Brag#649

ISSUE NO. 649 FEBRUARY 10, 2015

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

MUSIC, FILM, THEATRE + MORE

I L L Y SOMETHING TO SWEAR BY

Plus

YOL A NDA BE COOL K R IS T Y C OO T E SLY A ND ROBBIE ECCA VA NDA L T HE JE Z A BEL S

L OR D HURON

WA X A H AT CHEE

M A R DI GR A S F IL M F E S T I VA L

Breaking through barriers to release their proudest work yet.

Iconic blues sounds of the past filtered through a modern lens.

The Philadelphia songwriter isn't taking success for granted.

Its biggest-ever program of outstanding and experimental new filmmaking.

GL EN M AT L OCK A ND MUCH MOR E

THE MUSIC HOUSE PRESENTS

featuring the hits

i’m gonna be (500 miles) | i’m on my way | sunshine on leith letter from america | then i met you

SATURDAY 16 APRIL CONCERT HALL, SYDNEY OPERA HOUSE Book now at the Box Office | 02 9250 7777 | sydneyoperahouse.com

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BRAG :: 649 :: 10:02:16 :: 3

rock music news

the BRAG presents

welcome to the frontline: what’s goin’ on around town... with James Di Fabrizio, Anna Wilson and Tyson Wray

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

songwriters’ secrets WITH

ILUKA

[laughs]. I remember thinking I was so damn prolific…

2.

The Last Song I Released I am releasing an EP in a few months.

It’s been a long time coming and I am pretty damn excited to be getting it out there at long last.

Songwriting Secrets For me, songwriting has always been 3. a part of me – something I cannot possibly

The First Song I Wrote My first recorded and properly formed 1. song was when I was 7. My dad had a pretty basic 12-track recording desk at home so he helped me record the song. I can’t even remember what I called it but the repeating line was, “I want to be free / I want to dance with glee,” in this really baby whiney voice

The Song That Makes Me Proud I think one of my favourites is a song off 4. my upcoming EP called ‘The Fools’, which I play live with the band. I don’t know what it is about this song but there is something really honest about it to me. It really captured a certain time in my life – a time of surrender. Being a fool

The Song That Changed My Life I remember the first time I heard 5.

‘Sinnerman’ by Nina Simone. I was ten years old and my dad put on this mixtape while we were road tripping. Nina’s voice was like nothing I had ever heard. It was fierce and gutsy but still so full of anguish and pain.

It was harsh and by no means polished or refined. It was wild! Before hearing this, female voices were always alluring and sensual and sweet and refined. Nina’s voice was badass, and I loved that. I realise now that ‘Sinnerman’ had such a profound impact on the whole process of my singing. I never really wanted a beautiful, sweet, ‘well trained’ singing voice. I wanted to sing with soul.

I wanted a voice that was real, that would speak how I felt inside.

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

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

What: Courtyard Sessions Where: Seymour Centre When: Friday February 12

The Basement Thursday March 31

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, Anna Wilson, Tyson Wray ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: Katrina Clarke, Ashley Mar, D.A. Carter ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 les@thebrag.com Tony Pecotic - (02) 9212 4322 tony@thebrag.com PUBLISHER: Furst Media MANAGING DIRECTOR, FURST MEDIA: Patrick Carr - patrick@furstmedia.com.au, (03) 9428 3600 / 0402 821 122 DIGITAL DIRECTOR/ADVERTISING: Kris Furst kris@furstmedia.com.au, (03) 9428 3600 GIG & CLUB GUIDE COORDINATOR: Sarah Bryant - gigguide@thebrag.com (rock); clubguide@thebrag.com (dance, hip hop & parties)

Legendary pop icon Prince is coming Down Under… and soon. Last week, Dainty Group announced that the artist formerly known as The Artist Formerly Known As Prince would be visiting Oz and our Kiwi cousins this month as part of his Piano & A Microphone Tour. Details have now been announced, with Prince slated to perform two shows at the Concert Hall, Sydney Opera House on Saturday February 20 ahead of playing the State Theatre on Sunday February 21.

RATS WHERE IT’S AT

THEY WON’T BE MUTED Ms Mr

REGULAR CONTRIBUTORS: Nat Amat, Prudence Clark, Tom Clift, James Di Fabrizio, Christie Eliezer, Emily Gibb, 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

EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG. ACCOUNTS RECEIVABLE: Luke Forrester: accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121 DEADLINES: Editorial: Friday 12pm (no extensions) Ad bookings: Friday 5pm (no extensions) Fishished art: No later than 2pm Monday Ad cancellations: Friday 4pm Deadlines are strictly adhered to.

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4 :: BRAG :: 649 :: 10:02:16

US electro rockers Mutemath have locked in a run of headline shows to accompany their appearances at Groovin The Moo. The group will return to our shores following a huge tour of the US and UK, and off the back of releasing their fourth studio album Vitals in November last year. Over the course of their steady ascent over the past decade, the four-piece have scored international festival appearances at Lollapalooza, Reading and Leeds Festivals and more. Catch them on Wednesday April 27 at the Metro Theatre.

WONDERFUL NEWS MEET MS, MEET MR

New York and LA-based duo MS MR are heading back to Australian shores.

Already confirmed for Groovin The Moo, they’ve now locked in headline shows around the country. The pair first broke through with their 2012 single ’Hurricane’ and shortly after were signed to Sony, which released their debut album Secondhand Rapture in 2013. Their second album How Does It Feel was released in July 2015 and featured collaborations with MNDR and Tove Lo. Catch them on Thursday April 28 at the Metro Theatre.

Paul Dempsey

SECRET’S OUT

Secret Garden, the boutique festival of music and frivolity that takes place at a secret paradise on Sydney’s outskirts, has revealed the first ten artists on what organisers are calling their biggest lineup yet. More than 50 bands and DJs will feature on the Australian-focused lineup this year, with the 2016 festival expanding to a full two days for the first time. In alphabetical order, the first round lineup includes Bad//Dreems, Dorsal Fins, Hayden James, Hiatus Kaiyote, Montaigne, Roland Tings, Sampa The Great, Stereogamous, The Meeting Tree and World Champion. Secret Garden 2016 takes place on Friday February 26 and Saturday February 27 and tickets are on sale now.

The Groovin The Moo sideshows just keep on rolling in. One of the stand-out acts from last year’s Meredith Music Festival, Ratatat, will be making a swift return to Australian shores this April. Last year saw the release of the band’s fifth full-length album, Magnifique, on XL Recordings – five years after Mike Stroud and Evan Mast’s last release, LP4, in 2010. Check in on Wednesday April 27 at the Enmore Theatre.

AWESOME INTERNS: Elias Kwiet, Joseph Earp, Anna Wilson, Anita Connors

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

Hiatus Kaiyote

Pop-punk group The Wonder Years have announced a Sydney show in support of their latest album, No Closer To Heaven. It’s the fifth studio record for the band, following on from their previous efforts The Greatest Generation and Get Stoked On It! Produced by Steve Evetts (Story Of The Year, Sepultura), the record is a concept album revolving around the loss of a loved one, marking a return to form for the group after chief songwriter Daniel Campbell overcame an extended bout of writer’s block. The Wonder Years will play at UTS Underground on Saturday May 7 with Knuckle Puck and Our Past Days.

BLUESFEST FINAL LINEUP Bluesfest has confirmed a blockbuster final lineup announcement for its 2016 festival.

Leading the final announcement is The Mick Fleetwood Blues Band featuring Rick Vito, who are joined on the bill by Eagles Of Death Metal, Playing For Change Band, Chain, Backsliders, Eugene Hideaway Bridges, Irish Mythen, Digging Roots, Frazey Ford, Marshall Okell, Sahara Beck and Emma Donovan and The Putbacks. They join the likes of Brian Wilson, Taj Mahal, D’Angelo, The Residents, Modest Mouse, The Decemberists, Nathaniel Rateliff and The Night Sweats, Shooglenifty, The National, City And Colour, reggae legends UB40 featuring Ali Campbell, Astro and Mickey Virtue, blues rock maestro Joe Bonamassa and Grammy Award-winning group Tedeschi Trucks Band. Bluesfest 2016 will take place from Thursday March 24 – Monday March 28 at Tyagarah Tea Tree Farm, just north of Byron Bay. See the full lineup at thebrag. com.

CATS IN THE CRADLE

On the cusp of releasing their sixth studio album, The Cat Empire have released a new single and announced a Sydney show alongside a national tour. Their new track, ‘Bulls’, is the latest taste from The Cat Empire’s forthcoming album, Rising With The Sun. It acts as a follow-up to previous single ‘Wolves’, which marked the group’s 11th entry into triple j’s Hottest 100 in 11 years. The Cat Empire will play the Enmore Theatre on Friday May 20 and Saturday May 21.

SOMETHING FOR PAUL

Paul Dempsey has revealed a new single, ‘Morningless’, lifted from his second solo LP, which is slated for release later this year. The new track from the Something For Kate frontman arrives seven years after his acclaimed solo album debut, the gold-accredited ARIA chart success Everything Is True. Through ’Morningless’, Dempsey alternates between the gorgeously rigorous noise he makes with members of Something For Kate and elements of his own diverse solo career. Dempsey fans will get a taste of tracks from the forthcoming solo album as the artist plays three very special shows in support of ’Morningless’. His newly formed live band features musicians Pat Bourke, Olympia, Shannon Vanderwert and Adrian Stoyles. Dempsey graces Sydney on Friday February 19 with a show at the Factory Theatre, joined by none other than Milk! Records’ Fraser A. Gorman.

thebrag.com

Hiatus Kaiyote photo by Wilk

PARTY LIKE IT’S 2016

Shakey Graves photo by Jarred Gastriech

fathom not doing. It’s like breathing. When I cease to create in the form of music, I cease to live. My process is simple: dedicate your life to your art. Dedicate every waking hour to creation. Surround yourself with people who inspire you. Be inspired by everything around you and the experiences you have.

Experience is like a gold mine for an artist.

for love. Not just love for another person, but for life. Falling in love with my life and all the darkness and light that comes with that.

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BRAG :: 649 :: 10:02:16 :: 5

live & local

free stuff

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

head to: thebrag.com/freeshit

speed date WITH

ANDREW GILBERT AND JORDAN SLY FROM HUSH HONEY mediums presently. These are the first singles off the record and the first releases for the band too.

We’re looking forward to playing a few shows!

Best Gig Ever We have done a single 3. show with the band’s current lineup, at Frankie’s late last year, and that was a fine old boogie and by definition has to be both the best and the worst show we have ever played. We will definitely have a better idea of this when we do our next show as unless it is the same exactly as the last, it might be a little bit better or even worse than the last one. Actually I think our next show is at Frankie’s too. So maybe we still won’t know.

Your Profile We are a rock band who like 1. to make music with big choruses and harmonies – music to drive with a shotgun across your lap to.

Busy We finished making our 2. Keeping

debut record, amorously titled The Law Of Romance, last year and since then have been prepping it for its release into the wild. We just pressed a seven-inch double A-side single of ‘Can’t Get Home’ and ‘Roadhouse Love’, which are also out on the various digital

Current Playlist We are all massive Tom 4.

Petty and The Heartbreakers fans, so a bit of that for sure.

Throw in some Steve Miller (say, the second side of the record named Number 5) and The La’s

Your Ultimate Rider Anything and everything 5.

Japanese. High class settings with fresh pressed suits for after the show. Boutique beers, Jameson whiskey, a nice bottle of red for Andrew (usually opened well before he gets to it). Egyptian cotton towels, Chicken Crimpies and large rolling papers, standard issue.

Where: Frankie’s Pizza / Botany View Hotel When: Thursday February 11 / Saturday February 13

DAFT PUNK UNCHAINED

Daft Punk, the most secretive band in the world, have done the unthinkable: they’ve released a documentary fi lm. A first for the group, Daft Punk Unchained features exclusive interviews with some of their closest collaborators, including Pharrell Williams and Skrillex. Daft Punk Unchained is an epic story of how the French dance mega-duo have built their musical renown and image, and touches upon all aspects of their inspiration.

The documentary will be released on DVD and digitally through Universal Sony Pictures Home Entertainment on Thursday February 18, and we’re giving BRAG readers the chance to win one of ten DVD copies. Click your way over to thebrag.com/freeshit to enter.

OH PEP AT OAF

On the cusp of what might be their biggest year yet, indie duo Oh Pep! have locked in a Sydney show. Releasing their Living EP last year, the pair found acclaim in the US, going on to secure festival slots and radio appearances across the country. For 2016, the awardwinning pair head back to the States to showcase at SXSW before returning home for a national tour. Catch Oh Pep! when they hit Oxford Art Factory on Friday April 15.

Oh Pep!

Mangelwurzel photo by George Johnson

The Shift

too – all these guys know how to write a tune! Never too far away from the play button are 13th Floor Elevators, Vanilla Fudge and The Byrds. Maybe some Booker T. and The M.G.’s. Luther Dickinson’s Rock ‘N’ Roll Blues is a great stripped-back record by a prodigiously talented dude. Elliott turned me onto Jonathan Wilson’s Fanfare album which is definitively epic in its dimensions.

VALENTINE’S AT THE SHIFT

If you’re looking for a Valentine’s Day celebration with a difference this weekend, look no further than The Shift Bar, Club & Restaurant. Oxford Street’s famously welcoming haunt is putting on a romantic extravaganza – and not just for the romantics. Singer Shauna Jensen will be in the bar to entertain, while ‘Italian love goddess’ Sylvana and her lovedup tunes will take over the restaurant, which will be more geared towards dating couples.

Diners can enjoy a four-course Valentine’s dinner for $55 per person. Entry to the bar is free, with plenty of love and laughter to be had.

NATIONAL FOLK FEST’S BIRTHDAY BASH

To mark the 50th milestone festival in 2016, the National Folk Festival has lined up a special celebratory program of iconic folk artists and festivities dating back through its history to 1967.

Launched in the Swinging ’60s with a humble $100 start-up fund, the National Folk Festival placed a strong focus on drawing attention to Australian folk song and lore. Becoming a touring festival in 1969, criss-crossing through the country with an ever-growing popularity, in 1993 a permanent home base was needed, and was found at Exhibition Park in Canberra, where it continues to be held every Easter weekend.

Fast-forward to 2016, and to mark the eclectic history of the National Folk Festival, this year’s 50th anniversary weekend will feature a massive series of special events, including the Founder’s Concert, harking back to 1967 with reimaginings of songs performed at the very first National Folk Festival, as well as the Songwriter’s Concert, revisiting iconic works from festivals right across the event’s history as well as celebrating the new generation of Australian folk songwriting. The 50th National Folk Festival will feature an A-list of over 200 international and national artists across 18 stages from Thursday March 24 – Monday March 28.

SAN CISCO GO BACK TO SCHOOL

Sydney University has announced that Fremantlebased poppers San Cisco will be headlining Band Night, a one-off evening of live music designed to tie into the prestigious uni’s O Week.

This will be one of San Cisco’s final shows before they abandon life on the road for a bit and return to the studio in order to start work on their next album, so fans of the band should snap up the opportunity to catch their set. That said, even those who aren’t Cisco-ites should get involved: Olympia and Letters To Lions will be rounding out the bill, and given the diverse talents of both acts, the night has clearly been designed to cater for all tastes. Get on it! Band Night hits Manning Bar on Thursday February 25.

ON THEIR HINDS LEGS

Spanish garage rockers Hinds (formerly Deers) have locked in a Sydney show off the back of their long-awaited full-length release, Leave Me Alone.

Following on from their debut EP, Garden, their new album was produced by Hinds’ companion and collaborator, Diego Garcia of The Parrots.

Since their first trip to Australia last year, Hinds have gone on to book dates around the globe including sets at Benicàssim, SXSW, Burgerama, Best Kept Secret and Dot To Dot Festival. Hinds

will play Newtown Social Club on Thursday May 5.

CORBY ON THE EDGE

Matt Corby has locked in a national tour in support of his long-awaited debut album, Telluric. It comes as Corby prepares to release

Bluegrass and country duo Hussy Hicks are set to drop a new record that encompasses not just Australian country, but is a sum of their global touring experiences. Taking the spirit of the Gold Coast surf and the rhythm and blues of America’s Deep South, Julz Parker and Leesa Gentz have embodied the best of both in their new album. Lucky Joe’s Wine (And Other Tales From Dog River) was recorded deep in the heart of Dixie and proves to be a completely new direction for the Australian-based duo, moving towards a more alt-country, Southern feel. It’s due out this Friday February 12. Hussy Hicks are touring to support the record, landing two coveted spots at Byron Bay’s Bluesfest, Thursday March 24 – Monday March 28. They also play Lazybones Lounge on Saturday February 13, Meatstock Festival at Sydney Showgrounds, Saturday February 13 – Sunday February 14, and The Brass Monkey on Sunday February 14.

6 :: BRAG :: 649 :: 10:02:16

HEAR THE TIGER’S ROAR

Hussy Hicks

To celebrate the release of their new five-track EP Lonely Cities, Aussie four-piece Tigertown have announced a national tour of headline dates this coming April. The dream-poppers have spent the last 12 months writing and on the road, and are currently in North America for their own headline shows, as well as supporting St. Lucia on tour.

After that, Tigertown will be winding back through Austin for SXSW in March before heading home in April. They’ll play Newtown Social Club on Friday April 1. thebrag.com

The Jensens photo by Sophie Richards

HUSSY HICKS

‘Knife Edge’, the third single to be unveiled from his upcoming record. The track follows on from previous releases ‘Sooth Lady Wine’ and ‘Monday’ and a series of successful EP releases. Currently touring overseas, the singer-songwriter will finish his US and Canadian tour – which sold out in five minutes – before jetting back home. He’ll be at the Enmore Theatre on Tuesday April 12 and Wednesday April 13.

Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR • Which major act is irking its new manager somewhat by running back to its former manager for advice? • Is Amazon entering the subscription music streaming business? • Is YouTube talking to 360-degree camera manufacturers about adding support for live streaming broadcasts to its platform? • Will the troubled Dick Smith electronics chain be bought out by Indian megacompany Tata? Tata is inspecting the documents. • The Rubens’ triple j Hottest 100 win saw ‘Hoops’ go platinum. Meanwhile, Ed Sheeran’s ‘Thinking Out Loud’ picked up its seventh platinum accreditation in Australia. • Silverchair bassist Chris Joannou’s The Edwards bar and restaurant in Newcastle celebrated its second anniversary on the weekend by launching a record store called The Shop. Run by veteran retailer Chris Dunn, it also stocks books, movies,

REPORT: FOOT TRAFFIC DOWN SINCE LOCKOUTS Late-night foot traffic has declined considerably in Sydney’s entertainment precincts since the lockout laws were introduced in February 2014.

Numbers were down 84 per cent in Kings Cross between December 2012 and March 2015, 82 per cent in Oxford Street and 70 per cent in the CBD South. These figures are from the City of Sydney’s Late Night Management Areas Research (LNMAR) report, undertaken by consultants Urbis and Austraffic. Research also indicated that pedestrian traffic was up in Newtown on Fridays and Saturdays – reflecting warnings that the lockouts would only shift the problem. While lockout defenders claim the laws have reduced alcohol-fuelled violence, the reports showed these figures are down across the state, and at their lowest since the ’90s.

BAN ON NEW CLUBS EXTENDED The New South Wales Government has

Lifelines Dating: Rihanna and Leonardo DiCaprio?

Dating: Katy Perry and Orlando Bloom?

Recovered: Frenzal Rhomb drummer Gordy Forman will rejoin the band on tour next month six months after he broke his arm in half while stage-diving.

In Court: while the court battle between Kesha and Dr. Luke continues over whether he raped her or if she’s making claims to get out of her record deal, Kesha’s mother Pebe Sebert and manager Jack Rovner won a minor battle. Luke accused them of encouraging Kesha to break her contract but a New York judge ruled they don’t have to be part of the case.

Arrested: two Adelaide teenagers after 800 ecstasy pills were seized, which police allege were heading for the Laneway Festival in Port Adelaide.

In Court: the three surviving Led Zeppelin members were deposed (to come up with documents and answer questions) as part of the lawsuit from ’60s band Spirit that they stole ‘Stairway To Heaven’ from 1968 instrumental ‘Taurus’.

In Court: Jay Z and Roc Nation are suing Rita Ora for US$2.4 million for delivering only one of a five-album deal, as it spent $2 million in developing and marketing her.

Died: New York hip hop producer DJ Big Kap, one-time Mark Ronson and Biggie Smalls collaborator, 45, of a heart attack.

Died: Maurice White, co-founder of Earth, Wind & Fire, 74, following a 24-year battle with Parkinson’s disease.

art and clothes. • Alice Cooper, Johnny Depp, Joe Perry and Duff McKagan will assemble Hollywood Vampires for the Grammys to pay tribute to Lemmy Kilmister, while Lady Gaga will sing a David Bowie medley. • There’ll be more live streaming at the Tamworth Country Music Festival next year. Director Barry Harley said its inaugural trial this year of some events proved successful. In fact, while heavy rain kept the opening concert to around 3,000 people (instead of the expected 8,000), it was watched by 4,500 online.

Approximately 11,000 streamed the Golden Guitar music awards and 2,500 the finals of the Star Maker quest. • The Recording Industry of America (RIAA) is now accepting on-demand audio and video streams to contribute to gold or platinum album certifications. It has been a boon for Vance Joy, whose 2014 debut album Dream Your Life Away is now gold in the US with 500,000 sales (and platinum in Australia and Canada). Michael Jackson’s extended for another year its ban on all new pub and club licences in Kings Cross and Sydney’s centre while it continues to review the effects of the 2014 lockouts introduced by the previous O’Farrell government.

The review looks to cover all sides of the argument, including the Kings Cross Licensing Association, which claims 13 venues have closed in the Cross since the lockouts.

STEREOSONIC DISTANCES FROM SFX BANKRUPTCY Stereosonic promoter Totem Onelove has issued a statement after the bankruptcy proceedings of its US parent company SFX. It said these were confined to the US. “None of the international operating subsidiaries are included or impacted. Totem Onelove is not part of the SFX Chapter 11. Totem Onelove will continue to operate as normal,� it said in a statement. Its next event, Atlantis, stages in Sydney and Melbourne in mid-March.

According to The New Daily, three directors of SFX-Totem Operating Pty Ltd have departed.

Former managing director Dror Erez vacated his position on Monday January 11. Adelaide businessman James Beatty and company secretary Amanda Hough are also gone.

TAYLOR SWIFT RELEASING OWN MOBILE GAME

Taylor Swift will release her own mobile game in late 2016. She has signed with Glu Mobile, whose CEO Niccolo de Masi says he is “committed to designing never-before-seen gameplay elements that utilise Taylor’s unique creativity�. Glu’s first celeb-based game Kim Kardashian: Hollywood made US$43 million in its first three months.

I LOVE LIVE MUSIC 60 COMP I Love Live Music 60 is a new national competition by the Australian Music Industry Network (AMIN) and the Live Music Office, which offers $12,000 worth of prizes (including $5,000 cash for the winner) to filmmakers and musicians. They have to collaborate on a 60-second film based on one of three themes – ‘Imagine life without live Australian music’; ‘What I love about live Australian music’; or ‘What live Australian music means to me’. The ten finalists will be screened at the St. Kilda Film Festival’s SoundKILDA event on Thursday May 26 and the winner decided on the night.

See amin.org.au for details.

THREE CHANGES AT UNIVERSAL MUSIC Universal Music’s senior director of marketing Ben Facey is now head of international marketing and media, his role expanded to integrate data and insights to releases and marketing. National PR and media manager Claire Fleming has also been promoted to director of radio, overseeing creative planning for radio and media channels. PR and media manager Jordan Wiggins takes her previous role.

DREAM FESTIVAL CHIEF QUITS

John Walkom, one of the prime movers behind the DREAM (Dubbo Regional Entertainment, Arts and Music) festival, has quit after six years to devote more time to his other gig as a Dubbo City councillor. He was the inaugural chairman of Events Dubbo Inc and is replaced by vice-chairwoman Anne Field.

HANNAH REILLY HOSTS THE HOOK UP

Sydney writer and comedian Hannah Reilly thebrag.com

Thriller is now 32 times platinum in the US for sales of 32 million. • Ex-Marilyn Manson keyboardist Stephen Bier wished death upon his former boss in a Facebook post. • Western Sydney music venue the Vauxhall Inn is now owned by Stuart King and Andrew Lazarus’ Bondi Asset Management (BAM), which paid $15 million. • Darwin wannabe rapper Ezra Austral, who boasted about his criminal activities in an online rap song, is back in the news.

Five men bashed the 18-year-old at his home, and when he was taken to hospital, cops arrested him for breaching bail. • Sydney Theatre Company has been taken to the Fair Work Commission by the MEAA over the alleged assault of two ushers. • The CMC Music Awards, which will take place on Thursday March 10, have introduced two industry awards – the ARIA Highest Selling International Album and ARIA Highest Selling Australian Album. is hosting triple j’s new Sunday night show, The Hook Up. It has experts and celebs talking graphically about their love lives (the first show had Adam Hyde of Peking Duk and Luke Dubbz of Hermitude revealing how they popped their cherries) and helping listeners with theirs. The 23-year-old Reilly co-hosted FBi’s Girls Gone Mild and writes for The Chaser. Meanwhile, two new Double J shows have been introduced: The Funhouse with Richard Kingsmill picking tracks from 40 years of music, and Classic Albums with Caz Tran on discs that changed music.

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NORDOFF-ROBBINS MUSIC QUIZ RETURNS The Nordoff-Robbins Music Quiz is back for its 18th year, with 400 music fans to pit their knowledge against musicians, celebrities and music biz execs. Itâ&#x20AC;&#x2122;s on Thursday March 3 from 6pm at Luna Parkâ&#x20AC;&#x2122;s Crystal Palace Ballroom. Each ticket is $110 and a team of eight is $880 (with dinner). Tickets are available from musicquiz.eventbrite.com. Funds go to Nordoff-Robbins Music Therapy, which uses music to help those with physical and intellectual disabilities, autism, trauma, illness, dementia, behavioural disorders and learning difficulties.

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VILLAGE SOUNDS SIGNS OH PEP! Village Sounds has signed Melbourne indiefolk duo Oh Pep! for Australian bookings.

After they play SXSW in Texas, they return for seven shows from Monday March 11 at Port Fairy Folk Festival to Friday April 15 at Sydneyâ&#x20AC;&#x2122;s Oxford Art Factory. Their single â&#x20AC;&#x2DC;The Raceâ&#x20AC;&#x2122; received US airplay while their CMJ appearance won kudos from Radio KCRW (one of the â&#x20AC;&#x153;11 artists that won the festâ&#x20AC;?) and The New York Timesâ&#x20AC;&#x2122; Jon Pareles included them in his list of â&#x20AC;&#x153;CMJ keepersâ&#x20AC;?.

TWO PEOPLE JOIN LIBERATION

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Liberation Music has signed Two People, made up of former Snakadaktal synth player/ singer Phoebe Cockburn and guitarist Joseph Clough. The track â&#x20AC;&#x2DC;Fadingâ&#x20AC;&#x2122; sees a heavier leaning on electronics with a guitar and bass loop.

SURVEY: UNDER 30S MOST AT RISK AT FESTIVALS People aged under 30, especially males, are most at risk, according to a paper in the Drug And Alcohol Dependence journal. This is especially the case at music festivals, because they tend to be more experimental about substance use there. Those poisoned from recreational drug and alcohol use account for nine per cent of all poisoning-related hospital admissions. The report is based on 13,805 patient records between January 1996 and December 2013 using data from the Hunter Area Toxicology Service (HATS). Alcohol comprised almost half of all recreational poisonings.

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COOKING VINYL GETS FATCAT RELEASES Cooking Vinyl Australia will release a whole bunch of left-of-centre music into the market through a deal with the UKâ&#x20AC;&#x2122;s Fatcat Records.

Top of the list is C Duncanâ&#x20AC;&#x2122;s Mercury Prizenominated debut Architect (out here Friday February 26) as well as Honeyblood, postpunk/krautrock act Traams and Big Deal.

Fatcat also relaunched its 130701 imprint with Godspeed You! Black Emperor, A Silver Mt. Zion and Set Fire To Flames.

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BRAG :: 649 :: 10:02:16 :: 7

ILLY

A FOUR-LETTER WORD

BY ADAM NORRIS

W

ho would have thought Illy would turn out to be such a survivalist?

He is currently bunkered down trying to wait out the apocalypse (or “working on an album” as he styles it) after years of taking his lyrics from coast to coast. He has earned a respected place in the echelons of Aussie hip hop, often hailed as our ‘intelligent rapper’ for songs that aren’t afraid to carry a political message or speak to some of the more troubling issues facing society today. In the lead-up to his first national tour in over a year, we try to lure the Melbourne muso out from his cave to hear what’s coming up next.

It has indeed been quite a gap since 2013’s Cinematic, and the longest wait between Illy records to date. Not that Illy has been sitting idle all that time; there have been international tours, the

8 :: BRAG :: 649 :: 10:02:16

“It’s always going to be that way, but that’s rap. Rappers always want to be the best. When you start rapping you need that; it gives you the confi dence to get onstage with no real ability to sing and just say words over a beat.

You need to have that delusion a bit, that what you’re saying is worth it. As far as I know, the criticisms I’ve got have never been from people I consider peers. It’s been from people who are maybe jealous of seeing other people be successful when they haven’t been. But that’s not exclusive to Australian hip hop. I think in the EDM scene you have competitive DJs hating on other DJs. There are only so many pieces of the pie you can have, and it’s still a small scene here.

“I’ve always tried to be genuine,” Illy continues after frequent collaborator M-Phazes ducks by from the room next door to ask a question. “Rather than it being that competitive thing, a real issue is that a lot of dudes in the hip hop scene try and say that they’re not into writing catchy songs, they all hate pop stuff. But then you hear their songs, and they’re all pop. They’re saying one thing but the song says another. I mean, that’s cool I guess, but I think it’s disingenuous.

“I’ve never danced around the fact I like melody, I like writing

hooks. I like songwriting beyond just writing raps. More recently I’ve moved away from being too preachy in songs. ‘Swear Jar’ is a silly song, but with a serious message behind it about online abuse and about artists getting on their high horse and thinking they’re top shit. But I didn’t want it to be a preachy song. I fi nd they can be cool to a degree, but they can also date really quickly. It’s a hard balancing act.”

‘Swear Jar’ arrived last November, and in addition to promoting it through his upcoming tour, Illy has banded together with mental health organisation beyondblue to launch a campaign aimed at addressing the repercussions of cyber bullying. So far, the concept has even made its way onto the ARIA Awards red carpet, with artists at the ceremony last

“AS FAR AS I KNOW, THE CRITICISMS I’VE GOT HAVE NEVER BEEN FROM PEOPLE I CONSIDER PEERS. IT’S BEEN FROM PEOPLE WHO ARE MAYBE JEALOUS OF SEEING OTHER PEOPLE BE SUCCESSFUL WHEN THEY HAVEN’T BEEN.”

November donating dollars every time they dropped their favourite curse word. “‘Swear Jar’ came about after I’d been getting messages from a lot of people over the years, especially kids, saying one of my songs helped them through this or that,” Illy says. “More than a few have said they’ve been having trouble with people at school or their workplace, and the songs really help. So I wanted to address that without giving these fuckheads who do this shit the satisfaction of a [serious song].

I wanted to do it in a stupid way so people can hear it and think, ‘Yeah, fuck these guys. They’re the losers.’ From that, reaching out to beyondblue was a bit of a no-brainer, they do such good work with mental health. And with the song called ‘Swear Jar’, it’s not a far leap to fundraising.”

Just as there are many young people out there hearing his music and fi nding ways of getting through times of struggle, there are just as many who have been inspired by Illy and his peers – those like 360 and Hilltop Hoods – to start experimenting with their own hip hop careers. As Illy sees it, the genre is facing a unique evolution in Australia, with the next generation taking lyrics and beats in whole new directions.

“Even amongst myself, ’60 and the Hoods, we’re all very different in our approach, but between us and the generation that’s coming up it’s totally different again. You can hear the infl uences are very different, and that’s refl ected in the music. The Hoods were

already around when I started, and it was a real community then because things hadn’t really gone mainstream at that point.

Everyone was supporting each other, that love was there.

“I think the kids nowadays – ha, as old as that makes me sound – I think they need to have that same thing.

And social media means that you don’t need to go to open mics four or five nights a week to get your chops up. You can put up videos from your bedroom having never played a live show. The whole dynamic has changed, and so it’s kind of natural that that sense of community has been lost to a degree.”

With the Swear Jar Tour kicking off in Darwin on Friday, it’s time for Illy to dust off the microphone, leave the bunker and step into the stage lights. As his next album sits within snatching distance and thousands of fans count the days until their local gig, all in all Illy is feeling pretty happy about being Illy right now.

“Man, to be here, to be 30 on my fifth album, to feel the trajectory is still on an upward incline… When you’re starting out and you just want to be heard, you can’t realistically think it’s going to work. I’ve got to be grateful for this shit. If you’d asked me even five years ago, I wouldn’t have been able to call this now. That’s probably a real corny answer, but it’s true man, it’s true. I try not to ever get too complacent or comfortable.”

With: Dylan Joel, Citizen Kay Where: Metro Theatre When: Saturday February 20

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Illy photo by Cybele Malinowski

“Man, I couldn’t even tell you what kind of day it is, because I haven’t been able to see outside,” he laughs. “I’m in the studio in a windowless room, in the belly of the beast here in terms of getting this album done, just trying to punch my way out. The last couple of weeks belong to the studio; we’re putting the fi nishing touches on the album now. I had a little bit of time off over New Year’s, but the whole of January has been dedicated to getting this done. I think the next single will probably drop sometime mid-February, and I want to say the album will be out in April, but I’ve already said it would be out earlier and it still isn’t fi nished.”

running of his label OneTwo, and festivals galore. He is also sitting on an ARIA Award and has a goldselling album under his belt, yet despite these successes, there are still voices in the industry keen to take cheap shots.

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Kristy Coote Her Favourite Thing By Tegan Reeves

K

risty Coote’s story of fi nding success is not one that relies on chance or being in the right place at the right time. Coote has spent the most part of the last ten years travelling between Australia and Nashville, networking and fi nding her feet in the US independent acoustic roots scene, while recording her forthcoming album Favourite Thing.

“Recording in Nashville was absolutely brilliant,” Coote says.

“Mike Flanders was my awesome Australian producer – he’s based in Nashville and has been over there for some years, and I also co-wrote with a bunch of other Aussies, so the album was a collective Australian effort.

“I’ve been visiting Nashville for the past decade, and I started out going over there to just experience it and to put my feelers out to see music-wise who was over there.

I was pretty green when I first started out going over there, but every time I went back I started being able to network a bit more and I ended up having a second family in Nashville. They took me in and hardly knew me, but then I started going over just to visit them, and that’s how I ended up meeting Mike Flanders.”

By the time Favourite Thing is released in Australia this May, almost 14 months will have passed since the end of recording sessions, but Coote still feels the same way about the album as she did in the studio. “I’m probably more excited about the album now than I was when I finished recording, because it has been so long between stages,” she says.

“I’m also really excited to be able to give all of my fans a snippet of the album with my east coast tour in February.”

Now she offers a piece of advice for aspiring musicians who are still waiting for that big break.

Joining Coote on this tour will be Tyrone Noonan, the man behind the early 2000s band George. “My booking agent manages Tyrone Noonan and he thought it would be a great idea to join together for my album launch tour,” explains Coote. “Tyrone and I met for the first time a few weeks back and we got on like a house on fire. He’ll be my special guest and we’ll end up singing a couple of songs together at the end of each show, but I can’t tell you what they are because it’s a surprise.”

“Even though I’ve been a singersongwriter for 15 years, I’ve only been able to do it full-time in the last couple of years. I’ve set up my own record label and publishing company in these past few years and it takes such a long time to be able to do that, but it has to be the right time. It was such a good feeling to be able to focus solely on my music, and you’ve only got one life so you’ve got to be able to just go for your dreams.”

Back when she was working towards a full-time career in the industry, Coote kept herself involved with music and songwriting as much as she could, and she credits this with giving her the drive to keep at it.

“Just stick with it. No matter what, it’s always going to be inside you that music is what you want to do. Unfortunately you have to keep your full-time job until those dreams become a reality. Keeping myself involved with music and songwriting a few times a week meant I was at least still involved with music in some kind of capacity and it kept me passionate.

What: Favourite Thing out Friday May 13 through Maronte/The Orchard With: Tyrone Noonan Where: The Vanguard When: Friday February 12

Waxahatchee The Times They Are A-Changin’ By Joseph Earp

K

atie Crutchfi eld has murder on her mind. Like 86 per cent of the world’s population – or what feels like that many people, anyway – the Philadelphia-based musician behind the Waxahatchee moniker has become addicted to the controversial Netfl ix series Making A Murderer.

“I watched it. My boyfriend and I just like, binged. We watched the whole thing in a day and a half when we were at my parents’ house for Christmas. I’m kind of a true crime nerd anyway, so as soon as I heard about it I was like, ‘I’ve gotta see this.’”

Crutchfi eld has developed her own conclusion about the potential innocence of the show’s subject, Steven Avery, a conclusion that can’t be recounted here in case it ruins the surprise for anyone who hasn’t yet seen the show. But it’s safe to say she’s put a lot of time into her theory – or theories, more precisely.

“I’ve just been reading all the interviews … I kinda went back and forth because there were all these articles coming out about what the fi lmmakers withheld from the trial.” She laughs. “I’ve changed my mind on it like three or four times.”

Outside the lengthy eighthour-plus commitment that a relationship with a television show requires these days, Crutchfi eld has kept herself busy, recently completing a tour with her idols Sleater-Kinney. It’s a series of dates about which she speaks very fondly.

“Obviously seeing Sleater-Kinney playing every night was just amazing. And they were just so sweet and smart … I feel so lucky that we got to not only play with them but that we got to hang out. It was just a great, great experience.” She pauses, trying to fi nd the perfect word. “Magic. [The shows] were magic.”

As it happens, ‘magic’ also feels like the best adjective to use when

10 :: BRAG :: 649 :: 10:02:16

describing Crutchfi eld’s own work.

There’s a power to her music that transcends the real; a kind of buzzy, quivering energy that most obviously manifests itself on ‘Half Moon’, the piano-led penultimate track of Ivy Tripp, Waxahatchee’s recent record.

“I had gone through a phase when I was writing piano ballads,” she says. “Sad ballads. I wrote that song [‘Half Moon’] a long time ago … It’s pretty autobiographical. But I think that for several reasons I wanted to stay away from getting really close to my own feelings. I kinda wanted to describe things that are more general.”

That said, Crutchfield’s writing process is beginning to alter. “I’m sort of starting to work on my next record. I’m starting to concoct some ideas,” she says. “[I look forward to] going back to getting close to my own feelings again.

That’s something I’m excited to do.”

Crutchfi eld has a full calendar this year – not only does she have the record to write, she’s also taking her show back on the road, returning to Australian shores for the second time in less than 12 months. On the subject of live shows, Crutchfi eld is remarkably candid.

“I still struggle with [performing].

I think about it a lot. When I first started making music, it was such a private thing, because I wrote songs and played music alone.

It was never something I thought about, performing. It was about starting out with an idea and ending up with a fi nished project.

That’s the part I liked. [Performing] is a struggle. There was a while when I would not move at all or just close my eyes, play the songs and wait for it to be over. But I enjoy it now.”

Above all else, Crutchfi eld comes across as grateful; humbled by the idea that people are still rocking up to her shows and buying her records. “I feel really fortunate for the way Waxahatchee has grown.

It didn’t happen overnight. It has just sort of [happened].”

This humility has also led to Crutchfi eld using her infl uence to help others, most notably playing a number of dates in order to raise funds for Planned Parenthood, an organisation dedicated to providing reproductive health services in both America and overseas.

“The funding for Planned Parenthood is constantly at risk.

That’s why I’m playing [benefi ts] for them, cause they need money.

It’s a weird emotional issue for so many people. It serves such an important purpose. And so many people don’t see it like that.”

When asked if American opinions on women’s reproductive rights are changing, Crutchfield appears

hopeful but realistic. Perhaps her guarded, considered response is unsurprising, given the times in which we now live. Senator Ted Cruz, the man who recently trounced Donald Trump in the Iowa caucus, has forged a political career out of an opposition to Planned Parenthood, and has claimed that he will launch a full investigation into the organisation if he is to become US President. “[America] is very polarised right now,” Crutchfield says. “There are so many parts of the country that are so conservative, and I can’t imagine it’s changed that much. I think as time moves forward it’s insane that there are so many people that want to cut funding for Planned Parenthood.

That’s why people get angrier and

angrier – cause times are changing, and laws are not changing. And people are not changing. And it’s just kinda sad.”

When told about the issues facing women in Australia – specifically the recently proposed legislation that would have led to women paying for pap smears – Crutchfield sounds disappointed rather than surprised. “I wish I was shocked,” she says, then laughs, then stops. “I feel your pain, Australia.”

What: Ivy Tripp out now through Wichita/[PIAS] With: Infinite Void, Mere Women Where: Oxford Art Factory When: Wednesday February 17

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Matlock, Phantom & Slick Tough Cookies By Paul McBride

W

hat do you get if you cross a Sex Pistol with David Bowie’s guitarist and a drumming Stray Cat? The result is Matlock, Phantom & Slick, a trio of legendary musicians set to serve equal portions of anarchy, glam and rockabilly on their upcoming Australian tour. The band – Glen Matlock on bass and vocals, Earl Slick on guitar and Slim Jim Phantom on drums – has been a going concern for around two years, and while former Sex Pistol Matlock is keen to talk about a range of subjects, the band’s live playlist is another matter.

“I’m not going to tell you,” he laughs. “It’s a bit like telling the punchline of a joke too soon.

Not that it’s a joke, but you’ve got to have some surprises. But there are certain songs [to be expected]; if I went to see the sadly deceased David Bowie and he hadn’t done ‘Heroes’, I’d be going home disappointed. So

we all know there are certain songs people expect to hear, and I’m sure you can work out which ones they might be. We do songs from all of our careers. That’s fair enough, innit?”

Refreshingly humble for a co-writer of what is often considered one of the most influential rock albums of all time in Never Mind The Bollocks, Here’s The Sex Pistols, Matlock is keener to talk about the future than his illustrious, if short-lived, punk past.

“We’ve actually got an album in the can of mainly my material,” he says. “We did it about a year ago and have been talking to people about getting it out. We went to a studio in Upstate New York with this guy Mario McNulty who engineered the Bowie album before the one that’s just come out.

It’s cracking stuff and I’m proud of it. We do a cover version of ‘Montague Terrace (In Blue)’

by Scott Walker, believe it or not, and Jim plays kettle drums on it. You’ll have to hear it to understand where we’re coming from. It’s hard to describe your own music. The record business is quite different now; everybody is chasing the latest 17-year-old they think are going to be the new Beatles, but invariably aren’t.”

because John could be really hard work.

When you’re 19 going on 20, you don’t always see the wood for the trees. When we reformed in ’96 I felt vindicated, because of all the people in the world they could have asked, they asked me again, so they possibly came round to my way of thinking a little bit more.”

Having played their individual parts in many important moments in rock history, Matlock, Slick and Phantom have direct connections to both the recently departed Bowie and Lemmy Kilmister – a possible hint at that live setlist.

When it is suggested he might not have been given fair dues for his songwriting contributions to the Sex Pistols, Matlock shrugs it off with characteristic humility and humour.

“I knew both of them,” Matlock says. “I was fortunate to meet Bowie quite a few times and I got on really well with him. He sought other people’s opinions and listened to what you had to say and took it on board. But he was a laugh as well, you know? Lemmy I’ve known for years. He used to knock around with all the punks not long after he’d left Hawkwind and was trying to get Motörhead together.

The last time I played in the States with the Pistols at the Whisky A Go Go he came backstage to say hi and everybody had a lot of time for him.”

“I think I’ve managed to claw a bit of that back now,” he says. “I think people have [recognised] my contribution to the band. But I don’t wake up in the morning thinking about how I used to be in the Sex Pistols. There are lots of things to do in life. The phone always rings with interesting projects and invitations to go and do this, that and the other. The only time I think about the past is when [journalists] ask me about it, you know what I mean? So ner-ner ner-ner-ner [laughs].”

While all four founding members of the Sex Pistols are very much alive and kicking, hope remains for another reunion tour. “[There’s nothing] I know of as yet, but never say never,” Matlock says. “It’s the beginning of 40 years of punk this year, but also 40 years of the Sex Pistols, if you want to hang it on something. It’s down to John [Lydon]’s whims quite a bit, but I know my bank manager would be happy.”

Matlock was famously dumped from the Pistols in 1977 in favour of the chronically untalented Sid Vicious. Claims by manager Malcolm McLaren that the reason was “for liking the Beatles” have been repeatedly refuted over the years.

“That was bollocks for a start,” says Matlock.

“It was just something McLaren said. I left

Dubbed the Men Of No Shame Tour, the upcoming run of shows will see the band perform seven times along the east coast, with a pre-show Q&A session giving the audience a chance to verbally prod their hosts.

“I would rather have called it the Tough Cookies Tour because that’s what we are,” Matlock says. “[The Q&A] is something the promoter dreamed up, but I’m used to it. I’ve done similar things at the Edinburgh Festival; playing acoustic shows, telling stories and inviting questions. That was during the show, but before the show will be a bit different, because you’re usually worried about where you left your eyeliner, you know? I’m a big boy and I can deal with it.”

Where: Newtown Social Club When: Sunday February 28

The Jezabels Synthetic Harmony By Emily Gibb

T

he title of The Jezabels’ third album, Synthia, means more than their lead singer and lyricist Hayley Mary could have realised when it was first suggested in jest by producer Lachlan Mitchell.

“We were writing a song and layering synth upon synth and [he] said, ‘You should call this song ‘Synthia’, ha ha ha,’ and then I started thinking about it and was like, ‘That’s gotta be the album title!’

“It’s obviously a pun on the word ‘synthesiser’ and also a female name, and before that we had thought about the album as a person. The reason I thought the name was so great [was] because of some of the connotations it has in rock’n’roll. Cynthia being, of course, John Lennon’s first wife, the goddess of the moon, Cynthia Plaster Caster – you know, it really turned around from her being a groupie and she sort of became the rock star and I really like the story. There’s a little bit of those kinds of ideas of groupie culture in the record as well, so it just seems really coincidentally suitable. You know those serendipitous things?”

As it turns out, writing the album started out almost as serendipitously. “We weren’t actually intending on making a record,” Mary explains. “We were getting together to play a show and we just started writing, so it was a bit unexpected. Because of that, we just let the songs go where they wanted. We didn’t really think about trying to rein them in to any direction or go where people might expect. It was quite an organic process, for want of a less wanky word.”

Released this week after 18 months of work, Synthia is arguably The Jezabels’ most powerful collection 12 :: BRAG :: 649 :: 10:02:16

yet. Four years since their acclaimed debut album, Prisoner, and almost two after the release of its follow-up, The Brink, Synthia sees the Sydneysiders build on their characteristic sound with more knowledge, skill and confidence than before – soaring vocals included. They saw the music manifest itself naturally and relied on their collective subconscious, resulting in a naturally cinematic quality (‘A Message From My Mothers Passed’ echoes Chariots Of Fire), as well as a live energy that itches to be heard on a stage.

“I don’t think we ever try and make things cinematic,” Mary says, before she reflects. “Maybe? Maybe it’s conscious in that – no-one’s said this – but I feel like you’re trying to sometimes touch the sublime when you’re making a record, and that can have very visual connotations. I think the sublime sort of surpasses all senses – it’s encompassing all senses. It’s not just music, I suppose, it’s artistic as well. Sam [Lockwood, guitar] and Heather [Shannon, keyboards] are very good at making those kind of cinematic sounds anyway for the band, so yeah, it’s just natural. Just trying to touch the void,” she laughs.

them but unfortunately there was a level of pressure, even if you’re consciously going against what they want or not listening to them, it still has an underlying effect on your confidence.”

Keeping the creative process intimate helped The Jezabels achieve their results as well.

“Everything felt, from the music outwards, like we were just pulling things back to the centre and doing things driven by the band and the people in the band,” says Mary. “On the last record, we had a record company in the UK and America just distributing, but having them around… it can be very subtle. All of a sudden there’s people who have an interest and you’re like, ‘Oh, well they want radio songs.’

I don’t think we really listened to

Confidence was key for Mary and the band as they moved to new individual strengths during the album’s creation. With barriers of personal health and self-worth to overcome, combined with a newfound self-determination, it was paramount for them to push a message of strength through the music and lyrics. The lines “What’s a girl to do / Standing in the spotlight” and “Whatever you do little girl / Just hold your head up high” from ‘Stand And Deliver’ and ‘A Message From My Mothers Passed’, respectively, best represent that for Mary.

“I think [those songs] go together quite well,” she says proudly.

“They sum up the spirit behind it, of coming from a place of a lack of confi dence … I think the band probably went through [it] coincidentally at the time, due to a lot of factors – physical health, mental health, all of this stuff that happened during the second record – that we were still there and able to make another record.”

While it’s since been revealed that one of those obstacles in their way was Shannon’s fi ght with ovarian cancer, which has now led to the postponement of a scheduled album launch tour, there’s plenty Mary sees reward in.

“Oh, the album [itself],” she says.

“Also, I think I got my confi dence

back. Which is probably actually more rewarding than the album, for me, but they’re symbolically linked. I’m so satisfi ed with it that it won’t take external validation to make me satisfi ed. It comes from an internal confi dence, which I actually think is hard to come by in the culture of ‘likes’ and social media. But I’m just really satisfi ed with [the fact] making that album came from inside and made us much more confi dent. We will [tour] at some point, I assume – it’s just not going to be straight away, and hopefully that means people just have more time to get to like the record.”

What: Synthia out Friday February 12 independently through MGM

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Sly And Robbie An Audience With Royalty By James Ross Robbie learnt the bass by picking up a communal guitar while no-one was playing it, and Sly taught himself to drum by banging on his classroom desk with a friend during free periods.

“I got into drumming by going to school,” says Sly. “A friend of mine, Willi Williams, used to come by my home with a tape recorder and I would try to keep time. I’d listen to The Skatalites, Al Jackson, and listen to the Motown stuff… I tried to practise what I heard and realise what was going on. When it was my time to shine, I thought, ‘There’s so many good drummers in reggae,’ and I didn’t know what to do. I tried to do something different to what they were doing, you know?”

Sly decided to develop his style by translating the body language of the performers he saw in his community into a musical language of its own.

“My mother and I used to sit and watch the creative dancers, a kind of ballet dancing, but what we used to call creative dancing in Jamaica.

I’d watch the body movements of the drummer, his rhythm of his body as he was playing, the beat of his drum, and I was like, ‘Wow!’”

F

or over 40 years, Sly Dunbar and Robbie Shakespeare have been at the heartbeat of the reggae industry. The two started out as session musicians, working with the likes of Peter Tosh, Bunny Wailer

and Bob Marley, and have grown to become legends in their own right.

Sly and Robbie are said to have played on around 200,000 songs in their musical lifetime (that’s 13 songs a day, for those playing at home),

and their experimental sounds have been a driving force for change in the genre since early in their careers.

It’s no mean feat considering both Sly and Robbie were self-taught.

Sly is a man profoundly influenced by the greats who have come before him. His nickname is attributed to his love for Sly and The Family Stone, and he is known for incorporating different genres in his compositions. “Every day you’re

learning stuff,” he says. “I listen to a lot of hip hop – I listen to a lot of stuff in general, but I still listen to a lot of Motown because I think [it] was kind of the cream of the crop.

“But in Jamaica there is an old type of music called mento, and for example, there is a song called ‘Murder She Wrote’. For that one I went back and took something from the old school, the mento. Taking something from the old and bringing it forward to make it sound new.

It’s something for people to move their body to, and that’s what it’s all about.”

This passion for using the old school to progress the new is key to the duo’s most recent project, a dub trilogy that riffs on their lifestyle in Jamaica. As they prepare to take the stage alongside UB40 and Inner Circle, it’s clear they’ve moved way past their former status as session musicians and into the annals of reggae royalty.

“For the dub, it is always there, and will always be there,” Sly says.

“We’ve got two dub albums, so this next one will be the third. It’s called Dance Hall Dub, and it will be a different thing, and I don’t think that has been done before.”

What: Reggae Royalty With: UB40, Inner Circle Where: Enmore Theatre When: Wednesday February 17

Lord Huron Chasing Their Trails By James Di Fabrizio fantastic tales and adventure. It’s an album that attempts to translate visuals into music, painting a picture with a musical palette.

“The way I think about music is very visual,” Schneider explains. “When we’re rehearsing with the band, we talk that way too. When we are trying to describe what we want to do in a certain part of a song, we’ll talk about it in a visual way, and I think that comes through. It’s an interesting thing to do, to try and describe something sonically – it’s certainly something we’re striving for.”

While Strange Trails aims to push boundaries and look forward sonically, the album’s lyrics are rooted in the time-honoured tradition of storytelling. Songs such as ‘The Night We Met’, ‘The World Ender’ and ‘The Yawning Grave’ unfurl like chapters in a novel, rich with their own protagonists and a clear sense of narrative.

O

ver the course of fi ve years, indie-folk four-piece Lord Huron have grown from an understated bedroom project into a fully fl edged band, complete with swirling and cinematic compositions that have garnered the group international acclaim.

Helmed by chief songwriter Ben Schneider, their latest record Strange Trails is a Western odyssey where dark country narratives meet atmospheric soundscapes.

“I think, like a lot of blues music down the line, we really rely on a lot of established musical vocabulary,” says Schneider. “It’s something we take a lot of care

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and pride in – referencing things without repeating things. It’s amazing what you can say just by recalling an old song or an old sound; all the connotations people have with old music and all the memories that it can bring back.

It’s kind of like a shorthand that you can use to say more with the song than what you’re actually saying, which I think is a really beautiful tradition within the blues lineage.”

It’s this commitment to fi ltering iconic sounds of the past through a distinctly contemporary lens that has won Lord Huron the praise of traditionalists and revivalists alike.

Their music straddles the line

between old and new; familiar and strange all at once. Throughout it all, however, Schneider has refused to compromise his vision in exchange for a more digestible packaging.

“Occasionally we cause some confusion and frustration for people who like to classify things, or put things in neat little boxes,” he says. “But for us, the pleasure of it is just doing what we think is right and hoping people react to it.”

Following these instincts is what has embedded Strange Trails with the power to conjure such a strong sense of place, inspired by

“Sometimes that can be a straighter line to the truth than non-fiction, in a strange way,” says Schneider. “I’ve always been really drawn to that type of song, where I can immerse myself in some kind of a world – whether it’s just a simple story or something more abstract that might not make literal sense to you, but you still feel like you can live in it and soak it up. Especially with our last record, I was really interested in writing some of those more straightforward narrative songs that have a really great history in country and rock music; tragic tales of love and loss and human experience laid bare.”

To bring these stories to life, Schneider and his bandmates holed up in a converted studio they had renovated themselves. For months on end, they refined and developed a musical world of their own creation.

In Schneider’s opinion, it’s one of the key reasons why Strange Trails arrives as the group’s most fully realised project to date.

“We’ve had our studio now for the past year and it’s kind of become our clubhouse,” he laughs. “With our own place we had more time to let the songs hatch; to figure out exactly what they wanted to be and how they wanted to be expressed, and what funky sounds would help tell the story. It was liberating to work like that.

“We had no problem spending several hours trying to get just the right maraca sound, or just the right guitar tone. You just have to get it right sometimes. You hear it in your head and you just have to hear it that way. Getting those things right, those details right, really felt like an important part of making Strange Trails.”

In a short amount of time, Lord Huron have morphed from one man’s solo project to an all-encompassing musical endeavour. Five years on, their music has connected with listeners on a multitude of different levels. As Schneider says, that was always the aim.

“One of the craziest things I’ve noticed over our years of doing this is that different people get all kinds of different kicks out of our music. Some people who don’t love the recordings love the live show.

Some people who love the live show love the recordings even more.

Some people love getting lost in the stories, some people love just listening to the musical part of it. I can’t prescribe what I want people to get out of it, just as long as it’s something positive. I’ll leave it up to them.”

What: Strange Trails out now through [PIAS] Where: Oxford Art Factory When: Wednesday March 23 And: Also appearing at Bluesfest 2016, Tyagarah Tea Tree Farm, Thursday March 24 – Monday March 28

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

arts in focus

mardi gras film festival

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the love that dares to speak its name

also inside:

A L L M Y LLOV OV E / BR ENDA TTROL ROL LLOPPE OPPE / A R T S NE W WSS / S A R A H MILLICA MIL L IC A N GI V E AWAY 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, Anna Wilson and Anita Connors

SARAH MILLICAN

five minutes WITH

GLITTA SUPERNOVA FROM LET’S GET METAPHYSICAL

Y

our biography introduces you as a “self-described sex clown”. What’s a sex clown?

I coined the term ‘sex clown’ in the ’90s. With my hyper-gendered, technicoloured persona I’ve been disarming the imbalance of power in a sexual, camp and humourist way ever since! I indulge in using sexuality as a weapon for social

What’s the concept behind The Glitta Supernova Experience and the new show, Let’s Get METAphysical?

I want to explore intimacy in the world’s most objectified profession, and by coincidence a profession I spent ten years of my life working – the idea that there is a person behind the body. I wanted to link to the power we all possess when we are free from the machine and brainwashing that has been indoctrinated upon us from our first breath.

This show is about finding your

power against all the odds and expressing your own unique value on the planet, regardless of what you’re labelled.

For anyone who hasn’t seen this style of alternative cabaret, what should they expect? Is it important to bring a sense of humour?

It’s a sex comedy! Expect a cocktail of polarities, yuck and yum – the absurd, crossing the line, camp hilarity with an intimate unfolding and personal story. It’s a front-row seat into the slippage from club culture into theatre, a beautiful fusion of high and low art into a single mash of colour and revolution.

How has Australia’s appetite for fun changed over the years?

Right now ‘in is the new out’, or so the machine tells us. The ’80s, ’90s and early 2000s didn’t have the fear and distraction – experiencing the

moment far surpassed the need to document every action with selfies.

No lockouts, no insurance and the drugs were amazing! It was transcendental. No-one cared what all the freaks were doing in the back rooms, there was nudity and live sex not only on the stages but happening right on the dancefloors; extreme acts of exhibitionism in the pursuit of personal liberation.

Conservatism has taken hold – censorship and control within not just the arts but humanity. But it is all cyclic and I want to believe a backlash will happen, when we will agitate and liberate. Freaks on the front line will find a way to shake it up again and make new pathways.

What: The Glitta Supernova Experience – Let’s Get METAphysical Where: Giant Dwarf When: Friday February 19 and Saturday February 20

Microbe & Gasoline

DAWN IS DONE (FOR NOW)

Funnywoman Dawn French is closing her Australian tour with a special show at the Sydney Opera House. The grand dame of comedy is currently travelling and charming the country with her autobiographical live show 30 Million Minutes. Delving into her family’s history, French has been receiving rave reviews for its hilarious and heartwarming tales and life lessons.

French will now conclude her massive run of 34 sold-out shows, including her series of State Theatre dates, under Sydney’s famous sails. French plays the Concert Hall, Sydney Opera House on Sunday April 10.

Space Cats

FRENCH FILM FESTIVAL

The 27th Alliance Française French Film Festival has unveiled its jam-packed 2016 lineup. Diversity is the key to the program this time around, and films have been plucked from just about every conceivable genre. Highlights include Microbe & Gasoline, the new film from the vibrant imagination behind Eternal Sunshine Of The Spotless Mind, Michel Gondry; Mon Roi, directed by one-time actress and Luc Besson’s muse Maïwenn; and a newly restored version of Jean-Luc Godard’s scintillating Contempt, which will close out the festival. That said, the above listed films are only the tip of a very large, very French iceberg, so cineastes and Europhiles alike would do well to explore the entire program, preferably with a red wine and some cheese in hand. The Alliance Française French Film Festival kicks off on Tuesday March 1 and continues until Thursday March 24 at Palace Norton Street, Palace Verona, Chauvel Cinema and Hayden Orpheum Picture Palace.

The full program and tickets are available at affrenchfilmfestival.org.

KALEIDOSCOPE IN THE CROSS

Kaleidoscope is an intimate and tender play, deeply rooted in the trans experience. The new piece from Charles O’Grady is set to premiere at Kings Cross Theatre as part of the 2016 Mardi Gras program. A strikingly stripped-down story, the two-player tale is centred around Gabriel, a young trans man, who finds himself engaged in a deep conversation with his own reflection. Both an exploration of the trans experience and a look at the LGBTQI identity at large, Kaleidoscope is important viewing. It will be performed from Monday February 22 – Friday March 4.

MYSTERY MUSICAL

With a fundraising target of $25,000 for its 2016 season, the Squabbalogic theatre group has Kings Cross Festival

announced Mystery Musical #3, a one-off staged reading (and singing) of a secret musical theatre classic. No word yet on what the production will be, but the good people at Squabbalogic have hinted that this show will be of ’60s vintage, not unlike their previous productions Hello, Dolly and Bye Bye Birdie. Mystery Musical #3 plays the Seymour Centre on Monday February 29.

SPACE CATS ARE COMING

If the internet has taught the world anything, it’s that the addition of cats improves every single human endeavour. Space Cats, an “intergalactic feline musical” from the theatrical troublemakers behind Vampire Lesbians Of Sodom, is set to be performed as part of the 2016 Sydney Gay and Lesbian Mardi Gras season. A suitably bizarre tale of a stranded astronaut who must integrate himself into a society made up of the astral felines of the title, the work combines raucous comedy, strange tunes and the snappiest dialogue “this side of Uranus”. At the very least, it’s going to be a memorable show, so kitty lovers and theatre fans alike should get on tickets. Space Cats hits the Old 505 Theatre from Tuesday March 1 – Sunday March 12.

FRIDAY NIGHT VIBES

Get yer vibe on in Newtown with free popcorn, stalls, live music and free popcorn. Did we mention free popcorn? Designed in part to preserve Newtown’s sense of community, the Friday Night Vibes initiative has kicked off in Newtown Square, across the road from the train station. From 6-8pm each Friday until the end of March, those curious will able to swing by and

peruse a range of local stalls, not to mention drink in the atmosphere and some special live tunes. It’s sure to be not only a pleasantly chill experience, but also a rare chance to see a community visibly banding together, all for no real reason but to prove that it can. More information is available on Newtown Neighbourhood Centre’s Facebook page.

Dawn French

DON’T DIZZ HER BILITY

Sydney’s only deaf and blind drag queen, Dizzy Bility, will premiere her new show at King Street Theatre this week. Tits, Wine And Hearing Aids: Confessions Of A Disabled Drag Queen is an exploration not of disability but of triumph against the odds: a crude, rude and yet distinctly uplifting tale about succeeding when nobody else ever thought you would. It’s not suitable for kids, of course, but it is ideal for all those looking for their preconceptions to be challenged. Tits, Wine And Hearing Aids runs from Friday February 12 – Saturday February 20.

KINGS CROSS FESTIVAL RETURNS

Kings Cross Festival, an annual celebration of food, film and family, is back. The last weekend of February will see the festival once again showcase the diversity and vibrancy of Kings Cross and Potts Point. Proceedings will open on Saturday February 27 with the Llankelly Place Long Table party, seeing the laneway transform into a hive of entertainment, food and drinks. There will be DJs and live music performances, as well as pop-up bars from Young Henrys, Waterman’s Lobster Co. and The Roosevelt. The following day, Sunday February 28, Families

By The Fountain is a day for youngsters, with attendees able to get up close and personal with the creatures from Taronga Zoo’s mobile zoo.

Food and beverages will be provided by local cafés, including Farm Wholefoods and 169 Darlinghurst. And to close the festival, an outdoor cinema will take over the harbourside Beare Park in Elizabeth Bay, with the screening of the Australian classic, The Adventures Of Priscilla, Queen Of The Desert commencing at sunset.

16 :: BRAG :: 649 :: 10:02:16

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Glitta Supernova photo by Cat’O’Nine Tails Photography

change and commentary, holding a mirror up to society’s sexual malfunctions and embracing the power of what might be deemed grotesque. I’m inspired by the goddess of vulgarity, Baubo, who was eradicated from ‘history’ – laughter at sexual taboos with an aim to heal, create liberation and chaos.

With countless awards under her apron, and multiple appearances on comedy panel shows such as QI, Mock The Week and Have I Got News For You, Sarah Millican is one of England’s most valued comedic gems. Now, the winner of the British Comedy Award for The People’s Choice: Queen of Comedy in 2011 is heading Down Under, bringing along her unique box of charm and comedic tricks.

Millican will deliver the laughs at the Seymour Centre on Saturday April 9 and Sunday April 10, and we’ve got a double pass to give away to the second show.

Head to thebrag.com/freeshit to be in the running.

All My Love [THEATRE] Our Literary History By Adam Norris

F

or 30 years, Henry Lawson’s profile was on the back of the $10 note. When the design was retired in 1993, by sheer coincidence he was replaced with the face of Dame Mary Gilmore, a woman whose name has not achieved quite the same literary significance as that of Lawson, but whose life and work is just as vital to Australia’s cultural heritage. The coincidental aspect is that the pair were also in a doomed relationship; it seems fitting that they now share a connection to such a ubiquitous feature of everyday life. In All My Love, director Denny Lawrence brings their story to the Sydney stage.

“What’s interesting is that [writer] Anne Brooksbank tells the story through the eyes of Mary Gilmore,” Lawrence explains, “who was a lifelong friend and campaigned successfully at Lawson’s death to have a State Funeral, who stood by him even when he became a bit of a drunk and a sad sack. He was a tremendous talent, and that was the thing she recognised.

In his day, when it was frowned upon, he was like so many people now in the Michael Hutchence, Amy Winehouse pop singer kind of way who get into a great deal of trouble because of drugs and alcohol. In his day, that wasn’t something that people talked about at all, but it was part of his personality. He was a depressive, he’d had a very tough upbringing, he was substantially deaf. I mean, he had a lot of things to work against.”

Alongside Banjo Paterson, Lawson’s legacy as one of Australia’s greatest writers has proved rather unassailable over the years, and with reason; though dated, his short stories are still held up as classics of the form. Yet Gilmore too was a hugely accomplished author and a prominent figure for social change. Across poetry

and journalism, her advocacy for women’s equality and indigenous rights led to her appointment as Dame Commander. But today, the number of people familiar with these names outside an academic setting is dishearteningly low.

“Quite a few people may have heard these names for some reason, it pops up even in schools today,” says Lawrence. “One or two of Lawson’s poems or stories are always just around somewhere, and people might not have read them but they’ll certainly know the name. Much like Mark Twain if you’re an American.

But I don’t know how many people have read a lot of Lawson under the age of 50. People want to see something that connects with them, and these people do.

“There are loads of films out at the moment with the Oscars season on that are period pieces, whether it’s Suffragette or Carol or what have you, where we look at women’s situation in society. I think people like to be reminded of the journeys that we’ve gone on, both as creative people and as humans. In All My Love, [Lawson and Gilmore’s] relationship is fascinating as well in the way it was controlled so much by their respective mothers. It’s a story that touches a lot of people. There are a lot of damp eyes in the house because of what happened to Lawson and what happened to their relationship.”

The end of the 19th century was a watershed time in Australia’s history.

Federation was inching closer, industrial struggles were ushering in pockets of fervent nationalism, racism was rife and an economic depression made life difficult across the country.

Against this backdrop, All My Love conjures a romance that history

has largely overlooked, despite the notoriety and impact of both Gilmore and Lawson.

“What impressed me was that audiences could go on this journey that really covers a long piece of history,” Lawrence says. “We had to do it episodically, so we had to find a way to stage it that engaged them across that period, and they really do connect and follow it very well.

There’s a lot of information there that many people don’t know about, about the South American New Australia experiment, about Henry and Mary’s relationship. They really follow it closely, and what I’ve noted is that people are standing around talking about it afterwards. They get very worked up about Henry’s mother Louisa, who isn’t even in the play! She’s talked about a good deal, and is a catalyst for a lot of things that happen – a wonderful character in her own right – and they talk about her with great alacrity. It’s so gratifying.”

It is Lawrence’s hope to not just stage an entertaining piece of theatre. He and Brooksbank have been developing this production for several years, and the opportunity to reinvigorate such a distant literary love has not been handled lightly. Though their names might be known, the substance of Gilmore’s and Lawson’s lives and works runs a genuine risk of slipping from our common culture. All My Love is committed to seeing this reversed.

“I’d love [audiences] to go back to the work, to go back and reappraise the writing of Mary Gilmore and Henry Lawson. Our literary tradition, our cultural heritage is very important, and we get swamped so much these days by American

five minutes WITH

WILLIAM ERIMYA FROM THE BIG DAY

Y

ou’re taking part in The Big Day, a comedy evening about the cringiest and funniest wedding stories.

Should audiences be more prepared to laugh or cry?

Firstly, everyone at all times should be prepared to laugh or cry, that’s just life. The audience though, they should be prepared to cry from laughter.

There’s still time – I might do one at the show, The Big Day at Giant Dwarf Theatre in Redfern from 7pm.

Comedians often get booked as wedding MCs. Have you ever made any jokes you regret?

Thankfully, I haven’t made any jokes that I regret.

Is there a way to identify the wedding guest most likely to embarrass themselves in advance – or do these things happen at random?

Is there such thing as a wedding speech that’s so bad it’s good?

Yes there is. I have yet to see one. All the weddings I’ve been to, the speeches were very mature and classy.

It’s always the uncles. You have to keep your eyes out for the uncles.

You’re a comedian from the west of Sydney, a place that so many other comics like to make cheap jokes about. What’s your go-to target for geographical humour?

The equator. They’ve had it too good for too long.

What: The Big Day Where: Giant Dwarf When: Monday February 15

culture. It’s great to go back and look at the history and cultural roots that we have. Australia has a tremendous literary heritage. I still think we’re a bit unsophisticated in performing arts, certainly in drama. But we’re a terrific country for literature, so I hope it inspires people to experience that.”

What: All My Love Where: Riverside Theatres When: Tuesday February 16 – Saturday February 20 And: Also playing at Glen St Theatre, Tuesday March 1 – Sunday March 6

MELBOURNE INTERNATIONAL COMEDY FESTIVAL PROUDLY PRESENTS

We Are All in the Gutter, But Some of Us Are Looking at David O’Doherty ENMORE THEATRE 17 APRIL 6PM SYDNEYCOMEDYFEST.COM.AU & 9020 6966

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Mardi Gras Film Festival [FILM] The Shape Of Queer Cinema To Come By Joseph Earp

G

iven his massive workload, perhaps it’s in bad taste to talk to the director of the Mardi Gras Film Festival, Paul Struthers, about Sydney’s recent good weather. “I haven’t had much chance to see the sun,” he says with a laugh. “It’s been a bit hectic because the festival starts [soon].

The program’s a lot bigger, which means a lot more pushing of individual films. But [it’s] all good.”

‘All good’ is almost an understatement; now in its 23rd year, the festival has grown exponentially in both size and critical standing. It’s now a significant date not only for members of the LGBTQI community, but also for film lovers at large, and appealing to all tastes has long been Struthers’ guiding work ethic.

“It comes down to quality. The films have to be of a great quality. Good acting, great story, great direction…

Because it’s a queer film festival, it’s important to choose films that cater for all aspects of the LGBTQI story, but also to choose films that cater for all cinema fans as well. I think it’s important to [appeal] to all tastes.

If the story’s good … everyone will want to see it, not just members of the LGBTQI community. We like to have a wide range.”

Certainly a number of the festival’s films have very strong mainstream

appeal, most notably The Lady In The Van. Based on the odd friendship that blossomed between the titular transient and Alan Bennett – the acclaimed author and playwright behind The History Boys – the film stars Dame Maggie Smith and combines a very British brand of slapstick comedy and some tender, quiet tragedy.

Not that the program is in any way safe or neutered. Those who like somewhat stranger festival fare will be pleased to hear that Struthers has nothing but good things to say on the subject of Everlasting Love, a truly bizarre gem that he compares to 2013’s Stranger By The Lake, the acclaimed French erotic thriller.

“It’s like Stranger but a bit more gruesome, and Spanish. And the great thing about the film is that it’s a kind of modern, gay fantasy horror, and then there are weird moments when a band starts playing,” he laughs.

From his unique vantage point as the director of the festival, Struthers has seen a great deal of changes in the work submitted over time – changes he wholeheartedly embraces. As Struthers tells it, there’s a thought shift occurring throughout the movie industry. “I think film companies are seeing the market for LGBTQI films, and our

Bare

The Lady In The Van stories are being represented a lot more. There’s a lot more films out there, and the quality is certainly much better.

“There have been a lot more documentaries submitted this year as well,” Struthers reveals, and indeed the program is studded with fascinating works of nonfiction, ranging from Hockney, a film that explores the life and work of celebrated British artist David Hockney, to Ecco Homo, an Australian-made study of Troy Davies, a tragic figure perhaps best known from his collaborations with INXS’ Michael Hutchence.

When asked if there’s a film that he expects to go down particularly well with audiences, Struthers takes time to answer, his hesitancy hinting at the program’s general quality.

“There’s loads and loads. But I think people will really love the new Australian film Downriver, which is from director Grant Scicluna. He had a short film called The Wilding which we played in 2013. [Downriver] is a really interesting sort of coming-ofage film with a bit of murder mystery

thrown in. I think people will love that for sure.”

Exciti ngly, Downriver isn’t the only Australian title the festival has to offer. “This year we’ve got fi ve feature fi lms or documentaries that are from Australia. We’ve got Downriver … But we’ve [also] got the premiere of season four of the hit web series Starting From… Now!, a series that has been watched by over 20 million people. And then we’ve also got a great documentary called Scrum, which played the Sheffield fi lm festival and is about the Bingham Cup [a gay rugby tournament] …

And we’ve got Remembering The Man, which is about the real life story behind Holding The Man, the book and the fi lm. And then Ecco Homo.”

That said, although Australia is well represented, Struthers has gone to great lengths to ensure the festival is filled with international voices.

“We’ve got films from all over the world. We’ve got films from Japan, Mexico, Germany, Colombia, Spain … the list goes on and on.”

Indeed, the film that kicks off the festival, Summertime, will be presented in conjunction with the Alliance Française de Sydney. A moving period piece set during the early 1970s in Paris, and screened with subtitles, Summertime is an exploration of political and personal worlds; a film that doesn’t just explore characters and their sexuality, but the society in which they live.

This shift in storytelling style is another change Struthers has spotted over the years, and one he wholeheartedly embraces. “Films might feature LGBTQI characters, but often now … the character happens to be gay, and the story revolves around the character, not the character’s sexuality. It’s great.”

What: Mardi Gras Film Festival 2016 When: Thursday February 18 – Thursday March 3 Where: Various cinemas around Sydney More: queerscreen.org.au

Brenda Trolloppe [COMEDY] Oxford Street Extravaganza By Adam Norris

I

first became familiar with Brent Thorpe, Sydney’s leading expert on all things Brenda Trolloppe, back in 2013 with his solo show, Too Old For TV. With its humour based in outlandish storytelling, it seems quite a remove from Thorpe’s latest venture at The Shift Bar. There, Brenda hosts the Bizarre Comedy Vaudeville Extravaganza every Thursday, and allows the extravagant entertainer the chance to fully spread her wings for the first time.

“I didn’t realise it until last year, but off and on, I’ve been doing Brenda for 21 years,” Thorpe says.

“The very first time I ever took her out was in Ladies & Gentlemen, Brenda Trolloppe In Concert, in 1994. So I kind of know her really well. When she goes on, I wear her like a second skin. It’s funny – I’m pretty fearful with it, but it’s also very liberating for me because I just trust her. I trust her.

When she goes on, there might be fi ve things scribbled on a bit of paper so I have some objectives there, and she knows that certain things have been in the news, or that Kochie talked about this, Ita talked about that. She’ll mine a few things from the news, and the audience will give her some things as well. But for me, as a performer, it’s an exercise in trust.”

18 :: BRAG :: 649 :: 10:02:16

Given the format of each evening, having such a long relationship with a collaborator (even if this partner is your own alter ego) allows for a great level of freedom. With a troupe of other comedians invited to keep the audience laughing, having an MC so practised at juggling a crowd ensures a memorable night’s entertainment.

“Whenever I do solo work there’s a strong narrative line, whereas The Shift is pretty much a standup night, even though it’s in the character of Brenda Trolloppe,” Thorpe says. “Although she has a play of her own called Beauty!

Glamour! Fame!, this is really the first time Brenda as a character has been let off the leash. There’s no script, she just gets up every Thursday night with three other comedians I’ve booked and curated. But this is the first time she’s been let loose, so any notion of narrative or order goes out the window. But somehow it still works, and I’m enjoying the freedom.”

At the sprightly age of 21, Brenda now seems to have fi nally found her niche as a performer. The shape and style of Thorpe’s feather boa-ed nom de guerre has been slowly coming together piece by piece, and now audiences can

fi nally see her shine in person every Thursday on Oxford Street.

“She’s there, now. She stands her own ground. I think she’s got more songs than ever before. It’s not a drag act like you’d usually see at The Shift, where you think, ‘Geez, don’t they all look fantastic,’ and it’s more about female impersonation. Brenda has hairy legs and a hairy chest; it’s not that nice sort of drag. It has its base more in pantomime and burlesque.

“But she sings famous songs that she changes the words to, and though she’s not a great singer by any means, but she thinks she is.

I’d never thought what shape [the show] was going to take, or how it was going to happen. But they asked me, I said sure, and then thought, ‘Shit, what am I going to do?’”

Thorpe laughs. “But I knew after the first week she needed to become a different thing. Though I’m loath to compare them, Brenda is a bit like my Dame Edna. We both have different voices now.”

What: Bizarre Comedy Vaudeville Extravaganza Where: The Shift Bar When: Every Thursday

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BARS BRAG

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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

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

89 York St, Sydney CBD (02) 9299 9699 Mon – Wed 4pm-midnight; Thu – Fri 3pm-midnight; Sat 4pm-midnight

Balcony Bar 46 Erskine St, Sydney CBD (02) 9299 3526 Mon – Fri noon-midnight; Sat 4pm-midnight

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

BAR100 100 George St, The Rocks (02) 8070 9311 Mon – Thu noon-late; Fri – Sat noon-3am; Sun noon-10pm

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

Bar Eleven Lvl 11, 161 Sussex St, Sydney CBD (02) 9290 4000 Mon – Thu 4-9pm; Fri – Sat 4-11pm

The Australian

The Barber Shop

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 The Glenmore 96 Cumberland St, The Rocks (02) 9247 4794 Mon – Thu, Sun 11am-midnight; Fri – Sat 11am-1am Grain Bar 199 George St, Sydney CBD (02) 9250 3118 Mon – Sun noon-1am Grandma’s Basement 275 Clarence St, Sydney CBD (02) 9264 3004 Mon – Fri 3pm-midnight; Sat 5pm-late

The Fox Hole 68A Erskine St, Sydney CBD (02) 9279 4369 Mon 7am-3pm; Tue – Fri 7am-lste The Grasshopper 1 Temperance Ln, Sydney CBD (02) 9947 9025 Mon – Thurs & Sat 4pm-late; Fri noon-late Harpoon Harry 40-44 Wentworth Ave, Sydney CBD (02) 8262 8800 Mon – Sun 11:30am-3am The Lobo Plantation Basement Lot 1, 209 Clarence St, Sydney CBD 0415 554 908 Mon – Thu, Sat 4pm-midnight; Fri 2pm-midnight The Loft (UTS) 15 Broadway, Sydney (behind 2SER) (02) 9514 1149 Mon – Wed 2pm-10pm; Thurs – Fri 2pm-late Mojo Record Bar Basement 73 York St, Sydney CBD (02) 9262 4999 Mon – Wed 4pm-midnight; Thu 4pm-1am; Fri 3pm-1am; Sat 4pm-1am

Tell us about your bar: Doris and Beryl’s is a comfortable, intimate cocktail bar nestled in south King Street, Newtown. We have over 20 different gins, 12 different organic loose leaf teas, mouth-watering cocktails, a cracking craft beer list and (arguably) the best-looking staff in town.

What’s on the menu?

With our 2016 summer menu launch just last week, there is a vast selection of signature mixed drinks to choose from. Twist a classic margarita with the Narcoleptic Nan, a blend of home-infused chamomile tequila, fresh lime and agave.

Sweeter tooth? From Warsaw, With Love blends a healthy glug of bourbon with lemon myrtle, hibiscus, jasmine and vanilla. For something stronger, tackle the 0.416, an ode to the late Amy Winehouse. Heatinfused honey and ginger sweet vermouth, Fernet-Branca and Dom Bénédictine are served up, with a shot of bourbon on the side.

We like our gin here; Doris and Beryl have meticulously tried and tested a whole lot of them.

Featuring local stars such as Poor Toms, to the monstrous Monkey 47, we got your botanicals sorted.

Our craft beer list packs a heavy punch too, including tinnies from all around the world, and the only dedicated Rodenbach Grand Cru tap in New South Wales.

20 :: BRAG :: 649 :: 10:02:16

For our peckish customers, we have pretzels and jerky available for snacking, but we also encourage our customers to purchase food from local businesses to consume in our venue.

Sounds: Our playlist is highly revered amongst our customers, ranging from ragtime to rockabilly, show tunes, blues, country and electro swing. We also have in our possession a vinyl player, and encourage people to bring in their own wax to play, or sift through our collection. Do take heed, our bartenders have been known to get a little excited on occasion and bring out the ’80s power ballads – a firm, sharp “No!” should stop any Kenny Logginsrelated incidents.

TH

EK

ADDRESS: 530 KING ST, NEWTOWN WEBSITE: FACEBOOK.COM/DORISANDBERYL OPENING HOURS: MON – FRI 5PM-MIDNIGHT; SAT – SUN NOON-MIDNIGHT

OF

bar DORIS & BERYL’S BRIDGE CLUB AND TEA HOUSE bar E E W

Highlights: We pride ourselves on our personable, intimate and friendly service. You will always be greeted with a smile, and we are always happy to have a chat. Nothing on our menu tickles your fancy? Our welltrained, knowledgeable bartenders are there to help find the perfect drink for you. As well as friendly staff, our customers are really where this bar shines. Our punters are simply the best, and the more regular faces will happily help you navigate the menu or recommend a drink.

True preachers of the Newtown community ethos, you’re guaranteed to leave with a few extra friends.

Our striking décor stops many a person in their tracks as they stroll past. Our feature wall displays a whole array of trinkets and nostalgia items to keep your eyes wandering for hours. We have a selection of board games, books and publications, and of course, a deck of cards on each table. As a small venue, we do tend to fill up quickly on busier nights; we do however take reservations for our cosy booths and tables.

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 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 Uncle Ming’s 55 York St, Sydney CBD Mon – Fri noon-midnight; Sat 5pm-midnight York Lane 56 Clarence St, Sydney CBD (02) 9299 1676

Mon – Wed 6.30am-10pm; Thu – Fri 6.30pm-midnight; Sat 6pm-midnight

121BC 4/50 Holt St, Surry Hills (02) 9699 1582 Tue – Sat 5pm-midnight Absinthe Salon 87 Albion St, Surry Hills (02) 9211 6632 Wed – Sat 4-10pm 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 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 Darlo Bar 306 Liverpool St, Darlinghurst (02) 9331 3672 Mon – Sun 10am-midnight Darlo Country Club Level 1, 235 Victoria St, Darlinghurst (02) 9380 4279

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

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 Norfolk 305 Cleveland St, Surry Hills (02) 9699 3177 Mon – Sat noon-midnight; Sun noon-10pm Old Growler 218 William St, Woolloomooloo 0422 911 650 Tue – Sat 5pm - midnight The Passage 231A Victoria St, Darlinghurst (02) 9358 6116 Mon – Sat 5pm-late 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 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 Sweethearts Rooftop 33/37 Darlinghurst Rd, Potts Point (02) 9368 7333 Mon – Thu 4-11.30pm; Fri – Sun noon-11.30pm This Must Be The Place 239 Oxford St, Darlinghurst (02) 9331 8063 Mon – Sun 3pm-midnight

wed

10 Feb

The Tilbury Hotel 12-18 Nicholson St, Woolloomooloo (02) 9368 1955 Mon – Fri 9am-midnight; Sat 10am-midnight; Sun 10am-10pm Tio’s Cerveceria 12-18 Nicholson St, Woolloomooloo (02) 9368 1955 Mon – Sat 4pm-midnight; Sun 2-10pm Vasco 421 Cleveland St, Redfern 0406 775 436 Tue – Sat 5pm-midnight The Village Inn 9-11 Glenmore Rd, Paddington (02) 9331 0911 Mon – Sun 12pm-late The White Horse Hotel 381-385 Crown Street, 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 The Hill Bar/Eatery Cnr Campbell Pde & Hastings Pde, North Bondi (02)9130 2200 BAR Mon – Fri 4pm-late, Sat – Sun 12pm till 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

thu

(9:00PM - 12:00AM)

11 Feb

(9:00PM - 12:00AM)

fri

12 Feb

(10:00PM - 1:40AM)

SATURDAY AFTERNOON

sat

13 Feb

5:45PM  8:45PM

SUNDAY AFTERNOON

sun

14 Feb

(8:30PM - 12:00AM)

(10:00PM - 1:15AM)

mon

15 Feb

thebrag.com

(4:30PM - 7:30PM)

tue

16 (9:00PM - 12:00AM)

Feb

(9:00PM - 12:00AM)

BRAG :: 649 :: 10:02:16 :: 21

The Robin Hood Hotel 203 Bronte Rd, Waverley (02) 9389 3477 Mon - Sat 10am-3am; Sun 10am-10pm Speakeasy 83 Curlewis St, Bondi (02) 9130 2020 Mon – Sat 5pm-11pm; Sat – Sun 4pm-10pm Spring Street Social (and Jam Gallery) Underground 195 Oxford St, Bondi Junction (02) 9389 2485 Tue 5pm-midnight; Wed – Sat 5pm-3am Stuffed Beaver 271 Bondi Rd, Bondi (02) 9130 3002 Mon – Sat noon-midnight; Sun noon-10pm

The Angry Pirate 125 Redfern St Redfern (02) 9698 9140 Tue – Thur 5pm-midnight; Fri – Sat 3pm-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

Arco 3 Little Queen Street, Chippendale (02) 9318 0815 Tue – Sat 5pm-9.30pm

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

Bar-racuda 105 Enmore Rd, Newtown (02) 9519 1121 Mon – Sat 6pm-midnight

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

Bauhaus West 163 Enmore Rd, Enmore (02) 8068 9917 Wed – Fri 5pm-midnight; Sat – Sun 11am-midnight

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

The Bearded Tit 183 Regent St, Redfern (02) 8283 4082 Mon – Thu 4pm-midnight;

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

22 :: BRAG :: 649 :: 10:02:16

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

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

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

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

The Midnight Special 44 Enmore Road, Newtown (02) 9516 2345 Tues – Sat 5pm-midnight; Sun 5pm-10pm Miss Peaches 201 Missenden Rd, Newtown (02) 9557 7280 Wed – Sun 5pm-midnight 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

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; 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;

Your bar’s not here?

Email: chris@ thebrag.com 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

thebrag.com

out & about Queer(ish) matters with Lucy Watson

T

he Fred Hollows Foundation has lately been pushing its campaign ‘Fred On The Fiver’ – a bid to get Hollows’ legacy celebrated on the five dollar note.

You are cordially invited to...

Dori s & Beryl s Bridge Cllub and Tea House for

Fred On The Fiver The campaign has faced some pushback from the LGBT community, which has argued that Hollows’ comments about the AIDS crisis in the early 1990s mean he isn’t a worthy candidate for appearing on our money.

Hollows’ work with remote indigenous communities has cemented him as one of the most respected non-indigenous people within the Australian Aboriginal community. For this reason, the honour sounds deserved.

But should we revere those who do good in some communities while demonising others? In 1992, Hollows said that HIV positive homosexuals should be quarantined, because they were recklessly spreading the virus. He said they were responsible for blowing the disease out of proportion, because the reality was it was “basically a homosexual problem”.

If Hollows had taken aim at the gay community in 2016, I might be more inclined to give him a free pass. While homophobia still exists on a very real level, we’ve made tremendous advances in the past two decades. Sure, he’d be out of step with popular opinion, but it would just be another ‘old man yells at cloud’ moment we could all brush off with an “eh, we have plenty of other allies” shrug.

But in the ’80s and early ’90s, the gay community was at its most vulnerable.

People were dying every week, and homophobia was rampant. I can’t even begin to imagine the tragedy of watching your loved ones die, having people in your neighbourhood just disappear, wondering if – or more likely, when – it would happen to you, and still facing extreme abuse on a daily basis.

Supporters of Hollows have argued the ‘everyone makes mistakes’ angle. And it’s true. In our contemporary society, we hold everyone to the exceptionally high standard of ‘be a decent human’. And let’s be clear; in many, many instances, Hollows passed this test with flying colours.

But his opinions then weren’t just a mistake.

The AIDS crisis in Australia was well contained in comparison to other countries, due in large part to our incredible public health response, which surprisingly enough, didn’t advocate that those infected be forcibly taken away from their loved ones and support networks. Hollows’ views were out of step with the common opinion of health professionals at the time, and as a health professional himself – and a very progressive one at that – his remarks would’ve been disappointing, as well as hugely hurtful and detrimental. He should’ve known better.

thebrag.com

Facebook's Pride float photo by topol6_Flickr

COCKTAILS GOOD TIMES 530 King Street, Newtown Mon - Fri: 5pm - 12am Sat - Sun: 12pm - 12am

/dorisandberyl

@dorisandberyl

The ‘everyone makes mistakes’ angle is a good one, though, when you consider that the other people on our currency probably aren’t perfect, either. I mean, the Queen is literally the living face of colonialism, and the actions of her former empire make even Hollows’ homophobic actions seem positively transcendent (advocating their quarantine instead of their brutal genocide?

How quaint!). For this reason, I’m more inclined to support a move to put Fred On The Fiver. But our currency hasn’t been changed in decades, and surely by now we should expect a higher standard of those we celebrate.

The idolisation of people is always fraught, because nobody’s perfect, and because everyone makes mistakes. Turning people into icons doesn’t allow you to pick and choose what to celebrate about them.

Perhaps instead we could pick a symbol to represent Hollows’ good work, and celebrate that on the fiver instead.

this week…

On Friday February 12, Girlthing returns for 2016 at Slyfox, featuring Bad Ezzy, Ollie Henderson, Beth Yen, Smithers, Cunningpants and more. A much smaller venue than its previous parties, this one will probably fi ll up early.

CRAFT BEERS ORGANIC TEA

On Saturday February 13, 1050 is having another of its parties in the Blue Mountains, at the Victoria & Albert Guesthouse (Mount Victoria). There will be a pool party in the early afternoon and a dancefloor into the evening. It features Annabelle Gaspar, DJ

Bad Ezzy

Scada, DJ Shorty and Dr. Evil.

Next week Mardi Gras season launches, so there’ll be a tonne of parties, plays, films, and other events to look out for. Rest up this week if necessary, the next three will be huge.

BRAG :: 649 :: 10:02:16 :: 23

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

ALBUM OF THE WEEK NO ZU Afterlife Chapter

An assortment of Melbourne’s finest delivers an irresistible groove.

TYRANNAMEN Tyrannamen Cool Death

Like an episode of Ren & Stimpy directed by Lars von Trier, Tyrannamen’s self-titled debut is equal parts slapstick, sex and the surreal. It’s a deliberately off-kilter mess, one with a thrilling disregard for the normal rules of the album.

Even by the standards of punk and garage rock, this is a defiant record.

Choruses appear out of nowhere, and there’s a kind of contrarian cheekiness to the lyrics. The ironically titled ‘Happiness’ is largely concerned with the shedding of tears, while the romantic implications of ‘Diamond Ring’ are undone by the twangy perversity of the guitars that carry the number over the threshold.

Everything feels held together with old gum and Band-Aids, and the threat of disintegration hangs heavy over songs like anthemic opener ‘I Can’t Read’ and album highlight ‘Ice Age’. Though the piece is unashamedly lo-fi from the get-go, there’s a kind of overstuffed glamour to proceedings that recalls glam and cock rock; a swaggering oversaturation that brings it ever closer to the point of total collapse.

Like a rusty nail rising to the surface in a jar of baby food, Tyrannamen is an unexpected shock of the most perverse order.

But perhaps most surprising is not its perversity or crudity; rather it’s how goddamn lovable this record turns out to be.

Joseph Earp

The vocal style of Afterlife is characterised by an almost tribal chanting, alternating between

No Zu are the kind of band that you stumble upon at a festival, catching you completely by surprise with their infectious beats, and bringing you back from the dead and the grips of whatever comedown you are experiencing. If Afterlife doesn’t get you dancing, you must have one helluva excuse.

Tegan Reeves

LISSIE

GEORGI KAY

KIM SALMON

GIDEON BENSEN

My Wild West Cooking Vinyl

Origins Monoki/Parlophone

My Script Independent/Bandcamp

Cold Cold Heart Puncture/Universal

Given how weak her new album is, Lissie’s choice of title seems like an open invitation for snarkiness. So, here it is: with its half-baked pop stylings and vague, underdeveloped touches of light rock, Lissie’s third album, My Wild West, is less wild and more mundane. It’s not a trip through the frontier, it’s a stumble through a series of first world problems, and it grows increasingly dull with every single track.

If you could capture that feeling before a storm, when the clouds loom and the air is alive with static, the result might be similar to Georgi Kay’s new EP Origins.

Dark, hazy and charged, this second EP from the ARIA-winning indie musician sees her venture confidently into an edgy electro terrain.

The key to Kim Salmon’s My Script is held within the first word of its refreshingly simple title. This isn’t a universal story, or one painted with broad strokes: this is a Walt Whitman-esque celebration of self, an implosion sucking itself back to a single point of ignition.

Like the quintessential cool high schooler, Gideon Benson’s Cold Cold Heart is all popped collars, leather jacket sheen and slightly vacuous ideals. It doesn’t stand for anything or break any new ground, but its dogged ’80s revivalism and textural pleasures make it a great deal more enjoyable than it deserves to be.

It’s wiggy, overly considered nonsense from the start, with the hideously pretentious ‘My Wild West Overture’ kicking the whole white-bread mess into gear. One gets the sense Lissie designed the album from the outside, constructing a track like ‘Sun Keeps Risin’’ with the aim to manipulate and move listeners without ever really asking herself why. Indeed, this is the crux of the issue: Lissie never manages to convince us to care. It’s a shame, particularly given that her voice is pleasant, and she knows her way around both a piano and a radiofriendly chorus. But the emotional rasp of tracks like ‘Wild West’ and ‘Hero’ feels affected and unreal, like Adele reprogrammed and blooped out by a golden-voiced robot.

Opener ‘Love Is Cold’ crawls under the skin with its club pulse, niggling electronic melodies and tangled strings and synths. ‘God Of A Girl’ layers on a thick, sultry groove à la Chet Faker, while the single ‘More Than This’ toys with catchy vocal warping. The reverbheavy harmonies of ‘Give Me Love’ offer a lush, pillowy close to the five tracks.

Kay’s vocals are alluring. She’s a Lorde/Sarah Blasko hybrid; her words are filled with breath, emotion and rounded vowels. She sings of a topsy-turvy, gothicstained world where love is cold, darkness is a comfort (“I want to feel the night wrap around me,”) and the all-powerful is but a reflection (“In the mirror / She’s the god of a girl”).

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The problems show themselves when Salmon’s scope begins to broaden even a touch, and moments of searing honesty are traded in for clichés. ‘Fucking Shit Up’ and the McCartney/Malkmus mash-up of ‘Animal Man’ seem like artistic lies, as though Salmon feels compelled to flinch away from the truth and hide behind the rockstar image he has cultivated over the years.

You’ll pop on Origins for a taste but the pulsating melodies and deliciously dark undertow will see you through to the end.

You’ll be left hitting replay, too.

Nonetheless, taken as a whole, My Script is a flawed yet engrossing self-portrait; a collection of broken bottles and empty blister packets of pills arranged in the shape of a man.

Joseph Earp

Jennifer Hoddinett

Joseph Earp

All good punk records should sound like they’ve been recorded in someone’s basement. Wet Ones’ self-titled debut album does exactly that. Describing themselves as a trash rock band, Wet Ones have been tearing up the US punk scene since forming a little over a year ago.

The hype surrounding their first fulllength is not surprising, considering the band includes members from Fag Cop, Mouthbreakers and Rooftop Vigilantes. These guys clearly know what they’re doing, and this album packs a formidable punch.

Wet Ones Slovenly

Indeed, the album works best when it keeps things intimate; when the dimensions of the stage shrink and Salmon is left alone and unguarded.

Whether he is encouraging friends to “eulogise … [and] Facebook block me” on immensely lovable opener ‘Pathologise Me’, or discussing the intricacies of treatment on ‘Making Me Better’, he reveals his true skills as a songwriter when he turns his gaze upon himself.

This isn’t the harsh wilderness: it’s the Hollywood soundstage for a Z-grade Western, the dirt just painted plastic and the high blue sky a backdrop.

INDIE ALBUM OF THE WEEK

WET ONES

DIIV photo by Sandy Kim

Afterlife is the second album from Melbourne eight-piece No Zu. Their fluid lineup means their sound is ever-changing, and pigeonholing them into one genre is difficult at best, but this is not something to be deterred by. It is a feat, if nothing else, to see a band this large coordinate its vast musical talents into such a cohesive sound.

high-pitched female melodies and baritone spoken-word that conveys a great sense of sexual urgency. This vocal styling laid over warped synths, saxophone and a seemingly never-ending dance beat comes to fruition in the track ‘Spirit Beat’. The wavering beats of the excellently named ‘Ui Yia Uia’ are truly something to work your most seductive moves to.

Piercing vocals that could skin a live rat feature brazenly across all tracks, with a steady mix of grungy and erratic compositions. Having said that, there are a few songs peppered with some exceptionally satisfying

melodies. Each song on the album brings contrasting flavours, while maintaining overall cohesion and a firm punk aesthetic. This could partly be because the members regularly swap their instruments depending on what the track requires.

The rollicking ride that is ‘I Live Life Reckless’ is a stand-out; likewise ‘Static’, which features a thumping tempo with outbursts of crazy guitar. Tracks like ‘Get Me Off’ and ‘Casino’ contain the often volatile and uncompromising lyrics the band has become known for.

Benson, one-fifth of Australian superstars The Preatures, reveals himself to be the master of the pop hook. The synth-heavy, shimmering ‘Shame’ contains some of the catchiest riffs this side of The The’s Soul Mining, and the glossy backing vocals that drench the piece are delightfully, deliriously kitsch. It’s a glitzy, glamorous testament to excess, and proof that certain styles can be improved by pushing proceedings past all semblance of good taste.

That said, there is an unavoidable sonic flabbiness to the work; a vague sense of self-indulgence that becomes increasingly apparent towards the EP’s latter half. ‘Talk Talk’ is good, but not great, and serves only to prove that you can have one too many a reverb-heavy chorus (who knew?). Even at four tracks long, Cold Cold Heart begins to overstay its welcome.

But even when it doesn’t work, it does. Cool is as cool does, and Cold Cold Heart will make your soul sashay.

Joseph Earp

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

CAITLIN HARNETT - The River Runs North THE MOTHERS OF INVENTION - Freak Out! VIOLENT SOHO - Violent Soho

THE NATIONAL - Alligator DMA’S - DMA’s

It’s hard to pick a favourite when every song takes the listener on a debaucherously wild adventure.

Bel Ryan thebrag.com

live reviews

snap sn ap up all night out all week . . .

What we've been out to see...

Oxford Art Factory Saturday February 6

Whether you were there for one, some or all the acts playing at Oxford Art Factory in the name of Ocean Alley’s latest tour, the evening felt like a trip (of the car variety) with so much to take in.

Perth garage/art rock group Moana got things rolling in a dark and seductive tone while resplendent in fur-lined psychedelic coats and glittery make-up. With an energetic lead singer in the band’s namesake Moana Lutton, despite their best intentions, their outfits occasionally rivalled the music’s attention and came across as a little contrived.

Endorsed by The Preatures’ Jack Moffit and highly enjoyable to watch, King Colour were next up. Between lead singer Liam Staples grinning to himself at stage right, bassist Matthew Digges’ hunched shoulder moves and some impressive guitar – their steelpanreminiscent riffs included – it was hard to avoid reciprocating the performers’ smiles at the sound and sight of their psych groove.

The Ruminaters then took to the stage with a Nancy Sinatra-style intro (think Kill Bill, not Daisy Duke), preceded by an offbeat, hillbilly-

accented introduction. At times frustrating to pin down, the band’s sound was varied but always familiar, in a good way. After jumping more genres than there were acts playing on the evening, The Ruminaters’ jamming crescendo conclusion was apt and indicative of their quality live skills.

It felt like a long ride to get to the final post but Ocean Alley and their surfy reggae rock were finally on the horizon. Making the kind of music good for kicking back on a hazy, laid-back summer afternoon, the shaggyhaired sextet filled up the stage (and room), and swung into ‘Holiday’ as the party got into stride. Reminiscent of an early Sticky Fingers, the band artfully balanced four guitars, keys and drums, never giving the impression there was too much going on. Lead guitarist Angus Goodwin’s solos were a stand-out.

Likely due to the fact they’d played a matinee set for under 18s earlier that day, it took a little while for the band to pick things up and really rattle the room. By the time the end of the road neared, a makeshift circle pit – make that an oval pit – started to form in what felt like an unlikely setting. Just when it seemed like there was still something missing, the sounds of ‘Yellow Mellow’ and the smell of a joint filled the air, and it was all confirmed: we’d arrived at our destination.

Emily Gibb

james bay

PICS :: AM

OCEAN ALLEY, THE RUMINATERS, KING COLOUR, MOANA

06:02:16 :: Hordern Pavilion:: 1 Driver Ave Moore Park 9921 5333

CHVRCHES, EAST INDIA YOUTH Enmore Theatre Thursday February 4

East India Youth’s last record, the immaculately produced Culture Of Volume, saw William Doyle pushing his intellectual brand of electronica in a more pop direction, something like the Pet Shop Boys beset with paranoia. But in this live setting, where he is a manic, jerky presence behind a laptop, the chilliness of his music is pushed to the fore. It’s compelling stuff, with the seven minutes of ‘Hearts That Never’ throbbing with dread and doubt, spluttering out into a maximalist freak-out. ‘Entirety’ is similarly dark, a burnt-out look at our mediasaturated culture that flirts heavily with white noise.

Though working in at least broadly similar territory, Chvrches’ music comes from a much warmer place, aiming for something anthemic and affirming, rather than the missives of alienation East India Youth specialises in. They play with one of the most spectacular light shows the Enmore Theatre has seen in recent memory, an industrial array of cool pastels and neon, and the backdrop adds significantly to the epic feel.

PHOTOGRAPHER :: ASHLEY MAR

BEACH HOUSE

Sydney Opera House Wednesday February 3 Spools of synth, sliding guitar and breathy vocals unfurl and glide from the Opera House stage, where four figures shrouded in shadow weave together their shining soundscapes. This is Beach House, the Baltimore duo backed by bass guitar and live drums that dance to and around hazy drum machines, injecting a bizarre but beautiful double-percussion effect. The sound ripples throughout the Concert Hall, inducing a nodding, meditative state among most, while encouraging some in the upper reaches to groove along slowly as one.

Both the band’s 2015 albums, Depression Cherry and Thank Your Lucky Stars, get a look-in, but it’s in ‘PPP’ from the former that their diamond-flecked sound is embodied to the highest degree, as their backdrop lights up like a starry night sky. This nighttime emphasis is sustained throughout the set; soft blankets of synth and Victoria Legrand’s dusky vocals are a warm embrace to Alex Scally’s drifting guitar. Banter is kept minimal – as are stage lights – with the four musicians working away in near-darkness.

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Their careful manipulations are infectious, punctuated by sudden shards of light and heavy, pulsating drums that cut through the otherwise wistful nature of their music and breathe a greater vibrancy and substance into their recorded work. Moments are made grittier, crunchier than expected, with distorted guitars and fuller rhythms fleshed out and made whole, before dissolving now and again to the original two-piece.

These are genuinely huge, streamlined soundscapes, from the opening ‘Never Ending Circles’ to the bubbling synths and surging optimism of ‘We Sink’, while the hook-laden ‘Make Them Gold’ shows their almost machine-like efficiency in creating bright, sugary synthpop.

Admitting to having initially “stood still onstage and wished for the ground to swallow me up”, Lauren Mayberry is now a genuinely energetic frontwoman, small in stature but with star power and vivaciousness to spare. The Enmore stage can dwarf less charismatic performers, but she works the expanses between the two banks of synths expertly.

‘Leave A Trace’ and ‘Clearest Blue’ are also pristine, building patiently before exploding into choruses big enough to fill stadia, while ‘Empty Threat’ sees the ever-dynamic Mayberry pounding the drums with gusto.

Martin Doherty’s Scottish brogue on ‘Under The Tide’ and the almost torch song languor of ‘Afterglow’ are welcome changes of pace, but for the most part it’s the irresistible formula perfected in ‘Recover’ and ‘The Mother We Share’ that dominates, crystalline melodies floating over a base of clattering beats.

Flick through the new music playlist on Spotify any given week and you’ll find at least half a dozen bands imitating their festival-ready brand of shimmering synthpop, but Chvrches remain the leaders of this burgeoning movement.

Daniel Herborn

Returning for an encore, Legrand and Scally pay homage to their humble beginnings with ‘Saltwater’, the first song they wrote together for their 2006 self-titled debut album. With its mired drum machine and sparkling melodies, the glitchy lullaby washes over the crowd before Beach House are back as a full band for an anything-but-dreamy finale. Gone is the light touch of the swirling, kaleidoscopic guitars and gently curling synth. All that remains from their earlier performance is Legrand’s silk-swathed vocals beneath the din of distortion, urgent synths and ferociously rolling drums, all resounding over an audience that is well and truly wide awake.

Jade Smith

BRAG :: 649 :: 10:01:16 :: 25

snap sn ap up all night out all week . . .

VIEW FULL GALLERIES AT

thebrag.com/snaps

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

LANEWAY FESTIVAL 2016 Sydney College Of The Arts Sunday February 7 As the first weekend of February rolled by, so too did the annual Laneway Festival, held among the grassy greens and sandstone walls of Sydney University’s College of the Arts. With a brief appearance by Leichhardt Mayor Darcy Byrne and Federal MP Anthony Albanese, invited onstage by festival organisers between sets by Big Scary and The Internet, the day was – according to them – a celebration of Sydney’s cultural epicentre, the Inner West. All politics aside, it may well have been the best year for Laneway Sydney yet.

As the sun blared down and the sky was free of rain, the day started with an Aussie tone. Blank Realm had the dancers in the crowd moving early, their keytar melodies an unexpected yet welcome lunchtime soundtrack. Majical Cloudz were a more introverted presence, but their small smattering of fans was appreciative.

One of many artists playing upcoming material, DMA’s rolled out the first of the big sets to a monster headliner-sized crowd, with an additional two guitarists amplifying their new tracks. Californians Fidlar followed, belting out massive hooks and their relatable lyrics as beer was thrown across the crowd in appropriate style. Somehow a skipping rope even made it into the circle pit near the end of their set.

Armed with a host of fresh material, Big Scary graced the Park stage post-Fidlar, their stunning grooves shining. The Internet felt the blaze of the sun – albeit dressed unsuitably in beanies and long sleeves – but their smooth beats, moves and banter melted all discomfort away.

Taking the walk up to the smaller Mistletone and Future Classic stages, it was a pleasant surprise to see the addition of big screens for those stuck at the back of the pack. Royal Headache’s shirtless

Shogun was probably the hardest-working frontman of them all, bright red with exhaustion and kneeling down to ask nobody in particular, “I’m fucked, can we stop?” Three songs later, he got his wish.

The Smith Street Band and Goldlink both made lighter work of delivering with their big singles, with crowds at their respective stages taking over the reigns several times to the delight of the acts.

Back down on the greens, Hermitude welcomed the overflowing crowd setting in for the evening, moving through their comprehensive back catalogue and getting almost everyone, from top to bottom, on their feet. Circle pits aplenty formed with easily the rowdiest crowd of the day for Violent Soho, as brand new songs and festival favourites all garnered ample appreciation.

When it came to pretty, can’t-look-away visuals, the evening really took off once Grimes bounced around for her sunset performance. Almost a one-girl band, her impressive juggling act was made to look easy and dazzled the crowd. Chvrches, Purity Ring and Hudson Mohawke each performed sets that were hard to fault or even keep your eyes away from.

One of the most anticipated acts of the day, Flume certainly returned to the Laneway stage a confident man.

Explaining his five-year career trajectory symbolically through the festival – from delivering water backstage in 2011 to pulling a huge crowd early in 2013 and now returning as a headliner – the Sydney boy left little doubt he’s a certified festival closer. He tested the waters with brand new beat-heavy material, before fresh singles ‘Smoke And Retribution’ and ‘Never Be Like You’, and their vocalists Kucka, Vince Staples and Kai appeared during a set laden with old favourites and big remixes. Laneway was capped off by a young local legend showing us all how he’s grown in such a short space of time. It couldn’t have been a better fit.

Emily Gibb and Chris Martin

PHOTOGRAPHER :: ASHLEY MAR

speed date WITH

JON ‘HOWLER’ HOWELL FROM CHASE THE SUN Your Profile Chase The Sun is Jan, Ryan 1. and Howler. We play blues-inspired rock with some other stuff thrown in. When not playing music we like to work really fucking hard. Most of our fans are people who work really fucking hard and like to play hard too, as long as they can get a babysitter.

Keeping Busy Rather than save money to 2. record our next album, we decided to blow it all on our own studio. Now that the Gyprock is in we’ve started demoing tunes for our long-awaited third album.

3.

Best Gig Ever We’ve had a lot of best gigs, but the bestest were probably at

26 :: BRAG :: 649 :: 10:02:16

Bluesfest. The worst was at the MusicOz Awards in about 2009.

Some bright spark decided to just leave 1,000 bottles of beer unattended so by the time we got onstage at 1am it was a disaster waiting to happen. Ryan stomped on his fuzz pedal for the biggest part of the first tune and missed, totally trashing the board and removing all trace of the bass from the mix. I think we’d just won an award for something and three minutes into the performance people were just looking at us going, “I thought these guys were supposed to be good.”

Current Playlist We’re listening collectively 4. to the new Clutch album Psychic

Warfare. Mutemath’s Odd Soul has

been on high rotation for a few years.

We just recorded an AC/DC cover for a charity tribute album Back In Blues, so the Dacca are getting an airing.

Also Time by Big Daddy Wilson, and Sipping On Rocket Fuel by our homeboy Marshall Okell get a solid airing at our place.

Your Ultimate Rider If we were able to request 5. anything at all in our rider we wouldn’t know where to start. Our standard rider document is three words long: beer, water, food. We don’t always get food.

With: Lloyd Spiegel, Claude Hay Where: The Basement When: Saturday February 20

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

pick of the week Boy & Bear

The Basement, Circular Quay.

7:30pm. $49.90.

THURSDAY FEBRUARY 11 ACOUSTIC, COUNTRY, BLUES & FOLK

FRIDAY FEBRUARY 12 Hordern Pavilion

Boy & Bear + Art Of Sleeping + Montaigne 6:30pm. $68.41.

WEDNESDAY FEBRUARY 10 INDIE, ROCK, POP, METAL, PUNK & COVERS Battles Manning Bar, Camperdown. 8pm. $50.

Grimes + Hana + Lupa J Enmore Theatre, Newtown. 7:30pm. $67.

Lillyé + The Charge + Versus Fate Frankie’s Pizza, Sydney. 4pm. Free.

Mark Travers Orient Hotel, The Rocks. 9pm. Free.

Metz + My Disco + Low Life Oxford Art Factory, Darlinghurst. 8pm. $48.90.

Muso’s Club Jam Night Bald Faced Stag Hotel, Leichhardt.

8pm. Free.

Open Mic The Vanguard, Newtown. 6:30pm. $10.

Shining Bird + The Ocean Party + Flowertruck Beach Road Hotel, Bondi Beach. 8pm.

Free.

Vibrations Band Competition - Semi

Finals Valve Bar, Agincourt Hotel, Ultimo. 8pm.

Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Anthropophagy - feat: Electro Octopus + Astronafrica Freda’s, Chippendale.

6pm. Free.

Collie Buddz Factory Theatre, Marrickville. 7pm. $45.

The Darren Heinrich Trio Play Bar, Surry Hills.

8pm. Free.

ACOUSTIC, COUNTRY, BLUES & FOLK Andy Illinois + Christian The Satanist + Ess-Em The Gasoline Pony, Marrickville. 7pm. $5.

Live & Original At Lazybones (Launch Night) - feat: Keely Denham + Inti Ray + Lola Sola Lazybones Lounge, Marrickville. 7:30pm.

Free.

Manouche Wednesday - feat: Gadjo Guitars Mr Falcon’s, Glebe.

7pm. Free.

Thundercat

Key To The Highway + Southerly Busters The Gasoline Pony, Marrickville. 7pm. $7.

Mark N The Blues Mr Falcon’s, Glebe.

8:30pm. Free.

Michael Harvey Museum Of Contemporary Art, The Rocks. 6:30pm.

Free.

Millar Jukes + Little Big Wolf The Vanguard, Newtown. 6:30pm. $13.80.

Roadhouse Rockabilly Night feat: Narelle Evens & The Jetbacks Miss Peaches Soul Food Kitchen, Newtown. 7pm. Free.

Rockabilly Thursday - feat: The Cruisin’ Deuces Rock Lily, Pyrmont.

8pm. Free.

Cheyenne Oxford Hotel, Darlinghurst. 10pm.

Free.

Handle With Care The Basement, Circular Quay. 7pm. $19.20.

High Highs Valve Bar, Agincourt Hotel, Ultimo. 8pm. $23.10.

Hush Honey Frankie’s Pizza, Sydney. 10pm. Free.

Jess Ribeiro + The Buffalo Grass Boys Moonshine Cider & Rum Bar, Manly. 9pm.

Free.

Live At The Sly - feat: Swords + Borneo + Phantastic Ferniture Slyfox, Enmore.

7:30pm. Free.

Moof De Vah Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

The Late Night Soda Social - feat: Black Diamond Hearts Soda Factory, Surry Hills. 5pm. Free.

Thievery Corporation Enmore Theatre, Newtown. 7pm. $89.10.

X Newtown Social Club, Newtown. 7pm. $23.

FRIDAY FEBRUARY 12

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC I Got Sole - feat: Johnson & Friends Quartet Play Bar, Surry Hills.

8pm. Free.

Milko FoucaultLarche Foundry616, Ultimo.

8:30pm. $21.50.

INDIE, ROCK, POP, METAL, PUNK & COVERS Admit-One + Call The Shots The Vic, Enmore.

7pm. Free.

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

Coast & Ocean Valve Bar, Agincourt Hotel, Ultimo. 9pm. $10.

Gingers Jam - feat:

ACOUSTIC, COUNTRY, BLUES & FOLK Boy & Bear + Art Of Sleeping + Montaigne Hordern Pavilion, Moore Park. 6:30pm. $68.41.

Hussy Hicks The Beaches, Thirroul. 8:30pm.

Free.

Kristy Coote The Vanguard, Newtown. 6:30pm. $18.80.

INDIE, ROCK, POP, METAL, PUNK & COVERS Admit-One + Call The Shots Captain Cook Hotel,

Paddington. 8pm.

Free.

Baddies + Whopping Big Naughty + Adult Bookshop + Golden Fang + Spanx Marrickville Bowling Club, Marrickville.

7pm. $8.

Black Vat Trio + Moonsign + Catgut The Gasoline Pony, Marrickville. 7pm. $7.

Courtyard Sessions - feat: Iluka Seymour Centre, Chippendale. 6pm.

Free.

Danielle Deckard Hornsby Mall, Hornsby. 5pm. Free.

Factory Fridays - feat: The Booty Affair + Resident DJs Soda Factory, Surry Hills. 5pm. Free.

Georgia White - feat: Undefined Zest Grill House, Rooty Hill. 5:30pm.

Free.

Horror My Friend Black Wire Records, Annandale. 8pm.

Free.

Icehouse + Alex Lloyd Enmore Theatre, Newtown. 8pm. $85.

Jess Ribeiro Newtown Social Club, Newtown. 8pm. $20.

Lagerstein + Rainbowdragoneyes Bald Faced Stag Hotel, Leichhardt.

7pm. $23.60.

Michael Carpenter The Newsagency, Marrickville. 8:30pm. $16.50.

Mutilate Presents Let’s Groove - feat: Splinter Cell + Mack Da Ripper + Toon & Raziel + Raw Machine + A.I.M. + Spindo & Catseyez + Dionysus + Mistortion + Blocka + Lihan + Duplex + Deactivate + Mutilate DJs + Karnij + Pulverizer Valve Bar, Agincourt Hotel, Ultimo. 9pm.

Free.

Paper Hearts Quakers Inn, Quakers Hill. 8pm. Free.

Paul Mason Trio Mr Falcon’s, Glebe.

9pm. Free.

Reckless Orient Hotel, The Rocks. 8pm. Free.

Sleep Can Wait

Captain Cook Hotel, Paddington. 8pm.

Free.

Stories + Belle Haven & Polaris Red Rattler, Marrickville. 8pm. $18.40.

Suite Az + DJ Troy T The Arthouse, Sydney. 5pm. Free.

The Kamis Revesby Workers Club, Revesby.

8:30pm. Free.

The Nevilles Penrith RSL, Penrith.

9pm. Free.

Tropical Zombie Moonshine Cider & Rum Bar, Manly. 9pm.

Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC The Ninth Chapter Spring Street Social, Bondi. 8pm. Free.

Alpha Steppa - feat: Roots Odyssey Crew Oxford Hotel, Darlinghurst. 10pm. $15.

The Ninth Chapter Spring Street Social, Bondi. 9:30pm. Free.

SATURDAY FEBRUARY 13 ACOUSTIC, COUNTRY, BLUES & FOLK Concord Joe The Bald Rock Hotel, Rozelle. 8:30pm.

Free.

Hussy Hicks + Lapis Sky Lazybones Lounge, Marrickville. 8pm. $15.

Spike Flynn & The Open-Hearted Strangers The Gasoline Pony, Marrickville. 3pm. $5.

The Buzzard Mix + John Tennyson The Gasoline Pony, Marrickville. 7pm. $7.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Chich And The Soul

songwriters’ secrets WITH

NIUHITI GERBIER FROM JUJU WINGS there was more to it. It gave me a perspective of space. I was always attracted by the ambient sound, the ocean, big mountains.

Inspirations 2.

When I was a kid, monsieur Jacque Brel, for his lyrics. He was a poet – one of my dad’s favourites too.

The first time I heard him was on a Sunday afternoon while my mum was cooking. Also a lot of Pink Floyd. I love Brian Eno, Tame Impala and The Flaming Lips, and very recently Tycho.

Growing Up Growing up in Tahiti definitely 1. played a big role in the way I perceived music early on. It was all about what was happening in a world that wasn’t physically present around me – most of what thebrag.com

I thought of it came from TV and a lot of imagination. Growing up on an island in a micro-environment but surrounded by endless ocean gave me a contrasted view of music. I had traditional music played everywhere but at the same time the feeling that

Your Band The band is made of Rhod 3.

[Davies] and myself. We met five years ago [when] he moved into the same building; we used to call it “The Block” – oh those days!

We jammed, got drunk and now somehow I’m still able to appreciate his friendship [laughs]. I hate to

say it but Rhod had a big influence on the music I listen to and how I started to change the way I play. We recently recruited Jonathan James on the bass and Tull Kidron on drums and samples to join the band.

The Music You Make 4.

Someone told me that we were a trip-pop band. I still think you can call it indie and a bit of psychedelic something; you decide.

We recorded at King Sound Studio near Central, with mister Alex Frew AKA Goldielocks as our producer – great guy, competent and a friend; what else do you need, huh? We play atmospheric pop songs with a heavy dose of weird synth sounds, harmonies and effects pedals on everything. It’s all about the sound.

Our set is like a landscape where we start slow, lull you into our universe and it gradually takes over.

Music, Right Here, Right 5.

Now Locally these folks are doing rad things: Jack Ladder and The Dreamlanders, Mezko, Lovely Head, Shebeen Queen, Borneo… Their music has definitely shaped the way I want to write. Good music is generally not an easy thing to find; you’ve just got to scratch beneath the surface. We appreciate these glorious pockets of creativity around Sydney, but until we find our big money backer, we’re sticking to our DIY ethic and doing everything ourselves. It can get stressful, but the rewards will be tenfold.

What: (I’m Not A King) Or Anything out independently on Monday February 29 Where: Brighton Up Bar When: Thursday February 18

BRAG :: 649 :: 10:02:16 :: 27

g g guide gig g

g g picks gig p

send your listings to : gigguide@thebrag.com Messengers Ruby L’otel, Rozelle.

8pm. Free.

Jimmy Vargas 1950s Penrith RSL, Penrith.

2pm. Free.

We May Never Meet Again (The Music Of Amy Winehouse) - feat: Movement 9 + Elly Poletti Foundry616, Ultimo.

8:30pm. $27.50.

INDIE, ROCK, POP, METAL, PUNK & COVERS Brewsfest 2 - feat: Local Resident Failure + Nerdlinger + Them Sharks + Chris Duke & The Royals + Surprise Wasp + Bilby Factory Floor, Marrickville. 7pm. $14.

Corona Sunsets feat: Dax Golding Watsons Bay Hotel, Watsons Bay. 3pm.

Free.

Cvlt Fest 2016 feat: Advocates + Ganbaru + Havoc + Serious Break + Daggerz + Gvrlls + Dark Horse + Culture Of Ignorance + Jxckxlz Red Rattler, Marrickville. 2pm. $20.

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

Funeral For A Friend Oxford Art Factory, Darlinghurst. 8pm. $44.80.

Gideon Bensen Newtown Social Club, Newtown. 8pm. $15.

Hush Honey + The Daphne Rawling Band Botany View Hotel, Newtown. 9pm. Free.

Icehouse + Alex Lloyd Enmore Theatre, Newtown. 8pm. $85.

Low Life Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

Meatstock - feat: The Beards + The Snowdroppers + Henry Wagons + Sahara + Big Blind Ray + The Punk Rock Hillbilly Sydney Showground, Sydney. 11am. $29.10.

Mesa Groove

Revesby Workers Club, Revesby.

8:30pm. Free.

Moses Gunn Collective Plan B Small Club, Sydney. 8pm. $13.90.

Nathan Hawes The Lair @ Metro Theatre, Sydney.

5pm. $28.

Nick Kingswell Orient Hotel, The Rocks. 5:45pm. Free.

Paper Hearts Wallacia Hotel, Wallacia. 8pm. Free.

Penny Lane Novotel, Rooty Hill.

6:30pm. Free.

Scattered Order + Astral Skulls + Club Sound Witches + DJ Bura Bura 107 Projects, Redfern.

8pm. $10.

The Frocks Penrith RSL, Penrith.

9pm. Free.

The Nevilles Mr Falcon’s, Glebe.

9:30pm. Free.

The Sun Records Allstars Revesby Workers Club, Revesby. 8pm. $40.

The Vanns Moonshine Cider & Rum Bar, Manly. 9pm.

Free.

Thirsty Merc Oaks Hotel, Neutral Bay. 7:30pm. $32.60.

Trench Effect + Stormbird + Breaking Point Royal Hotel, Bondi.

8pm. Free.

Twilight At Taronga - feat: Missy Higgins + Paul Dempsey Taronga Zoo, Mosman. 7pm. $80.95.

Uberfest 2016 - feat: Farr + The Still Shadows + Kriall + Breizers + Firechild + The Kids Don’t Like It + Bounty Hunters + Below Oceans + Hunt For Home + Daniel Turner + Quite Like Pete + Purplezain + Amammoth Bridge Hotel, Rozelle.

2pm. $25.

Valentine Mon Amour (The Electro Swing Sessions V2) - feat: The Correspondents + Pony Montana + Lo-Ki + Electro Alley Jam Gallery, Bondi Junction. 8pm. $25.

VIP

up all night out all week...

Orient Hotel, The Rocks. 10pm. Free.

SUNDAY FEBRUARY 14 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Third World + Nattali Rize + The Strides + Foreigndub DJs Factory Theatre, Marrickville. 5pm. $49.90.

ACOUSTIC, COUNTRY, BLUES & FOLK Eat Your Heart Out! – Street To Stage Soda Factory, Surry Hills. 6pm. $20.

Ryan Thomas Mr Falcon’s, Glebe.

7pm. Free.

Songquest Semifinal 1 - feat: Stuart Jammin + Phil Marino + Simon Marrabl + Nikki Steinfeld + Lucy Tiger Harlequin Inn, Pyrmont. 3pm. Free.

Songsonstage feat: Russel Neal + Monica + Tony West + Peter & Francis + Steve Clark Petersham Inn, Petersham. 4pm.

Free.

Sunday Live At The Bowlo Marrickville Bowling Club, Marrickville.

4:30pm. Free.

The Ramalamas The Gasoline Pony, Marrickville. 5pm. $7.

INDIE, ROCK, POP, METAL, PUNK & COVERS Boneless Valve Bar, Agincourt Hotel, Ultimo. 5pm. $10.

Funeral For A Friend Oxford Art Factory, Darlinghurst. 8pm. $44.80.

Gary Johns Trio Orient Hotel, The Rocks. 8:30pm. Free.

Hit Makers Penrith RSL, Penrith.

2pm. Free.

Hussy Hicks Brass Monkey, Cronulla. 9pm. Free.

Meatstock - feat: Henry Wagons + Mustered Courage + The Davidson Brothers + Hussy Hicks + The Buffalo Grass Boys + Troy Durose Sydney Showground, Sydney. 10am. $29.10.

Prinnie Stevens The Basement, Circular Quay.

6:30pm. $29.40.

Revolution Incorporated Moonshine Cider & Rum Bar, Manly.

7pm. Free.

Sealed Our Fate Valve Bar, Agincourt Hotel, Ultimo. 5pm. $10.

Tropfest - feat: Winterbourne + KLP + Gideon Bensen Centennial Park, Centennial Park.

3pm. Free.

Twilight At Taronga - feat: Missy Higgins + Dustin Tebbutt + Alys Ffion Taronga Zoo, Mosman. 7pm. $80.95.

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

MONDAY FEBRUARY 15 INDIE, ROCK, POP, METAL, PUNK & COVERS Soilwork Max Watt’s, Moore Park. 7pm. $61.

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

Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Latin & Jazz Open Mic Night The World Bar, Kings Cross. 7pm. Free.

Reggae Mondays - feat: Eric Renaud And Caribbean Soul

Civic Underground, Sydney. 10pm. Free.

The Monday Jam The Basement, Circular Quay. 8pm. $5.

ACOUSTIC, COUNTRY, BLUES & FOLK John Maddox Duo Mr Falcon’s, Glebe.

7pm. Free.

Live & Original @ The Corridor - feat: Original Sin + Jack Millar + Nick Murray Corridor Bar, Newtown. 7pm. Free.

Songsonstage feat: Russel Neal + Chris Brookes Kelly’s On King, Newtown. 7:30pm.

Free.

TUESDAY FEBRUARY 16 ACOUSTIC, COUNTRY, BLUES & FOLK Dave Rawlings Machine Enmore Theatre, Newtown. 7pm. $84.40.

Live & Original At Mr Falcon’s - feat: Jasmine Beth + Harley Van Valen + Cala Burke + Dave Ingleton Mr Falcon’s, Glebe.

7:30pm. Free.

Songsonstage - feat: Andrew Denniston Gladstone Hotel, Dulwich Hill. 7:30pm.

Free.

Songsonstage feat: Stuart Jammin Kelly’s On King, Newtown. 8pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Bandquest - feat: Russel Neal + Slow Nomad Ruby L’otel, Rozelle.

7:30pm. Free.

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

WEDNESDAY FEBRUARY 10

SATURDAY FEBRUARY 13

Battles Manning Bar, Camperdown.

8pm. $50.

Collie Buddz Factory Theatre, Marrickville.

7pm. $45.

Brewsfest 2 - Feat: Local Resident Failure + Nerdlinger + Them Sharks + Chris Duke & The Royals + Surprise Wasp + Bilby Factory Floor, Marrickville. 7pm. $14.

Grimes + Hana + Lupa J Enmore Theatre, Newtown.

7:30pm. $67.

Funeral For A Friend Oxford Art Factory, Darlinghurst.

8pm. $44.80.

Metz + My Disco + Low Life Oxford Art Factory, Darlinghurst. 8pm. $48.90.

Gideon Bensen Newtown Social Club, Newtown.

8pm. $15.

Shining Bird + The Ocean Party + Flowertruck Beach Road Hotel, Bondi Beach. 8pm. Free.

Hush Honey + The Daphne Rawling Band Botany View Hotel, Newtown.

9pm. Free.

Thundercat The Basement, Circular Quay. 7:30pm. $49.90.

Moses Gunn Collective Plan B Small Club, Sydney. 8pm. $13.90.

THURSDAY FEBRUARY 11

Nathan Hawes The Lair @ Metro Theatre, Sydney. 5pm. $28.

Jess Ribeiro + The Buffalo Grass Boys Moonshine Cider & Rum Bar, Manly. 9pm. Free.

Thirsty Merc Oaks Hotel, Neutral Bay. 7:30pm. $32.60.

Live At The Sly - Feat: Swords + Borneo + Phantastic Ferniture Slyfox, Enmore. 7:30pm.

Free.

Thievery Corporation Enmore Theatre, Newtown.

7pm. $89.10.

X Newtown Social Club, Newtown. 7pm. $23.

FRIDAY FEBRUARY 12 Courtyard Sessions - Feat: Iluka Seymour Centre, Chippendale. 6pm. Free.

Icehouse + Alex Lloyd Enmore Theatre, Newtown.

8pm. $85.

Kristy Coote The Vanguard, Newtown.

6:30pm. $18.80.

Lagerstein + Rainbowdragoneyes Bald Faced Stag Hotel, Leichhardt. 7pm. $23.60.

Twilight At Taronga - Feat: Missy Higgins + Paul Dempsey Taronga Zoo, Mosman. 7pm. $80.95.

SUNDAY FEBRUARY 14 Meatstock - Feat: Henry Wagons + Mustered Courage + The Davidson Brothers + Hussy Hicks + The Buffalo Grass Boys + Troy Durose Sydney Showground, Sydney.

10am. $29.10.

Third World + Nattali Rize + The Strides + Foreigndub Djs Factory Theatre, Marrickville.

5pm. $49.90.

MONDAY FEBRUARY 15 Soilwork Max Watt’s, Moore Park. 7pm. $61.

TUESDAY FEBRUARY 16 Dave Rawlings Machine Enmore Theatre, Newtown. 7pm. $84.40.

five things WITH

KYPO FROM THREE WISE MONKEYS Garden, Lifehouse), to name a few. It was a great community and atmosphere to develop in.

The Music You Make Our music is instrumental prog/fusion.

4.

Our latest album Progetto Arte features a lot

2.

of direct-to-disc improvisation, which has then been chopped up in post-production to create compositions, a production style reminiscent of the great Miles Davis’ Bitches Brew album.

Inspirations The first guitarists I noticed were Peter Frampton and Mark Knopfler, through my parents’ record collection. Though hearing Eric Johnson’s ‘Cliffs Of Dover’ on a tear-out record from a guitar magazine was a definite ‘I want to do that!’ kinda moment.

3.

Growing Up I was fortunate to study under the great 1.

Tony Calabro, who had amassed an incredible 28 :: BRAG :: 649 :: 10:02:16

amount of amazing students, guys like Jack Jones (Irwin Thomas), Troy MacCubbin (Tatu, Enrique Iglesias) and Ben Carey (Savage

Your Band 3WM is Alex King on bass, Brendon Waterman on drums and myself on guitar.

We started five years ago playing jam nights and band comps, then doing supports for bands we met along the way. Opening for Featherfest (2012) and Progfest (2013) were great opportunities. We’ve produced two studio albums over the past 18 months, and are looking forward to our first gig back, supporting Plini on February 19 at the Newtown Social Club.

Music, Right Here, Right Now We’ve been optimistic about the new 5. technologies available to independently produce and release music. Our video for ‘Panopticon’ has been viewed over 250,000 times in six months. Those opportunities didn’t exist ten years ago. Definitely an artist to watch is Plini, who is doing amazing things in our genre, and a reminder that great music can find an audience.

Where: Supporting Plini at Newtown Social Club When: Friday February 19

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

brag beats

yolanda be cool inside:

also:

breaking free on a friday

club guide + club snaps + weekly column

ecca vandal

thebrag.com

BRAG :: 649 :: 10:02:16 :: 29

brag beats

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

dance music news club, dance and hip hop in brief... with Tyson Wray, Anna Wilson and Anita Connors

on the record

Vakula

WITH JAYSWAYS

UKRAINE’S FINEST

The First Record I 1.

Bought The first vinyl record I bought was an LP called Dreamstone by a Bristol, UK producer called Sorrow. It’s an incredibly detailed and emotive cut of electronic beats that sound like living, breathing organisms instead of programmed beats.

A bit like Burial in the way that it doesn’t sound like something a human has made with a computer, but more like a soul speaking the language of electronic music in an effortlessly fluid way.

Courtney Act and Conchita Wurst photo by Jeffrey Feng Photography

2.

The Last Record I Bought The last record I bought was an EP by a kid called Jacques Emery, You Keep Me. It’s so refreshing to hear something so heartfelt and completely removed from ego. It’s just a young composer/ multi-instrumentalist whose output is so widely varied and deeply conceptual, for the first time making music that expresses love in a completely honest and beautiful way based on rich overdubbed improvisations. It can feel quite invasive and confronting just

because of how raw it is, which is what makes it so touching and impactful.

summer. It’s on this album I’m working on, which is more inspired by tender moods in the autumn/winter.

The First Thing I Recorded 3.

The Record When I was 13 to 16, That Changed 5.

I was in a commercial My Life pop-rock band with a few other kids. We had to play music which was chosen and written for us, but eventually we got opportunities to write our own music and record tracks in professional studios, which made it worth it. There was this kid Christian Anthony, who’s now doing really well in his indie poprock group Chase Atlantic, and him and I used to write cheesy pop songs about young heartbreak and things like that. It was as cringeworthy as you’d expect, but we always had fun and I wouldn’t trade those experiences.

The Last Thing I Recorded 4.

Last time I was in Melbourne I stayed with this producer called Elkkle, who released an EP with a singer-songwriter Woodes last year. She and I wrote this really nice track together, which is a lot sunnier than my regular stuff, like a melancholy recollection of bittersweet love in the

THIS WEEK BY THE BEACH

Bondi’s Beach Road Hotel is kicking it into overdrive with an absolutely huge lineup of live, electronica and dance music. And it’s all free.

This Wednesday February 10, ahead of the live Spunk Records showcase, Luke Million and the I Oh You DJs will be get the crowd moving with hip-gyrating electronic funk, vintage synths and ’80s drum machine beats. Then guitar-pop pushers Flowertruck, The Ocean Party and then Shining Bird will take the stage. The Valentine’s Day weekend sees the return of Yours on 30 :: BRAG :: 649 :: 10:02:16

To just name one, I’ll say Radiohead’s In Rainbows. Honestly, I only heard this album about a year ago, but it affected me in ways I can’t explain. The first time I listened to it was this one moment I became deeply in love with someone, my emotions blurred into one another and I felt so weak, so afraid of it what it could do to me. I felt everything at once – love, joy, pain, suffering – and it almost forced me out of my body. I don’t often return to the album because of the sheer weight of its impact on myself and my emotions. I wrote a song about that moment as a way of confronting my feelings and just letting them take me, which I’m yet to release. I’ll never forget how powerful it was at the time.

After wowing Australian audiences in 2014, Ukrainian producer Vakula is back to deliver more of his finest deep cuts. Globally thought of as the man of the moment in deep house, Vakula has gained international recognition after a series of releases to establish himself as Ukraine’s most in-demand musical phenomenon. Inspired by his traditional instrumentalist grandfather, Vakula projects his national identity into the Detroit musical context with the use of drum machines and old-school vinyl records. He recently launched his own vinyl-only imprint, Leleka, referencing the Ukrainian cultural landscape and his passion for folk explorations. Vakula brings tradition to the decks of Charades and S.A.S.H at the Greenwood Hotel on Sunday February 21.

house bombs, as melancholic artist Recondite also joins the bill. Local names are in great supply, with Marc Jarvin, Robbie Lowe and Mantra Collective supporting on the main stage, as Tristan Case, Marcotix and Start:Cue will be putting in performances on the Tiki Stage. That Sunday takes place Sunday March 20 at Del Rio Riverside Resort, Wisemans Ferry, after Return To Rio proper goes down from Friday March 18 – Sunday March 20.

SERVE UP THE SYNTH

With his heavy synth sounds and funky soundscapes, the in-demand Detroit expat and resident of Brooklyn’s The Bunker, Mike Servito, is finally heading to town for his Australian mixing debut. Servito’s

taste has made an impact on Detroit nightlife for over a decade, with his deep and dirty sound seeing him play alongside some of the city’s most famous DJs and progress from a residency at Blackbx and Ghostly United to blowing minds at Interdimensional Transmission’s renowned No Way Back parties. It’s been a long time coming, but now Servito will grace Australia with his unapologetically Detroit sound for a handful of east coast dates. Servito hits the decks for Super OpenAir at the Factory Theatre on Sunday February 21.

ODESZA ON TOUR

Odesza will return to Australia will their full band this April and May. Already locked in for Groovin The Moo,

AN INVITATION TO MENSA

Vic Mensa will perform an intimate club show in Sydney this April alongside his Groovin The Moo dates.

At the mere age of 22, the Chicago rapper has already co-founded the Savemoney collective, released two mixtapes in two years and now as a solo artist signed with the Roc Nation family.

His live performances to date include Wireless Festival, the Emmy Award-winning comedy show Saturday Night Live with Kanye West and Sia, the 2015 Coachella festival and the 2015 St. Jerome’s Laneway Festival.

Catch him at Max Watt’s on Friday April 22.

Vic Mensa the tour follows the release of their much-celebrated album, In Return (out now on Pod via Inertia). No strangers to Australia, last year they performed completely sold-out headline shows in January as well as recent performances at Listen Out. They’ll hit Sydney on Friday April 22 at Metro Theatre.

Danny Brown

What: Lazy Thinking Records Launch Where: Red Rattler When: Thursday February 11

Saturday February 13 with Set Mo spinning house grooves and summer times.

THAT SUNDAY IN MARCH

The organisers of Return To Rio have announced the addition of That Sunday, a day-long extra ticketed event on the end of their festival weekend, featuring local legends and masters of movement. The lineup of big names in the business includes supreme DJ Dixon, who will treat festival-goers to a four-hour set packed with his signature theatrical

DANNY BROWN IN TOWN

In addition to his appearances at Groovin The Moo, Danny Brown has locked in a series of headline Australian shows. Since breaking through in 2012 with the release of his second album XXX, Brown solidified his status as a hip hop megastar the following year with the record Old, which featured collaborations with the likes of A$AP Rocky, Purity Ring and Schoolboy Q. Currently putting the finishing touches on his latest studio album, he’s also working on a Dr. Seuss-inspired children’s book dedicated to his 13-year-old daughter. Catch him at the Enmore Theatre on Tuesday May 3.

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Ecca Vandal Start At The End Of Time By Anita Connors she was growing up in Africa. She remembers “just being surrounded by the South Africans there and the amazing richness of their harmonies.

They sort of break out into song, you know, even if they were coming over for dinner … they’d just sort of start singing. And beautiful, lush harmonies and traditional gospel songs and folk songs. Just beautiful, lush voices.

And I remember that richness of that harmony, and I think that kind of inspired my love of harmonies. That’s definitely something that’s stayed with me.”

W Ecca Vandal photo by Kidnot

ith not so much a bang as a thump, wallop and crash, Ecca Vandal has begun the year with total sonic detonation. In a surprise move, the South African-born and Melbourne-based pop stomper and hip hop rattler released her debut EP End Of Time last month without even a word of warning.

“You know what? I just want to release something now,” she says. “I felt like I just wanted to go direct, you know, online for the fans. Like, not take too long doing an album, and these tracks are already finished. So I flew to Sydney and chatted with the [label] guys and just said, ‘Look, this is what I want to do. Can we do this?’ And that was just a few weeks ago. And I

wanted it to be a surprise, so luckily they’re really cool and are all on board, so here we are.”

Nothing short of a tornado of beats, End Of Time is described by Vandal as “a fun collection of tracks that most of them – I think all of them – you could probably dance to”.

What’s more, this five-track sampler ferociously showcases her range as well as eclectic influences and Sri Lankan heritage.

“I guess you can probably hear a few elements of punk rock,” she says.

“I’m a really massive hip hop fan.

Some people say they can hear it, some people they can’t, but I guess I’ve got some jazz influences in my

sort of musical past … I studied it for a long time and so there’s probably a few of those things you might be able to hear in the melodies, maybe.

And also some people say to me that they can hear some kind of South Indian cultural influence in there as well, which is most definitely ingrained in my musical heritage, cause that’s culturally where I come from. So it’s not something I intentionally go to, but I guess it sort of comes out somehow.”

In such a rich musical melting pot, the notion of genre never even comes into the mix. Instead of boundaries and confines, Vandal’s music resonates with a free-flowing and multi-layered energy, instilled with her first memories of music from when

These influences blend convincingly on End Of Time’s musical backdrop, while the boldness and complexity are also reflected in Vandal’s lyrics.

The song ‘Divided’, for instance, seamlessly tackles issues of racism, social toxicity and personal tribulation.

She raps, “You can’t bring that dark girl home / Cause Daddy’s waiting to see the next generation that follows … You just couldn’t grow a pair.”

The EP’s title track, on the other hand, is an impassioned love song. It was also the quickest to write. Vandal recalls, “I got a new toy, which was a Dave Smith synth. And I started playing around on this synth, and came up with the pulsing, kind of bassline theme. And I tracked that.

Then the next session with [producer] Kidnot, I actually played it to him and he really dug it. So we just literally built the rest of the track straight away. I started singing a couple of melodies and those melodies stayed … It just all really happened quite organically and fast, I didn’t sort of overthink anything.”

Vandal’s throbbing, spontaneous energy permeates the EP as it does her musical process. “I guess I’m a pretty spontaneous person by nature,” she says. “I kind of like to just do things on the fly and keep things fresh as much as I can, and not kind of get stale by overthinking it and reworking it. It’s something that I tried to break the habit [and get] out of early on, because I kind of felt like when I first started writing music, I’d write a melody and I’d go, ‘Oh no, no, no. I can do it better.’ And I’d keep going and keep going and keep going. And most often I would come back to the first one. So I kind of thought, ‘Hey, why don’t I just trust my instinct?’”

Having only played her first-ever gig last year, the future is bright for Vandal. She is also excited to be embarking on her maiden Australian headline tour. “I’ve got to say, the most rewarding thing is actually meeting people face to face who might be enjoying the music,” she says, “and they come up and say hello, and they say, ‘I really dug that. I just came across your music.’ That’s really a very beautiful, human kind of exchange. I really enjoy that.

“I’m always really grateful whenever someone comes and says hello and says, ‘You’re killing it.’”

What: End Of Time out now through Dew Process/Universal With: Waax Where: Newtown Social Club When: Friday March 4

Yolanda Be Cool On The Hook By Joseph Earp

A

rtists can often have troubled relationships with their best known work. Daniel Craig recently claimed he’d rather slash his wrists than play James Bond again; Thom Yorke can’t stand ‘Creep’; and even your old mate and mine Ludwig Wittgenstein turned his back on the Tractatus in his final years.

Matthew Handley, who along with creative partner Andrew Stanley makes up premier Sydney house duo Yolanda Be Cool, might not hate ‘We No Speak Americano’ anymore, but he certainly did once. “We did stop playing ‘Americano’ for a long, long time,” he says, a vague note of resignation creeping into his voice as he begins to talk about the chart hit.

“We actually did a kind of tonguein-cheek product recall of the song, saying that it was bad for public health. But it’s kinda funny – now that it’s so old, we’ve played it a couple of times recently and it’s gone down kinda well. But it’s more of a fun thing. We sometimes like to go underground with our DJ sets, and if we throw ‘Americano’ in it’s still kind of tongue-in-cheek.”

It’s not hard to see why Handley might have mixed feelings about his biggest track. People became so enamoured with ‘We No Speak Americano’ that they temporarily ignored the rest of Yolanda Be Cool’s work, unfairly branding them as one-trick ponies. In truth, Handley and Stanley are more inventive and diverse than most ever realised, as their frequent collaborations with DCup (AKA Duncan MacLennan) have proved over the years.

“We’ve been buddies with Duncan since even before [‘Americano’],” says Handley. “We did that track and then we had a break, then we got together again – I feel like it must have been 2004? Time travels so fast,” he laughs. “When we did ‘Sugar Man’, that was our first track together

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after ‘Americano’. That was pretty successful. From there on we said, ‘Obviously we have a good thing together, let’s keep writing tunes.’”

Describing ‘Sugar Man’, a remix of a Sixto Rodriguez tune, as “pretty successful” is a case of Handley being humble – some might even say disingenuous. The tune went platinum, and firmly established Yolanda Be Cool as one of Australia’s top house acts. But despite the eventual mainstream appeal of the track, it was born out of a desire to resist the norm entirely.

When asked what draws him to certain hooks and remix projects, Handley replies quickly.

“They can’t be obvious, in the sense that every kid on the street knows that sample. For us it’s kinda got to be, ‘Oh, where’s that from?’ It’s also gotta have some sort of quirk about it which makes it stand out from any other sample out there.”

Handley argues that remixing a preexisting track and crafting a Yolanda Be Cool tune from the ground up using samples aren’t necessarily two separate processes, and his unromantic view of the musicmaking method hints at a significant creative ease. “It’s [all about] chopping up the sample and finding the hook. And the hook’s always going to be the same. So it’s more about going, ‘Yep, guys, we can see the potential in this,’ and going, ‘Let’s kick it together.’”

But though Handley seems utterly in control of his own craft, he and Stanley still frequently seek out collaborations, turning again and again to the likes of MacLennan. The fact that the man behind the DCup moniker lives in Melbourne is only the slightest of inconveniences, and the trio frequently find themselves passing ideas back and forth, bouncing rough mixes off one another.

“If we’re in Melbourne we’ll go into the studio with Duncan and if he comes to Sydney we’ll record together,” Handley says. ‘It’s one of those things where whenever we’re in the same city we’ll try and have some studio time. We also do some touring together, so it’s quite easy.

In the between times we all send each other sample ideas and do little rough sketches just to make sure the sample can fit into the vibe the Yolanda Be Cool and DCup tracks have.”

Given this strict style, perhaps it’s unsurprising that ‘From Me To You’, the new single crafted by the trio, is immediately recognisable as being in the same vein as something like ‘Sugar Man’. But that’s not to imply

it’s a simple rehash of the past – the song has a euphoric, frenetic energy that seems resolutely modern.

Handley is excited about the track, keen to see how it will be received by the public following its release earlier this week.

“Normally it takes so long to release music, from when you finish it to when it actually comes out. It’s such a slow process. So it’s always really exciting by the time it’s out. Because we’ve been playing a version of the track, well, for at least five months I’d say, we’re just [pleased] to get it out.

We’ve given it to a few people and the feedback’s been really good.

“The biggest thing is we play it in our sets, and our goal is always to

make it one of the biggest tracks in our set. If that’s the case before anyone knows it, then we always feel that it’s in good stead, cause it’s competing with our favourite songs already.”

A very significant sense of pride rises in Handley’s words; a markedly different tone from the one he used when discussing ‘Americano’. “I mean, we’ve been playing ‘From Me To You’ for a while now … people always come up and ask what it is.”

What: Argyle Fridays With: Jesabel Where: The Argyle When: Friday February 12

BRAG :: 649 :: 10:02:16 :: 31

club guide g

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

send your listings to : clubguide@thebrag.com

club pick of the week Raury

TUESDAY FEBRUARY 16

Oxford Art Factory

Raury + Joy. Xxx

8pm. $44.80.

WEDNESDAY FEBRUARY 10 CLUB NIGHTS Salsa Wednesdays - feat: DJ Miro + Special Guests The Argyle, The Rocks. 8:30pm. Free.

Sasslife Weekly feat: Various DJs + Sasslife DJs Secret Garden Bar, Enmore. 7pm. Free.

Snapback - feat: Various Artists Newtown Hotel, Newtown. 8pm. Free.

The Wall The World Bar, Kings Cross. 9pm. Free.

THURSDAY FEBRUARY 11 CLUB NIGHTS Femme Fetale The Argyle, The Rocks. 6pm. Free.

Lazy Thinking Launch Party - feat: JaysWays Red Rattler, Marrickville. 7pm. $13.90.

Mansion Lane Funk - feat: Mike Who The World Bar, Kings Cross. 7pm. Free.

Rad Fairytale Vibes - feat: Rad Chillard + Modern Fairytale + Vibe Positive Freda’s, Chippendale.

7pm. Free.

The Thursday Jive - feat: Nukewood + And Friends Taylor’s Social, Sydney. 5pm. Free.

HIP HOP & R&B Common Kings

Rooty Hill RSL Club, Rooty Hill. 8pm. $58.05.

Shamir Oxford Art Factory, Darlinghurst. 8pm. $50.

FRIDAY FEBRUARY 12 HIP HOP & R&B Common Kings Factory Theatre, Marrickville. 8pm. $58.05.

Goldlink Oxford Art Factory, Darlinghurst. 8pm. $28.70.

Kerser Metro Theatre, Sydney. 7pm. $44.10.

Soul Benefits + X & Hype + Stavfly Showcase + Verbal Merchanic + Lee Monro X Ello C + Talakai Plan B Small Club, Sydney. 9pm. $12.

CLUB NIGHTS Argyle Fridays feat: Yolanda Be Cool + Jesabel The Argyle, The Rocks. 6pm. Free.

Bassic - feat: Delta Heavy + 4B Chinese Laundry, Sydney. 9pm. $22.60.

Deeper Than House Sessions 1.2 - feat: Sass + TK + Ellie D + Glossima + Coda + Nuendo Civic Underground, Sydney. 10pm. $23.89.

El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 9pm. Free.

Feel Good Fridays Bar100, The Rocks.

32 :: BRAG :: 649 :: 10:01:16

5pm. Free.

Friday Frothers feat: DJ Babysham + DJ Jesse Sewell Side Bar, Sydney.

9pm. Free.

Friday’s At Zeta Zeta Bar, Sydney.

9pm. Free.

Harbour Club Fridays 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: Levi 5 Beach Road Hotel, Bondi Beach. 8pm.

Free.

Phat Play Friday feat: Cantaloop DJs + Kelly Kingi + Jayo + Benny Hinn Play Bar, Surry Hills.

4pm. Free.

Sam Wall Manly Wharf Hotel, Manly. 11am. Free.

Scubar Fridays - feat: DJs On Rotation Scubar, Sydney. 8pm.

Free.

The City Knock Off - feat: DJ Just1 + King Lee + Samrai Taylor’s Social, Sydney. 5pm. Free.

SATURDAY FEBRUARY 13 HIP HOP & R&B Boathouse Saturdays - feat: Resident DJs The Watershed Hotel, Sydney. 9pm. $20.

Kerser UTS Underground,

Ultimo. 5pm. $40.30.

R&B DJs By The Greens Marrickville Bowling Club, Marrickville.

4pm. Free.

The Genius Of J Dilla - feat: The Goods & Godriguez + Mike Who + Naiki + Frenzie + Josie Styles + Edseven + The Groovedealers + Krystel Diola + Benny Hinn Play Bar, Surry Hills.

4pm. Free.

CLUB NIGHTS Apocalypso Now - feat: Jimmy Sing + Valerie Yum + Marcus King And Dreamcatcher Freda’s, Chippendale.

7pm. Free.

Argyle Saturdays feat: Tass + Tap-Tap + Minx + Crazy Caz The Argyle, The Rocks. 6pm. Free.

Bonaparte + Smaal Cats + Swords Oxford Art Factory, Darlinghurst. 5pm. $5.70.

C.U Saturday - Feat: Trus’me Civic Underground, Sydney. 9pm. $22.10.

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.

Hot Since 82 Greenwood Hotel, North Sydney. 2pm. $65.

Husky + Ben Morris Manly Wharf Hotel, Manly. 11am. Free.

Lndry - feat: Jonas Rathsman + Cut

Snake + Kormak + Mark Jarvin + Bitmore + Jac Frier + Dollar Bear + Coda + King Lee + Fingers + DJ Just 1 Chinese Laundry, Sydney. 9pm. $22.60.

Masif Saturdays Space, Sydney.

10pm. $25.

My Place Saturdays - feat: DJs On Rotation Bar100, The Rocks.

8pm. Free.

Pacha - feat: Felix Jaehn Ivy Bar/Lounge, Sydney. 6:30pm. $38.

San Saturday Nights - feat: Jimmi Walker + Mike O’Connor Daniel San, Manly.

9pm. Free.

Scary Saturdays Scary Canary, Sydney. 7pm. Free.

Scubar Saturdays - feat: DJs On Rotation Scubar, Sydney.

8:30pm. Free.

Soda Saturdays feat: DJ Cool Jerk + DJ Crazy Caz + Glenn Be Trippin’ Soda Factory, Surry Hills. 6pm. Free.

Something Else feat: Boris Brejcha + Gunnar Guess + Zigmon + Gav Whalan + Shepz + Aaron Robins + Brosnan Perera Burdekin Hotel, Darlinghurst. 9pm. $33.

Strictly Soul - feat: Queen Shirene + Phil Toke + Beth Yen + MC Andrew Bukenya Oxford Hotel, Darlinghurst. 9pm. $21.89.

Yours - feat: Set Mo Beach Road Hotel, Bondi Beach. 8pm.

Free.

SUNDAY FEBRUARY 14 HIP HOP & R&B Chali 2na & The Funk Hunters + Coda Conduct The Lair @ Metro Theatre, Sydney.

8pm. $45.

We Love Swagger Arq Nightclub, Sydney. 10pm. $25.

CLUB NIGHTS Escape Sundays Beach Road Hotel, Bondi Beach. 2pm.

Free.

Japasoul’s Foam Party - feat: Masatak + Tela-C Scary Canary, Sydney. 9pm. $27.12.

Norman Jay MBE + Peter Glass + Robin Knight Watsons Bay Hotel, Watsons Bay. 1pm. $33.40.

S.A.S.H By Day feat: Ian Pooley + Ross Ashman + Tommy Rutherford + Adam Procotor + Al Hearnshaw + Rickstar + Dyson Greenwood Hotel, North Sydney. 1pm. $15.

S.A.S.H By Night Feat: Frag Maddin + Gunnar Guess

Shamir

Greenwood Hotel, North Sydney. 2pm. $65.

Lndry - Feat: Jonas Rathsman + Cut Snake + Kormak + Mark Jarvin + Bitmore + Jac Frier + Dollar Bear + Coda + King Lee + Fingers + DJ Just 1 Chinese Laundry, Sydney.

9pm. $22.60.

THURSDAY FEBRUARY 11

The Genius Of J Dilla - Feat: The Goods & Godriguez + Mike Who + Naiki + Frenzie + Josie Styles + Edseven + The Groovedealers + Krystel Diola + Benny Hinn Play Bar, Surry Hills. 4pm.

Free.

Common Kings Rooty Hill RSL Club, Rooty Hill. 8pm. $58.05.

SUNDAY FEBRUARY 14

Shamir Oxford Art Factory, Darlinghurst. 8pm. $50.

Chali 2na & The Funk Hunters + Coda Conduct The Lair @ Metro Theatre, Sydney. 8pm. $45.

FRIDAY FEBRUARY 12

Norman Jay MBE + Peter Glass + Robin Knight Watsons Bay Hotel, Watsons Bay. 1pm. $33.40.

Argyle Fridays – Feat: Yolanda Be Cool + Jesabel The Argyle, The Rocks.

6pm. Free.

Bassic - Feat: Delta Heavy + 4B Chinese Laundry, Sydney.

9pm. $22.60.

Deeper Than House Sessions 1.2 - Feat: Sass + TK + + Ellie D + Glossima + Coda + Nuendo Civic Underground, Sydney.

10pm. $23.89.

Goldlink Oxford Art Factory, Darlinghurst. 8pm. $28.70.

Kerser Metro Theatre, Sydney. 7pm. $44.10.

S.A.S.H By Day - Feat: Ian Pooley + Ross Ashman + Tommy Rutherford + Adam Procotor + Al Hearnshaw + Rickstar + Dyson Greenwood Hotel, North Sydney. 1pm. $15.

S.A.S.H By Night - Feat: Frag Maddin + Gunnar Guess + Lukeanalley + Persian Rug + Liam Wood + Dax Lee + Astronafrika + Walking Fish + Matt Weir + Kerry Wallace + Welove Home Nightclub, Darling Harbour. 8pm. $15.

Summer Dance - Feat: Nightmares On Wax + Lefto + Mike Who National Art School, Sydney.

3pm. $45.

Soul Benefits + X & Hype + Stavfly Showcase + Verbal Merchanic + Lee Monro X Ello C + Talakai Plan B Small Club, Sydney.

9pm. $12.

SATURDAY FEBRUARY 13 C.U Saturday - Feat: Trus’me Civic Underground, Sydney.

9pm. $22.10.

Foxlife - Feat: Rabbit Taxi + Mesan Slyfox, Enmore. 10pm. $10.

Hot Since 82

+ Lukeanalley + Persian Rug + Liam Wood + Dax Lee + Astronafrika + Walking Fish + Matt Weir + Kerry Wallace + WeLove Home Nightclub, Darling Harbour.

8pm. $15.

Sin Sundays The Argyle, The Rocks. 7pm. Free.

Summer Dance feat: Nightmares On Wax + Lefto + Mike Who National Art School, Sydney. 3pm. $45.

Sunday Sundown - feat: Holyghost + Indian Summer + Tyler Touché Ivy Bar/Lounge,

Norman Jay

Sydney. 2:30pm. $20.

Sunday Sundown feat: Jimmi Walker + Mike O’Connor Daniel San, Manly.

3pm. Free.

Tim Boffa + Alex Max Manly Wharf Hotel, Manly. 11am. Free.

MONDAY FEBRUARY 15

Side Bar, Sydney.

8pm. Free.

TUESDAY FEBRUARY 16 HIP HOP & R&B Raury + Joy. Oxford Art Factory, Darlinghurst. 8pm. $44.80.

CLUB NIGHTS CLUB NIGHTS Mashup Monday - feat: Resident DJs + DJ Thieves + Recess + OTG + Chivalry + More

Coyote Tuesdays The World Bar, Kings Cross. 9pm. $10.

Terrible Tuesdays Slyfox, Enmore. 6pm.

Free. thebrag.com

SAT 13 FEBRUARY SPECIAL GUESTS

DANIEL LUPICA HAMISH RADFORD

RESIDENTS

RABBIT TAXI MESAN 1 0 P M T I L L L AT E

$10 BEFORE 12AM / $15 AFTER 1 9 9 E N M O R E R O A D W W W . S LY F O X . S Y D N E Y

BY DAY

BY NIGHT

Sunday 14th February Ian Pooley Ross Ashman B2B Tommy Rutherford Adam Proctor B2B Al Hearnshaw Rickstar B2B Dyson GREENWOOD HOTEL

Special Guest Frag Maddin Gunnar Guess Lukeanalley ࠮ Persian Rug Liam Wood ࠮ Dax Lee Astronafrika ࠮ Walking Fish Matt Weir ࠮ Kerry Wallace WeLove

HOME NIGHTCLUB 8pm to 4am

1pm to 9pm

www.sash.net.au thebrag.com

BRAG :: 649 :: 10:02:16 :: 33

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Off The Record

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Dance and Electronica with Tyson Wray

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party profile

Paula Temple

B

ack in 2013, Paula Temple exploded with the release of Colonized on the legendary label R&S, and has since then continued to go from strength to strength. Deathvox was undoubtedly one of the biggest releases of 2014, and Temple’s also been called up to remix for the likes of The Knife, Perera Elsewhere and Planningtorock. Expect a smattering of heavy-hitting techno when she brings one of her hybrid live/DJ set performances to the Bridge Hotel on Saturday March 5. Jump on the ol’ YouTube and have a gander at her set on the FACT stage at the 2015 incarnation of Bloc to start getting excited.

If you’re looking for somewhere to kick on after Blueprint’s day party on Saturday February 20 at the Bristol Arms Hotel, you’ll be stoked to know that the organisers are teaming up the Something Else and Tech No More crews to throw an afterparty at the Burdekin Hotel, with Robag Wruhme (one of the mainstays on the legendary Kompakt record label) on headline duties. He’ll be supported by Lando, Baron Castle (fun fact: five years ago, before this guy moved to Berlin, he and I almost became housemates – catch him before he returns back from holiday!), Matt Weir, Ben Nott, Aaiste, Lawrence Daffurn, Insert DJs, Dave Stuart, Tsura and Rinse & Wax.

The Trench lads are back with one of their biggest shows to date – a co-headline gig featuring Spain’s Reeko and Germany’s Robag Wruhme

It’s called: Argyle Fridays Feat. Yolanda Be Cool It sounds like: Future house, bass, future soul, garage and all the rest tangled up in a sexy cacophony of sound. Sound s good? We think so too!

Paula Temple photo by Julia Gunther

argyle fridays feat. yolanda be cool

Acts: Yolanda Be Cool, Jesabel, Tass Three songs you’ll hear on the night: Yolan da Be Cool feat. DCup – ‘Soul Makossa (Money)’; Yolanda Be Cool feat. DCup – ‘Sugar Man’; Yolanda Be Cool feat. DCup – ‘From Me To You’ And one you definitely won’t: Anything by Rihanna or One Direction (we promise).

Sell it to us: Let’s face it, you have undoubtedly number one breakthrough track, ‘We No Speak had their worldwide Americano’, stuck in your head, sung your lungs out to their platinum -selling single ‘Sugar Man’, and danced endlessly to what looks to be one of the tunes of the summer, ‘Soul Makossa (Money)’ – yep, they kings of cool AKA Yolanda Be Cool AKA Bondi are the one and only boys Andy and Matt, and this Friday they’re coming to The Argyle !

The bit we’ll remember in the AM: An epic set from Yolanda Be Cool.

Wallet damage: $20 Where: The Argyle, 18 Argyle Street, The Rocks When: Friday February 12

Reeko Krenzlin (oh, and Melbourne’s Andrew Till). Reeko is best known for his heavy techno releases on PoleGroup Recordings, while Krenzlin is a resident at the hallowed Tresor. Local support is coming from Gabriel Fernandes, Matt Lush, XXX, Loveless, Kate Doherty, Gav Whalan and Sebastian Bayne. It’s going down on Saturday February 27 at the Bridge Hotel.

One of the best DJs I’ve ever seen (back at the Meredith Music Festival in 2014), Ukraine’s deep house demigod Vakula, is returning to Sydney. Having recently launched his own vinyl-only imprint Leleka, over the course of his career he’s released on the likes of Meakusma and Dekmantel, scoring bucketloads of sold-out EPs over the years. He’s also released two fulllength albums under the aliases Vedomir and V. Catch him at the Greenwood Hotel on Sunday February 21.

Tour rumours: we’ll be seeing the return of Mark E before the end of the month, and expect to see Frank Wiedemann of Âme performing live in Sydney this March.

Best releases this week: when you give Pirac¥ Debt$’s I Like Ur Industry (on Major Problems) a rinse, don’t sleep on DJ Sotofett’s Extended AM-Mix. Other highlights include Leafar Legov’s Talk (on the best record label in the world, Giegling), Moomin’s A Minor Thought (Smallville) and Skee Mask’s Shred (Ilian Tape).

RECOMMENDED Hot Since 82 Greenwood Hotel

Trus’me Civic Underground

SUNDAY FEBRUARY 14 Nightmares On Wax, Lefto, Mike Who National Art School Omar-S Civic Underground

SATURDAY FEBRUARY 20 Tale Of Us Greenwood Hotel

SUNDAY FEBRUARY 21

SUNDAY FEBRUARY 21

SATURDAY MARCH 5

Hunee, Mark E, Touch Sensitive, Lovebombs, Adi Toohey National Art School Tama Sumo, Lakuti, Mike Servito Factory Theatre

SATURDAY FEBRUARY 27 Reeko, Krenzlin Bridge Hotel

Vakula Greenwood Hotel

Prins Thomas Civic Underground Paula Temple Bridge Hotel

SUNDAY MARCH 6

Jeremy Underground, Sadar Bahar, András National Art School

TUESDAY MARCH 15 St. Germain Enmore Theatre

lndry ft. catz n dogz

Robag Wruhme photo by Katja Ruge

FRIDAY FEBRUARY 19

Robag Wruhme Burdekin Hotel

PICS :: AM

SATURDAY FEBRUARY 13

06:02:16 :: Chinese Laundry :: 111 Sussex St Sydney

Got any tip-offs, hate mail, praise or cat photos?

Email hey@tysonwray.com or contact me via carrier pigeon.

34 :: BRAG :: 649 :: 10:02:16

OUR LOVELY PHOTOGRAPHER

S :: KATRINA CLARKE :: ASHLEY

MAR

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