Brag#675

ISSUE NO. 675 AUGUST 10, 2016

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

MUSIC, FILM, THEATRE + MORE

INSIDE This Week

BEN F OL D S

The piano man is back in Oz, and he's got a chamber ensemble with him.

SHOWING OFF AT SNOW TUNES

BALL

DUS T IN T EBBU T T

How a long-distance relationship inspired an expansive new album.

DINO S AUR JR .

J Mascis is a fascinating guy... if you can get him to talk.

BÉL A F L ECK & A BIG A IL WA SHBUR N

PA RK

From bluegrass beginnings to a banjo revolution.

JACK C A R T Y

Making hard decisions on his way to a polished new release.

Plus

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BRAG :: 675 :: 10:08:16 :: 3

rock music news welcome to the frontline: what’s goin’ on around town... with Rochelle Bevis, Chris Martin and Anna Wilson

five things WITH

JOEY K FROM THE DEVIL RIDES OUT to go to the nurse’s room. That other kid finished the concert and kept the viewfinders. A brutal introduction to the music industry but it prepared me well!

Inspirations I’ve always been drawn to 2. outsiders – artists who walk their

Growing Up It all started with KISS for 1. me. Like a lot of other kids in 1979, I had all the cassettes, the KISS schoolbag, iron-on glitter T-shirts, make-up kit, you name it. Some guys at my primary school put on a lunchtime KISS concert and

I swapped my entire viewfinder collection with one of them so I could play Peter Criss. Two rulers for drum sticks and a Sebel plastic chair for a drum stool, miming along to ‘Detroit Rock City’. 30 seconds into the set I fell backwards off the drum riser and hurt myself and had

own path and don’t give much of a fuck about the commercial side of things. Tom Waits, Mark Lanegan, Nick Cave, Justin Broadrick, Josh Homme, Johnny Cash, Henry Rollins, Lemmy of course. They’re all quite dark, quite masculine figures but at heart very sensitive men. That line between machismo and sensitivity is very much my wheelhouse. It has a lot to do with my dad, I think. He was a real hard man but also very thoughtful and incredibly vulnerable at times.

Dealing with repressed anger and hurt and damage handed down across generations. That’s the inspiration behind our latest release, Ugly Creatures.

Your Band We’re a bunch of guys who 3. are on our second or third time on

the roundabout. We’ve all done the ‘idealistic/deluded first band’ thing where the focus is on ‘making it’ or ‘getting bigger’ and all that shit that can kill creativity. We’re over it. We’re older and grumpier and hopefully a little more grounded. The focus is on music and friendship now. We just want to have an expressive outlet, have a few laughs and create something between us that we can all enjoy and be proud of.

The Music You Make We started out very tonguein-cheek back in 2006 – we’d all been in serious bands previously and we wanted to have some fun with the devil. So the early trilogy of Volume EPs we released were kind of our obnoxious take on stoner rock with a good-time rock’n’roll bent, in the vein of stuff we grew up with like AC/DC, Van Halen, KISS and Motörhead. Over time we’ve drifted

4.

back to where we originally were getting away from – darker territory with more elements of heavy blues and sludge metal. You can hear this creep in more and more over the course of our last two releases, The Heart & The Crown and especially Ugly Creatures. We’re not a ‘doom’ band though; we don’t contrive a grim persona for the sake of genre compliance.

Music, Right Here, Right Now 5.

As dire as things can seem at

times in our industry, I try to avoid cynicism. I can always find music to excite me and keep me interested, inspired and sane. You just have to dig a little.

Where: Frankie’s Pizza When: Sunday August 14 And: Also appearing at Brewtality Festival, Factory Theatre on Saturday August 13

MANAGING EDITOR: Chris Martin chris@thebrag.com 02 9212 4322 ONLINE EDITOR: James Di Fabrizio SUB-EDITOR: Sam Caldwell STAFF WRITERS: Joseph Earp, Adam Norris, Augustus Welby NEWS: Rochelle Bevis, Alex Chetverikov, James Di Fabrizio, Emily Norton, Anna Wilson ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: D.A. Carter, Katrina Clarke, Ashley Mar ADVERTISING: 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)

KING ME

Mike Noga will hit the road next month for a national tour to celebrate the launch of his third

AWESOME INTERNS: Anna Wilson, Emily Norton, Alex Chetverikov, Angela Antenero REGULAR CONTRIBUTORS: Nat Amat, Prudence Clark, Tom Clift, Anita Connors, Christie Eliezer, Emily Gibb, Tegan Jones, Lachlan Kanoniuk, Sarah Little, 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

Alex Lahey

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4 :: BRAG :: 675 :: 10:08:16

THEY JUST WANNA BE ADORED

This is the one you’ve been waiting for. Manchester legends The Stone Roses will play Australia’s most famous concert venue this December. Ian Brown, John Squire, Mani and Reni will perform ‘in the round’ over three nights at the Sydney Opera House, sharing classics from their debut self-titled album plus 1994’s Second Coming and their latest slew of new material. The Roses were an incredibly influential presence on the Madchester and Britpop scenes of the late ‘80s and early ‘90s, and their Sydney dates will no doubt have all the lads and ladettes of Australia going mad fer it. The Stone Roses play the Concert Hall, Sydney Opera House from Monday December 12 – Wednesday December 14.

solo album. The former drummer of seminal Oz act The Drones, Noga has fronted numerous outfits of his own and has released two highly lauded solo albums. His long-awaited third album King is out Friday August 26 via Cooking Vinyl.

The album is a dark, psychedelic concept album, loosely based on George Büchner’s famous 1830s play, Woyzeck. Featuring Noah Taylor (Game Of Thrones, Almost Famous) as “The Narrator” and produced by Something For Kate’s Paul Dempsey, King tells the tale of one man’s descent into madness and the bloodshed that follows. Catch Noga at Brighton Up Bar on Friday September 16.

HELLO ’NULLA MY OLD FRIEND

Cronulla’s own laneway festival, Sounds Of The Suburbs, is returning in 2016 with its biggest lineup yet.

The three-stage event, taking place in Wilbar Lane, has locked in local legends DZ Deathrays and US rockers Guantanamo Baywatch to headline its return this September. They’ll lead the rocking lineup for this year’s instalment of the fest, which includes the likes of Peter Bibby, Alex Lahey, Verge Collection, Big White, Wild Honey, James Crooks and many more.

Sounds Of The Suburbs 2016 takes over Wilbar Lane in Cronulla on Sunday September 25. Tickets are on sale now, and you can check out the full lineup at thebrag.com.

Melbourne death metal outfit Hadal Maw will return to Sydney for an exclusive headline show this October ahead of the release of their new album. Having recently inducted Sam Dillon (Lo!) into their lineup and finishing production on their yet-unnamed upcoming album, Hadal Maw are back on the scene to deliver a punishing live show.

Teaming up with Sumeru, Yanomamo and Home Burial for one exclusive skull-crushing show, Hadal Maw will play a set consisting of songs from the new album along with all the fan-favourite neck-breaking grooves. All hail Hadal Maw at the Factory Floor, Friday October 21.

OZ MUSIC WEEK ANNOUNCED

Australian Music Week is back for its second conference and showcase program in 2016, and now the first 25 artists have been announced.

The Cronulla-based music summit aims to connect artists with influential industry figures from Australia and overseas, so these 25 acts will surely turn up with all guns blazing for the event. Australian Music Week, which debuted in 2015, has already signed partnerships with Canadian Music Week, Dashville, The East Coast Music Association (ECMA), Canadian Independent Music Association (CIMA) and

BreakOut West, with more to come. Leading the AMW lineup are Lepers & Crooks, Mat McHugh (The Beautiful Girls), William Crighton, Little Georgia, Luke O’Shea, Tenderfoot, Colin Jones And The Delta Revue and more (full announced lineup at thebrag. com). AMW has also revealed its second round of speakers for 2016, including Rod Yates from Rolling Stone, Aaron Curnow from Spunk, Jamie Croft from Sofar Sounds and many more.

Artist applications have been extended to close on Friday August 19, and you can apply over at australianmusicweek.com. Australian Music Week 2016 takes over venues around Cronulla from Wednesday November 2 – Friday November 4.

BETTER WASH YOUR HANDS

Sydney five-piece Sticky Fingers have unveiled the release date of their new album, along with a one-night-only Sydney show to celebrate.

Following the success of their critically acclaimed sophomore album Land Of Pleasure and almost two years of non-stop touring, the boys have just recorded their highly anticipated third album Westway (The Glitter & The Slums), due Friday September 30. StiFi will play the Enmore Theatre on Friday October 28.

WE DON’T NEED NO WATER

Returning to Australia for the first time in years, Alexisonfire are coming together to play a string of national headline dates across the country.

Following their slot at Unify 2016, the highly anticipated shows will act as the band’s first non-festival headlining dates here since 2012. The Canadians released four hugely successful and critically acclaimed albums between 2002 and 2009, amassing a legion of devoted fans across the world. Having sold out tours across North America, the UK, Europe, Australia, New Zealand, Brazil and Japan, the group’s popularity has risen to cult status over recent years. They’ll hit Hordern Pavilion on Thursday January 19. thebrag.com

Alex Lahey photo by Kane Hibbard

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The Stone Roses

HANGIN’ WITH HADAL

EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG.

The Stone Roses photo by Pennie Smith

GLEBE’S GOT THE GROOVE

This September, Global Rhythms Music Festival is coming to the groovin’ shores of Glebe. Global Rhythms is an afternoon event filled with beautiful world music, international food, workshops, activities and environmental sustainability. So it only makes sense that it’s being held in the most culturally diverse city in Australia, right? Sydney: filled to the brim with incredible African, Latin and Asian food joints, plus much more. Global Rhythms will be one of the main closing weekend events of the 2016 Sydney Fringe Festival for the first time ever. Taking place at the brand new waterfront location between the backdrop of both bridges, this is a family-friendly event, complete with amazing views and ample grass areas to sit and enjoy. Earlybird tickets are only $30 – when was the last time you were able to see eight amazing artists for that amount? The lineup includes The Strides, Joseph Tawadros Quartet, Ajak Kwai, Grace Barbé Afro-Kreol, Declan Kelly presenting Diesel N’Dub, Miriam Lieberman Trio, Emily Wurramara and Afrobrasiliana Soundsystem. See it all go down at Glebe’s Bicentennial Park on Sunday September 25.

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BUY TICKETS NOW AT OZCOMICCON.COM thebrag.com

BRAG :: 675 :: 10:08:16 :: 5

live & local

free stuff

welcome to the frontline: what’s goin’ on around town... with Joseph Earp, Alex Chetverikov and Sam Caldwell

head to: thebrag.com/freeshit

on the record WITH

BILLY FOX

The First Record I Bought The First Thing I The first record I owned Recorded 1.

3. was the Ghostbusters II theme I’ve been playing music since I song by Bobby Brown, if I’m correct. It was a seven-inch vinyl when I was about four. The first album I bought I think was Front End Loader – Let’s RideI on CD. My mate put me onto them and they remain one of my all-time favourite bands ever. I’ve seen them live so many times.

Legendary.

The Last Record I Bought The last record I bought 2. was Busta Rhymes – The

The Last Thing I Recorded 4.

My latest release is ‘Avalanche’, which I wrote, recorded and produced myself. It has had a super solid reception here and overseas – a lot of love, which I’m pretty stoked about. I can’t wait to get out on the road and play to everyone! The live show

The Record That Changed My Life 5.

So many records to choose

THE DEAD DAISIES

Where: Moonshine Bar, Hotel Steyne / Oxford Art Factory When: Saturday August 13 / Saturday September 17

To celebrate the new release, we’ve got five Dead Daisies prize packs to give away, including a T-shirt and CD copy of Make Some Noise. Enter the draw at thebrag.com/ freeshit.

from here, but I have to mention Bob Marley – Legend. When I first heard that album – I think I was mid-teens – I listened to it from start to fi nish daily, time after time. I would fall asleep to it, wake up to it, it just mesmerised me. I know every song from that album so well, and every time I listen to it, it’s like getting back to the comfort of your home after a long travel.

It’s just so familiar.

The Australian-American rock supergroup The Dead Daisies are back with their third album, and it’s one hell of a ride. The band’s ever-evolving lineup currently features Whitesnake’s Doug Aldrich and Thin Lizzy’s Marco Mendoza, while other present and former members have been full-time or touring members of The Rolling Stones, Guns N’ Roses, The Cult and Cold Chisel. Make Some Noise, The Dead Daisies’ new record, is as brutal as the title suggests, and has catapulted them onto stages across the US and Europe, where they’re currently on tour.

Xxx

Coming on 12-inch vinyl. I grew up on a healthy diet of hip hop.

Busta is undeniable. One of my all-times. I saw him up in Queensland at a festival some years back, and it was one of the best hip hop shows I think I’ve seen. Intense energy, and the sound was enormous.

was a whippersnapper. I think the first thing I recorded was a jam of my mates and I in my mate’s downstairs bedroom.

We were about 16 at the time, jamming some Helmet/ Metallica/Loader-inspired riffs, just geeking out, and we just recorded this track on cassette, and it sounded sweet! Huge riffage. Shouts to the fi ends Benny and Ritch.

is quite a huge sound, which is that connecting element you can only get at a live show.

xxx xxx

SMLXL

The Spin Drifters

MEET THE SPIN DRIFTERS ONE SIZE DOESN’T FIT ALL

Recently reformed after almost two decades spent with other successful projects, SMLXL bring new energy and experience to their latest incarnation after the tragedy of their drummer’s death in 1998. Informed by 18 years of varied experience since, including an as-yet-unreleased musical, the new six-piece unit features members of bands The Cops, Pelican Jed, Major, Bill and Diana Ah Naid Band. Their performance on Friday August 12 pre-empts the upcoming release of their The Links EP, pre-release copies of which will be available at the show. SMLXL are supported by The Marquis and Dog The Duke. The show kicks off from 8pm at Lazybones Lounge, and tickets are available for $15 on the door.

GET GLAD

If you want to see a magical baby being brought into the world, pop on down to the CD launch of The Road, performed live by Glad & Dave’s Dirt Band. Big guitars, sing-along choruses, epic brass and a restless lyricism addressing change, life, death and beyond: that’s the order of the day with The Road. The record is the metaphoric love child of a couple who have survived the enduring craziness that a lifetime of rock’n’roll will throw at you, and have come out the other side with a sound and album that will make you want to celebrate how awesome life is even on the most monotonous of days. Glad & Dave’s Dirt Band CD launch will go down at the Lazybones Lounge on Saturday August 13 at 8pm with support acts Terry Serio and The Half Truths, and Stephanie Grace.

SATAN’S STABLEMATES

Hammer Horror film lovin’ rock dawgs, The Devil Rides Out, are heading our way. The noisemakers are set to play a show in Sydney on that most holy of days, Sunday, in order to celebrate over a decade of playing sludgey, evil rock’n’roll (their debut gig was played on the sixth day of the six month, ’06). The lineup will be rounded out by a veritable who’s who of post-metal and sludge titans, with anti-heroes Hawkmoth, Coffin Wolf and Los Hombres Del Diablo adding their distinctive voices to the litany of howls. All that dark magic goes down on Sunday August 14 at Frankie’s Pizza.

SHEAR MADNESS 6 :: BRAG :: 675 :: 10:08:16

voodoo children Rogue Traders, Ash Grunwald and William Crighton. The beachy vibes will be complete with a kombi convoy, a surf culture car show, a surfing exhibition and naturally a stellar

array of market and food stalls. What better way to celebrate the poppin’ Aussie beachside summer? It all goes down at Bondi Beach on Saturday November 12.

Snark

CLOWNING AROUND

You might not necessarily have heard Clowns’ anthemic, crunchy mix of power-pop choruses and snotty punk riffs, but there’s a chance you have heard of them – they’re that group who got so smashed on a plane while touring overseas that one of their band members collapsed and had to be treated by paramedics. How’s that for some hard living credentials? If you want to see them making noise and stirring up trouble in a live setting, then you’re in luck – they’re playing Sydney later on this year, all in honour of the soon-to-be-released single ‘Destroy The Evidence’. It all hits Black Wire Records on Saturday October 15, so start detoxing that liver.

BEACHED AZ

The second instalment of Bondi’s very own music festival Bondi Beachfest has been announced, with a lineup of huge local names to boot. Headlining the shindig before Bondi’s electric blue waves is none other than seminal ‘80s Oz act Icehouse, with James Reyne and Mark Seymour in support. The seven-hour day continues with the likes of Josh Pyke, ex-X Factor judge Natalie Bassingthwaighte with

A SHOT OF SNARK

Off the back of the release of their debut EP Juggernauts, Melbourne pop-punk outfit Snark are about to embark on an east coast tour. Kicking off their tour at Sydney’s Valve Bar, the newcomers will play alongside Sydney locals This Time Only on tour for much of August with shows in Brisbane, Launceston and their hometown of Melbourne. To escape their mundane surburban surroundings, the three friends came together in a garage to create their own interpretation of pop-punk, resulting in Snark, gaining interest and a strong following in the three years since their formation. The band play Sydney at Valve Bar on Sunday August 21. xxx

After some three decades of silence, Australian folk legends Shearer’s Dream have decided to

reunite for a once-in-a-lifetime gig opportunity.

Though they haven’t been seen as a collective in 30-odd years, punters shouldn’t expect this gaggle of troubadours to be rusty – all five of the group’s members have appeared in other bands since Shearer’s Dream were dissolved, and one can be sure that they’ll all be ready and raring to go. Shearer’s Dream play the Petersham Bowling Club on Sunday August 14, so make some room in your crowded calendar, yeah?

The Spin Drifters really are a bunch of characters. The “all-star Western swing supergroup” comprises some of the finest players in Australian music – each of whom has their own storied solo career – and performs a hybrid style of country, blues, jazz and more at regular shows at The Basement. Now, they’ve launched a documentary short film, Meet The Spin Drifters, by director Mieke Buchan and executive producer Andrew Richardson. The film charts the band members’ 30 years of interwoven connections, right through to their popular live shows of today, which are known for attracting hordes of dancers to the floor and beyond. See the short film in full at thebrag.com, and catch these local legends live at The Basement on Wednesday August 24.

thebrag.com

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PRESENT

TICKETS FROM BLUESFESTTOURING.COM.AU, 02 6685 8310 & THE VENUES FOR MORE INFO VISIT BLUESFESTTOURING.COM.AU

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THURSDAY SEPTEMBER METRO THEATRE

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If there is one thing you do in this life: see Michael Franti!

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SCENESTR

You’d need a heart of steel to resist being washed away by Franti...

THE MUSIC

BRAG :: 675 :: 10:08:16 :: 7

Industrial Strength Music Industry News with Christie Eliezer

• Which venue is in trouble with authorities for providing only two weeks of workers' wages receipts in an “underpaid employees” deal, when it was to have kept these for seven years?

• Are Louis Tomlinson and Simon Cowell making a female One Direction?

• Are Kanye and Drake making an album together?

• Which artist manager is in damage control after one of their singers slammed onstage the radio station that sponsored their concert?

• Slipknot's Corey Taylor says he could have been paralysed after his doctor discovered a spinal injury that required emergency treatment. He had broken his neck without knowing it.

• Talking about gang violence in the music industry, Eminem's former bodyguard Big

Naz told the Murder Master Music Show that Death Row Records founder Suge Knight tried to get Eminem murdered twice.

He claims Knight, currently behind bars, sent 50 men to break up a show in Hawaii, leading to Em and his posse donning bulletproof vests.

• If you were one of those who left your tent behind at Splendour, 60 of them were given to the homeless – including contents as towels, clothes and toiletries.

• The Petersham Inn got into trouble with a sign that proclaimed “hot girls eat free”, which people claimed was disrespectful and offensive. However owner Bianca McDonald said it was a light-hearted way to get more women to the venue, with the meal thrown in if they bought a drink.

• Twenty One Pilots' label Atlantic is chasing whoever downloaded the leaked Suicide Squad song 'Heathens' before its release date. It's asked user-generated

site Reddit for the IP address of the person who leaked it. Atlantic says the track was sent out to a small sample group from within the band's label, and it believes the leaker is either a label employee, on the management team or in the band.

• Country music promoter Rob Potts and Sony Music Entertainment Australia have gone into a joint venture, a record label called Fangate.

• Media person Jane Gazzo recently pulled together a 20th anniversary reunion of the cast and crew of ABC-TV '90s music show Recovery which she co-hosted. Among those sinking back a few amber memories were Dylan Lewis, film reviewer Leigh Whannell and its creators Paul Clarke and Bruce Kane.

• Prince's houses in Beverly Hills, New York and Minnesota are being sold off by his estate administrator, much to the anger of his family who're trying to stop it.

vocal enthusiasts to experience various styles of singing through four 40-minute workshops for rock/pop, classical/opera, musical theatre and soul/R&B. Sandra Lie, principal/founder of the school, believes that singing brings social and health benefits to stressed out adults needing a hobby. It’s at 2b/391 Enmore Road, and the website is allagemusic.com.au.

GREYSCALE RECORDS LAUNCHES

Greyscale Records is a new label started by Ash Hull and Joshua Merriel. Hull was in the Destroy All Lines tour team, runs his own events and set up hardcore festival Invasion Fest. Merriel has spent half his life on radio, starting off on Street FM at age 13. The two worked out there was a gap in the market of “a label with major league goals and a DIY attitude”. First signing is Sydney band Our Past Days whose debut album Keep Safe is out on Friday September 2.

Red Hot Chili Peppers

UNFD EXPANDING OVERSEAS

RDC PEPPERS CREATE US CHART HISTORY

Red Hot Chili Peppers’ single ‘Dark Necessities’ is their 13th number one on the US Alternative Songs chart. They now have the most number ones in Alternative Songs history, beating Linkin Park’s 11. ‘Dark Necessities’ marks an achievement that only three other songs have accomplished. It is the fourth song ever to top the Mainstream Rock, Alternative and Adult Alternative charts. The other three were The Wallflowers’ ‘One Headlight’ (1996/'97), Green Day’s ‘Boulevard Of Broken Dreams’ (2004) and the Peppers’ own ‘Dani California’ in 2006.

LIVE MUSIC OFFICE CREATES LIVE MUSIC MAP

The Live Music Office (LMO) has built an online map to make touring nationally easier for artists. It plots live music venues, radio stations, recording and rehearsal studios, music education centres, production and backline companies, agents and promoters and music organisations. Developed with the SA government through the Music Development Office and the Australian Music Radio Airplay Project (Amrap), the Live Music Map is hosted on the LMO website. Its audience and sector development director Damian Cunningham says that gigs are a major chunk of revenue for artists. “We are removing barriers and connecting various components of the live music sector to help artists tour the country with ease. We hope it will create more opportunities for performers and bolster the great live music venues that exist across Australia.”

SIX POINTS FOR MUSIC PLAN

dream creative team. I have no doubt that our growing roster of local and international artists will benefit immeasurably from Allegra’s drive, energy and deep love of music. She is a force.”

JADEN SOCIAL EXPANDS FOR ARTISTS, LABELS

Digital agency Jaden Social has added an Artist and Label Marketing division. It offers album and tour marketing, publicity, radio promotions, D2F and e-commerce, influencer outreach, brand partnerships and creative services for artists and labels. Running it will be Alli Hodge, who was marketing manager at Social Family Records, which Jaden Social recently acquired.

MARRICKVILLE MUSIC SCHOOL VOCAL VARIETY OPEN DAY

Marrickville music school All Age Music will host its first-ever Vocal Variety Open Day on Sunday August 14 between 10am and 1pm.

It is designed to allow parents, kids and adult

Australian company UNFD, which has offices in Melbourne, Sydney, New York, and most recently London, will also be setting up in LA next year, according to founder Jaddan Comerford. He is also looking at the Chinese market. The UK/Europe office is run by former Rock Sound editor Ben Patashnik. It opened a new direct-to-customer store through Music Glue and Remedy Fulfilment. It has a core focus on pre-orders and rare LPs, most of which have not been available in the UK or Europe. The North American market is priority for Comerford. He’s been living in New York the past two years studying it, and has seen how Vance Joy has crossed over in that market.

GASOLINE PONY BEGINS STUDENT PROJECT

The Gasoline Pony in Marrickville is starting a live music program, Sunday Youth Sessions, to provide high school bands with a performance space. Owners Fiona and Elmo are looking for three local acts with 30-minute sets. Preference will be to pop, folk, jazz, country, blues and Americana. For dates and more info, email contact@gasolinepony.com. Acts will also gain experience in bumping in, soundchecking, sound engineering and promotion. All door proceeds will be distributed to the artists along with a percentage of food and beverage sales. The project is supported by a grant from Marrickville Council as part of its effort to seed the future of the local music scene.

8 :: BRAG :: 675 :: 10:08:16

Ill: John Newman, 26, has to undergo surgery after his brain tumour returned for the second time, and will take a break through 2017 to undergo treatment.

Cited: Isaac Brock of Modest Mouse, who were in Australia for Bluesfest, for careless driving after he fell asleep at the wheel and caused a five-car pile-up.

Injured: Dallas Taylor (Maylene, ex-Underoath) after a fourwheeler smash in Florida without a helmet, hitting a sign and causing head injuries and internal bleeding.

In Court: Victor Rene Amaya, 27, appeared in Perth Magistrates Court accused of killing 41-year-old Chileanborn club DJ and promoter DJ Suave, whose body was found by police in his apartment on July 19 with “signifi cant injuries”.

In Court: Martin John Fulton, 18, the fence-jumper who kicked a security guard in the head at the Good Life festival, was jailed for eight months and banned from attending music festivals for two years after his release.

In Court: Ozzy Osbourne’s former mistress, Michelle Pugh, is suing Ozzy’s daughter Kelly, over several tweets that Kelly fired off after Ozzy’s secret affair went public. These included one providing Pugh's telephone number for a blow job.

Died: Marianne Ihlen, who inspired Leonard Cohen’s ‘So Long, Marianne’, in Norway, aged 81.

WANNA PLAY BLACKEN OPEN AIR 2017?

Blacken Open Air is a heavy music festival held over the Easter weekend in 2017 in the dead centre of Australia. It’s gone from being a single day to a multiday camping event. It is put on by musicians collective The Black Wreath who joined forces in 2011. To register and watch the trailer, go to blackenfestival.com.

CREATE/CONTROL SIGNS JESSE REDWING

Create/Control has signed rising Sydney blues performer Jesse Redwing, who fronts The Real MVPs. He has a new single out titled ‘Round It Goes’. Redwing, who started out playing rock and punk, reveals, “I wasn’t born to the blues. But it found me somehow and now there’s no turning back.”

The Vanda & Young Songwriting Competition has extended the deadline for applications by a week, giving aspiring songwriters until 11:59pm on Wednesday August 10. Winners get $50,000 prize money from Alberts and APRA AMCOS, second prize is $10,000 from the Australasian Music Publishers Association and third gets $5,000 from AEG Ogden. All winners get a microphone pack from Shure.

The $50 entry fee goes to Nordoff-Robbins Music Therapy Australia for which the V&Y competition has raised $500,000 over the past four years.

TINTED RECORDS INKS STARLEY

STUDY: HIP HOP, DANCE FANS MORE LIKELY TO STREAM

Hip hop and dance music fans are most likely to pay for streaming services, according to a new survey by US entertainment retailer trade group The Music Business Association. While only 17% of music fans get a subscription, it’s 31% for dance fans and 24% for hip hop lovers.

While an average music fan’s listening time on a streaming service is 24%, it was 34% for dance music and 31% for hip hop. The two groups are more likely to listen via smartphones.

Dance label Tinted Records signed Starley, who featured on Odd Mob’s ‘Into You’, which spent seven weeks at number one on the ARIA Club Chart. However, disillusioned with the way her solo career was going, she almost quit the biz until one frustrated day in her basement, she wrote ‘Call On Me’ about how things would improve. It became her debut solo single.

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Seth Sentry live crowd photo by Ashley Mar

Kobalt Australia and NZ’s TV, film and licensing manager Allegra Caldwell is now BMG Australia’s new senior creative manager. She reports to creative director Rachel Kelly. BMG Australia’s MD Heath Johns said he and Kelly previously identified Caldwell as “part of our

Ill: Blues Traveler’s John Popper must have emergency surgery or face becoming paralysed. His right arm has become weak and “three vertebrae in my spine in my neck have long been collapsed”.

VANDA & YOUNG COMP EXTENDED DEADLINE

The results of the first National Contemporary Music Roundtable conference last year in Sydney has lead to six points being ratified at the second one, held last week. 14 associations were represented, including ARIA, APRA AMCOS and the Live Music Office along with convenor Music Australia. The six points were to increase Australia’s music exports and share in the international market, ensure a strong copyright framework to let the industry prosper, promote music and develop local audiences to increase demand for recorded and live music, encourage skill building to make the local industry competitive, strengthen artist development so they can take on the world and have a better livelihood, change regulations to strengthen the industry and encourage investment incentives.

CALDWELL MOVES TO BMG

Lifelines

Red Hot Chili Peppers photo by Steve Keros

THINGS WE HEAR

E NFRE T RE Y

SATURDAY 13 AUGUST 3pm-8pm BAT BATHURST ST SOUTH CARPARK ((350-354 MACQUARIE ST)

M USIC | F OO D | ART | F U N

Image by Ness Vanderburgh

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Phibs

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Shaun Parker & Company Hot Potato Band Jamestown Collective Circaholics Anonymous Revolution Incorporated Mickey Sulit with accompaniment Market stalls | Food trucks | and more!

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Street Art by

TH BA

Featu ring

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Image by Irven Lewis

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COVER STORY

BALL PARK MUSIC WHEN DREAMS COME TRUE

BY TEGAN REEVES

B

all Park Music’s new album Every Night The Same Dream might not see the Brisbane indie kids diverge from their infectiously poppy roots, but it does feature more musical risk-taking than they’ve explored in the past. Tracks like ‘Peppy’ see the band launch into psychedelic trips, with that track in particular featuring an epic threeminute instrumental that wouldn’t go astray on a Brian Jonestown Massacre album.

“This record is probably the first record where we’ve focused on just trying to sound like ‘us’,” says guitarist Dean Hanson. “On our previous records we’ve always had a bit of pressure, not from anybody in particular, but just from the making of the record that forced us to push our songs into particular territories. It’s subliminal at the time, but you look back and think, ‘I wish we had have put a few more riffs in these

10 :: BRAG :: 675 :: 10:08:16

songs, or didn’t play it so safe for the sake of trying to please some subliminal thought.’ This record was very much about not really giving a shit about what we thought other people wanted to hear, and more about the record that we wanted to make and how we wanted to portray ourselves.

“I think if anything, this record sounds the most like Ball Park Music than any of our other records. I know that’s a really vague statement, but it seems to make sense to me.”

The Queensland quintet took some time between their third and fourth albums to tour Europe, and then have a break from the band completely, which wasn’t an easy thing to do for Hanson.

“We’d planned to start making the record in June last year, and then we started writing and it hit a bit of a wall, so we decided then and there that we were going to put it off for a certain amount of time. At the time it was a bit ‘wow’, because there was five of us sitting there going, ‘We don’t know what to do for the next few months.’ That wasn’t the best at the time, but in hindsight, we’re really happy we did it because you don’t realise you need a break until you have done so. But definitely at the start it was like, ‘Oh shit, I better go and start a car wash at my house or something.’

“This has been the longest in between records for us – as far as the whole thing goes, it’s been about two-and-a-half years. It’s felt like a lifetime, to be honest.”

Hanson recounts the story of how Ball Park Music came to record their latest album in a small studio in Castlemaine, Central Victoria, after their frontman Sam Cromack discovered the space via Facebook.

“Sam stumbled across it because one of his friends liked their Facebook page. It caught his eye because it’s a completely analogue studio – there’s no digital recording equipment, and it’s all these tape machines.

We decided to challenge ourselves a little bit and record all the instruments down there to a four-track tape machine.”

It’s said that recording with a four-track allows the listener to hear a somehow more authentic version of a sound, capturing the intricacies (and mistakes) that are often silenced with software. Some famous albums that have been recorded to four-track include Elliott Smith’s debut Roman Candle and Bruce Springsteen’s Nebraska. This begs the question: why this approach for a band like Ball Park Music, whose sound is so energetic and expansive?

“I think our desire for this record was to limit ourselves to only have things that we could record ourselves live on, and to capture the energy that we normally have live,” says Hanson. “It was a bit risky, and a lot of the people in our team were a bit apprehensive about us doing it that way, but they trusted us and I think it worked out pretty well.

“We’ve recorded to tape before, but that was with a 16-track tape machine. The producer we worked with, Matt Redlich, who produced our first two records, went out to the studio to check it out, and he said that the tape machine in the best condition at this particular studio was a four-track. When we heard that we were like ‘Ooh, ouch’ – only four tracks to work with, and obviously we have many more instruments than that. It was obviously going to be a challenge, but Matt said he was up for it. In the end it felt really natural, and after the first day of recording we

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never really spoke about how limiting it was, which was nice.

“The results we’ve had in the past with Matt have been great. I think in music you can sometimes try and do things differently, but really, if you’re trying to fix something that’s not broken, sometimes it can be detrimental. We have good chemistry with Matt, and we knew he’d be up for a bit of a challenge.”

The original title for the new album came from a track called ‘Inner City Loveless’, which never ended up making it onto the record. Eventually, the band members found they had lost love for the first title chosen – something not uncommon at the end of a recording process.

“We tossed a few names into the hat, and we had one name which we had settled on for quite a while, which we ended up falling out of love with. One day I was sitting down with Sam, working on the album artwork, and he just punched the record title [Every Night The Same Dream] into the Photoshop file, and it just looked really nice. I asked him where it came from, and it turns out it’s a lyric from a song that he’s had kicking around for ages but has never used. The title really seemed to resonate.

“We always come up with the album name last, which I guess seems a bit funny because you end up having to come up with a name that encapsulates the entire journey and all of the songs you’ve written.”

Ball Park Music recently played one of the prime time afternoon slots at Splendour In The Grass, kicking off what will be an extensive campaign for their new release.

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“THIS RECORD WAS VERY MUCH ABOUT NOT REALLY GIVING A SHIT ABOUT WHAT WE THOUGHT OTHER PEOPLE WANTED TO HEAR.” “Splendour was amazing – it defi nitely outdid my expectations,” says Hanson.

“Our new record wasn’t even out yet.

I guess you lose perspective of how many people like your band or want to come and see you. We were on at the same time as Sticky Fingers and At The Drive-In, so I was sitting there going, ‘Oh well, no-one’s going to come and see us.’

Then we got up onstage and the tent was absolutely packed, and the feedback we got afterwards was amazing. Splendour kicked things off in a really good fashion, and hopefully that momentum remains for the rest of the tour.”

What: Snowtunes Festival 2016 With: What So Not, Hot Dub Time Machine, Asta and more Where: Jindabyne When: Saturday September 3 And: Every Night The Same Dream out Friday August 19 through Stop Start/Inertia More: Also appearing at the Enmore Theatre on Friday September 30 and Yours & Owls 2016, Stuart Park, Wollongong on Saturday October 1 – Sunday October 2

BRAG :: 675 :: 10:08:16 :: 11

The Lulu Raes

Dustin Tebbutt

Taking The Piss And Talking Shit By Joseph Earp

The Lighter Side Of Sadness By Erin Rooney

I

t’s always unusual to hear a musician talk about their work in a hesitant way. Even up-andcoming bands are often buoyed by their own burgeoning success, and use any press opportunity to sell something they are 100 per cent sure of. After all, interviews are ads in their own way, and most musicians – particularly frontpeople – have the air of the salesman about them.

Eddie Burton, lead singer of The Lulu Raes, is the exception to that rule. Though that’s obviously in part due to his exhaustion levels – he’s been at work all day, building sets for a company as part of a job he’s had since he was 21 – he still proves more critical of his work than even his band’s most ardent objectors. In fact, the biggest praise he affords himself over the course of his interview with the BRAG concerns the title of the group’s new EP, All Our Parents Are Divorced.

“It wasn’t me [who came up with it],” he laughs. “It was the bass player Marcus. But as soon as I heard it, I was keen on it. It really reminded me of The Brian Jonestown Massacre’s Thank God For Mental Illness. It reminded me of that, that style … though it’s a double-edged sword really. We’re taking the piss with the title, but the reality is that it’s true.”

The Lulu Raes are yet to settle on a specifi c style – something that Burton seems acutely aware of. Their tone has varied wildly from single to single, and while a track like ‘The Way Life Runs’ sets up camp in the indie rock territory dominated by Oasis wannabes and Britpoppers, the Sydneysiders’ experimentation with electro and soul has stopped them from sounding like so many other emerging pop acts.

‘Burnout’ is a different proposition entirely, and whenever it begins to seem like the Raes are heading in a certain direction, they’ve already thrown a U-turn.

Furthermore, the success they’ve had so far wasn’t just handed to them, and they are a singularly hard-working group of young men – even if Burton sounds laid-back when discussing all the blood, sweat and tears they have shed. “[We practise] once or twice a week,” he says. “I usually just go after work ’cause I live close to where we practise. It’s not bad at all. I like doing it; it’s something to do. Sometimes I don’t get sleep because we practise really late and I have to get up to work in the morning. But I enjoy it.”

Nonetheless, despite the love he might have for rehearsal, Burton admits he is only now really getting into the experience of stepping up onto the stage. “I’m enjoying playing live now more than I have for a while, because we’ve got more of a set, and it feels a little bit stronger. I used to get nervous before when I felt like we didn’t have a strong product.

But now I feel more comfortable onstage.”

Suddenly, Burton begins to um and ah, and that brief showing of confi dence starts to bubble away.

“I think we still haven’t completely clicked,” he says eventually, with an awkward laugh that can’t quite hide all that concern. “We all have different tastes and infl uences, and it’s difficult to narrow it down to what we all want. And that’s kind of our adversity. It’s probably why we don’t have anything down pat yet. I think after the album, it’s going to be very signifi cant. It’ll be which direction we’re going to head in.

“We’re still evolving what we’re doing. I think it’s just to do with trying to fi nd a distinct sound, and having our own sound. It’s just about sounding different from the pack. And still sounding strong.”

He laughs again. “It sounds very vague, but uh, it just didn’t always used to feel [right]. It felt more like a garage band, just a couple of mates playing. Now we’re making an event for people rather than just being a band down the RSL.” Maybe when his long-desired fulllength album fi nally gets released, Burton will be less hard on himself. Although, oddly enough, all his hesitation seems somehow fi tting. After all, his humble, selfdepreciating realness mirrors exactly what makes The Lulu Raes an interesting band.

“The songs we’ve all created, they’ve all been in different genres,” Burton begins, trying hard to make his point. “We’ve always tried to keep it clean. Just with very clean tone and a basic production…” He laughs and gives up. “I’m just going on a tangent.

To be honest with you, I’m just, uh, just talking shit.” He is. But isn’t that the Lulu Raes way?

What: All Our Parents Are Divorced out now through Verge With: Wild Honey Where: Oxford Art Factory When: Friday September 9

“WE ALL HAVE DIFFERENT TASTES AND INFLUENCES, AND IT’S DIFFICULT TO NARROW IT DOWN TO WHAT WE ALL WANT.”

“MUSIC FOR ME TENDS TO REFLECT A SUBSET OF EMOTIONS OF EVERYTHING THAT I FEEL.”

L

ong-distance relationships have the extraordinary ability to enhance the emotions involved with love. They can speed up fate (whether good or bad), foster longing and make you feel more open and alive than you’ve ever felt before. In Dustin Tebbutt’s case, one particular relationship gave him enough

inspiration to write a whole album, First Light.

“I didn’t decide to fall in love and I didn’t decide to write music about it. It just was something that happened, and I think that’s kind of always the way,” says the New South Wales singer-songwriter.

“That’s always the role music has played in my life – it’s my way of expressing stuff that’s happening to me.”

Dustin Tebbutt photo by Cybele Malinowski

All Our Parents Are Divorced is the first signifi cant release for The Lulu Raes, despite the fact they have been courting media attention and a fl ock of their own devoted fans for over a year.

The EP was in part released to satisfy those people – as a way of providing something concrete for the punters who have been following the Raes for some time now. “We’ve had all those songs for a while,” says Burton. “It was just kind of a question of people wanting to have a physical copy of what we’ve been doing. But it’s

just a bridge to get us over to the actual album.”

The album wanders through memories and feelings associated with a nameless partner, from the first moments of ‘real love’ to discovering the best parts of someone’s personality in a relationship, and even sex.

While there are lots of vignettes speckled throughout the album, Tebbutt recalls one memory that inspired some of the lyrics in the title track.

“I just remember walking out onto the beach one night, and there was a full moon, and just being out there after having a conversation with my partner at the time, wondering if they were looking at the same thing,” he says. “Because at that point you are often looking at the same view, even if you are in different places. So there’s a nice beauty there when you get that scale bigger.”

“I’ve always had that relationship with the natural world, I think, and more and more over the years, when I think about it, it seems to be the kind of trigger for me looking at things this way. By taking those bigger timescales, like the formation of mountains or rivers or whatever and applying them to one lifetime, over 70 or

12 :: BRAG :: 675 :: 10:08:16

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The Lulu Raes photo by Leila Maulen

Throughout his time writing music, Tebbutt has always been drawn to using metaphors inspired by the natural world and fascinated by their power to bring perspective to human experiences. As with his memory of gazing up at the moon, the nature of this particular relationship drew him to images of outer space. The songwriter in Tebbutt loves that idea of something so vast being beyond our atmosphere and control.

Ben Folds There You Have It By Augustus Welby working with artists like The Kite String Tangle, Thelma Plum, and even co-writing ‘Give Me Tonight’ on First Light with Dave Le’aupepe (Gang Of Youths). However, he thinks his next step will be to work alongside more electronic acts, naming RÜFÜS among the artists he would love to join forces with.

In the meantime, Tebbutt is headed for the stage again, touring around Australia to celebrate the release of First Light. While he fi nds performing to large audiences at festivals like Splendour In The Grass exhilarating, he’s just as excited to be playing on smaller stages like Newtown Social Club this time around. He believes he thrives in the intimacy of a smaller space and creating a shared experience.

“That’s the best thing about playing live, and when you go to a gig as well, there’s this joint connection.

It’s not just you and the song, it’s like that person and that person, everyone around you is in the music and the artist is in there and the moment. They’re not just regurgitating a song they know, they’re in there and something else happens sometimes and transcends. You’ve got to chase that thing.”

80 years, that’s quite a powerful perspective to bring down to this human level.”

In fact, scale is something that Tebbutt has thought about a lot, recalling his time living in Sydney as quite a shock after growing up on a large property in the country.

In rural high school he used to work on large-scale paintings with drop sheets and oil paints, but all of a sudden he simply didn’t have the room for them, and his brain didn’t know how to respond in a concrete jungle.

“What I found really worked for me was polarising. I went and found a little notebook and felt-tipped pen and started doing these very minute, highly detailed little sketchy drawing things, and it was like my perspective had to change.

Because I couldn’t see the horizon and didn’t have that space, it was like my brain had to reassimilate and kind of go inside of itself. And once I got through that thing, I didn’t really struggle anymore with the concept of small spaces.”

What: First Light out now through Eleven With: Robbie Miller, Woodes Where: Newtown Social Club When: Thursday August 18 and Friday August 19

“I THINK MY ATTENTION SPAN IS PROBABLY SOMEWHAT LIKE ELVIS COSTELLO’S. I’VE BEEN TOLD THAT BEFORE.”

B

en Folds’ latest record, So There, was made in conjunction with New Yorkbased chamber ensemble yMusic, who co-arranged the songs and contributed much of the album’s instrumentation. The classically oriented sextet has previously worked with Dirty Projectors and José González, as well as recording compositions by the likes of Nico Muhly and Sufjan Stevens. Prior to teaming up with yMusic, Folds recorded the three-part, 20-minute Concerto For Piano And Orchestra with the Nashville Symphony Orchestra, which prompted him to seek out a chamber ensemble.

“I had planned on making this record with small chamber groups to fill out the fact that there’s a piano concerto,” Folds says. “But when I met y, we went into the studio and had a ‘meet the parents’ day where we just threw around ideas, and I left going, ‘I’ve got lyrics – I think this is going to be that kind of album.’ And so we just headed down that path of my writing songs to suit them.”

The songs on So There are certainly enhanced by the accompaniment of yMusic (who contribute strings, flute, clarinet and trumpet), but they’re not dependent on it. ‘Phone In A Pool’ and ‘So There’ rank among Folds’ most immediate pop songs, while ‘Not A Fan’ is a stripped-back tale of disappointment.

“As soon as it gets into the craft of a pop song, I want to know that it’s built well, I want to know that I can play it in any way I need to,” Folds says. “I’ve been playing those songs solo sometimes as well. I think they work very well that way too, but there’s something really special about [yMusic]. We’ve been touring for nearly a year together now and have really hit that totally spontaneous, mind-reading thing that happens sometimes. So we’re having a really good tour.”

Folds and yMusic are heading to Australia this month, and audiences can expect to hear songs from

all across Folds’ multi decade songwriting career, as well as material from So There.

“They can sort of pivot on a dime, so if we decide to throw together something really quick from an old album [we can],” says Folds.

“A couple of times some of the members have said, ‘I’ve never heard that song. That’s a great song.

Let’s arrange that.’ And it’s a hotel room session scoring the music and by soundcheck we’ve got a new one.”

Recent setlists have included several songs from Folds’ solo albums, including ‘You Don’t Know Me’, ‘Zak And Sara’ and ‘Landed’, plus Ben Folds Five favourites ‘Steven’s Last Night In Town’ and ‘One Angry Dwarf And 200 Solemn Faces’. Folds enjoys reworking songs he’s played hundreds of times before, but long-time fans needn’t worry about them being manipulated beyond recognition.

“I don’t get so bored with my songs that I feel I need to totally overhaul them,” he says. “I like to change them, but they don’t need to be unrecognisable. This is a good way to do it, because the instrumentation is so different that I feel like I can take the song at the tempo that it asks to be at and the song is its most expressive in that way, but just the instrumental side of it is radically different. Because of that it brings new life into it, but at the same time it still speaks.”

Over the last decade, Folds has completed a series of collaborations.

He made Lonely Avenue with author Nick Hornby, recorded songs with Regina Spektor and Kate Miller-Heidke, and has frequently performed with symphony orchestras. But while he certainly has a sustained interest in working with different artists, he doesn’t see it as unusual.

“I think everyone does that if they stick around. You reinvent something, you work with new

people – that’s pretty normal. But I think mine were notably probably different. That’s probably the difference. But even think about solo acts where it’s like, ‘Well, that was their touring band for three years, then they did this with these people and then changed producers.’ They do that, it’s just not as noticeable. It’s a lot more radical to take someone like yMusic out and forgo the rock band. But I think it’s normal to find collaborators. I think my attention span is probably somewhat like Elvis Costello’s. I’ve been told that before.”

So There concludes with the aforementioned Concerto For Piano And Orchestra, but Folds’ flirtation with highbrow composition doesn’t mean he’s renounced his trademark sense of humour. For instance, ‘Yes Man’ includes the line, “Why didn’t you tell me that I got fat / Now I’m crying all the way from the Fotomat / Because I see I’ve got more chins than the Chinese phone book has”.

The album’s cheekiest moment, however, comes in the form of ‘F10-D-A’. The lyrics are a commentary on the notes being played – though Folds skews it to become “F’d in the A with a D, with a big fat D”.

“I was thinking of sort of an educational tool,” Folds says.

“Right before the session I was like, ‘I guess there’s a way to have the names of all the pitches be words,’ and then kids would know there’s an A, there’s a G. And of course, the way my mind works it’s F’d in the A. So I guess that’s not a kids’ song anymore.”

Who: Ben Folds with yMusic What: So There out now through New West/Warner Where: Concert Hall, Sydney Opera House When: Saturday August 20 and Sunday August 21

Writing from a new angle about love was also quite a different experience for Tebbutt. In older songs like ‘The Breach’, he explored coming to terms with a break-up. He explains now that he used to be quite introspective about the meaning of his lyrics.

But these days, Tebbutt feels more open to expressing his feelings and memories explicitly. First Light sees him delve into mostly positive experiences with love, and he remembers the relationship that inspired it with fondness.

“I think as a person, I actually really am a pretty massive optimist.

I think that music for me tends to refl ect a subset of emotions of everything that I feel – I just feel like I can express the more sensitive sentiments and things that are a bit more fragile and vulnerable of that side of myself as a person.”

One of the reasons for Tebbutt’s change in perspective has been growing older. With age comes new tools to deal with romance.

Musically, he has also become more confi dent since his past releases, fi nding his stride with production and exploring different techniques with his vocals. In the past, Tebbutt has been part of some impressive collaborations,

thebrag.com

BRAG :: 675 :: 10:08:16 :: 13

Dinosaur Jr. Getting A Glimpse By David James Young

Screaming Females Moving Mountains By Joe Hansen

N

ew Jersey’s Screaming Females stand alone in modern independent rock and punk.

In an era of somewhat conservative musical trends, where extended guitar solos and jam sessions are looked down upon as uncool, the band continues into its tenth year as strong and self-determined as ever. Having released six full-length albums and played over 1,000 shows, the band’s output remains uncompromising and innovative.

The Female’s signature sound and accompanying artwork and visuals come directly from the voice, guitar prowess and visual creativity of frontwoman Marissa Paternoster. Recently listed in Spin’s 100 Greatest Guitarists of All Time, the cult shredder has developed a unique style and approach to the instrument – and her artistic side dates back to her youth.

Connecting her love of visual art and her emerging interest in playing music at the age of 14, Paternoster naturally turned to the left-of-centre.

“I got really into comic books and Mad Magazine around the same time, which is what got me into punk,” she recalls. “Watching Ren & Stimpy and enjoying weirdo stuff has always been what I’ve been into and what has influenced me. I’ve been

14 :: BRAG :: 675 :: 10:08:16

drawing and sketching my whole life and I ended up going to art school, doing a BFA in drawing and painting.

I had the ambition of becoming a full-time illustrator or visual artist, but

playing punk music took over.”

Onstage, Screaming Females are known for often extending songs, jamming on fresh riffs or taking old

tracks down new and unexpected avenues. “We definitely have songs that have changed a lot live over the years,” explains drummer Jarrett Dougherty, “but then again we have

other songs that we try to play as close to the recordings as possible.

“It comes down to trying to play the best possible show every night.

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Screaming Females photo by by Lance Bangs

“I’ve been drawing ever since I was a kid,” says Paternoster. “My mom was an art teacher; she’d let me sit in on her classes and teach me a lot of things. We always had art books around the house that I would look at for hours. I didn’t really understand a lot of the art language, but Ioved looking at the pictures. My mom always supported my interest in art and knew I’d always end up at a good art school.”

T

he last time grunge heroes Dinosaur Jr. were in Australia was in March 2013, when they performed as part of Golden Plains Festival and did a handful of headlining shows around their appearance. After the Sydney show, the other two members of the band – bassist Lou Barlow and drummer Emmett ‘Murph’ Murphy – hung out with fans around the back, bumming cigarettes and signing records. As for the band’s founder and sole constant throughout its 32-year lifespan, J Mascis? He made a beeline for the van and was promptly whisked away.

If that doesn’t give you an idea of the introverted, selective-mute personality of the silver-haired shredder, try watching his appearance on ABC’s Spicks And Specks from a few years ago – or, better yet, try speaking to him for ten minutes.

Our interview begins by mentioning Barlow, who was previously in Australia this past January for Sydney Festival. As someone else within the band who has delved into the solo world – Mascis’ most recent LP was 2014’s Tied To A Star – it feels pertinent to ask after Mascis’ personal approach to songwriting, especially in comparison to Barlow’s.

“I primarily tend to write with the task at hand in mind,” he says, his voice barely rising above a drone. “There are times where I have delved into the past a little bit, to see if there are any little ideas fl oating about – any bits and pieces that I think are worth resurrecting. For the most part, though, I’m usually just writing toward the thing that I’m doing next.”

“I’M USUALLY JUST WRITING TOWARD THE THING THAT I’M DOING NEXT.”

The line goes silent. A distant croak indicates Mascis is still on the line. The questioning continues, asking about where the writing process began for Give A Glimpse Of What Yer Not, the band’s 11th studio album. “We started last winter,” replies Mascis, “so around November, into December.” Silence. We’re not getting much more than that.

A different tact bears at least a little more fruit: a question about Henry Rollins, a long-time Dinosaur Jr. fan who was brought in to do an infomercial-style video teasing the release of the album. “I didn’t really know him all that well until recently,” says Mascis. “I used to go and see him in Black Flag, and later on with the Rollins Band. We hadn’t really talked all that much, though.

That came a lot later. We like a lot of the same bands, and we like a lot of the same records – even though he’s got a lot more records than me. We connected on a lot of the more obscure stuff that not many other people have – The Birthday Party and music like that.”

For the latest promotional material for Give A Glimpse, Dinosaur Jr. put out a music video for the ripping ‘Tiny’, which features a skateboarding bulldog as its main character. It’s not the first time the band has incorporated skating into a clip, either – see ‘Over It’, a single from 2009’s Farm – which leads one to ask about how skating culture has coincided with the music of Dinosaur Jr. “When I was a kid, skateboarding music was like Ted Nugent or Black Sabbath,” says Mascis. “When punk and skating started to cross over more, I met a lot of skaters.

I started to have a real ‘in’ with that whole world, and I felt like our music fit in a lot with it.” Not long after that, he’s gone again.

Mascis gives a glimpse, but that’s about all.

What: Give A Glimpse Of What Yer Not out now through Jagjaguwar/Inertia

“OCCASIONALLY IT CRASHES AND BURNS, BUT THAT’S NO BIG DEAL. IF THAT HAPPENS, YOU CAN JUST START BASHING EVERYTHING AND PRETEND YOU’RE SONIC YOUTH.” For us that means having a little bit of the unexpected involved. At any moment one of us could try and change the song slightly and sometimes that derails, but most often we’re good at knowing what parts are good to expand and change.

“Some of our best shows were when we played identically to the album and some of our best were when we deviated and played our songs completely differently.

Occasionally it crashes and burns, but that’s no big deal. If that happens, you can just start bashing everything and pretend you’re Sonic Youth.”

Complex songwriting and technical musicianship have been a staple of the band’s sound on all six albums, with experimentation and ambition pushing things forward. 2012’s Ugly saw Screaming Females work with legendary producer Steve Albini, taking their performances to the limit.

However, 2015’s Rose Mountain followed a stripped-back approach to songwriting and composition.

“Marissa’s guitar playing gets a lot of credit and attention for obvious reasons,” Dougherty says. “On Rose Mountain we really tried to strip everything away that was extraneous and build the songs back up from there. Most often we’d write an instrumental track first and then add vocals on top of that. For years that meant Marissa would be playing a lead line, Mike [‘King’ Mike Abbate] would be playing a lead line on the bass, I’d be playing a melodic line on the toms and Marissa would try and fit a lead vocal line on top of it. It worked for us and became our style, but writing and recording often became so difficult because of how complex we were making it.

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Australia. Seriously?

“Since then, we’ve become really focused on managing the whole project a lot better and simplifying some things. We did a tour with Garbage around the time that we were working on those songs and we were playing some of them to Butch Vig, trying to pick his brain. He said something that I thought was very insightful: ‘It sounds really cool what you guys are working on here and it’s a great way to go as a band, but remember the best thing about your band is that it sounds like three people all going nuts at the same time and it somehow works.’ I thought that was a cool thing to come from someone who’s worked on so many radio-friendly records, reminding you that it’s OK to be crazy.”

TRENT MITCHELL WINNER 2015 MORAN CONTEMPORARY PHOTOGRAPHIC PRIZE SAT 20 AUGUST – SUNDAY 18 SEPTEMBER WED – SUN 10AM – 5PM Juniper Hall 250 Oxford St Paddington www.moranprizes.com.au prizes@moranprizes.com.au Ph 9357 5222

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The state of the music industry in 2016 is a confusing mess at best, with no clear direction for a band to take to ensure a lasting career. In terms of self-determination and control over their art and direction, Dougherty believes Screaming Females’ approach is one of the only ways a band can maintain longevity and freedom.

“Doing things DIY and independently is the only way we’ve ever known, and whenever we’d try to talk to people in the music industry who are more important or have more money, they look at us like we’re crazy when we talk about what we think is important about being a band. What we say misses their ears and what they say misses our ears. But somehow it’s worked for us.”

What: Rose Mountain out now through Don Giovanni Where: Oxford Art Factory Gallery When: Saturday August 13

Expect

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Roses For Jack No Love Lost By Anna Wilson

L

ive music lovers may have noticed a steady resurgence of classic-rock-influenced music seeping back into the Sydney scene recently. Now, local audiences are ready to meet Roses For Jack, the next group to bring their voice to the noise – and boy, are they noisy.

In anticipation of their show this month at Oxford Circus, the Sydney friends plan to use the opportunity to let music fans know they’re here and ready to rock. Frontwoman Ariane Campbell talks of the gig with a lot of excitement. “We’ve been together since February and we click like a house on fire. We’re a cohesive group and we’re excited to show people what we can do.”

With undertones of influence from the likes of AC/DC and Divinyls manipulating their sound, the creative process behind the group’s forthcoming record is surprisingly laid-back. As Campbell explains, “I’ve written the songs with Sarah McLeod [The Superjesus], and we then take them to the boys and ask them how they feel about it.”

According to Campbell, fellow members John Romeo, Rob Di Marzo and Tim Sampson are generally stoked with what she and McLeod have produced so far.

“There’s space for John [guitar] to

add his flavour and do his solo,” says Campbell, “but they’re loving that I’m taking the lead on songwriting.”

And that’s a pretty important aspect of Roses For Jack – not only are they unique due to the new musical twist they bring to the classic rock genre, but they’re fronted by a female singer at the head of what could potentially be a pretty powerful group. With a voice that’ll knock you down and plenty of international experience under her belt, Campbell cites frontwomen of classic rock as some of those that have inspired her and the direction of her band’s music.

“I saw Garbage play recently, and Joan Jett is still touring; she certainly kicked down a lot of doors in rock’n’roll, so she sort of set things apart where there were a lot of guys running around in the industry. I think inspiring anyone to do something they’ve always wanted to do is always great.”

Naturally, girls taking the lead with this kind of music isn’t new, but it’s still something that, especially given the calibre of talent in Roses For Jack, will garner a lot of attention and potentially impact a lot of people.

“I don’t make it gender-specific, but it is exciting to think I’d empower somebody – to think they might see

what I’m doing and say, ‘I want to do that and I can do that, because I see her doing it,’ and for young girls especially, I think it could be inspiring.”

Roses For Jack’s influences will always remain clear in their music, Campbell says. “It’s an original sound as well as being clearly connected to a style of rock’n’roll that we like – we’re always coming from the heart,

the lyrics are important to what we’re saying. There’ll be touches of Aerosmith and Guns N’ Roses filtering through the songs, and it’s a rush of awesome excitement for us and affects how we deliver them.”

Even the story behind Roses For Jack’s name evokes classic rock stereotypes, stirring up images of ’80s LA dive bars. “We were at my place and were having a laugh with

one of my friends because she noticed I was using an old whisky bottle for flowers,” says Campbell.

“She asked me if I’d ever swap roses for a bottle of Jack Daniel’s and I told her, ‘It depends on who it is offering the roses.’”

With: Versus Fate Where: Oxford Circus When: Saturday August 20

Jack Carty Heading For Home By Joseph Earp I was pursuing was actually the right one,” Carty says with another laugh. “And sometimes it wasn’t. But because I was working from home, I had so much time. Like, I could work on something and then the next day listen to it with a pair of fresh ears and realise that it didn’t work. So then I just had to scrap it and start again. Sometimes you’re scrapping days of work, which is never an easy thing to do, but if it’s not right for the record then it’s just not right for the record.”

Somewhat ironically, all that deletion seems only to have added to the album. Home State is a work with a startlingly strong central thread – it’s only a few named characters away from becoming a concept album, a fully formed piece that manages to somehow balance both polish and grit, setting it up perfectly to be blasted both at parties and in private.

F

or most musicians, there’s nothing scarier than the looming threat of writer’s block – that terrifying moment when your talents begin to seize up and crafting a song suddenly seems like an impossibility. And yet while writing his most recent record, Home State, Australian indie popsmith Jack Carty found himself facing the opposite problem.

“I’d been writing songs while touring for a year,” the endlessly chipper Carty reveals. “I was touring pretty much non-stop and writing that whole time, but I didn’t have the chance to settle down and look at them for a while, because we were moving around so much – we did Europe in that time. It was really organic. I ended up with almost 30 songs that were in the running for the record.”

Such a creative spurt came at an interesting point of transition for Carty.

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Though the songwriter had spent a few happy years riding the wave of acclaim generated by his previous records, radio-ready works like One Thousand Origami Birds and Break Your Own Heart, last year he made the risky decision to leave behind the management team that had been with him from the beginning and strike out for new, less familiar territory.

“I wasn’t really sure what was coming next,” he says with a nervous laugh, perhaps reliving the uncertainty. “I had just stopped working with the label and manager that I had been working with since the beginning of my recording career. On top of that, I had gotten married and I was really enjoying being at home. For the first time in forever I wasn’t looking forward to this definite future of what I was going to do next.” He laughs again – it’s a dry, rueful sound. “That was both scary and liberating.”

Perhaps adding to Carty’s fear was the sheer volume of material that he suddenly had to whittle down. Though there are musicians out there who would kill to find themselves facing more than a double album’s worth of songs, for Carty it threw up a new, interesting problem – brevity is the soul of wit, after all, and Carty wasn’t interested in turning in a bloated or overlong record.

“I sort of demoed all of them, and of the 30 there were 20 that I started to properly work on in earnest,” he says.

“Through the process of recording them, I got to the stage where there were 15 that I couldn’t pick between.

And that’s when I really had to start showing what I had been working on to my friends and people I respect to get some perspective on where to take the record.”

Luckily, even though Carty might have lost some of his confidants

in his period of change, some is not all, and he still found himself surrounded by people whose opinion he inherently trusted. “I wasn’t just sort of showing them willy-nilly to anybody,” he says. “I have some close friends who I have been working with for years. Like Angus Gardiner, he’s played bass on all my records. There is a lot of trust between him and I. So I wasn’t nervous about showing him – it was more that I was interested to see what he might make of it.”

Yet even with the support of his friends, Carty faced servings of selfdoubt. But surprisingly, the fear he felt wasn’t crippling – it was almost galvanizing, and Carty seems to be one of those rare artists who embraces every single one of his false starts.

“The biggest challenge was just trying to figure out whether the line

For now, the new problem facing Carty is how to translate the songs into his live set: Home State isn’t proving as willing to be bitten down into set-ready chunks as his previous works. “With my other records I wrote the songs almost as solo songs and then built up the band around them,” he says.

“But with this record I feel like it’s almost the opposite, which is ironic seeing as I made it myself. I’ve had to sit down and think about how to present the songs in a solo way.”

But no matter how many difficulties the album has thrown up, it’s still one that he gets an incredible jolt from sharing with people. “I definitely get a vibe when I play the audience new songs. It’s amazing how often people will respond really well to the new material. There’s something about playing a song live that you’ve never played before – a real excitement. Maybe the audience pick up on that.”

What: Home State out now through The Curly Co With: Emily Barker, Jordan Millar Where: Newtown Social Club When: Saturday August 20

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Punch Brothers Punching On By Adam Norris exhausting. Their Australian leg is not quite as busy, but still sees them perform day after day. It’s great news for local fans, but doesn’t exactly leave the guys with much room to dust off their explorer hats and find fresh inspiration.

B

luegrass trailblazers Punch Brothers are no strangers to the mad dervish that is life on the road. For ten years they have traipsed across the globe, doing their bit to continue the bluegrass resurgence that has been sweeping contemporary music, and leaving in their wake a motley army of fans as well as several name changes (Punch Brothers is fine, but The How to Grow a Band is pretty great). But resurgence is a tricky word, as guitarist Chris Eldridge considers while speaking of the shape of the New York quintet today. The community that fuels the tunage has never gone away, and this, more than anything else, is what will see the music continuing to play through the night.

“I think the community is the core of the music,” Eldridge says. “We

all kind of grew up playing music at those festivals. I know for Chris [Thile] and Gabe [Witcher], Noam [Pikelny], when they were all kids, going to these festivals was something they would do with their families. They’d hang out, play music together. It was as much about community as it was about the music. Bluegrass and oldtime are all like that. My girlfriend used to run an old-time session in New York once a week, and everyone would just get together and play tunes. The music was cool, and was the thing that got everybody into the room, but really everyone was there just to be with each other. I don’t think that’s mythologised or overblown at all; I think it’s a huge part of our scene, it’s so supportive, and I just love that.”

Having recently chatted with Béla Fleck (see below), I happen to have direct evidence of this. The banjo legend was ebullient in his praise of the band.

“Ha, well, it goes without saying that without Béla there is no Punch Brothers,” Eldridge says. “He was such a hero and inspiration, and continues to be for all of us. We just saw him last weekend and it was great. I feel like he’s an important friend at this point.”

As we speak, Punch Brothers are in Japan, having found themselves undertaking a personal first. Their Tokyo residency sees the band perform multiple shows at the same venue, entirely different sets twice a day for three days. It sounds amazing, but also several kinds of

“We haven’t really interacted with the musical culture here outside of our performances,” Eldridge admits. “I do feel like interacting with Japanese culture overall is pretty inspiring. The whole band was based in New York City for five or six years, and I feel like New York was a similarly inspiring place.

There are so many things that are exciting and mind-boggling that are available to you anytime there, and that’s part of the reason that we wanted to be there – as individuals and as a band. And I think we’re getting a lot of the same thing out of Tokyo. The attention to detail that is displayed everywhere, in everything we do, and in all the amazing rabbit holes that people seem to go down creatively, it’s an amazing place.

Eldridge does assure that the group still tries to have fun. “If we’re coming to the other side of the world, we have to try and live it up at least a little bit. Get up early, see the sights.

Actually, the last time we were in Australia we did [that]. We had an amazing time, certainly one of the best trips we’ve taken as a band.

We had a day off in Adelaide, so we visited a friend in the Barossa Valley.

We looked all around there, and that was an unforgettable day. But those days are more rare than you’d hope.

Especially in the US. It feels like I’ve been everywhere at this point, but

I only know a small fraction of each place that I’ve been.”

The underlying message here is that clearly Eldridge is hoping for some sympathetic fan to offer the Punch Brothers a couch to crash on for a week to see the local sights and sounds, to help craft material for their next release (for which five or six songs exist in some fledgling form, he says). The band’s excitement at returning to Australia seem like no hollow spin; their fan base here is strong, pulled from different ages, different genres. Circling back to how we began our conversation, the secret to this connection lies entirely within the music.

“It’s always been popular with a lot of different people. If you look like five years ago, all of a sudden Mumford & Sons are the biggest band in the world, and they feature a banjo. The banjo, at a certain point, had this association with hay bales and hillbillies and all that.

So I think it’s fair to say because of their success, a lot more people became open to it. It opened an avenue into a larger audience. But that being said, the people who are serious about it have always been serious about it, and always will be.

Bluegrass, old-time music, all the different offshoots. It’s a strong and pretty eternal tree.”

What: The Phosphorescent Blues out now through Nonesuch Records Where: City Recital Hall When: Friday August 12

Béla Fleck & Abigail Washburn Two Of A Kind By Adam Norris

I

’m ashamed to admit that the first I heard of Béla Fleck was in collaboration with Virginian rock giants Dave Matthews Band. Not that there’s anything at all wrong with DMB; rather, my chagrin is due because Fleck’s own remarkable career had completely escaped my attention. He is regarded as one of the greatest banjo players on the planet, and across 40 years has performed alongside some of the finest musicians you’d care to list – including his similarly talented wife, Abigail Washburn. With their performance at City Recital Hall now upon us, it seems a fine time for the New York native to reflect on his storied development.

“We [and DMB] are cut from similar cloth, are similar ages, and love a lot of the same things,” Fleck explains.

“But [others]? Oh, tough! Start with New Grass Revival, and move on to my other bluegrass heroes and friends – Sam Bush, Mark O’Connor, Jerry Douglas, Stuart Duncan, Tony Rice, et cetera. Then there’s The Flecktones, Edgar Meyer and Zakir Hussain, then there’s Chick Corea, and Chris Thile, and Abby – all of whom I play in duos with. And then there’s my African collaborators Oumou [Sangare] and Toumani [Diabate], and others, and all the orchestras I’ve been playing with in the last six or seven years, and then there’s Dave Mathews… yikes, I’m stopping here. I am truly the most fortunate musician ever!”

Fortunate, certainly, though the collaborations and opportunities Fleck has been afforded have come from a rather exhaustive work ethic. Fleck is a quintessential restless musician, wandering across entire continents in the pursuit of his sound. It’s not a shabby path for someone who first had their musical calling while watching, of all things, The Beverly Hillbillies.

It was there the young Fleck was

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first exposed to banjo virtuoso Earl Scruggs, revealing a musical road he still travels. Between this, and an upbringing surrounded by song, it seems somewhat inevitable that the Fleck of today is so celebrated.

“I remember [the magic] every single time I hear that piece again. That is the magic of Earl Scruggs’ timeless playing. It’s a high-tech primitive sound – incredibly virtuosic, but seemingly from the dawn of time,” Fleck says.

“I was named after Hungarian composers by my father. But he and my mom split when I was a year or so old, and I didn’t meet him till I was in my 40s. So he wasn’t a musical influence. Luckily there was a stepdad, and he was a cellist who loved to have people over to play string quartets.

Another big influence was my big brother Louie, who was in the know about music of the day. We were both Beatles freaks, and he often turned me on to all kinds of music. When I turned 15 my grandfather got me a banjo, little realising that it was my secret dream instrument.”

There is, of course, a wonderful irony that an instrument that was largely absent from popular music throughout the ’80s and ’90s has reemerged as the de rigueur addition to many a band. Exactly why that is, however, is hard to define. The sound is certainly distinct, full of colour and personality, and no doubt eased into contemporary culture by the likes of The Lumineers and Mumford & Sons. Fleck has his own ideas of why the banjo has enjoyed such a resurgence, and it’s something that will be clearly showcased at Angel Place.

“The banjo tends to lend authenticity to music, whether the music deserves it or not. I think if folks make great music with the banjo, the concept is a success. If not, it’s a failure. And these judgements of quality are entirely subjective.

“WHEN I TURNED 15 MY GRANDFATHER GOT ME A BANJO, LITTLE REALISING THAT IT WAS MY SECRET DREAM INSTRUMENT.”

“[In Sydney] we will be performing music from our duo repertoire, which includes a few from Abby’s and my catalogue, but focuses mostly on what we think we can do as couple.

Murder ballads always show up.

There are two of us and six or seven banjos along, so I wouldn’t expect the type of sound from the bands with drums that Abby and I have had, but rather a very stripped-down and acoustic presentation.”

This will also make for a rather lightning Australian tour for the

bluegrass duo, taking in Sydney, Melbourne and Adelaide. It makes me wonder if Fleck is the variety of songwriter who might take inspiration from the road: if geography factors in as an influence on his art, if certain countries might provoke certain styles, certain sounds. In essence, I want to know if Béla Fleck is man, or sponge.

“It depends! Sometimes a location can impact me, and sometimes not. The sound of the venue, feel of the audience’s responsiveness,

and quality of their attention can be as important as the country we are in. But I do like the idea of being responsive to where we are.

Although our son Juno is not in the show, his arrival has resulted in a complete change in our touring lives.

He is always with us, we tour with a nanny, and for most of the year we tour together as a family. Disgustingly awesome!”

Where: City Recital Hall When: Monday August 15

BRAG :: 675 :: 10:08:16 :: 17

arts in focus

free stuff head to: thebrag.com/freeshit

arts news...what's goin' on around town... with Chris Martin, Emily Norton and Alex Chetverikov

Alan Carr

five minutes WITH

MULGA before but none as big as this one. It was great to work on a bigger scale and paint some beast gorillas.

How did you get your start in street art?

My first outside mural was on the Bondi Sea Wall, and I painted a gorilla with a magical ice-cream.

It was a bit scary at first because I didn’t know what I was doing.

But then when I started painting I realised if you can paint it small you can paint it big – it just takes longer and it’s harder to do.

T

ell us about the artwork you’re presenting at Liverpool Street Art Festival this month.

My artwork is a celebration of life and specifically friendship and food and having fun… and pizza, because pizza is the best. I wrote

a sweet poem about it, which you can read on Instagram @ mulgatheartist.

It’s quite a large mural – have you ever worked on such a scale before?

I have painted a bunch of murals

How have local councils’ attitudes to street artists changed over time? Does Sydney still have some catching up to do to cities like Melbourne?

I’ve noticed recently that local councils have been getting

right into the street art. Even my local council, which is very conservative has been commissioning street artists to liven up the place. I know Melbourne is known for its sweet street art but I think Sydney is definitely catching up. It’s awesome to see because street art adds so much to an area.

If you could paint in one city, anywhere in the world, where would it be?

The Big Apple would be pretty sweet, it’s such a big happening place and I think there would be some sweet spots to paint there.

What: Liverpool Street Art Festival Where: Bathurst Street South Car Park When: Saturday August 13

THE OTHER ART FAIR Robert Englund as Freddy Krueger

A NIGHTMARE AT COMIC-CON

Oz Comic-Con is welcoming Elm Street’s most terrifying visitor to its Sydney and Brisbane events this September. Robert Englund, best known for his role as the nightmare-haunting Freddy Krueger in the cult horror film A Nightmare On Elm Street, is slashing his way through the two final Comic-Con events of 2016. During his Oz Comic-Con appearances, fans will have the opportunity to attend exclusive Q&A panels with Englund, as well as take part in photograph and autograph sessions. Englund joins the growing ranks of previously announced Oz Comic-Con celebrity guests including Keisha Castle-Hughes and Daniel Portman (Game Of Thrones), Christian Kane (The Librarians, Leverage), Mitch Pileggi (The X-Files, Supernatural), Timothy Omundson (Psych, Galavant, Supernatural) and Max and Charlie Carver (Teen Wolf).

Oz Comic-Con will be held at the Sydney Exhibition Centre, Glebe Island on Saturday September 10 – Sunday September 11.

LIFE ON THE FRINGE

More than 300 shows and events have been announced on the full program for Sydney Fringe Festival 2016. Our city’s month-long celebration of all things in independent theatre, circus,

music, comedy, visual art, film, cabaret, dance and spoken word is back this September, and needless to say, the program is massive. Things will get going with the Fringe Ignite Launch Party, which brings live music to shops, bars and

The chattiest man on television is coming to Australia for a national stand-up tour.

Alan Carr will make his debut Down Under this August and September, with two dates locked in as part of Just For Laughs Sydney 2016. His new show, Yap, Yap, Yap!, sees the British comedian and Chatty Man host share stories inspired by his unique outlook on life and laughter. Carr’s style of comedy has been recognised at the BAFTAs and British Comedy Awards, and now he’s ready to charm the pants off Australia.

Carr plays the Concert Hall, Sydney Opera House on Tuesday September 6 and Wednesday September 7, and we’ve got a double pass to give away to the first show. Enter the draw at thebrag.com/ freeshit.

GREEK FILM FESTIVAL

The 23rd instalment of the Greek Film Festival will open with the highest-grossing Greek film since 2009. The second release by acclaimed director Christopher Papakaliatis, Worlds Apart, features Academy Award winner J.K. Simmons, along with Papakaliatis himself.

It pivots on three distinct generational love stories between a Greek and a foreigner, which eventually draw into a single narrative.

The extended lineup of films for the festival, including special guests, is soon to be announced. Worlds Apart will open the Delphi Bank 23rd Greek Film Festival on Tuesday October 11. The festival itself, which runs from Wednesday October 12 – Sunday October 23, will be held at Palace Cinemas Norton Street.

xxx

cafés along Stanley Street in Darlinghurst for the afternoon of Saturday September 3. Meanwhile, some 46 partner venues will be packed out with Fringe events for the remainder of the month, with highlights including music gigs by Tina Harrod and Damien Wright, theatre pieces Atlantis, Queen Cxnt and Crave, cabaret Lady Sings It Better, Melbourne City Ballet’s Romeo + Juliet and a sprawling Sydney Fringe Comedy program at the Factory Theatre. It all comes to a close on Saturday September 24 with a silent dinner party at Paddington Town Hall, and the Global Rhythms event in Glebe’s Bicentennial Park on Sunday September 25. The full Fringe program runs from Thursday September 1 – Friday September 30. Explore the events and book at sydneyfringe.com.

ALAN CARR

British art is back in town as the UK’s largest artist-led fair The Other Art Fair returns to Sydney for its second installment at a new venue.

The Other Art Fair will present 100 of Australia’s most talented emerging artists under the theme ‘Making Art Fair’. Participants will be chosen by a high-profile local selection committee of contemporary art experts, comprised this year of Archibald Prize winner Ben Quilty, Roslyn Oxley, Amanda Love and Leif Podhajsky. At its inaugural 2015 edition, the fair attracted over 7,500 visitors across four days, enabling unrepresented artists to connect with collectors and sell their work.

Catch The Other Art Fair from Thursday October 27 – Sunday October 30 at Commune in Waterloo.

NO, SERIOUSLY

The winner of the 2015 Moran Contemporary Photographic Prize, Trent Mitchell, will open an exhibition of his work entitled Australia Seriously? later this month. Selections from his body of work will be exhibited from a collection of over 5,500 film exposures created during his travels across the country. See Mitchell’s work at Juniper Hall, Paddington from Saturday August 20 – Sunday September 18.

Catherine Alcorn

TRAGEDY IN THE FLESH

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CATHERINE’S CATHARSIS

Catherine Alcorn’s new cabaret Cathartic is set to open Slide’s artist in residency program in grand style. October will see the iconic cabaret and entertainment venue playing host to award-winning cabaret performer Alcorn, kicking off its inaugural artist in residency program with the debut of her new show. Alcorn has previously dazzled audiences with her representations of Fleetwood Mac’s Christine McVie and Bette Midler. Backed by a talented three-piece live band, Cathartic is a distinctively soulful and contemporary take on the art of cabaret. Cathartic will be performed at Slide on Wednesday October 5, Wednesday October 12 and Wednesday October 19.

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Catherine Alcorn photo © Daniel Boud

From acclaimed French choreographer Olivier Dubois comes a meticulously constructed minimalist dance work, Tragédie, which brings together women and men in a chorus of hypnotically repetitive movements backed by a pounding bass. In his first visit to Carriageworks and the first performance of his work in Australia, Dubois will present the new work over two nights in September. Inspired by Friedrich Nietzsche’s The Birth Of Tragedy, in which he praises the transcendent liberation of dancing, Tragédie is the conclusion of a trilogy of pieces that centre on the themes of resistance and insurrection. It will play on Friday September 2 and Saturday September 3.

Tragédie

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Korean Film Festival In Australia [FILM] Best Of The Fest By David Park

T

he Korean Film Festival In Australia (KOFFIA) is back and bigger than ever for its seventh year running. The program of 20 features and four guest sessions covers everything from blockbuster cinema to arthouse and rom-coms, all screened with English subtitles.

To help wade through a sprawling lineup, KOFFIA artistic director David Park introduces his fi ve hottest picks of the festival.

1.

4.

2.

ALICE IN EARNESTLAND

Tuesday August 16 If you missed Alice In Earnestland at the Sydney Film Festival this year, don’t miss your second chance to see it at the Korean Film Festival In Australia! The fi lm follows Soonam (Alice) in present-day Korea (Earnestland) and her inevitable descent into extreme behaviour as she is grinded down to her bare sanity by dark forces of society. Alice In Earnestland has wildly exciting visuals, even wilder action and some very sobering implications.

Bone-shaking farce meets political satire in a fi lm that is often truly scary. The ending will have you cheering, so don’t miss Alice In Earnestland.

2.

THE WAILING

Sunday August 14 Police officer Jong-goo’s seemingly peaceful village is suddenly plagued with mysterious and violent deaths. With the deaths continuing to no avail, one by one the villagers begin to notice that they began when a mysterious man moved into a house perched on top of a nearby mountain. Death lingers in the air as a wild, entertaining supernatural thriller ensues which will have you glued to the screen from start to fi nish. The masterful use of suspense and gore was the talk of Cannes Film Festival and will no doubt delight fi lm buffs wanting more.

1.

3.

RIGHT NOW, WRONG THEN

Tuesday August 16 The latest offering from master filmmaker Hong Sang-soo is a selfreflexive piece that will delight any arthouse fan. Set in Suwon, about 30 kilometres south of Seoul, Hong’s Golden Leopard-winning masterpiece is divided into two sections which are identical but not quite the same.

Befittingly, the first half is labelled ‘Right Then, Wrong Now’ and the second half, ‘Right Now, Wrong Then’.

Jeong Jae-young, winner of the best actor prize at Locarno and Australia’s very own Asia Pacific Screen Awards, gives an entertaining and amusing performance which keeps the minimalistic plot afloat.

3.

4.

INSIDE MEN

Saturday August 13 Korea’s well renowned gangster genre is like the prize child from the country’s booming film industry.

Headlined by Lee Byung-hun (Terminator Genisys, G.I Joe, Red 2), Inside Men, based on a popular web comic, was that prize child of the year. A smashing political revenge thriller with more double-crossings and plot twists than you can count, the film follows the all-out war between three men – a gangster out for revenge, an ambitious prosecutor and an enigmatic editor for the press – all with one agenda: power.

5.

COLLECTIVE INVENTION

Saturday August 13 A crowd favourite at the Toronto International Film Festival, Collective

Invention is the rise and fall story of Gu, an average Joe turned half-fishhalf-man mutant from a medical experiment gone wrong. Gu becomes an overnight sensation, rising to meteoric fame, but with it comes the cons of being in the spotlight. A victim to some, a poseur to others, the more his renown grows, the more Gu comes to represent whatever is projected upon him. Forget your normal fairytale about mermaids, this modern day black comedy of a merman living in Seoul is a social satire not to be missed.

What: Korean Film Festival In Australia 2016 Where: Event Cinemas George Street When: Wednesday August 10 – Thursday August 18 More: koffia.com.au

5.

Look Back In Anger [THEATRE] Mistaken Enlightenment By Adam Norris

T

here are some out there who claim Damien Ryan doesn’t actually exist, and despite having interviewed him once before, I’m starting to feel there is truth to the rumour. Finding time to speak with the man is like being granted an audience with the Pope, and with good reason; not only are his energies focused on the 60th anniversary of Look Back In Anger, which he co-directs at the Old Fitz Theatre this month, but he is also performing in Twelfth Night at Belvoir.

Between juggling two such disparate styles of theatre in his head – Shakespeare and violent naturalism – it’s amazing he even has time for sleep.

“It’s funny, as you get older and get more experience… I feel like ten years ago I’d be very worked up by the busyness of having several projects at once, but you really do realise that it’s just a craft,” says Ryan. “It’s like woodwork. You go into a room, you try not to over-prepare because you want to be responsive to what’s organically happening – be it as an actor or director, although you obviously want to do a lot of research first to really get to know the play – but you don’t over-prepare exactly what you’re going to do with that [knowledge]. You want to get into that room and be as impulsive and as free as can be, free in the relationship between the actor and the text, between actor and other actors in that space. You kind of allow yourself to shed your ambitions a bit, your worries.

“When you’re a young director, you’re terrifi ed of questions, that you’re expected to know everything, answer any question.

But it’s quite the opposite. You don’t need to know, you need to fi nd out. You need to ask questions. I fi nd it very liberating now. To be honest, I’ve done many years of touring, spending six months doing just one play, 20 :: BRAG :: 675 :: 10:08:16

and that I fi nd incredibly wearying. It’s so unending, so repetitive, and I fi nd that very hard. I almost love rehearsing a play more than performing it ad infi nitum. That’s when you’re still searching and discovering.”

John Osborne’s play of confl ict and class premiered back in 1956, and although the majority of reviews at the time were scathing, the signifi cance today of Look Back In Anger is remarkable. Focussing on a complicated three-way romance, the play helped ignite a cultural shift from the escapism of theatre – that of musicals and classical performance – to stories that brought the rabble of humanity centre stage.

“Everyone knows it’s a seminal work, and I often think it’s the reason we have a theatre like the Old Fitzroy,” Ryan says. “It’s one of the plays that made such a theatre possible, that made that extreme intimacy, that raw naturalism. Obviously many plays since have gone a lot further than Look Back In Anger, in shock value or intensity or brutality.

"I mean, there isn’t even a swear word in this play. It has all this incredible shock value, but it’s quite clean to modern ears compared to today, where anything and everything can be found onstage. But it’s a play that every young actor at some point falls in love with, because the speeches are so remarkable, and the intensity of the characters. When Liz [Schebesta, co-director] and I put out the audition notice to see actors, we had such a line of people wanting to work on this play, which shocked us a little since it’s quite brutal in its misogyny. They fi nd something very intriguing in what the play is saying, and the writing is just so good that so many actors just want to get their mouth around those words.”

Part of the signifi cance of Look Back In Anger isn’t just the strength of the play itself, but the context. Just as earlier audiences were both convinced and repelled by the real-world representation of Jimmy Porter – a working-class character whose frustrations and casual cruelty towards the women in his life were all too recognisable – so will contemporary audiences fi nd these echoes of emotional and cultural disillusionment eerily familiar.

“It’s a real joy to work on, even though the ideas are really harrowing,” says Ryan. “It’s something that is so topical to us today. This same disillusioned wasteland of ideals that have come to nought, this sense of having nothing to fi ght for, nothing to believe in, I think is characteristic of so many young men and women. I think it’s the same thing that drives the terrible violence that we see in our culture, the sense of young boys so desensitised by a hundred different types of boredom, where they grow up too quickly surrounded by sex and violence, while at the same time they’re not growing up at all.

“We change the incidental things that surround ourselves, but we don’t change the fundamentals. You turn on the news tonight and there will be three or four crimes of passion in Sydney this week. We change the nature of our homes, our relationship to technology, all of these things. We think we’re more enlightened. But there are so many psychological parts of us that just don’t change.

“Jimmy articulates all those things in 1956 without talking about particular things that are affecting people today, and I think that’s part of what makes it a classic. It tells the truth.”

What: Look Back In Anger Where: Old Fitz Theatre When: Tuesday August 16 – Saturday September 10 And: Also playing at Belvoir St Theatre Tuesday September 13 – Saturday September 17

thebrag.com

film reviews Hits and misses on the silver screens around town

■ Film

SUICIDE SQUAD In cinemas now DC Comics’ film department may as well bear Ozymandias’ great epitaph (“Look on my works, ye mighty, and despair!”), for in the space of a year, it has torn down and sullied every monolith in its catalogue. Sadly, for those expecting DC’s answer to Deadpool, Suicide Squad is the last nail in the coffin, mired as it is in traditionalist muck.

Rogue government agent Amanda Waller (Viola Davis) has a bright idea to use Gotham’s greatest supervillains as black ops agents, and she has all the pieces in place to make it happen. With villains like hitman Deadshot (Will Smith) and lunatic Harley Quinn (Margot Robbie) under the thumb of secret serviceman Rick Flag (Joel Kinnaman), the squad is sent out on its first deadly mission.

Where the film’s marketing promised colourful anarchy, the film itself delivers tired superhero cliché, with little to differentiate it tonally from the dreadful Batman V Superman save for a tendency towards quipping. We are promised the worst of the worst, forced against their will into action – what we get is a re-run of Marvel’s Guardians Of The Galaxy sans colour palette, even down to Warner Bros. showing off its many licensed songs. DC pulls off its most diverse casting yet in a film where every character is an out-and-out bad guy.

Penning witticisms is not writer/director David Ayer’s strength. Intending to show the villainy of his cast, he layers the dialogue with sexism, racism and ‘no homo’ bromance.

An early, particularly egregious example sees Slipknot (Adam Beach) punch a female officer in the face, under the pretence that “she had a mouth”.

The greatest waste is Quinn, a fan favourite for her offbeat demeanour and wild behavioural tendencies. Quinn is introduced to the tune of Grace’s ‘You Don’t Own Me’, an irony Ayer misses as he paints the character as a possession of the Joker (Jared Leto). She, like every other female

character (including the big bad) is damseled, robbed of her anarchic agency and given sexy costuming in its place. It’s hugely disappointing given Robbie’s manic characterisation.

For all the hype around Leto’s Joker, his most watchable moments are never characterised by his acting. While it may be interesting to see the performance develop, here his aura is both underused and underwhelming. Smith’s Deadshot, likewise, is a tired tough guy with the kind of skewed morality that supposedly makes him not so bad a bad guy. So why is he here?

Guns, that’s why! Just like Zack Snyder’s lethal Batman, Ayer sees guns as roughly equivalent to superpowers. They overcome everything, including demigods impervious to all other attacks. The solution to supernatural terrorism is basic munitions distributed without background checks.

Davis’ chilling turn as Waller, Jai Courtney’s entertaining Boomerang and some fun action sequences can’t salvage this wreckage of another promising franchise. The only madness on offer is DC’s ability to take all the ingredients for a chaotic delight and toss them haphazardly around the kitchen.

David Molloy

■ Film

DOWN UNDER In cinemas Thursday August 11 Down Under isn’t a nostalgia piece about the Cronulla riots. It’s a commentary not just on racism, but also on our nation’s cultural capital at its worst. Cleverly set on the day after the riots in 2005, the film follows two sets of hoons – one Anglo, one Lebanese – as they seek revenge and retribution on the streets of the Shire.

Shit-Stick (Alexander England) is happy punching cones and working at the local Blockbuster, but is intimidated by Jason (Damon Herriman) into rounding the troops and sweeping the streets for "Lebs". Shit-Stick’s cousin Evan (Chris Bunton) and Ned Kelly-loving mate Ditch (Justin Rosniak) come along for the ride. In parallel, the studious Hassim (Lincoln Younes) is conned by street-tough Nick (Rahel Romahn) to join their cause with Hassim’s crazy import uncle Ibrahim (Michael Denkha) and wannabe beatboxer D-Mac (Fayssal Bazzi). The two gangs are looking for the same thing, yet neither really knows what or where it is. As each crew bungles their respective journies further, by the time they finally cross paths hell has already broken loose and everything is beyond shithouse.

It’s a clever take on racism not told just from the Anglo or migrant perspective, but from the midpoint at which both sides are exactly the same. While it may rely a little too much on convention to get its point across and caricature

■ Film

HITCHCOCK/TRUFFAUT In cinemas Thursday August 11 To celebrate the 50th anniversary of Hitchcock/ Truffaut, the book that became known as ‘the Bible of Cinema’, director Kent Jones has brought together a high-powered group of famous filmmakers to fanboy obsessively about the book’s impact on their careers and the meticulous genius of Hitchcock.

In the early ’60s, French New Wave star François Truffaut wrote a heartfelt letter to one of his greatest heroes, Alfred Hitchcock, asking if the megastar British director would sit down with him to talk through each one of his (then) 48 films. Hitchcock was touched and the pair sat down for a week-long interview, which Truffaut turned into a book that exhaustively detailed the methods and ideas behind each iconic shot in every Hitchcock movie.

Now, the book has a documentary to accompany it, packed full of iconic scenes from Hitchcock films and rhapsodic commentary from directors like Martin Scorsese, Richard Linklater, David Fincher and Wes Anderson. The dynamic talking heads pay enthusiastic tribute to Hitchcock’s oeuvre – in particular the major critical classics like Vertigo, The Wrong Man and Psycho – as well as the influence of the book Hitchcock/Truffaut, which came out just a few years before the entrenched old-school Hollywood studio system was blown aside by hip, low-budget indie films like Easy Rider. “The book radicalised filmmakers,” Scorsese says. “We realised we can do [whatever we want].”

If you’re coming into this doco as a Truffaut fan, you might be disappointed – the film deals only briefly with his career, touching on his start as a film critic for the influential magazine Cahiers Du Cinéma, his rough childhood with a shitty dad (as documented in the first film of his autobiographical Antoine Doinel series, The 400 Blows), and his search as an adult for alternative father figures like directors Roberto Rossellini, Jean Renoir and Hitchcock.

While it might be a hard sell, Down Under boasts a broad appeal for the more academic viewer to the popcorn crowd, while cleverly avoiding being all things to all people.

With the right combination of cinema hype and rental word-of-mouth, this has the capacity to become another Australian classic.

Instead, the fi lm Hitchcock/Truffaut is an 80-minute tribute to the huge infl uence the British auteur had on modern cinema, and the way his early training as an engineer and designer infl uenced his precise, mathematical approach to both plot arcs and the framing of every single shot – the singular style that made him the Master of Suspense. If you’re a Hitchcock fan or an obsessive cinema-goer, you’ll revel in the meticulous detail of Hitchcock/Truffaut; if you’re not, then you wouldn’t have read this far.

Julian Ramundi

Nick Jarvis

to find its humour, the film deftly inhabits a tonal space that bridges screwball comedy and actual suspense, almost like a black comedy/thriller.

Arts Exposed What's in our diary...

Liverpool Street Art Festival Bathurst Street South Car Park, Saturday August 13 Sydney’s south-west will become the epicentre of street art and performance this weekend as Liverpool Street Art Festival takes over the thriving Bathurst Street South Car Park and Macquarie Street precinct. There’s street art from artists like Phibs, Mulga, Chocolate Einstein and installation artist Amanda Parer, but also a live program featuring Shaun Parker & Company’s popular Trolleys, Revolution Incorporated, Hot Potato Band, Circaholics Anonymous and more. A range of market stalls will also be on hand.

Entertainment starts at 3pm, with more details at liverpool. nsw.gov.au. thebrag.com

Street art by Skulk

BRAG :: 675 :: 10:08:16 :: 21

BARS BRAG

A Work In Progress 50 King St, Sydney CBD (02) 9240 3000 Mon – Fri noon-2am; Sat 5pm-2am Ash St Cellar 1 Ash St, Sydney CBD (02) 9240 3000 Mon – Fri 8.30am-11pm The Attic 275 Pitt St, Sydney CBD (02) 9284 1200 Mon – Wed 10am-midnight; Thu 10am-1.30am; Fri 10am-3am; Sat noon1.30am

Assembly 488 Kent St, Sydney CBD (02) 9283 8808 Mon – Tue 5pm-midnight; Wed – Fri noon-midnight; Sat 5pm-midnight The Australian Heritage Hotel 100 Cumberland St, The Rocks (02) 9247 2229 Mon – Sun 10.30am-midnight Bar Eleven Lvl 11, 161 Sussex St, Sydney CBD (02) 9290 4712 Mon – Thu 4-9pm; Fri – Sat 4-11pm The Barber Shop 89 York St, Sydney CBD

(02) 9299 9699 Mon – Wed 4pm-midnight; Thu – Fri 3pm-midnight; Sat 4pm-midnight Basement Bar Basement, 27-33 Goulburn St, Sydney CBD (02) 8970 5813 Mon – Thu 5pm-10pm; Fri – Sat 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; Sun 4-10pm

Burrow Bar De Mestre Place, Sydney 0450 466 674 Mon – Sun 4pm-midnight The Captain’s Balcony 46 Erskine St, Sydney CBD (02) 9299 3526 Mon – Fri noon-midnight; Sat 5pm-midnight deVine 32 Market St, Sydney CBD (02) 9262 6906 Mon – Fri 11.30am-11.30pm; Sat 5.30-11.30pm Easy Eight 152-156 Clarence St, Sydney (02) 9299 3769 Mon – Sat 4pm-midnight

HACIENDA SYDNEY

Tell us about your bar: The new vista bar Hacienda has launched. Inspired by the grand plantation architecture of Cuba, mixed with the lux yet playful modern vintage hotels of 1950s Miami, Hacienda, situated in the Pullman Quay Grand Sydney Harbour, is a botanical oasis overlooking Sydney’s iconic harbour!

What’s on the menu?

The food offering is intended

to match the drinks, and will be both light enough for a nibble or substantial enough for a feast. The menu takes inspiration from Cuba’s traditional trading partners, and their local, abundant ingredients, to create dishes unique to Hacienda. We feature Latin and American delights such as yucca fries, buttermilk fried chicken, pork neck mojo and Cuban Reuben. Oh, and it wouldn’t be Sydney without a few delicious burger options as well!

bar bar

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INSIDE THE PULLMAN QUAY GRAND SYDNEY HARBOUR, 61 MACQUARIE ST, SYDNEY PHONE NUMBER: (02) 9256 4000 WEBSITE: HACIENDASYDNEY.COM.AU OPENING HOURS: MON – SUN NOON-LATE

TH

EK

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

El Camino Cantina 18 Argyle St, The Rocks Mon – Thu noonmidnight; Fri – Sat noon-3am; Sun 11.30am-midnight Frankie’s Pizza 50 Hunter St, Sydney CBD Sun – Thu 4pm-3am; Fri noon-3am Gilt Lounge 49 Market St, Sydney CBD (02) 8262 0000 Mon – Fri 5pm-2am; Sun 5pm-midnight 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 Sun – Fri noon-9pm Grandma’s Basement 275 Clarence St, Sydney CBD (02) 9264 3004 Mon – Fri 3pm-midnight; Sat 5pm-1am

E E W

Care for a drink?

The drinks menu, just like the venue design, draws its inspiration from the lux-vintage hotels of Miami and pulls on techniques from classic Cuban drinks. The back bar is as well stocked in rum as it is in American whisky, and the cocktail list features classic Cuban-esque fruit-driven drinks – think banana, guava and custard apple alongside heavier liquor-based concoctions designed to appease even the most discerning palate. A few noteworthy drinks include the Tropical Sour (banana infused Encanto Pisco, Tío Pepe, lime and honey) or the Old Smoked Presidente (aged rum, orange curacao, dry vermouth, house spiced raspberry syrup and Angostura bitters).

Sounds: Cuban and Latin American beats.

Highlights: With panoramic views of the city and Sydney Harbour, and an interior with subtle botanical and lux-vintage Latin American themes, Hacienda will have an emphasis on sharp service, delicious food and a stylish drinks selection in a truly unique Sydney setting.

The bill comes to: Cuban Reuben = $18, Old Smoked Presidente = $20

22 :: BRAG :: 675 :: 10:08:16

The Fox Hole 68A Erskine St, Sydney CBD (02) 9279 4369 Mon 7am-3pm; Tue – Fri 7am-late The Grasshopper 1 Temperance Ln, Sydney CBD (02) 9947 9025 Mon – Thu 4pm-midnight; Fri noon-1am; Sat 4pm-1am Hacienda Sydney 61 Macquarie St, Sydney CBD (02) 9256 4000 Mon – Sun noon-late Harpoon Harry 40-44 Wentworth Ave, Sydney CBD (02) 8262 8800 Mon – Sat 11.30am-3am; Sun 11am-midnight Kittyhawk 16 Phillip Ln, Sydney CBD Mon – Thu 3pm-midnight; Fri – Sat 3pm-2am The Lobo Plantation Basement Lot 1, 209 Clarence St, Sydney CBD 0415 554 908 Mon – Thu, Sat 4pm-midnight; Fri 2pm-midnight The Local Bar 161 Castlereagh St, Sydney CBD (02) 9953 0027 Mon – Wed 7.30am-10pm; Thu – Fri 7.30am-11pm The Loft (UTS) 15 Broadway, Sydney (behind 2SER) (02) 9514 1149 Mon – Fri 2-11pm Mojo Record Bar Basement 73 York St, Sydney CBD (02) 9262 4999 Mon – Wed 4pm-midnight; Thu 4pm-1am; Fri – Sat 4pm-1am The Morrison 225 George St, Sydney CBD (02) 9247 6744 Mon – Wed 7.30am-11pm; Thu 7.30am-midnight; Fri 7.30am-2am; Sat 11.30am-2am The Palisade 35 Bettington St, Millers Point 9018 0123 Mon – Fri noon-midnight; Sat – Sun 11am-midnight Mr Tipply’s 347 Kent St, Sydney CBD (02) 9299 4877 Mon – Thu 11.30am-10pm; Fri 11.30am-midnight; Sat 10pm-4am Palmer & Co. Abercrombie Ln, Sydney CBD (02) 9240 3000 Sun – Weds 5pm-3am; Thu 3pm-3am; Fri noon-3am; Sat 4pm-3am 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 199 Elizabeth St, Sydney CBD Mon – Sat 4pm-midnight 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

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 4.30pm-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 4pm-midnight York Lane 56 Clarence St, Sydney CBD (02) 9299 1676 Mon – Wed 6.30am-10pm; Thu – Fri 6am-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 Bellini Lounge 2 Kellett St, Potts Point (02) 9331 0058 Thu – Sun 6pm-late The Bells Hotel 1 Bourke St, Woolloomooloo (02) 9357 3765 Mon – Sun 10am-1am The Beresford 354 Bourke St, Surry Hills (02) 8313 5000 Mon – Sun noon-1am Big Poppa’s 96 Oxford St, Darlinghurst Mon – Sun 5pm-3am Black Penny 648 Bourke St, Surry Hills (02) 9319 5061 Mon – Sat 7am-midnight; Sun 7am-10pm Button Bar 65 Foveaux St, Surry Hills (02) 9211 1544 Mon – Sat 4pm-midnight Café Lounge 277 Goulburn St, Surry Hills (02) 9016 3951 Mon – Thu 5pm-midnight; Fri – Sat 4pm-midnight; Sunday 4-10pm

Casoni Italian Bar & Eatery 371-373 Bourke St, Darlinghurst Tue – Thu 5pm-11pm; Fri – Sat 5pm-midnight 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 Wed 6-11pm; Thu – Sat 6pm-1am; Sun 5-10pm The Cliff Dive 16-18 Oxford Square, Darlinghurst Fri – Sat 6pm-late The Commons 32 Burton St, Darlinghurst (02) 9358 1487 Tue – Wed 6pm-midnight; Thu – Fri noon-late; Sat – Sun 8:30am-late 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-midnight Della Hyde 34 Oxford St, Darlinghurst Thu – Sat 5pm-late Eau-De-Vie 229 Darlinghurst Rd, Darlinghurst 0422 263 226 Sun – Fri 6pm-1am; Sat 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 Tue – Sun noon-midnight Golden Age Cinema & Bar 80 Commonwealth St, Surry Hills (02) 9211 1556 Wed – Fri 5pm-midnight; Sat – Sun 2:30pm-midnight Goros 84-86 Mary St, Surry Hills (02) 9212 0214 Mon – Wed 11:30am-midnight; Thu 11:30am-1am: Fri 11:30am-3am; Satӱ4pm-3am Hinky Dinks 185 Darlinghurst Rd, Darlinghurst (02) 8084 6379 Mon – Sat 4pm-midnight; Sun 2-11pm Hollywood Hotel 2 Foster St, Surry Hills (02) 9281 2765 Mon – Wed 10am-midnight; Thu – Sat 10am-3am The Horse 381 Crown St, Surry Hills 1300 976 683 Mon – Thu noon-midnight; Fri 11.30am-midnight; Sat noon-midnight; Sun noon10pm Jangling Jack’s Bar & Grill 175 Victoria St, Potts Point Tue – Wed 4-11pm, Thu – Sat 4-1am, Sun noon-11pm thebrag.com

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Roosevelt 32 Orwell St, Potts Point (02) 8696 1787 Tue – Fri 5pm-midnight; Sat noon-midnight; Sun 3-10pm Rosie Campbell’s 320 Crown St, Surry Hills (02) 9356 4653 Mon – Thu 5pm-midnight; Fri – Sun 11am-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 – Wed 5pm-midnight; Thu – Fri 5pm-3am; Sat – Sun 6pm-3am Surly’s 182 Campbell St, Surry Hills (02) 9331 3705 Mon – Sat noon-midnight; Sun noon-10pm Sweethearts Rooftop 33/37 Darlinghurst Rd, Potts Point (02) 9368 7333 Mon – Thu 4pm-midnight; Fri – Sun noon-midnight This Must Be The Place 239 Oxford St, Darlinghurst (02) 9331 8063 Mon – Sun 3pm-midnight The Tilbury Hotel 12-18 Nicholson St, Woolloomooloo (02) 9368 1955 Mon 9am-10pm; Tue – Fri 9am-midnight; Sat 10am-midnight; Sun 10am-10pm Tio’s Cerveceria 4-14 Foster St, Surry Hills (02) 9368 1955 Mon – Sat 4pm-midnight Vasco 421 Cleveland St, Redfern 0406 775 436 Mon – Sat 5pm-midnight The Village Inn 9-11 Glenmore Rd, Paddington (02) 9331 0911 Mon – Sun noon-late The Wild Rover 75 Campbell St, Surry Hills (02) 9280 2235 Mon – Sat 4pm-midnight The Winery 285A Crown St, Surry Hills (02) 9331 0833 Mon – Sun noon-midnight

Anchor Bar 8 Campbell Pde, Bondi (02) 8084 3145 Mon – Fri 5pm-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 – Fri 11am-1am; Sat 10am-1am; Sun 10am-10pm Bondi Hardware 39 Hall St, Bondi (02) 9365 7176 Mon – Thu 5pm-midnight; Fri noon-midnight; Sat 9am-midnight; Sun 9am-8pm The Bucket List Shop 1, Bondi Pavilion, Queen Elizabeth Drive (02) 9365 4122 Mon – Tue 11am-5pm; Wed – Sun 11am-midnight The Corner House 281 Bondi Rd, Bondi (02) 8020 6698 Tue – Sat 5pm-midnight; Sun 1pm-10pm

Fat Ruperts 249 Bondi Rd, Bondi (02) 9130 1033 Tue – Fri 4pm-midnight; Sat – Sun 2pm-midnight Jam Gallery 195 Oxford St, Bondi Junction (02) 9389 2485 Tue 4pm-midnight; Wed – Sat 4pm-3am The Phoenix Hotel 1 Moncur St, Woollahra (02) 9363 2608 Tue – Wed 4-11pm; Thu – Fri 11.30am-1am; Sat 8am-11pm; Sun 8am-10pm The Robin Hood Hotel 203 Bronte Rd, Waverley (02) 9389 3477 Mon-Sat 10am-3am; Sun 10am-10pm Speakeasy 83 Curlewis St, Bondi (02) 9130 2020 Mon – Sat 5pm-11pm; Sat – Sun 4pm-10pm Spring Street Social 110 Spring St, Bondi Junction (02) 9389 2485 Tue – Sat 5pm-3am Stuffed Beaver 271 Bondi Rd, Bondi (02) 9130 3002 Mon – Sat noon-midnight; Sun noon-10pm

Bar-racuda 105 Enmore Rd, Newtown (02) 9519 1121 Mon – Sat 6pm-midnight Batch Brewing Company 44 Sydenham Rd, Marrickville (02) 9550 5432 Mon – Sun 10am-8pm Bauhaus West 163 Enmore Rd, Enmore (02) 8068 9917 Wed – Thu 5-11pm; Fri 4-11pm; Sat 2-10pm; Sun midday-10pm The Bearded Tit 183 Regent St, Redfern (02) 8283 4082 Mon – Thu 4pm-midnight; Fri – Sat noon-midnight; Sun noon-10pm Blacksheep 256 King St, Newtown (02) 8033 3455 Mon – Fri 4pm-11pm; Sat 2pm-11pm; Sun 2pm-10pm Bloodwood 416 King St, Newtown (02) 9557 7699 Mon – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm 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 – Fri 10am-late; Sat 9am-late Corridor 153A King St, Newtown 0405 671 002 Mon 5pm-midnight; Tue 4pm-midnight; Wed – Sat 3pm-midnight; Sun 3-10pm Cottage Bar & Kitchen 342 Darling St, Balmain (02) 8084 8185 Mon – Thu 5pm-midnight; Fri – Sat noon-midnight; Sun noon-10pm Different Drummer 185 Glebe Point Rd, Glebe (02) 9552 3406 Mon 4.30-11pm; Tue – Wed 4.30pm-1am; Thu – Sat 4.30pm-2am; Sun 4.30am-midnight Doris & Beryl’s Bridge Club and

Tea House 530 King St, Newtown Mon – Fri 5pm-midnight; Sat – Sun 3.30pm-midnight Earl’s Juke Joint King St, Newtown Mon – Sat 4pm-midnight; Sun 4-10pm Forest Lodge Hotel 117 Arundel St, Forest Lodge (02) 9660 1872 Mon – Sat 11am-midnight; Sun noon-10pm Freda’s 109 Regent St, Chippendale (02) 8971 7336 Tues – Sat 4pm-midnight; Sun 4pm-10pm The Gasoline Pony 115 Marrickville Rd, Marrickville 0401 002 333 Tue – Thu 5-11.30pm; Fri – Sat 3-11.30pm; Sun 3-9.30pm The Grifter Brewing Co. 1/391-397 Enmore Rd, Marrickville (02) 9550 5742 Thu 4-9pm; Fri – Sat noon-9pm; Sun noon-7pm The Hideaway Bar 156 Enmore Rd, Enmore (02) 8021 8451 Tue– Thu 4pm-midnight; Fri – Sat 4pm-1am Hive Bar 93 Erskineville Rd, Erskineville (02) 9519 1376 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 Kingston Public Bar & Kitchen 62-64 King St, Newtown (02) 8084 4140 Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm Knox Street Bar Cnr Knox & Shepherd St, Chippendale (02) 8970 6443 Tue – Thu 4-10pm; Fri – Sat 4pm-midnight; Sun 5-10pm Kuleto’s 157 King St, Newtown (02) 9519 6369 Mon – Sat 4pm-late; Thu – Sat 4pm-3am The Little Guy 87 Glebe Point Rd, Glebe (02) 8084 0758 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3pm-10pm Mary’s 6 Mary St, Newtown (02) 4995 9550 Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm The Midnight Special 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 – Thu 4pm-midnight; Fri – Sat noon-2am; Sun noon-10pm

game on Gaming news and reviews with Adam Guetti

AUG

2016

News Adding To The Addiction

As Pokémon Go continues to rage in the hearts and minds of gamers the world over, a release date for the game’s physical add-on has finally been revealed. Set to hit store shelves in September, the Pokémon Go Plus is a portable device, best resembling a standard wristwatch, that will allow Go users to enjoy the game without having to actually look at their phones. Thanks to the power of Bluetooth, Plus users will be notified via an LED and vibration of key occurrences – like the appearance of nearby Pokémon – and then be capable of acting upon said occurrences via a button on the device. The Plus was originally scheduled for a late July release, but was delayed.

The One For You

For those of you yet to upgrade your old consoles, now might just be the perfect time, because the Xbox One S has officially launched on our shores. Featuring a frame that’s 40 per cent smaller and a fresh new coat of white paint, the One S offers High Dynamic Range (HDR) support for both video and gaming. In layman’s terms, that means your games will look extra pretty, while Netflix will be capable of streaming in 4K Ultra HD. The 2TB launch edition version of the Xbox One S is currently retailing for $549 but is only available in limited quantities.

Alternatively, 1TB and 500GB versions will also be available from Tuesday August 23, starting at $399.

GAMESCOM 2016

Like E3 back in June, you won’t be able to actually attend Gamescom without first shelling out for a flight to Germany, but it’s still an event worth noting in your video game calendar.

The conference will take place from Wednesday August 17 – Sunday August 21 in Cologne and primarily focuses on the European market (with which we tend to share more similarities than the US). With most of the big players in attendance, expect to see a whole lot more footage of the latest and greatest games on the horizon, so get excited and prepare to lose some sleep.

WHAT’S ON

Hustle & Flow Bar 3/105 Regent St, Redfern (02) 8964 93932 Tue – Thu 6pm-midnight; Fri – Sat 5pm-midnight; Sun 2pm-midnight Li’l Darlin Darlinghurst 235 Victoria St, Darlinghurst (02) 8084 6100 Mon – Sun 4pm-midnight Li’l Darlin Surry Hills 420 Elizabeth St, Surry Hills (02) 9698 5488 Mon – Fri noon-11pm; Sat 4pm-midnight LL Wine and Dine 42 Llankelly Place Potts Point (02) 9356 8393 Mon – Thu 5pm-11pm; Fri – Sat 5pm-midnight; Sun 11am-10pm The Local Taphouse 122 Flinders St, Darlinghurst (02) 9360 0088 Mon – Sun noon-9:30pm Love, Tilly Devine 91 Crown Ln, Darlinghurst (02) 9326 9297 Mon – Sat 5pm-midnight; Sun 5-10pm Low 302 302 Crown St, Surry Hills (02) 9368 1548 Mon – Sun 6pm-2am Mr Fox 557 Crown St, Surry Hills 0410 470 250 Tue – Wed 4pm-midnight; Thu – Fri 4pm-midnight; Sat 3pm-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 0458 627 266 Tue – Sat 5pm-midnight The Oxford Circus 231 Oxford St, Darlinghurst 0457 353 384 Wed – Sat 7pm-3am The Owl House 97 Crown St, Darlinghurst 0401 273 080 Mon – Sat 5pm-late; Sun 5-10pm Peekaboo 120 Bourke St, Woolloomooloo 0403 747 788 Tue – Thu 4pm-10pm; Fri – Sat 4pm-midnight Play Bar 72 Campbell St, Surry Hills (02) 9280 0885 Tue – Thu 5pm-midnight; Fri 4pm-midnight; 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 5pm-midnight; Fri – Sat 4:30pm-midnight; Sun 4pm-midnight The Print Room 11 Glenmore Rd, Paddington (02) 9331 0911 Thu – Fri noon-midnight; Sun – Wed noon-10pm Queenie’s Upstairs 336 Riley St, Surry Hills (02) 9212 3035 Tue – Thu 6pm-late, Fri noon-3pm & 6pm-late; Sat 6pm-late Riley St Garage 55 Riley St, Woolloomooloo (02) 9326 9055 Mon – Sat noon-midnight

EB EXPO 2016

For an event you can attend, however, there’s this year’s EB Expo. Kicking off on Friday September 30 and running until Sunday October 2, this is video game nirvana for Sydneysiders – once again housed at Sydney Showground. Nearly every major publisher will there to blow your socks off, meaning you’ll be able to get your hands on the likes of Gears Of War 4, Tekken 7, Call Of Duty: Infinite Warfare, Final Fantasy XV and more. That’s not to mention a taste of the future with PlayStation VR. Should you wish to take a break from the bevvy of games, however, the event will also feature a cosplay showcase and cosplay competition, eSports competitions and stores to spend all your hard-earned cash in. Tickets start from $39.95 and can be purchased at ebexpo.com.au or by visiting your local EB Games store.

Review: LEGO Star Wars: The Force Awakens (PS4, XBO, PS3, 360, PC, 3DS, Vita)

T

he LEGO series certainly is a fascinating one – often blurring both the lines between faithful recreation and satire, as well as child-focused romp and nostalgic trip down memory lane. The latest in the group of games, LEGO Star Wars: The Force Awakens sits a little bit in the middle of both camps.

It’s a thoroughly entertaining tribute to last year’s Episode VII that manages to respect the film’s lore and canon, while still revealing a few extra titbits of its own.

A large bulk of the game naturally follows the plight of our new favourite friends like Rey and Finn, allowing you to go hands-on with some of their tale’s most critical moments. What’s most refreshing about this, however, is that developer TT Fusion doesn’t treat this experience as a whirlwind tour of the film’s highlights – utilising the brick-based world it has to play around with instead.

It also makes the most of its stellar voice talent. Harrison Ford, Carrie Fisher, Anthony Daniels, Daisy Ridley, Oscar Isaac, John Boyega and Adam Driver all contribute to the star-studded adventure, adding a level of credibility for hardcore fans.

Even more amazing is that the actors aren’t merely re-recording their already existing lines, but new dialogue too, which either extends scenes or creates brand new ones to help add clarity to this world in a galaxy far far away. You’ll discover how Lor San Tekka found the map to Luke Skywalker and learn more about the previously unexplained smuggling operations of Han Solo and Chewbacca.

When you’re not geeking out to new information, you’ll be solving a multitude of puzzles that require multiple characters’ unique abilities to correctly solve and reach the end. Most of these abilities are enjoyable to use, however a few of the mechanics can start to feel a touch repetitive when they’re later relied on more often than they probably should be.

It’s also worth noting that this is still a LEGO game at heart, so if you’re hoping for deep and nuanced challenge, this probably isn’t the title for you. It’s not a big issue, however, because what LEGO Star Wars: The Force Awakens does possess is personality and charm, both in huge spades. If you’re a fan of block-busting adventures or a diehard Warsie, you owe it to yourself to embrace your inner child and pick this one up pronto.

Adam Guetti

BRAG :: 675 :: 10:08:16 :: 23

out & about Queer(ish) matters with Lucy Watson

W

the only option. What the hell are you supposed to do if legally, you’re neither of those things? I know friends who will often select both, or neither, but what about it when it’s one of those online forms where you have to choose just one option?

However, since the last census, there has been one pretty massive change for some people. In 2011, about one month after the census, Australia broadened the availability of the ‘X’ gender option – while it was available since 2003 only to those with an X on their birth certificate, in 2011 we allowed people to add it to their passport without a birth certificate, and since 2013 it’s been introduced across a broader spectrum of government identifications, and with more relaxed restrictions as to who can choose it.

People at the ABS were no doubt patting themselves on the back for being so accommodating. But this is not ‘progressive’ – this is a failing of a government organisation to recognise a state-sanctioned option. Imagine if the census just didn’t have the option to select ‘Islam’ or ‘no religion’ as your religion, and no chance to record another option – so when all the forms come back, it looks like we have a country that has no Islamic people, or no atheists. That’s just bad statistics – not to mention, it brings a whole host of problems (and ignorance) with it.

But the census form, you may have noticed, still only allowed you to choose ‘male’ or ‘female’. You could get a form with a third option, but only if you wrote in and requested it.

Let me clarify that: in order to record the gender that you legally have on your birth certificate or passport, please tick you had to request a special census form. If you weren’t organised enough to do so, or you didn’t know in advance, the form you filled in literally didn’t have the box for you to tick.

Having the third gender option visible and blatant allows the people who identify that way to be recorded, recognised, and then catered for.

Imagine if the census had discovered there was a whole host of third-gendered people living in Marrickville, and that then led to the installation of gender-neutral toilets at Marrickville station?

By hiding the third option, this has made these kind of easy improvements that the census usually enables that much harder.

XX X

This is bureaucracy at its finest. A friend of mine, who is legally recorded as X gender on their birth certificate, their passport, and a whole host of other government organisations, recently had to submit another government-affiliated application form, which only had ‘male’ or ‘female’ as options. My friend, who is not particularly bothered by being misgendered, wasn’t necessarily offended by this lack of recognition, more just confused. If they select an option that isn’t ‘X’ or ‘other’, they’re screwing up the form, screwing up the system, and running the risk of negating their application entirely because it won’t match up with the rest of the data the government has for them.

Think about how many forms ask for your gender. Why does the library need to know your gender? What about your local pub’s membership? Think about all the times you’ve had to select ‘male’ or ‘female’ for something that seems completely unrelated to your gender. Now think about all the times you’ve filled out that box, and male or female has been

XY

And not only that, but the census – if you request a special form – has listed its third option as ‘other’, in a literal demonstration of othering anyone who isn’t male or female. If we wanted the census to legally match government records, why wasn’t the third option X? There’s really no better way to alienate a population than to ask them to request special forms so they can list themselves as ‘other’. I’d laugh if it wasn’t so fucking frustrating.

Timbah 375 Glebe Point Rd, Glebe (02) 9571 7005 Tue – Thu 4-10pm; Fri 4-11pm; Sat 3pm-11pm; Sun 4pm-8pm Wayward Brewing Co. 1 Gehrig Ln, Annandale (02) 7903 2445 Thu – Sat 2-10pm; Sun noon-8pm Websters Bar 323 King St, Newtown (02) 9519 1511 Mon – Sat 10am-4am; Sun 10am-midnight Wilhelmina’s 332 Darling St, Balmain (02) 8068 8762 Wed – Fri 5-11pm; Sat – Sun 8am-11pm The Workers Lvl 1, 292 Darling St, Balmain (02) 9555 8410 Fri – Sat 5pm-3am; Sun 2pm-midnight Young Henrys D & E, 76 Wilford St, Newtown (02) 9519 0048 Mon – Sat 10am-7pm; Sun noon-7pm Zigi’s Wine And Cheese Bar 86 Abercrombie St, Chippendale (02) 9699 4222 Tue 4pm-10pm; Wed 4pm-midnight; Thu – Sat 3pm-midnight

Crooked Tailor 250 Old Northern Road, Castle Hill (02) 9899 3167 Mon – Sun 4pm-midnight Daniel San 55 North Steyne, Manly (02) 9977 6963

Mon – Thu 4pm-midnight; Friday – Saturday noon–2am; Sunday noonmidnight Firefly 24 Young St, Neutral Bay (02) 9909 0193 Mon – Wed 5-11pm; Thu 5-11.30pm; Fri noon11.30pm; Sat noon-11pm; Sun noon-10pm The Foxtrot 28 Falcon St, Crows Nest Tue – Wed 5pm-midnight; Thu 5pm-1am; Fri 4pm-2am; Sat 5pm-2am; Sun 4-10pm 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 The Hold Shop 4, Sydney Rd Plaza, Manly (02) 9977 2009 Tue – Fri 5pm-midnight; Sat 3pm-midnight; Sun 3-10pm Honey Rider 230 Military Rd, Neutral Bay (02) 9953 8880 Tue – Sat 4pm-midnight; Sun 4pm-10pm InSitu 1/18 Sydney Rd, Manly (02) 9977 0669 Tue – Fri 5pm-midnight; Sat 9am-midnight; Sun 9am-10pm The Hunter 5 Myahgah Rd, Mosman 0409 100 339 Mon – Tue 5pm-midnight; Wed – Sat noon-midnight;

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

Sun noon- 10pm Jah Bar Shop 9, 9-15 Central Ave, Manly (02) 9977 4449 Tue 5pm-midnight; Wed-Fri noon-midnight; Sat 8am-midnight; Sun 9am-midnight Manly Wine 8-13 South Steyne, Manly (02) 8966 9000 Mon – Sun 6.30am-late Miami Cuba 47 North Steyne, Manly 0487 713 350 Mon – Sun 8am-4pm Moonshine Lvl 2, Hotel Steyne, 75 The Corso, Manly (02) 9977 4977 Mon – Thu 9am-3pm; Fri – Sat 9am-2am; Sun 9am-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 – Wed 5pm-midnight; Thu 5pm-1am; Sat noon2am; Sun noon-midnight The Stoned Crow 39 Willoughby Rd, Crows Nest (02) 9439 5477 Mon – Sat noon-late; Sun 11.30am-10pm The Treehouse Hotel 60 Miller St, North Sydney (02) 8458 8980 Mon – Fri 7am-midnight; Sat 2pm-midnight

And on that note, this is my final Out And About column for the BRAG. I’ve been writing this every week for the last year and a quarter. I’ve written about frustrating things, and sad things, but also incredible things, and incredible people. The Sydney queer community is an excellent one, despite all the backhands to the face we’ve copped. I’ve loved writing for and about it, and for you, but now it’s time for a fresh perspective. See you round, folks.

this week…

This Friday August 12, Shades returns to The Shift for a back-toschool-themed party.

Also on Friday August 12, Girlthing and Boything return to the Imperial Hotel for a leather-themed night with Bad Ezzy, L’Oasis, Estee Louder, Dunny Minogue and more. Girlthing is in the basement, with a $15 cover, and Boything is in the front bar, free entry.

Then on Saturday August 13, get along to the marriage equality rally at Town Hall from 1pm. We’ve been rallying here for exactly 12 years (August 13 marks 12 years since Howard deliberately excluded queers from the Marriage Act), and though you may be fatigued, we’re so close now. Tell them where to put the plebiscite, and hurry up and pass the bill.

24 :: BRAG :: 675 :: 10:08:16

Bad Ezzy

Sydney rally for marriage equality

thebrag.com

Sydney rally for marriage equality phoyo courtesy Richard Potts flickr.com/photos/cascade_of_rant

hen you filled out the census last night, it probably felt much like last time, only this time it’s online, there’s less privacy around it as the ABS is collecting more data about you, et cetera.

The Oxford Tavern 1 New Canterbury Rd, Petersham (02) 8019 9351 Mon – Thu noonmidnight; Fri – Sat noon3am; Sun noon-10pm Lord Raglan 12 Henderson Rd, Alexandria (02) 9699 4767 Mon – Sat noonmidnight; Sun noon-10pm The Record Crate 34 Glebe Point Rd, Glebe (02) 9660 1075 Mon – Thu 5pm-midnight; Sat 2pm-midnight; Sun 3-10pm The Royal 156 Norton St, Leichhardt (02) 9569 2638 Mon – Thu 10am-1am; Fri – Sat 10am-3am; Sun 10am-midnight Secret Garden Bar 134a Enmore Rd, Enmore 0403 621 585 Mon – Tue 7am-5pm; Wed – Fri 7am-11pm; Sat 7am-10pm; Sun 7am-11pm Staves Brewery 4-8 Grose Street, Glebe (02) 9280 4555 Thu 4-10pm; Fri – Sat 4pm-midnight; Sun 4-10pm Temperance Society 122 Smith St, Summer Hill (02) 8068 5680 Mon – Thu 4pm-11pm; Fri – Sat: noon-midnight; Sun: noon-10pm Thievery 91 Glebe Point Rd, Glebe (02) 8283 1329 Mon – Thu 6pm-11pm; Fri 6pm-midnight; Sat noon3pm & 6pm-midnight

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

ALBUM OF THE WEEK LAKUTA

Brothers & Sisters Tru Thoughts

Bringing together facets of each member’s heritage, including Tanzania, Malaysia and Spain (to name but a few), the multicultural melting pot that is Lakuta’s Brothers & Sisters completely unifies all nationalities in musicality.

Lyrically rousing and undoubtedly danceable, these guys are the real deal.

Equal parts jazz, soul and funk, with dashes of ska, Latin and Caribbean tones, UK-based collective Lakuta have not only created an incredibly vibrant and enthusiastic-sounding record, but their lyricism shows a great deal of resilience and sass to hit that anti-establishment spot.

The instrumentation itself is the pulsing backdrop for impassioned decries of war and strength, defining the main aim of the collective’s game. The partsinging and part-rapping delivery by lead vocalist Siggi Mwasote accentuates the haste of Lakuta’s sound, particularly standing out in tracks such as ‘So Sue Us’, ‘Rice & Peace’ and ‘Kansan’.

Take away Lakuta’s rallying against the powers that be, and you’re left with groove-filled masterpieces such as ‘Pique’ and its lamenting horns charging over a winding, soulful instrumentation. The album closer ‘Ultimate Robot’ is another impressive example, starting out with a more casual beat, then switching to double time in a toe-tapping Afrobeat boogie.

Chelsea Deeley

OMAR MUSA

MSTRKRFT

STORM THE SKY

ALEX LAHEY

BILLY TALENT

Intricate storytelling and refined hip hop beats come to a head in Omar Musa’s latest EP, Dead Centre.

After a five-year hiatus, MSTRKRFT’s low-key return takes the duo back to its roots. Operator is predictable, almost retro electropunk, complete with traces of calculated madness.

The latest offering from Storm The Sky comes with a delectable array of multi genre treats to suggest there’s nothing on the scene right now that sounds quite like this. The Melbourne-based ‘death-pop’ band’s new album is an intensely personal exploration of demon-wrestling and post-break-up resentment.

Given her dramatic rise, it’s easy to forget that aside from a handful of singles, Alex Lahey is yet to release a full body of work. Lahey’s debut EP B-Grade University explores the existential crisis most 20-somethings face, documenting the highs and lows of adulthood.

Afraid Of Heights is the fifth studio album from Canadian punk band Billy Talent, and the first album they’ve released in the absence of original drummer Aaron Solowoniuk, who has been forced to take a lengthy break from music due to health concerns. That said, Alexisonfire’s Jordan Hastings is the one holding the sticks on this album, and he doesn’t miss a beat.

Dead Centre Big Village

In between stints as a prized novelist and poet, Musa takes his lyrical ability to another realm as he cleverly weaves his words in this new body of work. Having taken a hiatus after his last musical release in 2012, Dead Centre offers an insight into the growth of Musa as a strong emcee, as well as his societal and political views.

With production from Joelistics and Poncho, we’re blessed with a mix of trap-inspired sounds – which are slightly unexpected, but welcomed with open arms – and a few titles that carry somewhat tamer melodies as well, which work to balance the record out.

Standout joints include the title track ‘Dead Centre’, the playful banger he’s named ‘Lak$a’ and ‘The Past Becomes You’, which features L-Fresh The Lion, Hau and singer Lior – all of which really help harmonise the storytelling aspect that one could expect from these artists.

Musa has managed to tastefully cross his intricate wordplay over to a new age hip hop project, and we’re all better off for it.

Ben Pearce

Operator Last Gang/Warner

While Operator offers up a quick dose of nostalgia, the album is mostly nauseating, repetitive in a way that resembles a broken dentist’s drill.

John Legend is nowhere to be seen on MSTRKRFT’s third mix of old-school house, as Jesse F. Keeler and Al-P strip their sound right back to its early days. The album hints at Fatboy Slim and Chemical Brothers influences, transporting the listener back to a time where the latest Ministry Of Sound CD was enough to get a house party right off.

‘Priceless’ does serve to break the monotony with manic, shaky vocals and stop/start keys, while ‘Death In The Gulf Stream’ serves up a piercing synth, reminiscent of Psycho. There are even some distorted, death metal vocals incorporated into the last track. Yet while these are interesting interims, they don’t mask the stale sound the rest of the album reverts to.

Sin Will Find You UNFD

Opening with deep vocals and plenty of effects, ‘Second Best’ is a sexy little number, invoking electronic darkness in a captivating way. The bewitchment doesn’t waver as the record continues – several tracks deliver a great hybrid of screamo and hip hop, filled out by singer William Jarratt’s clever manipulation of classic emo lyrics with a new kind of distortion.

Australian emo-synth has never sounded so good.

‘S.W.F.Y’ has a momentary punk feel – the use of distortion and echo on both vocals and guitar never becomes dull, instead rounding out all the other crazy things going on in the track, amounting to an assault on the senses (and not an unpleasant one at that).

Operator is a dish best served with a hefty dose of party pills and undying love for techno’s past.

It all culminates in a masterful collection from a rock band that’s incorporated the best kinds of music to form a wicked album.

For the most part, Storm The Sky’s risk-taking has paid off.

Evie Kennedy

Anna Wilson

INDIE ALBUM OF THE WEEK Long-term fans of Australian singer Kylie Auldist are unlikely to be surprised by her recent international chart-busting action. ‘This Girl’ by Kungs vs Cookin’ On 3 Burners – featuring Auldist’s eternally soulful vocals – may be alerting the wider public to her unique suite of talents, yet she has always produced gold standard performances both in the studio and the live setting, either as a solo performer or with funktastic acts like The Bamboos.

KYLIE AULDIST Family Tree Family Tree/Planet

thebrag.com

Auldist’s qualities as a performer are rare. Her stunning vocal prowess and undeniable potential for stardom are blended with an unaffected, downto-earth and inclusive persona that makes her eminently likeable. Auldist always looks and sounds as if she loves what she is doing, and this

genuine passion erupts throughout her solo album Family Tree.

The record possesses a glossy ’80s-tinged pop sheen, dancefloorfilling rhythms and a multitude of memorable hooks. If you’re sick of the bone-chilling winter, then you’ll rejoice in this album’s bright atmosphere. This is the type of record that should be put on loudly at raucous parties – Auldist and her skilful collaborators exude such joy that it’s impossible to avoid feeling happy.

After listening to Family Tree, it’s easy to predict that Auldist’s international ascent has only just begun, and even wider public acclaim awaits her.

B-Grade University Independent

Opener ‘Ivy League’ arrives via feedback and melodic guitars as Lahey sings about the reality of having to assimilate to the “nine to five heartache”. Her latest single ‘Let’s Go Out’ has an infectious call-toarms chorus that makes you want to forget what’s bringing you down and embrace the night.

Lahey’s romantic laments are stirring on the song ‘Wes Anderson’, which captures the thrill of being enamoured with someone during the blissful early stages of a relationship. Things aren’t as sweet on ‘You Don’t Think You Like People Like Me’, as Lahey and her band deliver a thrilling ode to being rejected. Final track ‘L-L-L-Leave Me Alone’ pulls apart the pretence of an old flame, with Lahey coyly remarking “I heard your new girlfriend kinda looks like me” as she wraps up the EP on a high.

Afraid Of Heights Warner

Despite missing a founding member, Billy Talent have had no trouble channelling their almost trademark political angst into yet another album full of catchy, angry punk rock. Opening track ‘Big Red Gun’ gives a frustrated assessment of America’s current firearm issues, while ‘This Is Our War’ calls for a fully fledged political revolution.

‘Louder Than The DJ’ laments the over-commercialisation of the music industry and the way culture has been saturated by formulaic pop garbage.

Billy Talent use every track to make a statement, and their anger can be felt throughout: this isn’t an album for someone who wants to be left with positive vibes about the world.

Anyone in their 20s will agree that things never really feel as though they’re going right, but it certainly seems as though Lahey has found herself on the correct path.

If you wanted Billy Talent to move into more experimental ground, you’re going to be disappointed, but if you love their brand of punk, then you’re in for a treat.

Holly Pereira

Nathan Quattrucci

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

NINE INCH NAILS - Hesitation Marks SCREAMING FEMALES - Rose Mountain SPOON - Ga Ga Ga Ga Ga

THE LIBERTINES - The Libertines DEATH GRIPS - Bottomless Pit

Graham Blackley BRAG :: 675 :: 10:08:16 :: 25

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

FLYYING COLOURS, EGOISM, BAD VALLEY

BLACK TUSK, WITCH FIGHT Bald Faced Stag Saturday August 6

Newtown Social Club Sunday August 7

Everything shoegaze inspired carries about it a certain air of ‘cool’, a distance characteristic of introversion rather than arrogance. Newtown Social Club’s Sunday lineup fully embodied that sense of reservation, keeping banter to a strict minimum and expressing mostly through walls of fuzzy noise.

Openers Egoism (formerly Ego) played to a small, devoted crowd, but their dual vocals and lush guitar tones filled all empty space in the room. The trio made up for the absence of a drummer with ready-made beats on an iPod, though contrary to lead singer Scout’s announcement, the device was far from “better than a real drummer”. New bassist Pat brought the fuzz with a wonderfully fresh amp tone that beefed up the band’s more delicate sounds.

Bad Valley look as though they’ve seen one too many VHS rips of Nirvana back in the day: they’ve got the look down almost to a T. The boys turned up the volume and postured more aggressively than their stagemates, but after a time, distortion alone couldn’t carry their extended jam sessions; their variations on theme were too much of a wash.

Bringing that distinct Melbourne vibe to the stage, Flyying Colours flooded the room with warmth. Yeah, they’re cooler than you, but they’re not rubbing it in your face; rather, they’re acknowledging their ever-present awkwardness and overcoming it with their huge, complete soundscape.

Incoming LP Mindfulness was well represented across the night, with single ‘Mellow’ leaving a distinct impression of the band toying with their established textures.

Chucking in a few deep cuts to satisfy the fans, they may have also tapped into a new mode of performance for themselves: an enthusiastic flurry of yells from his bandmates saw frontman Brodie J Brümmer rename his outfit “The Flyying Colours Comedy Hour”. With perfect comic timing, they flubbed the next song opening – they enjoyed it as much as we did.

The Colours, like Bad Valley, enjoy variations on a theme, but the way in which they are entirely immersed in the thrill of play sets them apart. Gemma O’Connor’s crackling, static-drenched shimmer keeps it all in the mode of Sonic Youth – a nod to the band’s clearest influence – but they truly own their sound.

To watch ‘Leaks’ build and build and build is to be transported to the same psychological space as the musicians. Just when you think it can’t get any louder, or more complexly configured, the track steps up and delivers. And even if the whole music thing doesn’t work out for them, Flyying Colours will always have comedy to fall back on.

The night looks like it’ll pack a greasy punch as Black Tusk hit town as part of their inaugural Australian tour, the fairly large Sydney stoner crowd out in force donning trucker caps and stubbies, ready to experience swamp metal.

The chill buzz of the venue is stirred up as the impressive two-piece that is Witch Fight take to the stage with a uniform brand of stoner punk.

Drummer Boskie has cool skills as a rhythm man and is also impressive as the duo’s vocalist, and in spite of guitarist Bones playing with a broken hand, the breakneck pace with which the two guys perform packs as much sound and has as much stage presence as a full five-piece band. It’s fast fuzz and it’s friggin’ awesome.

Shirtless and sweaty, Boskie lets Bones take the lead with a deep country-stoner riff in the middle of ‘Flowing’ that soon breaks into a faster and tighter punk sludge number, touching on that deep, beefy riff in each bridge. They’re making awesome music just the two of them - it’s tight, infectious, simple and sludge. Epic.

An ominous drone begins to pulsate and smoke fills the room, a distorted commentary seeps through the speakers, and the lights come up as Black Tusk take to the stage. A tide of hair bangs along to the relentless roll of drums cascading through the venue, and, crying out to the crowd, “Will you guys help us bring the darkness?”, lead vocalist Andrew Fidler breaks into ‘Bring Me Darkness’ with a voice that cuts through you as his fingers beat the neck of his guitar into submission.

Following his chime in with powerful chant-like vocals, drummer Jamie May takes a moment to thank the crowd for the warm welcome and reassures us, “Don’t worry, we are not Trump supporters!” This remark alone sends the beardy crowd into an enthusiastic cry of passion. Playing songs like ‘Born Of Strife’ and psychedelic little number ‘Enemy Of Reason’, it’s a rampage of music that sees Black Tusk beating everything they touch into a pulp, an awesome show of constructive carnage.

As the set continues, Black Tusk rip up the stage, with each member assuming vocal responsibilities at one point or another in a firm exhibition of showmanship and camaraderie. The show is a great one, with the best ingredients of metal and sludge blended together into a concoction that makes your head spin so much that weirdly, you enjoy the subsequent sick feeling in your gut.

Anna Wilson

KING GIZZARD AND THE LIZARD WIZARD, ORB Oxford Art Factory Thursday August 4

Last Thursday wasn’t the first time King Gizzard and The Lizard Wizard graced the stage of the Oxford Art Factory, but it was certainly the first time in a while. Their recent repertoire of shows has seen them play bigger and better venues to more emphatic acclaim. It was nice, then, to see them in a familiar space again – their first album tour in 2012 brought them here, but after playing to a huge crowd at Splendour In The Grass just weeks ago, the smaller space gave attendees an altogether different treatment.

Orb were just getting started as I arrived. Hot off the release of their debut album Birth, they brought some big riffs to the table. They’re a refreshing band to watch – giving a style that hasn’t really been nailed since the likes of Wolfmother a much needed contemporary spin.

The bombastic wail often associated with the genre was absent, and instead the delay-dipped vocals were a signpost to the band members’ roots in garage punk, as opposed to big hair and prog.

King Gizzard and The Lizard Wizard followed shortly after a quick DJ set. They sounded energetic and ferocious as ever, setting up to play Nonagon Infi nity in its entirety back to back, but on the heel of second track ‘Big Fig Wasp’ they had to stop to fi x some complications with the keyboard coming through the PA. It was odd to see songs on the same album as ‘Robot Stop’ actually stop (excuse the pun) but the band were back in action within minutes. “Shit happens,” they said.

After that minor hiccup we were treated to Nonagon Infi nity in its entirety as promised, but with some clever deviations into older and newer material sprinkled throughout. They played two new songs, and only stopped playing two or three times throughout the 90-minute set. One new song featured some big riffs that seemed to take a little inspiration from their own support act Orb – hitting home the heart-warming notion that they might be taking cues from their friends.

What was most impressive, perhaps, about their set construction was the way in which they tied rhythms together between old and new songs.

The way ‘The River’ seamlessly transitioned into ‘Wah Wah’ – two songs from different albums - was a stroke of genius. After fi nishing with Nonagon closer ‘Road Train’ and old favourite ‘Hot Water’ there was no encore, but it didn’t matter – everyone was thoroughly satisfi ed.

Nicholas Johnson

David Molloy

THE LOW DOWN RIDERS The Gasoline Pony Friday August 5

Due to their unique style of New Orleansinspired jazz, being right near the entrance of The Gasoline Pony is an advantage for The Low Down Riders – the sustained harmonies that open their set send out cool waves of sound, drawing interest from passers-by, who wander into the bar. With jazz’s mandatory red light illuminating the band, the oomph of the tuba chugs along under a smooth clarinet solo, and the steely twang of the tenor banjo plucks away.

The Low Down Riders’ music speaks for itself, which is good because the mic-less commentary of clarinettist Chris O’Dea is washed away by noise and bad acoustics – the crazy bends in the upper register of his instrument give him a voice where his own is lost. O’Dea’s vocal efforts are a musical contradiction – he can mimic the brittle jazz overtones of a scratchy 1920s recording, but he can also sound like a drunk guy slurring in a bar. Hey Chris, maybe you should get a hipster girl in to sing for you, someone with a Betty Boop kind of voice?

Trumpet solos from Rob Campbell are often overshadowed by O’Dea – newcomers to

GANG OF YOUTHS

healthy mix of new songs and older crowdpleasers like ‘Poison Drum’ and ‘Restraint & Release’, they quickly found their stride.

Gang Of Youths surprised a lot of delighted Sydneysiders when they announced midway through Tuesday that they would be playing a free show at Newtown Social Club to celebrate the release of their new EP, Let Me Be Clear. And boy, was Sydney ready.

One of the most surprising highlights of the night was when lead singer Dave Le’aupepe took to the piano alone to reveal a new song he’d never played for an audience before. He explained it was the last song he wrote about the girl who’d been the subject of the band’s debut album, The Positions – a painful final memory of loving someone who doesn’t want to love you back. While earlier on, girls (and guys) from the crowd had shouted “I love you!” and “Take your shirt off!” to Le’aupepe, this was a stark reminder that we were hearing

Newtown Social Club Tuesday August 2

At first, it was strange to see Gang Of Youths on a smaller stage after a run of much bigger shows, and it took them a song or two to adjust to the more intimate crowd. Playing a

26 :: BRAG :: 675 :: 10:08:16

the genre are more likely to affiliate that brass baby with jazz than the clarinet, which often plays with more of a klezmer style.

When given the opportunity to play, Phill Jenkins’ tuba solos sound pretty sluggish – a shame, given it could have been a chance for him to get a little fancy, away from the chomping chords.

It’s not until their second set that the atmosphere becomes a little more responsive. Guest singer Reuben Ryan wows the audience with his raspy stretches on ‘Mustang Sally’, and interesting percussive breaks of cowbells and

from someone who’d had their heart brutally broken.

He continued in this more personal fashion with touching renditions of ‘Knuckles White Dry’ and even one of Gang Of Youths’ oldest tracks, ‘Evangelists’, which he momentarily forgot the lyrics to. But from this point on, the show quickly picked up in tempo for ‘Strange Diseases’, which drew the biggest response of the new material.

The audience’s energy burst into oblivion for another crowd favourite, ‘Magnolia’. It’s known among Gang Of Youths fans as the defiant epitome of what the band stands

washboards from percussionist Bonnie Stewart interject harmonised trumpet and clarinet solos. It’s quirky and different, Stewart really getting into it, though the true potential of her skill is limited by the eight-byten foot stage.

The implication is that The Low Down Riders have a sound that is bigger than the venue will allow – this is party music, “take to the streets and shimmy” kind of stuff, but the exuberant pizzazz of New Orleans gumbo is lost, restricted by the small stage and venue.

Anna Wilson

for, and when it arrived here, something phenomenal happened. The room erupted with love: people jumped onto other people’s shoulders, embraced, and Le’aupepe ran out into the audience, fighting his way through joyful fans who danced with him as he sang. At times, the floor was shaking with so much movement that I feared it would break.

The show closed with a fun rendition of ‘Vital Signs’, and Le’aupepe offered one final piece of advice: “Now go home and listen to some Radiohead. We’re Gang Of Youths.”

Erin Rooney

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

pick of the week Sleepmakeswaves

FRIDAY AUGUST 12

Metro Theatre

Sleepmakeswaves + The Contortionist + Tangled Thoughts Of Leaving + Dumbsaint 7pm. $40.10.

WEDNESDAY AUGUST 10 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Guantanamera - feat: DJs Av El Cubano + Don Rivera + Guest DJs + Monthly Live Bands Barrio Cellar, Sydney. 8pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

El Grande + Yarrout + Rufflefeather

Frankie’s Pizza, Sydney. 9pm. Free.

Gordi Newtown Social Club, Newtown. 7:30pm. $15.

Live & Original @ Lazybones - feat: Gene Gibson + Bill Hunt + Cloudbird Lazybones Lounge, Marrickville. 7:30pm. $10.

Manouche Wednesday Ft. Gadjo Guitars Mr Falcon’s, Glebe.

7pm. Free.

Muso’s Club Jam Night Ruby L’otel, Rozelle. 7:30pm.

Free.

Stephanie Lambell Tokio Hotel, Sydney.

7pm. Free.

Sugar Jam Open

Mic Night Sugarmill, Kings Cross. 8pm.

Free.

ACOUSTIC, COUNTRY, BLUES & FOLK

Songwriting Society Of Australia Showcase - feat: Russell Neal + Dennis Jaculli + Levi Burr + M!nh + Gavin Fitzgerald + Paul Mcgowan + Pete Scully Old Fitzroy Hotel, Woolloomooloo.

7:30pm. Free.

Folkswagon - feat: Melancholy Flowers + TJ Eckleberg + Colin Jones & The Delta Revue Cafe

Lounge Bar, Surry Hills. 7pm. Free.

Tim Crossey + Mick Daley The Gasoline Pony, Marrickville.

7pm. $7.

THURSDAY AUGUST 11 ACOUSTIC, COUNTRY, BLUES & FOLK

Ginger’s Jam - feat: Various Bands Oxford Hotel, Darlinghurst.

7:30pm. Free.

Good Lookin’ Roosters Mr Falcon’s, Glebe.

8:30pm. Free.

Harbourview Hulabaloo - feat: Zack Martin + Dennis Jaculli + Kenneth D’Aran Harbourview Hotel, The Rocks. 7pm.

Free.

Mogadishu Family Band The Bunker, Coogee. 7pm. Free.

Peter Garrett & The Alter Egos + Abbe May Factory Theatre, Marrickville.

8pm. $59.90.

Shake The Shackles The Little Guy, Glebe. 8pm.

Free.

Sunset Sessions The Bristol Arms Hotel, Sydney. 6pm.

Free.

The Rhythm Shakers + Pat Capocci Factory Floor, Marrickville.

8pm. $30.

Wilder Lee Leadbelly, Newtown.

9pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Covers For A Cause Live Forever: The Britpop Edition - feat: Common People + Stephanie Grace + Royal With Cheese + Ben Tierney + Propaganda DJs + Graham Cordery + Monkeyman Soda Factory, Surry Hills.

5pm. Free.

Eddie Boyd + Jack Millar + Delphine Geoff Slyfox, Enmore. 8pm. Free.

Frankie’s Pizza Thursdays - feat: Craig Calhoun + DJ Craig Frankie’s Pizza, Sydney. 9pm.

Free.

Gang Of Brothers Tokio Hotel, Sydney.

7pm. Free.

Immy And The Hook Up Tokio Hotel, Sydney. 7pm.

Free.

Live & Original @ The Merc - feat: Jessey Nappa + Nick Luke + Dr Taos The Mercantile Hotel, The Rocks.

7:30pm. Free.

Live At The Sly feat: Eddie Boyd + Jack Millar + Delphine Geoff + Live At The Sly DJs Slyfox, Enmore.

8pm. Free.

Live Band Karaoke Unity Hall Hotel, Balmain. 9pm. Free.

Miss Peaches Lazybones Lounge, Marrickville. 7:30pm.

Free.

Moses Gunn Collective + Mid Air + Mount Zamia Newtown Social Club, Newtown.

7:30pm. $18.

Muso’s Club Jam Night Carousel Inn Hotel, Rooty Hill.

8pm. Free.

R.W. Grace Golden Age Cinema, Surry Hills. 9pm. Free.

Stockades + Oslow Vic On The Park, Enmore. 9:30pm.

Free.

Tanya Sparke & Friends The Gasoline Pony, Marrickville. 7pm. $7.

The Candence Club The Temperance Society, Summer Hill. 7pm. Free.

Vince, Bobbie & Jez Brass Monkey, Cronulla. 7pm. $12.25.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Alfredo Malabello Camelot Lounge, Marrickville. 7pm. $27.90.

FRIDAY AUGUST 12 ACOUSTIC, COUNTRY, BLUES & FOLK

Punch Brothers City Recital Hall, Sydney. 8pm. $82.

Sunset Sessions The Bristol Arms Hotel, Sydney. 6pm.

Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Banff + Caitlin Park Oxford Circus, Darlinghurst. 8pm. $16.90.

Battle Of The Bands Mona Vale Hotel, Mona Vale.

8pm. Free.

Bob Evans + Melody Pool + Caitlin Harnett Newtown Social Club, Newtown. 8pm. $38.

Canary The World Bar, Kings Cross.

8pm. Free.

Dio Driver Valve Bar, Agincourt Hotel, Ultimo. 8pm. Free.

Dom Kelly + Vacations + Martrick Jones + Space Carbonara + Maple Moths Brighton Up Bar, Darlinghurst. 8pm. $11.50.

Fridays - feat: DJ Danny Frankie’s Pizza, Sydney. 9pm.

Free.

Hellions The Bald Faced Stag, Leichhardt. 6:30pm. $17.85.

Hound Mr Falcon’s, Glebe. 8:30pm. Free.

Low Life + Stanley Knife + Chinese Burns Unit + Obat Batuk Red Rattler, Marrickville. 8pm.

Free.

Medicine Voice + Melodie Nelson + Lovely Head + Magic Steven Factory Theatre, Marrickville. 8pm. $15.

Mick Hart The Bunker, Coogee.

8pm. Free.

Rare Finds #17 feat: The Khanz + Moza + The Harry Heart Chrysalis + Hey Geronimo DJs Oaf Gallery, Sydney.

8pm. $10.

Retro Party - feat: Peace And Denim + Guests Ruby L’otel, Rozelle. 8pm. Free.

Righteous Voodoo Tokio Hotel, Sydney.

7pm. Free.

Sleepmakeswaves + The Contortionist

+ Tangled Thoughts Of Leaving + Dumbsaint Metro Theatre, Sydney.

7pm. $40.10.

SMLXL + Dog The Duke + The Marquis Lazybones Lounge, Marrickville. 8pm. $15.

Sunday State Leadbelly, Newtown.

9pm. Free The Glamma Rays + Trish Young The Gasoline Pony, Marrickville. 7pm. $10.

The Rhythm Hut 3rd Birthday - feat: The Strides + Rhythm Hunters + The Kava Kings + Dom Diaz The Rhythm Hut, Gosford. 6pm. $40.

Trace Bundy Factory Theatre, Marrickville. 7pm. $42.

Van The Man – A Tribute To Van Morrison Brass Monkey, Cronulla.

7pm. $25.50..

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Wolfie + Jake Berry The Bald Faced Stag, Leichhardt.

8pm. Free.

SATURDAY AUGUST 13 ACOUSTIC, COUNTRY, BLUES & FOLK

Songsonstage feat: Russell Neal + Pauline Sparkle + Johno Purdon Orange Grove Hotel, Lilyfield . 7pm. Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Au Dre Cake Wines Cellar Door, Redfern.

4pm. Free.

Ay Pachanga The Basement, Circular

five things WITH

JODI PHILLIS FROM THE GLAMMA RAYS many great musicians. He loved music more than anything – he had hundreds of classical and jazz records. My mother was part of a singing trio called The Starr Sisters in Los Angeles. She and her two sisters performed from the time they were little kids and travelled the world playing in clubs. They even supported Sammy Davis Jr. She stopped when she had me.

Inspirations My all-time favourites feel 2. like aunts and uncles to me…

Growing Up My earliest musical memory 1. is of hearing ‘The Sound Of Silence’

by Simon and Garfunkel when I 28 :: BRAG :: 675 :: 10:08:16

was four years old. Brazil ’66 was on high rotation in our house as well. My dad was a cameraman and TV director who worked with

Neil Young, Brian Wilson, Burt Bacharach, The Beatles, Stevie Wonder, Kate Bush, Joni Mitchell, David Bowie, Leonard Cohen, Joanna Newsom, Will Oldham, Elliott Smith, Frank Black, jazz legends like Chet Baker and Stan Getz, classical greats such as Franz Schubert and Vaughan Williams, show tune writers like Stephen Sondheim, George Gershwin, Cole Porter, Leonard Bernstein. Of course there are too

many others to mention. I love them because they move me. They all create such wonderful melodies and the lyricists among them help me to dream and know myself better. They have all opened my mind and heart.

transported to a beautiful place. We feel it when we sing together and I know our audiences feel it too.

Your Band The Glamma Rays are Malika 3.

Elizabeth, Tiffany Sinton, Genevieve

not paying for music anymore. Spotify and Pandora are a complete disaster for independent artists. Talk about starvation wages! It seems like the groups who can tour a lot give their music away for free to attract folks to their shows, which makes it hard for the groups like us who have kids and are more recording artists. I’m not sure how independent recording artists are supposed to make a living out of their music except by having their songs used in film and TV or composing for the screen… which is now what I do.

Davis and myself. We met while all our children were in primary school on the South Coast of Sydney.

Mal, Tiff and Gen stood out to me as being very loving, unique, fun, slightly hippyish, talented individuals.

The Music You Make We write songs and create 4. harmonies that sound like they could be from the 1920s through to the 1960s. Influences are The Andrews Sisters, The Chordettes, Les Paul and Mary Ford, The Four Freshmen, The Beach Boys, The Mills Brothers, et cetera. We love to make people swoon and cry and laugh and be

Music, Right Here, Right Now 5.

There is a problem with many people

With: Trish Young Where: The Gasoline Pony When: Friday August 12

thebrag.com

g g guide gig g

gig picks up all night out all week...

send your listings to : gigguide@thebrag.com Quay. 7:30pm. $31.40.

Sistas With Soul Cake Wines Cellar Door, Redfern. 4pm. $15.

Peter Garrett photo by Maclay Heriot

INDIE, ROCK, POP, METAL, PUNK & COVERS

A Black & White Night Concert - feat: Aaron W Mansfield Enmore Theatre, Newtown.

8pm. $69.

Aftershock (Inquisition After Party) - feat: Meshiaak + Dreadnaught + Resident DJs Metal Matt + Mudvayne Megan + Dark Lord + Arran The Bald Faced Stag, Leichhardt. 8pm.

Free.

Billy Fox + Jacob Moore Moonshine Bar, Manly. 8pm. Free.

Billy Talent Metro Theatre, Sydney.

7pm. $57.

Bin Juice Leadbelly, Newtown. 9pm. Free.

Black Rheno + Gutter Tactic + Uncanny Decoy + Disclaimer Time And Tide Hotel, Dee Why. 8pm. Free.

Brewtality - feat: Celibate Rifles + Toe To Toe + Darker Half + Heaven The Axe + The Devil Rides Out + Southeast Desert

Factory Theatre, Marrickville. 1pm. $40.

Dirty Cash Tokio Hotel, Sydney. 7pm.

Free.

Dog The Duke Paddo RSL, Paddington. 8pm.

Free.

Hound + Miners + Grouse Brighton Up Bar, Darlinghurst.

8pm. $11.50.

Inquisition Newtown Social Club, Newtown. 8pm. $56.

Katcha Mr Falcon’s, Glebe. 8:30pm. Free.

Kllo Plan B Small Club, Sydney. 8pm. $22.70.

Luke O’Shea + John Krsulja & Friends + Jason Kearney Brass Monkey, Cronulla.

7pm. $23.50.

My Echo Botany View Hotel, Newtown. 7pm. $20.

Paul Hayward And His Sidekicks The Gasoline Pony, Marrickville. 3pm. $5.

Project Red Ruby L’otel, Rozelle. 8pm.

Free.

Sarah Mcleod Oxford Circus, Darlinghurst. 8pm. $27.90.

Screaming Females + Mere Women + Hannahband Oxford Art Factory, Darlinghurst. 8pm. $25.

Sydonia Vic On The Park, Enmore.

9:30pm. Free.

Uberfest Winter Tour Bridge Hotel, Rozelle. 2pm. $30.

Waxfinz + Dying Adolecence The Bald Faced Stag, Leichhardt. 8pm.

Free.

Wrong Keys Raby Tavern, Campbelltown. 8pm.

Free.

SUNDAY AUGUST 14 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

The Unity Hall Jazz Band Unity Hall Hotel, Balmain. 4pm.

Free.

ACOUSTIC, COUNTRY, BLUES & FOLK

Heath Burdell Unity Hall Hotel, Balmain.

3pm. Free.

Nat James & Emad Younan Mr Falcon’s, Glebe. 7pm. Free.

Songsonstage - feat: Andrew Denniston + Jonval Band + Kenneth D’Aran + M!Nh + Johno Purdon Red Lion Hotel, Rozelle.

4pm. Free.

INDIE, ROCK,

POP, METAL, PUNK & COVERS

Alyse Maree Tokio Hotel, Sydney. 7pm.

Free.

Black Bird Hum Leadbelly, Newtown.

9pm. Free.

Buzz Kull + Grave Heart + Skull & Dagger + Ingredient Valve Bar, Agincourt Hotel, Ultimo. 4pm. $10.

El Duende + The Sycamores + Bleeding Gums Murphy The Gasoline Pony, Marrickville. 5pm. $7.

From Street To Stage Soda Factory, Surry Hills. 6pm.

Free.

Hold The Phone Kauri Foreshore Hotel, Glebe.

2:30pm. Free.

Melanie Martinez Big Top Sydney (Luna Park), Milsons Point. 6pm. Free.

Mick O’Shead & Friends Ruby L’otel, Rozelle. 6pm. Free.

Sunday Social Club - feat: Andre Kaman + And Friends Bridge Hotel, Rozelle.

3:30pm. $10.

The Baddies Botany View Hotel, Newtown. 7pm. Free.

The Devil Rides Out Frankie’s Pizza, Sydney. 8pm. Free.

Vegas Nerve The Bunker, Coogee.

5pm. Free.

MONDAY AUGUST 15 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Latin & Jazz Open Mic Night The World Bar, Kings Cross.

7pm. Free.

ACOUSTIC, COUNTRY, BLUES & FOLK

thu

10 Aug

11 (9:00PM - 12:00AM)

Aug

(9:00PM - 12:00AM)

fri

12 Aug (10:00PM - 1:40AM)

SATURDAY AFTERNOON

sat

13 Aug

SUNDAY AFTERNOON

sun

5:45PM  8:45PM

14 Aug

(10:00PM - 1:15AM)

mon

15 Aug

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3:30PM  6:30PM

(8:00PM - 11:30PM)

tue

(8:30PM - 11:30PM)

16 Aug

(8:30PM - 11:30PM)

Peter Garrett

8pm. Free.

John Maddox Duo Mr Falcon’s, Glebe.

7pm. Free.

Live & Original @ The Corridor Corridor Bar, Newtown. 7pm.

Free.

Songsonstage feat: Russell Neal + Kenneth D’Aran + Guests Kelly’s On King, Newtown.

7:30pm. Free.

Hellions The Bald Faced Stag, Leichhardt. 6:30pm. $17.85.

INDIE, ROCK, POP, METAL, PUNK & COVERS

SATURDAY AUGUST 13

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

Rohan Cannon Tokio Hotel, Sydney. 7pm.

Free.

Swerve Society feat: Pist Idiots + Cakewalk + The Milk Newtown Social Club, Newtown. 7:30pm.

Free.

Sydney Reclink Community Cup After Party - feat: The Persian Drugs Vic On The Park, Enmore. 5pm. Free.

TUESDAY AUGUST 16 wed

Gordi

ACOUSTIC, COUNTRY, BLUES & FOLK

Little Sundays - feat: Local Talent The Little Guy, Glebe.

6pm. Free.

Live & Originals feat: Glen & Glenda + Nicole Issa + Harry Cobon Mr Falcon’s, Glebe. 7:30pm. Free.

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

7:30pm. Free.

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

Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Punch Brothers City Recital Hall, Sydney.

8pm. $82.

The Glamma Rays + Trish Young The Gasoline Pony, Marrickville. 7pm. $10.

WEDNESDAY AUGUST 10 Gordi Newtown Social Club, Newtown. 7:30pm. $15.

THURSDAY AUGUST 11 Live & Original @ The Merc - Feat: Jessey Nappa + Nick Luke + Dr Taos The Mercantile Hotel, The Rocks. 7:30pm. Free.

Live At The Sly - Feat: Eddie Boyd + Jack Millar + Delphine Geoff + Live At The Sly DJs Slyfox, Enmore. 8pm. Free.

Moses Gunn Collective + Mid Air + Mount Zamia Newtown Social Club, Newtown. 7:30pm. $18.

Peter Garrett & The Alter Egos + Abbe May Factory Theatre, Marrickville. 8pm. $59.90.

FRIDAY AUGUST 12 Banff + Caitlin Park Oxford Circus, Darlinghurst.

8pm. $16.90.

Bob Evans + Melody Pool + Caitlin Harnett Newtown Social Club, Newtown. 8pm. $38.

Canary The World Bar, Kings Cross.

Billy Fox + Jacob Moore Moonshine Bar, Manly. 8pm.

Free.

Billy Talent Metro Theatre, Sydney. 7pm. $57.

Bin Juice Leadbelly, Newtown. 9pm.

Free.

Black Rheno + Gutter Tactic + Uncanny Decoy + Disclaimer Time And Tide Hotel, Dee Why. 8pm. Free.

Dog The Duke Paddo RSL, Paddington.

8pm. Free.

Hound + Miners + Grouse Brighton Up Bar, Darlinghurst. 8pm. $11.50.

Inquisition Newtown Social Club, Newtown. 8pm. $56.

Screaming Females + Mere Women + Hannahband Oxford Art Factory, Darlinghurst. 8pm. $25.

SUNDAY AUGUST 14 The Devil Rides Out Frankie’s Pizza, Sydney.

8pm. Free.

TUESDAY AUGUST 16 Grouplove + Lisa Mitchell Oxford Art Factory, Darlinghurst. 8pm. $59.90.

Grouplove

Grouplove + Lisa Mitchell Oxford Art Factory, Darlinghurst.

8pm. $59.90.

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

Free.

Press Club Band Tokio Hotel, Sydney.

7pm. Free.

Slide Mcbride Woollahra Hotel, Woollahra. 6:30pm.

Free.

BRAG :: 675 :: 10:08:16 :: 29

brag beats

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

dance music news club, dance and hip hop in brief... with Chris Martin, James Di Fabrizio and Anna Wilson

five things WITH

FALLS GETS GLOVER

The summer festival announcements are beginning to roll in, with the hallowed Falls Festival announcing the first taste of its 2016 lineup along with dates and venues. Bringing music, art and light to the rolling amphitheaters, streets and shores of Australia, Falls 2016 will go down in Lorne (Wednesday December 28 – Saturday December 31), Marion Bay (Thursday December 29 – Saturday December 31), Byron Bay (Saturday December 31 – Monday January 2) and, for the first time, Fremantle (Saturday January 7 – Sunday January 8) with all venues providing some New Year’s antics. Topping the bill so far is hip hop star Childish Gambino AKA Donald Glover, who’ll be heading over armed with Pharos, his new record due out later this year.

For more Falls Festival news as it breaks, stay tuned to thebrag.com.

DIEGO KRAUSE

Childish Gambino

YOU KNOW WHAT THEY MEAN

From the party people at Bacardi, this month comes Fuego Revolutions, a series of club events and secret in-store DJ sets celebrating the skill and history of analogue music culture. For the remainder of August, Darlinghurst’s 77 is welcoming international headliners Damiano Von Erckert (Saturday August 13) and Darshan Jesrani (Saturday August 27), playing exclusive shows alongside Australia’s own Otologic, Edd Fisher, Kali and more. See the schedule and RSVP for free entry at fuegorevolutions.com.au.

Diego Krause photo by Max Dorsogna

Horrorshow are back in business with their brand new single and video, capping it off with a national tour. The duo will be touring the country to launch their latest gem ‘If You Know What I Mean’, roadtesting new songs with support from one of the most exciting MCs in Australia and recent Elefant Traks signing B Wise. Catch them at the Factory Theatre on Saturday October 15.

THE REVOLUTION CONTINUES

LOADING UP FOR THE ROAD

1.

Growing Up I grew up in a very musical household – electronic music played a big role from early on. My grandfather was a musician at his time too. He gave me a very early version of Cakewalk as a kid. It’s a MIDI sequencer, basically, and came on several fl oppy discs. It took me a while, though, to get a single sound out of it. I also remember constantly recording stuff on tape. It could be music or very random stuff. The process of it just somehow fascinated me.

Inspirations Later in my teenage years I was mainly listening to hip hop. I 2. remember Cypress Hill’s III: Temple Of Boom had a big infl uence on

me. I loved the roughness and dark atmosphere in their beats. But after some years I kinda lost the thrill in the genre so I started looking for something new. Then came the parties and house music and I fell in love with that. The first big infl uences on me were MAW, Murk, Todd Terry and stuff like that.

Your Crew My crew is called Beste Modus. That’s stevn.aint.leavn, Cinthie, 3.

Ed Herbst and Albert Vogt. We started our label in late 2012 and been running it as a crew ever since. But over the years I’ve become friends and colleagues with a lot of fellow artists like Nick Beringer, Peer Du and Martin Goldyn, whose musical integrity I respect a lot.

We’re doing these dinner parties every now and then, where we play each other our new production and give feedback. It’s always a very inspiring gathering.

(Lick My Deck), Spacetravel – Dance Therapy (Perlon) and MP – Decki B. EP (Soulsity).

Music, Right Here, Right Now I like the vibe in the scene at the moment. Especially our smaller 5. circle constantly inspires and motivates me to try new things. I’m glad to see there is a reversion to old values like when you look at the recent vinyl renaissance. People are going back to taking stuff in their own hands, starting labels or running parties. I love being part of that.

30 :: BRAG :: 675 :: 10:08:16

With: Nine Yards, Mantra Collective, HighBeam Where: Civic Underground When: Saturday August 13

A LITTLE BIT OF THIS AND THAT

This That, the music festival returning to the Newcastle Foreshore this spring, has announced its 2016 lineup. Joining already announced Schoolboy Q, who’s coming to Oz as part of his massive world tour, are a bunch of great acts who’ll light up Nobbys Beach this November, including some prime electronic and hip hop groups.

The lineup features Hermitude, Safia, LDRU, Elliphant, Peking Duk, Sampa The Great, Ball Park Music, Jess Kent, Drapht, Koi Child, Moonbase Commander and more. This That takes over Nobbys Beach on Saturday November 5.

take over Sydney Showground on Saturday November 19.

Basenji

MYSTERIOUS WAYS

There’s a new festival in town, and it’s ready to make its mark. Mystery Mark is the name of the latest dance music event for ages 15 and up, coming to Sydney on the eve of this summer, and the lineup features some of the hottest young things on the Aussie scene. While the festival may appear to have emerged out of nowhere, it’s got some proven pedigree behind it: Frontier Touring founder Sam Righi and teen event specialist Elliot Kleiner (Prom Night Events). The debut Mystery Mark lineup includes Joel Fletcher, Bombs Away, Yolanda Be Cool, Uberjak’d, SCNDL, Brooke Evers, Who Killed Mickey, Seek N Destroy, Tenzin, Tom Budin, Kate Foxx and DCUP. Mystery Mark will

BASENJI ATE MY HOMEWORK

With a support slot on Flume’s North American tour this month, Sydney producer Basenji will return to Australia in September, taking his revered beats and melodies to universities nationally on his aptly titled Homework Tour. Scoring love from fans and critics alike, Basenji has continued to ride the crest of a new wave of Australian electronic producers. With a Boiler Room feature and national tours including an appearance at the Sydney Opera House as part of Vivid LIVE the innovative artist released his debut EP Trackpad last year to significant acclaim. Catch him at The Underground, UTS on Wednesday September 21 and Manning Bar, Sydney University on Thursday September 22. Register for your free ticket at venergymovement.com.

thebrag.com

Basenji photo by Anastasia Velicescu

The Music You Make And Play A couple of my recent favourites include DJ Deep – Cuts 4.

Volume 2 (Deeply Rooted), Leo Pol – IILE 01, Ion Ludwig – Im Kloster

Horrorshow

Loadstar are back with a new single and a run of tour dates across Australia and New Zealand to celebrate. The Bristol-based production duo comprising Gavin ‘Xample’ Harris and Nick ‘Lomax’ Hill have been active since their 2010 debut release ‘Remember/Rushin Dragon’, and their latter days have seen them reach greater heights than ever before, leading all the way to a festival set at Glastonbury. ‘Red Rock’ is their high-energy new track, and they’ll be sharing it with fans at The World Bar on Saturday September 24.

Colour Castle King Of All He Surveys By Joseph Earp

I

f there’s one thing Facebook is good for, it’s provoking a very acute sense of envy. After all, if you want any evidence that there are people out there having a much, much better time than you, simply scroll through the public profile of Chris Pillot, AKA Colour Castle.

The young producer’s social media presence is a never-ending barrage of excellent encounters – videos of him crowdsurfing through adoring audiences are as common on Pillot’s Facebook page as photos of last night’s sad pasta are on yours and mine.

Even more infuriatingly, in conversation Pillot is resolutely laid-back about the life he’s found himself in the middle of. When conversation turns to his recent tour, he lists off the shows as though they are merely requirements of an enjoyable, if not particularly taxing, job.

“I just finished touring a bit,” he says. “The first weekend was up in Queensland – in Airlie Beach and Magnetic Island. They were huge parties – there were a couple of thousand people there. So it was a pretty good start to the tour. The crowd was just absolutely crazy.”

Nonetheless, as chill as Pillot might be, he’s worked extraordinarily hard to earn the audiences who flock to his shows. “I’ve always loved music,” he says. “I was always terrible at it. I really had to knuckle down in the last few

years, particularly when it comes to musical notation and theory. I got pretty much booted out of music when I was in high school. It’s definitely something that I’ve always liked and enjoyed but certainly something that I’ve had to put in the effort to really excel at.”

Pillot started off his career as a DJ, a job he describes with typical understatement. “I’m from Melbourne, and then I moved to North Queensland when I was 18,” he says. “I just fell into DJing. I just started doing it, mostly for fun and to make a bit of money, but I just never stopped after that.”

It was only after Pillot had been DJing for a few years that he built up the courage to swap roles and begin his career as a producer, adopting the Colour Castle moniker in the process. Determined to make it in what is an infamously cutthroat industry, Pillot recruited help from a number of outside sources.

“Learning a lot of the production just took hours and hours,” he says. “I’ve had a piano teacher over the last couple of years as well, and I guess I’ve been learning off a lot of friends.

Just tips and tricks.”

Luckily for Pillot, he has some very well-connected friends. The young musician doesn’t work in isolation, and he relies heavily upon an entire community of experienced well-wishers. “I definitely have a lot of producers I talk to,” he says.

“There’s a pool of us who just

throw our songs around to each other. It’s really helpful – when you listen to your own song that many times you can miss an aspect that someone else can pick up straight away. There are a bunch of DJs I talk to as well – sometimes I’ll flick something over to them and they’re really good because they have an idea of what they want to play on the dancefloor.”

It was this community that Pillot turned to while writing his most recent hit, the ARIA Club Charttopping ‘Walk Right In’. The very definition of a banger, the track samples Loleatta Holloway’s classic soul anthem ‘Love Sensation’ to singular effect. And yet despite the song’s success, it wasn’t a simple one to write.

“That was probably the fifth project I had actually started on using the [‘Love Sensation’] vocal,” Pillot explains. “I think I sent the first few to a bunch of friends and I didn’t really get a hit back, but then I sent the version that’s out now to one of my friends. And he just called me, and the first thing he said was just like, ‘Brahhhhhhh!’ So that was good feedback.”

Even though it’s the ‘Love Sensation’ sample that really takes ‘Walk Right In’ to the next level, Pillot’s no soul music buff, and his discovery of the track was inspired by his interest in a rather different genre. “I’ve been a really big fan of producers and DJs who use really

“I REALLY HAD TO KNUCKLE DOWN IN THE LAST FEW YEARS, PARTICULARLY WHEN IT COMES TO MUSICAL NOTATION AND THEORY. I GOT PRETTY MUCH BOOTED OUT OF MUSIC WHEN I WAS IN HIGH SCHOOL.”

old samples. People like Fatboy Slim and, I don’t know, a lot of those house guys. They’ve gone through and found all of these nice samples and just made a good version of it.

That original tune was just a case of going through all these a capellas.

That original tune, it’s quite a big vocal, so I kinda knew that was going to work.”

Pillot was right. ‘Walk Right In’ has worked on the kind of scale that seems ready to catapult him to further success. You don’t need to tell Pillot that, however – he has his

Off The Record M

SATURDAY AUGUST 13 Burdekin Hotel, while over at Civic Underground, Mantra Collective and C.U. Saturday are teaming up to present Berlin’s Diego Krause.

coming to Chinese Laundry on Saturday November 12.

The man with arguably the shittiest haircut (don’t worry, his music makes up for it) in dance music, Green Velvet (or Cajmere), has locked in an Australian tour. A mainstay in the game for well over 25 years, the Chicago house don was a chemistry student before he ditched studying and established the label Cajual.

Since then he’s released his own productions on the likes of Circus Recordings, Credence, Great Stuff Recordings, Kraftek, Relief Records and Superstar Recordings, and played basically every goddamn club and festival around the globe.

Bad news: One of Australia’s best festivals, OutsideIn, ain’t happening this year.

No explanation has been given other than a post on its Facebook page stating: “OutsideIn Festival will not be taking place in 2016, we hope to see you all again in the near future!” Bummer. Here’s hoping it returns.

Tour rumours: you can lock in visits from Lunice, Hudson Mohawke and Giraffage over the NYE period. I’d also expect to be seeing Jackmaster, Scuba, Matthias Tanzmann, Oscar Mulero and Tin Man during November.

Marcel Dettmann

Green Velvet His track from 1992 ‘Coffee Pot (It’s Time For the Percolator)’ still goes hard. Catch him on Saturday October 29 at the Greenwood Hotel.

No plans this weekend? Here are two gigs happening this Saturday August 13 that may pique your interest. The Something Else crew is hosting a man with over 400 production credits, Chris Fortier, at the

Xxx

What: Angelz, Wongo Where: Chinese Laundry When: Saturday August 20

RECOMMENDED

Dance and Electronica with Tyson Wray arcel Dettmann makes techno. Heavy-hitting techno. The kind of heavy-hitting techno that makes you want to lock yourself away in a smoky basement until you’re dehydrated from a night of endless perspiration.

Alongside Ben Klock, the other most highly regarded drawcard at Berghain, there’s arguably no bigger name in the game. While he’s released two albums on Ostgut Ton and has remixed the likes of Junior Boys, Fever Ray, Moderat, Commix, Clark and Laibach, in recent times he’s been fostering the next generation on his own imprint MDR (Marcel Dettmann Records). Get schooled by the best in the business – he’s

own unique way of describing what makes a track work. “The shows that I have played so far, you can tell the songs that people are really digging – the ones that they really like – ’cause they start chucking up their hands in the air.” He laughs.

“And you can tell the ones they definitely don’t like ’cause they all leave the dancefloor and go get a beer.”

Best releases this week: with 30 goddamn tracks over 52-odd minutes, Delroy Edwards’ Hangin’ At The Beach (on L.A. Club Resource) has some Donuts-esque vibes going. I dig it. I’m also spinning Hieroglyphic Being’s The Disco’s Of Imhotep (Technicolour) and Appleblim’s Minus Degree (Tempa).

Argenis Brito and Ricardo Villalobos’ Amnesia (Melisma Limited) is so-so, unfortunately.

Y’all also need to go to Noise in My Head and listen to the latest mix from Chiara Kickdrum – pure fire.

Damiano Von Erckert Club 77

SATURDAY AUGUST 20

Return To Rio launch party: M.A.N.D.Y. Manning Bar Gunnar Haslam Jam Gallery Edd Fisher, Otologic Club 77

SATURDAY AUGUST 27

OCTOBER 2 Bicep UTS

SATURDAY OCTOBER 29

Green Velvet Greenwood Hotel

FRIDAY NOVEMBER 11 – SUNDAY NOVEMBER 13

Return To Rio: Carl Cox, De La Soul, Eric Powell, DJ EZ + more Del Rio, Wisemans Ferry

SATURDAY NOVEMBER 12

Darshan Jesrani Marcel Dettman Club 77 Chinese Laundry

THURSDAY SEPTEMBER 8 – SUNDAY SEPTEMBER 11

Red Bull Music Academy Weekender: Mr. Fingers, Bok Bok, Peanut Butter Wolf + more Various venues

SATURDAY SEPTEMBER 24 Rebekah Burdekin Hotel

SUNDAY

SATURDAY NOVEMBER 26 Randomer TBA

FRIDAY DECEMBER 2 – SUNDAY DECEMBER 4

Subsonic Music Festival: Lee Scratch Perry, Mad Professor, Josh Wink, Ben UFO + more Riverwood Downs Mountain Valley Resort

Got any tip-offs, hate mail, praise or cat photos? Email hey@tysonwray.com or contact me via carrier pigeon. Hit me on Twitter via @tysonwray. thebrag.com

BRAG :: 675 :: 10:08:16 :: 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 MaRLo

SATURDAY AUGUST 13 Hordern Pavilion

MaRLo

+ Ruben De Ronde 7pm. $101.90.

WEDNESDAY AUGUST 10 CLUB NIGHTS

Birdcage - feat: Various DJs Slyfox, Enmore. 9pm.

Free.

Grooves On A Grassy Knoll - feat: Yahtzel (DJ Set) + Torren Foot + Terace + Jesse Bloch + TK St John's College, Camperdown.

6:30pm. $49.

Sosueme - feat: KLP+ Nyxen + Sports Beach Road Hotel, Bondi Beach. 8pm.

Free.

Queerbourhood feat: Seymour Butz + Friends The Bearded Tit, Redfern. 7:30pm.

Free.

SBW - feat: Jonski Babysham + Resident DJs Side Bar, Sydney.

8pm. Free.

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

THURSDAY AUGUST 11 Crate Digger Thursdays - feat: Open Decks Play Bar, Surry Hills.

5pm. Free.

CLUB NIGHTS Brewery Thursdays - feat: Leukas + DJ Dpak And K-Time Australian Hotel And

FRIDAY AUGUST 12 HIP HOP & R&B

Hip Hop Party In Support Of #BlackLivesMatter - feat: Girls DJs + Shantan Wantan Ichiban + Halfway Crooks DJs + Flexmami + Joyride + DJ Ziggy + Nes & Chistopher Kevin Au + DJ Rewild Plan B Small Club, Sydney. 9pm. $22.70.

Reclink Cup Fundraiser - feat: Sailor Vs Waler Open Mic Battle Vic On The Park, Enmore. 9:30pm.

Free.

CLUB NIGHTS 73 Til’ Infinity feat: Beat Spacek + Clark Nova + Edseven + Benny Hinn Play Bar, Surry Hills. 6pm. Free.

Argyle Fridays The Argyle, The Rocks. 6pm. Free.

Bassic - feat:

32 :: BRAG :: 675 :: 10:08:16

Graves & Rickyxsan + Ebony + Sippy + Lennon + Blackjack + Stalker + Chenzo Chinese Laundry, Sydney. 9pm. $28.

Blvd Fridays - feat: Samrai Marquee, Pyrmont.

10pm. $12.30.

Cause - feat: Aaiste + Welove + Nick Reverse + Anya + Surkess + Taylor Chirk + Mitchell Parkinson + Philip Kanis + Alex Ludlow Slyfox, Enmore.

9pm. $15.

Collarbones + Cassius Select + Alice Ivy Oxford Art Factory, Darlinghurst. 9pm. $17.90.

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

Free.

Feel Good Fridays Bar100, The Rocks.

5pm. Free.

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

8pm. Free.

Fridays - feat: Murray Lake Beach Road Hotel, Bondi Beach. 8pm.

Free.

I Love Trance Party - feat: DJs Terra Byte + Thierry D + Kevin C And Many More Valve Bar, Agincourt Hotel, Ultimo. 10pm.

Free.

Loco Friday - feat: DJs On Rotation The Slip Inn, Sydney. 5pm. Free.

Memo Fridays feat: Resident DJs Cargo Lounge, Sydney. 5pm. Free.

SATURDAY AUGUST 13 HIP HOP & R&B

New Jack Swing - feat: Cashmoneybros.

AKA DJ Mathmatics + Mk-1 + Frenzie & Benny Hinn Play Bar, Surry Hills.

6pm. Free.

CLUB NIGHTS Altitude After Party - feat: Christina Novelli Marquee, Pyrmont.

10pm. $26.60.

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

Axl Bros DJs Frankie's Pizza, Sydney. 11pm. Free.

Bacardi Feugo Revolutions - feat: Damiano Von Erckert + Noise In My Head + Kato 77, Darlinghurst.

9pm. Free.

Borrowed Cs + Hence Therefore + Mannheim Rocket + WDK Secret Location, Sydney. 9pm. $16.50.

Cakes The World Bar, Kings Cross. 8pm.

Free.

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

Free.

Father Bass Club Weekly - feat: Myrne + Hatch + Luude + Holly + Many More Valve Bar, Agincourt Hotel, Ultimo. 9pm. $20.

Frat Saturdays feat: Danny Simms + Jayowens Side Bar, Sydney.

8pm. Free.

Kick On Saturdays feat: Guest DJs Cargo Lounge, Sydney. 6pm. Free.

Kings Cross Saturdays - feat: Resident DJs Kings Cross Hotel, Kings Cross. 5pm.

Free.

Lndry - feat: Gene

Farris + Groove Terminator + Refuge + Cassette + Scruby & Aron Chiarella + Bodywork + Winny + Pat Ward + DJ Just 1 + King Lee Chinese Laundry, Sydney. 9pm. $22.90.

Mantra Collective & C.U. Saturday Present - feat: Diego Krause + Nine Yards + Highbeams + Space Junk + Whitecat Civic Underground, Sydney. 9pm. $27.50.

MaRLo + Ruben De Ronde Hordern Pavilion, Moore Park. 7pm. $101.90.

Motez + DJs Two Much + Barney Cools B2B Kaiser Waldon + Bucknite + Recluse + Akunu + Mojoman Mona Vale Hotel, Mona Vale. 8pm. $23.50.

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

8pm. Free.

Saturdays - feat: Resident DJs + Special Guests Kit & Kaboodle, Kings Cross. 10pm. $10.

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

8:30pm. Free.

Something Else Vs Bootz N Catz feat: Chris Fortier + Robbie Lowe + Zankee Gulati + Microlot + Simon Lovell + Matt Crowe + Dave Stuart Burdekin Hotel, Darlinghurst. 10pm. $11.

Sutra. Deep Space Party - feat: MSG + Nick Reverse & Anya + Tezzel + Aaiste + Nine One B2B Hoten + Jacob B2B Carlos Nunes + Gabriel Fixel B2B Mikhael + Lusc + Db + P.M.G Zoo Project, Potts Point. 9pm. $10.

Sweet Echoes - feat: Severed Heads + Lortica + Jon & Hugh Freda's, Chippendale. 7pm. $10.

The Sweet Escape feat: Stereogamous Imperial Hotel, Erskineville. 9pm.

Free.

Yours - feat: K.I.M + Chux + Gee + Vonaudio + Jesse Beach Road Hotel, Bondi Beach. 8pm.

Free.

Zombie Apocalypse Party - feat: Cybrindian + DJs Tessel + Ringeki + Zephiran + Danjer Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10.

SUNDAY AUGUST 14 HIP HOP & R&B

Freewyo + Special

FRIDAY AUGUST 12

Motez

Bassic - Feat: Graves & Rickyxsan + Ebony + Sippy + Lennon + Blackjack + Stalker + Chenzo Chinese Laundry, Sydney.

9pm. $28.

Cause - Feat: Aaiste + Welove + Nick Reverse + Anya + Surkess + Taylor Chirk + Mitchell Parkinson + Philip Kanis + Alex Ludlow Slyfox, Enmore. 9pm. $15.

Collarbones + Cassius Select + Alice Ivy Oxford Art Factory, Darlinghurst. 9pm. $17.90.

Hip Hop Party In Support Of #BlackLivesMatter Feat: Girls DJs + Shantan Wantan Ichiban + Halfway Crooks DJs + Flexmami + Joyride + DJ Ziggy + Nes & Chistopher Kevin Au + DJ Rewild Plan B Small Club, Sydney.

9pm. $22.70.

Riot Club (Analog) - Feat: Foreign Dub + Reload + Mr Pink + Slice + Mark Bionic + Rowdy One + Von Audio + Capro + N’va + Jnr + Bayan + Bluebeard Miind Nightclub, Darlinghurst.

9pm. $10.

SATURDAY AUGUST 13 Bacardi Feugo Revolutions - Feat: Damiano Von Erckert + Noise In My Head + Kato 77, Darlinghurst. 9pm. Free.

Lndry - feat: Gene Farris + Groove Terminator + Refuge + Cassette + Scruby & Aron Chiarella + Bodywork + Winny + Pat Ward + DJ Just 1 + King Lee Chinese Laundry, Sydney.

9pm. $22.90.

Mantra Collective & C.U. Saturday Present - feat: Diego Krause + Nine Yards

+ Highbeams + Space Junk + Whitecat Civic Underground, Sydney.

9pm. $27.50.

Motez + DJs Two Much + Barney Cools B2B Kaiser Waldon + Bucknite + Recluse + Akunu + Mojoman Mona Vale Hotel, Mona Vale.

8pm. $23.50.

Something Else Vs Bootz N Catz - feat: Chris Fortier + Robbie Lowe + Zankee Gulati + Microlot + Simon Lovell + Matt Crowe + Dave Stuart Burdekin Hotel, Darlinghurst.

10pm. $11.

Sutra. Deep Space Party feat: MSG + Nick Reverse & Anya + Tezzel + Aaiste + Nine One B2B Hoten + Jacob B2B Carlos Nunes + Gabriel Fixel B2B Mikhael + Lusc + Db + P.M.G Zoo Project, Potts Point.

9pm. $10.

SUNDAY AUGUST 14 S.A.S.H By Day - feat: Secret Guest Greenwood Hotel, North Sydney. 2pm. $15.

S.A.S.H By Night - feat: Brock Ferrar Home Nightclub, Darling Harbour. 9pm. $15.

Damiano Von Erckert

Guests The Bald Faced Stag, Leichhardt. 3pm. $44.90.

CLUB NIGHTS Beresford Sundays - feat: DJs On Rotation The Beresford Hotel, Surry Hills. 12pm.

Free.

S.A.S.H By Day feat: Secret guest Greenwood Hotel, North Sydney. 2pm. $15.

S.A.S.H By Night -

feat: Brock Ferrar Home Nightclub, Darling Harbour. 9pm. $15.

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

MONDAY AUGUST 15 CLUB NIGHTS I Love Mondays Side Bar, Sydney.

9pm. Free.

TUESDAY AUGUST 16 CLUB NIGHTS

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

Side Bar Tuesdays feat: Black Diamond Hearts Side Bar, Sydney.

9pm. Free.

Terrible Tuesdays Slyfox, Enmore. 5pm.

Free. thebrag.com

Damiano von Erckert photo by Ben Price

HIP HOP & R&B

Brewery, Rouse Hill.

7pm. Free.

Femme Fetale The Argyle, The Rocks. 6pm. Free.

House Keeping - feat: DJ Conor Boylan + Guests Side Bar, Sydney.

8pm. Free.

Mansion Lane The World Bar, Kings Cross. 9pm. Free.

Thursday Mix Up feat: DJs + Bands Hermann's Bar, Darlington. 4pm.

Free.

Riot Club (Analog) feat: Foreign Dub + Reload + Mr Pink + Slice + Mark Bionic + Rowdy One + Von Audio + Capro + N'Va + Jnr + Bayan + Bluebeard Miind Nightclub, Darlinghurst. 9pm. $10.

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

8pm. Free.

Welove - feat: Various DJs Burdekin Hotel, Darlinghurst. 10pm.

Free.

Winterfest 2016 Pyjama Jam - feat: Yolanda Be Cool + Dylan Joel + Alex Dyson + Coda Conduct + Nocturnal Tapes + More Uts Underground, Ultimo. 8pm. $21.85

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live review

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What we've been out to see...

MACKLEMORE & RYAN LEWIS, THUNDAMENTALS Qudos Bank Arena Saturday August 6

What a time to be a Thundacat – the Australian hip hop equivalent of a Belieber or a Directioner and the collective noun for Thundamentals fans. Tonight the freshly expanded Blue Mountains crew (now with multiinstrumentalist Kevin ‘Poncho’ Kerr on board) are performing to a crowd that is statistically more likely to be comprised of Beliebers and Directioners – and yet, by the end of their set, the quartet have a new litter of Thundacats at their disposal.

The group’s rise may well have been off the back of some triple j staples, most of which are given a run tonight. It should be noted, however, that the thing that has kept them atop their revered position is an all-encompassing and wildly energetic live show. It’s equal parts style and substance, with MCs Jeswon and Tuka throwing their bodies across the stage one moment and then delivering eloquent, rapid-fire bars the next. It’s almost alarming how at home Thundamentals are on an arena stage.

Then again, with Hilltop Hoods having done the first-ever Australian hip hop arena tour back in April, the milliondollar question is who will be next in line. These gentlemen may have just

put forward the most solid application yet.

Australia was one of the first places to help turn Macklemore and Ryan Lewis from humble mixtape artists into megastars. This, their third visit to Australia, marks their deserved elevation to arena status – and not even a looming top-tier curtain, indicating a less-than-full house, is going to harsh that vibe. After all, the 10,000 that have shown up sound like a stadium. As the grandiose introduction of ‘Light Tunnels’ rolls out, the duo make their presence well and truly felt. They power through the hits, all attendees on their feet, and give album cuts like ‘Buckshot’ and ‘St. Ides’ the red-carpet treatment.

School was out at the Oxford Art Factory last Saturday as a cohort of bright young things flaunted their musical maturity to both inspire and make all Gen Ys in the vicinity feel woefully inadequate.

First up was Stay At Home Son, the electro-indie project of newcomer Jesse Martin-Allen, the first to be signed to Japanese Wallpaper’s self-started record label, Neat Lawn. (Seriously, is there anything Mr Wallpaper, AKA Gab Strum,

34 :: BRAG :: 675 :: 10:08:16

Inspirations Running a label, I’m probably more inspired by classic 2. labels more than particular artists. I love the urgency and

fearlessness of Rough Trade and On-U Sound, and I have Chapter Music to thank for introducing me to so much Australian music. I’m also in awe of Düsseldorf label Offen Music, which continuously charts new terrain without compromise and has a refined visual aesthetic.

Your Crew Shout outs to András and Bell Towers, two artists who 3. will never release an average record, and our buddies Butter

David James Young

performers. I’m sure there are tonnes of whippersnappers out there with crazy bedroom ideas but no platform to present it. It’s really depressing that younger generations can’t enjoy what’s available to their counterparts in other states and what was a rite of passage for my friends and I.

What we've been out to see...

Oxford Art Factory Saturday August 6

night.

The thing about the duo that has to be stressed – not to mention their multiple side-men and dancers – is their ability to make everyone feel as though they are part of something that is bigger than themselves. That goes for everyone, from the kids up front who catch Macklemore when he stagedives during ‘Can’t Hold Us’ to the lucky punter who miraculously catches a doughnut pegged from the stage halfway across the arena after ‘Let’s Eat’. Few acts can embrace their daggy uncool in as cool a fashion as these two cold-ass honkeys.

live review JAPANESE WALLPAPER, E^ST, STAY AT HOME SON

Growing Up I remember being obsessed with The Doors as well as the 1.

J Files special on The Police which I taped and would play late at

can’t do?). SAHS served up an array of swollen synthpop, sprinkled with new wave vibes and all anchored by MartinAllen’s baritone vocals. It’s a sound somewhere between The National and, unsurprisingly, Japanese Wallpaper’s own ambient aesthetic, but if the music of the latter embodies the optimism, rush and sweetness of a sugar high, SAHS is the cool, calm and collected comedown.

Next in the evening’s dose of disproportionally-skilled youngsters was Melisa Bester, better known as E^ST. This Central Coast pocket rocket punched through a tight set of bangers with pep and panache well beyond her years. From the Caribbean-inflected ‘Get Money!’ to slow jam

Sessions who we just collaborated with on Domestic Documents, a compilation of current Australian electronic music.

The Music You Make And Play My mind is always wandering, even mid-set, but here’s 4. five go-to cuts: Xanga’s ‘This Is The Way It Starts (Original

Mix)’, Cyclone’s ‘ Place Called Bliss (Last Thursday Mix)’, Chiara Kickdrum’s ‘Liquid Vision’, Copeland & Gast’s ‘Sisters Of Control (Version)’ and The Couch’s ‘Full Treatment’.

Music, Right Here, Right Now Sydney is obviously hurting at the moment. You really feel 5. it in the techno/house scene where there’s a gaping hole for live

‘Monster’, E^ST’s unique cocktail of beats and gritty vocals is deserving of the Lordelike comparisons (if Lorde cracked a Red Bull or two when performing). No wonder the industry is eyeballing this teen’s every move.

By the time our bespectacled, flat-capped friend arrived there was barely room to scratch your left nostril. The sold-out venue was just one of several Japanese Wallpaper would come to face during his national Cocoon tour, yet Strums’ signature coyness remained intact. The major change was his accompaniment – once a lone ranger behind a laptop and keys, the 18-year-old now performed flanked by a three-piece, a shift that saw his singles delving deeper into pop territory.

What: Bacardi Fuego Revolutions With: Damiano Von Erckert, Kato Where: 77 When: Saturday August 13

Shimmering opener and new cut ‘Ready / Waiting’ featured Strum’s vocals front and centre, exposed without shrouds of delay.

Crowd favourites ‘Forces’ and ‘Between Friends’ were enlivened with keening guitar work, while new number ‘Fooling Around’ had looped electro beats cave to a full-blown, full-kit drum solo. This fusion of raw and digital elements spread into a slow blooming cover of Björk’s ‘Hyperballad’ too.

Japanese Wallpaper’s performances are an evolving beast, but the experience of being cocooned by those lush, layered sounds remains as oddly uplifting as ever.

Jennifer Hoddinett

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Eilen JeweLL (USA) / The HarpOOnist and The Axe Murderer (CAN) / Julien Baker (USA) / Skunkhour / Lior Tash Sultana / Henry Wagons & The Only Children / Olympia / Gareth LiDDiard (THE DRONES) / MaTT Andersen (CAN) Fourplay String Quartet / SuzaNNah Espie / YiRRmal / Ajak Kwai (STH SUDAN) / WiLLiam Crighton / BoBBy Alu & The Palm Royale / Hat Fitz & Cara Robinson / The Wilson Pickers / King Tide / Jordie Lane & The SlEEpers Epizo Bangoura (WEST AFRICA) / Julia Jacklin / Sahara Beck / The Meltdown / Áine Tyrrell (IRE) / Allensworth (USA) Ethno Folk Orchestra / King Curly / Tina HaRRod / Yeshe / TEK TEK Ensemble / Arakwal Dancers Sal Kimber & The RoLLin’ WhEEl / Liz Stringer / Jo Jo Smith / Madeline Leman & The Desert SweLLs / The Buckleys Mandy Nolan / The Windy HiLLs / Hamish Stuart: ‘Someone Else’s Child’/ Round Mountain Girls / The Old SchOOl Funk Band / The Golden Mile / The Low Down Riders / Ladyslug / The BuTTon CoLLective / SheLLy Brown Honey & Knives / Mrs Miyagi / Lez Karski Trio / TuLLara / Levingstone / The HoTTentots / Two Lions / Ben Wilson & The Job SEEkers / Aloha Baby / Dustyesky / Mario QuEEn of the Circus / SpagheTTi Circus / Funmaker Silent Disco / Sal Kimber Bush Dance / Wild Science / The CaSSeTTes / Roundabout Theatre / The Magic Bus and more…

80 artists perform over 4 days in 12 venues in the town of MuLLumbimby | muLLuMMusicfestival.com