Brag#647 by Furst Media

ISSUE NO. 647 JANUARY 27, 2016

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

MUSIC, FILM, THEATRE + MORE

INSIDE This Week

JO SÉ GON Z Á L E Z

The Swedish singer-songwriter who won't be rushed.

ME G A DE T H

Dave Mustaine leads a new-look lineup into the next era of rock.

GUILT Y SIMP S ON

A chance collaboration with Katalyst has turned into a fruitful partnership.

SUEDE

The British indie legends have survived the post-reunion comedown.

T HE W H A L E

The Mardi Gras play that reminds us what counts is on the inside.

Plus

DII V M Y S T ERY JE T S S T. L UCI A B A SEMEN T SECRE T G A RDEN 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 Anita Connors, Joseph Earp and James Di Fabrizio

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

speed date WITH

JOE MUNGOVAN AND JIMMY VANN FROM EL GRANDE swing of things now and looking forward to a loose 2016. Coming up in the near future will be a massive national tour and heaps of new tracks and getting done. Best Gig Ever It’s hard to pick our best 3. show ever, as all shows on our

and home brewed beer. We like to keep it raw, loud and slightly intoxicated. We’re all about touring the country in a van, drinking beer with our mates and smashing out some tunes. We grew up around the corner from each other, just down the road from the beach, so we spend a lot of time down there. At our shows we love to see the punters getting sloppy, sweaty

and having a ripper of a time! Keeping Busy We finished the last 2. tour and went straight into the studio. We’ve been writing and recording new tunes for a new EP, which will be released later in the year. We drove out to the bush and came back with some bangers. We recently took some time off and road-tripped down to southern Victoria with our mates for New Year’s. We’re slowly getting back into the

Missy Higgins

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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, James Di Fabrizio, 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. Published by Furst Media P/L ACN 1112480045 All content copyrighted to Cartrage P/L / Furst Media P/L 2003-2014 DISTRIBUTION: Wanna get the BRAG? Email distribution@ furstmedia.com.au or phone 03 9428 3600 PRINTED BY SPOTPRESS: spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204 follow us:

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party-starters Didier and Jesabel. The 2016 Australian Open of Surfing takes over Manly Beach from Saturday February 27 – Sunday March 6.

BOOTS ARE MADE FOR WALKIN’

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SPECTRUM WOW

The curators behind the already impressive Spectrum Now festival really are a sterling bunch of ‘workaholics’, aren’t they? (Hint, hint.) The already colossal lineup for the Spectrum Now festival has just stepped up a notch. Missy Higgins, Hot Dub Time Machine and the lads from hit Comedy Central sitcom Workaholics have all joined the bill, adding fresh doses of star power, the cool factor and hilarity to the festival. It’s exciting news, particularly given that – even before these late additions – the lineup was the kind with the power to shake money loose from even the most closely guarded of pockets. Think along the lines of The Jesus and Mary Chain, Seekae, Birds Of Tokyo and many more. Spectrum Now will take place at the Big Top in The Domain, kicking off on Tuesday March 1 and running till Wednesday March 16.

MANLY GETS STONED

Local legends Angus & Julia Stone and Cloud Control have been announced to lead the live entertainment lineup at this year’s Australian Open of Surfing on the stunning Manly beachfront. Cloud Control couldn’t be a better fit for the event, which each year combines feats on the surfboard with featured performances from some of the best acts in the country. They’ll headline on Friday March 4, supported by Mansionair, and continuing a resurgence of live tour dates from the band already in 2016. The Northern Beaches sibling duo, Angus & Julia Stone, will arrive on Saturday March 5, performing a set in front of legions of friends and family. Kita Alexander will warm the stage. Both the Cloud Control and Angus & Julia Stone gigs will be followed by DJ sets from renowned

LORD HURON Oxford Art Factory Wednesday March 23

ELLE KING Metro Theatre Thursday March 24

NATIONAL FOLK FESTIVAL Exhibition Park, Canberra Thursday March 24 – Monday March 28

SHAKEY GRAVES

With: Jesse Redwing Where: Moonshine, Hotel Steyne When: Friday Januar y 29

After the success of her 2015 debut EP, XXIX, Brisbane native Wafia will be taking a victory lap by hitting the road on a national tour. The shows mark Wafia’s first headline tour, coming off the back of a string of national and international performances this summer with long-time collaborator Ta-ku at Field Day, Beyond The Valley and LA’s Neuehouse Gallery. It all culminated with the pair performing ‘Heartburn’ together at the MoMA PS1 in New York. Catch Wafia at Newtown Social Club on Saturday March 26.

ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: Katrina Clarke, Ashley Mar, D. A. Carter

Newtown Social Club Sunday February 28

Your Ultimate Rider Our ultimate rider consists of quality goods: four goonies (Fruity Lexia), one cricket bat and a watermelon, six potato scallops, $3.50 Aldi red wine, one Jim Jefferies and one fi shing rod. Our usual rider request is whatever we can get from the venue. Most of the time it results in us having to drink warm beer in the van outside.

29 GOOD REASONS

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, James Di Fabrizio, Joseph Earp

GLEN MATLOCK, EARL SLICK & SLIM JIM PHANTOM

Ruby Boots AKA Bex Chilcott will play a run of national dates before heading overseas. Already, 2015 was a huge year for the country singer. As well as selling out her album launch in Melbourne, playing festival slots at Dashville Skyline, Out On The Weekend and AWME and touring with the likes of Shovels and Rope, Shakey Graves and Tony Joe White, Chilcott was named Best Country Act for the fifth year running at the 2015 WAM Awards and received the APRA Professional Development Award in the country category. On tour, she’ll be joined by James Thomson and Belle Harvey. Her Sydney show is at Newtown Social Club on Friday March 18.

The Basement Thursday March 31

MILLEN-DOLLAR COLIN

Millencolin are coming back to Australia. With eight albums and over 20 years of touring under their belt, the Swedes are one of the biggest punk rock outfits on the planet. Fans can expect to hear tunes from their latest, True Brew, which dropped last April, as well as an arsenal of hits from across their catalogue. Catch Millencolin on Friday April 29 at UNSW Roundhouse.

THE BENNIES RETURN

Melbourne’s favourite stoner bros are back. Having just released their new album Wisdom Machine, the follow-up to 2013’s Rainbows In Space, The Bennies will be taking their latest 11-track opus on the road. Wisdom Machine was recorded at Holes And Corners in South Melbourne with Sam Johnson and released through Poison City Records, spearheaded by single ‘Party Machine’. Catch them on Friday April 8 at Oxford Art Factory.

SONS OF SYDNEY

Sydney modern folk rockers Sons Of The East, a band with the power to “put the hairs on your chest” (according to them, anyway), have announced a new show. The living definition of a band on the rise, Sons Of The East have been slowly amassing a small army of fans who have ecstatically supported their new EP Already Gone. Said followers will undoubtedly buy up tickets to the gigs fast, so those intrigued should save the date and the pennies required to pay for it. Sons Of The East support JD McPherson at the Factory Theatre on Tuesday February 23.

FOLK FEST INDIGENOUS PROGRAM

The National Folk Festival is set to host an A-list of more than 200 international and national artists across 18 venues for its massive 50th anniversary over the Easter weekend. As part of the celebrations, the festival will feature performances by acclaimed and awardwinning Aboriginal artists, musicians, dancers and storytellers. Leading the program is Stephen Baamba Albert, the singer, storyteller and star of Bran Nue Dae, Corrugation Road, The Circuit and Mary G. Baamba will be performing tracks from his debut album Baad, including classic Cole Porter and Engelbert Humperdinck songs. Also joining the festival lineup are Rayella, who hail from the Northern Territory’s remote Marlinja community. Their music is sung in both Mudburra and English, with a style that ranges from pop to country, rock and reggae. Gina Williams and Guy Ghouse will make their festival return, as will 2011 NAIDOC Artist of the Year Jacinta Price, a crowd favourite whose songs conjure up a Tracy Chapman feel. Apart from the music itself, The Djaadjawan Dancers will be back at the National Folk Festival, and the fascinating presentation Black And White Tangle will follow their story of early indigenous musicians in Australia, featuring Kamilaroi man Col Hardy, who began his career in the 1960s as a member of The Opals. The 2016 National Folk Festival takes over Exhibition Park, Canberra from Thursday March 24 – Monday March 28.

Stephen Baamba Albert

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Shakey Graves photo by Jarred Gastriech

Your Profile Blues rock infl uenced by 1. garage tones, angry neighbours

last national tour with Dos Enos were rowdy as. It was our first time playing in a lot of the towns and we were stoked with the turnout. We can’t wait to get back on the road and catch up with all the legends we met on the way, and hopefully meet some new frothers. Our worst gig ever was when Joe nearly broke Jimmy’s nose with the back of his head, Jimmy broke a mirror, and as a result we now have years of bad luck. The locals weren’t too happy about the ruckus we caused and were ready to knock our teeth out; we don’t know how to fight so we bought them a VB, and VB makes everyone happy.

Current Playlist Gang Of Youths, Dos Enos, Tame Impala, Shakey Graves… we’ve been getting back into Shannon Noll’s 2005 album Lift and are currently blasting some Smash Mouth.

the legends of monty python together on stage

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BRAG :: 647 :: 27:01:16 :: 5

live & local

free stuff

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

head to: thebrag.com/freeshit

five things WITH

DEREB DESALEGN FROM DEREB THE AMBASSADOR Growing Up I grew up in a musical 1. family in Ethiopia. I began

Gessesse and Ephrem Tamiru. Growing up in Ethiopia, I also used to listen to foreign music such as Bob Marley and the legendary Sudanese singer, Mohammed Wardi.

recorded when I was 17 with a group called Bolelloch. The next was Wollo, which was a number one hit. When I came to Melbourne, I recorded Drums And Lions with Nicky Bomba. Then I moved to Sydney and teamed up with Tony Buchen to record the album Dereb The Ambassador, which was inspired by Ethiopian music of the ’60s and ’70s. Volume II, which will be coming out soon, features the single ‘Fikera’, which we’ll be launching this week.

Your Band We all met in Sydney, 3. where the band is based. We

Music, Right Here, Right Now 5. The music scene is really

are of the same generation and we’re brought together by our love of exploring older Ethiopian music and fi nding what we can bring to it as modern musicians.

diverse in Sydney and it is great that you can hear many types of music. We have so many talented musicians here. They just need to be heard!

performing at a young age and it’s always been a part of my life. Inspirations Many great Ethiopian 2. musicians such as Tilahun

The Music You Make I recorded three albums in Ethiopia. The first was

With: Astronafrica Where: The Basement When: Friday January 29

Wildfire Lounge Pop-Up Bar, Sydney’s self-described “number one after works drink location”, has kicked off its weekly live music schedule. Given that it’s located in the heart of the CBD, slap-bang in the centre of World Square, it’s certainly got location going for it, but this recent announcement has also added the all-important cool factor to the venue. The live sessions run every Thursday, kicking off at 4pm and showcasing some of the most exciting up-and-comers Sydney has to offer. Keep an eye on the Wildfire Lounge Facebook page for lineup details. Oh, and the venue is offering free first rounds if you bring along three of your mates with you – just email bookings@wildfirelounge. com in advance. Now that’s a deal.

OLD MATE MAKES NEW FRIENDS

K-POP RULES IN SYDNEY

Two of the hottest properties in K-pop, Boyfriend and JJCC, are coming to town next week for the launch of the 2016 Sydney Chinese New Year Festival at Carriageworks. The sevenpiece boy band Boyfriend first made their mark with their 2011 single titled – you guessed it – ‘Boyfriend’. Following that up with singles like ‘Don’t Touch My Girl’ and ‘Be My Shine’, they’ve had even more of an impact on the Japanese charts than in their homeland. JJCC, meanwhile, are a K-pop group whose membership includes Western Sydney product Prince Mak, and were formed under the direction of none other than film legend Jackie Chan. No, seriously. Boyfriend and JJCC share the stage on Friday February 5 and Saturday February 6.

THE ROSS AND CODY SHOW Old chums and musical compadres Fraser Ross and Cody Dillon are coming together to play together for the first time in four years this weekend. Dillon will open the evening with his take on folk and alt-country. New Zealand’s

Ross will then take to stage with his lyrically raw, eccentric folk tunes and some cheeky banter. He’ll be showcasing his songs full of visceral imagery, dry wit and his own brand of wisdom. Ross and Cody team up at 107 Projects on Saturday January 30.

The only constant in this life is change, and so it seems to have gone for Old Mate’s Block Party. When one band bows out, another is always there to step in and fill the gap. Given health issues have forced beloved voodoo rock’n’rollers Papa Pilko and The Binrats to pull out of this weekend’s mini-festival, Old Mate’s curators, The Lockhearts, have acted fast and replaced the band with Joseph Liddy and The Skeleton Horse. Comprised of ex-members of The Middle East, Joseph Liddy and The Skeleton Horse are a ten-member powerhouse, a veritable army of musicians playing soul and funk jams. They join a lineup that already

One of the most anticipated Australian albums of 2016 is here – and it’s still only January. Lucky us, and lucky RÜFÜS, who’ve already scored some great reviews for their not-so-difficult second album, Bloom. To find new inspiration for the record, the three Sydney lads relocated to Berlin for a few months in 2014, and the result was a more experimental bent to their patent indie dance sound. Gradually RÜFÜS are making waves overseas – including in the US, where they’re known as RÜFÜS DU SOL – so it’s time to hop on the hype train before it rolls out of sight. We’ve got two CD copies of Bloom to offer BRAG readers. To be in the running to win, visit thebrag.com/freeshit.

includes The Cherry Dolls, The Dead Love and The Daphne Rawling Band at the Factory Floor on Saturday January 30.

SPARE YOUR BLUSHES

Get ready to see a master musician in a setting so cosy you could reach out and touch the bloke if you wanted to (don’t, though). Sunset Blush, the veritable king of Melbourne’s underground scene, has announced he will be playing a special in-store performance at The Record Crate in Glebe. For fans of the cult artist it’s welcome news indeed, but even those who have only a cursory knowledge of the man and his work should head along. It’s bound to be a show like few others, with Blush’s music taking on added power in the special confines of the Crate. Sunset Blush hits town on Tuesday February 9.

Mangelwurzel photo by George Johnson

WHEN A FIRE STARTS TO BURN

Boyfriend

RÜFÜS

SAY HELLO TO HOLLOW STATES

Rising stars Hollow States have been announced as the headliners for this week’s edition of Live At The Sly. The band has been attracting increasing amounts of attention for its emotive, anthemic brand of rock’n’roll, and new single ‘Damage I’ve Done’ has earned the respect of Sydney’s tastemakers. Rounding out the bill are the adorably monikered Slow Loris and soul rock outfit Renetta Joy, so, as ever, those cultural miserablists who need convincing that Sydney’s live music scene is alive and kicking would do well to turn up. Live At The Sly takes over Slyfox on Thursday January 28.

The Jensens

Mangelwurzel

Melbourne six-piece Mangelwurzel have locked in a Sydney show ahead of their upcoming debut album, Gary. Along with their latest single ‘I.O.U’, the LP was recorded with Liam Barton at The Bank, mixed by Stu Mackenzie (King Gizzard and The Lizard Wizard) and mastered by Mikey Young. It marks the long-awaited full-length effort from the upbeat group, who have previously released the singles ‘Fishy Fry’, ‘My House’ and ‘Everybody’s Friend’. Mangelwurzel roll into Newtown Social Club on Saturday March 12.

6 :: BRAG :: 647 :: 27:01:16

THE KING IS DEAD

Brisbane band The Jensens have announced an east coast tour to celebrate their forthcoming EP, Everybody Talks. Last week, they released the first taste of the EP, the single ‘Elvis Is Dead’. Bloody hell guys, too soon, don’t you think? Anyway, the new track follows a big 2015 for The Jensens, having supported UK heavyweights The Vaccines and toured with Last Dinosaurs. Who knows what else they’ll get up to in 2016 – maybe they’ll be announcing Paul is dead, too? Find out on Thursday March 10 at Brighton Up Bar.

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The Jensens photo by Sophie Richards

GO MEET GARY

Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR • Which plans by a major ’90s band to reunite for a tour and album are being thwarted by their guitarist and songwriter, who doesn’t want to go on the road? • Is Rupert Murdoch’s News Corp about to buy Twitter? • Which music festival caused a community meeting of 200 to demand its cancellation, in case a patron accidentally starts a bushfire with a cigarette? • With the exit of singer Tony Harnell, are

SYDNEY BIZ CREATES MUSIC PROTECTION ALLIANCE More than 60 people representing Sydney’s venue operators, musicians, promoters, booking agents, festivals and industry associations met at Oxford Art Factory last Thursday to set up an alliance to protect Sydney’s live music scene. Pulled together by the City of Sydney, they discussed how to lobby the government, influence legislation and promote the value of the live music industry – not only in terms of dollar value but how it builds acts and contributes to the community.

there moves for Skid Row to be rejoined by original man Sebastian Bach? • Wu-Tang Clan’s RZA has confirmed the Ol’ Dirty Bastard biopic is in the works, saying a 12-minute teaser shot a year ago “felt pretty fucking cool”. • Shoalhaven police were criticised for their behaviour at the Commercial Hotel in Milton during a drugs and antisocial behaviour operation in the area. Lyall Moloney, whose sold-out set was disrupted halfway, said their actions were of “immense cruelty and stupidity”. He claimed a man filming his set on a chair

Collins said, “Sydney is full of incredible music talent, passionate audiences and inspiring creative leaders – this alliance is about bringing those leaders together to find new and exciting ways to collaborate, and MusicNSW is absolutely thrilled to be a part of it.” Urthboy added, “It makes a lot of sense to organise and represent the needs of musicians, venues, soundies, bar staff, and the countless others involved in live music.”

AAM CONDUCTING RESEARCH ON MANAGERS

Split: Lorde and photographer James Lowe after three years, according to NZ media, citing the pressure of constantly being in the public eye.

The Association of Artist Managers (AAM) is conducting an important first-time research project into the backgrounds and needs of managers. It covers those looking after bands, DJs and artists – as well as self-managed acts – and wants them all to provide input. Go to aam.org.au/aamblog/2016survey. “The results will be distributed to peak bodies and government departments in order to support new opportunities for managers and the greater music business community in Australia,” says AAM co-chair Rick Chazan.

Born: son Elias, their second, to Michael Bublé and wife Luisana.

FBI’S WILKINSON LAUNCHES LAZY THINKING

The alliance will be coordinated by MusicNSW. Acting Executive Officer Emily

Lifelines

Born: a son to One Direction’s Louis Tomlinson and stylist Briana Jungwirth. Recovering: Melbourne club DJ Daniel ‘Dan Dan’ Warrington needed full facial surgery to insert 30 screws and metal plates as a result of a beating he received earlier this month. He intervened when he saw two men trying to set a man on fire and was bashed with a skateboard and a bottle of alcohol. Recovering: Thirsty Merc touring drummer Mick Skelton has been told he will not need any further surgery following the band’s car accident last year. Jailed: South African rapper Okmalumkoolkat (Brian Simiso Zwane) for a month in Tasmania after playing the Mofo festival. Coming back to his hotel at 5:30am after drinking with friends, the court heard he entered the room of a fellow festival artist. She woke to find him kissing her and rubbing her privates. Arrested: 18-year-old Florida rapper Volvique Louis Jean Jr., after offering his mixtape as ID instead of his licence when he was pulled over for driving at great speed through a school area. It turns out the licence was suspended. Died: Dale Griffin, drummer with ’70s British band Mott The Hoople, 67, after a ten-year battle with Alzheimer’s. Died: Gary Loizzo, singer and guitarist of ’70s US band American Breed (‘Bend Me Shape Me’), 70, from pancreatic cancer. Died: US soul singer and parodist Clarence Reid AKA Blowfly, 76. He was dubbed the ‘Godfather of hip hop’ after his songs were sampled by Beyoncé, Wu-Tang Clan, DMX, Eazy-E, Mary J. Blige and The Avalanches. His best known parodies were ‘Shitting On The Dock Of The Bay’ and ‘My Baby Keeps Farting In My Face’ (‘Raindrops Keep Falling On My Head’).

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was thrown to the ground. Nearby resident, Greens councillor Amanda Findley, called such operations a waste of resources. “If they knew someone had drugs in there, fine,” she said. “Don’t cause unnecessary drama on cruisy nights.” • Rapper Mos Def will retire from music and films, with a final album this year. • A brawl erupted on Marble Bar’s dancefloor during a Brown Sugar show, with bottles smashed over heads. Two were hospitalised, two were arrested. The band’s singer told them, “Boys, I’m singing a song, don’t be rude!”

FBi Radio co-founder and president Cassandra Wilkinson has set up Lazy Thinking Records. It will be launched with a showcase on Thursday February 11 at the Red Rattler in Marrickville. Wilkinson will sign acts who “can strike a balance between serious critical acclaim and broader appeal: the future sounds of Sydney”, and that the label is “a natural – if overdue – progression” after Wilkinson has been “a cheerleader for Sydney music since 1995” via FBi.

APRA SONG OF 2015 NOMINEES The 20 finalists for the APRA Song of the Year are a mix of proven names and rising new talent. The final five are out shortly. The winners will be announced on Tuesday April 5 at the APRA Music Awards at Carriageworks. The contenders are Seth Sentry’s ‘1969’, The Waifs’ ‘6000 Miles’, Daniel Johns’ ‘Aerial Love’, Sheppard’s ‘A-Grade Playa’, Birds Of Tokyo’s ‘Anchor’, Troy Cassar-Daley’s ‘Another Australian Day’, Cassar-Daley and Paul Kelly’s ‘Freedom Ride’, Chet Faker’s ‘Bend’, Hiatus Kaiyote’s ‘Borderline With My Atoms’ and ‘Breathing Underwater’, Courtney Barnett’s ‘Dead Fox’ and ‘Pedestrian At Best’, Jarryd James’ ‘Do You Remember’, Tame Impala’s ‘Eventually’ and ‘Let It Happen’, Vance Joy’s ‘Georgia’, Cold Chisel’s ‘Lost’, Shane Nicholson’s ‘Secondhand Man’, C.W. Stoneking’s ‘The Zombie’ and Pond’s ‘Zond’.

APPLE APP TO RECORD SONG IDEAS Apple has a new app to help musicians record ideas for songs. An update of its Voice Memos that allow users to record audio on iPhones and iPads, the new Music Memos app has higher quality recording and allows you to tag info and presets for instruments. It also analyses guitar and piano recordings to suggest chords or notation. Additionally, Apple has updated GarageBand to include Live Loops, which function similar to an MPC. T-Pain, who recorded his first album on GarageBand, said it will “change the way an entire generation makes music”.

11 MUSOS, DJS AMONG INFLUENTIAL EUROPEANS

11 musicians and DJs were in Forbes’ first 30 Under 30 Europe list, looking at the most influential young Europeans. They included Adele, Ed Sheeran, Florence Welch, Avicii, FKA Twigs, Afrojack, DJ Snake, Sam Smith, Foals’ Yannis Philippakis, Hozier and rapper Little Simz. The others included actors (Emma Watson, Game Of Thrones’ Emilia Clarke, Daisy Ridley of Star Wars), athletes, footballers, tennis players, F1 drivers and YouTube’s PewDiePie.

ROUGH START FOR NEW AUSSIE SOCIABL APP New Adelaide app Sociabl, which facilitates video calls to celebrities for a small fee (half of which goes to charity), has had a rough start. It named Jimmy Barnes, Will.i.am, David Campbell, Richard Branson and Reece Mastin among its celebs – but they, or their representatives, have denied any involvement. 21-year-old entrepreneur and app founder Brandon Reynolds said he was “not a major fraud”, showed correspondence with Will.i.am’s people, removed some of the VIP names, and said he is initiating legal action against Channel 9. He says it ran an expose of his claims on its breakfast show Today that he considers “defamatory” because it used a three-minute excerpt of a 25-minute interview.

ROB SCOTT JOINS MUSIC SALES

[ Formerly The Hi-Fi Bar ]

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Source Music founder Rob Scott is Music Sales’ new Australia/New Zealand creative manager. He will head its rights division, developing the new Embassy Music Publishing.

SWERVE CURATING PACHA SYDNEY As Pacha Sydney moves into its fourth season, Swerve Productions has taken over its music directorship. The youthfocused music group is behind the rooftop party mecca Marco Polo at Ivy. Swerve’s Ignacio Garcia says its philosophy is “to continually shake up what people expect” and change genres weekly to incorporate bass, trap, techno, deep house and tropical house to transcend the usual EDM. Pacha, from February to April, will feature such names as Perth’s Slumberjack, tropical house heavyweight Felix Jaehn, UZ, New York’s Party Thieves and Pacha Presents Absolut Nights – part of the March Into Merivale festival – and will have a multigenre festival stage and dramatic new productions designed by Pacha’s creative directors The Squared Division.

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SOPHIE-ELLIS BEXTOR UK

GROVE STUDIOS’ SOUND PRODUCTION COURSES BACK Grove Studios’ Diploma of Sound Production (with TAFE and RMI) is back in 2016 along with the new Advanced Diploma of Sound Production. More info and application details are available through thegrovestudios.com. The first sound production course “was a tremendous success producing great results for all students”, said director and head producer Scott Horscroft. “It’s fantastic to see the facility alive with enthusiastic students learning in such a professional and creative environment.”

JOSH PYKE’S BEER FROTHS OVER Josh Pyke’s new beer The Summer, based on an original home brew recipe and named after the song, was launched in Sydney at collaborating brewer Young Henrys’ Newtown plant. Pyke played live and the fermentation tanks were overflowing. “It tastes as good as Josh sounds!” was the pervading review.

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ILLNESS LEADS JEZABELS TO CANCEL TOUR The Jezabels have sadly cancelled their world tour behind third album Synthia, following the announcement that keyboardist Heather Shannon is receiving cancer treatment and the group would not tour without the full band. Three years ago, Shannon was diagnosed with ovarian cancer. “Although she has been able to maintain life as usual generally, between treatments, the time has come for her to undergo further immediate treatment which will require her to stay in Sydney,” the band said.

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LEFTFIELD A

round 40 years ago, a young Neil Barnes stood hypnotised in a record store, surrounded by his equally dumbstruck mates. The object of their fascination? David Bowie’s Diamond Dogs. Or, more specifically, an object depicted on its cover. “Originally, the [cover] of it had sort of, uh…” Barnes pauses. “I don’t know if you’ve seen it, but it had almost like a… basically just like a cock on it,” he says, his hesitation the auditory equivalent of a blush. “We were really impressed. As kids we were like, ‘Wow, that’s pretty radical.’ It was airbrushed out later, apparently.” When he actually listened to the record Barnes was blown away again, this time by Bowie’s musicianship rather than his proclivity for the shocking. But his connection to Bowie didn’t end with Diamond Dogs spinning on the record player. Almost two decades after the album’s release, Barnes – then recording with Paul Daley in the influential electronic outfit Leftfield – would find himself remixing the Thin White Duke’s ‘Jump They Say’, an experience he retrospectively described as “the pinnacle of our remix career” in an emotional tribute posted after Bowie’s death.

“It took a long, long time for me to think about [being a musician]. You know, I was toying with it, and I thought maybe I might want to do 8 :: BRAG :: 647 :: 27:01:16

“Everyone wanted to be in a punk band,” he says simply. “But it was a long time after that before I felt it could be something I could do. It wasn’t until the late ’80s, and even then I was making underground records. I never thought that that would provide a living either.” If Leftfield’s beginnings sound unglamorous, that’s because they were. In the early days of the band Barnes and Daley didn’t even want to tour – news that might come as a shock to those who have heard tales of the pair’s raucous, infamously loud performances. After all, this is the band that quite literally brought down the roof of the Brixton Academy, their speakers dislodging plaster in the ceiling not once but twice. “The actual performing live thing was something we didn’t want to do. At all. It wasn’t why we made the music. The music was meant to be something that was anti all that. We didn’t go live until ’97, actually. It took some time to turn Leftism [the band’s 1995 debut] into something we could do live. It was a real process of working out what we could do.” When the time did come to start performing, to say Barnes dreaded the experience is perhaps an understatement. “The first show we ever did was at a club called the Paradiso. It was the most nervewracking moment of my life, I think. I can’t actually remember the gig at all apart from walking out onstage.” When Barnes is asked what makes a good gig for him personally,

BY JOSEPH EARP he takes some time to answer. “I preferred being in the studio. For me, Leftfield is a studio outfit. The records are really important … But I think more than anything it’s audience response.” He goes on to reveal he thinks the concept of a ‘good gig’ is a nebulous thing in the first place. “The funny thing is, quite often we’ll come offstage and we’ve all had different gigs. It’s technological music: it’s not like we’re a live band, in the sense of being a rock’n’roll band. We’re often in our own little spaces. Quite often Adam [Wren,

“THE FUNNY THING IS, QUITE OFTEN WE’LL COME OFFSTAGE AND WE’VE ALL HAD DIFFERENT GIGS. IT’S TECHNOLOGICAL MUSIC: IT’S NOT LIKE WE’RE A LIVE BAND, IN THE SENSE OF BEING A ROCK’N’ROLL BAND. WE’RE OFTEN IN OUR OWN LITTLE SPACES.”

Barnes’ some-time touring mate] will come offstage and I’ll be smiling and he’ll go, ‘Oh, that was hell, wasn’t it?’ And I’ll go, ‘No, I thought it was great!’” On top of that, even after all these years, Barnes is still haunted by performance anxiety. “We went back to the Paradiso last year, in December. It was the first time we had been back for all those years, since the debut. And I was nervous that time as well. So nerves stay with you. Nerves are an essential part of this process.” There’s that repetition again, a repetition even more curious when one realises loops and reoccurrences are the key to all of Leftfield’s releases, from Leftism up to last year’s Alternative Light Source, recorded after almost two decades of silence and without Daley. So what exactly did draw Barnes back to the studio after all that time away? He responds quicker to this than any other question, implying that perhaps it was an easy decision. “It was an element of doing the touring in 2010. We wanted to be playing new music rather than old music. We were largely playing old stuff. Even then, it was nearly close to 20 years old. So I wanted to come back and do a new record and feel more excited about playing that live.” When Barnes did return to the studio, he had a vague blueprint of the direction he wanted to take, rather than an exact plan. “I [had] an idea in my head of how I’d like it to be. But there’s largely a lot of discovering along the way. The serious work didn’t really begin till the last year of making it. There have never been any hard and fast rules with Leftfield. It’s always been about making something work with what you’ve got.”

Even with Barnes’ wealth of experience, Alternative Light Source didn’t come easy. “It was a really hard record to make,” he says. “As I’ve always found making records to be. It’s a painstaking process. Enjoyable, yeah – there are enjoyable moments in it. But there’s an awful lot of work to be done to get it to the final stage.” For Barnes, the real fun comes from collaboration. Alternative Light Source features a number of guest spots, from TV On The Radio’s Tunde Adebimpe to the Sleaford Mods. That said, arguably the most important vocalist is Barnes’ own daughter, Georgia Barnes, the musician behind the highly acclaimed and self-titled Georgia, released on Domino last year. When Barnes speaks of his daughter’s record, he sounds less like a father and more like an impressed contemporary. “[Georgia] is stunning. It’s really, really stunning. She’s done it all herself. Wrote all of it, played on nearly all of it. It’s a wonderful record.” It’s not hard to see Georgia Barnes’ choice of career as an additional case of history repeating itself. It’s another Neil Barnes-esque, Leftfield loop, particularly given that when she began work on the record, Georgia was only a few years older than that young man standing in a London record store, Diamond Dogs grasped in his hands. What: Secret Valley With: Rone, Luke Vibert, Parra For Cuva, Kid Fiction Where: Calais Estate, Hunter Valley When: Saturday February 20 And: Alternative Light Source out now through Infectious/Liberator

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Leftfield photo by Dan Wilton

This sense of repetition informs Barnes’ life: his personal history is filled with strange reoccurrences and odd symmetry. Not that the young teenager standing in a London record store could have known what his future held, of course. For that adolescent, a career in music was a thing of fantasy.

REPETITION IS KEY

it. But being a musician didn’t feel like a real thing back in those days, to be honest with you. I was in bands and stuff like that, but I didn’t really think that it would be a career.

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Secret Garden Festive Freedom By Tegan Reeves that there just isn’t enough time to do everything, so this way ticket holders have a chance to do a bit more. “This year there’ll be six stages. We’re big on offering a million different options at any one time. We’ve obviously grown the festival a lot over the years, but we’ve only grown it so we can add more things to the festival like more stages, more performers, more creative areas.” Festivals have become just as much about the food and cultural offerings as they are about the music, and Secret Garden is no exception. Attendees can purchase tickets to the Secret Garden Banquet as well as enjoy breakfast cooked by the local primary school students and some of Sydney’s best food trucks.

lmost a decade ago, Clare Downes – fresh out of university, full of creativity, stifled by oppressive bosses – and a bunch of her mates decided to throw a party called Secret Garden. 2016 sees the festival in its eighth year, and it’s stayed true to its roots, even though the event has grown considerably since its first foray into the greener pastures somewhere south of Sydney. “When we first decided to put on Secret Garden, we first and foremost wanted to put on a fun party for our mates that we’d like to go to,” says Downes. “And second to that was creating an event that all of our creative friends could work

on without the confines of bosses telling us what to do. Now we’ve grown into a team of 85 volunteers and they’re all creative leaders in each of their fields. Lastly, we decided that whatever we do, let’s have positive impact – whether that be on the farm, in the local community or for the musicians themselves. Obviously raising money for charity is one of the ways we spread that positive impact. It just feels right that with the amount of money that flows through an event like this, that most of it is given away.” Each year, Secret Garden donates most of its proceeds to the Sarah Hilt Foundation, raising money for

Downes’ high school friend who survived a case of meningococcal ten years ago. Oxfam Australia also gets a chunk of the proceeds, funding projects in Timor to help local farmers become more selfsufficient. While altruism has been a constant, one of the biggest changes to Secret Garden this year will be the expansion of the festival to two full days and nights, giving punters more time to revel in the festivities. “Two days allows you to begin thinking into the rhythm of the event,” says Downes. “You make more friends and you establish your favourite area of the festival. There really is so much going on at Secret Garden

“The Secret Garden Banquet will be held in these beautiful heritagelisted stables outside of the festival site,” Downes explains. “People are picked up from the festival site and taken through the forest through to the secret banquet where we have a huge meal, make some new friends, drink some wine and then you’re thrown back into the heart of the festival, offering a really unique experience.” Both Downes and creative director Adam Lewis revel in the freedom offered by keeping the music lineup unannounced until tickets sell out. This freedom is a pivotal part in creating the unique atmosphere that Secret Garden offers.

performances, actors, comedians, kissing booths, Secret Garden Olympics and then the incredible lineup. So really it’s all those things working together that make Secret Garden the success that it is.” Lewis – the man in charge of curating the ball-bustingly good lineup each year – shares Downes’ sense of endless creative scope in the Secret Garden way of doing things. “It’s got a lot of ramifications – it means, for example, that we can get artists that we might not normally be able to with our size and budget, due to most of the profits being donated to charity,” he says. “Every year I’m able to bring in some bands that might not necessarily shift tickets on a lineup, but once people get there they love them. Bands like this in the past have been Total Giovanni, Client Liaison, and people have fallen in love with them. Being able to cultivate that atmosphere is really cool.” Lewis seems to be itching with excitement to share who will be on the 2016 lineup, promising this year’s festival will not disappoint ticket holders. “After each year we think, ‘I don’t know if we can get a lineup much better than that,’ and then we seem to smash an even better lineup together the next year. Tickets are still on sale, so until they sell out we’re remaining pretty tight-lipped, but I’m hoping there will be some things we can share very soon. I am really proud of this lineup. At this point it’s an all-Australian lineup, and I’d say it’s probably our biggest lineup yet.”

“Secret Garden is first and foremost an event, and I truly believe in creating an event which sells tickets as opposed to a lineup that sells tickets,” Downes says. “People are really loyal to the event because we go that extra mile in creating things like hidden areas, surprises, pop-up

What: Secret Garden 2016 When: Friday February 26 – Sunday February 28 More: secretgardenfestival.com. au

St. Lucia Everything’s The Matter By Erin Rooney touring. “Basically what I had to do was create a really good demoing situation on my laptop, so most of these songs were initially written in the tour van or in the tour bus. It was interesting actually, because those limitations kind of created a special energy on this album that didn’t really exist on the last one – not in a bad way!”

round seven years ago, South African musician Jean-Philip Grobler, more commonly known as St. Lucia, moved to New York to become a jingle composer. It was there, while writing with different instruments and processes than he was used to, that he learnt one of the most freeing lessons in songwriting that he could have imagined.

Instead of resisting the urge to echo these influences, Grobler embraced their ideas wholeheartedly, and thus St. Lucia was created – a fusion of addictive pop and the occasional exploratory, experimental side. After the success of his first album When The Night in 2013, it’s difficult to imagine his fun, danceable sound without these elements now.

“While I was doing that job, I was forced to write in all these different genres, and forced to write music that I would never have just written by myself,” says Grobler. “When I quit, I started realising that I just needed to stop pretending to be someone else and look back into my past and what influences I had. The influences I was trying to bury the most were the slightly uncool guilty pleasure stuff, like Phil Collins and Earth, Wind & Fire.”

But part of the reason Grobler was able to reach this conclusion was a habit he maintains to this day. He’s constantly writing – from recording simple melody or beat ideas to voice memos on his phone as he’s walking down the street, right through to mixing songs in the studio. And though he produces pop music with old-school influences, he’s always fighting to unleash the ideas that are more progressive and non-traditional –

10 :: BRAG :: 647 :: 27:01:16

something he is particularly proud of in his new album, Matter. “I think the biggest challenge is just doing something that is catchy but doesn’t feel contrived, because I think a lot of pop music can feel contrived – you can just so obviously hear that it was written by a group of people in a room. And there were definitely a couple of songs off this album that were done that way, but I took a lot of time and a lot of care to make sure that there was enough of my own stamp on the song.” While When The Night was the result of careful writing and recording in Grobler’s New York studio, Matter presented new challenges from a compositional perspective, as he needed to get inventive while on the road

It isn’t hard to hear what he means by this energy – listening to the album, you can feel the mood range from elation to frustration. Grobler mentions that “existential angst” makes an appearance on the album as a result of getting older and living far away from home. But it’s not all serious – ‘Game 4 U’ started off in the studio as a joke song about falling in love with a computer, until it made the cut for the album with new lyrics. There’s an impressive number of writing collaborations on the record too, ranging from dance anthems like ‘Dancing On Glass’, co-written with Sugarcult’s Tim Pagnotta, to the more aggressive rhythm of ‘Physical’, a collaboration with writing team Captain Cuts. But even with this album completed, things aren’t slowing down for St. Lucia. With a tour on the way, and some exciting partnerships lined up – including with Alex Metric (who remixed ‘September’ from When The Night) and Norwegian producer Lindstrøm – he also mentions that doing more production work is something that really interests him, after his recent work on American indie-pop band Haerts’ debut album.

Interestingly, when Grobler originally named the St. Lucia project after the South African vacation town of the same name, it was for the “exotic, hazy, summery” feeling it evoked. But it’s been about 13 years since he’s lived in that country, and he’s now well and truly settled in New York with his wife Patti Beranek, who plays keyboards for Grobler’s band. “[Patti] always says that the only place in the whole world other than Taiwan where she doesn’t feel like a foreigner or an outsider is New York. In South Africa we still have this racial tension and there’s still a lot of separation and segregation between the races, and all over the world you still have that. In New York you still have that, but it’s more like all these people from different cultures are pushed together and that’s the way it is, and no-one thinks twice about it.” So as he continues to write and produce music – and as often comes with growing older and living far away from home – Grobler says the location and style associated with his music has changed. “I definitely feel like there’s less of a tropical feeling to it now. There’s definitely still an escapist element to it – it’s very lofty, big, adventurous music that’s almost like a sci-fi film. I feel like it is interesting, because there’s a lot more desert imagery in promotional shots, so there’s a lot more cacti. For me it definitely has a bit more of an American ’70s/’80s West Coast feeling.” What: Matter out Friday January 29 through Columbia /Sony

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Basement Delivering On Promises By Aaron Streatfeild

hortly after the release of their breakthrough 2012 LP Colourmeinkindness, the members of Basement went into hibernation, taking time off to focus on personal and career goals. During the band’s hiatus, the album achieved cult success, selling 25,000 copies worldwide despite the lack of touring and press coverage. In 2014, Basement reconvened, releasing the EP Further Sky to an ecstatic fan base. In the wake of the success of both Colourmeinkindness and Further Sky, the UK punk rock outfit has returned with Promise Everything, a mature studio album that sees Basement back at their best. “It is definitely strange,” says Alex Henery, the band’s guitarist and backing vocalist. “I mean, to come back from that hiatus to find that people still care is a lot of information to take in. It has taken us some time, but we have decided that we will be a full-time touring band. When we started this band, I never thought something like that was even possible. It took a while for me to accept it – I was like, ‘Oh, people actually like this, so does this mean we should do it?’ It’s hard to imagine yourself doing these things. “We definitely didn’t want to return from the hiatus just to play shows. I mean, playing shows is great, but that’s why we wrote the seven-inch, Further Sky – we wanted to show people our return was genuine. We love writing music and we love being creative together. One of

my favourite things about being in a band is being able to create something with my friends, so when it came to writing Promise Everything, it was just a natural progression. It just made sense.” Following Basement’s hiatus, Henery relocated to the US to join the ranks of Boston record label Run For Cover. Exchanging ideas online, the band members wrote what would soon become their new album. But the long-distance correspondence wasn’t without its drawbacks. “Not to say that it was a bad experience, but there were times when I would send over an idea and the guys would listen to it and have a practice without me,” Henery says. “The idea would completely change, I would have no say and then when I would eventually come over to practise, the songs had morphed into something I wasn’t really sure of. “It’s hard to say how it affected the songwriting process. In a way, I wish I could compare it to if we had written the songs with all of us together. Obviously, that wasn’t possible. The only thing I do know is I never want to do it again. Next time we will hopefully all get to spend decent chunks of time writing a record together – that is what I am looking forward to with the next record.” Even during the writing process, Henery says the band hadn’t decided on its next step.

“At the time, each of us were still working our jobs, so I thought it was always going to be a parttime thing. I saw a window of opportunity during the Easter holidays and I said, ‘If we don’t do it now then we’re never going to do it.’ So we did the record and that’s

when we had the conversation: ‘Hey, maybe this summer we can be a full-time touring band?’ I didn’t even know we were going to be full-time while we were writing the record. I just thought we’d release it and just play shows here and there.”

What: Promise Everything out Friday January 29 through Run For Cover/Cooking Vinyl With: Turnover, Break Even Where: Factory Theatre When: Friday May 27

bands that have a buzzy first record with an even better second record – very, very few bands accomplish that feat. And I knew that people were expecting us to fizzle out like all the rest. So I really wanted to prove people wrong – it was really important for me to follow up Oshin with something that wasn’t just Oshin part two. No matter how easy that would’ve been and how tempting it was, ultimately it wouldn’t have contributed anything to the world and it wouldn’t have done much to prove to people that I’m more than a flash-in-the-pan artist.”

Although the album title might seem like an obtuse quasisentence, it’s a highly evocative phrase. On the one hand, Is The Is Are could be interpreted as a trivial inquiry or a nonsensical tonguetwister, but it’s also grammatically ambiguous and logically jarring.

DIIV Easy To Criticise By Augustus Welby

Given Smith’s tumultuous last few years, it’s no surprise to see vulnerability is a big theme of Is The Is Are. It’s there in plain sight on the lead single ‘Dopamine’, which contains such lines as “Burning out, running in place / Got so high I fi nally felt like myself”. And it’s not merely a feature of the album’s lyrics.

The response to the band’s recent singles ‘Dopamine’, ‘Bent (Roi’s Song)’ and ‘Under The Sun’ has 12 :: BRAG :: 647 :: 27:01:16

been strikingly positive. Labouring over the new album for such a long time, and enduring volleys of press scrutiny, would all be for nothing if there weren’t something powerful and worthwhile to express. “At first it wasn’t really the amount of time that had gone between records that really told me, ‘This has to be an important record.’ It was more just circumstances in my life,” says Smith. “I didn’t want for the rest of my life to be a footnote of, ‘Oh, this is the guy who was arrested for drug possession with Sky Ferreira.’ I didn’t want to be a small little blip, one record, and then an arrest. It was so important for me to bring value back to my name.”

From an external point of view, DIIV ascended to international regard with paramount ease. Having previously played drums in Beach Fossils, Smith and his bedroom demos caught the ear of that band’s label, Captured Tracks. DIIV soon signed a record deal, and before long the indie tastemakers at Pitchfork were praising those very same demos. From there the hype swelled across borders, especially with the release of Oshin in mid-2012. However, Smith was determined to prevent the buzz-band status from impinging upon the nature of DIIV’s second album. “Those types of bands so often are just like one blip and then they’re gone,” he says. “The number of

“There’s nothing more easy to criticise than a double record. If you put one extra note on the record, people are going to tear you apart for the rest of your life. So to make a record that was vulnerable – that was about failure and vulnerability and about being human yourself – I thought it was really important to make the record feel almost human. From the album art, to the title, to everything, I wanted it all to be easy to criticise. But another word for easy to criticise is ‘vulnerable’.”

This active attempt to disorient listeners is indicative of Smith’s lack of concern for maintaining DIIV’s hip reputation. “When bands try to be too cool all the time, then it just messes up the whole thing,” he says. “You’ve got to just take an identity and go with it. A lot of bands struggle to find a sound that is uniquely theirs and they struggle to find an identity. The identity I wanted for the band was just myself and being honest with myself and speaking honestly and openly to the press, which is hard to do, but also it’s not much work because it’s just myself. “Then in terms of sound, it was really important for me with this record for anybody to be able to pick up the record, put on any song and be like, ‘Alright, that’s DIIV. It has a recognisable sound,’ which I feel like it does have.” What: Laneway Festival 2016 With: Chvrches, Grimes, Flume, Beach House and many more Where: Sydney College of the Arts When: Sunday February 7 And: Also appearing at the Factory Theatre on Tuesday February 9 More: Is The Is Are out Friday February 5 through Captured Tracks/Remote Control

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DIIV photo by Sandy Kim

fter a somewhat messy three-and-a-half-year interval, DIIV will fi nally release their second album Is The Is Are in early February. There’s been a lot of activity in the DIIV camp since their debut album Oshin, including scrapped recording sessions with Girls’ Chet ‘JR’ White, hundreds of songs getting written, and widespread drug abuse that culminated in bandleader Zachary Cole Smith’s arrest for heroin possession. However, despite all the false starts and disappointments, listeners haven’t given up on DIIV.

“If I’m speaking of my own vulnerability, I think it is super important to make a record that itself is also extremely vulnerable,” Smith says. “The record came together as a double record and I conceived it as one from the beginning. When you make a double record, you’re setting yourself up for failure in a lot of ways, and that was kind of what I wanted to work with.

“I wanted it to be slightly disorienting,” says Smith. “The title came before the album was totally 100 per cent written in stone, so in some ways the title inspired some elements of the record.”

José González Under The Covers By David James Young “When we were doing the first Junip album [2010’s Fields], we briefl y talked about adding a cover or not,” says González. “Eventually, we just said no and didn’t think anything more of it. It didn’t even come up when we were making the second Junip album [2013’s Junip] or making this new solo album – that’s just the way that I tend to work now. I don’t want covers to be something that I fall back on – I’m more interested in simply writing until I have enough material to substantiate an album.

osé González has put out three albums under his own name in the past 12 years. Four years separated his breakthrough debut, 2003’s Veneer, and its follow-up, 2007’s In Our Nature. A further seven-and-ahalf years separated the latter with last February’s Vestiges & Claws. Of course, the gaps were filled in González’s own way – heavy touring, two albums with Junip (the band he formed five years before finding solo fame), and muchneeded time off spent “sitting on the couch with a coffee watching lectures on Google Talks”. It does raise the question, however, of just how monotonous touring would have become for González after he ostensibly played the same set on and off for two years straight. That struggle doesn’t affect him so much these days.

“I suppose I was getting a little restless toward the end of the cycle for In Our Nature,” he says. “My album cycles generally tend to last about three years – that includes writing, recording, releasing, promoting and touring them. When touring was coming to a close for that record, I’d essentially exhausted whatever I could play from my two solo albums. A bit of time away has really helped expand the show – I now have three solo albums, two Junip albums, a bunch of B-sides and some covers as well. I have a lot more music now, which means we’re getting to do an hour and a half or thereabouts when we’re playing headlining sets. I’ve been able to switch from just sitting down and playing by myself to incorporating more and more percussion and singing. The shows I’m playing are more varied than ever.”

Vestiges & Claws is another warm and strikingly intimate record from the Swedish-born González. It’s rich with textured guitar lines, sparse percussion and simple, emphatic choruses. It’s also, amazingly enough, the first album González has put out under his own name that does not contain a cover. Veneer famously featured a rendition of The Knife’s ‘Heartbeats’ that went on to become even more popular than the original, while In Our Nature featured a well-received take on Massive Attack’s 1998 classic ‘Teardrop’. These days, however, covers are of less interest to González. He still performs them live – he mentions recently trying out a John Lennon song, ‘#9 Dream’, in the setlist – but as far as being recorded in the studio is concerned, they’ve become a thing of the past.

“Personally, it wasn’t that big of a statement, although I’m well aware of how much people love my early covers and what a cover can mean. If anyone has discovered the music of The Knife or the music of Massive Attack through me, then I see that as a huge compliment. I found out about so many artists when I was growing up through artists I liked covering their work – Nina Simone and Chet Baker come to mind.” A handful of videos have already been made to go along with key tracks from Vestiges & Claws. ‘Leaf Off / The Cave’ features González and co. performing in front of a congregation in his hometown of Gothenburg. There’s also ‘Open Book’, which follows on from a bizarre Calexico video González starred in some years ago, as well as a line-drawn animated video for ‘Let It Carry You’. González expresses reluctance to appear in videos – if it were up to him, he’d not feature at all – but over the years, he’s clearly

grown more comfortable with the process. Witness the hilarious Junip clip for ‘Always’, in which he and his bandmates are entered into an air guitar competition. “Videos are interesting,” he muses. “They take the least amount of time but the most amount of money from the labels. They can be a headache a lot of the time – I never go into making a video wanting to be in it – but I always come out of doing them being really grateful for the experience. Two directors in particular – Andreas Nilsson and Mikel Cee Karlsson – have kind of become my go-to guys. Mikel even made the documentary about me [2010’s The Extraordinary Ordinary Life Of José González], so our relationship is at a point where I don’t even have to really say anything for him to understand what I want out of something like that – and, a lot of the time, neither does he.” A year on from Vestiges & Claws’ release, González will return to Australia in February for the first time in fi ve years, following on from a visit as a part of Junip. Several shows – including an appearance at the iconic Sydney Opera House – have already sold out. “It’s very exciting,” González says calmly. “I can’t wait to come back.” What: Vestiges & Claws out now through Imperial/Shock Where: Concert Hall, Sydney Opera House When: Saturday February 6 and Sunday February 7

Megadeth United They Stand By Natalie Rogers

hile the Megadeth of old was plagued with infighting, controversy and substance abuse, all while in the shadow of frontman Dave Mustaine’s former band, the metal juggernaut Metallica, today the new-look fourpiece stands as a united front – and from all accounts, the making of 15th studio album Dystopia was something of a family affair. “I live in Nashville so we recorded the album there,” Mustaine begins, sounding relaxed and happy after a New Year spent with friends and family. “Chris [Adler, drummer and Lamb Of God member] was in Virginia, which is really close, so he came out first and stayed at the band house. “Then our other new guy Kiko [Loureiro, guitar, also of Angra] came to stay at my house with his wife and daughter, and Chris’ family joined him. Then they split, and Junior [founding bassist David Ellefson] came to town, and we were all in the studio together for a little while. It all happened really fast, but the person who took the longest time, and was the slowest in the studio, was yours truly.”

metal producer. Those last two records [2011’s Thirteen and 2013’s Super Collider] were not really what I wanted, or what anybody wanted, but that’s just how they turned out.” Determined not to let anyone compromise his vision, Mustaine knew he had to take over production responsibilities. “I had a crazy little voice inside my head that told me to go for it. So I decided I was going to do it myself, and this record, I think, is exactly what everyone was looking for, especially me – and when I make music for myself, everybody is happy.” However, Mustaine is quick to point out that Dystopia is the result of four individuals working together for a common goal. “We’re definitely united,” he says. “We all knew what we wanted to do with this record. From the beginning, we were determined to be open to the whole process, and it just blossomed into something really great.”

By now it’s no secret that the new album was well worth the wait. The fresh blood of Adler and Loureiro injected a tangible energy into Ellefson’s already loaded arsenal – and with Mustaine at the helm behind the production desk, Megadeth’s Dystopia became a reality.

Mustaine’s powerful vocal delivery and signature lyrical style are abundant throughout Dystopia. His attacks on government, and society as a whole, are razor sharp from the opening song ‘The Threat Is Real’, carrying on into the title track and coming to a head in the ominously titled ‘Post-American World’. Never one to be silenced on an issue he feels strongly about, Mustaine says: “I’m just going to write for myself and if people like it, fine – if they don’t, at least I like it.”

“It was really fun, although at first we had intended to go with someone else but the shoe just didn’t fit,” Mustaine says. “Like with Johnny K, the guy who produced our last two records. Great guy, I love him – but he’s not a heavy

There’s no denying the world has changed since the inception of Megadeth in 1983 on the back of Mustaine’s dismissal from Metallica, and the music industry has changed right along with it. The Californian rockers have

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released over 100 recordings (if you count singles, EPs and video albums) in the last 30 years, and since their debut, 1985’s Killing Is My Business… And Business Is Good!, Megadeth have been heard on millions of cassettes, CDs, VHS tapes and iPods around the world. But despite numerous advances in audio technology, Mustaine remains a fan of the format he grew up with: vinyl. “People have gone from physically buying a record and holding it in their hands, to where they download stuff – and because they don’t have to make the same investment in the album, songs don’t mean as much. Therefore, you don’t have as many people really experiencing bands the same way as you or I do as a music fan, as a real lover of a band.

“The cool thing is that vinyl’s making a comeback, but I don’t know if it will ever be like it was when I was growing up. I don’t see kids ever going back in evolution to the point where they slow down enough. Because right now, with our Dancing With The Stars, American Idol, tweet and retweet kind of mentality, people live in real time – it’s not like it used to be, where we’d wait. I’d put a letter in the mail, a few days later I’d get an answer. Now it’s like, ‘Dammit! I just sent a message and he’s not texting me back,’” he laughs. In conversation, Mustaine is engaging and surprisingly funny. When asked about his appearance on the UK quiz show Never Mind The Buzzcocks, and the shortlived US TV program Rock & Roll Jeopardy! (where he won

in a landslide against George Clinton and Moon Zappa), he jokes: “I would host a quiz show if it was fun – but not if they made me cut my hair! If I was going to do something outside of music, I’d do it the best I possibly can. That’s just the way I’m wired. I’d want it to be the best game show in the world. I’m a little bit of a perfectionist. I’m a Virgo, I can’t help it!” For Megadeth fans, Dystopia and the current lineup may be as close to perfection as possible. “We’re all great friends,” says Mustaine. “We’ve grown really close and we’re really proud of this project.” What: Dystopia out now through Universal

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Suede Night And Day By Michael Hartt back. What happens is, you play your best songs from the last 20 years, everyone goes crazy and jumps up and down and you think, ‘Wow, fantastic, we’ll just do ten more of them,’ forgetting the hassle you went through to get to that point,” he says. “We wrote 40 songs for [Bloodsports] and then threw 30 of them away. It was a slog, and it gets harder, as you get older, to find the places where the band can be interesting where they’re not repeating themselves. If you go into the studio for two weeks and release the first ten things that you write, then it’s not going to be very good. I think a lot of these reformed bands don’t really care, though. It’s just a souvenir so they can do their festival appearances. “The first record you make after you come back, it’s almost like a debut record. You’re trying to do the things that you’ve always done well. Bloodsports was very much like a debut record; we wanted it to be the sound of the five of us in the room, capturing that chemistry. The minute that’s out there, it immediately clicks you to do something better, wilder and stranger.”

aving reformed in 2010, UK indie legends Suede are traversing uncharted territory. While a lot of reunited acts barely make it through the first burst of hype and nostalgia a reunion brings, let alone the recording and release of a new album, Suede have now progressed to another phase: the release of their second

post-reformation album, Night Thoughts. For Suede’s bass player, Mat Osman, the group’s followup to 2013’s Bloodsports comes out of a combination of hard graft and the need to push themselves artistically. “It’s really hard. There’s something really seductive about coming

Indeed, Night Thoughts finds a Suede intent on presenting a work that is a holistic piece, as opposed to simply a collection of songs. To help achieve this, they teamed up with director Roger Sargent to make a feature film that accompanies the record. As Osman points out, though, it’s not a concept album. “It’s not like we’ve made a record about Henry VIII or something. It’s got themes to it. The funny thing is,

if we’d done it 15 to 20 years ago, you’d just say it’s an album. It’s no different from, say, [Kate Bush’s] Hounds Of Love or [David Bowie’s] Low or something like that; a record that has a very definite mood to it, where pieces kind of run into each other. That wasn’t a particularly groundbreaking idea even 15 to 20 years ago, it’s just that the idea of an album has become so debased with the idea that everything can be chopped up and recombined. “A couple of people have said to me, ‘Oh yeah, I didn’t really get it till the second or third listen,’ and that’s a luxury that most people don’t get in 2016. Most people get a cursory listen on the internet and if it doesn’t grab you straight away, that’s it. There’s something really sad about that, because it means that the kind of slow, meandering, theatrical album like we’ve made is kind of dying out. We’re very lucky to have the kind of people who love the band and are interested in the band who’ll give up the time for it.” To launch Night Thoughts, Suede played the album in full at two shows at the Roundhouse in London last November. As they performed, the film was shown on a screen in front of the band. Osman explains: “It was kind of a weird idea that seemed to work really well. We’d show the film and every now and then we’d be lit. For example, Richard [Oakes] would be lit for guitar pieces or Brett [Anderson] would be lit for little bits of vocal, so you’d just catch glimpses of us through the screen. It’s a very unplayed show; it’s very slow and thoughtful. We wanted to do something that was

completely different, something that flowed and didn’t stop. It was an attempt to do something that was completely un-Suede. Then we came back on and did another half an hour with a normal set-up. It went really well. Surprisingly well, to be honest.” Suede plan on doing further Night Thoughts shows during 2016 but will likely also revert back to their normal set-up for other dates. “It’s the kind of show that only works in a really particular place. It has to feel cinematic but at the same time it has to be all-standing,” says Osman. “If we come across an interesting festival or an interesting venue that wants to do it, I’m sure we’ll do it.” One other thing Suede might also do this year is return to Australia, a place they’ve yet to visit since reuniting. While nothing is confirmed yet, Osman is optimistic. “The reason we haven’t come there is no-one’s offered us a practical way of doing it. It’s nothing to do with not wanting to come; I love the place. I’ve been back separately from the band. I think there’s a really good chance this year. There’s lots of things happening. We want to play places we didn’t go last time. I love playing somewhere you haven’t been for a long time; it just ups the ante.” He adds: “We don’t do big, long tours. We try and change the set every night. We don’t even do a tonne of festivals. I know what it’s like [for shows] to feel ordinary, and it never should.” What: Night Thoughts out now through Warner

Mystery Jets Ahead Of The Curve By Tegan Reeves

ystery Jets guitarist Will Rees has a little mantra to share: “Stay hungry, stay foolish.” These were the words, courtesy of Steve Jobs, that kept the English indie rockers motivated while recording their fifth album Curve Of The Earth – a vastly different record in comparison to their first four. “It’s different for a lot of reasons – mainly because we produced it along with a close friend of ours,” says Rees. “Also because we did it in our own studio, where we had no time constraints and we could work all day and all night, which we often did. The writing approach was quite different, where the songs on this record are very personal and they’re all about personal experiences that we’ve all been through, and the album is like a glance back at the last decade of the life of the band. Every song picks a key experience from that ten-year period and looks at it with fresh eyes and tries to understand it in a new way, and that’s why a lot of the songs are about friendship, memories, apathy in the world, or feeling like you’ve lost your place or your sense of purpose.

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“We recorded Curve Of The Earth in a disused button factory in North London,” Rees explains. “It was kind of a weird place to do the recording, but we set up our own studio in the process – it was this old button factory that we had to clear out. We were looking at it for a little while, wondering if it was going to be worth it because it was so full of buttons and machines and junk, but eventually we decided to just go for it. We had to clean up thousands and thousands of buttons as well as button machines, which were really heavy, and then take them out of the studio and drive them off to the local dump before we could start making noise in there.” Curve Of The Earth is perhaps Mystery Jets’ most epic release to date. The album is almost conceptual in the way it runs with themes of belonging, conveying the struggles of trying to grow up – or in some cases failing to grow up – while everyone else manages to do so. In keeping with the grandiose nature of the release, the band recently performed Curve Of The Earth in its entirety at London’s Institute Of Contemporary Arts. “We came on and played the album from start to fi nish and then walked off. It was really

nerve-wracking; no-one in the audience knew it, and we barely knew how to play it ourselves, and we just kind of dived right in and did it. It was really good to do it in that way, because the album is very much a whole – it’s not really meant to be pulled apart and swapped around; it should be absorbed in its rightful track listing. It was really nice to play it like that,” Rees says. “I actually saw a few people singing along by the end of some songs, which was really positive. It was quite hard to tell what the audience felt because we were really nervous and I don’t think

we have ever played any gigs like that. It was a proper challenge, but I think people saw it for what it was, which was: ‘Here we are, playing these songs for the first time, no-one has seen this before.’ And I think the audience understood and embraced that – the audience stood there listening and taking it in, which was nice. “As a band, we would like to play more shows in that format, but I think when you travel and play places like Australia then your focus is slightly different – you’re more interested in giving people a slice and taste of everything that the band has done.”

Although Mystery Jets may not be performing Curve Of The Earth in its entirety overseas, fans can rejoice – Rees sounds relatively confident that the band will be hitting up Australian shores in the near future. “I’m pretty sure we’ll be coming out to Australia in April or May. I’m hoping that we’ll get to Australia a couple of times on this album. I think we’ll definitely come out over Christmas and New Year’s as well for a few festivals then. Nothing’s been confirmed, but I would say to expect us over there soon.” What: Curve Of The Earth out now through Caroline/Universal thebrag.com

Mystery Jets photo by Emma Swann

“Also, a lot of the songs are about wonder and what’s going on inside people – a collective of people, and not just our own personal limited experiences,” Rees says. “It became a question and a challenge of whether we could write for a collective of people and not just ourselves. I think this album is the first time we tried to deal with bigger topics and bigger questions about life. In that way, I think we tried to do something quite grand – I’m not sure whether we’ve done that, but we tried to.”

Going into this fifth album wouldn’t have been an easy task for the band members, all conscious of hitting the age of 30, and in the aftermath of their last releases Serotonin and Radlands receiving some negative reviews. To give themselves more creative control, Mystery Jets built their own studio and produced the new record themselves, moving away from the dancey Britpop sound that first brought them fame in 2006 with their debut Making Dens.

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

arts in focus

the secret river Xxxx

sydney’s history revisited also inside:

THE WHALE / SYDNEY BBQ FESTIVAL / GAME ON / ARTS NEWS / ARTS REVIEWS / ARTS GIVEAWAY thebrag.com

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arts in focus

free stuff head to: thebrag.com/freeshit

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

Brooklyn

five minutes WITH

MATT VITALE FROM YAK ALES SYDNEY BARBECUE FESTIVAL moment. American barbecue is a big part of that, but I think people are generally becoming more interested in food and different cooking techniques. We would ultimately like to take this concept around Australia.

fter the Melbourne Barbecue Festival enjoyed its first event last year, what inspired the expansion to Sydney so soon? Our first event was really well supported with 15 teams from around Australia coming to Melbourne to compete in the cook-off. The support in Sydney for the first Yak Ales Barbecue Festival has been amazing. We have 17 teams in the cook-off, including a couple of teams from overseas. There’s a real enthusiasm for barbecue and low and slow cooking at the

What can you tell us about your supporters, the Kansas City Barbeque Society? The KCBS is the largest organisation of barbecue enthusiasts in the world. Founded in 1986, they sanction 450 contests annually and number over 20,000 members. Competitive barbecue is a big deal in the States, and KCBS are like the PGA for golf. Melbourne last year was the fist KCBS event in the Southern Hemisphere, and with the attendance of some international teams this year, we are hopeful our Australian contests become a key stop on the international barbecue circuit (yes, there is such a thing!). What can visitors expect to see cooking up on the day? We’ve assembled some of Sydney’s best culinary talent to feed the crowds, including Bovine & Swine, Surly’s and Porteño. Hoy Pinoy and Bluebonnet Barbecue will be heading up

from Melbourne as well. Think brisket, pulled pork, ribs, pork skewers, smoked sausage and everything in between. It’s not all about barbecuing – what else does the event have to offer? It’s a real fun, family-oriented event. Children under 16 are admitted free with a paying adult, and there are plenty of activities to keep them entertained. There’s also live entertainment and DJs throughout the day, beers from Yak Ales, and a range of cooking demonstrations from local and international barbecue experts. What are the key ingredients for a great barbie? Great food and great people. The Yak Ales Sydney Barbecue Festival has both, so come along and check it out. What: Yak Ales Sydney Barbecue Festival Where: The Domain When: Saturday January 30 And: For your chance to win a double pass to the festival, visit thebrag.com/freeshit

Talwar, Kyle Legacy and Sean Ticehurst. The following week, Tuesday February 9, will see Star FM’s Craig Annis hold the stage over Jonas Holt as well as Andrew Barnett, Seamus McAlary, Tom Walker and Sharon Gambrill. Former Spicks And Specks team captain and guest on Can Of Worms, Adam Richard, will then compère Matty B of The Darren Sanders Show, Casey Talbot and more at the Tuesday February 16 event. And then on Tuesday February 23, the venue’s monthly comedy gala goes big. Melbourne International Comedy Festival and Adelaide Fringe awardwinner Michael Workman will host Justin Hamilton of the popular podcast Can You Take This Photo Please?, as well as Jaques Barrett, Dane Hiser and The Stevenson Experience.

Kristin Davis

G.BOD GETS GEORGE FOR MARDI GRAS QUEER THINKING BAGS A STAR

Kristin Davis, the American actress known for playing the role of Charlotte on Sex And The City, is heading our way for the 2016 edition of Queer Thinking. Since filming for the television show ended, Davis has become an advocate for human rights through her charity work. This has led to her becoming an ambassador for Oxfam as well as a United Nations High Commissioner for Refugees (UNHCR) High Profile Supporter. Last year, this role took her to the Democratic Republic of Congo and Uganda, where she visited a number of refugee camps. Davis will appear in conversation with Naomi Steer, the National Director of Australia for UNHCR, at Carriageworks on Friday February 12. The pair will discuss UNHCR’s work preventing and responding to sexual and gender-based violence. Queer Thinking runs concurrently with the Sydney Gay and Lesbian Mardi Gras Festival at various venues from Wednesday February 10 – Monday March 21, with more than 18 panels, discussions and workshops celebrating diversity and community. See mardigras.org.au/queer-thinking.

ART MONTH 2016

What’s the difference between Sydney and an expired pot of yoghurt? Absolutely nothing: they both have culture. So there. Incoming artistic director Barry Keldoulis has announced his very first Art Month Sydney lineup, and it’s pretty killer. With events stretching out across Sydney, covering every imaginable practice, it’s a celebration of Australia’s creative rising stars. There will be panels focusing on the place of tradition in contemporary art, lectures by the children of established artists, and a talk titled Etsy Or Regretsy, about which all you need to know is that amazing title. That’s only the very tip

Steve Jobs

of a colossal iceberg, so check out the Art Month 2016 website at artmonthsydney. com.au and start saving dates. Art Month Sydney kicks off on Tuesday March 1 and runs through till Thursday March 31.

FEBRUARY AT THE LAUGH STAND

Over the month of February, the Harold Park Hotel’s chortle factory The Laugh Stand will host a stellar lineup of comics and jokesmiths. David Smiedt takes the stage in the first week, Tuesday February 2, playing MC to Dan Rath, Andrew Wolfe, Runi

Get into some good old-fashioned theatre as part of the 2016 Sydney Gay and Lesbian Mardi Gras. The acclaimed G.bod Theatre company has announced it will stage a new production of Frank Marcus’ landmark play The Killing Of Sister George. A darkly comic exploration of the place where private lives and public personas intersect, the play was many years ahead of its time when first produced in the 1960s. G.bod will be updating the work, although given it deals with the unravelling of a TV star, not much of a modern spin might be needed in our Kardashian-centric age. The Killing Of Sister George will play at King Street Theatre from Wednesday February 24 – Saturday March 12.

It’s well and truly Oscar season in Hollywood, with film industry stars and fans alike comparing notes on who’s set to take out the biggest prizes this year. John Crowley’s movie Brooklyn is one of those in the running for a number of the Academy Awards’ top gongs, including Best Picture. It’s the story of the young Irish immigrant Eilis Lacey (Saoirse Ronan) navigating her way through a new city in the 1950s, finding love along the way. Past and future intersect as Eilis attempts to build herself a better life. Also starring Domhnall Gleeson, Emory Cohen and Jim Broadbent, Brooklyn opens in Australia on Thursday February 11. We’ve got ten in-season double passes to give away. Visit thebrag.com/freeshit to enter the draw.

THEY’VE GOT THE WRITE STUFF

Calling all bookworms, literary fiends and librocubicularists. Over two consecutive nights in the first week of March, Carriageworks and the Seymour Centre will play host to four talks ahead of this year’s Sydney Writers’ Festival. And while it’s being billed as a mini-festival, the lineup is huge as far as literature goes. Guests include British novelist and journalist Simon Winchester, Scottish novelist and Esquire editor-at-large Andrew O’Hagan, world-renowned storyteller Alexander McCall Smith, and bestselling American author Elizabeth Gilbert. The Sydney Writers’ Mini March Festival runs Thursday March 3 – Friday March 4. The 2016 Sydney Writers’ Festival will happen in May.

IT’S LADIES DAY AT GRIFFIN

Griffin Theatre Company will host the intriguingly titled Ladies Day as its first show of the year. A new play by Alana Valentine, Ladies Day aims to explore issues surrounding tolerance and self-respect, and was drawn from a series of interviews with the gay community in Broome. Given Valentine’s impressive track record to date, the show promises to be a compelling one, and features a cast of local talents to boot. Ladies Day plays at SBW Stables from Friday February 5 – Saturday March 26.

MOONLIGHT CINEMA ADDS MORE FILMS

The next run of Moonlight Cinema screenings tie in nicely to the Oscar furore, so you can sit there cheering for Team Leo or Team Fassbender, as is your wont. The focus of the February lineup is very much on Oscar-bait, so you’ll be able to watch Michael Fassbender growl and grump his way through Steve Jobs, Leonardo DiCaprio fight off a bear in The Revenant, and Saoirse Ronan come to terms with the nebulous question of cultural identity in Brooklyn. That said, it’s a pretty special experience to sit in Centennial Park with the bats overhead and a drink in your hand regardless of what film is playing, so even those who aren’t already drafting up their Oscars Bingo chart would do well to think about tickets. Moonlight Cinema’s February program kicks off with a screening of Steve Jobs on Tuesday February 2. More information is available online at moonlight. com.au.

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BROOKLYN

Elizabeth Gilbert

EXPLORE CHIPPENDALE FOR FREE

Destination Chippendale is launching its first Explore Chippendale: Free Gallery Walking Tour for the year. Professional arts curator Suzannah Smith leads the charge, guiding the tour through the galleries of The Japan Foundation, The Old Rum Store and Kensington Contemporary 1 & 2. Participants are encouraged to engage with Chippendale’s art scene in a relaxed social setting while hearing artists and gallerists in conversation and glass of wine in hand. Take a hike on Saturday February 6, but be sure to book in advance at chippendalecreative.com. thebrag.com

The Secret River [THEATRE] From Where We Came By Adam Norris

athaniel Dean is truly in the thick of it. With Sydney Theatre Company’s season revival of The Secret River just days away, the cast and crew have battened down for one of the most anticipated productions in recent memory. The reason behind this is simple: with a lineage bestowed with six Helpmann Awards, including both Best Play and Direction, the bar has been set at a formidable height. Many still recall Dean’s previous turn as 18th century convict William Thornhill, and with Neil Armfield also returning to the director’s chair, we have all the ingredients to witness another triumph.

a boat, comes over here in godawful conditions, lands, and like so many of them, would have been struck by the beauty of the place, and how alien that must have felt.

“It’s a pretty arduous rehearsal period, really,” Dean chuckles, “because the whole thing has a live music element, it has a huge cast, we’re doing lots of runs. But it means that we’re in really great shape.”

“I feel we have so much to do, so much to learn in Australia,” Dean adds. “We are not the perpetrators, we’re not the victims, but we are the generations that have come from that, and I feel if we can look back with honesty, with truth, perhaps acceptance can come from that.”

Dean coughs and clears his throat (it is early Monday morning, and his voice doesn’t quite sound like it is accustomed to speaking just yet). These days there is an impressive cast of characters stretching behind him, from Thornhill to Underbelly to his AACTA-winning role in 2002’s Walking On Water. Yet Thornhill remains unique; the one character he has found himself evoking a second time, drawn to a life not all that distant from our own. “I think Thornhill’s is an interesting, but still very common story from our history,” says Dean. “Thornhill is a guy who has come from the most horrible place on Earth, the lowest of the low in London, desperately starving and trying to look after his family. He stole something – he wasn’t like a career crim or anything, but gets plonked on

“Thornhill’s story is about a man’s dream of creating a new life. There’s a line that Kate Grenville wrote, which is in Andrew [Bovell]’s adaptation, that says Thornhill’s story was just a blank page on which he might write a new life. That’s the point where this play leaps off, and so for a modern audience, it’s a play about that first contact, and about how when that contact happened, communication just fell apart.

Though the story has its roots in real local history (the Hawkesbury River is but an hour north of the theatre itself), Grenville’s celebrated tale of European colonisers and indigenous communities is nevertheless a fiction. Born of another project altogether – an attempt to research her ancestor, Solomon Wiseman, whose eponymous township still stands – it conjures a striking picture of early White Australia, and the fear and desperation that fuelled so many early encounters with the local Aboriginal peoples. “Kate has written a fictitious tale based around a lot of research, trying to find the Wiseman story,” says Dean. “That was certainly the launch pad for this. Within that,

one of the great things about this production was researching the Dharug language, the language of the Hawkesbury mob. So the interactions between the Thornhills and the Dharug tribe is in this language, so it’s a story that needs to be told from both sides. I feel that Andrew has done a really wonderful adaptation of Kate’s book; Iain Grandage has done some amazing live music, which is played by the actors during the performance. It adds a whole other element. When you come to see it, you’ll be struck by this giant white ironbark stage, this open white stage, and throughout the performance there are no tricks, it’s really just a bunch of actors telling their story. I think it makes this really accessible. I believe we’re showing the heart and soul of both sides to this.”

The Secret River will also showcase a very meaningful facet of Dean’s acting career. The opportunity to revisit a former character is not one offered to many performers, and he sounds genuinely excited to show audiences precisely what kind of transformations a role might undertake across a span of years. He will still, first and foremost, remain William Thornhill; but a Thornhill perhaps more rooted in this remarkable story. “It’s quite a fascinating thing, to get the chance to re-approach this world. After I did the first production I became quite fascinated with the Hawkesbury and have been up there quite a number of times now. It was three years ago, long enough to be a dream, not enough to be something we’re trying to quickly replicate.

“There’s a new cast, which brings new ideas. It’s definitely one of the biggest challenges I’ve had as an actor, but I’m really thrilled. “I’m also really stoked that we’re going to Brisbane and Melbourne with it, that other states get to see this story. I think it’s a very important time in our country to tell this story, and that’s what we’re here to do in the arts: present these stories. When you look back at some of these convicts and where they came from, you find some amazing stories. I really encourage people to look into where they came from.” What: The Secret River Where: Roslyn Packer Theatre When: Monday February 1 – Saturday February 20

The Whale [THEATRE] Big And Beautiful By Tegan Jones

The Whale photo by Kate Williams

hen people hear the term ‘Mardi Gras’, it tends to conjure images of a glorious parade that dazzles the senses and a long night of carefree partying. And although these aspects really are worthy of celebration, there is also more to the Sydney Gay and Lesbian Mardi Gras, and LGBTQI culture, than what mainstream television feeds depict. Samuel D. Hunter’s The Whale highlights the real struggles that can be experienced when you’re a minority – in this case, an obese gay man living in the Bible Belt of America – and explores the kind of melancholy normality that is rarely afforded to non-straight characters on the stage. Director Shane Anthony explains why pieces such as The Whale are imperative to Mardi Gras. “The Whale is about an extremely obese man living in Idaho in America,” he says. “My take on it is that there is trauma that has happened to him so deeply that he is stuck in the past through fear. The play takes place when he starts to reconnect with people from the past that he hasn’t seen for ten years – mainly his daughter and his ex-wife. He’s gay, and when he realised that, he broke up with his wife and didn’t have any contact with them after. He’s now in the last five days of his life because he’s dying and he wants to make sure that his daughter has the future that he never had, but everything falls apart.” Unfortunately for this character, losing his family wasn’t the only trauma that guided him down a path of selfdestruction and towards his death. “There was a particular event that was the catalyst for him gaining weight and becoming a recluse, which was the passing of his partner,

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Alan,” Anthony says. “There is an implication that it was a direct result of his involvement with the Mormon church and coming out as gay. Subsequently Alan died because he starved himself to death, which resulted in the main character, Charlie, eating himself to death.” A great deal of research went into this production of The Whale, so that the actors and Anthony himself could connect to Hunter’s story, and portray both the setting and the characters in a way the audience could relate to. “We looked at a lot of different stories that related to the five characters in this piece,” the director says. “I can see elements of a low socioeconomic environment and the fallout that can occur due to trauma from the past. We have actually referenced films from the UK, Australia and America as part of research about certain characters who essentially are not coping, have kept secrets and as a result are kind of like a time bomb just waiting to go off.” Although the particular circumstances of these characters may not be familiar to everyone, the rejection of people from a church community due to their sexual orientation is something a substantial number of LGBTQI individuals have to suffer through. In addition to the fear of losing their friends, family and the network they have been surrounded by their entire lives, they also have to cope with the idea of losing their god. “That’s right,” Anthony agrees, “and that isn’t spoken about or put onstage much – especially that collision between sexuality and church, especially within Mormonism, which has a very specific perspective on sexuality.

“In this broader sense, The Whale is about a broken family and it’s all within the context of middle America – and dare I say, having spent a significant chunk of my life living there, it can be pretty interesting in the Bible Belt. Religion does play such a huge role, especially in Idaho, so it’s controversial and challenging for someone to break away from their marriage because they’re gay.” Keeping this in mind, it is perhaps more imperative than ever that stories revolving around isolation are told during festivals like Mardi Gras, which in addition to being a celebration of culture, is also about inclusivity and raising awareness. “I’m really interested to see who the audiences will be when they come to see The Whale,” says Anthony. “It’s not your muscled guy onstage and it’s not looking at that one aspect of gay culture that we already know so much about and hear so much about. “It’s looking at another aspect of that community, and people who feel disenfranchised and isolated, predominantly because it can be so looks-orientated. Charlie is isolated because of his weight, both physically and metaphorically. That’s what is really interesting about the piece for me – it gives these people a voice and puts some diversity on the stage, and shows that it isn’t a black-and-white kind of community.” The play also highlights people’s misconceptions and assumptions regarding weight and aesthetics in general. “The playwright, Samuel D. Hunter, set a challenge for himself. He

wanted to create a play where audiences walked in on a character and [would] be disgusted, but by the end they would have warmed to him, and I think The Whale does that successfully. It’s confronting to see someone who is that size – it brings up a whole lot of issues about lack of willpower, lack of control, and there is definitely a level of disgust associated

with it. So I’m hoping that the audience will be confronted, but that they will see more than just the flesh, and actually see a human being.” What: The Whale Where: Old Fitz Theatre When: Tuesday February 2 – Friday March 4

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film & theatre reviews Hits and misses on the silver screen and bareboards around town

■ Film

an excellent foil to Kurt Russell’s John ‘The Hangman’ Ruth. As the thoroughly disgusting Daisy Domergue, Jennifer Jason Leigh shines in a truly uninhibited performance. But for the joy he elicits every time he opens his mouth, the MVP here is Tim Roth’s exquisitely camp Oswaldo Mowbray.

THE HATEFUL EIGHT In cinemas now

Jimmy Carr

The film is impressively restrained for a Tarantino flick, limiting its locations to this one wooden cabin and its surrounds, and every landscape or blizzard shot is exquisite. What makes them even more delightful is their pairing with the soundtrack, composed by none other than the incomparable Ennio Morricone: the man who invented the sound of the Western frontier.

The Hateful Eight Never has there been a deeper lover of cinema than Quentin Tarantino. I’m not talking the kind of purist who simply favours film stock over digital, but the kind who releases his latest (in select cinemas) in the extinct 70mm Panavision format. With overture and intermission intact. Seeing the 70mm edition with program in hand is the definitive experience, and considering the 187-minute runtime, that intermission is needed. As politically incorrect as ever, The Hateful Eight is a gloriously indulgent ride for Tarantino’s devotees. But who are the Hateful Eight? A collection of lawmen, bounty hunters, liars and crooks

holed up in a mountain bar during a furious blizzard. One is a woman with a $10,000 bounty on her head, and more than one are not who they seem… Picture the bar scene in Inglourious Basterds extended to Lord Of The Rings length, and you’ll get the idea. Tense conversations at gunpoint punctuated by brutal violence are the order of the day, carried by the wit and ferocity of Tarantino’s dialogue and the rogues gallery he’s assembled. Samuel L. Jackson takes centre stage as Major Marquis Warren, one of his most outwardly villainous characters to date and

Like much of the big T’s fare these days, it does run overlong and can often be reliant on its more controversial drawcards – you’d be hard pressed to find another film this year that drops as many horrific racist and sexist insults in its runtime, contextually appropriate as they may be. Even compared to other modern Westerns, it’s utterly brutal. The fun, of course, comes in how explosive and ridiculous the violence is, and here it borders on Sam Raimi levels. It’s vicious, it’s irreverent, it’s full of bastards and it’s a three-hour commitment. But it’s Tarantino – you already know if you’ll like it or not. For those of us on side, it’s a goddamn riot. David Molloy

■ Film/Music

BIRDMAN: OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Reviewed at the State Theatre on Saturday January 16 as part of Sydney Festival 2016 script with Sánchez’s demos playing in the background.) And so we arrive a couple of years later, with Sánchez sitting behind his drum kit at stage left, playing along live as the movie lights up the screen. It’s a well rehearsed performance, of course, but Sánchez promises his interpretation tonight (and every other time he hosts a show of this nature) will be unique. He’s a virtuosic drummer – his CV includes recordings with Pat Metheny and Chick Corea – but reacting in the moment to an awardwinning film takes superhuman skill. For the audience, it’s breathtaking.

Birdman Jazz drummer and composer Antonio Sánchez first met the lauded film director Alejandro González Iñárritu at an afterparty following a marathon concert event. Sánchez didn’t know it at the time, but that meeting was a fortuitous foundation for his Sydney Festival performance tonight: a two-hour tour de force of improvised drumming, played in conjunction with a screening of Iñárritu’s 2014 Oscar-winning film, Birdman. Before the film begins, Sánchez welcomes the State Theatre audience with the story

behind his involvement with Birdman. After Iñárritu commissioned him to compose a soundtrack, he had attempted to write rhythmic motifs for each of the film’s characters, from Michael Keaton’s washedup former Hollywood star, Riggan Thomson, to his daughter Sam (an outstanding Emma Stone) and the volatile theatre actor Mike Shiner (Edward Norton). However, the director wanted an improvised score, so Sánchez recorded it within two-and-a-half days across two sessions. (An interesting point of trivia: the actors even rehearsed the

What's in our diary...

Sánchez demonstrates an incredible dynamic range and a glorious tone; from rim shots to splashes and drum rolls, he punctuates Emmanuel Lubezki’s cinematography with equal parts power and grace. The ‘live show’ aspect of the evening seems to encourage more enthusiastic reactions from those in attendance, as they laugh and applaud at moments in the film that might otherwise turn a cinema quiet. It’s an exchange of generosity from Sánchez to his audience and back again. Sánchez captures everything from Riggan’s rage to the long build-ups of suspense, his hi-hats and tom-toms acting as a dialogue of their own. For a film exposing – in its darkly comic way – the artifice behind celebrity and theatre, a glimpse into the very creation of its soundtrack is a special experience: all but unbeatable. Chris Martin

Arts Exposed

Yak Ales Sydney Barbecue Festival Say what you will about the United States of America, but it’s given the world some mighty good culture over the years. From Elvis Presley through to Homer Simpson, America is responsible for some of the biggest influencers in modern memory. We reckon both those cultural icons would enjoy their time at the Yak Ales Sydney Barbecue Festival, making its debut this year after 2015’s maiden Australian event down in Melbourne. Supported by the Kansas City Barbeque Society, the world’s largest organisation of barbecue enthusiasts, the Sydney event will include a massive cook-off, plus live entertainment and tasty beers. Most of all, though, it’s about meat. Third release tickets are $30. Visit sydneybarbecuefestival.com.au for info and to book. 18 :: BRAG :: 647 :: 27:01:16

JIMMY CARR Reviewed at the State Theatre on Tuesday January 19 Most critics view ‘authenticity’ as a good thing in art, whatever it is that word really means in such a subjective context. Well, Jimmy Carr is a fraud, and that’s his saving grace. If this dapper yet dirty Englishman’s stand-up were authentic – if he were really telling the truth about his life and leering habits in all these jokes – he’d have been locked up long ago. As it is, he’s doing a five-night run at the State Theatre, and the crowd loves it – save for the miscreant who throws a bottle at him after a relatively tame gag. More on that later. Carr opens the show by promising “an hour of brilliant jokes, packed into two hours”. His one- and two-liners come quickly and without relent. Some of them are clean. Some of them are about paedophilia; others about death. Relationships, literature, politics, superstition, disability, celebrity – there are few things Carr isn’t willing to make fun of. And while that steers him into significantly objectionable territory, audiences have always granted him a free pass, in the way a shock comic like Jim Jefferies isn’t. You wouldn’t see Carr’s Australian counterpart in a venue like this, and certainly not with such a mixed crowd. Is this because of Carr’s articulateness? His accent? His fashion sense? It’s probably a little of each, and because he doesn’t leave enough time after the punchline for any jaws to hit the floor before he’s off and running on the next joke. The momentum of the show actually suffers for Carr’s style here – there are no lengthy, anecdotal build-ups to a massive pay-off; no moments of explosive humour to leave the theatre in pieces before everyone can recapture their breaths. If Carr were a boxer, he wouldn’t throw any knock-out haymakers, only jab after jab after jab. However, when he’s at his best, Carr continues to skirt the boundaries of what comedians can say onstage – and the truth is, that’s still exciting to witness. There’s only that one audience member who takes offence (at a joke about Christianity, of all things) enough to hurl a full water bottle from the mezzanine, and thankfully it misses by miles. At the time, Carr is under the impression it’s not a bottle but a light fitting that’s fallen dangerously from the rigging above his head. “That was God trying to smite me for that last joke,” he laughs. “He missed, the c**t.” Maybe Carr is blessed. Maybe that’s why he gets away with it.

Chris Martin

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Birdman photo by Jamie Williams

The Domain, Saturday January 30

■ Comedy

five minutes WITH ■ Opera

THE RABBITS Reviewed at Roslyn Packer Theatre on Friday January 15 as part of Sydney Festival 2016 The Rabbits is an Australian opera adapted from a picture book that is anything but child’s play. The original story was written by John Marsden, who penned the Tomorrow series, and was illustrated by Shaun Tan (The Lost Thing). It’s an allegorical tale that examines the colonisation of Australia with the titular characters playing the invading British settlers, and a group of native marsupials representing the Aboriginal people and their subsequent plight.

The Rabbits photo by John Green

The original book is less than 300 words long but it’s a powerful story. For the live setting this has been expanded with the addition of a new character, a narrator called Bird, performed by the show’s composer – the classically trained soprano and pop singer, Kate Miller-Heidke. Acclaimed playwright Lally Katz provides the libretto and Iain Grandage offers the superb musical arrangements. The show has already won several Helpmann Awards and in some ways it’s easy to see why, because the story is an emotionally poignant one and a sad reflection on our nation’s history. It depicts the invasion, colonisation and the Stolen Generation, but does end with a glimmer of hope. That said, it is not perfect, and there are some scenes that fall a little flat or feel a little long and drawn out (and the show itself only goes for one hour). The artists do an excellent job performing

The Rabbits

the material. The marsupials are played by Hollie Andrew, Jessica Hitchcock, Marcus Corowa and David Leha – led ably by Lisa Maza – and prove incredibly charming and emotive. The rabbits (Kanen Breen, Nicholas Jones, Christopher Hillier, Simon Meadows and Robert Mitchell), on the other hand, are more like pantomime villains and everything is delivered in a flamboyant and over-the-top manner. This actually works in this strange environment where the show is already a hybrid of opera and musical theatre and the soundtrack is a mash-up of pop ballads and experimental and classical styles. The Rabbits is a dark and ambitious piece that doesn’t pander to the audience. It tells a tragic and uncomfortable chapter in our history and stays true to the essence of the book. This is particularly the case in the rendering of the set and costumes by designer, Gabriela Tylesova. The Rabbits is one nuanced and atmospheric tale that commands the viewer to sit up and listen, without leading them down a rabbit warren. Natalie Salvo

■ Dance/Music

PHIL SCOTT FROM REVIEWING THE SITUATION

ou’re returning to play Lionel Bart in Reviewing The Situation. What makes Bart such an interesting subject for cabaret? Lionel Bart was a great (and flawed) character. In London’s Swinging Sixties he made a lot of money very fast with the success of Oliver! and he spent it just as quickly on celebrity parties, booze and drugs. Then he lost the lot, never had another big hit, and died bankrupt. What’s your earliest memory of encountering Bart’s work? I first heard the songs from Oliver! as a kid, but even before that I knew the song he wrote for Tommy Steele (a British pop star) called ‘Little White Bull’.

Phil Scott

How did you go about studying Bart’s life, achievements and flaws for your portrayal? My co-writer Terence O’Connell and I did the usual online research – biographies and documentaries – but I also interviewed people who had known Lionel, like Barry Humphries.

Flawed characters make for stronger drama and comedy. They give you something to latch onto. Politicians are perfect subjects because their flaws are constantly being aired in public. When someone like Peter Dutton says something offensive or stupid (which is about every five minutes), everyone knows about it. And Jacqui Lambie is a gift!

You’re also known for playing satirical versions of our politicians in The Wharf Revue. Do good characters need to have flaws?

How have you seen the audiences for your art change over the last 30 years? Cabaret audiences have always included people who

are interested in the theatre generally, and they’ve often been a slightly older crowd. Now I’m part of that group too, I guess! But I reckon the audiences are younger than they once were, especially at places like the Hayes where there’s a real buzz. The Hayes’ vibe is that music theatre is more than just big, safe, expensive family shows. What: Reviewing The Situation Where: Hayes Theatre Co. When: Thursday February 4 – Sunday February 7

VORTEX TEMPORUM Reviewed at Carriageworks on Saturday January 16 as part of Sydney Festival 2016 Vortex Temporum

Cnr Wigram Road & Ross St, Glebe Vortex Temporum photo by Jamie Williams

Pro, bigg name aand nd rising comedians live every Tuesday!*

COMEDY SHOWCASES ONLY $10 AT THE DOOR!

Tickets & Info: thelaughstand.tumblr.com

COMEDY GALA!

TUES 2 FEB 8PM David Smiedt

Two works by Belgian choreographer Anne Teresa de Keersmaeker are being performed at this year’s Sydney Festival. The Opera House is hosting Fase, the work that catapulted De Keersmaeker into the big league in 1982 when she was just 22. Fase established the young dancer’s interest in looping, repetitive organisations of movement set to contemporary compositions. Reviewing The Situation photo © Mark Baxter

It’s a funny fling

Vortex Temporum, at Carriageworks, is a 2013 work performed by De Keersmaeker’s Rosas company, which was founded in 1983 off the back of Fase’s acclaim. Gérard Grisey’s 1996 composition was written for six musicians and De Keersmaeker has given each musician a corresponding dancer – two in the case of the pianist – to shadow and interpret physically the sound their instrument produces. The space is starkly cavernous, and the distances both musician and dancer have to walk to get to the front of the stage feels like a declaration of intent – certainly of pace. The six musicians (piano, flute, clarinet, violin, viola, cello) are from Ictus, a Brussels-based contemporary music

ensemble. They’re the first to stride out. They play, then walk off. Then the dancers appear, positioned in a semi-circular formation on a floor covered in chalk ovals, as though a compass has drawn a circumference over and over again in the middle of the stage. The dancers echo music that is no longer there – an act of interpretation that’s also one of imagination, not least on the part of the audience. Their bodies mimic those of the musicians who are their counterpart – jagged elbows for string instruments and so on. This is a cerebral show; interested in exploring time – per the title – by the way sound reverberates in space, and in making polyphony physical. Or so the program tells me, anyway. This is the best kind of festival experience – one that pushes your understanding of a form by being beyond it. Yet it’s never smugly withholding or recessive – it’s accessible in its rigour. Harry Windsor

“A living breathing joke machine,” Adam Hills. With: Dan Rath “meticulouslyconstructed comedic suckerpunches”- theMusic.com.au

TUES 9 FEB 8PM Craig Annis Star FM, Logie nominated, ACRA nominated With: Jonas Holt Hit ‘At Home With Tone’ web-series

TUES 16 FEB 8PM Adam Richard ‘Spicks & Specks’, ‘Can Of Worms’

With Matty B ‘The Darren Sanders Show’

TUES 23 FEB 8PM Michael Workman ee 2011 MICF Best Newcomer, 2012 Adelaide Fringe Best Comedy, 2013 MICF Barry Nominee

Justin Hamilton ‘Dirty Laundry Live’, ‘Can You Take This Photo Please?’ (smash-hit podcast)

Featured support: Jacques Barrett “Impeccable comic timing and an endearing quality that only few comics possess,” The West Australian

All tickets: $15 online, $20 at door. *Unless publicised otherwise on occasion. Acts subject to change.

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education profile WITH

Game On Gaming news and reviews with Adam Guetti

ANNE DE LA MOTTE, DESIGNER

Did your time at Raffles encourage you to specialise in a certain area, or did you get more of an all-round education? The good thing about the fashion design course at Raffles is that it gives you basic skills in all areas, allowing its students to see which areas best fi t their creative style. It also offers electives that enable you to tailor the course to your needs.

ou graduated from Raffles College of Design and Commerce in 2014. How did your education there provide a basis for your career? My education at Raffles provided me with all the production, business and design skills I needed, not only to obtain a full-time job in the industry, but to also start my own label.

What can you tell us about De La Motte, the label you founded last year? As part of the Raffles International Showcase at MBFWA15, I was invited to show a collection. It was suggested that I have a go at menswear, and I ended up loving it more than womenswear! That was my debut collection and the birth of my label.

What advice would you give to young or prospective students about making the most of their design education? Be open to put in hours to internships. I can’t express how crucial it is to transfer your skills from the classroom to a professional studio. It not only helps you grow as a designer, it opens your eyes to different roles and departments within the fashion industry. What: Raffles College of Design and Commerce Where: 1-3 Fitzwilliam St, Parramatta More: Enquire or apply at raffles.edu.au

FEB

New Releases

2016

After a relatively slow January, things begin to pick up in the video game world with a handful of quality titles throughout February worth spending your hard-earned cash on. The first cab off the rank is XCOM 2 – the devilishly difficult PC sequel to the 2012 strategy hit. Take control of humanity’s resistance and defeat Earth’s alien overlords when it hits shelves on Friday February 5.

CRAFTING A FUTURE As the Minecraft juggernaut continues to dominate, the series has its sights set on an unexpected target: schools. Minecraft: Education Edition is being produced in collaboration with Teacher Gaming and will build upon MinecraftEdu’s current platform – set to be built with the classroom in mind.

NEWS

What else inspires your work? I am inspired by my surroundings, environments, memories and feelings, as well as modern and classic artists and music.

Mojang COO, Vu Bui, is obviously all for the new venture. “We’ve seen that Minecraft transcends the differences in teaching and learning styles and education systems around the world. It’s an open space where people can come together and build a lesson around nearly anything,” Bui claims.

SHOW ME THE MONEY Next up on Tuesday February 9 is Assassin’s Creed Chronicles (PS4, XBO) – a single-disc collection that packs in the series’ three stealthcentric 2.5D spin-off titles (China, India and Russia). Jump ahead to Tuesday February 16 and fighting game fans will finally have their chance to get quarter-circle punching again with Street Fighter V (PS4, PC). After a fairly rocky beta, hopefully the only problem with the final release is memorising the game’s wealth of impressive combos. The month’s big-ticket item, however, doesn’t drop until Tuesday February 23 when the surprise release of Far Cry Primal (PS4, XBO) takes you to the Stone Age and pits you against giant mammoths and sabre-toothed tigers. If you’re after some more family-friendly fun, however, then hold out until Thursday February 25 for Plants Vs. Zombies: Garden Warfare 2 to lay its roots into your lives. It’s the sequel to the surprisingly successful thirdperson shooter multiplayer title that adds more modes and characters into the mix. Wrapping things up is a little something for Nintendo 3DS fans. More specifi cally, it’s

Call Of Duty makes a lot of money – that should be no surprise to you. But now we have specific numbers to gawk at, and they’re mighty impressive. Activision has revealed the lifetime sales of the Call Of Duty franchise have now reached over 250 million units worldwide since the series’ introduction in 2003.

A HEROIC FEAT Calling all MMO fans: Blizzard has announced plans for its Heroes Of The Storm Spring Championship. For budding players on our shores, the ANZ Season 1 will feature two online open qualifiers taking place on Saturday January 30 and Sunday February 7, with the top four teams progressing to the finals. The top ANZ team will be flown to Korea for the Spring Global Finals and a shot at a US$500,000 prize pool. Bravely Second: End Layer, the follow-up to the hardcore RPG smash hit Bravely Default. You’ll be able to attempt to rescue the kidnapped Agnès Oblige when the game drops on Saturday February 27.

Review: Resident Evil Zero HD Remaster (XBO, PS4, PC)

esident Evill isn’t what it once was. In its original inception, the zombie series was one that placed the bulk of its attention on the dark, the unnerving and the flat-out terrifying. Distant moans and unexpected zombie dogs were the order of the day, as was hilariously atrocious dialogue. Then, after the overwhelming success of Resident Evil 4, everything changed – and not necessarily for the better. Resident Evil Zero was the last vestige of the horror game’s roots before they were left behind. For those managing to keep track of Capcom’s zany canon, Zero is unsurprisingly set before the events of the first game in the series. Rebecca Chambers, a field medic within STARS, is sent to track down an escaped convict, Billy Coen, aboard a train just outside of Raccoon City. Before Chambers is able to complete her mission, however, the train is overrun by zombies, leaving the couple no choice but to team up. What that means for you is that for much of the game Rebecca and Billy are stuck by each other’s side – controllable via separate analogue sticks. You’re able to swap between them at any point, and they have differing skill sets that require doing so often, but it’s an awkward design choice at first. Still, you’ll grow to appreciate it in particularly hairy situations, especially considering the fact that your comrade’s AI is impressively capable of getting you out of trouble. Meanwhile, although tank controls remain an option, if you value your sanity, an updated, more responsive control scheme has also been added. The other big change you’ll notice almost instantly is visuals. Thanks to improved lighting and a new coat of paint on the textures, Zero looks as good as you remember. And that’s almost representative of the remaster as a whole. As a port, it’s faithful to its source material; however, that can simultaneously be a good and bad thing. At the end of the day, though, if you’re a fan of the Resident Evill series, then you’d be doing yourself a disservice to ignore the tale’s origin, especially with fun little extras like Wesker Mode (a post-game bonus that lets you play as the overpowered series veteran). It’s certainly not perfect, but there’s also no better way to play it. Adam Guetti

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out & about Queer(ish) matters with Lucy Watson

ast week, the horrible news broke of the Bulmer-Rizzi tragedy. Good news was to come out of it, though. Marco Bulmer-Rizzi, whose husband David died in South Australia on their honeymoon, has now become the catalyst for a change to the way marriage is recognised in that state. Joining Queensland, New South Wales, Victoria and Tasmania, South Australia will now recognise same-gender marriages performed in countries where they are legal. The change is, of course, welcome, but the fact that it needed a death to make it come about is saddening. That this tragedy will be used by marriage equality campaigners is inevitable, and rightfully so. What frustrates me about all of this is the seemingly unnecessary attachment to the rulebook. I’m aware that legislation exists for a reason, and breaking the rules can lead to consequences for those who do it, but sometimes when rules are outdated, the best thing to do is ignore them. We break the rules every day. If you have a paddle pool deeper than 30 centimetres without a fence, you’re breaking the rules (looking at you, every share house that had an Australia Day party). Istanbul on King Street has apparently been breaking the rules by serving after midnight for years. If you’ve ever left your car running while ducking into a mate’s house to grab something, you’ve broken the rules. A lot of rules are stupid. When filling out David Bulmer-Rizzi’s death certificate, couldn’t the bureaucrat just have selected ‘married’? What harm would that have done? I have a friend who recently had their paperwork updated to reflect their current name and gender. They’re excited by how much easier this will make a lot of

things, including their name on the roll in class tutorials. But why couldn’t they have been referred to by their name in the first place? Why does a legal name matter, when a person is standing in front of you, telling you the name they want to be called? Why should anyone care whether someone else has an ‘M’, ‘F’ or an ‘X’ on their birth certificate, especially when that person in front of them has told them they are something other than what the piece of paper says? The problem with so many rules is that they’re often selectively applied, and this leads to discrimination. But when following the rules to the letter leads to more discrimination than if you’d bended them, isn’t that worse? I’d like it if we abolished marriage, and took the state out of our relationships, and maybe out of our pants, too. But that isn’t going to happen anytime soon. If the state is going to get involved in our personal lives, with its annoying rule books, then these need to be the same rules for everyone. What happened to David and Marco Bulmer-Rizzi didn’t need to happen. Ultimately, at least it’s changed the legislation. Ending marriage discrimination is a step in the right direction in fixing the rules. It’s just a step, though. There’s a heap of other bureaucratic nonsense and hoops to jump through, before our rules, and the society that follows them, are discrimination-free.

this week…

Lupa J

On Wednesday January 27, treat yourself to another night out in Newtown with Sasslife and Birdcage. Both are in full weekly swing, with two-for-one cocktails at Secret Garden Bar for Sasslife from 7-8pm, and $10 cocktails at Slyfox’s Birdcage from 8-10pm. That’s three hours of discounted cocktails on Enmore Road. This Friday January 29 sees the women from Sexual Violence Won’t Be Silenced hosting their gig, Shameless, at 107 Projects in Redfern. It will feature music from Dweeb City, Scabz, Morning TV and Lupa J. There will be cheap beer from Young Henrys and rum from Sailor Jerry’s, and all proceeds from the event are going to Hey Sis, a charity that works to stop rape and domestic violence against indigenous women.

‘Who doesn’t love a man in a dress?’

On Saturday January 30, House Of Mince presents Efdemin in the Arq basement. Alongside him will be Ben Drayton, Phile, Methodix and Wonky. It’ll go all night, but don’t forget to get in before 1:30am. If retro sounds are more your thing, Saturday January 30 also sees The Shift hosting Free

Gay and Happy 3, with plenty of old-school and ’90s dancefloor anthems from DJ Drew Koning and special guest Jewelz. On Sunday January 31 are the Fetish Markets at The Sanctuary in Annandale. There’ll be leather, rope, accessories, and all your kinky needs at this daytime market. Efdemin

GRIFFIN THEATRE COMPANY PRESENTS THE WORLD PREMIERE OF

LADIES DAY BY ALANA VALENTINE 5 FEB-26 MAR Matthew Backer, Wade Briggs, Lucia Mastrantone and Elan Zavelsky SBW Stables Theatre 10 Nimrod Street, Kings Cross griffintheatre.com.au 02 9361 3817

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bread&thread Food & Fashion News... with Anita Connors, Chris Martin and Joseph Earp

The Rocks Markets

FOODIE FRIDAY ON MY MIND

Calling all gastronomes, gourmands and – let’s face it – gluttons. The Rocks Friday Foodie Market sure knows how to tempt the taste buds and scintillate the senses. Held every Friday from 9am to 3pm, this openair fresh food market is nestled amongst the cobbled laneways of one of Sydney’s most iconic precincts. Whether you’re looking for locally grown produce, seasonal creations, boutique artisan wares or handcrafted goodies, there is much on offer. Be sure to a nose out for Danieli’s BBQ skewers, the ultra delicious Mini Monet Cupcakes and Cicada Chocolate’s handmade, additive-free treats. Visit therocks.com for more information.

GARDEN STATE

Like a caterpillar turning into a butterfly, or perhaps a butterfly turning into a different but equally beautiful butterfly, Elizabeth

Bay wine bar The Gazebo has transformed into the Pimm’s PopUp Summer Garden. Running until Saturday February 6, this venture is all kinds of lush refreshment. EMU Australia

MARCH INTO MERIVALE RETURNS

Time to dress up nice, eat some great food, and act like you know what you’re talking about when you describe the ‘nutty notes’ of a foie gras. The March Into Merivale food and wine festival is back in 2016 for the eighth year running. This colossal celebration of all things gustatory is set to be bigger than ever this time around, with events taking place at a host of locations around Sydney. There’ll be wine tastings; nights dedicated to chocolate and shellfish (that’s one night for chocolate, one night for shellfish, rather than a hellish combination of the two); and mystery feasts that will have unsuspecting diners rocking up to secret locations. Given the incredible diversity of events, one would be foolish not to get involved. Just make sure you start starving yourself now. March Into Merivale’s food and wine program kicks off on Sunday February 14 and runs through to Sunday March 20. For the full list of events and locations, head over to merivale.com.au.

Yak Ales Sydney Barbecue Festival

SO WE MEAT AGAIN

After its inaugural basting in Melbourne last year, the Yak Ales Sydney Barbecue Festival is heading our way for a day of richly marbled, charcoal-roasted, hand-filleted delights. It all amounts to a vegan-free zone in The Domain on Saturday January 30. Inspired by the growing popularity of Southern-style cuisine in Australia, the festival is modelled after the many traditional barbecue festivals staged across the United States. The event is also promising a celebration of local produce and barbecuing talent. There will be food stalls to sink your teeth into as well as cooking demos by some of Sydney’s finest pitmasters and culinary wunderkinds. Also on the menu are equipment exhibitors showcasing the latest local and international barbecue products, and live entertainment and DJs. And if all this is not enough, the barbie maestro in your family will be able to enter a team in the Barbecue Festival Cook-Off, the winner of which will have the opportunity to represent Australia at internationally renowned barbecue contests overseas. Time to get cooking!

Against a floral wonderland of a backdrop, Pimm’s Cup cocktails and jugs are on offer, as are share plates. Clearly got some bait a waitin’ and I think like nibblin’ in a little afternoon delight.

SUNSETS ON FORT DENISON

WHEN EMUS FLY

Premium Australian footwear brand EMU Australia is about to open its very first retail store. In collaboration with All Things Australian, EMU will be selling its full range of spring/summer, platinum Australian, beach, originals and waterproof styles in the midst of Sydney’s tourist centre, The Rocks. After coming to life out of Geelong, Victoria, EMU’s products are now available in over 70 countries and across more than 5,000 stores, and at emuaustralia.com.au. But why not pop in after opening on Thursday January 28 and try something on yourself?

Fort Denison Restaurant has been doing a roaring trade with its Summer Sunset Sessions for the past few weeks, so it’s no surprise the program has now been extended right through until the end of summer. The famous island in the middle of Sydney Harbour – perhaps more recognisable for anyone who went on a school excursion there in the last two decades – has made a concerted effort to welcome Sydneysiders in for a fine food, drink and music experience this season. Each Sunday afternoon has seen a soldout crowd head to Fort Denison for a sit-down dinner or to lounge under the big umbrellas over drinks and bites. Bookings are now running until the end of February at fortdenison.com.au.

HARRY PHAT’S LEVEL 2, HOTEL STEYNE, 75 THE CORSO, MANLY OPENING HOURS: TUE – FRI NOON-3PM / 5PM-LATE; SAT – SUN 11AM-LATE Who’s the cook? Head chef Pathompong Maneesri (‘Chef Ben’). Expertly trained in Thai cuisine, he brings all the authentic flavour of Southeast Asia to every dish. Eye candy: Sandy Grice conceived and executed the fit-out and style of the 225-seater restaurant. Alongside mural artist Annette Barlow and street artist Cam Wall, they brought the space to life with a flurry of original Asian-inspired designs, with a special nod to Japanese-style calligraphy works and a colour palette of Chinese porcelain-inspired blue and cream, giving the restaurant an authentic touch while still keeping a modern seaside feel throughout, and creating an inviting and interesting atmosphere for our guests.

RAISE A GLASS

Beer lovers unite! Beer DeLuxe has opened in Darling Harbour. Taking over the old La Cita Bar site, this small version of a beer hall has the auspicious title of having Sydney’s largest beer menu – or as the bartenders like to call it, The Beer Bible. Beer drinkers will also appreciate the fact that the award-winning brand works with emerging and established brewers from all around the globe. With an everchanging lineup of international craft beer rotating through the taps and fridges, there are more than 150 beers available at any given time. Indeed, the renowned venue prides itself in taking its punters on a thirst-quenching journey of yeast, malt and hops while soaking up an impressive harbour view. Indian pale ales, scotch ales, porters, stouts, American strong ales, lagers, Weizenbock and Belgian-style beers… you name it, they’ve got it. Waiting for you. In a nice cold glass. Oh yes.

restaurant of the week delectable menu screaming of freshness and flavour. Something to start with: Spicy tuna tacos: crispy gyoza pastry filled with soy ginger and marinated raw tuna, served with fish roe, wasabi guacamole, kanikama, bean sprout, mint, coriander and green chilli. The main course: Soft shell chilli crab: Singapore-style chilli soft shell crab, garlic, ginger, red chilli, coriander, spring onion, white egg and tomato paste sauce. Room for dessert? Japanese sweet bean cake: filled with sweet red bean and chestnuts, served with green tea sauce and sesame ice-cream in a crispy pastry shell. Care for a drink? You can’t go past an ice-cold Sapporo on tap. Sounds? Harry Phat’s, conveniently located on level two of Hotel Steyne, is just a push of the door away from Moonshine Bar with four nights (Thursday to Sunday) of original live bands, all with a free entry policy – the perfect place for dinner followed by drinks and a show!

Make us drool: What sets Harry Phat’s apart is our specialty international chefs whipping up some of the best dishes from their home countries – authentic and delicious! Now serving yum cha every weekend. Not to mention sweeping views of iconic Manly Beach, sea breeze, sunshine and a selection of tasty Asian-inspired cocktails sure to keep you coming back. The bill comes to: Harry Phat’s cuisine is ideal for sharing and tasting a variety of flavoursome dishes – the suggested items above come to $58. All yum cha dishes range between $3 and $11. Website: hotelsteyne.com.au/harry-phats

xxxx

Flavours: Asian street-style food. Harry Phat’s takes you on a cultural journey through the back streets of Asia, melding the most mouthwatering cuisines from China, Thailand, Indonesia, Singapore and Japan into a

Beer DeLuxe

22 :: BRAG :: 647 :: 27:01:16

thebrag.com

NICE TO MEAT YOU

SATURDAY 30TH JANUARY 2016 10am – 10pm The Domain

FEATURING

163 Enmore Road, Enmore | bauhausw.com

• BBQ food stalls including some of Sydney’s ﬁnest pitmasters • BBQ cooking demos by local & international experts • Equipment exhibitors showcasing the latest BBQ products

Whether you’re after a quick bite, a pre-theatre dinner or to chill with a cheeky cocktail, we’ve got something for everyone!

PLUS LIVE ENTERTAINMENT AND DJS

RESERVATIONS 02 8068 9917 bauhauswest@gmail.com

TRADING HOURS Wed-Fri 5pm - Midnight Sat-Sun 11am - Midnight

N @bauhaus_west M Bauhaus West P @bauhauswest

FOR TICKETS AND MORE INFO:

theyaks.sydneybarbecuefestival.com.au

wed

27 Jan

thu

(9:00PM - 12:00AM)

28 Jan

(9:00PM - 12:00AM)

fri

29 Jan

(10:00PM - 1:40AM)

SATURDAY AFTERNOON

sat

30 Jan

5:45PM  8:45PM

SUNDAY AFTERNOON

(4:30PM - 7:30PM)

sun

31 Jan

(8:30PM - 12:00AM)

(10:00PM - 1:15AM)

mon

01 Feb

thebrag.com

(9:00PM - 12:00AM)

tue

02 Feb

(9:00PM - 12:00AM)

BRAG :: 647 :: 27:01:16 :: 23

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 Wed – Sat 5pm-late

BAUHAUS WEST

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, Sydney CBD (02) 8262 8800 Mon – Sun 11:30am-3am

bar bar

ADDRESS: 163 ENMORE RD, ENMORE PHONE NUMBER: (02) 8068 9917 WEBSITE: BAUHAUSW.COM OPENING HOURS: WED – FRI 5PM-MIDNIGHT; SAT – SUN 11AM-MIDNIGHT

Grain Bar 199 George St, Sydney CBD (02) 9250 3118 Mon – Sun noon-1am

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

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

E E W

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

Tell us about your bar: Smack bang in the middle of the foodie’s strip of Enmore, and 100 metres from the Enmore Theatre, sits Bauhaus West. With its monochrome colours (well, Bauhaus colours), it’s an inviting and warm intimate space in which to enjoy a pre-show cocktail or beer (a big list with a blend of local faves like Young Henrys and Batch on tap). We accept bookings every night, so if you have longer, take a table just as the theatregoers scamper out the door and relax into the à la carte dinner options with a bottle of wine. What’s on the menu? At the bar we have Haus-marinated olives; crunchy zucchini flowers stuffed with feta and chilli; and polenta cubes with gorgonzola

24 :: BRAG :: 647 :: 27:01:16

sauce. The graze menu includes Japanese-style crunchy karaage chicken; hunan chilli marinated beef ribs; dukka-crusted calamari; and salmon ‘aburi’ on Haus-made rice crackers. Feast on the wagyu rump with rock star treble-cooked chips; linguine made in-Haus with salsa verde and roasted veggies; pan-roasted duck breast with a raspberry reduction and silky mash; slow cooked lamb shank; and much more. There are also lighter options such as tenderloin salad with baked kale, sesame and quinoa; and sashimi salad; plus dessert including the sour cream and halva ice-cream stack with choco biscuit, sesame tile, raspberry coulis and more. On Wednesdays and Thursdays we do two- or three-course set options with a glass of wine for $44 per person.

Care for a drink? Among the many favourites are our signature espresso martini, various martinis, lovely sweet and tingly Aperol spritz, and frosty cold Marrickville Batch on tap. We have some wonderful imported and local reds too: top-end rich Loire Valley reds to quaffable Victorian Pinots and so much in between, from creamy Crémants to crisp Sauv Blancs. Sounds: You might be listening to anything from Daft Punk to Kurt Vile, The National and Death Cab on vinyl. We’re on a bit of a roll with some great old vinyl LPs – take one for a spin, but careful; there’s some Dire Straits and ABBA as well. Highlights: We are a local resto-bar that’s big on global flavours. The menu could be called fusion but the dishes are not. Everything is made with love. We want you to feel at home when you come to our home; we are professional but not slick – we’d like to get to know you. We founded our business on being there for the locals, and while the shopfronts on Enmore Road may constantly change, we won’t.

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

Stitch Bar 61 York St, Sydney CBD (02) 9279 0380 Mon – Wed 4pm-midnight; Thu – Fri noon-2am; Sat 4pm-2am The Swinging Cat 44 King St, Sydney CBD (02) 9262 3696 Mon – Sat 4pm-midnight Tapa Vino 6 Bulletin Place, Circular Quay (02) 9247 3221 Mon – Fri noon-11.30pm

The Cliff Dive 16-18 Oxford Square, Darlinghurst Fri – Sat 6pm-late The Commons 32 Burton St, Darlinghurst (02) 9358 1487 Tue – Wed 6pm-late; Thu – Fri 12pm-late; Sat – Sun 6pm-late The Darlie Laundromatic 304 Palmer St, Darlinghurst Mon – Sat 5pm-11pm

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

Darlo Country Club Level 1, 235 Victoria St, Darlinghurst (02) 9380 4279 Wed – Thu 5pm-midnight; Fri – Sat 5pm-2am

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 Bar Cleveland Cnr Bourke & Cleveland St, Redfern (02) 9698 1908 Mon – Thu 10am-2am; Fri – Sat 10am-4am Bar H 80 Campbell St, Surry Hills (02) 9280 1980 Mon – Sat 6pm-11.30; Sun 11am-3pm 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 Busby 55 Riley St, Woolloomooloo (02) 9326 9055 Wed – Sat 3pm-midnight 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, Darlinghurst (02) 9360 3333 Tue – Wed 6pm-11pm; Fri – Sat 6pm-1am; Sun 5pm-10pm

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 The Forresters 336 Riley St, Surry Hills (02) 9212 3035 Mon – Wed noon-midnight; Thu – Sat noon-1am; Sun noon-10pm Gardel’s Bar 358 Cleveland St, Surry Hills (02) 8399 1440 Tue – Sat 6pm-midnight Gazebo 2 Elizabeth Bay Rd, Elizabeth Bay (02) 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 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, thebrag.com

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 noon-midnight; 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 (02) 9368 1548 Mon – Sun 6pm-2am 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 Queenie’s Upstairs 336 Riley St, Surry Hills (02) 9212 3035 Tue – Sat 6pm-late & Fri noon-3pm Roosevelt 32 Orwell St, Potts Point (02) 8696 1787 Tue – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm Rosie Campbell’s 320 Crown St, Surry Hills (02) 8356 9120 Mon 5pm-midnight: Tue – Sun 4pm-midnight Shady Pines Saloon Shop 4, 256 Crown St, Darlinghurst Mon – Sun 4pm-midnight The Soda Factory 16 Wentworth Ave, Surry Hills (02) 8096 9120 Mon – 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 Norfolk 305 Cleveland St, Surry Hills (02) 9699 3177 Mon – Sat noon-midnight; Sun noon-10pm

Sweethearts Rooftop 33/37 Darlinghurst Rd, Potts Point (02) 9368 7333 Mon – Thu 4-11.30pm; Fri – Sun noon-11.30pm

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

This Must Be The Place 239 Oxford St, Darlinghurst (02) 9331 8063 Mon – Sun 3pm-midnight

The Passage 231A Victoria St, Darlinghurst (02) 9358 6116 Mon – Sat 5pm-late

The Tilbury Hotel 12-18 Nicholson St, Woolloomooloo (02) 9368 1955 Mon – Fri 9am-midnight; Sat 10am-midnight; Sun 10am-10pm

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 1pm-2.30am; Sat – Sun 6pm-late

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

Surry Hills 1300 976 683 Mon – Sat noon-midnight; 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 noon10pm The Phoenix Hotel 1 Moncur St, Woollahra 0413 688 546 Wed – Thu 4pm-11pm; Fri – Sat noon-11pm; Sun noon-10pm

The Village Inn 9-11 Glenmore Rd, Paddington (02) 9331 0911 Mon – Sun 12pm-late

The Robin Hood Hotel 203 Bronte Rd, Waverley (02) 9389 3477 Mon - Sat 10am-3am; Sun 10am-10pm

The White Horse Hotel 381-385 Crown Street,

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 noon-midnight; 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 Cornerstone Bar & Food 245 Wilson St, Eveleigh (02) 8571 9004 Sun – Wed 10am-5pm; Thu – Sat 10am-late Corridor 153A King St, Newtown 0405 671 002 Tue – Fri 3pm-midnight; Sat 1pm-midnight; Sun 1pm-10pm Cottage Bar & Kitchen 342 Darling St, Balmain (02) 8084 8185 Mon – Wed 5pm-midnight; Thu – Sat noon-midnight; Sun noon-10pm

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

44 Enmore Road, Newtown (02) 9516 2345 Tues – Sat 5pm-midnight; Sun 5pm-10pm

Doris & Beryl’s Bridge Club and Tea House 530 King St, Newtown Mon – Fri 5pm-midnight; Sat – Sun 5.30pm-midnight

Miss Peaches 201 Missenden Rd, Newtown (02) 9557 7280 Wed – Sun 5pm-midnight

Earl’s Juke Joint 407 King St, Newtown Mon – Sat 4pm-midnight; Sun 4-10pm 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 Kelly’s On King 285 King St, Newtown (02) 9565 2288 Mon – Fri 10am-2.30am; Sat 10am-3.30am; Sun 11am-11.30pm Knox Street Bar Cnr Knox & Shepherd St, Chippendale (02) 8970 6443 Tue – Thu 4-10pm, Fri – Sat 4pm-midnight Kuleto’s 157 King St, Newtown (02) 9519 6369 Mon – Sat 4pm-late; Thu – Sat 4pm-3am The Little Guy 87 Glebe Point Rd, Glebe (02) 8084 0758 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3pm-10pm Mary’s 6 Mary St, Newtown (02) 4995 9550 Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm The Midnight Special

Mr Falcon’s 92 Glebe Point Rd, Glebe (02) 9029 6626 Mon – Thu 4pm-midnight; Fri 3pm-midnight; Sat noon-midnight; Sun 4pm-10pm Newtown Social Club 387 King St, Newtown (02) 9550 3974 Mon 9am-6pm; Tues – Fri 9am-8pm; Sat 10am-8pm The Oxford Tavern 1 New Canterbury Rd, Petersham (02) 8019 9351 Mon – Thu noon-midnight; Fri – Sat noon-3pm; Sun noon-10pm Lord Raglan 12 Henderson Rd, Alexandria (02) 9699 4767 Mon – Sun noon-3pm, 5pm-9pm Raven’s Eye 127 King St, Newtown (02) 9557 6429 Mon – Thu 5pm-midnight; Fri – Sat 11.30am-midnight; Sun 11:30am-10pm The Record Crate 34 Glebe Point Rd, Glebe (02) 9660 1075 Tue – Sat noon-midnight; Sun noon-10pm The Royal 156 Norton St, Leichhardt (02) 9569 2638 Mon – Thu 10am-1am; Fri – Sat 10am-3am; Sun 10am-midnight Secret Garden Bar 134a Enmore Rd, Enmore 0403 621 585 Mon – Tue 7am-5pm; Wed – Sun 7am-11pm Soho In Balmain 358 Darling St, Balmain 0407 525 208 Tue – Sun 5pm-11pm 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

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

Alberts Bar 100 Mount St, North Sydney (02) 9955 9097 Mon – Wed 11.30am-10pm; Thu 11.30am-11pm; Fri 11.30am-midnight 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 Hemingway’s 48 North Steyne, Manly (02) 9976 3030 Mon – Sat 8am-midnight; Sun 8am-10pm Honey Rider 230 Military Rd, Neutral Bay (02) 9953 8880 Tue – Sat 4pm-midnight; Sun 4pm-10pm InSitu 1/18 Sydney Rd, Manly (02) 9977 0669 Tue – Fri 5pm-midnight; Sat 9am-midnight; Sun 9am-10pm The Hunter 5 Myahgah Rd, Mosman 0409 100 339 Mon – Tue 5pm-midnight; Wed – Sat noon-midnight;

Your bar’s not here? Email: chris@ thebrag.com Sun noon-10pm Jah Bar Shop 7, 9-15 Central Ave, Manly (02) 9977 4449 Mon – Fri 4pm-late; Sat 9am-late; Sun 9am-10pm The Local Bar 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

Red Line Product tion o s in ass s ociation with sydneey mardigra as at the old fitz present

BY SAMUEL D HUNTER directed by shaNE ANTHONY 2 FEBRUARY - 4 MARCH TUES - SAT 7.30 PM SUN 5 PM oldfitztheatre.com Agiu gius s / Chlo Chloee Baylis Bayliss s / Ale Alex x Bea Beauma uman n Mered dith Penm enman an / Hanna Hannah h Wat Waterm erman an Lightin ng: Alexand nder er Be Berla rlage ge Set and costum tume: e Ch Charl arlie ie Da D vis s Stage Manager: patr atr rick howa wa ard d thebrag.com

PRODUCTIONS

T H E A T R E

BRAG :: 647 :: 27:01:16 :: 25

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

ALBUM OF THE WEEK FAT WHITE FAMILY Songs For Our Mothers Without Consent

Violent and vitriolic, this is sonic horror of the highest order; a work of art that happens to reek of piss.

RÜFÜS Bloom Sweat It Out/Sony

For an electronic band that has made a lasting impact both locally and internationally since its last record, Atlas, RÜFÜS have done quite an extraordinary job of meeting – if not exceeding – the high expectations ahead of their new album. This album feels like a journey from start to finish. The layout of the tracks builds suspense with ‘Brighter’, crescendos at ‘Be With You’ and gently falls away by the final moments on the pensive ‘Innerbloom’. Bloom is stunning in its simplicity and exploration of space. It is proof that the art of songwriting need not be rushed; that there can be beauty in quietness and subtlety. In no track is this more evident than ‘Innerbloom’, which at almost ten minutes long somehow still leaves you wanting more. ‘Hypnotised’ also plays with this idea through the gentle interaction of male and female vocals, and the result is steady and magical. If you were hoping for an album that is drastically different in sound from Atlas, then you may be disappointed – RÜFÜS continue to exhibit their dreamy style and produce a mix of catchy and atmospheric tracks in this collection, but this time with a slightly more mature sound.

Fat White Family’s new album is the Mother’s Day gift from hell; less a nice set of soaps and a bottle of that perfume she’s been eyeing up and more a mauled carcass dragged back to the den by a young predator. It’s messy, demented and utterly unsettling, and in this way, it reaches levels of bloody exuberance other bands could only dream of. Songs For Our Mothers sees the

band ironically toying with the aesthetics of fascism: the music video for the darkly brilliant gem ‘Whitest Boy On The Beach’ has the mob shaved and pale, looking like the most malnourished skinheads around, and the album contains songs with titles like ‘Goodbye Goebbels’ and ‘Lebensraum’. But Fat White Family aren’t fascists – they’re anarchists through and through – and the lurching pleasures of a tune like the woozy ‘Satisfied’ rests upon an utter rejection of all forms of authority. ‘Love Is The Crack’ takes

things one step further, twisting the rhetoric of racists inside out, and revealing the essential ridiculousness of the xenophobic chant, “There ain’t no black in the

MICHAEL WAUGH

JOHN CALE

JOHN FLANAGAN

Livin’ On A High Note Anti-/Warner

What We Might Be Independent/MGM

M:FANS / Music For A New Society Domino/EMI

There’s Another Way To Where You’re Going Independent/Bandcamp

“Mavis Staples’ back,” announce the backing vocals repeatedly in hushed, gentle tones. It’s a soothing, if not slightly obvious, start to an album anchored in such an illustrious career.

Country music singer, songwriter and guitarist Michael Waugh is a dairy farmer’s son from Gippsland, Victoria. On What We Might Be, Waugh dispenses with many of the lyrical concerns that are often trundled out by practitioners of country music regardless of their actual country of origin. Rather than singing reverently about a mythical America, Waugh conjures images and experiences that are refreshingly and distinctly Australian, and does so with an honesty and depth of insight that ensures this debut album is an engrossing listen.

In 1982, Velvet Underground founding member John Cale released Music For A New Society, a futuristic recording that was – according to Cale – an excruciatingly painful exercise. Although the album was deemed a commercial failure at the time of release, 33 years later it has been remastered and re-released alongside a reworking of all 11 original tracks by Cale himself, in an effort to explore the relationship between new and old.

Country music is so hot right now, and it’s in large part thanks to Kentucky native Sturgill Simpson leading the so-called renaissance. In the quieter but no less engaging Australian corner, we have the Melbourne-raised singer-songwriter John Flanagan with his second album, There’s Another Way To Where You’re.

The beauty of Staples’ latest release is that despite the plethora of songwriters enlisted to piece together this body of work, including the likes of Justin Vernon, Benjamin Booker, Aloe Blacc, Valerie June and Nick Cave, the unity between its tracks feels completely genuine. The whole record is a laden with bluesy guitars, intermittent percussion and the raspy gospel lead vocals that are a mainstay across Staples’ career.

On first listen, it is hard not to wonder who on Earth would choose to sit through such a harsh combination of discordant synths combined with jarring spoken-word vocals, but this rejuvenated record has the power to grow on the listener, conveying an abundance of emotion. Midway through the album, ‘Chinese Envoy’ provides some relief from the madness with a more relaxing sequence of strings and acoustic guitar, demonstrating Cale’s diverse talents. Comparing the 1982 recordings with their contemporary counterparts is a fun exercise in itself, and to Cale’s credit, many of the songs have been altered significantly.

Stand-out songs include the beautifully reflective ‘Dedicated’ and the driving, sassy nature of ‘One Love’, with its far-off percussion and take-no-prisoners attitude. The swagger of acoustic closer ‘MLK Song’ is another high point, honouring Martin Luther King within a breathy and intimate sonic gem.

Bloom shows off RÜFÜS’ effortless ability to tap into the listener’s calmer self and evoke a feeling with the slightest touch.

Though the power in her voice is undoubtedly starting to waver with age, this collection is still a true Mavis Staples album for the fans.

If you love music that will get your toes tapping while engaging your brain cells, this is indispensable listening.

Although the collection begins downright weird, its source material has been lauded a masterpiece for a reason – listeners need to be patient and have a well and truly open mind.

Erin Rooney

Chelsea Deeley

Graham Blackley

Tegan Reeves

Yet fourth track ‘Action’ is the first point where we hear the momentum build. Aside from this and the climbing instrumentation on sixth track ‘Don’t Cry’, the whole album again sinks back into the same glacial pace.

INDIE ALBUM OF THE WEEK There is something charmingly crude about Truly Holy’s latest EP, Beatrix83. Not in the sense of being crass, mind, but more that it has edges yet to be shaved off. Hand prints have been deliberately left all over the clay; it’s covered in strange misshapes that are yet to be filed down.

Beatrix83 Independent/Bandcamp

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Joseph Earp

MAVIS STAPLES

Waugh’s love and respect for his family shines through in ‘Brother’, which manages to tug at the heartstrings whilst remaining both playful and down-to-earth. Waugh avoids mawkishness and instead captures the complex nature of the familial bond: “I don’t often tell you, except for when we’re drunk / Just how much it means that you’ve been there when things were tough”. Waugh’s capacity for incisive social commentary comes to the fore on the moving ‘Terrorists And Planes’, which inspires the listener to soberly reflect on a society in which the spectre of violence haunts even the most seemingly innocuous pursuits.

TRULY HOLY

Union Jack,” picking it apart until it becomes an Edward Lear-esque oddity.

Each song seems designed to negate itself. Lush guitar work sits at odds to the neutered, almost bored vocals; icy instrumentals turn into grating, nightmarish bouts of industrial rhythm; and lyrics deal primarily with contrasts, fluctuating between images of great beauty and muttered demands. Of course, this contrarian brand of roughness means the record is slightly one-note, and the tone established by lead track

‘The Pond’ remains largely untouched throughout. Truly Holy pick a single point on the horizon and run towards it, but their dogged determination could also be interpreted as a kind of artistic bravery. Certainly, they are nothing if not original. The EP’s sprawling, eightminute title track has a searing, sloppy energy entirely of its own, while the similarly lengthy closer ‘There Is A Rhythm’ combines touches of sun-blasted Australian gothic with jazzy solos. Distinct and colossal, Beatrix83 is a lurching, bow-legged giant of a record; one that practically demands witnesses.

There has been a seven-year gap between albums for the folk-country musician, having released his debut Meet Me In Between back in 2009. The gap has allowed a wonderful maturing of sound. There’s Another Way To Where You’re Going sees the paring back of the fiddle and banjo and an emphasis on mellow melodies, deeply personal lyrics and some altogether beautiful, nimble fingerpicking. Despite being recorded in Nashville and produced by Viktor Krauss, brother of bluegrass/country singer Alison Krauss, Flanagan’s second album really is a homage to Melbourne. This is evident on the love song ‘You Make The World Beautiful’ where Kew Junction and Fitzroy’s Smith Street feature in the romance. And album opener and first single ‘High On High’ lauds both the suburb of Thornbury and the city itself. A relaxed mix of ’70s folk, modcon Americana and Melburnisms, Flanagan’s second album is quite special. Anita Connors

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... MORRISSEY - Vauxhall And I CHAIRLIFT - Moth HOT CHIP - Why Make Sense?

FOSTER THE PEOPLE - Supermodel ARCTIC MONKEYS - AM

Joseph Earp thebrag.com

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

PHOTOGRAPHER :: ASHLEY MAR

The Sydney Opera House – as aweinspiring and beautiful as it is – can be a funny place for a gig. Sometimes, audiences seem too caught up in the majesty of the venue to enjoy the show. Other times, the performers themselves seem intimidated. But the more contemporary music acts get booked for the Concert Hall, the more everyone realises how special a Sydney Opera House party can turn out when all the right ingredients are present. And boy, do Hot Chip bring the fun to this Friday night under the famous sails.

There are seven band members onstage tonight, plus one hard-working stage tech. It’s no surprise, given the abundance of gear – digital and analogue – with which the British beatmakers craft their show. They’re dressed like a motley crew; perhaps more significantly, so is their audience. But everyone here shares a common determination to have a good time. By the first verse of set opener ‘Huarache Lights’, virtually every member of the crowd is up and dancing, and so it remains for the duration. The bass is turned up, the sweat is thick, the strobe lights are incessant, and it’s hard to believe the Opera House has ever seen anything like it.

live at the sly ft. mac the knife + hunch + dead brian 21:01:16 :: Slyfox :: 199 Enmore Rd Enmore 9557 2917 thebrag.com

With so much going on – both onstage and in the audience – it’s easy to miss the little details, like Rob Smoughton’s colourful steel drum work on ‘One Life Stand’, or even the nuance in Alexis Taylor’s androgynous voice. Like any great night out on the town, these subtleties matter less than the overall package. From the choreographed dance steps on ‘Flutes’ to the massive call-and-response on ‘Over And Over’, Hot Chip are adept at making moments that could last forever in the memory of some of tonight’s attendees. Not many of these moments are on the softer side of the sonic spectrum – there’s

less of a bludgeoning quality about ‘Started Right’, but that’s about it for the low-key tracks. Instead, Hot Chip thrive in their exploration of big rhythms and harmonies. Joe Goddard’s deep vocals counter Taylor’s parts nicely, while drummer Sarah Jones is in perpetual motion for the entire show. One drummer becomes three for the tribal breakdown of ‘Ready For The Floor’, but the fans need no encouragement – from the top until the finale, a cover of Bruce Springsteen’s ‘Dancing In The Dark’, that floor is well and truly heaving. It turns out our city still knows how to party after all. Chris Martin

sabbath sessions

PICS :: AM

Sydney Opera House Friday January 22

PICS :: DC

HOT CHIP

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OUR LOVELY PHOTOGRAPHER

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PICS :: AM

up all night out all week . . .

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JOANNA NEWSOM, RYLEY WALKER Sydney Opera House Thursday January 21

To misquote Arthur C. Clarke, any good gig should be ultimately indistinguishable from magic. So it was at Joanna Newsom’s Sydney Festival show, a night that saw not one but two acts – the support and the headliner – transcend the boundaries of the real, coming to rest somewhere on the very outer extremes of the exquisite. It was a peep behind the curtain; a gig that saw the dopey yet charming Ryley Walker worrying about whether or not his fly was open seconds before he broke out into a Nick Drake-esque number that shifted ceaselessly between the mythic and the mundane, backed by fluid double bass. In fact, this sense of the serene surreal – of the gently, unpretentiously bizarre – is what most closely tied him to Newsom. Well, that and what can only be described as an intensely, invigoratingly dorky charm. Emerging onstage before the lights had even lowered, Joanna Newsom was unavoidably lovable, thanking the audience with an enthusiasm that was as touching as it was genuine. And then, to the music. Newsom’s power – the skill that separates her from all

others, and has seen her so outstrip the other denizens of what was once called the freak folk movement – is her ability to build up complexity until her songs become startlingly simple. As her hands flew across the harp, navigating her way through the devastatingly beautiful ‘Emily’, Newsom erected towers that eventually toppled, leaving nothing but bare, beautiful ruins in their place. She plucked songs from across her back catalogue, allowing each of her albums its own time in the sun. Choosing set highlights seems like a pointless task – like choosing which brushstroke completes a Caravaggio – but the baroque ‘Sapokanikan’ wowed, as did a version of ‘Baby Birch’ that saw Newsom’s startlingly talented backing band swap instruments and tones as though they were trying on so many winter coats. That said, reviewing the music itself also feels like a surface-level concern. After all, Newsom’s work is designed to bypass language – to touch the places the written word cannot reach. One would have done better to review the audience. The two young women who clung to each other as though drowning. The grown man with his head in his hands, seemingly unable to look directly at the source of the sound. And the adolescent, his shoulders in perpetual movement throughout – perhaps laughing. Perhaps crying. Perhaps both.

MEXRRISSEY

Enmore Theatre Saturday January 23 The Enmore Theatre audience tonight is dotted with people in Morrissey T-shirts, but as the musicians take the stage, they’re dressed in shirts emblazoned ‘Mexrrissey’. It’s the debut Australian performance by a seven-piece band that has nothing to do with Manchester or The Smiths’ famous frontman, except for the fact it only plays his songs. In Spanish. And with trumpet solos. And it’s downright brilliant. Punters who came expecting mariachi suits and sombreros would have been mistaken, but Mexrrissey certainly have a more rock’n’roll attitude than their English namesake – especially in his solo years – and a much better sense of humour to boot. The language barrier is barely a problem, either. They open with ‘First Of The Gang To Die’, a song inspired at least in part by the Mexican drug cartels, and transport us into an alternate universe where Morrissey is the romantic songwriter behind an effervescent Latin rock band. The video backdrop sees Mexican graffiti scrawled over Morrissey album artwork, and desert tumbleweed rolling through the streets of Salford. One wonders what the man himself would make of all this, but the crowd is on board almost immediately. Is singing along in a different language going to be a problem? Evidently not. ‘Everyday Is Like Sunday’ (‘Cada Dia Es Domingo’) and Smiths hits like ‘Panic’ (‘Panico’) have enough wordless vocals

Magic Mirrors Spiegeltent Sunday January 17

With a style steeped in darkened country bending to and around the incredible power of Rob Snarski’s vocals, the sounds of The Blackeyed Susans made for an ideal match with the Spiegeltent for a one-off show. Celebrating over 25 years of making music with a lineup that never stands still – having included members of The Bad Seeds, Dirty Three and The Drones – the sold-out show by the self-proclaimed ‘moody romantics’ made for an enriching and deeply moving Sunday night. Having emerged from the Perth scene in the late ’80s as a side project alongside The Triffids, Chad’s Tree and Martha’s Vineyard, The Blackeyed Susans were set to record an EP for the fun of it, before dissolving entirely. Yet even now through stints in Sydney and Melbourne, there is a certain harking back to this distant city in the collective members’ heyday while remaining refreshing and new – indeed, with new songs in tow. Backed by crunchy acoustics, double bass and a touch of accordion, The Blackeyed Susans’ performance was made ever more textural with a trio of sombre strings to mark the night.

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Indeed, the magic of the Mexrrissey experience lies in the band’s sense of fun. Camilo Lara, the leader and spokesman, has the audience laughing after every song. He says they’d thought about starting a tribute band for Faker, but ‘Mex-Fake’ didn’t have the same ring to it (and nor did ‘Olivia Newton-Mex’). Later, he confesses that translating Morrissey’s songs into Spanish wasn’t really such a challenge: “They have a lot of drama … like telenovelas from Mexico.” An early highlight, ‘Girlfriend In A Coma’, seems somehow more sincere in the Spanish tongue and with a cowbell carrying the pulse, while ‘Bigmouth Strikes Again’ is a bona fide banger. Vocals are split between four of the members, while the rest handle horns, percussion, drums and keys. Their set closes with ‘How Soon Is Now’, as well it must, but the most special moment of the show is still to come. Mexrrissey take their bows and pose for photos; the lights go up, the house music plays and the doors are opened for people to exit. But nobody does. After nearly ten minutes of cheering, the amigos return. They’re out of songs, so they repeat their version of ‘The Last Of The Famous International Playboys’. A spontaneous and very genuine encore? Even Morrissey would have a hard time beating that. Chris Martin

Joseph Earp

JENNY HVAL THE BLACKEYED SUSANS

for everyone to join in, and elsewhere, the sight of middle-aged British expats trying to mimic pigeon Spanish is mighty amusing.

From the first song that the late David McComb wrote for Snarski to sing, ‘Ocean Of You’ (a stirring number about the perils of becoming too enraptured in a relationship) to the rollicking ‘Smokin’ Johnny Cash’ – and the breathy hum and triumphant harmonies of Snarski and J.P. Shilo on everything else in between – The Blackeyed Susans covered plenty of ground. Particularly heart-warming were the cries of sweet nostalgia at the mention of ‘Glory Glory’ and the subsequent swaying to the joyous keys that the track induced. While ballads elicited hazy smiles from the audience, the more rocking tracks also held a mighty stomp that could be felt through the floor, and channelled a warmth that coursed throughout the tent. Ending on this note, The Blackeyed Susans paired a honeyed ballad consisting of only Snarski’s voice, keyboard and strings, with their pounding cover of Bruce Springsteen’s ‘State Trooper’. Beginning from a warbling and seemingly innocent bassline, the track slowly built up to form a sprawling nightmare of a song with a good dose of shredding, cementing a performance by a band that is as versatile as it is affecting. Jade Smith

The Famous Spiegeltent Tuesday January 19 Jenny Hval’s show in the famous Sydney Festival Spiegeltent wasn’t a performance: it was a transformation, and not only of Hval herself. At some point during the evening, those watching stopped being audience members and became witnesses. They were affected – essentially, unavoidably affected – and the stunned expressions on their faces as they wandered out reflected that change. It’s hard to say at what exact time this alteration occurred. Perhaps it was the 16th or so time Hval uttered the phrase “soft cock rock” in her clipped accent, backed by a series of smudged electro beats provided by a wig-wearing man behind a mixing desk. Or maybe it was the moment that Hval’s backing dancer cum hygiene assistant cum personal carer – a young woman clad in a full-length hazmat suit with red paint smeared around the crotch – began draping the singer in toilet paper. Or perhaps it was the moment Hval played her own voice through her iPhone, holding the microphone stiff against the device, her expression bored and muted while her recorded tones swirled emotionally. Then again, it could have been the very

second she started to pulsate across a yoga ball, eyeing up the audience with a dark mix of desire and abject hatred while her choreographed comrade sobbed and roughly applied mascara in the background. All that said, it may well have been when the singer began slicing up her wig, tearing into it with a pair of scissors; the dancer slapping her breasts in the background as they sung a song of death, about death, full of death. This wasn’t really a gig. Nor was it an art piece. Nor was it a poetry reading. It was some horrific hybrid; a mutated, deliberately messy beast that actively rejected critical reading. Was it any good? It’s nigh on impossible to say. It was awkward, and halting, and at times it was outright dull. But it was meant to be. There were walk-outs. Of course there were walk-outs. On some level the show would have been a failure if there hadn’t have been. But even those who walked out were affected. Even those who walked out were changed. At some point, the Spiegeltent stopped being a performance space and became a cocoon; a wet, trembling vehicle for change. Although at what point that was, who knows? Joseph Earp

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pick of the week

Bald Faced Stag Hotel, Leichhardt. 8pm. Free. The Widowbirds + Baudelaires + Joey’s Coop Frankie’s Pizza, Sydney. 4pm. Free. Vibrations At Valve - feat: Band Comp Valve Bar, Agincourt Hotel, Ultimo. 7pm. $15.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Alister Spence Trio Foundry616, Ultimo. 8:30pm. $21.50. Diana Krall Sydney Opera House, Sydney. 8pm. $81.50. The Groovemeisters Lazybones Lounge, Marrickville. 8:30pm. Free.

SATURDAY JANUARY 30 The Lockhearts

Factory Theatre

Old Mate’s Block Party The Lockhearts + Joseph Liddy and The Skeleton Horse + The Cherry Dolls + The Daphne Rawling Band + More 1pm. $20. WEDNESDAY JANUARY 27 ACOUSTIC, COUNTRY, BLUES & FOLK

Manouche Wednesday - feat: The Smoky Berets Mr Falcon’s, Glebe. 7pm. Free. Ruby Run + Fallon Cush + Lincoln Davis The Gasoline Pony, Marrickville. 5pm. $5.

INDIE, ROCK, POP, METAL, PUNK & COVERS Mark Travers Orient Hotel, The Rocks. 9pm. Free. Muso’s Club Jam Night

Bald Faced Stag Hotel, Leichhardt. 8pm. Free. Sosueme - feat: Crooked Colours Beach Road Hotel, Bondi Beach. 8pm. Free. Stag Blues Jam feat: Al Britton + Jim Finn

THURSDAY JANUARY 28 ACOUSTIC, COUNTRY, BLUES & FOLK Emad Younan Mr Falcon’s, Glebe. 8:30pm. Free. Harbourview Hullabaloo - feat: Zack Martin + Ben Osmo Harbourview Hotel, The Rocks. 7:30pm. Free. Katherine Vavahea Lazybones Lounge, Marrickville. 8:30pm. $10.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Diana Krall Sydney Opera House, Sydney. 8pm. $81.50. George Golla And Jacki Cooper Quartet Foundry616, Ultimo. 8:30pm. $21.50.

INDIE, ROCK, POP, METAL, PUNK & COVERS $Kiptracer +

Crocodiles + Foot Filth Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. Dave White Duo Orient Hotel, The Rocks. 9pm. Free. Dot Cooper Penrith RSL, Penrith. 11am. $8. Frnkiero Utopia Records, Sydney. 5:30pm. Free. Greg Hooper + Dee Donavon Penrith RSL, Penrith. 11am. $8. Katherine Vavahea Lazybones Lounge, Marrickville. 9pm. $10. Live At The Sly feat: Hollow States + Slow Loris + Renetta Joy Slyfox, Enmore. 7:30pm. Free. Night Terrors feat: Plum Green + Jennifer Kingwell The Newsagency, Marrickville. 7pm. Free. Skegss + The Pinheads + Wash Brighton Up Bar, Darlinghurst. 8pm. $13.50. Sons Of The East Moonshine Cider & Rum Bar, Manly. 9pm. Free. Steve Edmonds Frankie’s Pizza, Sydney. 10pm. Free. The Bondi Cigars + The Blues Collective The Basement, Circular Quay. 6pm. $19.20. Twilight At Taronga - feat: Courtney Barnett + Jep And Dep Taronga Zoo, Mosman. 7pm. $70.95. Wildfire Lounge Pop Up Bar Live Sessions - feat: Tenderfoot + Direwolf Wildfire Lounge, Sydney. 4pm. Free.

FRIDAY JANUARY 29 ACOUSTIC, COUNTRY, BLUES & FOLK Glamma Rays + Elaine Crombie

The Gasoline Pony, Marrickville. 7pm. $10. Lost In The Woods + Silent Partners Lazybones Lounge, Marrickville. 8:30pm. $15.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Dereb The Ambassador + Astronafrica The Basement, Circular Quay. 7:30pm. $19.20. Diana Krall Sydney Opera House, Sydney. 8pm. $81.50. Funk Engine Django Bar @ Camelot Lounge, Marrickville. 7:30pm. $15. Glen Esmond Trio Penrith RSL, Penrith. 9pm. Free. John & Yuki Trio Well Co. Cafe And Wine Bar, Leichhardt. 8pm. Free. Palacio De La Rumba Foundry616, Ultimo. 8:30pm. $32.50. Soulfayah Presents Lion’s Den Reggae - feat: B-Hopps + Wally + Mystic Valve Bar, Agincourt Hotel, Ultimo. 9pm. $10.

INDIE, ROCK, POP, METAL, PUNK & COVERS Acolyte + The Soulenikoes + Seims + Enter Reality Bald Faced Stag Hotel, Leichhardt. 8pm. $14.90. Buried Feather + The Metal Babies Union Hotel, Newtown. 7pm. Free. Cambo The Crest Hotel Sylvania, Sylvania. 7pm. Free. Darren Johnstone Quakers Inn, Quakers Hill. 8pm. Free. Drillhorse + The Otherwise Men + Razor Fairies + Disclaimer + Viral Eyes + Cigars Of The Pharaoh Valve Bar, Agincourt Hotel, Ultimo. 8pm.

$10. El Grande Moonshine Cider & Rum Bar, Manly. 9pm. Free. Evie Dean South Hurstville RSL Club, South Hurstville. 7:30pm. Free. Gold Class + Day Ravies Newtown Social Club, Newtown. 8:30pm. $12. Jellybean Jam Revesby Workers Club, Revesby. 8:30pm. Free. Jesse Redwing Band + Doctor Goddard + Gusher DJs Waywards, Newtown. 8pm. Free. Leprous + Voyager Factory Theatre, Marrickville. 8pm. $25. Luca Brasi Plan B Small Club, Sydney. 7:30pm. $23.50. Penny Lane Zest Grill House, Rooty Hill. 5:30pm. Free. Picture Perfect + Hyperdrones + Blue River Saga Brighton Up Bar, Darlinghurst. 8pm. $11.50. Rare Finds #10 feat: A.D.K.O.B + Bad Pony + Yeevs Oxford Art Factory, Darlinghurst. 2:15pm. Free. Reckless Orient Hotel, The Rocks. 10pm. Free. Smokin’ Willies The Oriental Hotel, Springwood. 8pm. Free. Soundproofed St Marys Rugby Leagues Club, St Marys. 9pm. Free. The Frocks Colonial Hotel, Werrington. 9pm. Free. Tonight Alive Metro Theatre, Sydney. 8pm. $40.68. Twilight At Taronga - feat: Josh Pyke + Winterbourne Taronga Zoo, Mosman. 7pm. $70.95. Whispering Jack: A Tribute To The Music Of John Farnham Canterbury Hurlstone Park RSL Club, Hurlstone Park. 7:30pm. $10.

five things WITH

HAYDEN WOOLF FROM HOLLOW STATES Growing Up 1. A key childhood music memory of mine is playing the national anthem in a minor key on a pink keyboard on every sound it had. It drove the family crazy. I wrote a song on it when I was nine called ‘Save The Trees’… my dad said it needed a lot of work. He was right. Inspirations Some of my personal 2. favourites are Pink Floyd, Kate Bush, The Knife, Patti Smith and Stevie Nicks’ songs in Fleetwood Mac. Their music is sometimes dark but always universal. They’re all unique and bold in some way. A great melody always inspires me. I’m also a sucker for the latest Rihanna hit. Band Joel’s my brother and Harrie is 3. Your

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a friend of ours whose voice we can’t get enough of. Live we play with an incredible drummer called Andres. Joel is the level-headed mature member, I’m the difficult, highly strung one and Harrie is pretty easygoing and very social. It’s a good mix. We do have different musical opinions but I think that’s why it works so well. Joel and I bicker like mad but we always find a way to compromise. Harrie is definitely the mediator of our bickering. The Music You Make Indie-pop, dark but uplifting, 4. synthy and guitary with driving rhythms. Sounds like Miike Snow, Andy Bull, The National, Tame Impala, Alt-J. We recorded our latest single ‘Damage I’ve Done’ with Tim Carr (Matt Corby, Urthboy) at 301 and it was mastered by Joe LaPorta.

We’re recording an EP in February and are pumped about releasing it. Our live show is emotional but danceable. Harrie really gives it all when he’s singing live. We’ll be going on a national tour later in the year. Music, Right Here, Right Now 5. The great thing about the music scene is that it’s always producing amazing bands and artists. Whatever happens to the music industry, the scene will always be active. There is so much talent in Sydney at the moment. Going to see live music is a great place to meet interesting people. With: Slow Loris, Renetta Joy Where: Slyfox When: Thursday January 28 BRAG :: 647 :: 27:01:16 :: 29

g g guide gig g

g g picks gig p

up all night out all week...

send your listings to : gigguide@thebrag.com

SATURDAY JANUARY 30 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Hetty Kate + The Dan McLean Hot Six Foundry616, Ultimo. 8:30pm. $27.50. John & Yuki Well Co. Cafe And Wine Bar, Leichhardt. 8pm. Free. Mulgoa Road Jazz Band Penrith RSL, Penrith. 2pm. Free. Vince Jones + Matt McMahon + Brett Hirst + James Hauptman The Basement, Circular Quay. 7:30pm. $46.80.

ACOUSTIC, COUNTRY, BLUES & FOLK

Darren Johnstone Plough & Harrow, Camden. 8pm. Free. Diana Krall Sydney Opera House, Sydney. 8pm. $81.50. Los Romeos! The Gasoline Pony, Marrickville. 2pm. $5. The Ozskas Lazybones Lounge, Marrickville. 8:30pm. $15.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Abbalanche - The Australian ABBA Tribute Show North Bondi RSL, Bondi North. 8pm. Free. Adam Lambert + Melanie Martinez Enmore Theatre, Newtown. 8am. $99.90. Big Way Out The Henry Sports Club, Werrington County. 7:30pm. Free. Bin Juice Moonshine Cider & Rum Bar, Manly. 9pm. Free. Crossroad Picton Bowling Club, Picton. 8:30pm. Free. Dallas Crane Newtown Social Club, Newtown. 8pm. $20. Earopund Part 2 - feat: Medea + Falling Seeds + Liz Martin Zee And The Trouble Makers + DJ Angel Lust + Astrid Zeman + Alexandra Castle + Gail Priest + Hiske Weijers + Fleur Wiber + Ana Key Renee + Falez + Justine Wahlin Alpha Gallery, Sydney. 2pm. $20. Evie Dean Adria, Sydney. 5pm. Free. Food Court + Wild Honey + Sloppy Kiss Soiree Brighton Up Bar,

Darlinghurst. 8pm. $11.50. Fraser Ross + Cody Dillon 107 Projects, Redfern. 7:30pm. $10. Hazmat + Azreal + Sin 4 Me Bald Faced Stag Hotel, Leichhardt. 7:30pm. $13.90. Jimmy Bear Orient Hotel, The Rocks. 5:45pm. Free. Lennon - Through A Glass Onion - feat: John Waters + Stewart D’Arrietta Bankstown Sports Club, Bankstown. 7:15pm. $45. Marcelo Oxford Art Factory, Darlinghurst. 12pm. $13.60. Matt Jones Town Hall Hotel, Balmain. 9pm. Free. Matt Lyon Penrith Panthers, Penrith. 5:30pm. Free. No One Wins feat: Midwife + Hostile Objects + Frank Rizzo + Swine + C.O.F.F.I.N. + Disparo! Valve Bar, Agincourt Hotel, Ultimo. 6pm. $5. No Rest For The Wicked - feat: DJs S.H.E. + Action Ant + Xerstorkitte + Si Co + Glitterpig + Matt Curley Valve Bar, Agincourt Hotel, Ultimo. 8pm. $5. Old Mate’s Block Party - feat: The Lockhearts + Joseph Liddy And The Skeleton Horse + The Dead Love + The Cherry Dolls + The Daphne Rawling Band + The Mountains + Last Cavalry + Fox Company + Reidemeister + Much Sonar + Black Heart Breakers Factory Floor, Marrickville. 1pm. $20. Oneworld Rooty Hill RSL Club, Rooty Hill. 8pm. Free. Paper Hearts Band Revesby Workers Club, Revesby. 8:30pm. Free. Red Alert The Crest Hotel Sylvania, Sylvania. 7pm. Free. Short Stack Metro Theatre, Sydney. 5:30pm. $50. Stephanie Lea Novotel, Rooty Hill. 6:30pm. Free. Strike Hard Festival - feat: Confession + Hand Of Mercy UTS Underground, Ultimo. 2:30pm. $26. The Chosen Few Orient Hotel, The Rocks. 10pm. Free. Todd Mckenney Sings Peter Allen Wentworthville Leagues Club, Wentworthville. 8pm. $55. Twilight At Taronga - feat: Far

From Folsom With Tex Perkins And The Tennessee Four With Rachael Tidd + Vic Simms Taronga Zoo, Mosman. 7pm. $80.95. Urban Stone Penrith RSL, Penrith. 9pm. Free.

SUNDAY JANUARY 31 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Feral Swing Katz Penrith RSL, Penrith. 2pm. Free. The Tango Orchestra - feat: Tángalo Foundry616, Ultimo. 8:30pm. $27.50.

INDIE, ROCK, POP, METAL, PUNK & COVERS Adam Lambert + Melanie Martinez Enmore Theatre, Newtown. 8am. $99.90. Animal Ventura Moonshine Cider & Rum Bar, Manly. 7pm. $19. Dividers + Past Present + Honeyglow + Colytons + Sketch Method Valve Bar, Agincourt Hotel, Ultimo. 5pm. $10. Mo Funk And Husky Manly Wharf Hotel, Manly. 4pm. Free. Ollie Kirk + Liam Maihi + Grace Pitts Bald Faced Stag Hotel, Leichhardt. 3pm. $16.90. U2 Elevation Orient Hotel, The Rocks. 4:30pm. Free. UK Anthems Orient Hotel, The Rocks. 8:30pm. Free. Walk The Moon + The Griswolds Metro Theatre, Sydney. 7pm. $59.

ACOUSTIC, COUNTRY, BLUES & FOLK

Run The Red + Joel Leffler Lazybones Lounge, Marrickville. 8:30pm. Free. Dougie Dekroo’s Kentucky Moon Union Hotel, Newtown. 4pm. Free. Songquest Heat 4 - feat: Stuart Jammin + Scott O’Hara + Samuel Davidson And The One Night Band + Luke Houselander + Michael Gorham + Lucy Tiger + Natasha Marshall Harlequin Inn, Pyrmont. 3pm. Free. Sunday Live At The Bowlo Marrickville Bowling Club, Marrickville. 4:30pm. Free.

MONDAY FEBRUARY 1 INDIE, ROCK, POP, METAL, PUNK & COVERS

Live & Originals feat: Sean O’Brien + Rosanna Mendez + Peasant Moon Corridor Bar, Newtown. 7pm. Free. Louise Love + KT Spit The Newsagency, Marrickville. 7:30pm. Free. Mick Hambly Orient Hotel, The Rocks. 9pm. Free. The Monday Jam The Beresford Hotel, Surry Hills. 6pm. Free.

ACOUSTIC, COUNTRY, BLUES & FOLK

John Maddox Duo Mr Falcon’s, Glebe. 7pm. Free. Songsonstage feat: Russell Neal + Chris Brookes Kelly’s On King, Newtown. 7:30pm. Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Sonic Mayhem Orchestra Lazybones Lounge, Marrickville. 8:30pm. Free. Reggae Mondays - feat: Eric Renaud And Caribbean Soul Civic Underground, Sydney. 10pm. Free.

TUESDAY FEBRUARY 2 ACOUSTIC, COUNTRY, BLUES & FOLK

Little Georgia Midnight Special, Newtown. 7pm. Free. Songsonstage feat: Russell Neal Gladstone Hotel, Dulwich Hill. 7:30pm. Free. Songsonstage feat: Stuart Jammin Kelly’s On King, Newtown. 8pm. Free.

WEDNESDAY JANUARY 27

Jennifer Kingwell

Diana Krall Sydney Opera House, Sydney. 8pm. $81.50.

THURSDAY JANUARY 28 Live At The Sly - Feat: Hollow States + Slow Loris + Renetta Joy Slyfox, Enmore. 7:30pm. Free. Night Terrors - Feat: Plum Green + Jennifer Kingwell The Newsagency, Marrickville. 7pm. Free. Skegss + The Pinheads + Wash Brighton Up Bar, Darlinghurst. 8pm. $13.50. Sons Of The East Moonshine Cider & Rum Bar, Manly. 9pm. Free. Steve Edmonds Frankie’s Pizza, Sydney. 10pm. Free. Twilight At Taronga - Feat: Courtney Barnett + Jep And Dep Taronga Zoo, Mosman. 7pm. $70.95.

FRIDAY JANUARY 29 Dereb The Ambassador + Astronafrica The Basement, Circular Quay. 7:30pm. $19.20. El Grande Moonshine Cider & Rum Bar, Manly. 9pm. Free. Glamma Rays + Elaine Crombie The Gasoline Pony, Marrickville. 7pm. $10. Gold Class + Day Ravies Newtown Social Club, Newtown. 8:30pm. $12. Leprous + Voyager Factory Theatre, Marrickville. 8pm. $25. Lost In The Woods + Silent Partners Lazybones Lounge, Marrickville. 8:30pm. $15. Luca Brasi Plan B Small Club, Sydney. 7:30pm. $23.50. Picture Perfect + Hyperdrones + Blue River Saga Brighton Up Bar, Darlinghurst. 8pm. $11.50.

Rare Finds #10 - Feat: A.D.K.O.B + Bad Pony + Yeevs Oxford Art Factory, Darlinghurst. 2:15pm. Free. Tonight Alive Metro Theatre, Sydney. 8pm. $40.68. Twilight At Taronga - Feat: Josh Pyke + Winterbourne Taronga Zoo, Mosman. 7pm. $70.95.

SATURDAY JANUARY 30 Adam Lambert + Melanie Martinez Enmore Theatre, Newtown. 8am. $99.90. Bin Juice Moonshine Cider & Rum Bar, Manly. 9pm. Free. Dallas Crane Newtown Social Club, Newtown. 8pm. $20. Fraser Ross + Cody Dillon 107 Projects, Redfern. 7:30pm. $10. Short Stack Metro Theatre, Sydney. 5:30pm. $50. Twilight At Taronga - Feat: Far From Folsom With Tex Perkins And The Tennessee Four With Rachael Tidd + Vic Simms Taronga Zoo, Mosman. 7pm. $80.95.

SUNDAY JANUARY 31 Walk The Moon + The Griswolds Metro Theatre, Sydney. 7pm. $59.

MONDAY FEBRUARY 1 Louise Love + KT Spit The Newsagency, Marrickville. 7:30pm. Free. Courtney Barnett

INDIE, ROCK, POP, METAL, PUNK & COVERS Bandquest - feat: Black Diamond + Green Manalishi + The Mendies Ruby L’otel, Rozelle. 7:30pm. Free. Co Pilot Orient Hotel, The Rocks. 9pm. Free. Live & Originals feat: Ryan Thomas + Blu Teal + Divina The Dave Boyd Band Mr Falcon’s, Glebe. 7:30pm. Free. Live Rock & Roll Karaoke Frankie’s Pizza, Sydney. 4pm. Free.

xxx

30 :: BRAG :: 647 :: 27:01:16

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brag beats

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

dance music news club, dance and hip hop in brief... with Chris Martin and Anita Connors

five things WITH RIBONGIA

vibes at Ivy’s special Courtyard Party, Sunday March 27.

The Boss Bass crew is heading back to Chinese Laundry this Friday January 29 for a no-holds-barred throwdown. The party-loving people behind Boss Bass have invited a couple of internationals to help them fill the floor: namely Barong Family’s Cesqeaux and New Zealand act Quix. Plus there’ll be a bunch of locals including Hydraulix & Oski, Bassriot vs Bocue, Lennon vs Blackjack, Pop The Hatch vs Autoclaws, Chenzo vs Sippy and Korky Buchek. Get involved.

POP UP AT PACHA

It’ll be all systems go at Pacha this weekend when Mashd N Kutcher take charge. The dominant duo came together in 2013, exploring the possibilities of live instrumentation in the context of dance music, and they’ve gone on to turn heads overseas. They’ve signed to Lucky Ent and released through Warner, and even got the attention of their namesake, the Hollywood star Ashton Kutcher. But they’ll be the only stars of the show at Ivy this Saturday January 30.

DOUBLE DEUTSCH Growing Up My parents are 1. both fans of music, but don’t play. My dad tried; he wasn’t very good (sorry Dad). There was a lot of music around, and it was loud, and there were parties. My dad had an extensive and diverse record collection, but my first personal encounter with music was when, as a toddler, I scratched the life out of Ghost In The Machine by The Police. My dad wasn’t particularly pleased…

locations that you’ve never visited. I drive myself crazy moulding it into a shape that can work in the club while remaining true to a vision. Your Crew I mostly write 3. and perform on my own, but I have a tight support network of friends and musicians around me that I share my demos with. I’m also part of a crew called Bare Necessities. We share similar taste in music and run a radio show on FBi Click.

Inspirations The Music At the moment You Make And 2. 4. I’m into sampling Play obscure world music records. I find that while listening to this foreign music, there’s already a scenario being played out – a narrative and a context. Listening to those sounds can transport you to

I make club music inspired by ethnic and exotic flavours from Africa to the Middle East and beyond. I play live with a mallet instrument, a sampler and keys. I also jump around quite a bit.

PUMPED UP WITH PRINS

The doyen of nu-disco, Prins Thomas, is making his way back Down Under after two years away. Thomas made his name on a collaborative debut with Lindstrøm back in 2005 – a self-titled LP that has now gone down in the annals – and the Norwegian has gradually worked his way into the reals of superstardom since then. If you’re a dance music fan but straight up house music isn’t quite your thing, then there’s a good chance Thomas has been the man behind some of your favourite jams. He’ll be around to prove it at Civic Underground on Saturday March 5. thebrag.com

Music, Right Here, Right 5. Now We can’t be depriving ourselves of spaces to enjoy each other’s company. Like M.I.A. would say, lockout laws – what’s up with that? Sydney has so much talent on offer, and we should nurture it. I love going to gigs here, it’s the actual best. So many of my friends are musicians, so on any given night of the week, someone will be up to something. I love it. Please don’t take that away. What: Sosueme With: Crooked Colours (DJ set), Ember, Sandro Dallarini, Bernie Dingo, Krissy Jaman, DJ Sports Where: Beach Road Hotel When: Wednesday January 27

IT IS A BANGER

Prepare yourself: the Ed Banger House Party Tour is coming to Australia. The concept takes the unmistakable atmosphere of a house party and plonks it into some of the world’s best dance venues, so the sound is topnotch and everyone can be invited. It’s all the brainchild of Ed Banger Records label boss Pedro Winter, AKA Busy P, who emerged from the Parisian underground to become a heavyweight on the international scene, managing Daft Punk for 12 years and being credited with discovering Justice. Joining Busy P on tour is Boston Bun, a house producer and DJ who made his name via a remix of Maelstrom’s ‘House Music’. Get your house party

Chali 2na

BOSSING IT, BABY

CHALI HUNTS FOR FUNK

Jurassic 5 founder and baritone-vocaled Chali 2na is set to perform in Sydney this Valentine’s Day. Joining him onstage will be Canadian duo The Funk Hunters in what promises to be one-of-a-kind audiovisual experience, as hip hop, funk, soul, and electronic bass collide with custom-curated visuals. This will be Chali 2na’s fourth year in a row visiting Australia, following his solo headline and festival shows in 2013 and 2014, and J5’s reunion shows here in 2014 and 2015. It’s hip hop with a conscience, and it’s bloody difficult not to be swept away in the vibe when you see Chali and co. in the live environment. Sydney hip hoppers Coda Conduct will open the show when Chali 2na performs at The Lair, Metro Theatre on Sunday February 14.

Oliver Koletzki

It’s a massive double bill taking over Civic Underground for C.U Saturday this weekend. Both big names coming to town – that’s Oliver Koletzki and Niko Schwind – call Germany their home, with Koletzki in particular one of the most influential names in dance today. Not only a premium selector, he’s also the head of the Still vor Talent imprint, where he introduces listeners to new talent in genres from minimal techno to house and pop. Now five albums into his career, the title of his most recent album, 2014’s I Am OK, can only be chalked up to understatement. Schwind, meanwhile, has been producing for over a decade now, and signed to Still vor Talent in 2009. Together, Koletzki and Schwind take over the dancefloor on Saturday January 30.

Crooked Colours

SOSUEME CHECKS IN

Looking for ways to keep the celebrations going now Australia Day is done and dusted? Tunes and good times will be spinning this Wednesday at Bondi’s Beach Road Hotel when the party people behind the weekly Sosueme event take over. At the top of the bill are Perth beatsmiths, Crooked Colours, with a DJ set exploring their brand of electronica. Also in the mix are Ember, Ribongia, Sandro Dallarini, Bernie Dingo, Krissy Jaman and DJ Sports. Clearly, there ain’t no party like a Hump Day party. Sosueme takes over the Beach Road Hotel on Wednesday January 27.

BRAG :: 647 :: 27:01:16 :: 31

Guilty Simpson The Son Of The City By James Ross

ack in 2011, during an Australian tour with fellow Detroit native Phat Kat, Guilty Simpson had just finished a show when he got a call from local producer Katalyst. Hours later, Simpson was in the studio dropping a verse for the track ‘War Drums’. It was a casual meet-up that has evolved into a five-year-long working relationship. “Me and Phat Kat were kind of bored,” Simpson recalls. “Katalyst wanted to know if we wanted to come, smoke and listen to some beats, so we ended up going, and he had these super sick beats! Later on we were labelmates and that’s how the album came about. We’d always planned on working together, so a harmless smoke session turned into Detroit’s Son.” The partnership is just one of a long line of collaborations in Simpson’s career. The MC’s mainstream breakthrough was on a J Dilla collaboration called ‘Stress’, which in turn introduced Simpson to his current label, Stones Throw Records. Since then he has worked with hip hop luminaries Madlib, Black Milk and Sean Price on various projects, crediting his success to a down-toearth approach to music. “I’m not gonna try to put a square peg in a circle, that’s just me,” Simpson says. “My collaboration with them is to be honest with my interpretation of what the music should be. I’m gonna trust the producer to produce, I’m gonna trust his vision – if I can’t trust his vision to do his job, then we shouldn’t collaborate. And I think that’s the same faith he should have with me with the rhymes. I’m definitely not opposed to taking input, but at the same time, I still would like to have

the freedom to express myself. I think that’s what we all deserve as artists.” That mutual respect is evident in the production of Detroit’s Son, which landed in stores last year. Despite Katalyst having never visited Detroit, Simpson was adamant the Australian producer was the ideal person to work with. “I didn’t want him to be anything that he isn’t. I wanted to mesh my visuals with his musical landscape, so to speak. I wanted to more or less coexist … His range of production made it easy to do that, and not necessarily repeat the same song every time.” The end product is a bracing album full of rousing beats, tied together by Simpson’s gritty raps about the Motor City streets. It is Simpson’s fierce loyalty to his hometown and history that distinguishes him in his music, as well as in person. His rhymes proudly represent the Detroit locals he brushes shoulders with, but he also holds a firm belief in the ability of the city to thrive despite its negative reputation. His faith in the work ethic of Detroit sits at the core of his identity, and it was what helped Simpson establish himself at the outset of his rap career. His first task was to draw a line between himself as a solo artist and as a member of his first crew, the ten-member Almighty Dreadnaughtz. “After I got exceptional at [rapping], I felt it was a way for me to provide for my family, for me to see the world. I took it very serious,” says Simpson. “I took myself away from the rap scene and started focusing on stuff that really counted. I did have to make a divide with the fellas, but at the same time they’re still family. Anybody that calls themselves an Almighty Dreadnaught is still a very good friend of mine.”

Originally introduced to the collective through a friend in high school, Simpson quickly discovered he was a natural. “It was like a fish to water for me. I think in my subconscious I was like, ‘Wow, this is what you’re going to do one day.’ Those were my early days, but yeah, I connected with those guys. After the first day in the studio, I never stopped going, it’s as simple as that.” Perhaps in recognition of the role Almighty Dreadnaughtz played in helping him realise his abilities, Simpson now mentors kids from his area who don’t have strong male role models. And with over a decade of experience in the Detroit underground scene, there is no sign of Simpson’s work coming to a halt. The irony is that even for a

prolific artist like Simpson, the digital economy has changed the nature of the game. “I think a lot of fans now are kinda casual. There’s a lot of music, bro. It’s very difficult to preserve some of these projects. I’ll drop a project and a guy’ll be like, ‘I’ve been listening to the album for two weeks, where’s the next one?’ Especially with me, back in my super fan days before I was actually rhyming, I would never think that I could get enough of an album. It’s just a different time.”

“All you need is ears.” That’s the mantra of Fullpanda, the label behind Russian techno artist Dasha Rush. Oh, and she’ll be in Sydney this weekend. Carving a name for herself with hard-hitting solo releases and her LADA project with Lars Hemmerling, Rush is one of the most futuristic (and dark) names in the game. She’s also worked with the likes of artists Inigo Kennedy and Donato Dozzy, and labels Token and Sonic Groove, if for some reason you needed more convincing. It’s going down on Friday January 29 at the Bridge Hotel, with support from XXX, Trinity, U-Khan, Methodix, Matt Lush, Braincellz, Phile, Simon Pinnick, Gabe Fernandes, Sebastian Bayne and Defined By Rhythm.

Who: Guilty Simpson & Katalyst What: Detroit’s Son out now through Stones Throw With: Sampa The Great Where: Plan B Small Club When: Friday February 5

RECOMMENDED FRIDAY JANUARY 29

Dance and Electronica with Tyson Wray

“That’s why I’m thankful for shows, because that’s something that they can’t duplicate,” he says. “I’m definitely someone that understands the change in time, I understand people using [technology]. It’s just people that abuse it that I take exception to. You should use it to support – I’m a firm believer in that.”

On that front, Simpson and Katalyst see eye to eye. In the BRAG’s recent Five Things interview with Katalyst, the Aussie producer spoke about music losing its value. Simpson is

Off The Record et’s start off this week with some good news. While Piknic Électronik Sydney was cancelled, the headliners for its annulled opening party, Detroit techno royalty Jeff Mills and Derrick May, have thankfully found another co-headliner home. They’ll be joined by Secret Cinema, Simon Caldwell, Magda Bytnerowicz, Matthew Lush, Kali, Dave Stuart, Co-Op and U-Khan on Sunday February 7 at Ivy. Highly recommend.

asked how he feels piracy affects underground artists.

Weird masks and weird music: that’s what’s coming. For those of you playing at home who are a little lost, it means that Boris Brejcha has locked in a return to Sydney. The lad from the impenetrable High Tech Minimal label is set to give us a serving of curveball techno, so get down with support coming from ZigMon, Shepz, Brosnan Perera, Gunnar Guess, Gav Whalan and Aaron Robins. Go hard and get hungover so you don’t have to put up with Valentine’s bullshit the next day. Saturday February 13 at the Burdekin Hotel.

Prins Thomas

SATURDAY JANUARY 30

Ian Pooley Burdekin Hotel Efdemin Arq

SATURDAY FEBRUARY 6

Guaranteed party of the year: Norway’s space disco king Prins Thomas is returning to our shores. Way back in 2003 the don joined forces with the one and only Hans-Peter

Catz N Dogz Chinese Laundry DJ W!ld Civic Underground Lindstrøm and the scene has never been the same (I say this in the most complimentary way possible), with their labels Feedelity, Full Pupp and Internasjonal releasing some of the best dancefloor floorers (yes, I did just actually say that) about. Saturday March 5 at the Civic Underground, Murat Kilic in tow. Do it. Tour rumours: we’ve already got a load of Detroit techno talent incoming, but it’s going to continue. You’ll know what I mean in a few weeks’ time. Best releases this week: OK, this came out last October, but I totally slept on it, and it rules: Matt Karmil’s ‘Moment’ (on Studio Barnhus) has been on constant repeat all week. How you can turn a shitty Fleetwood Mac sample into a floor-filler is beyond me. Also, Moodymann just announced his first commercial mix ever via DJ-KiCKS. Not sure how I feel about it. Tim Sweeney’s set from Sugar Mountain should be uploaded to Boiler Room any day now – being there in the flesh ruled, but it’ll also no doubt provide the best party soundtrack you’ll hear this year.

Jeff Mills

Dasha Rush Bridge Hotel

SUNDAY FEBRUARY 7

Jeff Mills, Derrick May Ivy

SATURDAY FEBRUARY 13

Hot Since 82 Greenwood Hotel Trus’Me Civic Underground

SUNDAY FEBRUARY 14

Nightmares On Wax, Lefto, Mike Who National Art School

FRIDAY FEBRUARY 19 Omar-S

Dasha Rush Civic Underground

SATURDAY FEBRUARY 20

Tale Of Us Greenwood Hotel

SUNDAY FEBRUARY 21

Hunee, Mark E, Touch Sensitive, Lovebombs, Adi Toohey National Art School

SATURDAY MARCH 5 Prins Thomas Civic Underground

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. 32 :: BRAG :: 647 :: 27:01:16

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club guide g

club picks p up all night out all week...

send your listings to : clubguide@thebrag.com

club pick of the week Flosstradamus

FRIDAY JANUARY 29

SUNDAY JANUARY 31

Xxx

Enmore Theatre

Flosstradamus + TroyBoi + Nghtmre 7:15pm. $72.40. WEDNESDAY JANUARY 27 CLUB NIGHTS Salsa Wednesdays - feat: DJ Miro + Special Guests The Argyle, The Rocks. 8:30pm. Free. Snapback - feat: Various Artists Newtown Hotel, Newtown. 8pm. Free. The Wall The World Bar, Kings Cross. 9pm. Free.

FRIDAY JANUARY 29 HIP HOP & R&B Downtown Funk - feat: DJ Force + Benny Hinn Play Bar, Surry Hills. 4pm. Free.

CLUB NIGHTS Bassic - feat: Cesqeaux + Quix + Hydraulix + Oski + Bassriot Vs Bocue + Lennon Vs Blackjack + Pop The Hatch Vs Auto Claws + Chenzo Vs Sippy + Korky Buchek Chinese Laundry, Sydney. 9pm. $22.60. Blvd Fridays - feat: Ember Marquee, Pyrmont. thebrag.com

10pm. $13.40. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 9pm. Free. Eye Live Silent Disco Sydney Tower Eye, Sydney. 9pm. $40. Feel Good Fridays Bar100, The Rocks. 5pm. Free. Flosstradamus + TroyBoi + Nghtmre Enmore Theatre, Newtown. 7:15pm. $72.40. 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. Jam Fridays Jam Gallery, Bondi Junction. 9:30pm. Free. Loco Friday - feat: DJs On Rotation The Slip Inn, Sydney. 5pm. Free. Night Lyfe - feat: Luen 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. Teddy Cream + Jordan Magro + Timmy Lala + LTB + Mojo Man + Unct + Sleaky Candy’s Apartment, Potts Point. 8pm. Free. Wildfire Lounge Pop Up Bar Live - feat: DJ Jayowenz Wildfire Lounge, Sydney. 5pm. Free.

SATURDAY JANUARY 30 HIP HOP & R&B Boathouse Saturdays - feat: Resident DJs The Watershed Hotel, Sydney. 9pm. $20. Chasm Presents Mr Falcon’s, Glebe. 8pm. Free. Jazzhop The Foonk! - feat: Simon666 + Makoto + Benny Hinn Play Bar, Surry Hills. 5pm. Free. R&B DJs By The Greens Marrickville Bowling Club, Marrickville. 4pm. Free.

CLUB NIGHTS Aden Mullens And Ketami Manly Wharf Hotel, Manly. 6pm. Free. Arcane Echo + Front To Back +

8pm. Free. Pacha Sydney - feat: Mashd N Kutcher + Jay Sounds + Glover + J-Squad + Samrai + Skoob + Laura K + Shortstar + U-Khan + Far-Cue + Steve Zappa + DLE + Mike Hyper Ivy Bar/Lounge, Sydney. 6:30pm. $38. San Saturday Nights - feat: Jimmi Walker + Mike O’Connor Daniel San, Manly. 9pm. Free. Scubar Saturdays - feat: DJs On Rotation Scubar, Sydney. 8:30pm. Free. Something Else feat: Ian Pooley + CD Inc + Shivers* + Mark Craven + Aaron Robins + Marc Roberts + Tristan Case Burdekin Hotel, Darlinghurst. 9pm. $16. Yours - feat: Porches Beach Road Hotel, Bondi Beach. 8pm. Free.

Stalker + Visual Lies + Ryan Knight + Vape$ + George GurDJieff + On Phase DJs + Josh Cassidy + Get Slinky Candy’s Apartment, Potts Point. 8pm. Free. Danceetc Rooftop Party #4 - feat: Set Mo + Terace + Friendless + Sir Jonathan The Republic Hotel, Sydney. 5pm. Free. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 9pm. Free. Foxlife - feat: Rabbit Taxi + Mesan Slyfox, Enmore. 10pm. $10. Frat Saturdays feat: DJ Jonski Side Bar, Sydney. 7:30pm. Free. Kryder + Tom Staar Marquee, Pyrmont. 10pm. $28.80. Lndry - feat: Kidnap Kid + Friendless + Nana Does + Ludovic + Pat Ward + Nqqu + Sarkozy + Marley Sherman + Hyper + DJ Just 1 + King Lee Chinese Laundry, Sydney. 9pm. $22.60. Masif Saturdays Space, Sydney. 10pm. $25. My Place Saturdays - feat: DJs On Rotation Bar100, The Rocks.

CLUB NIGHTS Escape Sundays Beach Road Hotel, Bondi Beach. 2pm. Free. S.A.S.H By Day Greenwood Hotel, North Sydney. 1pm. $15. S.A.S.H By Night Home Nightclub, Darling Harbour. 8pm. $15. Sunday Sundown feat: Dustin Tebbutt + E^ST + Bluejuice DJs Coogee Pavilion, Coogee. 3:30pm. Free. Sunday Sundown feat: Jimmi Walker + Mike O’Connor Daniel San, Manly. 3pm. Free.

MONDAY FEBRUARY 1 CLUB NIGHTS Mashup Monday - feat: Resident DJs + DJ Thieves + Recess + OTG + Chivalry + More Side Bar, Sydney. 8pm. Free.

Set Mo

Dustin Tebbutt

FRIDAY JANUARY 29 Bassic - Feat: Cesqeaux + Quix + Hydraulix + Oski + Bassriot Vs Bocue + Lennon Vs Blackjack + Pop The Hatch Vs Auto Claws + Chenzo Vs Sippy + Korky Buchek Chinese Laundry, Sydney. 9pm. $22.60. Friday Lite - Feat: Victoria Kim Plan B Small Club, Sydney. 10pm. Free. Night Lyfe - Feat: Luen Beach Road Hotel, Bondi Beach. 8pm. Free.

SATURDAY JANUARY 30 Arcane Echo + Front To Back + Stalker + Visual Lies + Ryan Knight + Vape$ + George Gurdjieff + On Phase DJs + Josh Cassidy + Get Slinky Candy’s Apartment, Potts Point. 8pm. Free. Danceetc Rooftop Party #4 - Feat: Set Mo + Terace + Friendless + Sir Jonathan The Republic Hotel, Sydney. 5pm. Free. Foxlife - Feat: Rabbit Taxi + Mesan Slyfox, Enmore. 10pm. $10. Lndry - Feat: Kidnap Kid

+ Friendless + Nana Does + Ludovic + Pat Ward + Nqqu + Sarkozy + Marley Sherman + Hyper + DJ Just 1 + King Lee Chinese Laundry, Sydney. 9pm. $22.60. Pacha Sydney - Feat: Mashd N Kutcher + Jay Sounds + Glover + J-Squad + Samrai + Skoob + Laura K + Shortstar + U-Khan + FarCue + Steve Zappa + DLE + Mike Hyper Ivy Bar/Lounge, Sydney. 6:30pm. $38. Something Else - Feat: Ian Pooley + CD Inc + Shivers* + Mark Craven + Aaron Robins + Marc Roberts + Tristan Case Burdekin Hotel, Darlinghurst. 9pm. $16. Yours - Feat: Porches Beach Road Hotel, Bondi Beach. 8pm. Free.

SUNDAY JANUARY 31 S.A.S.H By Day Greenwood Hotel, North Sydney. 1pm. $15. S.A.S.H By Night Home Nightclub, Darling Harbour. 8pm. $15. Sunday Sundown - Feat: Dustin Tebbutt + E^ST + Bluejuice DJs Coogee Pavilion, Coogee. 3:30pm. Free. Mashd N Kutcher

TUESDAY FEBRUARY 2 CLUB NIGHTS Coyote Tuesdays The World Bar, Kings Cross. 9pm. $10. Terrible Tuesdays Slyfox, Enmore. 6pm. Free.

HIP HOP & R&B AWF Slam N Jam AWF Wrestling Headquarters, Minchinbury. 6:30pm. $20.

BRAG :: 647 :: 27:01:16 :: 33

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up all night out all week . . .

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

KATE TEMPEST

Magic Mirrors Spiegeltent Thursday January 21 The Sydney storm was welcome in its way, but clearly caught many audience members off guard. It was a sodden crowd packed into the Magic Mirrors Spiegeltent, which may account somewhat for the time it took folk to truly warm into Kate Tempest’s set (and honest to God, I’ve only now made the connection between the name on the marquee and the wild weather outside). It was a diverse crowd, with many a white mane in attendance – making one wonder how many Sydney Writers’ Festival pundits were here, still enamoured by Tempest’s outstanding spoken-word performances back in 2013 – and you couldn’t help but note the odd formality of those who may have been anticipating something closer to a recitation than the beat-driven lyricism on offer.

vibes on a summer’s day

Tempest’s words can flow like a river, and while there’s a pleasure to be had in simply standing there and letting these currents wash against you – isolating the odd phrase or word, making connections between characters and vibrant, earnest imagery – after a while you start longing for clarity. ‘Lonely Daze’ and ‘Circles’ were both strong, though ‘Bad Place For A Good Time’ was the band’s standout. Even then, Tempest’s delivery was largely lost in this admittedly evocative soundscape. Perhaps acknowledging this, Tempest often breaks from her band and performs a capella, and it was here the South London poet was most arresting. That may arguably say more of my own listening preferences, but these moments sans music seemed to most captivate the crowd as well. Though the show was in no way short of riveting moments, the blistering pinnacle was her closing poem, ‘Europe Is Lost’. With no electronic drum effects or synthesised sounds, Tempest had us galvanised. Tempest’s is a vital voice, in hip hop and spoken-word alike. It is simply that in the latter, she is damned near peerless, and that can’t help but cast a formidable shadow. Adam Norris

PICS :: KC

For while Tempest’s lyrics remained the star attraction here (that and her utterly unnatural talent for recalling such vast reams of verse in the first place), her Sydney Festival appearances were a very different beast. Accompanied by Clare Uchima on synth (doppelgänger to House Of Cards’ Molly Parker) and Kwake Bass on electro-drum fusion, this was soul-searing hip hop at its occasional finest. Occasional, since in a gig spanning 75 minutes a good portion of these

celebrated lyrics were lost in beats that were well-crafted, but overbearing.

24:01:16 :: Bondi Pavilion, Bondi Beach

PHOTOGRAPHER :: ASHLEY MAR

LE1F, BABY FACE THRILLA, OSCAR KEY SUNG Oxford Art Factory Thursday January 21

s.a.s.h by day

PICS :: AM

Despite the rain that swept across Sydney on Thursday afternoon, the Oxford Art Factory audience was ready for a good time. This much was clear during Oscar Key Sung’s set; the rain hadn’t really dampened the spirit of those in the crowd, although their hair might have been frizzier than initially desired, and make-up further down their cheeks than expected.

24:01:16 :: Greenwood Hotel :: 36 Blue Street North Sydney 9964 9477

34 :: BRAG :: 647 :: 27:01:16

A big part of a Le1f show is his crowd – I’d seen him at Arq, and I missed his set during Mardi Gras 2013 at the Oxford Hotel, but envied the people coming in and out of the at-capacity room there. His following is fabulous, immaculately dressed, and up for the party. Indeed, Le1f is usually part of his own crowd: we spotted him among the throngs of people during Baby Face Thrilla’s DJ set. His audience is his people, and he was here to have a good time with new friends.

OUR LOVELY PHOTOGRAPHER

Perhaps surprisingly (I was anticipating it would come last), he started his set with ‘Koi’, the first single off his latest album, Riot Boi. By his third number, ‘Boom’, the audience was as enthusiastic as him, though with less room to dance. And Le1f’s shows are as much about the dancing as they are the music. He moved through his set, voguing around the stage, capturing the audience members as they danced along. After a few solo songs, some backup dancers joined him, providing some excellent coordinated moves for ‘Wut’ and the remainder of the show. The setlist itself was a mix of songs from Riot Boi and old hits, including ‘Spa Day’. It was a marvel to watch, and dance along to. Finishing ten minutes early, and with no encore, was a little disappointing, but Le1f probably just wanted to come out and join the party again. Lucy Watson

S :: KATRINA CLARKE :: ASHLEY

MAR

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