, but the boys had known each other for years before coming together. Mason first met Langridge-Brown when he was 12 years old. “Him and his mates who were forming a band asked if I’d like to be the singer of their band,” Mason recalls. “I was so excited … I got to hang out with these 15, 16-year-old kids every day … so we started doing blues covers and it was just like a rocky kind of funky band. It was cool, like Chili Peppers meets, I don’t know – it was just bluesy.”

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“I don’t know why anyone should feel pressure, cause it’s, like, your own band. You know, we build things up in our own way. We don’t worry about it. We don’t even look back on what we’ve done in the last few years … we really do just keep going on and on, and moving forward to the next thing.”

Clearly, the frontman of the Essex band doesn’t take himself too seriously. A sold-out British tour as well as performances on the international festival circuit and supports for the likes of Muse, Twin Atlantic and George Ezra have done nothing to rattle him.

Neither have the comparisons made between his band and icons

Nothing But Thieves released their self-titled, genre-bending debut album last year. “The foundation is rock,” says Mason, “but we want to do more than that, so it does touch on loads of different elements. It’s mainly just because we have so many different infl uences and such broad music tastes.”

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like Radiohead and Jeff Buckley.

If Mason feels pressure, he doesn’t show it.

Indeed, Nothing But Thieves tangibly glistens with an eclectic range of influences, oscillating between sounds, themes and ideas.

Yet it never feels like a second-rate imitation. The album is a unique and erudite blend of soaring vocals, dark guitar riffs and emotive lyrics, under which pulsates a stadiumready heartbeat. It is a post-rock tour de force.

“I grew up on jazz and blues, and I’m still obsessed with that to this day,” Mason explains. “And then also classic rock. And Joe [Langridge-Brown, guitar] and myself are always gravitating to classic rock, so Led Zeppelin and Foo Fighters and AC/DC – and then there’s more atmospherical rock like Pink Floyd.

“Jeff Buckley and Radiohead are where the band first started. That

Despite their youthful roots, it would be another few years before the release of Nothing But Thieves. It came down to the fact that “we had to learn everything about the music industry and about writing, cause we just didn’t know what we were getting ourselves into,” Mason says. “So we worked our arses off for like a

The perseverance has paid off.

Nothing But Thieves have crafted a slick, confi dent and mature sound, and the boys are also proud of their live show. “We’ve worked hard on it,” says Mason. “[We] almost think to a degree it’s better than the record, cause it amplifi es everything on the record that we feel and want as our sound, you know?”

Sadly, the Nothing But Thieves live show is something Australian fans won’t be able to see for themselves, at least for the near future. The Brits were all set to perform at Soundwave and their own solo gigs here, until the festival was cancelled. However, world domination is calling, so they will surely be on our shores soon. Mason laughs, “World domination, that’s funny.” For now at least, they’re happy living the dream.

“There was a band [The Horrors] when I was about 14, 15, [and] I remember being so succumbed to it cause every kid in my year that was into them … everyone was writing their name down on their homework planners, and you know, talking about The Horrors. And then when we went back to shoot a documentary in Southend before our album came out, we went past our school and some kid came out to talk to the band and was showing me his homework diary with our name on it. And I was like, ‘Oh my God!’ That really got to me, cause it’s exactly like what happened to me when I was that age. Cool, very cool.”

What: Nothing But Thieves out now through RCA/Sony xxx

he story behind Nothing But Thieves’ band name is an elusive one. “We try not to say what it’s about, but we met as kids in juvie, that was the first thing that happened …

Juvenile prison, because we were stealing stuff,” says Conor Mason, before he pauses and bursts out laughing. “I’m joking, I’m just mucking around. We make it up every time, it’s just ridiculous … it’s just a name that we found and we really like.”

The covers band endured for another six years before Langridge-Brown went off to university, at which point Mason met Craik at high school. “We started jamming and I felt older and a bit more creative and a bit more serious about it,” the singer says. “Things were really taking a turn and we decided, you know, to properly put a band together.

Met our management, who really believed in us, who said, ‘Give it a year.’ You know, ‘Defer university and see what happens.’ … So I called Joe immediately and he dropped out of university like the next week. And then the other two boys [Philip Blake and James Price] are just like local mates.

They all really work really well.”

year, two years, just writing and writing and writing and getting better, and fi nding our sound and our kind of vision musically, before we released anything.”

thebrag.com

BRAGâ&#x20AC;&#x2122;s guide to film, theatre, comedy and art about town

arts in focus once a radical, now reformed

Xxxx

maajid nawaz also inside:

KURT RUSSELL IN THE HATEFUL EIGHT / YABUN FESTIVAL / ARTS NEWS / REVIEWS / GIVEAWAY thebrag.com

BRAG :: 646 :: 20:01:16 :: 19

head to: thebrag.com/freeshit

arts news...what's goin' on around town... with Joseph Earp, Anita Connors and Anna Wilson

The Pride

five minutes WITH

MIAH WRIGHT FROM YABUN FESTIVAL like to bring an acclaimed act every year and celebrate their long continuance in the music industry. We also like to cover all areas of music and try to have artists of all eras to give all music lovers a great experience.

How did you come to select the musical acts for this year’s event?

We do Yabun artist call-outs early in the year and also keep in the know of any new artists or new music coming through. We always

How important is this kind of event in celebrating the art and culture of the Aboriginal and Torres Strait Islander community?

What other work does the Gadigal Information Service do in the community throughout the year?

Tune into Koori Radio 93.7FM to hear the latest in Aboriginal and Torres Strait Islander music and programs. We also have music gigs all year round called Klub Koori; they are monthly music gigs all over Sydney. Keep in the loop through the website (kooriradio.com).

What: Yabun Festival 2016 With: Bart Willoughby, Radical Son, Yarwah, Evie J Willie and more Where: Victoria Park, Camperdown When: Tuesday January 26

NO BAD REVIEWS HERE

BONDI’S OPENAIR CINEMA RETURNS

Ice-cream, movies, music... it’s difficult to know what more you could ask for. Ben & Jerry’s, the most joy-driven company this side of Willy Wonka’s private industry, has announced it will once again host a festival of movies and live music at the legendary Bondi Beach. The mini-fest as part of the Ben & Jerry’s Openair Cinemas tour will showcase flicks both current and classic, with highlights including Todd Haynes’ elegant masterpiece Carol, a Grease singalong, and a closing night screening of Quentin Tarantino’s blood-soaked, icy new Western The Hateful Eight, with live music provided by acts like the endlessly exciting up-and-comers Betty & Oswald. Ben & Jerry’s Openair Cinemas kick off with In The Heart Of The Sea on Thursday January 21. The full program is up at openaircinemas.com.au.

Summertime

MARRICKVILLE OPENS UP

Calling all art lovers and explorers: over Mardi Gras weekend, the Inner West is hosting the Marrickville Open Studio Trail (MOST). Across the two days, more than 200 artists from 53 studios, galleries and artist-run initiatives within the Marrickville area will welcome visitors and showcase their work. Featured spaces and collectives include Nauti Studios, Chrissie Cotter Gallery, art activists Tortuga Studios, and international artists Benoit+Bo, who will be exhibiting a Mardi Gras-themed piece at the Newsagency Gallery. Marrickville Open Studio Trail runs Saturday March 5 and Sunday March 6. Visit marrickville.nsw.gov.au for more info.

A FAB FILM FEST

A cabaret show centred around Lionel Bart, the put-upon composer behind Oliver!, is set to return to the Hayes Theatre Co. Starring renowned cabaret artist Phil Scott, Reviewing The Situation is set towards the latter half of Bart’s life, as the songwriter found himself facing financial ruin and the ever-present pull of the bottle. Scott is known to audiences around the globe for one-man shows that combine music, laughs, and the vaguest hints of tragedy. Given the talent involved, Reviewing The Situation promises to be a gently melancholic delight, so those ready to discover the quiet sadness behind one of history’s most popular musicals should get on tickets. It’s playing from Thursday February 4 – Sunday February 7.

The Blind Giant Is Dancing

ONE HUNDRED NAMES

In her first Australian solo exhibition, One Hundred Names, leading Chinese contemporary artist Chen Qiulin is presenting a series of works analysing issues of migration, displacement, urban development and its disruption of traditional Chinese culture.

Qiulin was born in the Hubei Province of China and has remained there all her life, drawing inspiration from the social and political issues affecting everyday life around her. The career-spanning exhibition features multiple standout works from the artist, including early photography, tofu sculptures and a newly commissioned video installation entitled One Hundred Names For Kwong Wah Chong. One Hundred Names will run at the 4A Centre For

It’s time to roll out the rainbow carpet again, as Sydney is gearing up for the 23rd Mardi Gras Film Festival. Queer Screen has revealed its much-anticipated program for its 2016 event, and seven Australian premieres are included on the bill. The award-winning Summertime is set to open the festival with a sensual story set in 1970s France. Another highlight is the hauntingly beautiful How To Win At Checkers (Every Time), Thailand’s entry for Best Foreign Language Film at this year’s Academy Awards. Other highlights include black comedy Addicted To Fresno, starring Orange Is The New Black’s Natasha Lyonne; Liz In September, a Venezuelan lesbian film; and Coming In, the latest comedy from the director and star of gay classic Summer Storm. Documentary fans should keep an eye out for Remembering The Man, which tells the tragic tale of Australian lovers Timothy Conigrave and John Caleo. Tickets are on sale now. The 2016 Mardi Gras Film Festival runs Thursday February 18 – Thursday March 3 at various cinemas around Sydney.

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It’s time for us to reclaim our Aussie stars from American television. Yael Stone, riding high on her successful turn in Netflix’s Orange Is The New Black, is set to return to Australian theatre this year, taking a leading role in The Blind Giant Is Dancing. A veritable Australian classic, The Blind Giant Is Dancing is the theatrical equivalent of a kick in the teeth. It’s the shocking and subversive tale of a young idealist (played by Dan Spielman in the upcoming Belvoir shows) who finds himself embroiled in a struggle with a party machine that he believes deserted his father.

Expect emotionally charged political theatre of the highest order at Belvoir St Theatre from Saturday February 13 – Sunday March 20.

Contemporary Asian Art until Saturday February 27.

A BELATED AUSTRALIA DAY

If you like your laughs uncomfortable and your satire as sharp as a kangaroo’s front tooth, this is the play for you. Glen Street Theatre has announced the addition of Australia Day to its 2016 season. A play by acclaimed satirist Jonathan Biggins, one of the masterminds behind the Wharf Revue, Australia Day centres around a hapless committee set up to celebrate the national culture as best they can, only to find that their unresolved tensions are slowly beginning to rise to the surface. Directed by Biggins himself, the work is a brave, warts-andall examination of our culture, so if you want to direct your steely gaze into the mirror and reflect back on what Australians really look like, get your tickets pronto. Australia Day plays from Tuesday February 16 – Sunday February 21. thebrag.com

The Blind Giant Is Dancing photo by Brett Boardman

Sydney Living Museums is inviting Sydneysiders to immerse themselves in the history of Kings Cross and Elizabeth Bay House with Mayhem: Kings Cross 1945, two nights of glamour, jubilation and hedonism. Taking inspiration from events in and around Kings Cross, the event is travelling back to 1945, hosting a party to celebrate the end of the Second World War and to farewell American GIs stationed in Sydney.

Revellers are encouraged to dress up in their finest 1940s vintage glamour or their dashing service uniforms, as there will be many themed activities on offer, from jive lessons to a tattoo workshop. Mayhem: Kings Cross 1945 will take place on Friday February 12 and Saturday February 13.

The Pride runs from Friday February 5 – Sunday March 6 at the Eternity Playhouse.

We have two double passes to give away to the Saturday February 6 performance. Enter the draw at thebrag.com/freeshit.

IN THE LAND OF GIANTS

Reviewing The Situation

MAYHEM AT THE MUSEUM

In conjunction with the 2016 Sydney Gay and Lesbian Mardi Gras, Darlinghurst Theatre Company is presenting the highly anticipated Sydney premiere of The Pride.

Written by Alexi Kaye Campbell, it has won awards around the globe, including a muchsought-after Laurence Olivier Award in the UK. Through an inventive dual narrative, two parallel love stories unfold onstage. The shift between a repressive 1958 and a more liberated present day crafts a remarkable reflection on gay identity and sexual liberation.

Reviewing The Situation photo © Mark Baxter

Ben & Jerry’s Openair Cinemas

THE PRIDE

Yabun Festival photo by Michelle Lake Photography

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ell us about the concept behind Yabun Festival.

Yabun was created and took over ‘Survival Day’ in 2003, a significant day for Aboriginal Australia. Yabun was created to keep the tradition and significance of the Survival Day concert but to also enhance other elements of our culture.

Apart from the music, there’s a great arts and performance aspect to the program.

What are some of the highlights?

We have the Corroboree ground back for the second year running. We have up to 16 traditional dance groups from all over New South Wales that will come and perform as well as run dance workshops all day. We have the Speak Out tent back for the more socially conscious, focusing on some of the heavier issues and opening up spaces for conversation on key issues our community face. The Young Black and Deadly stage and section is back; an area dedicated to our youth, all-day performances, workshops and discussions.

Yabun is a key event for the Sydney Aboriginal community. We need to be able to continue and grow and have platforms for our people, and to also showcase our culture, as well as educate the wider community of the issues we still face today. Although the day is a sad one and of mourning, we must stand proud and celebrate and show we are still standing strong, and events like these showcase that.

The Pride photo by Helen White

arts in focus

free stuff

Maajid Nawaz [LITERATURE] The Indigenous Islam By Adam Norris

I

n 2002, Maajid Nawaz was arrested in Egypt and served four years in the Mazra Tora Prison.

As a member of Hizb ut-Tahrir, an extremist Islamist group intent on establishing a global caliphate, Nawaz had proved a model recruit: articulate and charismatic, he was adept at shepherding impressionable minds into the radical party. Yet while imprisoned, thanks to the auspices of Amnesty International, Nawaz came to renounce his extremist allegiance, committing himself to countering such groups and the narratives that give them strength.

Even before this turnaround, however, the Essex-born activist knew the road ahead would be a challenge.

“Certainly a difficult and anguished road,” Nawaz recalls. “Our rhetoric was that violence would only be required after we’d established the caliphate, but we were fully aware that to get the caliphate in the first place would require a lot of sacrifice, and that sacrifice meant that in effect, we were prepared to give our lives. When I was faced with my imprisonment in Egypt, it was everything I had prepared for up until that point.

“We would train our recruits exactly in what they were getting themselves involved in, and we would tell them straight up that our quest – especially back in those days, when the Arab dictators never looked more sturdy and stolid in their position – that overthrowing these dictators would require a lot of sacrifice in the form of blood and guts. Indeed, the first martyr of Hizb ut-Tahrir was in Iraq under Saddam Hussein. His name was Abdul Aziz Badri, killed in the ’60s. We were no strangers to stories that our older members would tell us

of the torture and murder that these dictators would inflict.”

It is difficult to imagine such environments when couched in the comparative freedoms and luxuries of Australia. The mainstream narratives we receive of Islam and the Middle East are often tinged with fear, uncertainty, and a certain grim hopelessness; the resulting confusion has given rise to countless suspicions and little comprehension.

With his direct experience of hardline Islamist ideologies, Nawaz is in a unique position to speak of the black-and-white assumptions many Western communities have of Christian and Muslim faith, and how this conversation can be broadened.

“One of my aims is to popularise what I call counternarratives. To empower everyday people so that they feel able and confident to have these conversations with others without having to have gone through the experience. I mean, now we can kind of articulate what’s wrong with Christianity-based theocracy without having had to have been a Christian fundamentalist. It’s embedded in the collective memory.

“So my mission is to make sure, now that Islam is native to Western society – and what I mean by the word ‘native’ is that Muslims are born and raised in the West, they are Western citizens and therefore their religion is also native to Western societies – now, these Western societies need to claim the same level of ownership over the Islam debate as they do the Christianity debate. When they feel empowered enough to do so, they’ll be able to discuss it rationally.

What’s not happening at the moment, unfortunately, is a rational conversation. And that’s because

both the Far Left and the Far Right don’t see it as a native thing. The Far Left fetishises the Islam debate, and thereby mollycoddle it, and the Far Right see it as The Other. The problem with both is that neither sees it as being native in their own culture.

If they did, we’d be having a rational conversation about Islam, as we do with Christianity.”

A significant blockade to this level of acceptance and debate may lie in the narratives espoused in extremist propaganda; from grainy videos of beheadings, to footage of explosions and mass demonstrations, the attempt to sow fear and provoke violent reactions from the West – thereby legitimising the notion of a religious war – can be found online with the push of a button. For many, it has laced the very words ‘Muslim’, ‘Islam’ and ‘Quran’ with

hostile associations they do not at all deserve.

“The solution to this is a whole society approach,” Nawaz says.

“When that bomb goes off, it doesn’t just kill Muslims or Christians.

Shrapnel is indiscriminate in who it targets. All of society is affected by this debate – the consequences of getting this wrong affect everyone.

Key to that is talking about something that is indigenous to society and is not external. And yes, the Far Right, when they talk about Islam, they talk about it in terms synonymous with violence, with terrorism. The equally dangerous reaction is the Far Left then denies there is a problem at all. And of course there is a middle ground – we are able to sensibly distinguish Islam as a faith, from the theocratic project that is the Islamist ideology. From there we can say, ‘It’s

not my concern how many times you pray, it’s not my concern whether you fast on Ramadan or not. What is my concern is your projection upon others that your version of Islam must be imposed.’

“I thought by distinguishing Islam as a religion from Islamist ideology, we’re able to safeguard Muslims who simply wish to be devout in their own personal lives from those who subscribe to a theocratic project.

That’s the Achilles heel for the Far Right, because if we’re able to do that, we deny the Far Right the ammunition they require to stigmatise every single Muslim.”

What: An Evening With Maajid Nawaz Where: Seymour Centre When: Saturday January 30

The Hateful Eight [FILM] A Wintertime Western By Chris Martin

Q

uentin Tarantino’s The Hateful Eight carries a couple of clues about itself in name alone. It’s the eighth film from the one-time cult director, set in a comparable post-Civil War universe to its predecessor, Django Unchained. It’s also one of Tarantino’s most violent films yet. Kurt Russell, a Tarantino veteran from 2007’s Death Proof, acknowledges that in a time when America’s problem with gun violence refuses to abate, Hollywood films must recognise their responsibilities.

But Wait…There's More photo by Rob Blackburn

“I think that it’s a legitimate question to say, ‘What level of contribution do films, songs, paintings, stories, radio shows – anything you want in terms of entertainment – what level of contribution do they need to be held accountable for?’ And that, I think, was decided a long time ago for that country, for the concept of what America was to be, when they said, ‘There won’t be censorship here.

You will be accountable for your own behaviour.’

“If you don’t understand the difference between real life and a movie, you need to. For me, as a libertarian, you need to conduct yourself and comport yourself in a manner, in a society, that is able to separate those two things.”

Russell’s views on the boundary between fiction and reality are well considered, and it’s no surprise.

He speaks thoughtfully and openly, a man whose sensibilities remain untainted by 40 years of celebrity.

An A-list Hollywood heartthrob in the late ’70s and ’80s, Russell’s latest visit to Australia comes as part of The Hateful Eight promotional tour, with Sydney one of 50 cities around the world where fans have been thebrag.com

able to see the film in its original Ultra Panavision 70 format – one not used in motion picture since 1966, yet a quintessentially Tarantino indulgence.

Kurt Russell and Samuel L. Jackson in The Hateful Eight

“We are getting the opportunity right now to do something that we won’t have the opportunity to do again – for those of us who worked on it, we wanted to see it in 70mm,” Russell says. “So I’ve seen it now seven times – I’ll see it eight times, I’ve decided obviously to make that little fun connection. But the thing about it is, every time you watch it with a different kind of an audience, it’s a different experience. The East Coast audience in the United States was very different from the West Coast; Australia is different from England; England’s different from Germany, Italy, Brazil, Japan. The audiences respond differently, and it’s really fun to watch how that dynamic plays out.”

Despite a positive reception so far, The Hateful Eight was laced with its fair share of production issues along the way. Tarantino originally announced the film in November 2013, but in early 2014 his script leaked online. A live reading of the script in Los Angeles – featuring Russell and fellow Tarantino alumni Samuel L. Jackson, Michael Madsen and Tim Roth, among others – inspired the cast to persuade the director to revive his plans. Filming on the wintertime Western began in Colorado later that year.

The film itself follows an eventful day in the life of bounty hunter John ‘The Hangman’ Ruth (played by Russell) and his prisoner Daisy Domergue (a revelatory Jennifer Jason Leigh), who encounter a mysterious yet fast-talking Major Marquis Warren (Jackson) on their way to Red Rock,

Wyoming. They bunker down from an approaching blizzard in Minnie’s Haberdashery, joining an assortment of other travellers including Oswaldo Mobray (Roth) and Joe Gage (Madsen). As the various characters’ competing motivations gradually begin to materialise in their actions, a typically comic yet suspenseful Tarantino drama plays out. “[John Ruth] was very bombastic; I never played a character as bombastic as John Ruth,” Russell says. “But the way he looks at his job is a strong representation of how he feels about the cornerstone of American justice, which is that no matter how bad a person you are, you have your day in court; you have your ability to present your case, as it were. For the very, very bad people that these bounty hunters go

out and bring in, usually – as Sam’s character does – they shoot them in the back and they collect the bounty, they collect the money. John Ruth doesn’t do that, and he puts himself at risk because of it. That’s what allows this story to take place.

“He’s been up for a week now with this feral cat that he has chained himself to, and there’s sort of a weird Stockholm syndrome that has now taken place between he and Daisy Domergue, and they get trapped in this environment where he suspects everybody in the room to some degree, and he’s trying to figure out who’s who, who may do what, and then things unfold.”

The central plot points in The Hateful Eight revolve around the characters’ competing views on

justice – and with many of the eponymous eight having had some exposure to violence in the past, the claustrophobic and wintry setting becomes a furnace waiting for its flames to ignite.

“What’s fascinating about this movie is that when you see it, it’s one thing – when you see it again, everything changes,” Russell smiles. “Because once you know the story, now you can look at the behaviour of the people in a completely different way … it was a great opportunity for us all to get together and hopefully create memorable characters.”

What: The Hateful Eight (dir.

Quentin Tarantino) Where: In cinemas now

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

The Object Lesson

■ Film

CAROL In cinemas now

■ Theatre

THE OBJECT LESSON Playing at Sydney Town Hall until Friday January 22 as part of Sydney Festival 2016 Wandering into a Sydney Town Hall garlanded with cardboard boxes and the oddly familiar detritus of somebody else’s life is a strange experience to say the least. Encouraged to gingerly pick through boxes and drawers, pondering over the hastily scrawled labels – this box for clothes never worn but moved across oceans, this for kisses from past lovers – makes for a rather humbling kind of voyeurism.

Prior to the performance beginning (which really began, of course, the moment you arrived), you are left to your own imaginative devices, trying to assemble some shape of what this strange and intimate show might entail while conscious of the many other audience members furtively exploring, fashioning stories of their own.

Having won top honours at the Edinburgh Fringe Festival – and scored various other accolades on the journey to Sydney – The Object Lesson is immersive theatre at perhaps its most whimsical. Camped out before a towering cluster of cardboard boxes, the audience gradually finds itself engaged in a story whose features and form are constantly shifting. If this sounds a touch baroque, it is only because Geoff Sobelle’s performance truly soars when the surface of the play suddenly shifts, and what we thought we were experiencing was but a strange echo of something very different; that is, you’d shoot me if I gave away any of the twists.

Sobelle describes his theatrical tastes running to the “sublime ridiculous”, and throughout this charming, disarming production that becomes quite clear.

Outlandish as the world he creates may be, it is hard not to have the scattered bric-a-brac and compartmentalised chaos of this walk-through set resonate personally. Trained in physical theatre, Sobelle clambers through this precarious landscape with amusing aplomb, and the moments of clownish bravado – dancing upon a table in roller blades, say, in order to prepare a salad – are delightful.

Yet in such a cavernous space, the production does suffer some drawbacks. While much of the dialogue is amplified, there are (arguably necessary) occasions Sobelle speaks sans microphone; unless you are fortunate enough to sit close to his various points of performance, you might miss important reveals or observations.

There are also several instances of audience interaction that, when they work, work tremendously.

But when you find yourself reliant on an audience member who just doesn’t care, the whole show comes to an awkward halt.

Having already generated a lot of anticipation and awards buzz, Todd Haynes’ latest film Carol is at last on Australian screens. Starring Aussie film and theatre darling (and the latest recipient of the Longford Lyell AACTA Award) Cate Blanchett, the cast list guarantees stellar acting, particularly as Blanchett is partnered with Rooney Mara, who has become a force to be reckoned with in the last few years.

Haynes’ film is set in the 1950s and tells the story of Carol (Blanchett), who falls in love with a young shopgirl by the name of Therese (Mara). Carol’s life is complicated and confused as she balances life with a young child, and negotiates her relationship with her ex-husband Harge, played by Kyle Chandler.

The addition of her infatuation with the young Therese upsets the delicate balance and sends Carol’s life into a tailspin.

The level of performance in Carol is its real triumph.

Blanchett shines, as per

Carol

usual, as does Mara, and the supporting appearances by Chandler and Sarah Paulson are equally strong. However, the storyline drifts and loses its momentum about halfway through. As Carol’s relationship with Therese blooms and becomes more intense, the depth of the characters and of their intersecting lives doesn’t seem to be able to keep pace.

The romance and the lengths that Carol and Therese go for each other don’t quite ring true towards the end of the fi lm, making its conclusion somewhat unsatisfying.

Perhaps a missed opportunity for something that could have been great.

Louisa Bulley

Woyzeck

The Object Lesson is a tremendous exercise in imagination, memory and illusion.

A Sydney Festival must-see.

Adam Norris

Arts Exposed

What's in our diary...

School’s Out At Timezone Various Timezone locations until Wednesday January 27

WOYZECK Reviewed at Carriageworks on Friday January 8 as part of Sydney Festival 2016 What’s in a name? Misery and suffering, if you’re the titular protagonist of Georg Büchner’s drama, unfinished at the time of his death. For those here to witness the woes of Woyzeck, however, names can be deceiving – this is not Robert Wilson’s work but a remounting by Hamburg’s Thalia Theater that retains moments of brilliance in an otherwise piecemeal show.

Franz Woyzeck (Felix Knopp) is a simple soldier, living by meagre means – his income is derived from medical experiments and is funnelled into the raising of his child, whose mother (Franziska Hartmann) is sleeping with another man. Woyzeck’s jealousy and frustrations gradually induce a psychosis from which he cannot emerge.

Conceptually, the work is a triumph. The music of Tom Waits is a remarkable match to the circumstances of Büchner’s characters, underdogs with no hope of reprieve. The musicians

assembled to recreate Waits’ work are of the highest calibre, emotive and accomplished with just the right amount of smoky jazz bar languor.

The songs themselves are all lifted from Waits’ extensive discography and though the point stands, they often feel shoehorned into the action and are uncomfortably signposted (as is the case with the doctor announcing that ‘God’s Away On Business’). It leaves one longing for a performance of the material without the pretence of so unrelentingly miserable a plot; a musical should not make one long for a concert.

Director Jette Steckel’s greatest contribution is her staging, the grand visual drawcard for the production. An enormous suspended grid of ropes that ascends, descends and pivots to change the space enables the actors – all astounding physical performers – to use the often underutilised vertical space

of Carriageworks’ cavernous Bay 17. Along with beautiful employment of a booze-soaked drum and an astonishing ending sequence, there’s plenty of eye candy on offer.

Thank goodness, because if you’re there to appreciate Büchner’s muscular prose, you’ll be disappointed. The performance is in German, and the subtitles are so poorly timed and controlled as to be infuriating. They provide such a distraction that it becomes difficult to enjoy the profound efforts of the cast (native German speakers confided to me on the night that this adaptation uses old words even they do not know).

For Waits fans, this is a rewarding production peopled by a hugely talented cast of performers; for those hankering for pure theatre, it’s evidence of how weak structure and poor tech can cripple an otherwise profound experience.

David Molloy

For more information, visit timezone.com.au.

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xxx photo by xxx

It’s time for the children among us (and those with an inner child we just can’t keep quiet) to live the good life before the New South Wales school holidays end for the summer. This week is the last chance to get the family down to your local Timezone – Liverpool, Charlestown, Tuggerah, Hornsby and the Sydney CBD locations – and take advantage of its ‘Serious Fun’ summer event. Timezone’s newest games include Mario Kart Grand Prix, Kung Fu Panda, Snapshot 2 and Simspons Soccer. The dreaded back to school is looming, so have some family fun while you can. And until Wednesday January 27, visitors who load $30 onto their Powercard will get a $15 bonus on top, for more gaming fun.

■ Theatre

out & about Queer(ish) matters with Lucy Watson

I

n the days since the news of David Bowie’s death, my Facebook feed, and presumably yours, was filled with tributes, memories, allegations and celebrations, in a thoroughly 21st century public showing of grief.

It quickly became apparent that Bowie was a big fucking deal, particularly within the queer community.

Everyone seems to have a moment where Bowie helped solidify their queerness, or explore it, or celebrate it.

David Bowie

I couldn’t recall my own Bowie moment. As a teenager, my dad bought Hunky Dory on sale from the local Sanity, when we first got a CD player in the car. He played it on the way to and from school, soccer practice, the supermarket.

It stayed until I knew the words to every song and the order of the songs on the album. But that was me and my dad in the car – it didn’t feel particularly queer. It was forever associated with him. If it were up to me, we’d have been listening to Tegan and Sara.

I was a closeted teenager.

My other firm memory of Bowie was at school, under one of the big trees out the back, talking to the boy I thought I was in love with about his love for Bowie. We often discussed his crushes on men, and mine on women, in a way that just felt so progressive while still utterly heterosexual – we’d watch a movie featuring both of our same sex crushes, then make out after to reaffirm our infinite straightness. We sat under the tree as he played me songs from the Bowie albums his late father had given him, and while with hindsight this moment was pretty thoroughly queer, at the time it was just us talking about the music of our dads.

I’ve always liked Bowie, and danced to him in gay bars and clubs, but no instances felt particularly revolutionary. That was until his death and the public outpouring. As he probably was for you last week, for me, he was everywhere.

I’d been up at the crowded Newtown Hotel with my girlfriend and some friends last Wednesday, wondering where all the other lesbians had gone (my investigation into this matter is incomplete, but a few potential hypotheses are that they’ve all disappeared for the summer, are trialling Dry January before Mardi Gras, or have just been drowned out by the increase of heteros in Newtown). We decided to head home via the reopened Imperial for a round of pool.

We got there to find just three other guys in the bar.

Shortly after we arrived, they left. We chatted to the bartender about work, the old Imperial, and living in the Inner West. Three more guys came in and gunned straight for the jukebox, pooling their coins to play every Bowie song available.

As we danced around the pool table, singing along, failing to sink the balls, it occurred to me that this was a better tribute I could give Bowie than

This Thursday January 21, Le1f is playing at Oxford Art Factory.

Even my mum likes him and his voguing, so you really shouldn’t miss it.

Le1f

had I attended the Sydney Festival special, or any of the countless other Bowie events. This felt far more natural than any of those.

The men who put on the songs were at their table, and hadn’t acknowledged us. The bartender was back behind the bar, cleaning up before close.

The lack of clear connection to anyone else might seem cold, but to me it felt comfortable. It felt like a few small groups of queers, together in isolation, enjoying their Bowie moments, while the rest of Newtown – and Sydney – raged around us. It reminded me of what Bowie might have meant to the others in the bar, and it was just that that made him feel queerer for me.

Some people lament the kind of celebrity worship our society has fallen into, but to me, such public displays of meaning (be they good or bad) attributed to a single figure just show how little it takes to bind a community together.

this week…

On Sunday January 24 is both another instalment of Super OpenAir and Bad Dog. OpenAir is at the Factory Theatre, and features Tim Sweeney, Matt Vaughan, L’Oasis and others, while Bad Dog is at the St George Sailing Club and features Ben Drayton, Annabelle Gaspar, Steve Sonius and more.

David Bowie photo by Masayoshi Sukita

Monday January 25 sees Unicorns taking advantage of public holiday eve and throwing a party at the Red Rattler. There’s music from Sveta, Del Lumanata, Gay Cliche and Mira Boru, as well as performances, body painting, dating games, and, if previous Unicorns parties are anything to go by, lots of scantily clad lesbians (possibly on skates).

On Tuesday January 26, you should remember that we are living on stolen Aboriginal land. If you want to do something with your day off, head to Yabun Festival in Victoria Park to celebrate the survival of Aboriginal culture and identity.

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Australia Day is upon us once again this Tuesday January 26. The day means many different things to many different people, but one of the things that’s universally true about this annual event is that it’s a damn good excuse for a day off. Landing during the working week this year, Australia Day 2016 sees plenty of action around Sydney, from triple j Hottest 100 listening parties to live music and much more. We asked some of our favourite local venues why theirs is the best backyard to celebrate – not only on the day itself, but on the weekend leading up to it. If you need to take Monday (and/or Wednesday) off after reading this, we won’t blame you…

What to see and do: This Australia Day, round up your friends and family and head down to the harbour for a few beers and Aussie barbecue specials. Grab an esky of Pure Blondes for $20. Bangers and mash, the Aussie burger, and the beer battered fish

HOTEL STEYNE What to see and do: We have an epic lineup of free entry live music gigs in Moonshine, kicking off the Australia Day weekend early on Thursday night with The Belligerents and Ed Wells.

Friday it’s Los Tones and The Reprobettes, Saturday Sea Legs and Phantastic Ferniture, Sunday roots and reggae with Carribbean Soul, and live tunes down in the beer garden on Sunday arvo with The Rico Brothers. It’s all leading into a special Australia Day Eve show on Monday night with local legends Winston Surfshirt and The Sweet Jelly Rolls. For the

CARGO BAR It’s called: Oz Day at Cargo Bar

Winston Surfshirt

‘n’ chips are each just $18.

Plus for the little ones we have a free sausage sizzle till 6pm! And it doesn’t stop there – party on into the night with DJs playing from 4pm.

For our ears: Chivary, Recess, Aftertouch Bevvy of choice: $20 Pure Blonde eskies

big day itself we’ve got the triple j Hottest 100, a DJ in the beer garden, and $5 schooners of VB and Carlton Draught from Saturday all the way through to Tuesday.

For our ears: Who are they? Full-time legends.

What’s it sound like? Rock solid gold, my friends.

Bevvy of choice: Schooies of VB and Carlton Draught, but mainly VB for that hard earned thirst…

Waving the flag – what’s the highlight: The Australia Day Eve show up in Moonshine with Winston

Surfshirt and The Sweet Jelly Rolls is gonna be a helltime. Quality live tunes, beers flowing on a Monday night, and Tuesday, ain’t no-one going to work. How good, mate. Gotta love Australia Day. Finish this sentence: Australia is the lucky country because… We sell VB tinnies.

Cost: Free entry every day, every gig.

Where: Hotel Steyne, 75 The Corso, Manly When: Thursday January 21 – Tuesday January 26

Waving the flag – what’s the highlight: Aussie BBQ specials.

Cost: Free Where: Cargo Bar, 52-60 The Promenade, King Street Wharf When: Tuesday January 26, midday onwards

Bart Willoughby

MARRICKVILLE BOWLO It’s called: Bowl Rebellion What to see and do: To top off a massive weekend at the Bowlo, on Tuesday the 26th, The Bowl Rebellion with Front End Loader and Bart Willoughby is going to tear Marrickville a new one. The long weekend will also feature Thursday Rhythm & Bowls from 5:30pm, then Saturday SkaBQ from 2pm featuring some of Australia’s best ska bands. On Sunday the amazing Leah Flanagan will be playing with her full band from 4pm, and on Monday from 5pm Funkdafied will be hosting Grab Life By The Bowls.

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For our ears: On Australia Day, Johnny G will kick off the day from 2pm outside playing old-school funk and soul by our immaculately manicured greens. Then from 5:30pm the legendary Bart Willoughby (No Fixed Address) will get up on the Bowlo’s brand spanking new stage, to be followed

by Front End Loader.

Bevvy of choice: Young Henrys Newtowner will be on tap and flowing like an oasis from a sandy wasteland.

Waving the flag – what’s the highlight: An awesome gig opening the new stage and PA at the

new spiritual home of rock in Sydney.

Finish this sentence: Australia is the lucky country because…

Please refer to the previous four answers given.

Cost: $15, tickets from oztix.com.au or on the door if available. Drinks and food at bowlo prices.

Where: Marrickville Bowling Club, 91 Sydenham Rd, Marrickville When: Tuesday January 26. Music outside from 2pm then inside from 5:30pm

NEWTOWN HOTEL It’s called: Our annual Australia Day Hottest 100 party with PhDJ from Purple Sneakers and FBi superstar Shag spinning tunes post-countdown.

What to see and do: The Cider Yard will be converted into an epic pool party with Super Soakers, a blow-up pool and a BBQ. We will be running a lucky dip on the day – who knows what that will entail?

For our ears: Triple j’s Hottest 100 during the day and as the sun goes down PhDJ and Shag.

Bevvy of choice: Newtown’s always good for a cider. We have over 30 on the menu so you’d be hard up to not find one you love. We also have a big tank of the freshest beer you can buy. It comes straight off the brewery in Melbourne and is tanked up on the overnighter and pumped fresh into our

tank system. It’s Carlton Draught, so you can’t go wrong on Australia Day. Waving the flag – what’s the highlight: Usually the D-floor – we’re the only place on King Street you’ll find a daytime dancefloor.

Cost: Free Where: Newtown Hotel, 174 King St, Newtown When: Tuesday January 26, from midday

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MIDNIGHT SHIFT BAR & CLUB

S.A.S.H BY DAY / S.A.S.H BY NIGHT Venue: The Greenwood Hotel / Home Nightclub What to see and do: A heap of dancing – over 15 hours, to be exact!

For our ears: From slowslung Sunday afternoon warm house grooves to funk, soul and disco, to all things deep, chugging and driven.

Bevvy of choice: The frozen Patron cocktails are a pretty great treat on a steamy summer’s day.

Waving the fl ag – what’s the highlight: As the sun sets over the Greenwood’s outdoor courtyard to the soundtrack of Germany’s Monkey Safari played through the Funktion-One

It’s called: Australia Day Party What to see and do: Drag shows by Hannah Conda and Felicity Frockaccino.

diverse.

Cost: Free entry Where: Midnight Shift

system. It’s about being in the sun, being happy and dancing with friends.

Finish this sentence: Australia is the lucky country because... we aren’t New Zealand.

Cost: $15 Where: The Greenwood Hotel / Home Nightclub When: Sunday January 24 from 1-9pm / 8pm-4am

Bar & Club, 85 Oxford St, Darlinghurst When: Tuesday January 26

For our ears: Check out DJs Tom Rogers and Adam Love.

Bevvy of choice: Cocktails. Try the Hair Basil cocktail for $16 or a jug of mojito for $30.

Waving the fl ag – what’s the highlight: The joy of fun at The Shift; the great music and fab shows.

Finish this sentence: Australia is the lucky country because…

We get to be free and

ORIENT HOTEL

SLYFOX

What to see and do: We have live bands and DJs on Saturday and Sunday split over three levels. We also have the restaurant, casual dining area, an outdoor area and beer garden. On Australia Day from 1pm-12am we have live entertainment with Tom Trelawny, Watsup and Gary Johns Trio performing live. We will also have the triple j Hottest 100 playing on the top level of the Orient Hotel. Activities will include the Hottest 100 Bingo and a slider eating contest!

It’s called: Bad Deep presents Strayadelica / Foxlife featuring Andy Baxter and Ken Fan What to see and do: Loads of drink specials and a heap of dancing to a Funktion-One sound system with a bunch of legends!

For our ears: On Friday it’s eclectic house music DJs: Amateur Dance, Chux, Levins, Le Fruit, Bad Deep DJs. Saturday features the best in underground house music, including two special guests from Ibiza by the name of Andy Baxter and Ken Fan, plus our trusty residents Rabbit Taxi and Mesan.

For our ears: It sounds like a great mix of ’80s, ’90s and music from right now!

Bevvy of choice: Beer, of course! We will have $6 cans of Carlton Dry available all day.

Waving the flag – what’s

Andy Baxter

Bevvy of choice: Besides the highlight: The Orient is one of the most traditional hotels in The

some good ol’ fashioned tinnies, on Friday we have $20 cocktail jugs from 10pm-midnight and on Saturday we have $10 cocktails from 10pm-midnight.

Australia is the lucky country because… Bob Hawke.

Waving the flag – what’s the highlight: The best in sound, DJs and punters nearly anywhere in Sydney.

Where: Slyfox, 199 Enmore Road, Enmore

Finish this sentence:

Cost: $10 before midnight, $15 after. Drink specials from 10pm-midnight.

When: Friday January 22 and Saturday January 23, 10pm-late

Rocks, specialising in live party bands and DJs. Don’t miss hanging out on Australia Day in one of Sydney’s most iconic pubs.

S .A.S.H photo by Ashley Mar

Finish this sentence: Australia is the lucky country because… we have places like The Orient!

Cost: Entry is free.

Where: Orient Hotel, 89 George St, The Rocks When: Tuesday January 26, 1pm-midnight

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BARS BRAG

Mon – Tue 5-11pm; Wed – Fri noon-midnight; Sat 5pm-midnight A Work In Progress 50 King St, Sydney CBD (02) 9240 3000 Mon – Fri noon-2am Ash St Cellar 1 Ash St, Sydney CBD (02) 9240 3000 Mon – Fri 8.30am-11pm The Attic 275 Pitt St, Sydney CBD (02) 9284 1200 Mon – Fri 11am-1am; Saturday 5pm-1am Assembly 488 Kent St, Sydney CBD (02) 9283 8808

The Australian Heritage Hotel 100 Cumberland St, The Rocks (02) 9247 2229 Mon – Sun 10.30am-midnight Balcony Bar 46 Erskine St, Sydney CBD (02) 9299 3526 Mon – Fri noon-midnight; Sat 4pm-midnight BAR100 100 George St, The Rocks (02) 8070 9311 Mon – Thu noon-late; Fri – Sat noon-3am; Sun noon-10pm

Bar Eleven Lvl 11, 161 Sussex St, Sydney CBD (02) 9290 4000 Mon – Thu 4-9pm; Fri – Sat 4-11pm The Barber Shop 89 York St, Sydney CBD (02) 9299 9699 Mon – Wed 4pm-midnight; Thu – Fri 3pm-midnight; Sat 4pm-midnight Basement 33 Basement, 27-33 Goulburn St, Sydney CBD (02) 8970 5813 Mon – Thu 5pm-midnight The Baxter Inn Basement 152-156

Clarence St, Sydney CBD Mon – Sat 4pm-1am 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 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

THE ROOSEVELT

Grain Bar 199 George St, Sydney CBD (02) 9250 3118 Mon – Sun noon-1am Grandma’s Basement 275 Clarence St, Sydney CBD (02) 9264 3004 Mon – Fri 3pm-midnight; Sat 5pm-late The Fox Hole 68A Erskine St, Sydney CBD (02) 9279 4369 Mon 7am-3pm; Tue – Fri 7am-lste The Grasshopper 1 Temperance Ln, Sydney CBD (02) 9947 9025 Mon – Thurs & Sat 4pm-late; Fri noon-late Harpoon Harry 40-44 Wentworth Ave,

bar bar

OF

ADDRESS: 32 ORWELL ST, POTTS POINT PHONE NUMBER: (02) 8096 1787 WEBSITE: THEROOSEVELT.COM.AU OPENING HOURS: TUE – FRI 5PM-MIDNIGHT; SAT NOON-MIDNIGHT; SUN 5-10PM

The Glenmore 96 Cumberland St, The Rocks (02) 9247 4794 Mon – Thu, Sun 11am-midnight; Fri – Sat 11am-1am

TH

EK

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

Wed – Sat 5pm-late

E E W

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 4pm-1am; Fri 3pm-1am; Sat 4pm-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 The Palisade 35 Bettington St, Millers Point 9018 0123 Tue – Fri noon-2.30pm & 6pm-9.30pm; Sat 6pm-9.30pm Mr Tipply’s 347 Kent St, Sydney CBD (02) 9299 4877 Mon – Sat 10am-late Palmer & Co. Abercrombie Ln, Sydney CBD (02) 9240 3000 Mon – Wed 5pm-late; Thu – Fri 3pm-late; Sat – Sun 5pm-late Papa Gede’s Bar Laneway at the end of 348 Kent St, Sydney CBD (02) 9299 5671 Mon – Sat 4pm-midnight Plan B Small Club 53-55 Liverpool St, Sydney CBD

Wed 5pm-11pm; Thu 5pm-1am; Fri 5pm-3am; Sat 6pm-3am Ramblin’ Rascal Tavern Basement, 60 Park St, Sydney CBD Mon – Sat 4pm-midnight; Sun 6pm-10pm

Care for a drink?

Old-world classics and new-school signatures collide with the latest techniques in cocktail-making to create an innovative and unique cocktail experience. For the ultimate in decadence, order the Nitro Colada – a liquid nitrogen piña colada gelato topped with toasted meringue, coconut and lime with a shot of house spiced coconut and banana rum.

Tell us about your bar: The Roosevelt is a small venue in Potts Point specialising in cocktails, champagne and whisky with a seriously good food menu of seasonal produce sourced directly from producers that changes daily.

Originally owned by Kings Cross’ own original gangster Abe Saffron, the bar features a 1940s New York art deco fit-out and is the perfect

Sounds: A mix of classics from the 1950s70s. place for an intimate date or a sophisticated soiree.

What’s on the menu?

The head chef Adam Lord is well known at the Sydney markets, where he sources fresh produce and changes the menu daily.

The food has a French and Mediterranean influence with an emphasis on fresh and simple flavours. Extremely popular at the moment is the pan roasted Hiramasa kingfish loin with radish, beetroot, kale and hazelnuts.

26 :: BRAG :: 646 :: 20:01:16

Highlights: For the ultimate experience, book for a group of up to 12 in the private poker room catering for banquets, poker games, whisky tastings and shenanigans.

Don’t miss the steak night every Wednesday for a grass-fed striploin steak marinated and topped with chimichurri, kippers, rocket, chipotle tomato and red wine jus – a big hit with the locals.

The bill comes to: The food recommendation plus a signature drink comes to $48.

Rockpool Bar & Grill 66 Hunter St, Sydney CBD (02) 8078 1900 Mon – Sat noon-3pm, 6-11pm 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 Mon – Sat 4pm-late

Darlinghurst (02) 9360 3333 Tue – Wed 6pm-11pm; Fri – Sat 6pm-1am; Sun 5pm-10pm

Stitch Bar 61 York St, Sydney CBD (02) 9279 0380 Mon – Wed 4pm-midnight; Thu – Fri noon-2am; Sat 4pm-2am

The Cliff Dive 16-18 Oxford Square, Darlinghurst Fri – Sat 6pm-late

The Swinging Cat 44 King St, Sydney CBD (02) 9262 3696 Mon – Sat 4pm-midnight

The Commons 32 Burton St, Darlinghurst (02) 9358 1487 Tue – Wed 6pm-late; Thu – Fri 12pm-late; Sat – Sun 6pm-late

Tapa Vino 6 Bulletin Place, Circular Quay (02) 9247 3221 Mon – Fri noon-11.30pm

The Darlie Laundromatic 304 Palmer St, Darlinghurst Mon – Sat 5pm-11pm

Uncle Ming’s 55 York St, Sydney CBD Mon – Fri noon-midnight; Sat 5pm-midnight

Darlo Bar 306 Liverpool St, Darlinghurst (02) 9331 3672 Mon – Sun 10am-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 Arcadia Liquors 7 Cope St, Redfern (02) 8068 4470 Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm

Darlo Country Club Level 1, 235 Victoria St, Darlinghurst (02) 9380 4279 Wed – Thu 5pm-midnight; Fri – Sat 5pm-2am Dead Ringer 413 Bourke St, Surry Hills (02) 9331 3560 Mon – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm Della Hyde 34 Oxford St, Darlinghurst Thu – Sun 4pm-late Eau-De-Vie 229 Darlinghurst Rd, Darlinghurst 0422 263 226 Mon – Sat 6pm-1am; Sun 6pm-midnight

Bar Cleveland Cnr Bourke & Cleveland St, Redfern (02) 9698 1908 Mon – Thu 10am-2am; Fri – Sat 10am-4am

The Forresters 336 Riley St, Surry Hills (02) 9212 3035 Mon – Wed noonmidnight; Thu – Sat noon-1am; Sun noon10pm

Bar H 80 Campbell St, Surry Hills (02) 9280 1980 Mon – Sat 6pm-11.30; Sun 11am-3pm

Gardel’s Bar 358 Cleveland St, Surry Hills (02) 8399 1440 Tue – Sat 6pm-midnight

Bellini Lounge 2 Kellett St, Potts Point (02) 9331 0058 Thu – Sun 6pm-late The Beresford 354 Bourke St, Surry Hills (02) 8313 5000 Mon – Sun noon-1am Black Penny 648 Bourke St, Surry Hills (02) 9319 5061 Mon – Sat 7am-midnight; Sun 7am-10pm 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 42-50 Chalmers St, Surry Hills (02) 9212 3814 Mon – Sat 10am-2am; Sun 10am-10pm Ching-a-Lings 1/133 Oxford St,

Gazebo 2 Elizabeth Bay Rd, Elizabeth Bay (02) 8070 2424 Mon – Fri 4pm-midnight; Sat – Sun noon-midnight Golden Age Cinema & Bar 80 Commonwealth St, Surry Hills (02) 9211 1556 Mon - Sun 3pm-midnight 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 Hazy Rose 1/83 Stanley St, Darlinghurst (02) 9357 5036 Wed – Thu 5pm-midnight; Fri – Sat 3pm-midnight; Sun 3-10pm Hello Sailor 96 Oxford St, Darlinghurst (02) 9332 2442 Tue – Sun 6pm-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 thebrag.com

COCKTAIL OF THE WEEK Pour it in your mouth-hole... (responsibly).

Sweethearts Rooftop 33/37 Darlinghurst Rd, Potts Point (02) 9368 7333 Mon – Thu 4-11.30pm; Fri – Sun noon-11.30pm This Must Be The Place 239 Oxford St, Darlinghurst (02) 9331 8063 Mon – Sun 3pm-midnight The Tilbury Hotel 12-18 Nicholson St, Woolloomooloo (02) 9368 1955 Mon – Fri 9am-midnight; Sat 10am-midnight; Sun 10am-10pm Tio’s Cerveceria 12-18 Nicholson St, Woolloomooloo (02) 9368 1955 Mon – Sat 4pm-midnight; Sun 2-10pm 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

MACHETÉ @ FREDA’S,107-109 REGENT ST, CHIPPENDALE Ingredients: • Jalapeño-infused Ocho Blanco tequila • Guava juice • Citrus • Agave Method: Shake all ingredients in a Boston glass with ice, then strain into a rocks glass. Rim with salty chilli flakes and garnish.

Garnish: A small red chilli and a slice of cucumber.

Glass: Rocks glass More: fredas.com.au

Mon – Wed 10am-midnight; Thu – Sat 10am-3am Hustle & Flow Bar 105 Regent St, Redfern (02) 9310 5593 Tue – Sat 5pm-midnight Li’l Darlin Darlinghurst 235 Victoria St, Darlinghurst (02) 8084 6100 Mon – Sun 5pm-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 The Local Taphouse 122 Flinders St, Darlinghurst (02) 9360 0088 Mon – Wed noonmidnight; Thu – Sat noon-midnight; Sun noon-11pm Love, Tilly Devine 91 Crown Ln, Darlinghurst (02) 9326 9297 Mon – Sat 5pm-midnight; Sun 4-10pm Low 302 302 Crown St, Surry Hills thebrag.com

Origins: Ever heard the saying, ‘the spice of life’? Well we have, and since we are a tequila bar, why not make it a tasty spice of life? Origins of the drink vary depending on who you talk to, but we came by it by the way of drinking at venues that share our love for tequila.

Best drunk with: Legends!

During: A cold night in winter where all you wanna do is get naked and dance.

While wearing: Nothing at all.

And listening to: ’90s New York house tunes.

(02) 9368 1548 Mon – Sun 6pm-2am

1pm-2.30am; Sat – Sun 6pm-late

Mr Fox 557 Crown St, Surry Hills 0410 470 250 Tue – Wed 5pm-late; Sat 10am-midnight; Sun 10am-10pm

The Print Room 11 Glenmore Rd, Paddington (02) 9331 0911 Thu – Fri 5pm-late; Sat – Sun noon-late

The Norfolk 305 Cleveland St, Surry Hills (02) 9699 3177 Mon – Sat noonmidnight; Sun noon-10pm

Queenie’s Upstairs 336 Riley St, Surry Hills (02) 9212 3035 Tue – Sat 6pm-late & Fri noon-3pm

Old Growler 218 William St, Woolloomooloo 0422 911 650 Tue – Sat 5pm - midnight

Roosevelt 32 Orwell St, Potts Point (02) 8696 1787 Tue – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm

The Passage 231A Victoria St, Darlinghurst (02) 9358 6116 Mon – Sat 5pm-late Peekaboo 120 Bourke St, Woolloomooloo 0403 747 788 Mon – Thu 4pm-10pm; Fri – Sat 4pm – 12am Play Bar 72 Campbell St, Surry Hills (02) 9280 0885 Tues – Sat 5pm-midnight Pocket Bar 13 Burton St, Darlinghurst (02) 9380 7002 Mon – Sun 4pm-midnight The Powder Keg 7 Kellett St, Potts Point (02) 8354 0980 Wed – Thu 6pm-late; Fri

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 – Thu 5pm-late; Fri 5pm-3am; Sat – Sun 6pm-3am Surly’s 182 Campbell St, Surry Hills (02) 9331 3705 Tue – Sun noon-midnight

The White Horse Hotel 381-385 Crown Street, Surry Hills 1300 976 683 Mon – Sat noonmidnight; Sun noon-10pm The Wild Rover 75 Campbell St, Surry Hills (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 Bat Country 32 St Pauls St, Randwick (@ The Spot) (02) 9398 6694 Mon – Sat 7am-midnight; Sun 7am-10pm Beach Road Hotel 71 Beach Rd, Bondi Beach (02) 9130 7247 Mon – Sat noon-1am; Sun 11am-10pm Bondi Hardware 39 Hall St, Bondi (02) 9365 7176 Mon – Wed 4pm-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 75-79 Hall St, Bondi Beach (02) 9300 8892 Mon – Fri 5pm-11pm; Sat noon-11pm; Sun noon-10pm The Phoenix Hotel

1 Moncur St, Woollahra 0413 688 546 Wed – Thu 4pm-11pm; Fri – Sat noon-11pm; Sun noon-10pm The Robin Hood Hotel 203 Bronte Rd, Waverley (02) 9389 3477 Mon - Sat 10am-3am; Sun 10am-10pm 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 Tue 5pm-midnight; Wed – Sat 5pm-3am Stuffed Beaver 271 Bondi Rd, Bondi (02) 9130 3002 Mon – Sat noonmidnight; Sun noon-10pm

The Angry Pirate 125 Redfern St Redfern (02) 9698 9140 Tue – Thur 5pm-midnight; Fri – Sat 3pm-midnight Arco 3 Little Queen Street, Chippendale (02) 9318 0815 Tue – Sat 5pm-9.30pm Bar-racuda 105 Enmore Rd, Newtown (02) 9519 1121 Mon – Sat 6pm-midnight Bauhaus West 163 Enmore Rd, Enmore (02) 8068 9917 Wed – Fri 5pm-midnight; Sat – Sun 11am-midnight The Bearded Tit 183 Regent St, Redfern (02) 8283 4082 Mon – Thu 4pm-midnight; Fri – Sat noon - midnight; Sun noon - 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 Tue – Wed 6pm-late; Thu – Sun 5pm-late Calaveras 324 King St, Newtown 0451 541 712 Wed – Sat 6pm-midnight

(02) 9699 4767 Mon – Sun noon-3pm, 5pm-9pm

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

Raven’s Eye 127 King St, Newtown (02) 9557 6429 Mon – Thu 5pm-midnight; Fri – Sat 11.30am-midnight; Sun 11:30am-10pm

Hemingway’s 48 North Steyne, Manly (02) 9976 3030 Mon – Sat 8am-midnight; Sun 8am-10pm

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

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

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

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

Secret Garden Bar 134a Enmore Rd, Enmore 0403 621 585 Mon – Tue 7am-5pm; Wed – Sun 7am-11pm

The Hunter 5 Myahgah Rd, Mosman 0409 100 339 Mon – Tue 5pm-midnight; Wed – Sat noon-midnight; Sun noon-10pm

Forest Lodge Hotel 117 Arundel St, Forest Lodge (02) 9660 1872 Mon – Sat 11am-midnight; Sun noon-10pm Freda’s 109 Regent St, Chippendale (02) 8971 7336 Tues – Sat 4pm-midnight; Sun 4pm-10pm The Gasoline Pony 115 Marrickville Rd, Marrickville 0401 002 333 Tue – Thu 5-11.30pm; Fri – Sat 3-11.30pm; Sun 3-9.30pm The Hideaway Bar 156 Enmore Rd, Enmore (02) 8021 8451 Tue– Thu 4pm-midnight; Fri – Sat noon-1am Hive Bar 93 Erskineville Rd, Erskineville (02) 9519 9911 Mon – Fri noon-midnight; Sat 11am-midnight; Sun 11am-10pm

Temperance Society 122 Smith St, Summer Hill (02) 8068 5680 Mon – Thu 4pm-11pm; Fri – Sat: noon-midnight; Sun: noon-10pm Thievery 91 Glebe Point Rd, Glebe (02) 8283 1329 Tue – Thu 6pm-11pm; Fri 6pm-midnight.

Sat 11pm-3pm & 6pm-midnight

Knox Street Bar Cnr Knox & Shepherd St, Chippendale (02) 8970 6443 Tue – Thu 4-10pm, Fri – Sat 4pm-midnight

Timbah 375 Glebe Point Rd, Glebe (02) 9571 7005 Tue – Thu 4pm-10pm; Fri noon-11pm; Sat 3pm-11pm; Sun 4pm-8pm

Kuleto’s 157 King St, Newtown (02) 9519 6369 Mon – Sat 4pm-late; Thu – Sat 4pm-3am

Wilhelmina’s 332 Darling St, Balmain (02) 8068 8762 Tues – Fri 5pm - late; Sat – Sun 8am - late

The Little Guy 87 Glebe Point Rd, Glebe (02) 8084 0758 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3pm-10pm

The Workers Lvl 1, 292 Darling St, Balmain (02) 9555 8410 Thu – Sat 5pm-3am; Sun 2pm-late

Mary’s 6 Mary St, Newtown (02) 4995 9550 Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm

ZanziBar 323 King St, Newtown (02) 9519 1511 Mon – Sat 10am-4am; Sun 10am-12am

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

Corridor 153A King St, Newtown 0405 671 002 Tue – Fri 3pm-midnight; Sat 1pm-midnight; Sun 1pm-10pm

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

Cottage Bar & Kitchen 342 Darling St, Balmain (02) 8084 8185 Mon – Wed 5pm-midnight; Thu – Sat noon-midnight; Sun noon-10pm

Newtown Social Club 387 King St, Newtown (02) 9550 3974 Mon 9am-6pm; Tues – Fri 9am-8pm; Sat 10am-8pm

Doris & Beryl’s Bridge Club and Tea House 530 King St, Newtown

Soho In Balmain 358 Darling St, Balmain 0407 525 208 Tue – Sun 5pm-11pm

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

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

Different Drummer 185 Glebe Point Rd, Glebe (02) 9552 3406 Mon – Sat 4.30pm-1am

Your bar’s not here?

Mon – Fri 5pm-midnight; Sat – Sun 5.30pm-midnight

The Oxford Tavern 1 New Canterbury Rd, Petersham (02) 8019 9351 Mon – Thu noonmidnight; Fri – Sat noon3pm; Sun noon-10pm Lord Raglan 12 Henderson Rd, Alexandria

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 Firefly 24 Young St, Neutral Bay (02) 9909 0193 Mon – Thu 5-11.30pm; Fri 4-11.30pm; Sat noon11pm; Sun noon-10pm The Foxtrot 28 Falcon St, Crows Nest Tue – Wed 5pm-midnight; Thu 5pm-1am; Fri – Sat 5pm-2am; Sun 4pm-10pm The Hayberry Bar & Diner 97 Willoughby Road, Crows Nest (02) 8084 0816 Tue – Thu 4pm-midnight; Fri & Sat noon-midnight Sun noon-10pm

Email: chris@ thebrag.com

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 6/8 Young Ln, Neutral Bay (02) 9953 0027 Tue – Fri noon-late; Sat – Sun 8am-late 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 – Fri noon-midnight; Sat 8am-midnight Miami Cuba 47 North Steyne, Manly 0487 713 350 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 SoCal 1 Young St, Neutral Bay (02) 9904 5691 Mon – Tue 4pm-late: Wed – Thu noon-1am; Fri – Sat noon- 2am; Sun noon-midnight The Stoned Crow 39 Willoughby Rd, Crows Nest (02) 9439 5477 Mon – Sun noon-late The Treehouse Hotel 60 Miller St, North Sydney (02) 8458 8980 Mon – Fri 7am-late; Sat 2pm-late Wilcox Cammeray 463 Miller St, Cammeray (02) 9460 0807 Tue – Thu 4pm-10pm; Fri – Sat 2pm-11pm; Sun 2pm-10pm BRAG :: 646 :: 20:01:16 :: 27

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

ALBUM OF THE WEEK FLOWERTRUCK

and her nourishing keyboard playing, to Hamish Dobinson’s warped, weather-worn harmonies.

Dirt Spunk

Like a bruise turning technicolour, Flowertruck’s Dirt is a stunning example of the way the everyday can be made extraordinary. Distinctly, determinedly Australian, yet never exclusive or niche, it is the most impressive debut EP in Lord knows how long: a fully formed, stupendously original record, rather than a nervous run-up.

Flowertruck aren’t a band on the rise – they have already risen, and Dirt is their mini-masterpiece.

VANESSA CARLTON Liberman Dine Alone/Universal

Liberman is Vanessa Carlton giving up, but in the best possible way.

Whether it’s with fondness or frustration that you recall the lusciouslocked gal of 2002 hammering out cascading melodies on a levitating grand piano (‘A Thousand Miles’, if it isn’t already stuck in your head), Carlton’s fifth record, Liberman, is worth a spin. Ghostly, spacious and surprisingly folky, this collection of ten tracks is notable for what it lacks.

Bombastic chordal work? Nope.

Belted vocals? Nada. Carlton’s not crafting another pop sensation.

Rather, this is a minimalist album, infused with wispy vocals, swathes of synth and tiptoeing piano melodies, all anchored by the rhythmic tug of an acoustic guitar.

The album invites you in, as if you’re with the singer-songwriter as she pores over old diaries, reminiscing on past lovers, homes and choices.

She offers advice: “As your castle crumbles down, and it will / Take it easy” (‘Take It Easy’); “That’s the way it is, love” (‘House Of Seven Swords’); “You know what you should do …

The key hangs low around your neck” (‘Unlock The Lock’).

Like a delicious 35-minute nap, Liberman is dreamy and soothing.

Sure, you’ll wake not recalling any remarkable lyrical or melodic moments, but you’ll be left feeling lovely and languid.

There’s a staggeringly large amount to like here, from Will Blackburn’s pin-precise drumming on ‘Nail Gun’, to the singularly compelling combination of Sarah Sykes’ backing vocals

‘Sunshower’, for example, is a messy, glorious oxymoron; a perfect example of the band’s essential cross-purposes and contrasts.

Somehow reaching crystal clear perfection by way of utter anarchy, Flowertruck repeatedly prove to be as considered as they are chaotic, drawing on a whole host of influences and genre touchstones.

Rubbed-raw choruses rule the day, and there’s a jangly, utterly endearing nervous energy to the whole piece. The shaky sweetness of a song like ‘Bad Dreams’ is more impressive upon every listen, and the vocal performance of lead singer Charles Rushforth careens from that of a marble-

mouthed lounge singer to a rock’n’roll master’s soulful tremor in a way that is uniquely exciting.

Joseph Earp

WOLFMOTHER

PANIC! AT THE DISCO

EMILY ULMAN

Victorious Universal

Death Of A Bachelor Fueled By Ramen/Warner

Wear It Well Independent

Wolfmother are a band you can never quite know how to feel about.

The nostalgic memories you might have for when they first exploded across the world in a cacophony of rock’n’roll is at odds with the annoyance and disappointment of their subsequent implosion and feeble attempts to recapture the original magic.

If anyone thought Frank Sinatra was purely a voice of a time gone by, they clearly have not met Brendon Urie. But Panic! At The Disco’s latest album is not all lounge room balladry. With Urie as the sole creative orchestrator behind the project, the listening experience reflects a man completely let loose in a library of musical references.

Lush pop melodies are littered across the release, with lyrical cliché and slightly cringeworthy phrasing found in ‘Crazy=Genius’. Opener ‘Victorious’ (with cheerleader chants to boot) and ‘LA Devotee’ are even more grating culprits.

Wear It Well is the long-awaited second release from Australian folk artist Emily Ulman. It’s a beautifully executed sequence of modern storytelling, although the themes of each of its rhythmic parables are timeless.

But the real beauty is the instrumentation. The pulsing beats on the swaggering ‘Don’t Threaten Me With A Good Time’, and the slick and sinister single ‘Emperor’s New Clothes’, add a compelling hip hop presence, while ‘Golden Days’ and ‘Hallelujah’ act as the most direct descendants of the rock lineage that birthed them. The true gem comes at the close, with ‘Impossible Year’ honouring Sinatra in a simple ballad with soaring string and horn arrangements. Death Of A Bachelor is an album full of contradicting styles. But the true thread is Urie’s unmistakable vocal power, adapting to each context with ease.

Beyond the minimalism of the title track, Wear It Well is littered with accessible and upbeat songs like the single ‘Scratches’, where Ulman’s vocals harmonise with strings. A waltzy rhythm brings the song to a chirpy close, although the lyrics are still a bit dark.

Following up 2009’s miserable Cosmic Egg and 2014’s so-so New Crown comes their latest attempt Victorious. Once more, though, the spark of the debut album eludes the band. Again, we have a grand, self-consuming creation from frontman Andrew Stockdale. Does that mean it’s bad? Apart from the awful attempt at a rock ballad, ‘Pretty Peggy’, this is not a bad album at all. If you like unapologetic rock’n’roll, then you’ll get along with Victorious just fine.

But if you are hoping for a little of that original Wolfmother magic, you won’t find it here. Wolfmother have simply become a Weekend At Bernie’s-style attempt to keep something alive that should be laid to rest. The tragedy is that Stockdale won’t give up, releasing music that neither succeeds or fails.

It isn’t great. It isn’t awful. It isn’t as good as it should be. And it just isn’t Wolfmother. Or, at least, not the one we once loved.

Case in point: the title track, which pairs Ulman’s effeminate and almost adolescent voice with a simple guitar strum. The song’s power lies in its muted emotion, as Ulman aches from a love never known due to an unspoken catastrophe: “Some things I’ll never tell / Some things you can never tell / I wear it well”.

‘Hurricane’ recalls the relaxed swagger that made The Waifs the darlings of the adult contemporary scene in the mid-’00s. However, this comparison may be a case of cultural pareidolia, triggered by a strong Australian female voice singing over uplifting acoustic folk.

So much vocal prowess in one person should surely be made criminal.

Regardless, this is a work of highquality music and storytelling, with each song proudly communicated in an Australian voice.

Chelsea Deeley

Dan Watt

THE TEMPERANCE MOVEMENT White Bear ADA/Warner The Temperance Movement are what one might call a mishmash band, made up of members from a number of countries who played in previous bands that spanned a wide range of genres. The end result is a blues rock sound that first hit our ears back in 2011.

Their second album White Bear is a strong offering of lead singer Phil Campbell’s gravelly vocals, backed up by some solid guitar hooks.

For the untrained ear, the album’s contents feel as though they bleed into one another, but this is an offering that loyal fans will be happy with nonetheless.

Towards the end of the album, the band proves that it can stray away from the well-practised recipe of blues rock, toning things down for album closer ‘I Hope I’m Not Losing My Mind’ in what is almost a welcome reprieve for the ears.

White Bear sounds like a B&S ball on record: there’s a sense of excitement, and you can almost see a ute’s load worth of blokes wearing blueys and sinking Bundy rums, but you’re still not quite sure what to expect.

Tegan Reeves

Jennifer Hoddinett

Daniel Prior

INDIE ALBUM OF THE WEEK Seedy Jeezus have the best rock’n’roll merchandise around, from clothing to trinkets to household items, all baring the evocative designs of guitarist and vocalist Lex Waterreus (AKA Mr. Lex Frumpy). And Seedy Jeezus have got some killer rock’n’roll riffs as well, a holy collage of Tony Iommi, Dave Gilmour, Eric Clapton, Josh Homme and Dave Wyndorf.

SEEDY JEEZUS Echoes In The Sky Independent

28 :: BRAG :: 646 :: 20:01:16

You can hear it all – and plenty more – on Seedy Jeezus’s 16-minute, one-track EP, Echoes In The Sky. Originally conceived as a studio jam, the track opens with a swaggering Sabbath riff winding its way through a psychedelic haze, a quest for stoner rock meaning in a spiritually confused world. The clouds part and there’s a glimpse of the bridge Pink Floyd built between the lysergic excursions of

1968 and the stadium rock indulgence of 1975. Three minutes in, and Seedy Jeezus are wandering toward the light of prog rock: noodling guitars, subliminal bass rhythms and heavy atmosphere. The energy picks up and you’re shooting through space, immersed in metaphysical concepts that would send Brian Greene into freak out. Guitars wail like psychedelic banshees, and shit’s getting seriously weird. And then it calms down, like the time you took too much acid and some old bearded bloke talked you back down from the proverbial ledge.

Oh, and the EP comes on etched vinyl, too. Who else pays such attention to artistic detail? No-one but Seedy Jeezus, that’s who.

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

HARTS - Breakthrough DAVID BOWIE - Hunky Dory VARIOUS - Down Under By Law

MAJICAL CLOUDZ - Are You Alone?

SHE & HIM - Volume Two

Patrick Emery thebrag.com

DREAMLAND

MATTHEW E. WHITE

“Welcome to Dreamland,” breathes drummer Laurence Pike into the microphone. The time is midnight and the atmosphere inside the Magic Mirrors Spiegeltent already has a dose of the ethereal to it as the five band members drift onto stage, one by one.

It’s as if this show is taking place in an alternative reality – inhibitions are left by the door, and while the men onstage are usually known as Jack Ladder and The Dreamlanders, they’ve abridged themselves for this special Sydney Festival appearance.

Dressed immaculately in a tailored suit and rarely seen without a boyish grin, Matthew E. White is nothing if not happy to be here, even if heavy jetlag and the novelty of the travelling Spiegeltent mean he’s not quite sure where that is. “We played this Spiegeltent once before, but in Bergen, Norway,” he says. “I got in here today and I was like, ‘I’ve been here before’ – it’s freaking me out.”

Magic Mirrors Spiegeltent Saturday January 16

The ordinarily eponymous Ladder remains a commanding frontman, but it’s soon clear that his bandmates are to get equal billing in this rejigged live set. And rightly so: guitarist Kirin J Callinan and bassist Donny Benet are wonderful solo performers in their own right, while Pike and keyboardist Neal Sutherland are accomplished industry pros. The collective Dreamland moniker casts them as less of a backing band to Ladder, and more of a Sydney musical supergroup.

Ladder’s best songs are all on show, from ‘Beautiful Sound’ to ‘Her Hands’ – the latter a mighty nocturnal jam for the late-night fans. The maniacal ‘Reputation Amputation’, meanwhile, is punctuated by Callinan’s six-string schizophrenia. But the magnetic guitarist in particular gets as much mic time as Ladder tonight, starting with his steamy take on physical masculinity, ‘Embracism’. Later, ‘The Toddler’ – a song he performs a capella in his solo shows, with hilarious rhythmic dancing its only accompaniment – arrives with a full band arrangement and a stage-dive.

It’s a real gift to witness Ladder, Callinan and Benet trading tunes, but the freedom afforded by the Dreamland alias gives them an excuse to be more experimental as well. Instrumental explorations and elongated introductory vamps are all fair play, and the crowd welcomes the indulgences.

Callinan is the MVP for sheer performance, but the real substance is in Ladder’s songwriting. Benet and Callinan each sing a verse on ‘Hurtsville’, but Ladder remains in charge of his majestic ‘To Keep And To Be Kept’. With their powers combined, these guys are a sensation – and you can only hope Dreamland becomes more than a Sydney Festival one-off.

Chris Martin

thebrag.com

Magic Mirrors Spiegeltent Friday January 15

He gets his bearings soon enough with ‘Tranquility’, in which whispered, almost spoken-word vocals about the transient nature of life build until the song seems set to collapse in on itself, before a second guitar belatedly chimes in to give it a second wind. Written as a reflection on the death of Philip Seymour Hoffman, it’s a tender if atypical start.

But White’s music is hardly all doom and death and things immediately take a turn for warmer, more joyful territory with ‘Love Is Deep’. ‘Vision’ shows his considerable versatility as a singer, swinging seamlessly from breathy vocals to the soaring, upbeat, soulful style that has seen him earn Curtis Mayfield comparisons.

Last time he and his band were out here, White recalls, they were so jetlagged that they abrupt fell asleep midmeal in a Domino’s outlet. Thankfully, there’s no such lethargy tonight, though slow jam ‘Fruit Trees’ moves like treacle in the best possible way.

There’s a lush cover of Lee Hazlewood’s ‘Wait And See’ and a sunny snapshot of religious devotion in the blissed-out ‘Circle ’Round The Sun’, White crooning the line “Wrap your arms around me, Jesus” with such conviction that even non-believers can’t help but be swayed.

The setlist switches gears in the second half to his more bluesy, groove-heavy side, with the likes of the harmonyladen ‘Steady Pace’ and ‘Feeling Good Is Good Enough’ raising the energy. ‘Rock & Roll Is Cold’ is a floor-shaking rave-up where brushed drums are exchanged for John Bonham-esque pounding. It wraps up with a group hug and a gentleman’s bow to a now energised crowd.

At one point, White muses on his ambitions of moving to Australia and buying himself a “real fresh” ute to go exploring in. Based on tonight’s showing, this hugely likeable and talented performer is more than welcome to set up shop here.

Daniel Herborn

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

HARTS, JENNY BROKE THE WINDOW Oxford Art Factory Saturday January 16

Guitarmanship – if that even is a word – was the nightly special, intentionally or otherwise, for the musical prodigy that is Harts, toruing in support of new single ‘All Rise (Play It Cool)’.

Jenny Broke The Window took to the Oxford Art Factory stage with appetising guitars initiating the crowd’s interest before their first single ‘Ravel’ started to fulfil it.

From there, their singles old and new littered the set and showcased their live skills, with the right measure of interaction, enthusiasm and tight delivery making the band mighty enjoyable to watch. ‘Black Skeleton’ and ‘Rum ‘N’ Cola’ wrapped things up and had many a body bouncing to their catchy pop-rock.

As a diverse mix of demographics watched the curtains draw, Darren Hart AKA Harts theatrically played the keys; the most stationary the almost-one-man band would be all night. He was joined only by a drummer, and before second song ‘When A Man’s A Fool’ had finished, a crowd member had joyfully thrown a water bottle in the air, rejoicing at the sound of Harts’ stellar guitar work.

Jumping between keys, microphones and any space he could fill, that mop of curls bobbing along, Harts’ jacket was thrown off early, as the funky riff opening 2015’s ‘Breakthrough’ commanded the attention of anyone who was left behind. Calls to sing ‘Red & Blue’ were happily and loudly answered. Mind you, purely witnessing the spectacle that is Harts’ performance – shredding on his knees, impeccable timing, riffing behind the head, whipping that Squier Stratocaster around with ease and injecting bass via the keys with multitasking skills beyond many 22-year-olds – is nothing to complain about.

If there had to be criticism, it would be a longing for live bass, rather than its delivery through the keyboard.

Any desire for more instrumentation, however, was well overshadowed by the man’s skill, and when Hart declared “I’m gonna play it cool” to conclude ‘All Rise’, a mix of demands for “one” and “ten more songs!” arose throughout the venue, verifying the rapture of his captivated audience.

Emily Gibb

BRAG :: 646 :: 20:01:16 :: 29

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up all night out all week . . .

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

PHOTOGRAPHER :: ASHLEY MAR

Enmore Theatre Saturday January 16

Given there were almost three hours between the opening note played by her first support and the moment Courtney Barnett sent her final song flying into its composite pieces, her gig at the Enmore Theatre could easily have been a drag. But instead it was a showcase of this country’s considerable talents: a rousing chant led by Australia’s most important voices.

Striking out in solo mode, The Smith Street Band’s Wil Wagner opened the night with a nuanced and emotional set, each of his songs an ounce of salt rubbed into the same throbbing wound.

Following fast on his heels, Cloud Control blasted through a series of whisky- and honey-soaked pop melodies, proving to be sweet but never saccharine, and angular but never angsty.

born jovi

As ever, she was fierce and poetic, but never so much that she distanced herself from her audience. Barnett’s armour is home-made, constructed from crushed VB cans: real, and free of pretence.

‘Elevator Operator’ was played with grungey, fervent abandon, but especially impressive was new addition to the set ‘Boxing Day Blues (Revisited)’.

A barbed wire guitar solo in the centre of ‘Small Poppies’ had some comparing Barnett to a host of rock’n’roll influences.

But Barnett’s gifts are hers and hers alone: there is no need to claim real estate on such talents. One day a lazy critic will be calling the next up-andcomer ‘Barnett-esque’.

Over the course of the night, one also got the sense that personal histories were being made. It might be a stretch to borrow the legendary quote written about The Velvet Underground and suggest everyone in attendance will go on to form a band of their own – there were a lot of people in the Enmore Theatre, after all.

But it was impossible to miss the look in the eyes of the gig’s younger attendees as they filed out. It was the look you get when you realise that the answer to your problems has been in front of you all along. A look that says, ‘I get it now.’

Joseph Earp

PICS :: AM

Then it was Courtney Barnett’s turn. For those fans who have seen her perform on multiple occasions, each time to a bigger audience, it was a curiously emotional experience to hear the deafening cry that went up when she emerged. Barnett has become a genuine rock star, and though that is what we always wanted for her, it is no less touching to see it actually happen.

KE PHOTOGRAPHER :: KATRINA CLAR

17:01:16 :: Frankie’s Pizza :: 50 Hunter St Sydney OUR LOVELY PHOTOGRAPHER

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S :: KATRINA CLARKE :: ASHLEY

MAR ::

HOLY HOLY, OLYMPIA, THE FRANKLIN ELECTRIC Oxford Art Factory Friday January 15

galdstone

PICS :: AM

COURTNEY BARNETT, CLOUD CONTROL, WIL WAGNER

Oxford Art Factory has wasted no time in pumping out the shows and kicking off 2016 in style. The venue continued its stellar run with a band that’s had an 20:12:15 :: Frankie’s Pizza Hunter equally stellar 2015 and start::of50the year, Holy Holy. The room filled relatively early with an exciting mixed bag of punters as Canadian outfit The Franklin Electric relished the opportunity to perform their catchy, pop-tinged folk songs for us.

Tracks like ‘Unsatisfied’ and ‘This Is How I Let You Down’ were charming numbers that excited the crowd with some delicate harmonies and frontman Jon Matte’s haunting and beautiful trumpet work.

When Olympia lead singer Olivia Bartley took the stage, it was hard to ignore her similarity to Sia, with a bleached blonde bob and some serious vocal strength to boot, but the set was more akin to St. Vincent. While it was a band affair, you couldn’t help but be drawn to Bartley’s impressive stage presence, confidence and sparkly gold jumpsuit. The music happily played in the eccentric, from the upbeat single ‘Tourists’ to the stark, bluesy number ‘Atlantis’ that hinted at an artist almost fully realised.

After two European tours and ample triple j airplay, Holy Holy kicked off their national headline tour to a crowd that certainly made them feel very welcome, and opener ‘Impossible Like You’ undoubtedly let their intentions be known. Guitarist Oscar Dawson and vocalist Timothy Carroll’s chemistry onstage was infectious – in fact, the band was bouncing off each St whole Sydney other, clearly excited about the warm embrace. The drawcard was definitely Carroll’s lush, husky and deceptively powerful voice mixed with Dawson’s at times jaw-dropping guitar skills, and they both shone on ‘If I Were You’ before the whole band connected and positively lifted the roof on the massive ‘History’.

They professed their love for Phil Collins with a cover of ‘Another Day In Paradise’ before they closed the set with the rapturous ‘House Of Cards’.

Not content to rest easy, they returned for a heartfelt acoustic tribute on David Bowie’s ‘Starman’ that segued into a blistering ‘You Cannot Call For Love Like A Dog’. This was a show that said it all from a band that’s in a league of its own: a euphoric set and one hell of a way to kick-start a tour.

Iain McKelvey

live at the sly ft. project collective ska 07:12:15 :: Slyfox :: 199 Enmore Rd Enmore 9557 2917

thebrag.com

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

City Recital Hall Angel Place Saturday January 16

reverb on cello, and some of the most iconic early house bangers to ever melt dancefloors in sweaty pools of boundless euphoria.

The late Arthur Russell was a musical genius, underappreciated in the time before his death from AIDS-related illness in 1992. Russell was classically trained on cello, and in traditional Indian music, but he was never snobbish in his musical tastes, believing that pop music could have as much emotional impact as classical. His prolific and diverse musical output blurred the lines between high and low culture in surprising and joyous ways – ranging from whimsical folk songs featuring little more than his striking voice and jangly guitar, to pioneering experiments in sound and

His music wasn’t so much ahead of its time, as completely outside of time – pure and honest creative expression that varied so wildly from song to song that he often released his music under different monikers. Fans would have struggled to keep track of what he was creating in the pre-internet era, but after being posthumously championed by the likes of Pitchfork, he’s found his way into the ears of a whole new generation, and acquired a rabid cult following of listeners who wonder how one human could have created such a brilliant and eclectic body of work.

troye sivan

Arthur Russell’s Instrumentals is a collection of gorgeous compositions he performed with a community of New York musicians in 1974-75. The spaghettiWestern-tinged sound is evocative of wide open spaces with its shuffling drums, gently strummed guitars and soaring melodies on saxophones and trombone.

Most individual tracks are playful exercises on a melodic idea, but the songs blend together to create a much greater whole.

This masterpiece was lovingly brought to life by a seven-piece band, many from the original community of musicians Russell used to perform with. Under the direction of Peter Gordon, they masterfully recreated the mesmerising ebb and flow of the original album – gradually building tension through endless repetition of subtly

mutating melodies and chord progressions that occasionally exploded in a sublime rush of joyous horns over crashing drums, loping bass grooves and piano, before simmering back down to just a lonesome trombone and soft vibraphone. There was rarely a break in the music – the band carried the listeners seamlessly along the emotional highs and lows of the interwoven melodies. The effect was like gliding on a river through a vast American landscape: alternately soothing, thrilling and profoundly beautiful.

Only the final track deviated from the script – a loose, funky rendition of the seminal 1980 disco classic ‘Is It All Over My Face’.

But no-one complained about that.

Adam Black

PICS :: AM

ARTHUR RUSSELL’S INSTRUMENTALS

13:01:16 :: Enmore Theatre :: 118-132 Enmore Rd Newtown 9550 3666

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thebrag.com

BEING

LEFT

H A N D E D.

Okay, that’s hard to imagine? But being gay, lesbian, bi, trans or intersex is no different to being born left handed, it’s just who you are. So stop and think because the things we say are likely to cause depression and anxiety. And that really is pretty crap.

GO TO LEFTHAND.ORG.AU TO WATCH THE VIDEO

STOP t THINK t RESPECT

BRAG :: 646 :: 20:01:16 :: 31

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up all night out all week . . .

THE CHILLS

Magic Mirrors Spiegeltent Wednesday January 13 New Zealand band The Chills – signed to the now-revered Flying Nun Records label – lit up the Magic Mirrors Spiegeltent in Hyde Park’s Festival Village as part of Sydney Festival.

“Sorry it’s been so long. We got lost,” said frontman Martin Phillipps to a room brimming with greying New Zealand expats and smatterings of young Australian music geeks and middle-agers. He wasn’t wrong, either.

The Chills’ new album, last year’s Silver Bullets, arrived a long 19 years after their last, Sunburnt.

The evening was heavy with plugs for the new record, which is something of an ode to environmentalism. This theme emerged as early as the third song ‘Aurora Corona’: “Oh, Gaia show mercy today”.

DIRTY THREE, MIREL WAGNER State Theatre Friday January 15

Timidly introducing herself, Mirel Wagner’s folk tales led her listeners to a much more sinister place than her welcoming voice first suggested. From opener ‘The Road’, her understated presence onstage tricked those spellbound into entering her dark lyrical world.

‘The Devil’s Tongue’ and ‘No Death’ were the set highlights. As the story contained within her chilling lyrics grew, so did the intensity of her voice. The Finnish singer doesn’t need a fanfare, just the beauty of the female vocal and semi-acoustic guitar.

As her soft voice of foreboding echoed through the State Theatre, she fingerpicked her tales into an inescapable web, before finishing her set with the murderous intentions of ‘Goodnight’.

Dirty Three received a heroes’ welcome at they walked onstage. Warren Ellis shared the story of a “ragged set” 25 years ago, when he was told he would never play Sydney again. He himself still seems in disbelief at the level of influence the instrumental trio has had as one of Australia’s most important bands.

The stories behind the music are as captivating as the songs themselves. The description of opening song ‘One Thousand Miles’ as having “so much purple drank you find yourself engaged to Rupert Murdoch” and being about “driving until you run out of gasoline” set the playful and extravagant tone for a style of music that exists in a world of its own.

Epic shadows of the three musicians were thrown against the back of the stage while Ellis danced with his violin as if awakening dark spirits. As the setlist winded through tales of hallucinogenic experiments in ‘Everything’s Fucked’ to the self-discovery of

‘Hope’, Ellis reflected on the quarter-century the band has now spent together.

The hold-your-breath moments came during ‘Sea Above, Sky Below’ (for the “days when you can’t see the good in nothing”) and the David Bowie-dedicated ‘Authentic Celestial Music’. With a sound and energy that puts the power of a full orchestra to shame, there is no question Dirty Three are one of Australia’s best live acts.

They left the rest of their set to fate, and the audience called out requests simultaneously.

‘Lullabye For Christie’ accompanied another tale of misadventure as a musician on the road in the ’90s. The set closed with the everepic ‘Sue’s Last Ride’, and we can only hope they return soon.

Tanydd Jaquet

They played 1984’s ’Pink Frost’ (the moment I’d been waiting for, and judging by the ‘woo’s and ‘yeah’s emanating from the crowd, I wasn’t alone). The smoke machine was up to 11, blowing smoke across stage as if a gentle breeze were pushing purple haze across a moody, dank moor. ‘America Says Hello’ is another newbie with a political/environmental bent, and it was affecting. Phillipps captured the issues facing dormant bands who release new work and hit the road again when he quipped, “We can’t play all the old ones,” in response to people shouting out song requests. However, 1986’s ‘I Love My Leather Jacket’ did get an airing. It was the third last track and, to be honest, it was one of those tracks that had to happen, lest the band inspire a mob uprising with a median age of 50.

An encore was uncertain, but as someone near me amusingly pointed out, “They have to; there’s nowhere else for them to go,” referring to the cramped conditions offered by the Spiegeltent stage: part Bavarian beer hall, part Romani caravan. The crowd was pleased to see The Chills return for one more song, but also just to see them performing again in Australia after such a long hiatus.

All is well in the land of The Chills, and this was an overwhelmingly fun gig. Their sound was seamless, cohesive and loud.

The old hits were delivered perfectly, received wonderfully, and even the new stuff went down well – no small feat for a mature ‘nostalgia’ band.

Sarah Little

(9:00PM - 12:00AM)

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(9:00PM - 12:00AM)

SATURDAY AFTERNOON

fri

22 Jan (10:00PM - 1:40AM)

SUNDAY AFTERNOON

sat

5:45PM  8:45PM

23 Jan (10:00PM - 1:15AM)

sun

(4:30PM - 7:30PM)

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• Australia Day • 1:45PM  4:30PM

Jan

(8:30PM - 12:00AM)

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26 Jan

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25 Jan

(9:00PM - 12:00AM)

5:30PM  8:15PM

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THEE OH SEES, STRAIGHT ARROWS Newtown Social Club Thursday January 14

Loud, trippy and one hell of a party: Thee Oh Sees’ live show has to be seen to be believed. A fitting support, Straight Arrows cue up a night of ’60s vibes and a garageload of volume. No kidding, they’re freaking loud. Guitars clang at ear-splitting volume and bodies move as if twisting by the pool.

Proud of his swift diagnoses during a minor gear malfunction, centre-stager Owen Penglis apologises and muses on the previous night’s Newcastle show: “A guy told us last night if we cleaned up our sound a bit we would sound like Tame Impala.”

Although such comparisons could be made, the similarities are minimal. A surprise harmonica solo mid-set leaves most of the crowd cupping ears and squinting eyes, but despite the excessive volume, the jarring addition brings a breath of fresh air to the band’s guitar-driven songs.

Sporting two drummers, a bassist and John Dwyer himself, the latest incarnation of Thee Oh Sees seems at first glance a little short of hands. It is Dwyer’s effortless manipulation of guitar, onstage vocal effects and miniature keyboard that assures all is under control.

The hypnotic nature of Thee Oh Sees’ music is carried tenfold live. Dwyer’s maniacal mime coupled with his manipulation of

32 :: BRAG :: 646 :: 20:01:16

gadgets is a spectacle in itself. Banter is kept to a minimum as the band belts through track after track. At the halfway point, when the audience is lulled into a false sense of “It can’t get any better than this,” Dwyer and co. reveal the crowd favourite ‘Toe Cutter - Thumb Buster’. With a live sound that is sonically dense and all-consuming, it is an aural shock when the band takes proceedings to the next level.

It is all too easy to get swept up in the psychedelic to and fro. Drenched in fuzz and doused in echo, Newtown Social Club is packed wall to wall with sweating and diving bodies. Dwyer’s fret board gymnastics and nonchalant demeanour give the impression he is just making it all up as he goes along.

After bidding farewell to a sea of sweaty bodies, Thee Oh Sees bring the festivity to a close with ‘Contraption/Soul Desert’. The dual drummers jam in unison to the bopping track, while Dwyer – making use of his microphone and effects – manipulates the hits of a cymbal.

Dwyer’s contortion of sound as the band jams along brings the show to its climax, ending with a beer salute and a humble wave goodbye. Silence greets a room full of bewildered, smiling faces. Thee Oh Sees are well experienced in chucking one hell of a party, and tonight’s dazed and confused aftermath is proof.

Aaron Streatfeild

thebrag.com

g g guide gig g send your listings to : gigguide@thebrag.com

pick of the week

Sosueme - feat: The Belligerents + Wild Honey + Samrai + Delta Riggs Beach Road Hotel, Bondi Beach. 8pm.

Free.

Stag Blues Jam feat: Al Britton + Jim Finn Bald Faced Stag Hotel, Leichhardt.

8pm. Free.

Tom Trelawney Orient Hotel, The Rocks. 9pm. Free.

Vibrations Band Competition - feat: Ambulare + Breizers + Moth King + You & The Buzz + Fire Knight Valve Bar, Agincourt Hotel, Ultimo. 7pm. $15.

THURSDAY JANUARY 21

TUESDAY JANUARY 26

Melbourne Ska Orchestra

The R Th Rocks

The Rocks Australia Day The Grates + Tuka + Katy Steele + Melbourne Ska Orchestra + Gordi + More 12:30pm. Free.

WEDNESDAY JANUARY 20 ACOUSTIC, COUNTRY, BLUES & FOLK Irish Mythen + Nikita Rolleston Brass Monkey, Cronulla. 8pm. $15.

The Remnants +

Rick Hart The Gasoline Pony, Marrickville. 7pm. $5.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Drums/Bone/Bass Trio Lazybones Lounge, Marrickville. 8:30pm.

Free.

Marcello Maio Trio Foundry616, Ultimo.

8:30pm. $16.50.

Tiwi + Jazz - feat: The Tiwi Strong Women’s Group Magic Mirrors Spiegeltent, Sydney.

5:15pm. $46.95.

Mariam Wallentin + Spill + Tony Buck + Magda Mayas + Tangents The Basement, Circular Quay. 7pm. $24.30.

Jenny Hval The Famous Spiegeltent, Sydney.

8pm. $46.95.

Foreign Kings + Reidemeister + The Bitter Sweethearts Frankie’s Pizza, Sydney. 9pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS A Night Of Improvised Music - feat: Mats Gustafsson +

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Midnight Tea Party Spring Street Social, Bondi. 7pm. Free.

Mocambo Jam Foundry616, Ultimo.

8:30pm. $21.50.

Free.

Joanna Newsom Sydney Opera House, Sydney. 7:30pm. $99.

Live At The Sly feat: Mac The Knife + Hunch + Dead Brian Slyfox, Enmore.

7:30pm. Free.

Matt Stillert Frankie’s Pizza, Sydney. 10pm. Free.

Napoleonic + Drift Road + Red Whisky + Zu Khanu Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

Rhythm & Bowls - feat: Johnny G & The E Types Marrickville Bowling Club, Marrickville.

5:30pm. Free.

The Belligerents + Ed Wells Moonshine Cider & Rum Bar, Manly. 9pm.

Free.

FRIDAY JANUARY 22 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Midnight Tea Party Spring Street Social, Bondi. 10pm. Free.

Mingus Amongst Us Foundry616, Ultimo.

8:30pm. $21.50.

ACOUSTIC, COUNTRY, BLUES & FOLK Jo Meares + Liz Martin The Gasoline Pony, Marrickville. 7pm. $5.

The Swamp Stompers Lazybones Lounge, Marrickville. 8:30pm. $10.

INDIE, ROCK, POP, METAL, PUNK & COVERS Blake Tailor Hillside Hotel, Castle Hill. 7pm. Free.

Brian Ralston’s Self Tort The Basement, Circular Quay. 7pm. $26.30.

Funkstar Duo Orient Hotel, The Rocks. 10pm. Free.

Harbourview Hullabaloo - feat: Zack Martin + Monica + Craig Ball + Phil Marino Harbourview Hotel, The Rocks. 7:30pm.

ACOUSTIC, COUNTRY, BLUES & FOLK Irish Mythen + Cass Eager Django Bar @ Camelot Lounge, Marrickville. 8:30pm. $30.

Isaiah B Brunt & Band Lazybones Lounge, Marrickville. 8pm. $15.

Key To The Highway The Gasoline Pony, Marrickville. 7pm. $5.

Ryley Walker The Famous Spiegeltent, Sydney.

8pm. $46.95.

INDIE, ROCK, POP, METAL, PUNK & COVERS Band Of Men Penrith RSL, Penrith.

9pm. Free.

Blake Tailor Zest Grill House,

Rooty Hill. 5:30pm.

Free.

Cath & Him St George Leagues Club, Kogarah. 9pm.

Free.

Crossroad Colonial Hotel, Werrington. 8:30pm.

Free.

Die! Die! Die! + White Dog + Money For Nothing DJs Waywards, Newtown.

8pm. Free.

Frank Sultana The Vanguard, Newtown. 7pm. $13.80.

Hot Chip Sydney Opera House, Sydney. 8:30pm. $97.50.

Jalapeno Deluxe Revesby Workers Club, Revesby.

8:30pm. Free.

James Reyne + Moving Pictures Mounties, Mount Pritchard. 8pm. $55.

Jono Collins Plough & Harrow, Camden. 8pm. Free.

Los Tones + The Reprobettes Moonshine Cider & Rum Bar, Manly. 9pm.

Free.

Oscar Kami The Crest Hotel Sylvania, Sylvania.

7pm. Free.

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

Stephanie Lea The Oriental Hotel, Springwood. 8pm.

Free.

The Brave + Awaken I Am + Hollow Heart + We May Fall Bald Faced Stag Hotel, Leichhardt.

8pm. $10.

The Cairos Brighton Up Bar, Darlinghurst. 8pm. $16.50.

The Jitterbugs Revesby Workers Club, Revesby. 10am.

Free.

SATURDAY JANUARY 23 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Divas Of Motown + Soul & Disco Bankstown Sports Club, Bankstown.

7:30pm. $15.

The Best Of Smooth Jazz - feat: Armondo

Hurley + Dan Marko Foundry616, Ultimo.

8:30pm. $27.50.

ACOUSTIC, COUNTRY, BLUES & FOLK Bonnie Kay & The Bonnafides Lazybones Lounge, Marrickville. 7pm.

Free.

James Reyne Metro Theatre, Sydney. 7pm. $54.90.

King Curly + Dan & Dan Hopefully The Gasoline Pony, Marrickville. 7pm. $5.

Ryley Walker The Famous Spiegeltent, Sydney.

5:45pm. $46.95.

INDIE, ROCK, POP, METAL, PUNK & COVERS Blake Tailor Novotel, Rooty Hill.

6:30pm. Free.

Bloodhounds On My Trail + Miners + Fabels The Record Crate, Glebe. 5:30pm. Free.

Cath & Him Crossroads Hotel, Casula. 9pm. Free.

Earopund Women’s Music Festival Part One - feat: Astrix Little + Chunyin + Fabels + Imperial Broads + Bree Van Reyk Newtown Social Club, Newtown. 7:30pm. $15.

Evie Dean Adria, Sydney. 5pm.

Free.

GJ Donovan Orient Hotel, The Rocks. 5:45pm. Free.

Jono Collins Plough & Harrow, Camden. 8pm. Free.

Last Stand - The Chisel Barnes Show Revesby Workers Club, Revesby.

8:30pm. Free.

Mexrrissey Enmore Theatre, Newtown. 7:45pm. $69.

Paper Hearts Penrith Panthers, Penrith. 8:30pm. Free.

Party Central Orient Hotel, The Rocks. 10pm. Free.

Penny Lane The Crest Hotel Sylvania, Sylvania.

7pm. Free.

Robber Dogs

speed date WITH

OISIN KELLY FROM HORACE BONES

Your Profile 1.

Hello, our name is Horace Bones. We’re four guys from Melbourne playing music that sounds psychedelic, garagey, liberating and belligerent but always tender… in a liberatingly belligerent sort of way. As a band we enjoy playing good gigs, playing bad gigs, fooling about on the patio and coming home twisted and YouTubing Leslie Nielsen’s best bits. The kinds of attributes we’re looking for in a fan are unbridled enthusiasm, determination, open-mindedness and a boat.

2.

Keeping Busy In recent months the band has been keeping real busy behind the scenes. We recorded our debut

thebrag.com

double A-side EP at Alamo Studios, the first single of which we are touring in January/February of this year. The song is called ‘Tarantula’ and it’s pretty, pretty, pretty good.

We’re playing in Sydney at a joint called Frankie’s Pizza… I’ve Googled it and it really is a pizza place. That’s cool. If you’re reading this and you’re in Sydney, then come to the gig; it’ll be the weekend before Australia Day and you can eat pizza. And we’ll eat pizza…at the gig… pizza.

3.

Best Gig Ever The greatest gig so far would have to be our show at The Shadow Electric. First of all, it’s in a convent (as in where nuns live). Also, we had to get there early to set up so we drank a bunch beforehand and I remember walking onstage

with a lampshade on my head like some ’90s cartoon of an alcoholic at a knees-up. Then our drummer accidentally swallowed the mirror ball, which didn’t reflect well on the band at all. We played pretty good too and the crowd really got into it.

I got in the van after the show and my brother’s mate let me inhale his unwavering, lukewarm drink and I sat back and everything was right in the world.

Current Playlist 4.

Right now I’m sitting in my kitchen listening to Iggy Pop’s album Lust For Life; it’s brilliant. Royal Headache’s new album is something else too. But my favourite album of recent times would be I’m In Your Mind Fuzz by the Gizzards. I guess I’m an album guy.

Your Ultimate Rider 5.

It’s very simple: beers, whisky, some chickens hypnotised to act like people, a smooth surface, one pedestal fan and one human fan.

We’ve had most of those but never all at the same time; I’d really like that. I feel like a lot of people request a midget. I’m not saying I’m against it, I just want something more original. Imagine all them chickens sitting around drinking pints, discussing the sound quality of the venue and how much of a poser the lead singer is. Right?

With: Greenthief, Bones Atlas, The Adaptors Where: Frankie’s Pizza When: Sunday January 24

BRAG :: 646 :: 20:01:16 :: 33

g g guide gig g

g g picks gig p

send your listings to : gigguide@thebrag.com Penrith RSL, Penrith.

2pm. Free.

Sam Lyon Duo Wallacia Hotel, Wallacia. 8pm. Free.

Sea Legs + Phantastic Ferniture Moonshine Cider & Rum Bar, Manly.

9pm. Free.

SkaBQ - feat: Bluebeat Allstars + No Nonsense + Loonee Tunes + Fun Addicts + The Hangovers + Ska’d 4 Life Marrickville Bowling Club, Marrickville.

2pm. Free.

Sounds Of The City Vol II - feat: Brnchs + Mabel + Hannah Robinson Oxford Art Factory, Darlinghurst. 8pm. $11.60.

Stephanie Lea Duo Wentworthville Leagues Club, Wentworthville.

10pm. Free.

Stevie Ray Vaughan Tribute - feat: Ray Beadle The Basement, Circular Quay.

7:30pm. $24.30.

The Kamis Penrith RSL, Penrith.

9pm. Free.

The On And Ons + Joeys Coop + Wayne Tritton Factory Floor, Marrickville. 7:30pm. $13.50.

The Vamps + The Tide + Little Sea + At Sunset + Tyde Levi Allphones Arena, Sydney Olympic Park. 6pm. $19.90.

Vanilla Chainsaws + Young Doctures + Aberration + Bob Short Bald Faced Stag Hotel, Leichhardt.

8pm. $15.

Venom Clubnight - feat: A Death In Prague + Double Chamber + Before Ciada + Ghosts Of Pandora + Chromatide Valve Bar, Agincourt Hotel, Ultimo. 12am. $15.

SUNDAY JANUARY 24 ACOUSTIC, COUNTRY, BLUES & FOLK El Duende + Mandatory Fenton The Gasoline Pony, Marrickville. 5pm. $5.

Ivanhoe The Deck, Sydney.

3:30pm. Free.

Michael Hurley + Meg Baird St Stephen’s Uniting Church, Sydney.

6pm. $49.

Sunday Live At The Bowlo - feat: Leah Flanagan Marrickville Bowling Club, Marrickville.

4:30pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS 60s Chartoppers Penrith RSL, Penrith.

2pm. Free.

Anthems Of Oz Orient Hotel, The Rocks. 8:30pm. Free.

Blake Tailor The Fiddler, Rouse Hill. 3pm. Free.

Future Is Now feat: New Black Shade + The Swamp Stompers + Crawford Brothers + Czarenne Bald Faced Stag Hotel, Leichhardt.

4pm. $16.90.

Josh Shipton Midnight Special, Newtown. 7pm. Free.

Just Breathe - feat: Octavian + The Radics + Cold Vulture Valve Bar, Agincourt Hotel, Ultimo. 5pm. $10.

Klub Koori - feat: Pirra + Joe Geia + MC Elaine Crombie Magic Mirrors Spiegeltent, Sydney.

5:15pm. $37.95.

Penny Lane Wallacia Hotel, Wallacia. 1pm. Free.

Sabbath Sessions - feat: Greenthief + Bones Atlas + Horace Bones + The Adaptors Frankie’s Pizza, Sydney. 4pm. Free.

Songquest Heat 3 - feat: Ussell Neal + Ben Osmo + Paul Davison + Twentyone Reasons + Victoria Young + Pete Raven + Dave Rowlands Harlequin Inn, Pyrmont. 3pm. Free.

The Apartments The Famous Spiegeltent, Sydney.

8:15pm. $46.95.

White Bros Orient Hotel, The Rocks. 4:30pm. Free.

$15.

Reggae Mondays - feat: Eric Renaud And Caribbean Soul Civic Underground, Sydney. 10pm. Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

ACOUSTIC, COUNTRY, BLUES & FOLK

Judy Bailey’s Jazz Connection Lazybones Lounge, Marrickville. 6:30pm.

Free.

Caribbean Soul Moonshine Cider & Rum Bar, Manly.

7:30pm. Free.

Felix Riebl + Roscoe James Irwin The Basement, Circular Quay.

6:30pm. $37.60.

MONDAY JANUARY 25 ACOUSTIC, COUNTRY, BLUES & FOLK Steve Hart & The All Stars + Shannon Noll Sting Bar, Cronulla.

6pm. $25.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Grab Life By The Bowls - feat: Funkdafied DJs Marrickville Bowling Club, Marrickville.

5pm. Free.

Kylie Auldist Brighton Up Bar, Darlinghurst. 8pm.

INDIE, ROCK, POP, METAL, PUNK & COVERS Frankie’s World Famous House Band Frankie’s Pizza, Sydney. 9pm. Free.

Live & Original @ Mr Falcon’s - feat: Scandalgate + Lucia Neville + Dave Da Costa Mr Falcon’s, Glebe.

7:30pm. Free.

Live & Original @ The Corridor - feat: Matt Stillert + Lisa Caruso + Nicole Issa Corridor Bar, Newtown. 7pm.

Free.

Ocean Road Orient Hotel, The Rocks. 9pm. Free.

Songsonstage feat: Russell Neal + Simon Li Kelly’s On King, Newtown. 7:30pm.

Free.

The Monday Jam The Beresford Hotel, Surry Hills. 6pm.

Free.

Viet Cong + Bat Piss Newtown Social Club, Newtown.

8pm. $39.

TUESDAY JANUARY 26

The Business The Golden Sheaf, Double Bay. 12pm.

Free.

The Sheaf Supergroup The Golden Sheaf, Double Bay. 4pm.

Free.

Veena Rao Opera Bar, Sydney.

6:30pm. Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Daniel March Lazybones Lounge, Marrickville. 8:30pm.

Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Aussie Rock Revival Revesby Workers Club, Revesby.

8:30pm. Free.

Australia Day @ Marlborough Hotel - feat: Bloods + High-Tails + Sures + Morning TV Marlborough Hotel, Newtown. 12pm.

Free.

Bandquest - feat: Zack Martin + The Set + Hoochie Mama + Band Of Mercanes + Green Manalishi + Samurai Lullaby +

up all night out all week...

Firechild + Ionia + The Swingin’ Old Fellas Harlequin Inn, Pyrmont. 1pm. Free.

Bowl Rebellion - feat: Front End Loader + Bart Willoughby + Johnny G And The E Types Marrickville Bowling Club, Marrickville.

2pm. $18.40.

Cath & Him Wentworthville Leagues Club, Wentworthville.

10pm. Free.

Crossroad Colonial Hotel, Werrington. 12pm.

Free.

Gary Johns Orient Hotel, The Rocks. 9:15pm.

Free.

Girlpool The Famous Spiegeltent, Sydney.

8pm. $46.95.

Jed Zarb Wallacia Hotel, Wallacia. 1pm. Free.

Kick - The INXS Show + Last Stand - The Chisel Barnes Show North Ryde Common, North Ryde. 6:30pm. Free.

Live Rock & Roll Karaoke Frankie’s Pizza, Sydney. 4pm. Free.

Lou Barlow Magic Mirrors Spiegeltent, Sydney.

7:30pm. $39.

Matt Lyon Penrith Panthers, Penrith. 1pm. Free.

Songsonstage feat: Russell Neal + David Levell Gladstone Hotel, Dulwich Hill.

7:30pm. Free.

Songsonstage - feat: Stuart Jammin + David Levell Kelly’s On King, Newtown. 8pm.

Free.

The Rocks Australia Day Festival - feat: The Grates + Melbourne Ska Orchestra + Tuka The Rocks.

12:30pm. Free.

The Shuffle Opera Bar, Sydney.

2:30pm. Free.

Tom Trelawney Orient Hotel, The Rocks. 1:30pm.

Free.

Triple J Hottest 100 Party Newtown Social Club, Newtown.

12pm. Free.

Wats Up Orient Hotel, The Rocks. 5:30pm.

Free.

Wirringa Baiya Aboriginal Women’s Legal Centre Fundraiser - feat: Bad//Dreems + Polish Club + Flowertruck + Adkob Vic On The Park, Marrickville. 1pm.

Free.

Yabun Festival 2016 - feat: Bart Willoughby + Radical Son + Yarwah + Drews + Young Black & Deadly Stars + Leah Flanagan + More Victoria Park, Camperdown. 10am.

Free.

WEDNESDAY JANUARY 20 Foreign Kings + Reidemeister + The Bitter Sweethearts Frankie’s Pizza, Sydney. 9pm. Free.

Jenny Hval The Famous Spiegeltent, Sydney. 8pm. $46.95.

Sosueme - Feat: The Belligerents + Wild Honey + Samrai + Delta Riggs Beach Road Hotel, Bondi Beach. 8pm.

Free.

THURSDAY JANUARY 21 Joanna Newsom Sydney Opera House, Sydney. 7:30pm. $99.

Live At The Sly - Feat: Mac The Knife + Hunch + Dead Brian Slyfox, Enmore. 7:30pm. Free.

The Belligerents + Ed Wells Moonshine Cider & Rum Bar, Manly. 9pm.

Free.

The On And Ons + Joeys Coop + Wayne Tritton Factory Floor, Marrickville. 7:30pm. $13.50.

The Vamps + The Tide + Little Sea + At Sunset + Tyde Levi Allphones Arena, Sydney Olympic Park.

6pm. $19.90.

SUNDAY JANUARY 24 Felix Riebl + Roscoe James Irwin The Basement, Circular Quay. 6:30pm. $37.60.

Sabbath Sessions - Feat: Greenthief + Bones Atlas + Horace Bones + The Adaptors Frankie’s Pizza, Sydney. 4pm. Free.

Sunday Live At The Bowlo - Feat: Leah Flanagan Marrickville Bowling Club, Marrickville.

4:30pm. Free.

The Apartments The Famous Spiegeltent, Sydney. 8:15pm. $46.95.

FRIDAY JANUARY 22

MONDAY JANUARY 25

Die! Die! Die! + White Dog + Money For Nothing DJs Waywards, Newtown. 8pm. Free.

Kylie Auldist Brighton Up Bar, Darlinghurst. 8pm. $15.

Frank Sultana The Vanguard, Newtown. 7pm. $13.80.

Viet Cong + Bat Piss Newtown Social Club, Newtown. 8pm. $39.

Hot Chip Sydney Opera House, Sydney. 8:30pm. $97.50.

Ryley Walker The Famous Spiegeltent, Sydney. 8pm. $46.95.

The Cairos Brighton Up Bar, Darlinghurst. 8pm. $16.50.

SATURDAY JANUARY 23 James Reyne Metro Theatre, Sydney. 7pm. $54.90.

King Curly + Dan & Dan Hopefully The Gasoline Pony, Marrickville. 7pm. $5.

Mexrrissey Enmore Theatre, Newtown. 7:45pm. $69.

Sea Legs + Phantastic Ferniture Moonshine Cider & Rum Bar, Manly.

9pm. Free.

SkaBQ - Feat: Bluebeat Allstars + No Nonsense + Loonee Tunes + Fun Addicts + The Hangovers + Ska’d 4 Life Marrickville Bowling Club, Marrickville.

2pm. Free.

TUESDAY JANUARY 26 Australia Day @ Marlborough Hotel - Feat: Bloods + High-Tails + Sures + Morning TV Marlborough Hotel, Newtown. 12pm. Free.

Bowl Rebellion - Feat: Front End Loader + Bart Willoughby + Johnny G And The E Types Marrickville Bowling Club, Marrickville.

2pm. $18.40.

Girlpool The Famous Spiegeltent, Sydney. 8pm. $46.95.

Lou Barlow Magic Mirrors Spiegeltent, Sydney.

7:30pm. $39.

Wirringa Baiya Aboriginal Women’s Legal Centre Fundraiser - Feat: Bad// Dreems + Polish Club + Flowertruck + Adkob Vic On The Park, Marrickville. 1pm. Free.

Yabun Festival 2016 - Feat: Bart Willoughby + Radical Son + Yarwah + Drews + Young Black & Deadly Stars + Leah Flanagan + More Victoria Park, Camperdown. 10am.

Free.

Girlpool

xxx

34 :: BRAG :: 646 :: 20:01:16

thebrag.com

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

brag beats

also:

club guide + club snaps + weekly column

beat spacek

he’s got the good vibes

thebrag.com

BRAG :: 646 :: 20:01:16 :: 35

brag beats

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

dance music news club, dance and hip hop in brief... with Joseph Earp, Anna Wilson and Chris Martin

BACK ON THE ISLAND

five things WITH DR

Prepare yourself for some very exciting local artists playing some very exciting tunes. The Island Live, a joint initiative by V MoVement and UNDR Ctrl, has just announced a killer lineup of local talent for its next event. Motez is set to headline, in what will be his first Australian show of 2016. Joining him are Sydney house duo Set Mo, performing at The Island Live for a second time, and Olympic Ayres, with the fruitful partnership of Jimmy 2 Sox and Ugo B rounding out the bill. The party is set to be held on Friday February 12 on none other than The Island, the unbeatable location on Sydney Harbour.

PACKER

Kidnap Kid

RETURN TO RIO SCORES DIXON

1.

Growing Up I grew up in the UK and my earliest memory of music was disco, soul, funk and reggae.

My mother has a large soul and disco record collection, which she played in the house a lot.

My best friend was also Jamaican and around his house his father would often play reggae and ska, which I also liked. This defi nitely planted the seed for my musical tastes.

Inspirations I was inspired 2. more so by DJs than

The Music You Make And Play 4.

Since 2013, I started producing disco and funk edits and reworks. Basically anything between the ’70s and ’90s is what I am about; fun music that makes you smile, uplifting vibes. I always like to surprise the crowd by throwing in something against the grain – maybe a reggae tune, hip hop,

Motown, or drum and bass. It depends on how I’m feeling the crowd. Sometimes I keep it all disco; I can be a bit unpredictable at times.

5.

Now

Music, Right Here, Right

I think the music scene in general is healthy, especially here in Perth. If you don’t like a particular style, then don’t go to those gigs; you can pick and choose to your tastes rather than harass us DJs into playing what we don’t like or play. I think some DJs do need to look at the bigger picture, as I feel lots still play for themselves and if the crowd aren’t into it they make no effort to fi x the situation.

KIDNAP KID

Kidnap Kid isn’t putting on that childish name as a ruse. He broke onto the house music scene in a big way when he was still at university, winning iTunes’ Best Electronic Song award in 2012 for ‘Vehl’, and has collaborated with fellow young hotshots Disclosure.

The older establishment has seen fit to get behind him, with Kidnap Kid earning endorsements from Pete Tong and Sasha, and he played major sets at festivals like Glastonbury and Coachella last year. Now, the Kid is on his way Down Under, and playing a Chinese Laundry set on Saturday January 30.

JONAS ON THE DANCEFLOOR

They breed them well in Sweden.

The nation that’s brought us so many dance music superstars has another one on the way in Jonas Rathsman, a critically acclaimed remixer and producer who’s proven his abilities

EXPECTING THE WURST

Courtney Act and Conchita Wurst

JACK THE HOUSE

GOOD LIFE GETS GOODER

Prepare to get grimey at Good Life this year. The world’s largest event for music fans under 18 has announced the addition of world-renowned rap and trap artist RL Grime to its bill. Though he has just finished up a string of dates in Australia, Grime will hang around for this event and perform exclusively, with no further 18+ shows announced. Given that Grime is the staunchly creative mind behind Void, an album that mixes beats, bass and blownout distortion to exemplary effect, his addition to the festival is genuinely exciting, and will no doubt have his legion of young Aussie fans chomping at the bit. Good Life 2016 will take place at Sydney Showground on Friday February 26.

36 :: BRAG :: 646 :: 20:01:16

Robbie Lowe

The fabulous queen of Austria is confirmed to make a momentous debut at this year’s official Sydney Gay and Lesbian Mardi Gras Party. The 2014 Eurovision Song Contest winner Conchita Wurst will hit the Party stage with Australia’s own Courtney Act in a showstopping performance that will pay homage to the art of drag. Also joining Wurst at the post-Parade festivities is a lineup of top DJs from Australia and beyond, including Tracy Young, Buck Naked and many more. Wurst’s performance at Mardi Gras takes place following her inaugural appearance at the Sydney Opera House with the Sydney Symphony Orchestra on Thursday March 3, which will see the bearded beauty perform hits from her self-titled album. Final release tickets for the Saturday March 5 Mardi Gras Party at the Hordern Pavilion and Royal Hall Of Industries are on sale now.

What: Vibes On A Summer’s Day 2016 With: Jazzie B, Faze Action, Kylie Auldist, Russ Dewbury and more Where: Bondi Pavilion When: Sunday January 24

RL Grime

across the spectrum of electronic sounds. After landing on the scene back in 2013 with ‘Feel What I Feel’, he’s finally locked in a debut Australian tour next month. Rathsman will be at Chinese Laundry on Saturday February 13, just in time for Valentine’s Day. You’ve gotta love that.

Jack’s back, and this time, he’s bringing with him local DJ legend Robbie Lowe. Jack The House, one of Sydney’s hottest underground parties, is inviting Lowe to take fans back to a time between 1988 and 1992 with a personal selection of favourites. Joining Lowe on the bill are resident spin doctors Mark Dynamix, Paul Holden and LL eBay, covering everything from acid house to early hip hop. Set up with an all new, state-of-the-art PA system and staging, Jack The House promises to change the face of Sydney club environment in the wake of the lockout laws. Catch the Sydney icon’s set at Slyfox on Friday February 19.

thebrag.com

Courtney Act and Conchita Wurst photo by Jeffrey Feng Photography

bands. The earliest DJs and mixes I can remember hearing and loving were DJ Red Alert and Latin Rascals via Kiss FM tapes back in the ’80s. Others that have inspired me over the years are Chad Jackson, Norman Jay, Tim Westwood, Mike Allen (RIP), Duncan Smith (RIP), Gilles Peterson, John Morales, Joey Negro, Greg Wilson, LTJ Bukem and Dave Jackson, to name just a few.

3.

Your Crew The man responsible for getting me into DJing was a guy called Dave Jackson. I was already dabbling in the hip hop scene but he showed me there was much more was out there. In recent times I was converted to the world of disco edits by Late Nite Tuff Guy. I changed my name from Greg Packer to Dr Packer, joined an agency called Nuffsaid and so far (touch wood) it has kept me away from the dreaded day job and in the studio full-time. I also do mastering as a side project to help out with the bills.

Return To Rio, the boutique dance festival that takes place just to Sydney’s north, has revealed another massive lineup for 2016. Resident Advisor’s reigning number one DJ in the world, Dixon, is set to headline, with the mixmaster promising a massive four-hour-long set. Joining Dixon at the top of the bill are the Adana Twins, Mano Le Tough, Recondite, and Sébastien Leger.

They’ll be joined at Rio by the likes of Murat Kilic, Robbie Lowe, Matt Format and Betty Grumble, plus more. It’s the lineup of electronic enthusiasts’ dreams, and tickets are sure to go quick, so get on ’em while you still can. Return To Rio will run from Friday March 18 – Sunday March 20 at Del Rio Riverside Resort in Wisemans Ferry.

SAT 23 JANUARY SPECIAL GUESTS

ANDY BAXTER

KEN-FAN RESIDENTS

MESAN RABBIT TAXI

1 0 P M T I L L L AT E

$10 BEFORE 12AM / $15 AFTER 1 9 9 E N M O R E R O A D W W W . S LY F O X . S Y D N E Y

Sunday 24th January Tyson Brunn ࠮ James Cripps Persian Rug ࠮ Jimmi Walker Sam Roberts GREENWOOD HOTEL 1pm till 9pm - $15 BRAG :: 646 :: 20:01:16 :: 37

Kilter Get Set For Goat Island By Tegan Reeves

N

ed East – better known by his production moniker, Kilter – has been blazing up and down the east coast for the past few years. His commitment to making a name for himself and playing as many shows as humanly possible seems to have paid off, with East now being booked as often in cities like Melbourne and Brisbane as he is in his hometown of Sydney. Staying true to his roots, East describes the sentimental value of one of his favourite local venues, Oxford Art Factory.

“It’s been a while since I’ve played there, but I think Oxford Art Factory is always going to be a special little venue for me, because it was a journey for me playing there,” he says.

“I started off playing in the side room at first, and then eventually worked up to playing the main room myself and selling it out, so it’s probably my favourite in terms of sentimental value, in addition to the fact that it’s just a great space – it looks awesome, sounds awesome and is really fun to play in.”

East rose to fame relatively quickly, barely managing to finish his university media degree before music took over his life, becoming a full-time occupation.

“I used to work as a bartender while I was studying at uni, but towards the end of uni I started doing the music thing and it began to take up so much of my time that I was just scraping through uni with passes.

After I finished my degree I continued working as a bartender, and it was a little bit longer until I began doing music full-time. I’ve been doing music full-time for a few years now and it’s really chill – I can’t think of a better

way to live. There are definitely ups and downs because it’s hard to keep a rigid schedule, but I enjoy it.”

For most of us, being able to afford to be a career musician is the ultimate dream, but East remains realistic, admitting the lifestyle can be hard to maintain. “The problem with doing the whole music thing full-time is that you can actually do anything whenever you want – you can decide that you’re going to have a chill day and do nothing, but sometimes you have to force yourself to keep grinding through, which sometimes can be hard work.”

One hot topic for East is the recent media hype surrounding drug use at dance and electronic events. It’s something both he and his peers feel passionately about, as any decisions made by government and the authorities could ultimately affect their livelihoods.

“Everyone that I’ve worked with or alongside has their own opinion about what should happen regarding drug use at shows, because these drugs do play such a large role in our work. The problems that they had at Field Day which resulted in calling for harsher cutbacks on festivals worries me, because that could end up killing festivals. Obviously these harsh measures would affect us producers, potentially even more than it affects the crowd. It’s something that all of my peers and myself are keeping track of.”

When asked about festival pill testing sites as a potential solution, East is hesitant to agree they may be an effective way to avoid overdoses.

“I believe it’s pretty important that something is done, because it’s

obvious that right now what we’re doing isn’t working. I don’t know whether pill testing is the exact solution because I don’t know whether people will feel safe to go to a pill testing space. I know obviously they can’t be arrested in there, but I wonder whether the police may stake them out. I agree with the idea that sniffer dogs shouldn’t be used – clearly that’s forcing people to freak out and dump all of their gear. If they can find a way to make pill testing work where there are no legal ramifications, I think people might be willing to try it.”

For Kilter fans, 2016 should be a good year, with East confirming he’ll be putting out some tracks in the near future. “I’ve been really quiet for the last year and I only released one single in 2015, mainly because I’ve been greedy and hoarding everything for 2016. I’ve got heaps of stuff that I’m tying together at the moment,

and 2016 should see a couple of nice releases from me. I don’t want to jinx the releases by naming release dates now, but the first one should be out in the next few months.

“I’m just about to do another run around the country, sticking mainly to the east coast over the next month, which should be really fun.

I’ll be playing Melbourne, Brisbane, Canberra and quite a few stops between those, so it should be a good little run. I’m even heading over to the west coast in February for a festival called Enchanted [Garden], out in Manjimup, a few hours out of Perth.”

If you can’t hold out until East releases some new material, then you may want to head down to Goat Island Sounds on Australia Day, where fans will get the chance to hear some new dirty Kilter beats. Joining him on the day will be fellow Sydney

producers Just A Gent and Luen, plus Melburnians Ok Sure and Klue.

“I’m really excited to see Just A Gent,” East says. “I haven’t seen him play in a while and his stuff is really awesome, but I’m also just super keen to watch everyone party to the triple j radio stream. Hopefully we won’t find any goats there, but it sounds awesome!”

What: Goat Island Sounds 2016 With: Just A Gent, Ok Sure, Luen, Klue Where: Goat Island When: Tuesday January 26 And: Also appearing at Tomorrow’s People, The Lair (Metro Theatre), Saturday January 23; and Party In The Park, Pittwater Park, Saturday March 19

Fatboy Slim Don’t Forget To Smile By Patrick Emery “That was probably the opposite to playing a pumped-up crowd in Australia,” Cook laughs. “It was like playing a wedding where no-one really knew each other and aren’t drunk enough. It wasn’t a classic set, and it wasn’t a classic crowd, but it was the fact that I was there – especially because 19 years previously the Commons had been trying to ban what we did through the Criminal Justice Bill. It was deliciously surreal from start to finish.”

Long before he set up his decks in the English parliamentary chamber, Cook was playing drums in a band, Disque Attack (“It’s the first thing that comes up on Wikipedia, but it’s the least important thing about my career,” he laughs). Even as he had his first brush with fame as bass player in the ChristianMarxist band The Housemartins, Cook had a sideline hobby playing as a DJ in local clubs. By the late 1980s, Cook had become a fulltime DJ and recording artist in his own right, an occupation that not long before would have been unfathomable.

N

orman Cook, AKA Fatboy Slim, has played literally hundreds of venues and festivals in his 25-year career as a professional DJ, from dingy basements at 3am to picturesque beachside locations in the bright afternoon sunshine.

But of all the exotic locations Cook’s played over the years, it was the opportunity in 2013 to play a set

38 :: BRAG :: 646 :: 20:01:16

at England’s esteemed House of Commons on the banks of the River Thames that presented him with his most challenging – and surreal – experience. Cook was invited to perform at the austere venue as part of the Last Night A DJ Saved My Life initiative, one that encourages youth participation in local community activities.

“When I started out, I didn’t expect to be taken seriously as a DJ, because no-one did in those days,” he says. As the notional leader of electronic band Beats International, Cook found himself at the vanguard of the dub scene. But as with other artists who’d sampled music in their own songs, like De La Soul, Fatboy Slim found himself the subject of the occasional testy legal letter.

“With the hits came the writs,” says Cook. “In England, people were very excited by it, but the lawyers and some of the artists who were sampled didn’t [feel] the same. It was like a frontier spirit – no-one really knew what the rules were.

“And you can’t make an omelette without breaking a few eggs. Now it’s recognised as a legitimate way of creating records, but you still have to be very careful. And you’ve got the whole Robin Thicke case setting new precedents about what you can get away with, and you’ve got ‘Uptown Funk’, which has about seven lawsuits going.”

Cook’s reinvention as Fatboy Slim, and the release of his first two albums, Better Living Through Chemistry and You’ve Come A Long Way Baby, catapulted the DJ into popular view. The first album’s title was a nod to Cook’s indulgence in amphetamines, hallucinogens and other sundry recreational drugs that initially helped him through a difficult period in his personal life, and subsequently became part of his professional existence.

“Absolutely, drugs helped my creativity,” Cook says. “But one piece of advice is: kids, don’t take drugs while you’re making records – take drugs the day before and try and remember that feeling, and not while you’re making records! If you’re off your nut, the sound of the fridge can sound amazing.”

Having checked himself into rehab around ten years ago to curb his booze habit, Cook now lives a comparatively abstemious existence, punctuating his life as a married father of two with periodic festival shows. Fatboy Slim’s recent performances have included the creation of a human smiley at the Creamfields dance festival in England last year. While the smiley face is typically associated with acid house culture, for Cook it was the iconic graphic’s appearance on the 12-inch of Talking Heads’ ‘Psycho Killer’ in 1977 that first drew his attention.

“The smiley works on so many more levels than acid house,” he says. “For me it’s this eternal icon of unconditional, goofy happiness. It’s been assimilated by counterculture and fashion, and it’s subversive without being offensive to anyone.”

Cook admits the smiley face also reflects his own positive attitude to life – a perspective that’s even more resolute at the age of 52.

“Whether I’m drinking or not, I’m generally a positive person. And I was brought up as a pacifist, and a smile is a very welcoming and disarming way of communicating.”

Fatboy Slim is in the country this week to play DJ sets in Perth, Sydney, Brisbane and Melbourne.

With temperatures currently below zero in England – and after “a couple of months of rain” – Cook is looking forward to returning Down Under.

In an interview last year, he referred to the “five Fs” that influence his choice of shows each year – a first, a favour for a friend, fun, finance and food. For each gig, three of the five Fs must be met. In this context, Cook’s trip to Australia is partly a favour for a friend – a promoter who supported Cook early in his DJ career – and he’s also looking forward to the food and the fun of the Australian crowds. The finance is there too. “So the only ‘F’ that’s not taken care of is that it’s a first – and I can’t do much about that,” Cook laughs.

What: Electric Gardens 2016 With: John Digweed, Erick Morillo, Hernan Cattaneo, Dubfire and more Where: Centennial Park When: Saturday January 23

thebrag.com

Beat Spacek The Sound Of Everything Happening At Once By Joseph Earp

W

hen you or I come home from a big night on the town, we’re more likely to pass out on the couch with a greasy kebab in our hands than do anything that requires actual conscious thought. But that’s exactly what separates Steve Spacek – AKA Beat Spacek, AKA Spacek, AKA Space Invadas (with Katalyst), AKA the man of many monikers – from the rest of us.

“I came back from somewhere and I was a bit worse for wear,” laughs Spacek, “but I had this idea in my head [for a song], so I was kind of like, ‘Well, I could go to bed, but then I would have forgotten it.’ So I was like, ‘Let’s just quickly lay it down.’ The left speaker on a Mac Pro, I used that as a mic, just to get a rough idea of it … and that ended up being it. I used the vocal.

I used everything.”

Beat Spacek photo by Mclean Stephenson

And so was born ‘Alone In Da Sun’, the final track on Spacek’s soulful 2015 album Modern Streets. “In the end [the song] stayed cause I liked the vibe of it. If you listen to the vocal, you can hear I sound a bit stoned. And if you listen to the lyrics as well, that gives you the same idea.”

‘Alone In Da Sun’ is the outlier on Modern Streets: it’s the only song that Spacek didn’t record entirely with apps on his iPhone.

He speaks fondly of the advantage modern technology gives musicians; the heads up it provides all those trying to create on the fly. “Sometimes I have the whole idea for a song in my head … I can hear all the elements straight away.

That’s why the apps are really good, cause I can click on one and rush in and just put it down before it starts to change.”

That spontaneous, frenetic energy is ever-present throughout Modern Streets, reflected in both the record’s endearingly homemade touches – his children can be heard singing on one of the tracks – and the skittish drum work that holds the piece together. It’s an album about which Spacek speaks proudly.

“The music I make – sometimes you speak with artists and they sort of … deal with their music at arm’s length. I make the music I make because I love making it.

And once it’s done, if I get to the point where I want to put it out, it’s because I really love it, you know?”

That said, Spacek does seem to regret that he has never properly had the opportunity to discuss the album and its themes. “I’ve never really explained it. Not on the packaging or anything. There’s no videos. It’s quite hard to put it across.”

But Spacek is quite happy to unpick the album now; eager, in fact, to set the record straight.

The seeds for Modern Streets were sown decades ago, he says.

“There was a time in the early ’80s where everything started to become a bit more eclectic. There was this club in [London’s] New Cross called The Flim Flam … It was the first time I had been out somewhere and there were punks, skinheads, soulboys, rastas, mods – they were all in there, in the same club, listening to their different music but all mixed in with each other.

“This album was kind of meant to be a modern-day representation of that. So you’ve got at least three main themes – you’ve got

the soulful side of it, then you’ve got the kind of new wave romantic side, and then you’ve got the reggae side of it.”

It all adds up to a genuinely unique record. But although that original quality has introduced Spacek to a whole new legion of younger fans, it’s also seemingly dumbfounded mainstream critics, none of whom appeared really sure how to take Modern Streets. Not that Spacek minds, however. “I like that. I’m glad. I don’t like the idea of them sticking me into a hole. When I make my music, the whole idea is to change. If I’m going in one direction, then I want to go in the complete other direction. I want to go somewhere else.”

It’s certainly true that the one theme throughout Spacek’s career,

from his work with the dearly departed J Dilla to his appearance on Katalyst’s seminal Australian hip hop album What’s Happening, has been an utter refusal to conform.

albums’ worth of stuff that could be ready to go out. [At] some point I’ll probably do another Ninja [Tune] release, cause that album [Modern Streets] was the first album of a three-album deal.”

“It’s always going to be soulful in some way or the other, and there’s a good chance it’s going to be electronic, but not always. But other than that, those are the only things that can tie me down, you know what I mean? Sometimes it might be house, or it could be hip hop.”

He takes a breath, then laughs.

“Just so the message is clear, I just make music,” he says, simply. And then again: “I just make music all the time.”

It doesn’t seem like Spacek’s relentless energy is going to run out anytime soon, either. When asked if he has any projects on the horizon, he begins to excitedly list dozens. “There’s load of stuff – I’ve probably got quite a few

Off The Record

What: Vibes On A Summer’s Day 2016 With: Jazzie B, Faze Action, Kylie Auldist, Russ Dewbury and more Where: Bondi Pavilion When: Sunday January 24 And: Modern Streets out now through Ninja Tune/Inertia

RECOMMENDED

Dance and Electronica with Tyson Wray Efdemin

O

n Thursday night at 4am (our time), there was an announcement with about 30 minutes’ notice that Traumprinz would perform a back-to-back set on Boiler Room with DJ Metatron (AKA himself, for those in the know). Considering the enigma is basically a ghost and never books slots (before backing out), this was a pretty damn exciting thing. In true fashion, he/she never showed his/her face. In fact, they didn’t even DJ. They just left Winamp playing on a laptop in front of the camera, and it sounded bloody incredible. My sources from BR tell me it was actually the entire new LP, so no re-stream/upload for obvious reasons. Automatically the most anticipated album of the year. How the hell are Giegling so on point all the damn time?

Four hours of Omar-S. Are you fucking kidding me? The party of the year has already been locked in. The don is a pioneer of Detroit house and techno,

Omar-S

releasing on the likes of Theo Parrish’s Sound Signature imprint, and of course, his own FXHE Records. There’s no point listing his accolades any further (as I have in this column many, many times before); just spin his track ‘Day’ and you’ll realise what a genius he is (how do you work a sample from The Supremes so well)? He’s also got a fifth studio album due mighty soon, so expect to hear some new cuts. It’s going down on Friday February 19 at Civic Underground. You can’t miss this. You won’t miss this.

EFDEMIN IS COMING BACK. Sorry for yelling (not sorry). The man is one of the best deep house and techno selectors in the game.

If you don’t know, you don’t deserve to go. Simple as that.

It’s going to be a schooling.

Support will come from Phile, Ben Drayton and Methodix.

The four-hour-plus set is on Saturday January 30 at Arq. For the Circoloco-lovers, you’ll be glad to know that Mantra Collective is bringing back the house cat DJ W!ld (that exclamation mark is not a typo). Over his career the Parisian artist has released on the likes of Robsoul, One Record and VIVa Music, not to mention holding down spots at Sonar, Fabric and Panorama Bar. Support will come from Whitecat, Space Junk and Aboutjack, plus a few others.

DJ W!LD

Catz N Dogz

SATURDAY JANUARY 23

Oliver Schories Burdekin Hotel Saturday February 6 at Civic Underground.

SUNDAY JANUARY 24

SUNDAY FEBRUARY 14

Nightmares On Wax, Lefto, Mike Who National Art School

FRIDAY FEBRUARY 19

Also, Skream is touring but I can’t be bothered bringing up the date/venue because honestly who cares about Skream in 2016. Dude hasn’t done anything interesting in years. Snore.

Julio Bashmore, Florian Kupfer, Andy Garvey, EK Omar-S Collective Civic Underground National Art School

Tour rumour: The third Moderat album, III, has been announced for release on Friday April 1 (not an April Fool’s joke). Trust me, the trio of Apparat (Sascha Ring) and Modeselektor (Gernot Bronsert and Sebastian Szary) have Australian dates planned.

Ian Pooley Burdekin Hotel

Best new releases: Raw M.T.’s Richard’s Revenge (on Lobster Theremin) is not only super solid but has some of the best artwork I’ve seen, otherwise give a spin to SIT’s Sideways (Amphia). And in case you missed it, in what is no surprise whatsoever, Eric Cloutier’s recent addition to Resident Advisor’s podcast series is a goddamn techno masterclass.

SATURDAY JANUARY 30 Efdemin Arq

SATURDAY FEBRUARY 6

Catz N Dogz Chinese Laundry DJ W!ld Civic Underground

SATURDAY FEBRUARY 13

Hot Since 82 Greenwood Hotel Trus’Me Civic Underground

SATURDAY FEBRUARY 20

Tale Of Us Greenwood Hotel

SUNDAY FEBRUARY 21

Hunee, Mark E, Touch Sensitive, Lovebombs, Adi Toohey National Art School

SUNDAY MARCH 6

Jeremy Underground, Sadar Bahar, András, Ariane National Art School

TUESDAY MARCH 15

St. Germain Enmore Theatre

Got any tip-offs, hate mail, praise or cat photos? Email hey@tysonwray.com or contact me via carrier pigeon.

BRAG :: 646 :: 20:01:16 :: 39

club guide g

send your listings to : clubguide@thebrag.com

club pick of the week Just A Gent

TUESDAY JANUARY 26

Bozo Beach Road Hotel, Bondi Beach. 8pm.

Free.

Sam Wall Manly Wharf Hotel, Manly. 8pm. Free.

Scubar Fridays - feat: DJs On Rotation Scubar, Sydney.

8pm. Free.

Sky Terrace DJ Series - feat: Loop Professor + Scratch Famous Sky Terrace, Pyrmont. 7pm. Free.

Summer Series (Ibiza) The Argyle, The Rocks. 6pm. Free.

‘Strayadelica feat: Amateur Dance + Levins + Chux + Le Fruit + Bad Deep DJs Slyfox, Enmore.

9pm. $10.

SATURDAY JANUARY 23 HIP HOP & R&B

Xxx

Goat Island

Goat Island Sounds Kilter + Just A Gent + Ok Sure + Luen + Klue 11am. $65.

WEDNESDAY JANUARY 20 CLUB NIGHTS Bamboo Boogie feat: Harry Sounds + Daniel Lupica + Karim Middle Bar, Darlinghurst. 5pm.

Free.

Beat Bingo 107 Projects, Redfern. 7pm. $15.

Birdcage - feat: Sveta + Tanner Derrby Slyfox, Enmore.

8pm. Free.

Salsa Wednesdays - feat: DJ Miro + Special Guests The Argyle, The Rocks. 8:30pm.

Free.

Sasslife Weekly Secret Garden Bar, Enmore. 7pm. Free.

The Wall The World Bar, Kings Cross. 9pm.

Free.

THURSDAY JANUARY 21 CLUB NIGHTS Sky Terrace DJ Series - feat: DJ

Lord Echo Sky Terrace, Pyrmont. 7pm. Free.

HIP HOP & R&B Kate Tempest Magic Mirrors Spiegeltent, Sydney.

7:30pm. $39.

Le1f Oxford Art Factory, Darlinghurst. 8pm. $39.70.

FRIDAY JANUARY 22 HIP HOP & R&B Galvanise - feat: Point One Clique + Skattered Skullz + Risby + Teddy Lewis King + Hard Evidence + Tera Byte & DJ Intense Valve Bar, Agincourt Hotel, Ultimo. 10am. $10.

Kate Tempest Magic Mirrors Spiegeltent, Sydney.

11:45pm. $39.

Kelela + Banoffee Oxford Art Factory, Darlinghurst. 8pm. $39.70.

Phat Play Friday feat: DJ Adverse + Amity + Benny

40 :: BRAG :: 646 :: 20:01:16

Hinn Play Bar, Surry Hills.

4pm. Free.

The Label Launch - feat: Technikore B2B Jts + Weaver vs Suae + Haze vs Zander + Jozi vs Scar + Folk vs Comrade + Cayza + MC Riddle Valve Bar, Agincourt Hotel, Ultimo. 9pm. $20.

White Bros Quakers Inn, Quakers Hill. 8pm.

Free.

CLUB NIGHTS Bassic - feat: Dubloadz + Phaseone + Senor Roar + Nemo + Snillum + Chenzo + Kahl Page + Robustt + Kartel Chinese Laundry, Sydney. 9pm. $22.60.

Block Party - feat: Rodney + Moto + K-Note + Trey Marquee, Pyrmont.

10pm. $13.40.

Cold Club - The Ice Age - feat: Jensen Interceptor + Karma Coma + Jor-Ja + Alteria Motifs + Ceautu Egos Burdekin Hotel, Darlinghurst. 9pm. $15.

Cult + Monobrow + DJ Zok Different Drummer, Glebe. 7pm. Free.

El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 9pm.

Free.

Feel Good Fridays Bar100, The Rocks.

5pm. Free.

Friday Frothers feat: DJ Babysham + DJ Jesse Sewell Side Bar, Sydney.

9pm. Free.

Friday Lite - feat: Victoria Kim Plan B Small Club, Sydney. 10pm. Free.

Harbour Club feat: Resident DJs The Watershed Hotel, Sydney. 6pm.

Free.

Hard Attack + DJ Ravine + United As One + Bassline + Matty Langsfi eld + Inhanity + Assailant Candy’s Apartment, Potts Point. 8pm.

Free.

Jam Fridays Jam Gallery, Bondi Junction. 9:30pm.

Free.

Loco Friday - feat: DJs On Rotation The Slip Inn, Sydney. 5pm. Free.

Night Lyfe - feat:

Boathouse Saturdays - feat: Resident DJs The Watershed Hotel, Sydney. 9pm. $20.

Fat Joe Max Watt’s, Moore Park. 8pm. $45.

Skratch Sat-Dee feat: Whisky Mix’d + Benny Hinn Play Bar, Surry Hills.

4pm. Free.

Tomorrow’s People - feat: Dylan Joel + E^St + Kilter W+ UV Boi The Lair @ Metro Theatre, Sydney.

4:30pm. $25.

CLUB NIGHTS Andy C Garden Party - feat: Royalston + OpenEye + Rowdy One + Ncrypt + Daschwood + Ellagator Chinese Laundry, Sydney. 1pm. $58.40.

C.U Saturday feat: Alex Flatner + Pepperpot + Ant J Steep + Le Brond Civic Underground, Sydney. 9pm. $25.

Chuckie Marquee, Pyrmont.

10pm. $28.80.

Danceetc Rooftop Party #3 - feat: Adi Toohey + Acaddamy + Unknown Associates + Sondrio Taylor’s Social, Sydney. 5pm. Free.

Deadly Dragon Soundsystem feat: Screechy Dan + Lord Echo Magic Mirrors Spiegeltent, Sydney.

9:45pm. $49.

El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 9pm.

Free.

Electric Gardens - feat: Fatboy Slim + Dubfi re + Erick Morillo + Henry Saiz + Hernan Cattaneo + James Zabiela + Jeremy Olander + John Digweed + Nic Fanciulli

+ Nick Warren + Norman Jay MBE + Pachanga Boys + Stacey Pullen Centennial Park, Sydney. 12pm. $148.30.

Foxlife - feat: Rabbit Taxi + Mesan Slyfox, Enmore.

10pm. $10.

Frat Saturdays feat: DJ Jonski Side Bar, Sydney.

7:30pm. Free.

Lndry - feat: The Aston Shuffle (DJ Set) + Black N Blunt + Marc Roberts + Jeff Drake + Robbie Lowe + Jac Frier + Elijah Scadden + Derrell + King Lee + DJ Just 1 + Mike Hyper Chinese Laundry, Sydney. 9pm. $22.60.

Masif Saturdays Space, Sydney.

10pm. $25.

My Place Saturdays - feat: DJs On Rotation Bar100, The Rocks.

8pm. Free.

Pacha Sydney feat: Max Vangeli + Alex Preston + Snillum + Mike Hyper + Bennett + Fingers + Scotty Doesn’t Know + Glen Darby + Harry Sanger + Muztek + Rain + Jade Le Flay + Losty Ivy Bar/Lounge, Sydney. 6:30pm. $35.

San Saturday Nights - feat: Jimmi Walker + Mike O'Connor Daniel San, Manly.

9pm. Free.

Scndl + Stalker + Luke La Beat + Harper + Bvntr + Cop That + Anonymous DJ + JB Noize + D3lani + Dominik Dale Candy’s Apartment, Potts Point. 8pm.

Free.

Scubar Saturdays - feat: DJs On Rotation Scubar, Sydney.

8:30pm. Free.

Sky Terrace DJ Series - feat: 45 Sessions with Loop Professor Sky Terrace, Pyrmont. 7pm. Free.

Something Else - feat: Oliver Schories + Mesan + Tech No More + Brosnan Perera + About Jack + Space Junk + Whitecat Burdekin Hotel, Darlinghurst. 9pm. $16.50.

Summer Series (Ibiza) The Argyle, The Rocks. 6pm. Free.

Tim Boffa And Murray Lake Manly Wharf Hotel, Manly. 6pm. Free.

Yours - feat: Torren Foot Beach Road Hotel, Bondi Beach. 8pm.

Free.

SUNDAY JANUARY 24 CLUB NIGHTS Escape Sundays Beach Road Hotel,

Bondi Beach. 2pm.

Free.

Full Moon Party - feat: MC Rafa + Tribal Drummers Ivy Bar/Lounge, Sydney. 6pm. $38.20.

Good Times On The Wharf - feat: Norman Jay MBE + Trent Rackus + Peter Glass + Brenny B-Sides Manly Wharf Hotel, Manly. 3pm. $20.

Reign Sydney feat: Lloyd Marquee, Pyrmont.

10pm. $33.70.

S.A.S.H By Day feat: Tyson Brunn + James Cripps + Persian Rug + Jimmi Walker + Sam Roberts Greenwood Hotel, North Sydney. 1pm. $15.

S.A.S.H By Night Home Nightclub, Darling Harbour.

8pm. $15.

Sky Terrace DJ Series - feat: Sophie Harris + Girlpool DJs Sky Terrace, Pyrmont. 3pm. Free.

Summer Dance - feat: Julio Bashmore + Florian Kupfer + Andy Garvey + EK Collective National Art School, Darlinghurst. 3pm. $45.

Summer Series (Ibiza) The Argyle, The Rocks. 6pm. Free.

Sunday Sundown - feat: KLP + Two Can + Surfdisco Ivy Bar/Lounge, Sydney. 2:30pm. $20.

Sunday Sundowners - feat: Jimmi Walker + Mike O’Connor Daniel San, Manly.

3pm. Free.

Tim Sweeney Factory Theatre, Marrickville. 2pm. $26.

Vibes On A Summer’s Day feat: Jazzie B + Faze Action + Kylie Auldist + Dr Packer + Russ Dewbury + Beat Spacek + Spikey T + DJ Hudge + Katalyst + JC + Simon Caldwell + Sugar Ray + Phil Smart + Crucial D + Joe90 + Ph + Frenzie Bondi Pavilion, Bondi Beach. 2pm. $128.90.

HIP HOP & R&B Black Coffee + Okmalumkoolkat Magic Mirrors Spiegeltent, Sydney.

9:45pm. $49.

MONDAY JANUARY 25 HIP HOP & R&B William Singe Oxford Art Factory, Darlinghurst. 8pm. $30.

CLUB NIGHTS Australia Day Eve - feat: DJ Tom Rogers + Adam

Love The Shift Bar, Darlinghurst. 9pm.

Free.

Australia Day Eve - feat: Zyden + DJ Kanekirby + Kara + Jesse Bloch + Benji Candy’s Apartment, Potts Point. 8pm.

Free.

Australia Day Eve Party - feat: KLP The Argyle, The Rocks. 6pm. $10.

Fivers & Cause - feat: Cassette + Philip Kanis + Jac Frier + Kaiser Waldon + Alex Ludlow Slyfox, Enmore.

10pm. $10.

Mashup Monday - feat: Resident DJs + DJ Thieves + Recess + Otg + Chivalry + More Side Bar, Sydney.

8pm. Free.

Mykonos Club Sessions - feat: Steve Bleas + 15 Grams + Nick Carlton + Sabio + James V + Flite + MC Lyko Marquee, Pyrmont.

9pm. $28.60.

Pukka Up Australia Day Eve Pool Party - feat: Social Hooliganz + Ben Norris + Eclipse DJs + Wendell Hoten + Steve Zappa + Kartello Ivy Bar/Lounge, Sydney. 12pm. $20.

TUESDAY JANUARY 26 HIP HOP & R&B Coda Conduct Hornsby Mall, Hornsby. 5pm. Free.

CLUB NIGHTS Australia Day Courtyard Party - feat: Skream + Artwork + Chris Lorenzo + Touch Sensitive + Lumberjvck + Akouo + Friendless + Robbie Lowe + Jordan Burns Ivy Bar/Lounge, Sydney. 1pm. $58.60.

Coyote Tuesdays The World Bar, Kings Cross. 9pm. $10.

Darling Harbour Australia Day 2016 - feat: Sneaky Sound System Darling Harbour.

12pm. Free.

Goat Island Sounds - feat: Kilter + Just A Gent + Ok Sure + Luen + Klue Goat Island, Sydney.

11am. $65.

Sky Terrace DJ Series - feat: 45 Sessions + DJ Krush + Loop Professor Sky Terrace, Pyrmont. 12pm.

Free.

Terrible Tuesdays - feat: Raffi Lovechild & Gonzo Discopantz + Cameron Cooper + Davie Deep Slyfox, Enmore.

6pm. Free.

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VIEW FULL GALLERIES AT

up all night out all week . . .

up all night out all week...

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c.u saturday

KLP

THURSDAY JANUARY 21 Kate Tempest Magic Mirrors Spiegeltent, Sydney.

7:30pm. $39.

Le1f Oxford Art Factory, Darlinghurst. 8pm. $39.70.

FRIDAY JANUARY 22 Bassic - Feat: Dubloadz + Phaseone + Senor Roar + Nemo + Snillum + Chenzo + Kahl Page + Robustt + Kartel Chinese Laundry, Sydney. 9pm. $22.60.

Block Party - Feat: Rodney + Moto + K-Note + Trey Marquee, Pyrmont. 10pm. $13.40.

Cold Club - The Ice Age - Feat: Jensen Interceptor + Karma Coma + Jor-Ja + Alteria Motifs + Ceautu Egos Burdekin Hotel, Darlinghurst. 9pm. $15.

Kelela + Banoffee Oxford Art Factory, Darlinghurst. 8pm. $39.70.

Night Lyfe - Feat: Bozo Beach Road Hotel, Bondi Beach. 8pm.

Free. ’Strayadelica - Feat: Amateur Dance + Levins + Chux + Le Fruit + Bad Deep DJs Slyfox, Enmore. 9pm. $10.

Pacha Sydney - Feat: Max Vangeli + Alex Preston + Snillum + Mike Hyper + Bennett + Fingers + Scotty Doesn’t Know + Glen Darby + Harry Sanger + Muztek + Rain + Jade Le Flay + Losty Ivy Bar/Lounge, Sydney. 6:30pm. $35.

Something Else - Feat: Oliver Schories + Mesan + Tech No More + Brosnan Perera + About Jack + Space Junk + Whitecat Burdekin Hotel, Darlinghurst. 9pm. $16.50.

party profile

It’s called: C.U Saturday It sounds like: Deeper shades of late-night dance music with a strong European influence.

Acts: Alex Flatner, Pepperpot, Ant J Steep, Le Brond Three songs you’ll hear on the night: Palms Trax Orlando Detroit Connection – ‘Detroit After Hours – ‘Sumo Acid Crew’; ’; Liem – ‘If Only’ And one you definitely won’t: Anything by that guy who wears a marshmallow on his head while performing; come on.

Sell it to us: Easily Sydney’s best sound system headliners gracing us from Germany and Franc and two international e, mixed in with an up for it crowd, sells itself.

The bit we’ll remember in the AM: Feedb ack from the last event: “Last night was like Martin Place SPICE all over again , great vibes.”

Crowd specs: Passionate dancers and music lovers.

Wallet damage: $20 pre-sale tickets, $25 on the door Where: Civic Underground When: Saturday January 23, 9pm-4am

Tomorrow’s People - Feat: Dylan Joel + E^St + Kilter + UV Boi The Lair @ Metro Theatre, Sydney.

4:30pm. $25.

Yours - Feat: Torren Foot Beach Road Hotel, Bondi Beach. 8pm.

Free.

SUNDAY JANUARY 24 Black Coffee + Okmalumkoolkat Magic Mirrors Spiegeltent, Sydney.

9:45pm. $49.

S.A.S.H By Day - Feat: Tyson Brunn + James Cripps + Persian Rug + Jimmi Walker + Sam Roberts Greenwood Hotel, North Sydney. 1pm. $15.

Summer Dance - Feat: Julio Bashmore + Florian Kupfer + Andy Garvey + EK Collective National Art School, Darlinghurst. 3pm. $45.

Tim Sweeney Factory Theatre, Marrickville. 2pm. $26.

Andy C Garden Party - Feat: Royalston + Open-Eye + Rowdy One + Ncrypt + Daschwood + Ellagator Chinese Laundry, Sydney. 1pm. $58.40.

C.U Saturday - Feat: Alex Flatner + Pepperpot + Ant J Steep + Le Brond Civic Underground, Sydney. 9pm. $25.

Danceetc Rooftop Party #3 - Feat: Adi Toohey + Acaddamy + Unknown Associates + Sondrio Taylor’s Social, Sydney. 5pm. Free.

Deadly Dragon Soundsystem - Feat: Screechy Dan + Lord Echo Magic Mirrors Spiegeltent, Sydney.

9:45pm. $49.

Vibes On A Summer’s Day - Feat: Jazzie B + Faze Action + Kylie Auldist + Dr Packer + Russ Dewbury + Beat Spacek + Spikey T + DJ Hudge + Katalyst + Jc + Simon Caldwell + Sugar Ray + Phil Smart + Crucial D + Joe90 + Ph + Frenzie Bondi Pavilion, Bondi Beach. 2pm. $128.90.

MONDAY JANUARY 25 Australia Day Eve - Feat: DJ Tom Rogers + Adam Love The Shift Bar, Darlinghurst. 9pm. Free.

Australia Day Eve Party - Feat: KLP The Argyle, The Rocks. 6pm. $10.

Electric Gardens - Feat: Fatboy Slim + Dubfire + Erick Morillo + Henry Saiz + Hernan Cattaneo + James Zabiela + Jeremy Olander + John Digweed + Nic Fanciulli + Nick Warren + Norman Jay Mbe + Pachanga Boys + Stacey Pullen Centennial Park, Sydney. 12pm. $148.30.

William Singe Oxford Art Factory, Darlinghurst. 8pm. $30.

Foxlife - Feat: Rabbit Taxi + Mesan Slyfox, Enmore. 10pm. $10.

Australia Day Courtyard Party - Feat: Skream + Artwork + Chris Lorenzo + Touch Sensitive + Lumberjvck + Akouo + Friendless + Robbie Lowe + Jordan Burns Ivy Bar/Lounge, Sydney. 1pm. $58.60.

Lndry - Feat: The Aston Shuffle (DJ Set) + Black N Blunt + Marc Roberts + Jeff Drake + Robbie Lowe + Jac Frier + Elijah Scadden + Derrell + King Lee + DJ Just 1 + Mike Hyper Chinese Laundry, Sydney. 9pm. $22.60.

TUESDAY JANUARY 26

Darling Harbour Australia Day 2016 Feat: Sneaky Sound System Darling Harbour. 12pm. Free.

the japanese house 15:01:16 :: Plan B Small Club :: 53-55 Liverpool St Sydney OUR LOVELY PHOTOGRAPHER

thebrag.com

PICS :: AM

SATURDAY JANUARY 23

S :: KATRINA CLARKE :: ASHLEY

MAR

BRAG :: 646 :: 20:01:16 :: 41

snap

VIEW FULL GALLERIES AT

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danceetc

PICS :: AM

up all night out all week . . .

16:01:16 :: Taylor’s Social :: 13 Tank Stream Way Sydney 9252 6522

It’s called: Goat Island Sounds It sounds like: The Hottest 100, live shows and DJ sets Acts: Kilter, Just A Gent, Ok Sure, Luen, Klue Three songs you’ll hear on the night: Kilter – ‘Want 2’; Just A Gent – ‘Heavy As A Heartbreak’; Ok Sure’s remix of Hermitude – ‘Ukiyo’ And one you definitely won’t: Our DJs don’t discriminate!

Sell it to us: Brilliant tunes, Mary’s burgers and Young Henrys beers… all on an island in the middle of Sydney Harbo ur. What more could you want?!

The bit we’ll remember in the AM: Finding out one in the Hottest 100 while the sun sets over who makes it to number the harbour.

Crowd specs: Anyone who demands the best music, beer, food and views Sydney has to offer.

Wallet damage: Only $62.50+bf, including the return ferry. Bargain! If you’re up for some luxury, the Luxury Picnic Experience includes two VIP tickets, fine cheeses, cured meats, fruit, accompaniments, a picnic rug, cushions, a bottle of wine and access to the VIP toilet facilities for $247.50+bf.

Where: Goat Island, Sydney Harbour When: Australia Day, Tuesday January 26

s.a.s.h by day ft. pepperpot PICS :: AM

party profile

goat island sounds

17:01:16 :: Greenwood Hotel :: 36 Blue Street North Sydney 9964 9477 OUR LOVELY PHOTOGRAPHER

42 :: BRAG :: 646 :: 20:01:16

S :: KATRINA CLARKE :: ASHLEY

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thebrag.com

As part of Parramatta’s massive all-day Australia Day celebrations, we’re throwing a party in honour of triple j’s Hottest 100 countdown!

Hottest 100 party Aussie bands, DJs & MCs Summer vibes

Outdoor bar Rides & backyard games The Big BBQ

HOTTEST 100 STAGE LINE-UP ANNOUNCED 16 DECEMBER

www.ausdayparramatta.com.au 16 DECEMBER. 6 A M TO 9 PLINE-UP M , 26 J AANNOUNCED N U A R Y 2016 - PA R R A M AT TA PA R K

www.ausdayparramatta.com.au #ausdayparra

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ANNANDALE 55 Parramatta Rd 9517 1901 The RRP is the recommended retail price as set by the Australian distributor of the product.

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