ISSUE NO. 686 OCTOBER 26, 2016
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MUSIC, FILM, THEATRE + MORE
INSIDE This Week
AUS T R A L I A N MUSIC W EEK Showcases, panels and more in a friendly musical environment.
T K AY M A IDZ A
Australia's rap-goddess-in-waiting drops her debut album.
H A CK S AW R IDGE
Mel Gibson returns to the trenches with a Hollywood cast.
EM PIR E OF THE
BIG SMOK E
The extraordinary story of a rock band struck by cancer.
Plus
WHITNE Y CLOUD CONTROL JOSH PYKE & BOB E VANS SHIRLE Y COLLINS VITALIC AND MUCH MORE
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the BRAG presents
welcome to the frontline: what’s goin’ on around town... with Chris Martin, James Di Fabrizio and Joseph Earp
songwriters’ secrets WITH
TAASHA COATES
Coates & Her Melancholy Sweethearts. Shane Nicholson produced the record and I’m really proud of it. This particular song is about domestic abuse, which is not particularly cheerful but it rocks out a little so is hopefully more empowering than depressing.
3.
1.
The First Song I Wrote I used to write little plays and music all the time as a kid, but the first ‘song’ I can remember writing I was maybe about 11 or 12. It had some overly sentimental verses about how people treat animals, with a little piano riff between each one.
The Last Song I Released ‘This House Is Gonna Burn’ is my new 2. single from my debut solo album Taasha
The Song That Makes Me Proud ‘Songbird’ from The Audreys’ second album 4. I’m particularly proud of. I don’t think it was ever played on the radio, but I know it resonated with people because they come and tell me at shows. For the Adelaide Cabaret Festival this year we provided a live soundtrack to a show by Restless Dance Theatre, a fabulous Adelaide-based company made up of dancers with disabilities. We wrote a bunch of new material for the show,
The Song That Changed My Life The first time I heard ‘Wild Is The Wind’ 5. by David Bowie it blew my teeny tiny mind. I
was meant to have learnt it for a rehearsal that night but I was unprepared and running late, so I downloaded it onto my phone, ran out the door and put my headphones on. I was on and off a tram and then walking through the city in Melbourne with people bustling to and forth all around me doing the things that people do, and I had that incredible song playing over and over at full volume in my head. I felt like I was in slow motion but everyone else was on full speed, it was so surreal. I felt like Jesus! I’ve loved Bowie ever since, and think that song is without doubt his greatest vocal. What: Taasha Coates & Her Melancholy Sweethearts out now through ABC/ Universal With: Peasant Moon, De’May Where: Newtown Social Club When: Saturday October 29
MANAGING EDITOR: Chris Martin chris@thebrag.com 02 9212 4322 ONLINE EDITOR: James Di Fabrizio SUB-EDITOR: Joseph Earp STAFF WRITERS: Adam Norris, Augustus Welby NEWS: Alex Chetverikov, James Di Fabrizio, Emily Norton, Anna Wilson ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: Katrina Clarke, Ashley Mar ADVERTISING: Tony Pecotic - (02) 9212 4322 tony@thebrag.com
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CORRINE BAILEY RAE Metro Theatre Sunday April 16
NIKKI HILL
Newtown Social Club Monday April 17
THE STRUMBELLAS Oxford Art Factory Monday April 17
ST PAUL AND THE BROKEN BONES Metro Theatre Wednesday April 19
STILL GOT THE BLUES
Blood Orange
CITRUS SOUNDS
By this stage, it’s pretty safe to say that the 2017 iteration of Bluesfest is shaping up to be the strongest yet. And yet the surprises in store haven’t dried up yet: a whole bunch of musos heading our way for the event have just announced a slew of sideshows. Corinne Bailey Rae, Gallant, Turin Brakes
and Nikki Hill have all announced Sydney dates to coincide with their time spent in our fair land. Excitingly, it will mark Rae’s first time performing in Oz, a surprising fact given she has sold over 50 million records and remains a popular figure in these parts. By contrast, Gallant is an up-and-comer, though the star has already more than adeptly begun accumulating fans thanks to a Coachella set that was described by many as the highlight of the event. Turin Brakes are all melodic, folk-pop wonder while Hill is an artist with little regard for genre; a shapeshifter who touches on both punk and R&B styles. Phew. You satisfied yet? Rae will play the Metro Theatre on Sunday April 16, Gallant the Oxford Art Factory on Tuesday April 18, Turin Brakes the Newtown Social Club on Monday April 10 and Hill the same venue on Monday April 17.
Descendents
Blood Orange, the New York-based artist responsible for one of 2016’s biggest triumphs in Freetown Sound, will play a single headline show in Australia next year – and Sydney fans are the lucky beneficiaries. The artist otherwise known as Dev Hynes has already been locked in to headline Melbourne’s Sugar Mountain festival, but the sideshow date will be welcomed by east coast Dev-otees. Hynes will bring his full band Down Under to recreate the all-star record, which features vocals from Debbie Harry, Nelly Furtado, Carly Rae Jepsen and Empress Of. Blood Orange plays the Enmore Theatre on Friday January 20.
STILL YOUR FRIEND
Iconic singer-songwriter James Taylor will be returning to Australia for the first time in seven years for a series of shows. With a discography reaching across five decades, Taylor penned some of the most resounding folk songs of the ’70s, including ‘Fire And Rain’, ‘Country Road’ and ‘Carolina In My Mind’, going on to win five Grammy Awards in the process and more recently selling out consecutive shows at Carnegie Hall. He’ll hit ICC Sydney Theatre on Tuesday February 4.
MILO GOES SOUTH
Stop the presses: Descendents are heading Down Under. Back in Australia for the first time since 2012, the punk rock pioneers are returning with their new album Hypercaffium Spazzinate. Formed in 1978 in LA, they’ll be bringing a swag full of crowd favourites with them, including ‘I’m The One’ and ‘I Don’t Wanna Grow Up’. It’s happening at the Enmore Theatre on Friday February 24.
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Descendents photo by Jonathan Weiner
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Newtown Social Club Monday April 10
Warpaint photo by Mia Kirby
Electro five-piece The Naked And Famous have locked in a headline show. The dates will be their first Australian appearances since 2014, last playing to sold-out crowds in Melbourne and Sydney. This time around, they’re armed with brand new music, coming with their long-awaited third album, Simple Forms. They’ll hit the Metro Theatre on Saturday January 7.
AWESOME INTERNS: Anna Wilson, Emily Norton, Alex Chetverikov
EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG.
TURIN BRAKES
Warpaint
BIRTHDAY SUITS
GIG & CLUB GUIDE COORDINATOR: Sarah Bryant - gigguide@thebrag.com (rock); clubguide@thebrag.com (dance, hip hop & parties)
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Slyfox Thursday November 24
LA four-piece and Aussie favourites Warpaint will make a triumphant return Down Under next year for a three-date tour including a show at the Sydney Opera House. The high-velocity art rock collective features Emily Kokal, Theresa Wayman, Jenny Lee Lindberg and Sydney’s own Stella Mozgawa on drums. Their latest release is Heads Up, which charted in Australia, the US, the UK, the Netherlands, France, Ireland and beyond. Warpaint will bring the noise to the Concert Hall, Sydney Opera House on Saturday February 25.
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REGULAR CONTRIBUTORS: Nat Amat, Arca Bayburt, Prudence Clark, Chelsea Deeley, Christie Eliezer, Matthew Galea, Emily Gibb, Jennifer Hoddinett, 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, Aaron Streatfeild, Rod Whitfield, Anna Wilson, Tyson Wray, Stephanie Yip, David James Young
JOEL SENA
Nikki Hill photo by Aubrey Edwards
PAINT THE TOWN
Brass Monkey Thursday November 17
The Strumbellas photo by Josh Goldman
Songwriting Secrets I have no songwriting secrets really – I actually wish I did, I could do with some myself. I do know that the more you do it the better you get at it, but I don’t really have a process. Sometimes ideas pop out when I’m in the middle of dinner or in a lift or on the loo. Sometimes I sit on my bed and agonise over them for hours or days. Sometimes I start them then walk away and finish them years later.
but also included some of our album tracks, including ‘Songbird’.
JOEL LEFFLER
St Paul And The Broken Bones photo by David McClister
music news
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live & local
free stuff
welcome to the frontline: what’s goin’ on around town... with Chris Martin, Alex Chetverikov and Emily Norton
five things WITH
when you didn’t have to be rich to live downtown, so music was like art. All you had to do was go outside and look around to see its real-world incarnations. Everything was loud and fast and sublime. That’s still part of me in everything I do. Doc Pomus probably 2. Inspirations
means the most to me of any artist. You don’t have songwriters like him around any more, who can churn out hit after hit for other artists but the music is actually cool and classic. Your Band The band is a vehicle for 3. the music. We get hired to play
blues and rhythm and blues, and I’ve been lucky enough to find guys that can make it sound great, like Wayne Rigby on sax, Tim
The Music You Make I live by strict record nerd kung fu code. It’s not about trivia but digging music and searching it out all the time. The songs we cover come from years of buying records and listening to the radio. I often go to Jangling Jack’s in Kings Cross to have beers and listen to what they are playing – the owners are deep music geeks too. Our sets essentially become an abridged history of the blues and soul with some
4.
EMMA LOUISE
CHORIZO SLIM
O’Driscoll on drums and PK (he’s never told me his last name) on bass. When I was kicking around places like Chicago, New Orleans and San Francisco I caught some great blues acts, but what stood out to me was what it meant to be listening to the music there with everyone else. Growing Up My father lived on West 1. 21st Street in Manhattan at a time
head to: thebrag.com/freeshit
’60s psych joints thrown in because that stuff is cool too! Music, Right Here, Right Now 5. Sydney should be proud of its music scene and its musos. People talk about Melbourne – I haven’t been there, it seems like they are a music-friendly city. If you are a musician in Sydney, there is a lot more working against you. Of course it would be great if that could change, but in the meantime it’s important to note that rock’n’roll comes from being cool when shit around you isn’t cool. Lockout laws can’t take that away! Who: Chorizo Slim Boogie Blues Band Where: The Gasoline Pony When: Friday October 28
After appearing with Sam Smith as a special guest on his tour last summer, and coming off the release of her hotly touted new album Supercry, Emma Louise is coming to town on a national album tour. Following the release of three hot pop nuggets, Louise’s most recent single and fourth from the album, ‘Illuminate’, maintains her finely crafted songwriting quirks. Fans have caught up with Louise’s talents and memorable live performances, with tickets to this tour quickly disappearing, but we’ve got two double passes to her Enmore Theatre show on Friday November 4. For a quick and easy chance to win, visit thebrag. com/freeshit. Xxx xxx
Glitoris
THAT’S NO PLACE FOR GLITTER
Fresh from landing a record deal, a support slot with Regurgitator and a show at The Famous Spiegeltent, Glitoris are hitting the road with their debut EP. Following their signing with Buttercup Records, The Disgrace was recorded at Infidel Studios with Duncan Lowe, mixed by Sam Bennett and mastered at Studios 301 with Andrew Edgson. It tackles issues including domestic violence, body image and gender inequality. See Glitoris sparkle at The Bearded Tit (where else?) on Saturday December 3.
KEEPING ON KENYON
Melbourne-based singer-songwriter James Kenyon is hitting the road on a national tour for his aptly titled new album Imagine You Are Driving. After his well-received 2012 debut album The North Pole, Kenyon spent two years with producer Nick Huggins on the follow-up. The road imagery isn’t for nothing, either, with the album’s dry and emotive poetics channelling craftsmen like Paul Kelly and Bruce Springsteen in its exploration of the greater Australian story and its broad and arid landscape. Kenyon will play at The Gasoline Pony on Wednesday December 7.
NEWTOWN FESTIVAL LINEUP
Newtown Festival is back for its 38th year in 2016, and now the full music lineup has landed. Tens of thousands of festivalgoers from the Inner West and beyond will make the trip to Camperdown Memorial Rest Park on Sunday November 13 for a day full of live music, family entertainment, market stalls, food and craft beer. The lineup is led by The Griswolds, the Sydney foursome releasing their new album High Times For Low Lives just two days before the festivities. The bill also features L-Fresh The Lion, Stereogamous, Richard In Your Mind, All Our Exes Live In Texas, Shining Bird, Fortunes, Australia, Mossy and many more.
Dune Rats
CLIMB EVERY MOUNTAIN SOUNDS
The seasonal change from summer to autumn creates some of the greatest wildlife spectacles on Earth, and hidden away in the Mount Penang Parklands on the Central Coast, you can witness a spectacle in the making. That’s right: watch in awe as a large group of human animals come together to party, seek out a mate and forage for food at Mountain Sounds Festival 2017. The first act on the bill is those Ratbag Records and Brisbane legends, Dune Rats. The Dunies are a tunetastic band who will be sure to get you blazed as hell, and if you don’t know who they are, listen to their latest track ‘Bullshit’ (it’s far from). Mountain Sounds will go down Friday February 17 – Saturday February 18.
Leah Flanagan
HEY HEY, MY MY
Rock festivals might have gone out of style, but if Thrashville has anything to say about it, they’re coming back with a vengeance. The new summertime event from the people behind Hunter Valley festivals The Gum Ball, PigSty In July and Dashville Skyline includes some great Aussie talent. Oz rock icons Cosmic Psychos and Hard-Ons will headline the event, which also features Clowns and a bunch of New South Wales acts. Thrashville 2017 takes over Dashville at Belford in the Hunter Valley on Saturday January 21. Tickets are on sale now.
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SEE LEAH LIVE
Leah Flanagan’s new album Saudades delivers a dense kind of jazz, heavy as it is with themes of death, love and lost romance. Flanagan herself is a fascinating songwriter with a mixed heritage of Venetian, Aboriginal and Irish blood, and her music draws on a similarly wide scope of jazz and blues traditions. She’s been turning heads around the country on an album launch tour, and it’s Sydney’s turn this Saturday October 29 at Marrickville Bowling Club. Billie McCarthy will play in support.
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Leah Flanagan photo by Tajette O’Halloran
Cosmic Psychos
Industrial Strength Music Industry News with Christie Eliezer
THINGS WE HEAR • How true are quips by a TV music exec that a judge on his show had botox treatment to look good on the small screen? • Which mum of a music media person is telling friends she’s “happy” following her split from her record label exec boyfriend after violent rows? • Is Kanye West seriously pissed with Jay Z after he only rang but didn’t visit wife Kim Kardashian after her Paris robbery? • Which two former Kings Cross venue operators have been banned for life from holding a liquor licence or managing any licensed venue, after operating an illegal bar
APRA AMCOS REVENUE UP 11% TO $333M
APRA AMCOS reported a record revenue figure of $333 million after an 11% growth during the 2015/16 financial year. Of that, $294.6 million was paid to 248,994 songwriters and publishers, up 14%. Breaking down the figures, streaming revenue had a huge 140% year-on-year leap to $22.4 million. Licence fees collected from digital providers – including download services, streaming services, video on demand, websites and user-generated services – grew 142% to $67.8 million.
As an indication of the greater amount of Australians finding global success, export revenue was up 12% to $38.3 million and over the past three years, export revenue has increased by 75% to more than $38.3 million per annum. Public performance licensing, a core activity for much of the last 90 years, continued to provide increased revenue for songwriters, composers and publishers, reaching over $70 million. Achieving 6.8% growth from its 142,000 licensed businesses,
Lifelines Ill: Queen guitarist Brian May explained he is “fighting persistent illness”, saying it’s what led him to cancel solo dates in December. In Court: Vince Neil of Mötley Crüe avoided jail for grabbing a woman by the hair and pushing her to the ground outside a Las Vegas venue in April. He copped a US$1,000 fine, six months’ probation and must undergo counselling. In Court: Renee Geyer pleaded guilty at Sydney’s Downing Centre Local Court on a charge of intimidation. Police said that last September, the singer blew her cool when told by the receptionist at the Adina Hotel in Haymarket she had to give her vehicle registration in order to access the car park. Geyer started screaming and was escorted off the premises by police. According to court documents, Geyer returned the next morning and threatened to “come back and get you”, adding in the abusive terms “fucking bitch” and “Tongan bitch”. She’ll be sentenced on December 14. The victim was so fearful she quit the hotel. In Court: US rapper Bobby Shmurda was jailed for seven years despite claiming he had been “railroaded” by his lawyer into pleading guilty to conspiring with a violent drug gang. But the court refused to let him change the plea. The gangsta rapper is best known for featuring on ‘Shmoney Dance’, which has had 15 million YouTube views. Died: Phil Chess, co-founder of the legendary Chicago-based R&B label Chess, 95. Chess played a role in the beginning of rock’n’roll in the 1950s, signing up Chuck Berry, Bo Diddley, Muddy Waters, Howlin’ Wolf, Willie Dixon and Memphis Slim. The label released the first track considered to be “rock’n’roll”, ‘Rocket 88’ by Jackie Brenston/Ike Turner and His Delta Cats.
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and not clamping down on drug sales? • After initially denying any interest two months ago, Dixon Hospitality is looking at buying some of the venues owned by Sydney-based Keystone Group, which is now in administration. But which of the nightclubs and restaurant is Dixon looking at? • San Francisco band Negativland are offering fans the chance to buy some of the ashes of their former bandmate Don Joyce, who died last July, when they purchase their new album The Chopping Channel. • Documents show that the South Australian Government considered paying The Rolling Stones $1.25 million to play the opening of the Adelaide Oval. • David Johnston’s seven-year-old book,
APRA AMCOS performed well above the global benchmark of 3.8% growth.
OFFICIAL: DJING IS “FINE ART”
Chicago has officially declared that DJing is a “fine art”. In August, the Cook County Department of Revenue told clubs with DJ-heavy programming that they did not meet the 3% tax exemption qualifications of providing a “live cultural performance”. There was an outcry as many argued that paying thousands of dollars in back taxes would sink the clubs. The City of Chicago set up a committee, which found that losing such clubs and their DJs would be a loss to Chicago’s musical identity. This follows similar rulings in Berlin and Vienna.
HALL OF FAME NOMINEES LINE UP
Tupac Shakur, Kraftwerk, Depeche Mode, Bad Brains, Pearl Jam, Jane’s Addiction, Yes, Chaka Khan and Janet Jackson are among 19 acts nominated for induction to the Rock And Roll Hall Of Fame in Cleveland in April.
MERGER CREATES BIGGER SECRET SOUNDS
The Music Goes Round My Head, about Australian pop from 1964 to 1969, sold so well that he donated $5,000 over the years to Support Act Ltd to help musicians in distress. But sales have stopped and the website closed, so he’s giving the $40 book away. All it will cost is $8.50 for a postal satchel: email him at roundmyhead@gmail.com. • Hip hop act Thundamentals announced that this year’s recipient of their Got Love Initiative is the National Centre of Indigenous Excellence. All proceeds from new song ‘Ignorance Is Bliss’ and the sale of brand new Got Love merchandise will go directly to NCIE. • Next month, A Day On The Green will meet a very notable milestone – it will have racked
PAV’S MODULAR TOURING OWES $1.3M Stephen Pavlovic’s Modular Touring owes $1.3 million to creditors and is about to be liquidated, The Music Network revealed. The company was behind tours by Daft Punk, LCD Soundsystem, Hot Chip and Jonathan Boulet. It went into administration in July 2013 under Sydney insolvency firm Farnsworth Shepard, which in a report said it expects to wind up the company in a few months. Creditors include equipment and staging suppliers ($280,000), casual staffing ($180,000), workers comp ($116,000) and over $400,000 in various taxes and super. The tax office is the largest single creditor at $312,000. Farnsworth Shepard said it had hoped to investigate Pavlovic’s “possible offences and other misconduct” but got no funding from authorities.
SOUNDS AUSTRALIA FUNDING WORRY
In May, Federal Arts Minister Mitch Fifield said that funding for music export body Sounds Australia would not be extended after December 2016 and suggested it might get money from Catalyst, one of its funding programs (which Sounds Australia eventually didn’t get). Last
up 400 events. The fest has been around for a decade and a half, and will celebrate with two shows to be held on Saturday November 19, with one event at the Barossa Valley and the other in the Hunter Valley. • Two musos have slammed Lady Gaga’s new single ‘Perfect Illusion’. Alex Pall of The Chainsmokers said she was a “great artist” but this one “sucks”. The Black Keys’ Patrick Carney called the guitar work on it “shitty”, not realising the musician responsible was Josh Homme. Mark Ronson, who co-produced the Gaga single, scoffed, “I remember my good friend @patrickcarney sitting in my living room, hearing ‘Uptown Funk’ and telling me it wouldn’t work.”
week, Shadow Minister for the Arts Tony Burke warned that at a Senate Estimates meeting, the government confirmed it is planning to stop all funding. Through staging Aussie acts at 48 trade events in 52 cities and 19 countries, Sounds Australia has generated 1,593 examples of Aussies getting deals with labels, bookers, festivals and sync firms.
GARRIX VOTED TOP DJ
Dutch beatsmith Martin Garrix has been voted the world’s best DJ by readers of DJ Magazine. A million votes were cast. The 20-year-old took up DJing at age eight after seeing Tiësto play at the Olympic Games opening ceremony in Athens. Tiësto presented Garrix with his prize at a gig in Amsterdam.
MARIA AMATO FOR BREAKFAST
The next Women In Music Sydney In Conversation breakfast session is set to feature Maria Amato, GM of the Australian Independent Record Label Association (AIR). Jaxsta and MusicNSW will present the event at The Works, Glebe, from 7:30am on Thursday October 27. Topics Amato will cover will include advice on useful financial skills applicable across all aspects of the music industry. Register at MusicNSW’s site, musicnsw.com.
Jessica Ducrou and Paul Piticco began working together 20 years ago during the Powderfinger days, he as their manager and she as their booking agent at Village Sounds. They continued their relationship, staging Splendour In The Grass and latterly Falls. Now, they’ve put all their companies together under the name Secret Sounds. Aside from the festivals, the company also includes Secret Sounds Touring, Secret Service Artist Management, Village Sounds, record labels Dew Process and Create/Control, Dew Process Publishing, creative partnership firms Secret Sounds Connect and Whole Lot Of Love, and Secret Service Public Relations.
FUTURE CLASSIC SEEKS FORTUNES
The first signing in a year by electronic label Future Classic, home to Flume and Nick Murphy (formerly Chet Faker) is Melbourne-based, New-Zealand-born electronic duo Fortunes. They just dropped new single ‘501’s’, a homage to Levi’s jeans and guys looking good in them.
COMERFORD, MEMSELL LAUNCH 1825 RECORDS
UNFD founder Jaddan Comerford and Matt Emsell of Wonder Management (5 Seconds Of Summer, Matt Corby) have formed 1825 Records in order to sign Aussie acts and break them globally. To this end, 1825 is distributed by Warner Music locally and Atlantic Records abroad. The first signing is Sydney multi-instrumentalist, producer and singer-songwriter Xavier Dunn. The label’s office in Sydney will be run by Meg Meredith of SUM Management and Positive Feedback. Comerford was 18 when he set up his first company while Emsell was 25, hence the name.
LIVE MUSIC NIGHT AT THE BERESFORD
The Beresford in Surry Hills has launched a free weekly Thursday live music night called Upstairs Live, covering all styles. It went live on the weekend with singer and producer Milan, although it unofficially debuted with Kylie Auldist and New Zealand’s Aaradhna. This week will see Madam Parker and Jeremy Gregory perform with guitarist and studio producer Andro Martinez.
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COVER STORY
R E T U R N T O N AT U R E BY PHOEBE ROBERTSON
E
mpire Of The Sun, AKA Luke Steele and Nick Littlemore, had the world walking on a dream in 2008 and feeling alive with their second album, 2013’s Ice On The Dune. After selling more than three million copies across their first two records and earning eight ARIA Awards, however, the rising stars entered a period of relative silence. Three years later, the ostentatious alt-electro performers have returned from the studio and are ready to guide listeners through the lush realms of their third album, Two Vines. The Australian-made, California-based duo have already shared a piece of their jungle paradise with the record’s title track and the singles ‘High And Low’ and ‘To Her Door’. According to Littlemore, the new material found its way to him after he embraced various practices of meditation. “There was a period where things started to really reveal themselves to me,” he says. “It was such a profoundly clear message that it was one that I couldn’t ignore. I’d always felt as though creativity was not my own but that I was listening to the cosmic consciousness, that it would flow through me like a river or shoot through me like an arrow or a lightning
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bolt. I’ve always been aware of the other or the unseeable and that sort of stuff, but having these deeper meditative experiences has taught me that the path that I’ve always been on is very much a real thing. “I look back on notebooks from years ago and I was already writing about these things without being completely aware of it, but I feel much more connected to it now than I ever have. I want to share that with the world. I want to share good thoughts and I want people to understand that this world is a fragile, precious and special place.” Finding meaning beyond his own creative energy, Littlemore explains that Two Vines is a call for people around the world to return to nature and appreciate their surroundings. “I had a few visionary experiences in the last year or two and they all led me back to nature. We really need to start listening to it. Looking at ancient cultures, indigenous cultures, the people have understood for tens of thousands of years how to live with the planet, not against it and not on top of it. I wanted to make some kind of message that tells people to listen to the world rather than themselves or to greed, money, power or any of these shallow pursuits, because they are ultimately meaningless. “Two Vines is very much about those visionary experiences and the idea of nature taking back the planet, and to a lesser extent, about shamanism and ancient cultures and how people used to live so freely and easily with Mother Earth. Two Vines, for me, really
is about all the light [that] lives in your head tonight. I’ve been to the end of the universe in these dreams, and all there is is love. It’s light and love – that’s all we are. Infinitely complex, but at the same time the message is very simple.” Translating these newfound ideas through their music, Empire Of The Sun have stripped back their signature production to create a more concentrated sound than ever. Admittedly, even Littlemore himself wasn’t completely satisfied with the state of their second album. “It felt very aggressive to me and slightly plastic,” he says. “I didn’t want to do something that had that violent EDM thing about it. I think we gave in to popular culture a bit on the second record, and [this time around] I really wanted to restore the warmth and the beauty of the first record. It was a very much concerted effort to turn the drums down and turn the music up. “We wanted all the songs to possess a simplicity. Even if some of the thoughts are like constellations and direct messages, we wanted everything to possess a simplicity that people could understand.” In order to construct the appropriate sounds, Steele and Littlemore moved from the confines of their Los Angeles studio to spend time in Hawaii alongside their co-producer Peter Mayes and regular collaborator Donnie Sloan. “It was a beautiful time, a very profound time,” says Littlemore. “We’d been working non-stop on this
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THAT’S ALL WE ARE.” “I’VE BEEN TO THE END OF THE UNI VERSE IN THESE DREAMS AND ALL THERE IS IS LOVE. IT’S LIGHT AND LOVE project – when I say ‘we’, I mean the four of us because Peter has been with us since day one and Donnie has been a collaborator of ours since the very beginning, so it was almost like a holiday. In that very relaxed state it was really easy to write. We didn’t spend a tremendous amount of time in the studio, which is something we normally do; we have been known to stay in the studio for 36 hours.
everything starts to flow as music generally does,” says Littlemore. “It’s such a privilege to work with all of the people we work with – for example, working with Lindsey Buckingham from Fleetwood Mac. The first concert I ever went to was Fleetwood Mac in Australia in the ’80s, so I had a very deep connection to his music. He was such a kind and generous soul.”
“I took a troupe of percussionists deep into the jungle at about three or four in the morning and we played up until the sunrise. That was a very special event. I took back the files and showed Luke what we’d done and he was pretty amazed by it. I also took them into a cave and we played until the dawn in there. As the light starts coming in you started to realise the cave of course is covered in spiders, but in the middle of the night you couldn’t notice, so it was fine,” he laughs.
A tireless and tenacious team, Empire Of The Sun are set to return to home soil as festival headliners for Sydney’s FOMO 2017. With Littlemore already teasing their alternative, unreleased material, T is surely not the last we’ll hear from these leaders of selfcreated, electronic musical concepts.
The other moving parts in Empire Of The Sun’s creative circle are pianist/arranger Henry Hey, bassist Tim Lefebvre from David Bowie’s a k a band, Wendy Melvoin from Prince’s Revolution, and Fleetwood Mac guitarist/vocalist Lindsey Buckingham – all of whom are featured on T . “To invite these luminaries into our studio, it’s a very arresting moment before they walk through the door, but as soon as they do and they plug their guitar, piano or bass in,
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“We wrote a lot of music for this record, some of which is on the record and some of which will come out in the next years – I don’t know how long. There’s another song that we wrote with Lindsey that’s not on the record which is utterly beautiful; we had a gospel choir and all kinds of things. We are always making music, and it’s not a vault rivalling Prince’s, but it’s a vault of beautiful, colourful, positive light that we hope to share one day with the world.” What: T out Friday October 28 through EMI/Universal And: Also appearing at FOMO 2017, Parramatta Park, Sunday January 8
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Australian Music Week An Inclusive Conference By Adam Norris informative for emerging artists and their managers,” says Howell. “That’s something we’ve really tried to target. I find personally at some bigger conferences, most of the people there purely to do business don’t tend to attend many of the panels anyway. A lot of it is stuff they might know. So for AMW we’ve really tried to focus the panels on what’s going to be useful for emerging artists. We have a couple of panels about touring overseas, how to get yourself to showcasing opportunities over there, and some of the logistical issues you need to [overcome]. Visas, work permits, how to get paid, international tax, all that kind of stuff.
The Cairos at Australian Music Week 2015
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he usefulness of music conferences really can’t be overstated. You hear the word ‘conference’, and sure, it doesn’t exactly sound glamorous – truth be told, it kind of sounds like a chore. But music conferences are a different kettle of fish, as the folks at Australian Music Week are keenly aware. Not only are the interviews and panels themselves littered with some of the most interesting and influential names out there, but you get to hear a feast of established and emerging bands at the same time. As conference organiser Jon Howell explains, it’s win-win. “Our idea behind the conference was to start off very small, and try and keep it extremely friendly,” Howell says. “As conferences get bigger, it gets harder for everyone to connect at them. By the time you get to something like South By Southwest,
it’s so massive that it’s very unlikely you’ll wander in there knowing anyone. It’s harder and harder to make real connections. There are some Australian conferences that are reaching that point, while there are a few smaller concerts around that we’ve tried to model ourselves on. “There’s one in Canada called the ECMA, which is East Coast Music Association, and it’s very friendly. All the delegates, all the people who get invited are encouraged to meet and hang out, talk to each other. It’s quite well programmed so you all end up spending a lot of time together. The amount of business that comes out of that is enormous. From someone who is just beginning to emerge as an artist, all the way through to festivals and talent buyers and labels, everyone gets a hell of a lot out of it. Sit every delegate down
with each other, and make them talk! The result they get from a small number of delegates to business created, even just at a dollar value, is amazing.” Networking opportunities notwithstanding (though seriously, if you’re looking to make some friends in the industry, grab a ticket now), the panels themselves cover almost every facet of developing and exporting your musical career. There are insights on how to get your song on radio, the tricks to touring internationally, how to actually encourage audiences to come to your gig in the first place; it’s like a toolbox of career skills, with the added benefit of live music (more than 65 acts) and a conveniently placed bar. “I’ve found in going to a lot of conferences, panels need to be really
“We’ve also got a lot of focus on regional touring. Maybe you’ve reached that point where you’re doing really well locally, and you’re trying to work out what comes next. So we have some expert booking agents to talk about that kind of touring. Regional areas could be quite an untapped market, so we’ll talk about that. One thing that is important to focus on is copyright and the implications of that. It’s something that [many] artists and young managers in general are still quite in the dark about. It’s quite a complicated topic, so we try to explain that all.” If you are keen to meet some of the industry movers and shakers after panels, though, the opportunity is certainly there. Yet actually summoning the courage to cold-call an industry rep is sometimes easier said than done. “If you’re in Sydney and you have any interest in getting involved in the music industry, a conference like this probably is a little daunting to start with, but because it’s small and quite contained, you’re going to find that [what works] really is just going up and saying hello to people. We’re really hopefully trying to create an environment where people can feel comfortable to do that – running into
More than 65 emerging artists are set to showcase at Australian Music Week 2016, and there’s no doubt some of our country’s next big things are among them. We profile three acts from the Cronulla Shire and the surrounding area to find out what they’re planning for their local conference extravaganza.
“WE’RE TRYING TO CREATE AN ENVIRONMENT WHERE PEOPLE CAN FEEL COMFORTABLE RUNNING INTO SOMEONE AT THE BAR AND INTRODUCING YOURSELF AND WHAT YOU DO.” someone at the bar and introducing yourself and what you do. But when you’re starting out, it can be a big hurdle. “[We also have some] amazing overseas speakers: Aengus Finnan, head of Folk Alliance International – FIA have been running a long time, and as folk music around the world has become a thing, it’s become a real force, so to have Angus speaking is pretty amazing. Jed Hilly, the head of Nashville Americana Association – Jed is a really, really influential figure for Americana worldwide, so seeing those two speak about what they do and [buying] them a drink in the bar afterwards to chat is a real opportunity. Peter Noble from Bluesfest, Keith Welsh, Rhoda Roberts from the Opera House and others. Really successful people talking about the principles they live by that have seen them through to the positions they’re in. “We just want there to be a lot of practical information. ‘My band is here, I want it to be there. Alright. I’ll find out what I can do about it.’” What: Australian Music Week 2016 Where: Cronulla When: Wednesday November 2 – Friday November 4 More: australianmusicweek.com
Australian Music Week: Artists In Profile
LETTERS TO LIONS What does your band sound like? We are an indie rock’n’roll band. We make sparkly music that’ll make you shake your hips. You’ll be playing to new audiences at Australian Music Week. What should they expect from your live show? Firstly, they can expect to have a rad time. You will also be seeing four sweaty young men pouring their hearts out for half an hour. It’s going to be good.
BRIELLE DAVIS What does your music sound like? Take a little old-time country, give it an alt-country slant, add a whole lot of soul and a passion for the craft of songwriting – then you have the music of Brielle Davis. Someone once described me as the love child of Norah Jones and Stevie Nicks, which I think is pretty cool! You’ll be playing to new audiences at Australian Music Week. What should they expect from your live show? Smouldering torch songs and ballads that are perfectly accompanied by a glass of whisky or wine. I will be playing some of my solo material, but also some of the songs from the upcoming debut album from Not Good With Horses, which has been described as “atmospheric country soul”. What’s the best thing about being an up-and-coming musician in southern Sydney? Sydney is currently going through an evolution in music, and live music is spreading its wings south at the moment, which is phenomenal. Venues are starting to support artists more than ever, which in turn is seeing audiences grow and grow. With so many challenges to the entertainment scene at the moment, live music needs all the help it can get, and that support is definitely strong in southern Sydney… and it’s close to home!
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What’s the best thing about being an up-and-coming musician in southern Sydney? The best thing is the challenge, thanks to Casino Mike and his lockout laws and how particular the scene has become. With great challenge comes even greater reward, and we are so happy to be in love with what we are doing.
TALL HEARTS What does your band sound like? Everyone in Tall Hearts has come from a different musical background, so that keeps it really fresh in terms of creation and writing. As a result of that, we’ve become like a blues/surf rock/ reggae/funk and brass-inspired hybrid. You’ll be playing to new audiences at Australian Music Week. What should they expect from your live show? We pride ourselves on the live show, so they can expect big energy and passion, lots of dynamics, and should probably be aware that they’ll end up on the dancefloor at some point! What’s the best thing about being an up-and-coming musician in southern Sydney? The best thing is just being surrounded by such promising talent. Southern Sydney has become a real hub for all different styles of creativity, so it’s really special to be seeing that growing. Everybody is trying something different, so there’s something for everyone.
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Big Smoke The Captain Bids Farewell By Anna Wilson
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magine it: you’ve got together with some great friends, amazing musicians you know you can achieve great things with. You work on writing and recording new material with fine prospects ahead of you. Then out of nowhere, your frontman gets sick: it’s cancer and it’s incurable.
Melbourne group Big Smoke have faced incredible musical and personal hardship over the past two years. In early 2015, frontman Adrian Slattery was diagnosed with terminal oesophageal cancer. Spurred on by his strength, Big Smoke kept on working and performing around Slattery’s treatments. Sadly, Slattery lost his battle in May this year, never getting to see the release of his band’s debut album Time Is Golden. For bassist Alex O’Gorman and drummer Luke Brennan, discussing the record’s impending arrival puts them in a strange position. “I think it’s as weird for all parties as it is for us,” says O’Gorman. “I don’t think releases proceed in this way – there’s no real handbook for what to do when you’re sort of carrying out a lot of this work on behalf of Adrian. [But] it’s been cool – it’s good to see the record grow, to find its way into people’s consciousness.”
of both Slattery’s life and the experiences of the band as a whole, and ultimately draws the curtain on both. “Adrian was such an integral part of Big Smoke,” says O’Gorman. “For us to continue would be impossible – it was the creative outlet for Adrian, he performed under the name for years. It was an important time in our lives. It’ll continue within the releases we’ve managed to put out there, it’ll always be something that connects the four of us, but it’s not going to be something that’ll continue to operate in the traditional sense of a band.” “All of our close friends who knew Adrian well, it’s not a shock to them,” Brennan says. “It’s not something we felt we needed to announce, either. A lot of people understand he was essential to the project. For the general public, Black Smoke was Adrian – and I say that with a smile on my face. It’s not something I say with sadness; he was the captain of the ship.” What: Time Is Golden out Friday October 28 through Barely Dressed/Remote Control
“ADRIAN SET THE TONE FOR DETERMINATION STRAIGHT OUT OF THE BLOC S IT WAS INCREDIBLE HOW HE VIEWED CANCER AS A TERRIBLY INCONVENIENT THING.”
Though Time Is Golden resonates closely with their experiences, its title wasn’t planned around Slattery’s illness. As Brennan explains, the name offered strength in more ways than one. “Back in January 2015, when we were doing a demo recording session of the album-to-be up in Sydney, I was listening closely and at the start of ‘Best Of You’, that lyric “time is golden” was just such a beautiful phrase. Adrian and I discussed the dimensions of it and it seemed really astral.” O’Gorman adds: “We decided we were going to make this record in less than six months, so it has a dual meaning.” Both O’Gorman and Brennan speak with nothing but admiration and affection for the late Slattery; his passion, determination and energy proved a force to be reckoned with as they continued touring around his struggles. “Adrian set the tone for determination straight out of the blocks – it was incredible how he viewed it as a terribly inconvenient thing,” Brennan says. “We had to jam and play gigs between when he was feeling strongest – it was never an option to stop altogether. I guess we just started working harder.” “Adrian was an energetic and DIY kind of guy,” says O’Gorman. “He was so used to doing everything – booking shows, promotion – but it kind of got to the point where he relied on us to do the menial tasks. “In terms of playing shows, hassling people, sending emails, he didn’t slow down one bit. We would always let people know if it was going to be touch-and-go, which happened a few times, because it was Adrian’s number one priority to play the music, to show people what we’d been working on.” Time Is Golden isn’t purely centred on the recent trevails of Slattery and the band, and it’s easy for the remaining members to draw broader meanings from it. “The majority of the record isn’t about anything other than just a band,” says O’Gorman. “Adrian used to say it was about life and all that it entails. It’s a very broad record in terms of meaning, and there’s only two songs he wrote after he was sick, so a lot of the music, like ‘Something Good’, just talks about a band, a bunch of people playing music together, trying to get it right.” “We appreciate the irony that all those lyrics are so applicable to what we’re going through now, the challenges of being in a band and committing to rock’n’roll,” Brennan adds. For Big Smoke, Slattery’s legacy will lie in how Time Is Golden resonates with outsiders. “The thing that’s beautiful about Adrian’s writing is that it’s completely universal,” says O’Gorman. “I’d like to think people having a hard time in a relationship could listen to it and find meaning, and anyone from any walk of life could listen to one of Adrian’s songs and it could apply to them. His songwriting can decide what it’s going to mean to you – the lyrics, the mood they conjure, they’re very obscure, I believe. “Because Adrian liked to keep things open, anyone’s opinions are correct really. He really enjoyed when people told him what the songs meant to them – he was never the guy who answered what the song meant, it’s what it meant to you that mattered.” Though Big Smoke persisted with determination and camaraderie through Slattery’s trials and tribulations, they will do so no more. The release of Time Is Golden marks a bittersweet endpoint: it’s a commemoration thebrag.com
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Josh Pyke & Bob Evans An Evening For Two By Erin Rooney
“I was like, ‘Wow, that was 2006,’ and I realised it was ten years,” he says. “It kind of blew my mind, and I thought it would be a cool, fun opportunity to do again.” At the time of that first tour, An Evening With Josh Pyke & Bob Evans, Mitchell had already made quite a name for himself as the frontman of Perth rock band Jebediah, and released his second album under his alter ego. He’d started the Bob Evans project to explore writing acoustic songs that weren’t really suitable for the full band. “I’ve really always thought of Bob Evans as just being me going back to the kind of songs I was writing as a kid, before Jebediah was even thought of,” Mitchell explains. “In high school I had a crappy nylon string guitar, and I used to try and write songs that sounded like Cat Stevens or The Beatles or Don McLean, or just all those records that were around our house.” Meanwhile, Pyke was still emerging on the music scene, and he recalls the admiration he felt for Mitchell the first time they met. “I was already a big fan of his music. My manager was mates with Kev’s manager and I ended up staying with his manager in Perth. He played me the early demo of Suburban Songbook and I was like, ‘This is so fucking cool.’ I met Kev because I got the chance to support him at a small gig in Cronulla, and we sort
of became mates that night, but we didn’t stay in touch.” Pyke was working at a record store and had one song on the radio when they eventually teed up the dates together, and it was there they really got to know each other. Now, ten years and five studio albums later, Pyke has also made a formidable name for himself on the Australian music scene. Much has changed since he and Mitchell first toured together, but Pyke reckons his style of performance is what has changed the most. “When I first started, I was really concerned with seeming too professional,” he says. “I think over time I’ve realised that it’s such a blessing to be in the studio, and such a blessing to be able to even have the opportunity to do this, and you should be able to really take advantage of it and go for it.” For Mitchell, the way he approaches lyrics is his biggest development. “I devote a lot more time and energy into the lyrics these days than I used to,” he says. “When I first started writing songs, especially going back to Jebediah, no one could understand what I was singing half the time anyway!” Having kids has also become a factor in the structure of the musicians’ respective lives since they last shared the road. Pyke remembers the more relaxed lifestyle he led before starting a family: he would often begin his mornings by going down to the beach and having a surf, grabbing some breakfast, then heading home to pick up the guitar. Now, his life is more about balance. “There’s just no possible way you can live that life while being an engaged parent. In terms of how I actually write the songs, it’s probably the same – you’re just sitting around waiting for
lightning to strike – but I’ve worked really hard to build structure in my life so that I can at least be in a place, an appropriate space in case that lightning does strike.” Mitchell adds that having a family has brought inspiration to his songwriting. “It just gives you an extra thing to write about, another experience in your life that you can draw on for songs.” In the preparations for their new show – Another Evening With Josh Pyke & Bob Evans – Mitchell says they’ve found learning each other’s songs quite the challenge. “I’ve always been pretty good at being myself, but I’ve never been very good at being other people,” he says. “What that means is that I can do what I do well, but I really struggle when I have to do what somebody else does. So that’s why I don’t play or learn other people’s songs much – or ever!” But what will make this tour so special is each artist’s admiration for the other’s material. “I have deep respect for Josh’s songs, and him as a writer,” says Mitchell. “So really the main thing is just trying to do my part, and just do justice to that material.” Pyke and Mitchell have co-written two songs in the lead-up to the shows – ‘What The Future Holds’ and ‘Desperate’. After ten years of friendship and performing alongside each other, they’re excited to be hitting the stage together again. And Pyke says at the end of the day, this collaboration is really just about the experience. “There’s no real reason to these things [other] than for fun, you know? And it’s definitely going to be fun.” Where: Factory Theatre When: Friday December 9
Whitney The New Age Of Indie Folk By Holly Pereira
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orn out of the break-up of Smith Westerns in 2014, Whitney are a Chicago collective led by best friends Max Kakacek and Julien Ehrlich. Their modus operandi is to make music that is timeless and heartfelt, with hints of nostalgia and moments of serenity that draw listeners in from the very first listen. Despite their established musical relationship, the new project required Kakacek and Ehrlich to develop their songwriting partnership from scratch. “We had been so close throughout this entire period of weird transition after Smith Westerns broke up, but we’d never written together,” explains vocalist-drummer Ehrlich. “We were just kind of screwing around but there were flashes and moments that we knew we had to follow.
liked our stuff and wanted to work with us, we went out to LA to record the tunes. It felt like the right thing to do. Jonathan is an amazing dude and he has the best work ethic out of any musician I know.” Rado, Kakacek and Ehrlich recorded directly to tape, a decision the drummer says was their only real option. “It just sounds a lot better to us and there’s a real satisfaction of pressing real buttons as opposed to just clicking on a computer screen,” says Ehrlich. “Actually pressing ‘record’ and hearing what you just did on this physical thing that’s playing back to you – we’re just kind of obsessed with that, it’s where all the music that we worship came from as well.”
“I learned how to write lyrics and was taking baby steps in terms of my contribution to the band. Max was doing his own secret stuff and one day he bought a tape. We just wanted to see what it sounded like. I think in the back of our heads we both knew it was gonna happen, but once it happened we were like, ‘Oh shit!’”
On a personal level, Ehrlich emphasises the importance of making music with Whitney for his mental well-being, expressing his gratitude to be able to turn his experiences into lyrics. “Songwriting is definitely a kind of therapy for me and how I come to terms with everything. I was going through a pretty gnarly break-up at the time of writing the album – it only feels really natural to be doing the thing that I love the most.”
This lightbulb moment fuelled Kakacek and Ehrlich to record their debut album Light Upon The Lake, with the studio process a labour of love that brought with it many a memorable anecdote. Whitney recorded with none other than Jonathan Rado of Foxygen fame, but their initial connection with the Californian came about fortuitously.
Whitney pride themselves on their spirit of collaboration, with their songs coming to life through an exchange of ideas. “It’s not like Max and I will write a complete song and then think, ‘This is great for Whitney,’” says Ehrlich. “One of us will come up with an idea and then the other will make it better, and we kind of just go back and forth.”
“Tobias Jesso Jr. had apparently heard our music and showed it to Jonathan at a party,” Ehrlich explains. “We didn’t know either of them so it was pretty wild when Jonathan got in touch. Once we got word that he
Through this process, Kakacek and Ehrlich translate their romantic successes and failures into grand, immersive tracks brought to life by a six-piece live band. “We have six people onstage so there’s a lot to
“WE DON’T JUST PLAY THE TRACK – THE WHOLE TIME WE’RE HAVING A CONSTANT CONVERSATION WITH EACH OTHER, MAKING EACH OTHER HAPPY BY PLAYING COOL SHIT.” 14 :: BRAG :: 686 :: 26:10:16
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Lacuna Coi. photo by Steve Prue
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hen Josh Pyke’s parents were recently moving house, they stumbled upon an unexpected memento they’d framed from the early days of Pyke’s career – a poster from the collaborative tour he and Bob Evans (AKA Kevin Mitchell) played together ten years ago. When asked if he wanted it back, Pyke was gobsmacked.
Shirley Collins A History Of Song By Augustus Welby
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hirley Collins is 81 years old and her music career has been inactive for the better part of four decades. And yet her forthcoming album Lodestar is the subject of rife intrigue and anticipation. In the years since her last release, the English folk singer has become something of an icon. Her recordings made between the late 1950s and late 1970s have influenced multiple generations of folk performers, including Billy Bragg and Angel Olsen. On top of this, she’s received such accolades as a Gold Badge from the English Folk Dance and Song Society in 2004 and an MBE for services to music in 2007. More recently, Collins signed with Domino Records for the release of Lodestar, which has turned up the hype even further. “I’ve never had quite such a reaction to an album as I have with this one,” she says. “It’s extraordinary and people have been really very kind about it as well.” An innovative figure in the 1960s English folk revival, where she worked closely with her sister Dolly and alongside the Albion Country Band, Collins is no stranger to the album release process. However, even with her wealth of experience, she feels some butterflies about the new effort.
look at,” Ehrlich says. “We don’t just play the track – the whole time we’re having a constant conversation with each other, making each other happy by playing cool shit.”
“There is a sort of nervousness about it because of not having made an album for over 30 years,” she says. “My voice isn’t the voice that it used to be. It’s a lower voice now with a few bits of insecurity in it. But what’s been lovely is that everyone’s reacted so well to it, and that’s just such a relief because I was a bit nervous about what people would think of it. I’m quite pleased with the way the album has turned out as well. I think it’s got lots of variety on it and wonderful
musicians playing with me.” Amid the excitement surrounding Collins’ re-emergence, it was also reasonable to feel some apprehension. Not only has it been 38 years since her last album, but she was forced to give up performing in the early ’80s due to the voicedebilitating disorder, dysphonia. There ensued a lengthy period when Collins assumed her recording days were over, but that started to shift in the early years of this century. “[Musician] David Tibet phoned me up one day and said, ‘I really love your music. Can I come and talk to you about it?’ I just burst into tears and said to him, ‘I thought I’d been forgotten.’ He asked me on several occasions over the years if I would consider singing at one of his concerts and I kept saying no. Then I started to say yes, but when it came to it I couldn’t do it. Then finally 18 months ago I said yes.” It was this comeback performance that sparked the prospect of a new Shirley Collins album. “Ian Kearey, who’s one of the instrumentalists on the album, came along and accompanied me and we sang a couple of songs at the Union Chapel in London in front of 600 people. I was a bit nervous, but the audience were really lovely and then I started to think, ‘I can still sing a bit.’ And also the songs that I sing, I’ve learned them mostly from field recordings of people who are in their ’70s or something. So those older voices are actually ones that I learned to love.” Lodestar is made up of English, American and Cajun songs dating from the 16th century to the mid-20th century. Collins spent much of her early career collecting traditional English and American folk songs and recording versions that framed the
originals in a different context, and she managed to uncover a few more hidden gems for Lodestar. “The first one, the ‘Awake Awake’ song, was written in the 16th century when there was an earthquake in London and part of Old St Paul’s Cathedral was toppled. There was a ballad writer at the time, and a religious man, who wrote this song warning the people that this earthquake was a sign of God’s displeasure and if they didn’t change their ways there would be worse disasters. “What’s remarkable about it for me was that I had never heard this song outside of the printed version I saw in the book The Folk Songs Of Herefordshire. And in 1909 Vaughan Williams actually noted it down from a country woman in Herefordshire. I thought, ‘Where has this song been all that time?’ because there weren’t any other versions of it around. How can a song disappear for 400 years and then show up again? So that was a song that had completely fascinated me for a very long time.” The remainder of the tracks on Lodestar possess a similarly unique significance for Collins. “I wanted to do two songs from America from when I was there in 1959 collecting folk songs in the Deep South with Alan Lomax. The songs just floated into my mind, I think, and then once we started trying to do arrangements for them, there they were. “Equally there were a different ten songs I could’ve chosen, so I’m just hoping I can make another album and fit the next lot in.” What: Lodestar out Friday November 4 through Domino
Despite having seen many corners of the world in his career so far, Ehrlich expresses his excitement to be heading to Australia next year on the Laneway Festival tour. “I came over to Australia for the first time when I was 19 and loved it over there. I kind of figured we’d get the offer to do Laneway, and once we did I was freaking out. The rest of the band were just kind of like, ‘What do you mean? Like yeah, we want to go to Australia, but why are you freaking out so hard?’” Ehrlich laughs. “I just know how well curated it is and how beautiful the festival is and I was just like, ‘You guys don’t understand!’” Now that Whitney are becoming a success on the international stage, Ehrlich can look back with satisfaction at how far the band has come in such a short amount of time.
Shirley Collins photo by Eva Vermandel
“At a certain point, once we finished the record, I thought I’d just be happy if 20 people enjoyed it while it impacted their life on some level,” he says. “Once we surpassed that, everything since then has just been some sort of gift. It’s just like, ‘Wow, we’re now selling out shows all over the world.’ We put tickets on sale for a show in Copenhagen and sold 500 tickets in one day. When I hear stuff like that, I can’t help but smile. “I’m really fortunate to basically be doing the only thing I know how to do for a living. This is something we’re completely obsessed with. We put our hearts and souls into it.” What: Laneway Festival 2017 With: Tame Impala, Nick Murphy, Car Seat Headrest, White Lung and more Where: Sydney College of the Arts When: Saturday February 4 And: Light Upon The Lake out now through Secretly Canadian
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Cloud Control Back Down To Earth By Anna Wilson Since the positive reception to their second record Dream Cave way back in 2013, Cloud Control have embarked on some pretty interesting adventures. “We came back to Sydney from London and we said farewell to our bass player – that was a big transitional change that knocked us out for a bit, or rejuvenated us, whatever the interpretation is,” says Lenffer. “We toured Europe, playing festivals and supporting various bands around Belgium, the Netherlands – it was pretty magical. We haven’t toured overseas for two years now. India was the last time we played overseas, so I’m starting to feel like if it ever happened, it was a dream.” Writing new music, learning how to self-produce and isolating themselves with short stints in a seaside bungalow up the coast almost drove Cloud Control mad, but the hard work has just about paid off. They’ll return to the stage at the Halloween-themed House Of Voodoo event this weekend on the Central Coast.
T
hey’ve been off the radar for quite some time, hidden away working on pastry-making, kickboxing and other personal ventures, but now Cloud Control are getting ready to return with a fresh new album and a host of shows.
“We’re in the fi nal process of fi nishing our record, with the premixing and mixing saved,” reveals vocalist and percussionist Heidi Lenffer. “It sounds great and we’ve done it all ourselves this time, with a bit of help at the end from our friends.”
Lenffer explains it’s still early days for her to be sharing too much information on the new album, which will be Cloud Control’s third, but she teases: “I might be more forthcoming when it’s closer to the time. We’re still waiting on the juice!”
“IT’S NOT HEADLINE-GRABBING BUT I GUESS SOMEONE SOMEWHERE WILL WANT TO KNOW THERE’S A NEW ALBUM COMING, PROBABLY NEXT YEAR.”
Join us on the exclusive Bob Downe “Love Boat Cruise” with the one man comedy, dance and songg extravaganza in the Sydney Harbour.
Inclusions: - 3.5 hr cruise around Sydney Harbour - 3 course meal - antipasto, roast chicken or slow cooked lamb shank and cakes. - Award winning Bob Downe Live Comedy Act
Dates: - Wed 16th Nov at 7:30pm - Wed 23rd Nov at 7:30pm - Wed 30th Nov at 7:30pm
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“We thought it would be great to play a party,” says Lenffer. “It’s our first show in a while, so to get back into the groove of playing shows, we really wanted to have a fun experience. Anyone reading this who’s in a band will attest to this – studio time can be the highest of the highs and lowest of the lows, but getting out onstage and playing for people is what reminds us that there’s an end point for the music.” House Of Voodoo might seem a strange choice for the band’s bright and sunny sound, but
Lenffer is adamant it’s solely about having fun. “It’s just a party, right?” she says. “Halloween is all about the vibe of letting loose rather than being a horror show. We’re going to play some of the new material – maybe three or four new tracks.” Following their Halloween appearance, Lenffer anticipates a lot more country-wide performances for Cloud Control. “You’ll get sick of us because we’ll be playing everything we can. I’m just so ready to get on the road again, I can’t overstate that – it’s not teed up yet and we’ve got to lock in dates, but we’ve got some things cooking. “When we chose the [House Of Voodoo] show, we were at a premature stage – we don’t have a lot to say about the new album. We’ve just been writing for three years. It’s not headline-grabbing but I guess someone somewhere will want to know there’s a new album coming, probably next year.” Cloud Control may be keeping us on the edge of our seats with the prospect of new material, but at least there’s a live set to appease our curiosity – and Lenffer couldn’t be more excited to play dress-ups. “I’m wondering how many Donald Trumps will be in the crowd. I thought of going as Hillary, but she just wears the power suit too well – I couldn’t pull it off.” What: House Of Voodoo With: Kilter, Remi, Yahtzel (DJ set) and more Where: Proud Mary’s, Erina When: Saturday October 29
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WHY NOT BOOK A GROUP? It is never too late to book your Xmas Social Gathering. Call us on 1300 551 804. 1300 551 804
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arts in focus
free stuff
arts news...what's goin' on around town... with Alex Chetverikov, Emily Norton and Anna Wilson
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five minutes WITH
JUST DANCE 2017
MURRAY LAMBERT, WRITER/DIRECTOR OF MY FATHER’S LEFT TESTICLE y Father’s Left Testicle opens in November at the Depot Theatre. Where does the title come from? My Father’s Left Testicle is a reaction to the “go back to where you came from” mentality, which is so closeminded and dehumanising. Nationality is a biological roulette – I did nothing to earn my citizenship but now have a democratic say in who else can join the elitist ‘club’ of Australia. Seeking asylum shouldn’t be an issue concerning race, religion or nationality. We all originally came (excuse the pun) into the world the same way. We need to focus as a species on our similarities and not our differences, which will lead to a much greater empathy for others. Also, it was an opportunity to embarrass my parents, which is partly why we all create art.
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What makes comedy a good lens through which to view asylum seeker issues? We’ve become so desensitised to the refugee story. I once had a high school English teacher tell us she’d shoot herself if she had to read another “melodramatic creative writing story about refugees in a boat”. By using comedy we re-engage the audience in this important narrative. Laughter is an amazing equaliser; once you’ve laughed with someone it’s much easier to cry for them. Comedy is also great at instantly unveiling our inner psyche.
It forces us to face our own beliefs and views of the world in a heartbeat of uninhibited laughter. As both playwright and director, does taking the text to the stage come more easily to you than if another author were involved? Absolutely. It enables me to be confident the text is interpreted by us as it was originally intended, which is a huge help in the rehearsal space. Tell us about Mustard Seed Productions, the new Sydney-based production company. We’re a collaboration of hard-working artists from varied disciplines, passionate about telling stories which explore the milieu of contemporary Australia. Which of your father’s testicles do you think you came from and why? Definitely the left one. Just like me it’s a bit twisted, not very hairy and a little heavier than it probably should be. What: My Father’s Left Testicle Where: Depot Theatre When: Wednesday November 2 – Saturday November 12
Of all the formulative cornerstones of pop culture in the last three decades or so, Nintendo stands with few others in its shaping of generations, right through to its current handheld platform, the Wii U. Speaking of gaming institutions, Just Dance 2017 is the latest instalment of the biggest-selling music video game series of all time, and launches this week with songs by Sia, Justin Bieber, Fifth Harmony, Major Lazer and more. In total, there’s over 200 songs available on Just Dance Unlimited. The game is also available for Wii, PS3/ PS4, Xbox 360/One and PC. We’ve got two copies of Just Dance 2017 to give away for the Wii U. Bust a move over to thebrag. com/ freeshit to be in the running.
2017 AT THE GALLERY
Lighten Up
THE LIGHTER SIDE
Genevieve Loy Kemarre
UTOPIA ON SHOW
Australia’s oldest exhibiting Aboriginal art gallery Cooee Art Gallery has opened its first solo exhibition of renowned Dreaming artist Genevieve Loy Kemarre. Kemarre’s new body of works, entitled A Utopian Vision, focuses on the dreaming of the bush turkey. On a deeper cultural level, Kemarre’s work embodies the traditions of women’s ceremonies, depicted through a harmonious sense of colour. A Utopian Vision is on show until Saturday November 19.
The Shadow Box photo by Robert Catto, image by Natalie Behjan
Senior Moments
The new theatre production Lighten Up looks to tackle some of the prejudices and nuances of cultural identity through the light-hearted vehicle of romantic comedy. After a highly successful run with Bollywood films, NIDA-trained Indian-Australian actor Nicholas Brown has teamed up with stand-up comedian Sam McCool to explore the in-between of mixed races and cultures that much of our modern Australian society is founded upon. Helmed by director Shane Anthony, the play’s premise pivots on Indian-Australian man John Green and his desire to star in the whitewashed soap opera Bondi Parade (think blue-eyed, blonde-haired, beachbound stereotypes). There’s only one problem: he’s simply too brown. When John falls for an indigenous woman, the ‘true blue Aussie’ fantasy is brought into turmoil. Lighten Up will play at SBW Stables Theatre from Wednesday November 30 – Saturday December 17.
HALLOWEEN AT THE SAWMILL
RESPECT YOUR ELDERS
Early next year, the hilarious comedy revue Senior Moments will return to Sydney for a second season. With two venues set to present the show, the fresh and funny Senior Moments looks to surprise and delight with its traditional revue style of comedy and songs. Written by Angus FitzSimons and Kevin Brumpton, the revue will see a cast of veteran performers including Lex Marinos, Benita Collings and John Derum make fun of the trials and tribulations of growing old (dis)gracefully. Senior Moments is playing at Parramatta’s Riverside Theatres from Thursday February 9 and The Concourse in Chatswood from Wednesday February 22.
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The North Shore’s favourite Italian restaurant, The Sawmill in Pymble, is throwing a Mexican Halloween party on Monday October 31. In collaboration with the “crazy event gangsters” from Sparklebox, the night will include a Day Of The Dead menu, spooky giveaways, props and live entertainment. Tickets are $80 including dinner and all the fun. Visit thesawmill.com.au for bookings and more info.
WE NEED TO TALK
Pop Up Theatre and the Depot Theatre are set to present a new play, Let’s Talk About You. It’s a black comedy about the love between women, written and co-directed by Rivka Hartman with dance maestro Christine Mearing and starring Anne Tenney, Elaine Hudson and Taylor
The Art Gallery of New South Wales has unveiled its exhibition program for 2017. Andy Warhol, Georgia O’Keeffe, Mikala Dwyer, Robert Mapplethorpe, Pat Brassington and Rembrandt are just some of the top names in art whose work will feature in the 2017/18 Sydney International Art Series exhibition. Also featured next year in partnership with Carriageworks and the Museum of Contemporary Art will be The National: New Australian Art. Artists exhibiting at the gallery as part of this program will include Taloi Havini, Alex Martinis Roe and Tiger Yaltangki. For full details of what’s in store, visit artgallery.nsw.gov.au.
IT TAKES TWO
Rats is a double production consisting of two plays written and directed by Chris Huntly-Turner and presented by the Fledgling Theatre Company. In the performance Dirt, men will fight enemies abroad, while in Moonshine, women will fight enemies within. Each play is fast-paced, exciting and totally brutal. Go full throttle with Rats until Saturday November 5 at the Old 505 Theatre.
The Shadow Box
DANCING IN THE DARK
The Old Fitz Theatre has announced a season of The Shadow Box by Michael Cristofer. Winner of the Pulitzer Prize for Drama and the Tony Award for Best Play, this compelling piece follows three terminally ill cancer patients living in the grounds of a hospital. A courageous and touching play, The Shadow Box addresses the triumphs of the spirit as the body deteriorates, and the emotions experienced by patients and families throughout the ordeal. Jackson BlairWest, Jeanette Cronin and Anthony Gooley will star in this show produced by Dino Dimitriadis. The season runs from Tuesday November 15 – Saturday December 10.
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Owynns. The story of this female love triangle and its consequences is a comic attempt to annihilate sexism, and it’s sure to have you in tears. Let’s Talk About You will run from Wednesday November 16 – Saturday November 26 at the Depot Theatre.
arts in focus
Hacksaw Ridge Miracles And Bloodshed By Joseph Earp
T
he truth really is stranger than fiction. If it weren’t for the “based on a true story” tag slapped across Mel Gibson’s new film Hacksaw Ridge, it would be simply impossible to take the flick seriously. After all, the bravery of the lead character Desmond Doss defies belief, and the man’s decision to serve as a medic during World War Two while refusing to carry a rifle is so shockingly selfless as to be genuinely confounding. Indeed, it seems as though even the film’s principal cast struggled with the unbelievable twists and turns of the tale. “It’s a really special thing, this story,” says Australian actor Luke Bracey, a rising star who plays Smitty, one of Doss’ trenchmates. “It’s amazing that it’s a true story. If you just saw it in a movie, you just wouldn’t believe it … The world should know this story, and it’s kind of amazing that people don’t.” Doss (expertly played by Andrew Garfield) refused to bear arms because of his religious convictions, and the film does have a strong seam of spirituality threaded throughout. Gibson’s lead weathers attacks from a range of sources with Christ-like resolve, with some of the earlier assaults on his character coming from Bracey’s Smitty.
A Flea In Her Ear Flea In Her Ear is a rather vintage production. Written back in 1907, it will hit the Sydney Theatre Company stage just shy of its centenary, which is a remarkable achievement in itself and says a lot about the staying power of Georges Feydeau’s world-renowned farce. Adding to the anticipation is the fact it has been updated by outgoing STC artistic director Andrew Upton and features a large cast of seasoned performers. The effervescent Helen Christinson explains exactly what contemporary audiences should expect from this comic classic.
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“The original is already very funny,” Christinson says. “Back then you’d go to the theatre and have a good laugh, and hopefully this will do the same. I think Andrew has really contemporised the language and some of the references, which can be quite tickling for an audience. To see a show written a hundred years ago, where we’re all in period costume but with a more contemporary style of speaking and referencing to things – I always like that when I see it, I get a little thrill. I think these audiences will as well. So he’s done a complete overhaul of the language, but it’s made it so much fun.
“FRENCH FARCES ARE MORE INTERESTED IN RELATIONSHIPS AND INTRIGUE: ‘IS THAT PERSON HAVING AN AFFAIR?’” would rather achieve it through not dying). As Christinson explains, there may well be quite more of the author woven into the story than you’d expect. “I was just reading yesterday about him. He had a questionable paternity, so he wasn’t quite sure who his dad was, and his mum apparently had several lovers, and there’s a theory that when he wrote this play it wasn’t necessarily autobiographical, but he certainly knew what he was talking about. I suppose the French farces are always like that. French farces are more interested in relationships and intrigue: ‘Is that person having an affair?’ It’s been quite fun to explore all of that.”
“I have probably been quite lucky in that the comedies I have done have been tried and tested. I’ve done a Noël Coward, a West End comedy, things you know work. This one is slightly different in that while it’s been done before, this one hasn’t been done before because it’s a brand new adaptation. So we won’t know until we get it in front of a crowd.”
Following our conversation, Christinson is off to join the rest of the cast and crew for the first full run of the production, and her excitement over the phone is palpable. Although previews are still a week away at the time of this interview, her enthusiasm for what the crowd will take from the show leaves you with little doubt the team is confident it has a winner on its hands. Still, finally encountering the energy of a live audience can find the production evolving all the way to opening night.
Feydeau wrote over 60 plays, chiefly farces, but it is those like A Flea In Her Ear and The Girl From Maxim’s that have ensured his legacy. In any piece of literature, it is hard not to read the personality of the author into the text; it’s that age-honoured custom of achieving immortality through your work (with the exception of Woody Allen, who
“Especially with comedies, you can find a lot of tweaking,” Christinson says. “All of a sudden you have people laughing, which of course hasn’t happened that entire four weeks and you kind of forget that what you’re saying is actually funny! ‘Oh yeah, I have to wait for people to laugh before I can say my next line.’ But in the past, especially
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with new Australian work, I’ve had things change quite dramatically, all the way up to having a rewrite of the entire ending the opening night of the show. That was huge, and because it’s a new work, you’ve workshopped but never had it before an audience. If you’ve had three or four previews you’re lucky, but it really highlights something that needs to change. And you want it to be the best it can be, of course, so you say, ‘Yep, we’ll rewrite this! Everybody, learn it for tonight!’”
“IT’S CRAZY WHEN ONE OF THE BEST STORYTELLERS IN THE WORLD TRUSTS YOU TO TELL THIS STORY WITH HIM.”
“Definitely on the surface, [my character] looks mean for the sake of being mean,” Bracey explains. “But he’s certainly not, and it was really great to discover … those reasons why he is kind of the way he is. He’s a survivor really, in all elements, and I think for me to go through that as an actor was a little cathartic personally. It was [a] release. “I mean, [Smitty] had the opportunity to confide in someone, in Doss. Even though it’s someone that he thought he hated, someone that he thought he had no time for, he learns that being so different is exactly what makes them so similar. It’s a beautiful arc that way. I’m very fortunate to have this character and this arc. Even though it’s not the biggest role I’ve played – I mean, I’ve been in movies where I was the lead – it was really interesting to explore that.” One might guess that such tricky nuances of character required a certain degree of directorial control and vision, but Bracey stresses that Gibson gave him almost complete freedom throughout the creative process. “I got to sit down with Mel for a bit a number of times before we started filming, and really just talk to him about where we wanted this character to come from and who we wanted him to be. I mean, Mel is so trusting in us as actors, which is a really kind of crazy thing. It’s crazy when one of the best storytellers in the world trusts you to tell this story with him. That gives you a lot of confidence.” The film’s latter half is dominated by strikingly violent battle scenes, with blown-up limbs and strewn guts becoming the order of the day. But even as Hacksaw Ridge begins to wade through bloodshed and shell shock, proceedings never become overtly draining, largely thanks to the very genuine chemistry between the actors who make up the central army platoon.
It has also been an inspiration for Christinson to work under the direction of Upton, who has just one more play on his schedule for STC (Speed-The-Plow) before moving on. Having also worked with Michael Gow once before, Christinson has been exposed to some of Australia’s theatrical greats, and these relationships have had a profound effect on the young performer’s outlook. “I love working with people who inspire me, but also allow me to find my own way through the piece, and give me that freedom to explore lots of different choices – where I have an open enough relationship with them that if I’m struggling I can go to them for help, or they can see that I’m not sure which direction to take. Andrew is magnificent and so much fun to work with, letting us all run around and be very silly. “With comedy, especially this one, timing is such an important issue, so you need to make sure that not just the word, but the physical comedy is completely tight. There’s certainly a lot of comedy in the words, there’s a lot of fun to be had there. But it’s also coupled with this glorious comedy that’s come out of the work we’ve been doing on the floor, which should be heaps of fun for the audience. It’s really kind of wonderful.” What: A Flea In Her Ear Where: Drama Theatre, Sydney Opera House When: Monday October 31 – Saturday December 17
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A Flea In Her Ear photo by James Green
[THEATRE] Updating The Farce By Adam Norris
In fact, early on in proceedings it appears as though Smitty is the antagonist of the piece: he struggles with Doss’ evangelism, and his own gung-ho take on nationalism frequently puts him at direct odds with the almost saintly virtues of the pacifist. But Smitty
is far from a one-note character, and Bracey’s subtle shifts in temperament prove to be one of the film’s defining treats.
The Turquoise Elephant [THEATRE] Leaving A Footprint By Adam Norris
“I
t’s the end of the world as we know it,” Michael Stipe once sang, “And I feel fi ne.” A small, smug part of me has always appreciated that cavalier attitude towards the apocalypse – why shouldn’t you take a selfie as we ride this roller coaster into the fire? With the premiere of The Turquoise Elephant, it seems I’m not the only one. This viscous, delightfully dark comedy about catastrophic climate change sounds as hilarious as it is troubling, and as actor Belinda Giblin explains, you’ll laugh, but you’ll probably feel bad about doing so.
Hacksaw Ridge photos by Mark Rogers
“The whole thing is a little circuslike,” Giblin chuckles. “If people are expecting a realistic play, they’re not going to get that. They’re going to find something they have to adjust to really quickly. It’s about the very cataclysmic end of climate change, and we five characters all represent different aspects of that. There is a fatalist, denialist, terrorist, extremist and activist. We’re all a different attitude to the problem. It’s set around 20 years down the road, but it’s a real colourful, loud play.
“When we all came together, I was a little like, ‘What is it going to be like, coming together with 15 other actors? There might be some egos running around,’” Bracey says. “But it was the exact opposite: it couldn’t have been a better group of blokes coming together to tell this story. We’re all so committed to this story. We all felt such great responsibility with this man, Desmond Doss, and this impact he should have on the world. Everyone was definitely on the same page, and was so committed to it. So that camaraderie that you see was very real, actually – I think we were all very privileged and humbled to be part of this story.” Given the cast and crew felt such a sense of responsibility towards the real-life people they were setting out to depict, there was a definite sense of risk associated with the film. But the efforts of all involved are already paying off: Hacksaw Ridge received
a ten-minute standing ovation at the Venice Film Festival, and critics are singing its praises. However, as far as Bracey is concerned, the true stamp of approval came from a less mainstream source. “Desmond never wanted himself to become a hero like this,” Bracey says. “All he wanted was the truth to be told. I was lucky enough to meet some Medal of Honor recipients when I was in America last week, actually, who knew Desmond. They came up [and said],‘This is exactly how he would have wanted this to be told.’ To hear from people who knew him, and to hear them say he would have been proud of it… they’re all the critics that I need.” What: Hacksaw Ridge (dir. Mel Gibson) Where: In cinemas Thursday November 3
“My character Olympia is particularly extreme. She is with her sister, Augusta, played by Maggie Dence. We are entitled billionaires who live high up on a hill, far away from rising waters in a kind of secure dome. She follows horror all over the world – she loves that there are islands going under and the last polar bear is drowning in the Arctic. She’s a bit of a ghoul, but she loves it. It’s excitement to her, the way the planet is grasping to survive. She finds that deliciously good fun. She’s a bit like Trump, really. ‘Let’s just see what I can do to destroy things here, it will be fun! I’ll take the others down with me.’ Olympia has no political interest whatsoever, she doesn’t give a stuff. And in that way, she is quite representative of a lot of people in regards to climate change.”
of theatre I see, I realise, ‘I don’t have to like this character. It’s not imperative. As long as you make me think!’ “A political play that hits a nerve or has some kind of impact is going to be a good play. The value is that people start identifying where they might sit, and whether or not that is a particularly good position to be in. It challenges people’s political perceptions, it challenges you. I think in political theatre you need to be careful not to become lecturing, and this play certainly avoids that. [But still] it’s a bit scary. I think people like being challenged by political theatre – perhaps slightly destabilised, which isn’t a bad thing.” Having won the Griffin Award in 2015 for an outstanding play or performance text, The Turquoise Elephant was always going to be an anticipated production. Under Gale Edwards’ direction, this decadent and distressing tale is just the balm to your environmental apathy, and comes with the added benefit of being outrageously, darkly absurd (it also features a rather sneaky appearance from the one and only iOTA). “People will walk away gasping,” says Giblin. “It could be a didactic bit of polemic, but that doesn’t win people over in arguments. You can
identify with [a play] and think it’s rather close to the bone, but here it’s done in a certain circus-like way. So we do it through humour, which is in a funny way more dangerous. People think, ‘Shit, I laughed just then, maybe that was inappropriate.’ “The other thing about this play is it’s very technical. It’s a mixture of Commedia, Restoration comedy; it’s absurdist, larger than life. My character is quite bizarre. If people go thinking they’re going to see a naturalistic play about global warming, they’re going to be quite surprised. There are visuals, sound effects. And Gale Edwards has been such a wonderful director to work with – she has such a vision, and I’ve enjoyed working with her so much. “We’re going to be very interested to see how people react to the style of the play. I like it because it takes a bit of courage to put yourself out there in this particular production. There’s no way we can be cautious. We have to be brave and bold, and I think that is also true of our audience.” What: The Turquoise Elephant Where: SBW Stables Theatre When: Until Saturday November 26
It’s bamboozling that there are still deniers of climate change out in the world when the evidence supporting it is so comprehensive – especially when some of these folk are our elected officials. You can’t scroll through Facebook without seeing another instance of a species being added to the endangered list, or footage showing smog has become sentient in Tokyo, yet the conversation about addressing these near-future concerns somehow never gains great momentum. Playwright Stephen Carleton, following in the footsteps of Eugène Ionesco, has attempted to sneakily get around this obdurance through good oldfashioned entertainment. “I think when I see theatre, if I know this is a lecture, I stop listening,” Giblin says. “It doesn’t have to be palatable – you don’t need to love the characters in a play. Someone said to me the other day, ‘As long as we feel for each character, as long we like them…’ I don’t agree with that at all! I think you can be a character that people just hate. I don’t think we can make those decisions about character. I do think there is something to like in all of the characters of this play, but a lot
“PEOPLE LIKE BEING CHALLENGED BY POLITICAL THEATRE – PERHAPS SLIGHTLY DESTABILISED, WHICH ISN’T A BAD THING.” thebrag.com
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film reviews
arts in focus ■ Film
THE NEON DEMON In cinemas now Danish provocateur Nicolas Winding Refn is a brand of his own now – complete with logo splashed liberally across the credits – and his latest neo-horror objet d’art, The Neon Demon, is that brand’s clearest expression. Pulsing with repressed animosity and insatiable hunger, it is a superficial but viscerally satisfying nightmare ride into the world of modelling.
■ Film
INFERNO In cinemas now Ever felt like you’re watching great artists totally phone it in for the sake of cashing a cheque? The director of Apollo 13 and Frost/ Nixon takes on the world’s most profoundly inventive vision of hell and somehow manages to make the hunt to stop a plague feel like two hours in purgatory. Robert Langdon (Tom Hanks) wakes up in hospital, soaked in blood from a wound to the head, with no short-term memory and a biotube in his pocket. Teaming up with Dr. Sienna Brooks (Felicity Jones), he is set on the path to prevent the release of a globeshaking virus with clues linked to Dante’s Inferno. That most convenient of thriller contrivances – the amnesiac hero – is but the first circle of the hell into which you tread. Director Ron Howard is gifted one of the most visually compelling reference points in literary history, and for a time he makes good use of it, presenting Langdon with (completely unmotivated but plot-convenient) hallucinations of Florence as hellscape. Men with their heads twisted backwards, glass walls exploding in showers of blood, flame and terror. But these were shot for the trailer; after 20 minutes, they appear no more.
What's in our diary...
Whatever your feelings about Dan Brown, The Da Vinci Code’s draw was the prize for solving the riddle; Angels & Demons arbitrarily introduced a larger threat but the symbology and machinations of the murderer intrigued. Inferno lazily spirals downward with a capricious apocalypse drive held by a sociopath whose grand nihilism is espoused through teenage spasms of emotion. At its worst, Inferno is comically bad – I couldn’t help but laugh as a SWAT-style team kicked in a door, machine guns held aloft, and announced themselves as the World Health Organization. Sidse Babett Knudsen’s doctor explains just how virulent Zobrist’s plague is before they even know the form it takes. To inject some interest into a train ride, Koepp concocts ten minutes of exposition on a romance we’re somehow supposed to invest in, despite not knowing those involved. That great love is dismissed with the wave of a hand later on, all to shoehorn in the most groanworthy nod to the film’s namesake. In Dante’s Inferno, Lucifer has three mouths with which he devours traitors to their benefactors. That’s one mouth each for Ron Howard, David Koepp and Dan Brown: traitors to the source material they milk for a lazy profit. David Molloy
In keeping with the stylistic tone set by the hugely divisive Only God Forgives, Refn reminds us of his core impulse to produce pornography. Demon is total cinematic porn: every frame a glittering jewel designed to stimulate, if not titillate. For a story focusing so closely on the objectification of the female body, Refn is careful not to fall into his own trap, with nudity appearing sparingly. This is maybe all he spares, with the film’s final phase descending into every act of depravity imaginable. As desire, frustration and obsession boil over into action, each undercurrent of the narrative is gruesomely realised in acts of cannibalism, necrophilia, sexual violence. This may be one of the few true
horror films of the year, in that it induces shock so effectively. There’s something hypnotic to the way in which the narrative, co-written by Refn, British playwright Polly Stenham and Mary Laws, makes the viewer complicit in the culture. We are drawn to judgement on Jesse’s appearance and that of her peers, and her naivety in contrast to the icy Sarah (Abbey Lee) and the two-faced Gigi (Bella Heathcote); we reflect Christina Hendricks’ offhanded comment, “I would never call you fat, but that doesn’t mean others won’t.” Every element of the film is predatory, from the silent gaze of Natasha Braier’s gliding camerawork to the characters themselves. It’s like watching Perfume: The Story Of A Murderer if Grenouille himself were the director, and in that framework lurk characters of varying voracity. Keanu Reeves takes a turn as a rapacious motel owner, claiming one of the most genuinely galling scenes
in the film, and even Jena Malone’s sweet make-up girl applies her craft to corpses as a morgue worker, in a nod to the lifelessness of overly constructed beauty. Each of these characters and their arcs are rather two-dimensional, but then, everything is artifice, crafted for first impression. It hardly matters that the plot is close to superfluous, its insights old hat; Refn’s purpose alone makes up the gap. A problematic thread of the plot implies that women in the industry are often their own worst enemies, but no one is innocent here: not even doeeyed Jesse. Though its beauty may only be skin-deep, The Neon Demon satisfies some insatiable, inexplicable craving we don’t wish to admit, all the while threatening to drive the shards of mirror it holds up to the world straight into our eyes. David Molloy
Arts Giveaway What's been on our TV screens this week Head to: thebrag.com/freeshit
S AY W EA IV G
All references to Inferno are superfluous at best – contrary to other films in the series, there’s no real focus on the puzzles. When they appear, they’re explained to death by Langdon, but why is he explaining them to the only other person in the room: Brooks, a scholar of Dante? The clues have been littered around by billionaire geneticist Bertrand Zobrist (Ben Foster),
who is dead within two minutes and whose reasons for placing his plague at the end of a globetrotting puzzle extend as far as servicing the plot. Screenwriter David Koepp has also dramatically changed the more challenging ending from the novel, in another effort to (somewhat ironically) further sterilize this dry exercise in genre.
Jesse (Elle Fanning) is 16 and wants to be a model in Los Angeles. Lying about her age, she is quickly signed to a prestigious agency, and her ineffable allure draws attentions both desired and unthinkable into her orbit.
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Arts Exposed
W SoftMachine
Liveworks 2016 Carriageworks, Thursday October 27 – Sunday November 6 Experimental art is, by its very nature, an adventurous, intriguing and unknown quantity. That’s part of what makes Sydney’s Liveworks festival such an exciting annual event. Bringing together ambitious artists from across Australia and the Asia-Pacific region, this year’s event is set to begin. Ranging from the individual and the intimate to larger-scale participatory installations, it presents unique platforms for social discourse, from Choy Ka Fai’s exploration of China’s political and social context through the vehicle of bodily movement in SoftMachine, to the ecologically charged eroticism of Ecosexual Bathhouse from Perth-based artist collective Pony Express, or the countless other artists and educators involved. Among Liveworks’ presentations are specially curated practice-based sessions to refine one’s method, and a chance to meet like-minded artists within this immersive capacity.
hen your bookshelf serves as a soundtrack in its own right, you know your reading material is on point. The fine people at Hachette Australia have released a stunning collection of music biographies throughout 2016, and we’re putting them all together in a prize pack for your leisure time enjoyment.
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From The Beach Boys’ iconic songwriter Brian Wilson in his own words (I Am Brian Wilson), to Philip Norman’s Paul McCartney: The Biography, Cured: The Tale Of Two Imaginary Boys by The Cure founding member Lol Tolhurst, Graeme Thomson’s biography of Thin Lizzy’s Phil Lynott (Cowboy Song) and legendary music journalist Mick Wall’s latest, Prince: Purple Reign, Hachette has your summer reading covered.
For your chance to win one of three prize packs including all five books, head to thebrag.com/freeshit.
To see the full program and book, visit performancespace.com.au. 20 :: BRAG :: 686 :: 26:10:16
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out & about Queer(ish) matters with Arca Bayburt
Sydney’s Wild Gay West
Parramatta: Sydney’s new gay playground?
S
ydney queer culture has been steadily eroded into a towering, homogenised dullness over the last decade. The process has gained considerable momentum over the last two years and I could sit here and whine about the lockout laws being the death knell, but that would be far too convenient.
view of gay culture that we’ve collectively decided it can only exist on one or two streets?
And inaccurate.
Some of our community leaders, who I believe like to think of themselves more as monarchs than public servants, have allowed this to happen because of their greed and short-sightedness. Instead of bickering over the pathetically small piece of power they own, like a pack of deranged seagulls shredding a box of soggy chips, perhaps it’s worth considering that Oxford Street is not the be-all and end-all of queer community hubs, despite its history.
Sydney seems to be suffering from a violent ebb of ideas and community growth. I feel like it’s got a lot to do with poor community leadership more than any government or venue restrictions.
Neither is Newtown, for that matter. In fact, nowhere is, which means we’re lucky enough to be able to build anywhere, and I feel the west is largely ignored for a whole host of bullshit reasons.
Considering how the lockout laws have so utterly captured the atrophied imaginations of countless swathes of hipster idiots, it’s devastating to slowly come to realise the tiny scope through which they, and our community leaders, view the city. They see Sydney and place a beating heart in the centre of it, forgetting the other parts, the vitals, the extremities. Ignoring it all while glumly staring at what used to be a great, thriving queer community and wringing their hands.
Two of the biggest objections to catalysing community growth in Parramatta are both so devoid of logical thinking I can’t believe they’re wielded as a serious argument against this expansion.
This mourning is driven by an understandable nostalgia. By all means, be wistful, but don’t be a mastubatory twat who contributes nothing by stymieing all possibilities of rebirth for the sake of your precious memories. Your yearning for great things past shouldn’t be obstructing great things future. Just because Oxford Street has withered and died doesn’t mean it needs to drag the rest of us down with it. There is no point trying to revive something that had been steadily declining in quality and choice for the last decade, eroded by politics, poor planning and straight immigration. What about Parramatta? What about the west? Have we become so myopic in our
Objection 1:“Parramatta is too far away.” Well there you are, congratulations on proving yourself to be the centre of the universe. Too far for whom, precisely? Do you think queers don’t live in the west? Do you think you’re better than them, that you’d deign to visit them and improve their lives, like some kind of righteous emissary? Objection 2:“The ethnic groups and different cultures there will make it difficult to establish a safe space.” I don’t even know how to begin to address this unbelievably insipid, entitled and idiotic declaration. There is a world outside of yourself – perhaps were you to remove your head from your arse, you might actually see it. Queer culture should exist across the city, not originate from some magical, ordained point in the middle of Oxford Street. Stop treating that street like the canal that birthed all of queer culture – that shit has been barren for ages. Let’s start looking out instead of in.
Parramatta photo courtesy Travis Chau/Flickr
this week… On Wednesday October 26, throw on your neons because Birdcage is throwing a black light UV rave at Slyfox in Enmore. Performers/DJs include Mowgli May, Nicholas Birdcage, Bassline Becstar, Shiho Sparkle Hooper and more to be announced. Free entry. On Friday October 28, All Out presents Halloqween at Slyfox. The fabulous Max Black is offering a
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CKDJ “monster prize” for the scariest outfit. DJs are James Tobin, CKDJ, Astrix Little and DJ Tiny. Drag King Snea Kers will also be performing. Tickets are on sale now.
On Saturday October 29, head on down to The Shift Club for Undead. Undead is a fundraiser for Unharm, a grassroots organisation campaigning for safe, positive and ethical drug use. It’ll be a party for politics, fun, sexy demons and killer dress-ups. The DJs are Ben Drayton, Steve Sonius, Gemma and HipHopHoe. Performers include Glitta Supernova, Willow Darling and Matt Stegh.
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BARS BRAG
THE CHIPPO HOTEL
Ash St Cellar 1 Ash St, Sydney CBD
bar
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87-91 ABERCROMBIE ST, CHIPPENDALE PHONE NUMBER: (02) 9310 5133 WEBSITE: FACEBOOK.COM/THECHIPPOHOTEL OPENING HOURS: MON – SAT NOON-LATE, SUN NOON-10PM
A Work In Progress 50 King St, Sydney CBD (02) 9240 3000 Mon – Fri noon-2am; Sat 5pm-2am
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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
(02) 9240 3000 Mon – Fri 8.30am-11pm
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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
bar
What’s on the menu? Our new head chef is the Louisianaborn Charlie Fisher. He brings with him an enticing new menu that offers your good ol’ fashioned pub grub with a lick of Louisiana. Some of our favourites include the Louisiana coconut shrimp served on a bed of eggplant ($16); seared salmon fillet with potato rosti, baby spinach and buree blanc ($28); the Tomahawk steak – meant for two (we dare for one) served with a trio of sauce
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
(chimichurri, bearnaise, blue cheese, $90); fried cauliflower salad served with pomegranate, mint, parsley, rocket and pine nuts ($15); and of course the Cheeky Cheeseburger (single/double $13/$18) for all the Cheekyburger fans out there. Coming soon as of November 5 will be the Sunday pig on the spit in the courtyard. Care for a drink? It really depends what you’re in the mood for – we’ve got something to cater for all tastes. Take a pick from our selection of local and
international beers on tap ($7-$9), in a bottle ($8-$9.50) or go for a tinnie ($6-$11). On Wing Wednesdays you can enjoy $5 tinnies with dollar wings. We’ve also got a short and sharp cocktail list (all priced at $16) for those feeling a little fancier. We recommend the Aperol spritz for a summer afternoon in the courtyard or the Kentucky Buck for something with a Southern twang. Sounds: Our live music events in the basement are from a different range of genres including electronic, indie, rock and alternative. Check out our gig guide on Facebook to find an event that suits you. Highlights: The Chippo is the perfect place to catch up with your mates. It’s a place where you will find great music, good vibes and delicious food every day of the week. To celebrate the relaunch of The Chippo, we’re giving one lucky pubgoer the chance to win a free burger a day for a whole year. All you have to do is sign up to the pub newsletter on one of the in-house iPads to enter the draw. The finalist will be announced on Monday November 14. The bill comes to: Depends how fancy you’re feeling, but anywhere between $30 and $60 for a decent sized feed and a drink.
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The Baxter Inn Basement 152-156 Clarence St, Sydney CBD Mon – Sat 4pm-1am Beta Bar First Floor, 238 Castlereagh St, CBD (02) 8599 8970 Wed – Thu 5pm-midnight; Fri midday-midnight; Sat 5pm-midnight
Tell us about your bar: Located right in the heart of Chippendale, the Chippo Hotel (formerly the Chippendale Hotel) has just relaunched with a fresh new fitout. The relaxed atmosphere, sunny courtyard and mouth-watering menu make it an ideal lunch spot for those wanting to get away from their desks during the day, a sweet local hangout for uni students and a chilled-out spot for after-work drinks. On Mondays we do trivia, Tuesdays are all about stand-up comedy, while Thursdays, Fridays and Saturdays we amp up the basement with local and independent bands. This month we have Unity Floors’ Life Admin album launch (October 28), and Junkyard Festival featuring Collarbones, Winston Surfshirt, The Dandelion, Raindrop and Solid Effort (October 29).
Basement Bar Basement, 27-33 Goulburn St, Sydney CBD (02) 8970 5813 Mon – Thu 5pm-10pm; Fri – Sat 5pm-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 El Camino Cantina 18 Argyle St, The Rocks Mon – Thu noonmidnight; Fri – Sat noon-3am; Sun 11.30am-midnight
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 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
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
The Local Bar 161 Castlereagh St, Sydney CBD (02) 9953 0027 Mon – Wed 7.30am-10pm; Thu – Fri 7.30am-11pm
Stitch Bar 61 York St, Sydney CBD (02) 9279 0380 Mon – Wed 4pm-midnight; Thu – Fri noon-2am; Sat 4pm-2am
The Loft (UTS) 15 Broadway, Sydney (behind 2SER) (02) 9514 1149 Mon – Fri 2-11pm
The Swinging Cat 44 King St, Sydney CBD (02) 9262 3696 Mon – Sat 4pm-midnight
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
Frankie’s Pizza 50 Hunter St, Sydney CBD Sun – Thu 4pm-3am; Fri noon-3am
Palmer & Co. Abercrombie Ln, Sydney CBD (02) 9240 3000 Sun – Weds 5pm-3am; Thu 3pm-3am; Fri noon3am; Sat 4pm-3am
Gilt Lounge 49 Market St, Sydney CBD (02) 8262 0000 Mon – Fri 5pm-2am; Sun 5pm-midnight
Papa Gede’s Bar Laneway at the end of 348 Kent St, Sydney CBD (02) 9299 5671 Mon – Sat 4pm-midnight
The Glenmore 96 Cumberland St, The Rocks (02) 9247 4794 Mon – Thu, Sun 11am-midnight; Fri – Sat 11am-1am
Plan B Small Club 53-55 Liverpool St, Sydney CBD Wed 5pm-11pm; Thu 5pm-1am; Fri 5pm-3am; Sat 6pm-3am
Grain Bar 199 George St, Sydney
Mon – Sat 4pm-midnight
PS40 40 King St, Sydney CBD
Tapa Vino 6 Bulletin Place, Circular Quay (02) 9247 3221 Mon – Fri noon-11.30pm Tuxedo Bar 195 Gloucester St, The Rocks Mon – Fri noon-7pm 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
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Bellini Lounge 2 Kellett St, Potts Point (02) 9331 0058 Thu – Sun 6pm-late
2 Elizabeth Bay Rd, Elizabeth Bay (02) 8070 2424 Tue – Sun noon-midnight
The Bells Hotel 1 Bourke St, Woolloomooloo (02) 9357 3765 Mon – Sun 10am-1am
Golden Age Cinema & Bar 80 Commonwealth St, Surry Hills (02) 9211 1556 Wed – Fri 5pm-midnight; Sat – Sun 2:30pm-midnight
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 Exchange 34 Oxford St, Darlinghurst (02) 9358 2311 Mon – Sun noon-late The Forresters 336 Riley St, Surry Hills (02) 9212 3035 Mon – Wed noonmidnight; Thu – Sat noon1am; Sun noon-10pm Gardel’s Bar 358 Cleveland St, Surry Hills (02) 8399 1440 Tue – Sat 6pm-midnight Gazebo thebrag.com
Goros 84-86 Mary St, Surry Hills (02) 9212 0214 Mon – Wed 11:30am-midnight; Thu 11:30am-1am: Fri 11:30am-3am; Sat 4pm-3am 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 noonmidnight; 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 noon11pm 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 Moya’s Juniper Lounge 101 Regent St, Redfern 0431 113 394 Tue – Sat 4pm-11pm; Sun midday-10pm The Noble Hops 125 Redfern St, Redfern 0431 113 394 Mon – Fri 4pm -midnight; Sat 3pm-midnight; Sun 3pm-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 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 Tipple Bar 28 Chalmers St, Surry Hills (02) 9212 0006 Mon midday-10pm; Tue –Sat midday-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 Selina’s at Coogee Bay Hotel 253 Coogee Bay Rd, Coogee (02) 9665 0000 Selina’s Thu 8pm-midnight; Coogee Bay Hotel
Mon – Thu 7am-3am, Fri – Sat 7am-6am; Sun 7am-midnight
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
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
(02) 8019 9351 Mon – Thu noonmidnight; Fri – Sat noon3am; Sun noon-10pm
Lord Raglan 12 Henderson Rd, Alexandria (02) 9699 4767 Mon – Sat noon-midnight; Sun noon10pm 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 Timbah 375 Glebe Point Rd, Glebe (02) 9571 7005 Tue – Thu 4-10pm; Fri 4-11pm; Sat 3pm-11pm; Sun 4pm-8pm
Kuleto’s 157 King St, Newtown (02) 9519 6369 Mon – Sat 4pm-late; Thu – Sat 4pm-3am
Vernon’s Bar L2. One Penny Red, 2 Moonbie St. Summer Hill (02) 9797 8118 Mon – Sun 4pm-11:30pm
Leadbelly 42 King St, Newtown (02) 9557 9409 Sun – Thur 4pm-midnight; Fri-Sat 4pm-1am
Wayward Brewing Co. 1 Gehrig Ln, Annandale (02) 7903 2445 Thu – Sat 2-10pm; Sun noon-8pm
The Little Guy 87 Glebe Point Rd, Glebe (02) 8084 0758 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3pm-10pm
Websters Bar 323 King St, Newtown (02) 9519 1511 Mon – Sat 10am-4am; Sun 10am-midnight
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
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
Doris & Beryl’s Bridge Club and Tea House 530 King St, Newtown Mon – Fri 5pm-midnight; Sat – Sun 3.30pm-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
Earl’s Juke Joint King St, Newtown Mon – Sat 4pm-midnight; Sun 4-10pm
Newtown Social Club 387 King St, Newtown (02) 9550 3974 Mon – Thu 4pm-midnight; Fri – Sat noon-2am; Sun noon-10pm
Crooked Tailor 250 Old Northern Road, Castle Hill (02) 9899 3167 Mon – Sun 4pm-midnight
The Oxford Tavern 1 New Canterbury Rd, Petersham
Daniel San 55 North Steyne, Manly (02) 9977 6963
Forest Lodge Hotel 117 Arundel St, Forest Lodge (02) 9660 1872 Mon – Sat
Your bar’s not here? Email: chris@thebrag.com
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; 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 noon-2am; 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 BRAG :: 686 :: 26:10:16 :: 23
T its m S
Album Reviews What's been crossing our ears this week...
ALBUM OF THE WEEK THE NATION BLUE Black / Blue Poison City
The Melbourne cult rockers make the seven-year wait for new material worthwhile.
KATE TEMPEST Let Them Eat Chaos Caroline/Universal No space for mincing words on Let Them Eat Chaos: this is one of the most potent, powerful LP releases of 2016. For those unfamiliar with her work, Kate Tempest is a multiawarded and much-lauded poet, playwright and spoken word artist hailing from South-East London. Her appearance on Q&A earlier this year was incredibly affecting viewing, and that same level of passion, frustration and emotion is articulated with aplomb throughout her new record. We’ve arrived on a London street at 4:18am, where seven strangers are struggling to sleep. For the remainder of the album, almost every track commences with a spoken word intro, introducing one of these seven strangers. Familiar stories of grief, anxiety, loneliness, regret, relapse, concerns for the future and concerns for the state of the planet keep these people up at night. As a storm rumbles in, the city is not painted as a sympathetic place. Millions of people live in close proximity, shunning the problems of the world and growing fat off the misery of others. While seemingly pessimistic in nature, the denouement of these characters breaking the shackles and embracing the hostility of the storm ties the album together beautifully and offers a glimmer of hope. Eben Rojter
The Nation Blue’s sheer lack of optimism is as compelling as it is disturbing. Not the kind of artists to do things half-arsed, their first new material in nearly seven years sees them return with two albums at the same time: Black and Blue. It’s a lot to take in, hitting you like a sucker punch to the brain. But herein lies the beauty of this band. Both albums explore similar themes,
though have subtle differences. Black is the more political set, Blue being its more introspective brother. As always, Tom Lyngcoln gets deep into his own dark psyche when addressing tender topics like class (‘Blue Blood’), politics (‘Australian Of The Year’) and deep mistrust (‘Paranoia’). Lyrical content is deeply haunting, especially when addressing the band itself on ‘Negative Space’: “No trend in old age / All alone in negative space / I smell the rot from the stage / Half my life in negative space”. All the themes are explored in equal measure with the same bleak
REGINA SPEKTOR
JOSH RENNIE-HYNES
THIGH MASTER
Remember Us To Life Sire/Warner
Furthermore Independent
Early Times Coolin’ By Sound
New-York-based alt-rock group The Pretty Reckless present their most honest and experimental album yet. After a gimmicky introduction to music, the band has earned its place in the scope of modern rock – and man, are we glad about that.
The princess of whimsy returns with a style adhering to the polish of What We Saw From The Cheap Seats, while injecting a dose of her old wit and a new serve of direct emotional address.
Josh Rennie-Hynes’ Furthermore arrives as a solid follow-up to his previous effort, February. An organic, self-produced record, the album finds Rennie-Hynes exploring new terrain while sticking to what he does best: writing songs that linger long after the first listen.
Thigh Master’s debut LP couldn’t have come soon enough. The Queenslanders have become an established national touring act over the past few years, solidifying their position as a major part of this country’s indie rock circuit.
Slow-burner ‘Where Do I Go’ begins the album on an introspective note, conjuring vivid imagery of the Australian landscape over hushed vocals. Welcome details are peppered through the production on this and every other track, taking the record to a new level of resonance.
Now that they’ve dropped their first album after a few seven-inch releases, we finally have a solid chunk of Thigh Master to sink our teeth into. Early Times carries on from those earlier efforts with Matthew Ford’s vocals whining over the sound of his rustic guitar.
‘Richmond’ kicks things up a notch as guitars begin to crunch over a driving beat. It’s songs like these that showcase Rennie-Hynes at his finest: economical with his lyrics, with songs that are all the better for it. ‘Rosie’ is an utter gem – a humble tune that shows why Rennie-Hynes is one of the fastest-rising stars on the Australian scene today. ‘Picture Frame’ echoes Ryan Adams in his rockier moments, while ‘Fiddlewoods’ is a welcome addition to the tracklist, rounding out the album with a casual moment that captures the sheer fun of playing music with friends.
Opening track ‘Ditch’ sets the tone for the remainder of the album. Thigh Master are all about bratty post-punk tunes, and Early Times recalls a lot of late ’80s and early ’90s underground acts, especially in terms of guitar tone. ‘Company’ shows Thigh Master at their catchiest – it’s a bubblegum pop classic with a big chorus, and of all the tracks here it stands out the most. In fact, that’s the only gripe one might have with Early Times: the songs are great and there’s a distinct style to them collectively, but the record offers few moments of differentiation.
Furthermore’s final impression is a crystalline reflection of the relaxed process in which the album came about.
Still, Early Times is a strong debut packed with tracks that will only further Thigh Master’s ever-growing reputation.
James Di Fabrizio
Alex Pink
There is a definite progression on this album as The Pretty Reckless have ventured out of their sonic comfort zone to try new things, which perhaps can be attributed to the fact that at this point, they have nothing more to prove. While their first offering was widely viewed as a massive and deliberate “fuck you” to Taylor Momsen’s child star past, and the second album was all about finding their lane, this one sounds and feels like their most natural effort. Although there are moments where the energy and fire they have previously displayed is somewhat lacking, like on the confused opening track ‘The Walls Are Closing In / Hangman’, they’re made up for by the masterpiece that is the lead single ‘Take Me Down’ as well as by Momsen’s hauntingly raw vocals on everything from blues-infused tracks to classic rock headbangers. With a little less teen angst and a little more dive-bar-worthy grunge, Who You Selling For places The Pretty Reckless firmly in the genre of rock. Welcome, lady and gents. Matthew Galea
A lot rides on their next move – a second LP that follows 17 years after the fact, contrasting between their early-20s malaise and their lives as late-30s adults. Some things remain intact: their unique tunings ringing out by means of bright, warm guitar tones; their zipping in and out of calculated rhythms and pensive, reflective lyricism. A key element that has developed, however, is Mike Kinsella’s vocals.
24 :: BRAG :: 686 :: 26:10:16
Alex Pink
Who You Selling For Razor & Tie/Cooking Vinyl
Death as a career option inadvertently worked wonders for American Football – their sole album from 1999 achieved cult status among emo purists, and a run of reunion shows in 2014 sold out within minutes.
American Football Wichita
honest, and that’s become such a rare commodity these days.
THE PRETTY RECKLESS
Spektor is always at her best when embracing her weirdo Soviet kitsch, so when the piano kicks in for ‘Grand Hotel’, her familiar warmth and playfulness emerge like the embrace of a friend. She dives straight into dark-pop groove with the Grimesstyle ‘Small Bill$’, amply supported by warped orchestrals. The darker fare leaves Spektor emotionally exposed, particularly in the pained ‘Obsolete’ where she laments her “useless art”. Keyboard pedals get stomped in naked anger through ‘The Trapper And The Furrier’, and cautionary tales like ‘Sellers Of Flowers’ adequately cover for the tedium of more disposable ballads. Her opulent orchestral arrangements give her melancholy a sense of the grand, more compelling for the sincerity of her writing. “‘Enjoy your youth’ sounds like a threat,” she opines in ‘Older And Taller’, “but I will anyway”. Never mind the bleeding heart – Regina Spektor isn’t going anywhere, and Remember Us To Life brings new maturity to her mercurial style. David Molloy
INDIE ALBUM OF THE WEEK
AMERICAN FOOTBALL
outlook they’ve been peddling since their inception 20 years ago. But that’s no criticism of The Nation Blue – their cynicism is unfalteringly
While entirely fitting the contextual bill on the first LP, he has wisely chosen not to try to replicate them, instead allowing his lilted, slightly pained and matured voice to fill in the gaps. ‘Where Are We Now?’ is a lush, widescreen opener, while ‘I’ve Been So Lost For So Long’ is a top-of-the-range compromise between the band’s past and its present. Fittingly enough, listening to new music from American Football feels a lot like visiting a former home. Some things aren’t exactly as you left them, but it’s ultimately a welcoming and humbling experience.
OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... LIFE WITHOUT BUILDINGS - Any Other City LEONARD COHEN - You Want It Darker PAUL KELLY - Spring And Fall
PIXIES - Head Carrier LOW - Ones And Sixes
David James Young
thebrag.com
live reviews What we’ve been out to see...
GLEN HANSARD
Wilder in the form of ‘Pure Imagination’.
Irish songsmith Glen Hansard made special effort to start bang on 9pm, not out of mere cordiality, but in a genuine effort to cram as much of his music into the two-hour slot as he possibly could.
Hopeless romanticism doesn’t seem so hopeless in Hansard’s realm, particularly not when carried aloft on his soaring high notes. The man’s voice is incomparable, always reaching higher and further than you expect, building to a roar before suddenly dropping back to a whisper.
Sydney Opera House Saturday October 22
Taking to the Opera House stage with a dozen musicians, Hansard looked thrilled to be back, and to call his receival warm would be an understatement: the Concert Hall was half-Irish, half-sozzled and completely in love with the singer. First and foremost, Hansard is a storyteller, the kind of stranger you want to sit next to at the pub. And doesn’t he ramble! Every song was carried in with a tale of its origins and dedications to musicians, lovers and memories. His guitar bore the scars to prove every last story true, stripped of varnish by thousands upon thousands of Hansard’s pick strokes. Once fans were rewarded with both ‘Falling Slowly’ and the show-stopping ‘When Your Mind’s Made Up’, but Hansard had surprises aplenty up his sleeve, including covers of Van Morrison and Woody Guthrie (‘Vigilante Man’ repurposed as an anti-Trump anthem), as well as a deeply moving tribute to Gene
The band provided ample harmonies and took to lead vocals as Hansard generously ceded the spotlight, and whoever arranged for his more intimate compositions should have their own standing ovation. We were given a particular treat that felt more like it was for Glen’s sake than for ours, as a great Irish pianist took to the keys to showcase two intimate pieces of his own devising, each linked to his family and his country. It’s a good thing Hansard’s a charmer, too, as the band filled significantly more than its allotted time. The encore lasted until 11:30pm, the night closing with Hansard alone and off-mic, filling the room with that voice. The whole band’s love of our nation was vibrant and inclusive, and if we could take only a shred of this generosity and wonder into the world outside the Opera House, we would live blessed lives. David Molloy
Halloween at The Sawmill has partnered with Sparklebox for an amazing evening. Join us on Monday 31st October 2016 when our Kids Party kick starts the afternoon at 4:30pm With all-you-can-eat pizza + Live DJ + Dancing and loads of fun! Then continuing our evening at 7pm a Day Of The Dead Adults Only Party with food + live entertainment + more. For tickets and more information please visit or call us on the links below. Kids Party Tickets start at $15 for kids Adult Party Tickets $80pp with an Earlybird discount available. Don’t forget to register your interest on the event Facebook page to get all the event updates. See you for a Skeltacular Time!
KE PHOTOGRAPHER :: KATRINA CLAR
RE S A S
AGE
Ticket Link: https://thesawmillsparkleboxdayofthedead2016.eventbrite.com.au/ OR buy tickets by phone: 0467 663 077 | www.thesawmill.com.au | www.sparklebox.com.au | 7 Duneba Ave, West Pymble NSW 2073 |
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REGURGITATOR, JEREMY NEALE, SEIMS Metro Theatre Friday October 21
Tonight’s headliners deserve the utmost kudos for still, after all these years, curating lineups that are spirited in their sonic diversity and reflective of their own evergreen eccentricities. Perhaps in no other circumstances would one see the free-form freakiness of a band like Seims juxtaposed so directly with the brash, charming garage-pop of Jeremy Neale – not to mention with such impressive results. Of course, such adventurousness doesn’t sit well with a few of the bemused earlybirds – particularly in the former’s case, plagued by both a too-early timeslot and a wave of clear and present indifference despite a well-rounded showcase of their wordless musical expeditions and exceptional instrumental skills. It’s Neale who is miraculously able to turn the tide – albeit by implementing a tune not his own, the pub rock anthem ‘Errol’ by Australian Crawl. It should come as no surprise to those in the know – Neale is, after all, one of the country’s more irrepressible live performers, throwing his lanky frame into every track with considerable gusto and complementing said energy with particularly entertaining
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between-song banter. If he and his airtight backing band can’t get the job done, it’s doubtful anyone else would be able to. Regurgitator arrive a bit after 10pm, launch into ‘I Sucked A Lot Of Cock To Get Where I Am’ and incite a mass pogo-bounce mosh. Here’s the kicker: one could write this at the top of a Regurgitator show review at any point over their last two decades and it would still be as pertinent. That’s not to say the ’Gurge have grown at all predictable in their time – rather, they’re truly impeccable in terms of their reliability. If this band’s name is up on the marquee, you’re in for an evening of big sing-alongs, irony-laden braggadocio and a pinch of nostalgia, care of a run of singles guaranteed to instantly transport you back to either your childhood or your coming of age (depending on how old you are). A break of a few years between tours has allowed the band to return to the circuit as energetic and entertaining a live prospect as ever, sparking considerable room reactions from even the most obscure of tracks (forgotten single ‘Fat Cop’, for instance, or 2013 album cut ‘Made To Break’). A very fun Friday night for the young-at-heart weirdos whose copies of Tu-Plang and Unit never left the stereo. David James Young
fri
28 Oct (10:00PM - 1:40AM)
SATURDAY AFTERNOON
sun
30 Oct
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3:30PM 6:30PM
5:45PM 8:45PM
29 Oct
(8:30PM - 11:30PM) (10:00PM - 1:15AM)
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31 Oct
tue
(8:30PM - 11:30PM)
(4:30PM - 7:30PM)
01 Nov (8:30PM - 11:30PM)
EVERY SATURDAY
Party DJs GROUND FLOOR - AFTER BANDS
BRAG :: 686 :: 26:10:16 :: 25
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VIEW FULL GALLERIES AT
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glen hansard
PICS :: AM
up all night out all week . . .
regurgitator
PICS :: KC
22:10:16 :: Sydney Opera House :: Bennelong Point Sydney 9250 7111
bernard fanning
PICS :: AM
21:10:16 :: Metro Theatre :: 624 George St Sydney 9550 3666
22:10:16 :: State Theatre :: 49 Market St Sydney 9373 6655
26 :: BRAG :: 686 :: 26:10:16
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g g guide g send your listings to : gigguide@thebrag.com
WEDNESDAY OCTOBER 26 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
The Fever Pitch - feat: Special Guests The Hideaway Bar, Enmore. 8pm. Free. The Groovemeisters Lazybones Lounge, Marrickville. 8:30pm. $15. The Gypsy Art Club Django Bar @ Camelot Lounge, Marrickville. 6:30pm. $10. Wailing Wednesdays feat: Live Reggae Acoustic Rosie Campbell’s, Surry Hills. 7pm. Free.
ACOUSTIC, COUNTRY, BLUES & FOLK
Manouche Wednesday - feat: The Squeezebox Trio Mr Falcon’s, Glebe. 7pm. Free. Michael Dimarco Sappho Books, Cafe And Bar, Sydney. 7pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
70s Disco Mania feat: Hot Chocolate + The Real Thing Revesby Workers Club, Revesby. 8pm. $72. Mark Travers Orient Hotel, The Rocks. 9pm. Free. Musos Club Jam Ruby L’otel, Rozelle. 7:30pm. Free. The Vines Oxford Art Factory, Darlinghurst. 8pm. $44.80.
THURSDAY OCTOBER 27 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Cheyenne The Newport, Newport. 6pm. Free. G.C. O’Connor The Temperance Society, Summer Hill. 8pm. Free. Henry Manuell The Temperance Society, Summer Hill. 7pm. Free. John Maddox Co Sappho Books, Cafe And Bar, Sydney. 7pm. Free. Live At The Sly feat: Gypsys Of Pangea + Narla + Egoism + Zig Zag Wanderers DJs Slyfox, Enmore. 8pm. Free. Oscar & The Grouches - feat: Jackie Brown Jr + Thunder Fox Captain Cook Hotel, Paddington. 7pm. thebrag.com
Free. Yeshe Django Bar @ Camelot Lounge, Marrickville. 6pm. $23.
ACOUSTIC, COUNTRY, BLUES & FOLK
Angela Ayers + Christian Guerrero + Dee Donavan + Grooveworks Revesby Workers Club, Revesby. 12pm. Free. Blues Exile Hawkesbury Hotel, Windsor. 8:30pm. Free. Cameron Henderson Mr Falcon’s, Glebe. 8:30pm. Free. Dave Anthony The Bourbon, Potts Point. 5pm. Free. Folk At The Lodge - feat: John Vella + Leroy Lee + Friends Forest Lodge Hotel, Forest Lodge. 7pm. Free. Harbourview Hulabaloo - feat: Zack Martin + Guests + Chris Brookes Harbourview Hotel, The Rocks. 7pm. Free. Jacinta Laws Fitzroy Hotel, Windsor. 6:30pm. Free. Lily And The Drum + Mindy Sotiri The Gasoline Pony, Marrickville. 7pm. $5. Moonshine Thursday - feat: The Ruminaters + The Gypsy Scholars Moonshine Cider & Rum Bar, Manly. 8pm. Free. Musos Club Jam Carousel Inn Hotel, Rooty Hill. 8pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Airling + Xavier Dunn + Romeo Moon Hudson Ballroom, Sydney. 8pm. $16.90. Anthony Charlton Australian Arms Hotel, Penrith. 7pm. Free. Bullet For My Valentine + Atreyu + Cane Hill Big Top Sydney, Milsons Point. 7pm. $89.10. Jukebox Thursdays Soda Factory, Surry Hills. 5pm. Free. Katherine Vavahea + Wolfi e Lazybones Lounge, Marrickville. 7:30pm. $10. Live Band Karaoke Unity Hall Hotel, Balmain. 9pm. Free. Matt Jones Duo Orient Hotel, The Rocks. 9pm. Free. No Refunds The Bald Faced Stag, Leichhardt. 8pm. Free. Ozomatli Metro Theatre, Sydney. 8pm. $69.95. Roadhouse
Rockabilly Night feat: Rachael Brady & The Moonshine Special Miss Peaches Soul Food Kitchen, Newtown. 7pm. Free. Sydney Metal Meet Up - feat: Rum & Ale VI Valve Bar, Agincourt Hotel, Ultimo. 8pm. Free. The Soft Moon Newtown Social Club, Newtown. 7:30pm. $38. Upstairs Live - feat: Madam Parker + Jeremy Gregory + Andro Martinez The Beresford Hotel, Surry Hills. 8pm. Free.
FRIDAY OCTOBER 28 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Factory Fridays - feat: The Booty Affair + Resident DJs Soda Factory, Surry Hills. 5pm. Free. The Solidarity Choir + The Trippy Hippy Band Addison Road Community Centre, Marrickville. 7:30pm. $10.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Adrian Joseph 99 On York, Sydney. 5:30pm. Free. Australian Trilogy Towradgi Beach Hotel, Towradgi. 9:30pm. Free. Bad Manners Factory Theatre, Marrickville. 8pm. $59.90. Big City Sound Mr Falcon’s, Glebe. 8:30pm. Free. Botany Idol feat: Karaoke Competition Botany Bay Hotel, Banksmeadow. 9:30pm. Free. Brad Johns Band Fitzroy Hotel, Windsor. 8pm. Free. Caravãna Sun Oxford Art Factory, Darlinghurst. 8pm. $18. Children Of Chrome - feat: Void Of Vision + Justice For The Damned + She Cries Wolf + Lifes III + About + Below Red Rattler, Marrickville. 7pm. $12. Delta Goodrem Qudos Bank Arena, Sydney Olympic Park. 8pm. $91.60. Evoke Revesby Workers Club, Revesby. 3pm. Free. Fridays - feat: Bad Pony + Nocturnal Tapes + Dr Goddard Moonshine Cider & Rum Bar, Manly. 9pm. Free. Fridays - feat: New Horizons Band + M7 & DJ Marty Rooty Hill RSL Club,
Rooty Hill. 7pm. Free. Geoff Davies The Push Bar, The Rocks. 7pm. Free. Glenn Esmond Duo The Bourbon, Potts Point. 6:30pm. Free. Greg Agar Band Penrith RSL, Penrith. 9pm. Free. Halloween Zombie Ball - feat: Daggerz + Speedball + Liability + Hammer + Slam! DJs The Bald Faced Stag, Leichhardt. 8pm. Free. Karaoke Figtree Hotel, Figtree. 8:30pm. Free. Leather Strip Hermann’s Bar, Darlington. 8pm. $20. Michael Kopp Fortune Of War, The Rocks. 8pm. Free. Neiko The Newport, Newport. 6pm. Free. Olympia Oxford Art Factory, Darlinghurst. 8pm. $21. Paper Hearts Greystanes Inn, Greystanes Inn. 8pm. Free. Reckless Orient Hotel, The Rocks. 10pm. $5. Shy Guys Revesby Workers Club, Revesby. 8:30pm. Free. Speedball + Liability + Daggerz + Hammer The Bald Faced Stag, Leichhardt. 8pm. $20. Sticky Fingers Enmore Theatre, Newtown. 8pm. $57. The Delta Riggs + Gideon Bensen + The Vanns Metro Theatre, Sydney. 8pm. $29.50. The Mad Hatters Vineyard Hotel, Vineyard. 9pm. Free. The Mighty Peeve Colonial Hotel, Werrington. 8:30pm. Free. The New Christs + The Pink Fits + The Dark Clouds Factory Floor, Marrickville. 8pm. $24.
ACOUSTIC, COUNTRY, BLUES & FOLK
19-Twenty Hawkesbury Hotel, Windsor. 11:45pm. Free. Anthony Charlton Oaks Hotel, Neutral Bay. 7pm. Free. Benj Axwell Buckley’s Bar, Circular Quay. 6pm. Free. Blake Tailor Manly Leagues Club, Brookvale. 9:30pm. Free. Blues On The Green - feat: Mike Elrington + Don Hopkins Duo + The Cyril B. Bunter Band + The Hippos Windsor Bowling & Sports Club, Windsor. 7pm. Free. Clive Hay Penrith Panthers, Penrith. 6pm. Free. Dave Anthony Lord Raglan Hotel, Alexandria. 7pm.
pick of the week Violent Soho
SATURDAY O C TO B E R 2 9 Hordern Pavilion
Violent Soho + The Bronx + Luca Brasi + Tired Lion 6pm. $66.20. Free. Dean & Only The Newport, Newport. 1pm. Free. Evie Dean Engadine Bowling Club, Engadine. 7:30pm. Free. James Rietdijk Fitzroy Hotel, Windsor. 11pm. Free. Josh Needs Chatswood RSL, Chatswood. 5pm. Free. Matt Toms Clovelly Hotel, Clovelly. 4:30pm. Free. Michael Fryar Hunters Hill Hotel, Hunters Hill. 4:30pm. Free. Michael Gorham Duo Gregory Hills Hotel, Sydney. 7:30pm. Free. Peg, Charlie Marshall & The Body Electric + The Maladies + Garry David Lazybones Lounge, Marrickville. 8:30pm. $10. Rick Price Camelot Lounge, Marrickville. 7:30pm. $35. Rose Carleo The Oriental Hotel, Springwood. 8pm. Free. Stephanie Lea Quakers Inn, Quakers Hill. 9pm. Free. Swampash Hawkesbury Hotel, Windsor. 8:30pm. Free. Sydney Blues & Roots Festival feat: Chase The Sun + The Fumes + Claude Hay Windsor Public
School, Windsor. 7pm. $34.20. The Southern Comfort Blues Cruises - feat: Woodford Hawkesbury Paddlewheeler, Windsor. 7pm. $28.60. The Urban Chiefs Hawkesbury Hotel, Windsor. 4pm. Free. Tijuana Cartel + Sonori Hotel Gearin, Katoomba. 8:30pm. Free. Tomcat Playground Hawkesbury Hotel, Windsor. 6:30pm. Free. Troy Dwyer & The Bridge Burners Hawkesbury Hotel, Windsor. 10pm. Free.
SATURDAY OCTOBER 29 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Alex & Nilusha Venue 505, Surry Hills. 6pm. $20. Craig Calhoun & The Brothers Of Oz - feat: Natalie Slave The Newport, Newport. 6pm. Free. Mulgoa Road Jazz Band Penrith RSL, Penrith. 2pm. Free. Rebecca Johnson Band Carousel Inn Hotel, Rooty Hill. 8pm. Free. The Specials + D.I.G
The Newport, Newport. 1pm. Free.
ACOUSTIC, COUNTRY, BLUES & FOLK
Acoustic Grooves Macarthur Tavern, Campbelltown. 7:30pm. Free. Blues On The Green - feat: Chris Cain + The Jacky Howellers + Double Helix + Christina Crofts Band + Michelle Van Der Meer’s Midnight Ramblers + Continental Robert’s Soul Kind’a Feeling Revue + Matt ‘The Lightning’ Ross & The Gospel Storm + Glenn Cardier & The Sideshow Windsor Bowling & Sports Club, Windsor. 11:45am. Free. Bonnie Kay & The Bonafides Hawkesbury Hotel, Windsor. 9:45pm. Free. Chasin’ The Train Hawkesbury Hotel, Windsor. 8pm. Free. Chris Turner & The Cave Men Hawkesbury Hotel, Windsor. 3pm. Free. Darren Johnstone Club Central Menai, Menai. 8pm. Free. Diesel Canterbury Bankstown Leagues Club, Belmore. 8pm. $30. Equa Hey The Gasoline Pony, Marrickville. 7pm. $7. Graeme James Oxford Art Factory,
Darlinghurst. 8pm. $11.60. Jack Horner Plough & Harrow, Camden. 8pm. Free. James Southwell Band Hawkesbury Hotel, Windsor. 11:30pm. Free. Jed Zarb Penrith Panthers, Penrith. 9pm. Free. Leanne Tennant Hawkesbury Hotel, Windsor. 11am. Free. Michael Gorham Duo Panania Hotel, Panania. 8:30pm. Free. Nick Charles Hawkesbury Hotel, Windsor. 1:30pm. Free. Phil Manning Hawkesbury Hotel, Windsor. 8pm. Free. Songsonstage - feat: Marcus Sydney + Guests Kauri Foreshore Hotel, Glebe. 8pm. Free. Songsonstage feat: Ross Daley + Guests Orange Grove Hotel, Lilyfield. 7pm. Free. Spencer Jones Project Hawkesbury Hotel, Windsor. 4:30pm. Free. Sydney Blues & Roots Festival feat: Stars + Mitch King Windsor Function Centre, Windsor. 7pm. $54.10. Sydney Blues & Roots Festival - feat: Owen Campbell + Just Us + Room 15 + Dreamboogie + Marshall Okell
BRAG :: 686 :: 26:10:16 :: 27
g g guide gig g
g g picks gig p up all night out all week...
send your listings to : gigguide@thebrag.com Windsor Public School, Windsor. 3:15pm. Free. The Southern Comfort Blues Cruises - feat: Chris Wilson + Mark Kennedy + James Southwell Hawkesbury Paddlewheeler, Windsor. 4pm. $33.64. The Southern Comfort Blues Cruises - feat: Gail Page Hawkesbury Paddlewheeler, Windsor. 12pm. $33.64. The Turtlenecks Rocks Brewing Co, Alexandria. 2pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Abbalanche - The Australian ABBA Tribute Show North Bondi RSL, Bondi North. 8pm. Free. Adrian Joseph Hunters Hill Hotel, Hunters Hill. 5pm. Free. Angelena Locke Buckley’s Bar, Circular Quay. 7:30pm. Free. Blake Wiggins Panania Diggers, Panania. 8pm. Free. Codju Orient Hotel, The Rocks. 5:45pm. Free. Dave Anthony Duo The Bourbon, Potts Point. 7:30pm. Free. Explosive Hits Fitzroy Hotel, Windsor. 8pm. Free. Geoff Davies The Push Bar, The Rocks. 7:30pm. Free. Get Rocked The Bunker, Coogee. 8pm. Free. Hits & Pieces Revesby Workers Club, Revesby. 8:30pm. Free. House Of Voodoo - feat: Cloud Control + Kilter + Remi + Yahtzel (DJ Set) + Elk Road + Command Q + Motorik Vibe Council + Tropical Zombie + Kato + Nocturnal Tapes + Elliot The Bull + Little Earthquake + Yung Dread + ?uestions + Bass RQ + Blake Richardson + Bmar + Cabal DJs + Can Boof Count Ceautu + Daveys + Downtown + Dylan Barrie + Ezili + Geords + Grizzy + James Hopping + Joker Squad + Jye Atkinson + Lewis Baker + Lewshi + Lux + Maru + Mason Clarke + Sequel + Shubui + Steve Pike + Thalice + Tilldawn + Tim Tseng + Trpk + Un-Ti + Wales + Warren + Forrest + Wves + Plus Stage Takeovers From Rafiki + Cabal Proud Mary’s, Erina. 12pm. $51.55. Jellybean Jam Colonial Hotel, Werrington. 8:30pm. Free.
Jonathan Lee Jones Mr Falcon’s, Glebe. 8:30pm. Free. Jp Project Trio Coogee Bay Hotel, Coogee. 12pm. Free. Kid Zr0 + Yours Truly + Jake Howden The Lair @ Metro Theatre, Sydney. 4:45pm. $23. Kimono Drag Queen Captain Cook Hotel, Paddington. 8:30pm. Free. LJ Twin Willows Hotel, Bass Hill. 7:30pm. Free. Michael Fryar Duo The Belvedere Hotel, Sydney. 7:30pm. Free. Original Sin Rooty Hill RSL Club, Rooty Hill. 8:30pm. Free. Panorama Orient Hotel, The Rocks. 10pm. $5. Parkside Halloween - feat: Waves Towradgi Beach Hotel, Towradgi. 8pm. $20. Project Red Manly Leagues Club, Brookvale. 9pm. Free. Rare Finds #21 feat: Allan Smithy + The Outdoor Type + Wasters + The Griswolds DJs Oxford Art Factory, Darlinghurst. 8pm. Free. Rolling Stones Revival Show Kareela Golf Club, Kareela. 8:15pm. Free. Roundtable + Summonus + Hawkmoth + Dawn Factory Floor, Marrickville. 8pm. $12. Slipknot + Lamb Of God Qudos Bank Arena, Sydney Olympic Park. 7:30pm. $150. Steven Wilson Metro Theatre, Sydney. 8pm. $89.92. The Stag Halloween Massacre - feat: Crypt + Daemon Foetal Harvest + Wounded Pig + The Plague The Bald Faced Stag, Leichhardt. 8pm. $11.80. Violent Soho + The Bronx + Luca Brasi + Tired Lion Hordern Pavilion, Moore Park. 6pm. $66.20.
SUNDAY OCTOBER 30 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Animal Ventura The Newport, Newport. 5pm. Free. Paul Mbenna & The Okapi Guitar Band Lazybones Lounge, Marrickville. 6:30pm. $10. Sundays Roots & Reggae - feat: Caribbean Soul Moonshine Cider & Rum Bar, Manly. 4pm. Free. Sunshine Sunday
28 :: BRAG :: 686 :: 26:10:16
Sound System feat: DJs Bossman + Prince Vince + Guests Rosie Campbell’s, Surry Hills. 4pm. Free. Swing Social - feat: The Cope Street Parade The Bald Faced Stag, Leichhardt. 3pm. $16.90. The Happening Sing Django Bar @ Camelot Lounge, Marrickville. 7:30pm. $10. The Unity Hall Jazz Band Unity Hall Hotel, Balmain. 4pm. Free.
ACOUSTIC, COUNTRY, BLUES & FOLK
Andy’s Night On The Prawns The Gasoline Pony, Marrickville. 5pm. $7. Blues On The Green - feat: Chris Cain + Gail Page + Bounty Hunters + Harry Brus Band With Mitchell Anderson + Manning Wilson Southwell Band Windsor Bowling & Sports Club, Windsor. 12pm. Free. Dave Tice Trio With Ross Ward And Jim Finn B.E.D., Glebe. 6pm. Free. Dog The Duke Hawkesbury Hotel, Windsor. 1:30pm. Free. Dreamboogie Hawkesbury Hotel, Windsor. 8:15pm. Free. Dwayne Elix Penrith RSL, Penrith. 2pm. Free. Grant Walmsley Freebird Blues Band - feat: Holly Wilson Hawkesbury Hotel, Windsor. 6:30pm. Free. Heath Burdell Unity Hall Hotel, Balmain. 3pm. Free. Hootenanny - feat: Bryen Willems & The Bayou Boogie Boys Miss Peaches Soul Food Kitchen, Newtown. 8pm. Free. Jimmy Bear Colonial Hotel, Werrington. 4pm. Free. Live & Original feat: Arna Georgia + James Van Cooper + Kira Bray Grind Espresso, Cronulla. 5:30pm. Free. Live Music Sundays - feat: Sydney Blues Society Botany View Hotel, Newtown. 6pm. Free. Lizard Hawkesbury Hotel, Windsor. 3pm. Free. Psycho Zydeco Hawkesbury Hotel, Windsor. 4:45pm. Free. Stephanie Grace Mr Falcon’s, Glebe. 7pm. Free. Stephanie Lea Penrith Panthers, Penrith. 3:30pm.
Free. Sugar Bowl Hokum Hawkesbury Hotel, Windsor. 11am. Free. Sydney Blues & Roots Festival feat: Diesel + Ivor SK Windsor Function Centre, Windsor. 7pm. $54.10. Sydney Blues & Roots Festival feat: Mario Millo + Special Guests Windsor Function Centre, Windsor. 3pm. $28.60. Sydney Blues & Roots Festival feat: Rick Price Wesley Uniting Church, Windsor. 10:45am. $25. Sydney Blues & Roots Festival feat: Spin Gents + Leaving Reality + Wild Honey + Our Teal Blu + Orcaband + He Wisemans Circus + Leanne Tennant Hawkesbury Hotel, Windsor. 10:45am. Free. The Southern Comfort Blues Cruises - feat: Kevin Bennett & Kirk Lorange + Kane Dennelly Hawkesbury Paddlewheeler, Windsor. 12pm. $33.64. The Southern Comfort Blues Cruises - feat: Glenn Cardier & Christian Marsh + Rod Mitchell Hawkesbury Paddlewheeler, Windsor. 4pm. $33.64. Total Country Sundays - feat: Kristy List & Jerry Rooty Hill RSL Club, Rooty Hill. 2:30pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Amy Chase The Newport, Newport. 12pm. Free. Cover Notes Duo Orient Hotel, The Rocks. 8:30pm. Free. Frankie’s 2016 Halloween Party feat: Psycroptic Frankie’s Pizza, Sydney. 4pm. Free. Transvaal Diamond Syndicate Towradgi Beach Hotel, Towradgi. 3:30pm. Free. Vegas Nerve The Bunker, Coogee. 5pm. Free. White Bros Orient Hotel, The Rocks. 3:30pm. Free.
MONDAY OCTOBER 31 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Latin & Jazz Open Mic Night The World Bar, Kings Cross. 7pm. Free. Sonic Mayhem
Orchestra Lazybones Lounge, Marrickville. 8:30pm. $15.
The Delta Riggs
ACOUSTIC, COUNTRY, BLUES & FOLK
John Maddox Duo Mr Falcon’s, Glebe. 7pm. Free. Live & Original @ The Corridor Corridor Bar, Newtown. 7pm. Free. Songquest - feat: Ali Diamond Band + Jonval Band + Russell Neal + Cassie Judychair + Anita Lenzo Kelly’s On King, Newtown. 7:30pm. Free. Steve Twitchin Orient Hotel, The Rocks. 8.30pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS Frankie’s World Famous House Band Frankie’s Pizza, Sydney. 9pm. Free. The Monday Jam The Basement, Circular Quay. 8:30pm. $6.
TUESDAY NOVEMBER 1 INDIE, ROCK, POP, METAL, PUNK & COVERS
Chris Cooke Trio Orient Hotel, The Rocks. 4pm. Free. Co Pilot Orient Hotel, The Rocks. 4:30pm. Free. Karaoke Party Rooty Hill RSL Club, Rooty Hill. 7:30pm. Free. Live Rock & Roll Karaoke Frankie’s Pizza, Sydney. 4pm. Free. Ronan Keating State Theatre, Sydney. 8pm. $100.90. Shawn Mendes Enmore Theatre, Newtown. 8pm. $76.40.
ACOUSTIC, COUNTRY, BLUES & FOLK
Bucket Lounge Presents – Live & Originals Mr Falcon’s, Glebe. 7pm. Free. Live & Orignal @ Mr Falcon’s - feat: Paul Davison + James Snyder + Dominic Youdan Mr Falcon’s, Glebe. 7:30pm. Free. Songsonstage feat: Russell Neal + Chris Brookes + Pauline Sparkle Gladstone Hotel, Dulwich Hill. 7:30pm. Free. Songsonstage feat: Stuart Jammin + Guests Kelly’s On King, Newtown. 8pm. Free.
WEDNESDAY OCTOBER 26
Sticky Fingers Enmore Theatre, Newtown. 8pm. $57.
70s Disco Mania - Feat: Hot Chocolate + The Real Thing Revesby Workers Club, Revesby. 8pm. $72.
The Delta Riggs + Gideon Bensen + The Vanns Metro Theatre, Sydney. 8pm. $29.50.
The Vines Oxford Art Factory, Darlinghurst. 8pm. $44.80.
The New Christs + The Pink Fits + The Dark Clouds Factory Floor, Marrickville. 8pm. $24.
THURSDAY OCTOBER 27
SATURDAY OCTOBER 29
Airling + Xavier Dunn + Romeo Moon Hudson Ballroom, Sydney. 8pm. $16.90.
House Of Voodoo - Feat: Cloud Control + Kilter + Remi + Yahtzel (DJ Set) + More Proud Mary’s, Erina. 12pm. $51.55.
Bullet For My Valentine + Atreyu + Cane Hill Big Top Sydney, Milsons Point. 7pm. $89.10. Lily And The Drum + Mindy Sotiri The Gasoline Pony, Marrickville. 7pm. $5. Live At The Sly - Feat: Gypsys Of Pangea + Narla + Egoism + Zig Zag Wanderers Djs Slyfox, Enmore. 8pm. Free. Moonshine Thursday Feat: The Ruminaters + The Gypsy Scholars Moonshine Cider & Rum Bar, Manly. 8pm. Free. Ozomatli Metro Theatre, Sydney. 8pm. $69.95. The Soft Moon Newtown Social Club, Newtown. 7:30pm. $38.
FRIDAY OCTOBER 28
Kid Zr0 + Yours Truly + Jake Howden The Lair @ Metro Theatre, Sydney. 4:45pm. $23. Roundtable + Summonus + Hawkmoth + Dawn Factory Floor, Marrickville. 8pm. $12. Slipknot + Lamb Of God Qudos Bank Arena, Sydney Olympic Park. 7:30pm. $150. Steven Wilson Metro Theatre, Sydney. 8pm. $89.92. The Specials + D.I.G The Newport, Newport. 1pm. Free.
SUNDAY OCTOBER 30 Frankie’s 2016 Halloween Party - Feat: Psycroptic Frankie’s Pizza, Sydney. 4pm. Free.
Bad Manners Factory Theatre, Marrickville. 8pm. $59.90.
TUESDAY NOVEMBER 1
Caravãna Sun Oxford Art Factory, Darlinghurst. 8pm. $18.
Ronan Keating State Theatre, Sydney. 8pm. $100.90.
Olympia Oxford Art Factory, Darlinghurst. 8pm. $21.
Shawn Mendes Enmore Theatre, Newtown. 8pm. $76.40. Slipknot
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BRAG’s guide to dance, hip hop and club culture
brag beats
inside:
also: + club guide + club snaps + weekly column
vitalic
null
tkay maidza xxx
face-to-face thebrag.com
BRAG :: 686 :: 26:10:16 :: 29
brag beats
BRAG’s guide to dance, hip hop and club culture
on the pulse club, dance and hip hop in brief... with Alex Chetverikov, Chris Martin and Anna Wilson
five things WITH
Halloween at The Argyle
SUPER FLU
A REAL FREAK SHOW
The Rocks has a long and spooky history – by Sydney standards, anyway – so what better place to celebrate Halloween? Step off the ghost tours and into the dance music den that is The Argyle for two nights’ worth of beats and freaks. Friday October 28 will see Press Play, Jesabel, Tass, Moto, Sabio and A-Game behind the decks. Then Saturday October 29 gets spooky with DJs Glover, Tess Vockler, Helena Ellis, Fingers and Recess. There’ll also be a lineup of roving performers including bearded ladies, tarot cart readers, magicians and contortionists, plus the dreaded bed of nails will be on display. Are you game?
1.
Growing Up We grew up in small towns and started to organise parties. That’s where we got the first contact with music. We can’t play any instruments and are autodidacts when learning how to make music. We discovered our sound by playing around, trying a lot of different things. Our parents always supported us… but sometimes they argued with us because we spent all our money on records. Inspirations We have a lot 2. of different favourite
musicians. We really like Matthew Herbert and his ideas behind the music. We are in love with CocoRosie and Sigur Rós. James Blake is one of our favourite electronic producers and his first album blew us away. The biggest inspiration is our daily life – meeting people, talking to people and travelling gives us so much input.
Your Crew We are in the lucky position to be able to fully concentrate on being DJs, with all the pros and cons. Our team is awesome, it doesn’t matter if we talk about our booking agency, the booker or the label management. They all became friends and part of our family and are doing a great job supporting us and helping us do what we can do the best – make music and have a great time with the people.
3.
The Music You Make And 4. Play
The style is mostly depending on the location and the mood of the people. If we can catch them with 115bpm we will do it and groove through the night. But sometimes the energy is so high that the people need 126bpm sound and a clear technoid sound structure.
Pantha Du Prince
5. Now
Music, Right Here, Right
The scene at the moment is very healthy. A lot of people earn money through it. On the other hand, you have this big bad monster EDM that destroys a lot of the culture. But we are sure that it will die and the creatures behind it will move on to another music genre where they can earn the shit out of people. Our local scene is awesome. We have local clubs, enough young people with energy and ideas and Halle [in Germany] is so small that you know each other very well. What: Return To Rio With: Carl Cox & Eric Powell’s Mobile Disco, De La Soul, DJ EZ and more Where: Del Rio, Wiseman’s Ferry When: Friday November 11 – Sunday November 13
SUBSONIC IS READY TO RUMBLE
Subsonic Music Festival, the celebration of underground beats that takes over Riverwood Downs near Foster in regional New South Wales, has revealed a bunch more additions to its 2016 lineup. A raft of local acts have boosted the December schedule, led by Sydney party-starters House Of Mince headlining The Mince Inn on Subsonic Sunday. On the Saturday, Sydney selectors Haunted Science, Breakneck, Flying Fortress and United Colours Of D’n’B will mark out the River Stage, while the fest has also added S*A*S*H plus Spice boys Murat Kilic, Phil Smart and Robbie Lowe. Plus, there’ll be bass in ya face courtesy Bassic Records, Tribeadelic and Noisy Chicken presenting El Stompo, and Melbourne sounds from Thankyou City, Oblique Industries and Katie Drover. Subsonic 2016 takes place at Riverwood Downs, Barrington Tops from Friday December 2 – Sunday December 4.
DEEPER THAN HALLOWEEN
celebrate the gnarly season with its special No Way Out event. The Halloween party will focus on production, artists and prop choice, with the DTH team promising a hauntingly engaging show that will amaze guests. DJs include Sass, TK, NatNoiz and more. It all goes down at The Zoo Project this Friday October 28.
EXTRA LARGE
Chinese Laundry’s LNDRY XL series has already lined up some big billing, with Detroit’s Kevin Saunderson kicking it off alongside the Deeper Than House DJs on Saturday November 5. As a member of the Motor City’s fabled Belleville Three, Saunderson was directly responsible for not only bringing techno and house to a greater audience with the success of his Inner City group, but also the gestation and continual rebirth of dance music on the whole following the decline of disco.
TUFF’N UP
Sydney’s newest wave of producers and DJs has been pretty exciting to witness, and Tuff Sherm is one of its brightest proponents. He’s already had excellent releases on respected house labels The Trilogy Tapes and Hot Haus Recs among his accolades to date. Goodbar has snapped him up for Friday October 28, so don’t miss this chance to dance.
BERLIN, ICH LIEBE DICH
Surprise! It’s another LNDRY XL entry! And the stars keep rolling in, with Berlin stalwart Marcel Dettmann returning. A Berghain regular, and indeed one of its pillars with his long-term residency, the German DJ has had an incredible impact on contemporary techno. He’s ably joined by up-and-comer Latmun, who is quickly making his own mark internationally with his brand of tech house. Saturday November 12 at Chinese Laundry – put it in your diary.
Kaytranada
After a year of sold-out parties, Deeper Than House is set to
THE PRINCE IS CROWNED
Sydney is about to receive a serious injection of German techno as the elite Pantha Du Prince heads to town for a headline performance. Alongside his appearances at Hobart’s Mona Foma and Melbourne’s Sugar Mountain festivals, Pantha, known to his mother as Hendrick Weber, will hit up Oxford Street for his first headlining show. Weber is known for his soul-searching sound and minimal techno with a melodic approach, famously remixing everyone from Depeche Mode to Bloc Party and Animal Collective. Earlier this year he released his album The Triad, a work of electronic folklore. Catch Pantha Du Prince at Oxford Art Factory on Sunday January 22.
KAYTRANADA PARTIES ON
The hype is real for Kaytranada in Australia, and the Montreal producer has locked in an official afterparty when his tour hits Sydney. French beatmaker Stwo and Kaytranada’s younger, funk-obsessed brother Lou Phelps will take to the stage for the official event. It’s going down at the Factory Theatre on Saturday October 29 after the main show at the Enmore Theatre. xxx
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Vitalic
FEATURES
“IN ELECTRONIC MUSIC THE WORDS ARE NOT THAT IMPORTANT, BUT MUSIC ITSELF IS A LANGUAGE.”
The Common Tongue By Adam Norris
T
alking with Pascal Arbez, better known as the French EDM stalwart Vitalic, isn’t exactly your run-of-the-mill interview. He is faultlessly friendly, with some fascinating insights into today’s electronic scene both at home and abroad, but he is also surprisingly selfconscious about his English language skills. I say surprising, because in the end it is no issue at all. But it did make me wonder of the language of his music. Dance music is universal, and having been championing it since the mid-’90s, Arbez is well-versed on how to speak it. “I think there are different kinds of dance music and those require different skills or prior knowledge,” he suggests. “Anybody can understand Daft Punk, but not everybody can understand Barnt. In electronic music the words are not that important, but music itself is a language. At [the start] the scene was very big and spreading everywhere in the country. We had clubs and also small rave parties or bigger legal events. It was quite nice because for some moment nobody really cared [about] that and it was almost total freedom. I really enjoyed that from 1993 to 1997, as a kid going out to dance until the morning somewhere in the forest or in some old premises outside the city. I think that still exists, but now things are maybe more organised and legal. I know that there are still some of those events around.” An aspect of the EDM scene that never fails to impress is just how engaged and supportive the fan base is; similarly, the community between EDM artists is very broad and distinct. Of course, as in any community there can be tensions, but as Arbez says, the challenges faced by emerging artists – particularly females – are beginning to level out. “There is competition anywhere and maybe even more when egos
are involved, just like in the music industry. I think it’s as hard as before to break into the scene, and social media makes it faster and convenient. In one second you like an artist, you add him on your playlist or you buy the song on iTunes. It takes also one second to totally erase all that. “I don’t think [there is equal representation across genders], not yet maybe. But there are good DJettes indeed. I still love Kittin and Jennifer Cardini. They don’t play like men, and I like this little elegant
thing they bring. Also, maybe there is no equal representation because there is basically less girls who want to do that? I have no idea. I don’t believe that in 2016 being a girl is an obstacle in the music industry.” Arbez is in town to play at Victoria’s Earthcore, a dance music/lifestyle festival running across five days and featuring over 70 artists, as well as its Sydney spin-off, Earthcore In The Park. If you’ve never crossed paths before, take the time to Google a few images; they’re going to be damned colourful parties.
They’re also where you can hear some of Vitalic’s latest release in the flesh for the first time. It might not completely match Arbez’s ideal context in which to hear Film Noir, but it sure ain’t a shabby way to spend some time on the dancefloor. “The [ideal environment]? I am in a gay club in Paris with 1,000 silent men in leather and very little light. Jennifer Cardini is playing some downtempo yet very dark electro, and during the drop of the track the 1,000 men start shouting all together while the smoke machine fills up the
Null A
Just ask Hayden Quinn, a Melbourne beatsmith who records under the name Null. Though Quinn, a drum and bass practitioner who makes music suited for both introspective listening and dancefloor jamming, spent some time operating under the illusion he could write only when the muse came knocking at the door, he now has more of a workmanlike attitude towards his creative process.
Null photo by Mclean Stephenson
“Life has sort of gotten to the point now where if I don’t specifically set aside scheduled hours to be in the studio then it just doesn’t happen,” he says. “I used to be unrealistic about it. Like, I’d be like, ‘Man, the perfect idea just kind of comes to you.’ But now I’m just like, ‘Nah, you just gotta fucking write.’ Some days it’ll work and some days it won’t, but you have to just keep on doing it.” The scattershot nature of his creative process means that quite often Quinn will find himself following ideas toward dead ends, pursuing melodies and structures that have no real pay-off. “There was a rule I used to have that I’d finish every single track I started,” he says. “I think in the last year and a half that has started falling apart, though. I have written tracks that weren’t fully formed and I had to pull the plug on them.”
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What: Earthcore In The Park 2016 With: John 00 Fleming, Morten Granau, Vini Vici, Sean Tyas and more Where: Western Sydney Parklands When: Saturday November 26 And: Film Noir out now through Correspondant
“I JUST WANT TO FIND A SONG FORM IN PURELY ELECTRONIC MUSIC.”
The Archivist By Joseph Earp s romantic as it is to assume that art is some passing whim – a fancy that takes hold of you sporadically, out of the blue – reality simply doesn’t support that hypothesis. Want to make music full-time? Then you have to work at it the way you work at any other job, pouring in hours both wasted and fruitful.
room with a thick fog. That’s exactly what happened six months ago in a club, where I had the idea to make Film Noir.”
Even more frustratingly, sometimes Quinn will fully complete a track, only to retrospectively realise it lacks focus, or doesn’t slot easily into any of the EPs or collected works he is writing. “I mean, the way the writing process works with me is that I will spend say, two weeks on a song, and then I will get to the end of that two-week cycle, that rollercoaster of emotions, and then I’ll go, ‘OK, that’s finished.’ And I’ll look at it and sometimes it will be a song that doesn’t really fit into what I am doing. It’s just finished. It doesn’t go anywhere.”
That said, even when at his most ambitious, Quinn still finds himself penning stuff that doesn’t fit, and his discard pile is ever-mounting. “Sometimes I would be like, ‘OK, cool, I’ve made this song that I like,’ but when I looked back on it with more context I realised it’s not in line with what the rest of the project is all about. Sometimes other people had to point it out for me. They’d have to be like, ‘Yo, I like it, but this isn’t what I like about you.’” There aren’t many artists who would be able to take that level of feedback on the chin – after all, when you’re making music you often get so deeply tangled up in your work that it’s hard to distinguish where a song ends and you begin. But that’s just the thing: Quinn isn’t like most artists. Not these days, anyway.
Nonetheless, it’s not always the case that such orphaned tracks never see the light of day. Indeed, Quinn’s newest project under the Null name, Archived Works Vol. 1, is all about collecting together these musical scraps, in the process creating a kind of compilation album featuring all-new material. Some of the tracks on the record were written during the sessions that birthed Almost, his acclaimed 2015 EP, but others were written on their lonesome, produced after hours of studio work. “Archived Works is a collection of stuff that I finished but didn’t put anywhere,” he says. “With the Null project, there’s always sort of an overarching conceptual behind a piece. Even with Archived, which is essentially a compilation, I still tried to make it as conceptual a compilation as I could. And so of course, from day dot working on it, I had an idea of what I wanted to do. “Part of that idea was playing with trance tropes. It was about digging deeper into electronica as a genre, like classic ’90s electronica, and
trying to really find a new world for that in 2016. Trying to find where a futuristic version of that subgenre fits in. It’s about songwriting in electronica; songwriting that will work in clubs.” Indeed, marrying the world of the dancefloor with more introspective, straight up-and-down songwriting is
Quinn’s bread and butter, the source from which a lot of his creativity derives. “I know lots of people do that – full electronica songwriting – but I suppose the difference with me is I don’t want to have a vocalist marking out where the verse/ chorus/verse is,” he says. “I just want to find a song form in purely electronic music.”
“I think most artists go through a period where when you get bad feedback it’s hard not to get offended,” he says. “But now I just so, so don’t care. My manager tries to tiptoe around it sometimes and be like, ‘Dude, this isn’t quite right.’ But I just take it. Because I’m at that point now where I’m always in the studio working, I’m never that invested in something that it can’t be replaced the next time I go in the studio.” What: Archived Works Vol. 1 out now through Siberia Where: Supporting Friendships at Oxford Art Factory When: Friday November 4
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FEATURES
Tkay Maidza Keep Calm And Carry On By Emily Gibb
T
kay Maidza is, without exaggeration, a kind of prodigy. After finishing high school at 16, the rapper and singer studied architecture, played competitive tennis, and if images on her social media are anything to go by, she is also a naturally talented illustrator. Since bursting onto the music scene in 2013 with her almost uncomfortably catchy single ‘Brontosaurus’, Maidza has managed to tour copiously, play almost every major festival in Australia, and work with lauded producers What So Not, Baauer, Motez and Martin Solveig, in between releasing her own strong singles. And all before her 21st birthday and the recording of her debut album.
“SOMETIMES I MIGHT CHANGE MY IDEA OF WHAT I WANT TO DO, BUT ULTIMATELY I STILL HAVE THE SAME GOALS.” 32 :: BRAG :: 686 :: 26:10:16
Thanks to her relatively rapid rise, Maidza’s career goals have started to move within reach. Whether it’s down to a newfound self-confidence, or simply being well practised at interviews, Maidza is able to roll out her ambitions without hesitation. “The more I do things, it gives a better perspective of how far I am to getting where I want to get,” she says. “Sometimes I might change my idea of what I want to do, but ultimately I still have the same goals, which is always good to remember. My two favourite, biggest goals would be to play Coachella and Glastonbury; they’ve always been my ultimate since I first started.
“To sign a record deal overseas as well,” she adds, although she’s already achieved that one. “Downtown has joined [in] partnership with Interscope and Interscope is like my favourite record label, so it’s just cool that somehow I’m on Interscope,” she says in audible amazement. “Another goal is to get better and to learn a lot more, and I feel like if I’m on the right track and I’m improving, then I guess it could – it would – get better.” The international market has been a big focus for Maidza, who’s spent the better part of the last year in America, honing her chops with producers and artists like Salva, Holychild, What So Not and Solveig, and working on her debut album, Tkay. Remarkably, she’s quickly managed to make a name for herself in that notoriously difficult market, earning a BET nomination for Best New International Act and an MTV Europe Music Award shortlisting for Best Australian Act. Not to mention, Maidza has made even more waves for the appearance of Run The Jewels’ Killer Mike on ‘Carry On’, the lead single from her record. Maidza reckons the reason she’s managed to stand out from the crowd can be found in her songwriting. “When I’m thinking while I write this stuff, it’s more almost like an indie pop thing, rather than, ‘Oh, this is a rap song,’ and I think it might have more pop sensibilities when I write music, so it just sticks out more.”
Finally arriving this Friday, Maidza’s album is an infectious, rounded mix of her signature bubbly rap/indie pop fusion with a side of serious dance, and it will end a lot of the persistent comparisons Maidza has experienced since breaking out. Notably – and perhaps more subliminally – the lack of swearing in her music also likely contributes to her point of difference. “It’s a conscious decision,” Maidza says. “I feel like when I first started, before ‘Brontosaurus’, it was just a habit for me to swear and say anything, and then as my parents would listen, they’re like, ‘Why are you saying that?’ and I was like, ‘OK! I’m not going to say anything at all, and just make it really clean.’ Sometimes there’s a time and a place to say certain words. I didn’t really feel the need to swear a lot. I feel like if I did, it’d just be trying to fill in spots or something.” That’s not to say Tkay is without attitude. Electronic banger ‘Monochrome’ sees Maidza getting sassy, with more attitude than she’s displayed in her lyrics before. “I think it was really funny because when I was writing it, it was like, ‘Let me think of the next, almost meanest thing I can say to someone,’” she laughs. “Every time I kept thinking of something really conceited, it was like, ‘Yep, that’s
staying on there!’ It was so much fun. Sometimes I have situations when someone might do something and I will think of a melody, and I’m like, ‘Woah, that’s a really mean lyric,’ but it will find its place somewhere. They won’t know it’s them.” Maidza will spend the rest of the year jetting back and forth between Australia and America to launch her album, and hopes of a positive reception are very much on her mind. “Sometimes when people play new songs, you immediately get into it. You never know how people are going to react when you play, and you live for them because you want for them to have that reaction, but sometimes it doesn’t work that way,” she says. “I’ve been rehearsing a lot, trying to simplify or find a way to do it. I’m finding ways around it, it’s been a challenge, but I think it’s cool ’cause I guess I’m stepping out of my comfort zone.” What: Tkay out Friday October 28 through Dew Process/Universal With: Sable, Midas.Gold Where: Metro Theatre When: Thursday November 10 And: Also appearing at Falls Festival 2016, Lorne, Marion Bay and Byron Bay, Thursday December 29 – Monday January 2
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club guide g
club picks p up all night out all week...
send your listings to : clubguide@thebrag.com
club pick of the week Green Velvet
SATURDAY O C TO B E R 2 9 Greenwood Hotel
Days Like This! Green Velvet 2pm. $69.15. WEDNESDAY OCTOBER 26 CLUB NIGHTS
SBW Side Bar, Sydney. 8pm. Free. Walloween 2016 feat: Sippy + Clam Joust Vs Blue Grass DJs + Young Butter + Bucknite + Coopa Dollar Bear + Rees Double Denim + Luude + Kuren The World Bar, Kings Cross. 9pm. Free. Wet Wednesdays Scary Canary, Sydney. 9:30pm. Free.
THURSDAY OCTOBER 27 CLUB NIGHTS
Femme Fetale The Argyle, The Rocks. 6pm. Free. Flow Athletic Silent Disco Yoga - feat: DJ James Mack Hordern Pavilion, Moore Park. 2:55pm. Free. Halloween - feat: Tigerlily + Jaysounds + Anfinity + Bvntr + Coby Watts + Daniel Tonik + Indigo Starlight + Jagged + Jesse Bloch + Jonny Boy + K-Time + Lambo + Mint Dealers + Mojoman + N/A DJs + RackA-Mack + Sammy Boyle + Seeing Double + The Royals + Troy T & Ya Australian Hotel And Brewery, Rouse Hill. 7pm. $32.50. House Keeping
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Side Bar, Sydney. 8pm. Free. Meem The Newport, Newport. 8pm. Free. Yo/Da Fu/Nk - feat: Resident Funk DJs The World Bar, Kings Cross. 9pm. Free.
FRIDAY OCTOBER 28 HIP HOP & R&B
Fridays Beach Road Hotel, Bondi Beach. 8pm. Free. Hustle & Flow Halloween Party feat: Animal Child + Crooked Rookie + DJ 26th Letter Hustle & Flow, Redfern. 5pm. Free. Role Modelz Beach Road Hotel, Bondi Beach. 8pm. Free. The Four Owls Max Watt’s, Moore Park. 8pm. $65. Treble N Bass - feat: DJ The Newport, Newport. 8pm. Free.
CLUB NIGHTS
All Out! Halloqween - feat: DJs James Tobin + CKDJ + Tiny + Astrix Little + Panz Slyfox, Enmore. 8pm. $10. Bassic - feat: Oski + Hatch + Blackjack + Lennon + Ebony + Autoclaws + Chenzo Chinese Laundry, Sydney. 9pm. $22.90. Bloody Banquet feat: Phia + Matrick Jones + Two Can + Stoney Roads DJs + Kinder + Josh Kelly
+ Han Yolo + Livewire DJs The World Bar, Kings Cross. 9pm. Free. Dream 2 Science + Daniel Lupica + Magda Bytnerowicz + Kali Jam Gallery, Bondi Junction. 9pm. $27.50. Fatback - feat: DJs Adverse + Juzzlikedat + Caratgold + Amity + Makoto + CMan + Edseven + VJ Spook Hudson Ballroom, Sydney. 9pm. Free. Freak Show Halloween Weekend - feat: Press Play + Jesabel + Tass + Moto + Sabio + A-Game The Argyle, The Rocks. 8pm. Free. Friday Frothers Side Bar, Sydney. 8pm. Free. Honey (Covern) feat: Honey DJs Matka + G Coo + Ariane + Sezzo Snot + Liz Bird + Flexmami + Mowgli May Tokyo Sing Song, Newtown. 10pm. Free. Nicole Millar + Tigerilla + Zuri Akoko Newtown Social Club, Newtown. 8pm. $18. Old Skool Fridays - feat: DJs On Rotation St Johns Park Bowling Club, St Johns Park. 8pm. Free. OPM Marquee, Pyrmont. 10:30pm. Free. Prescription Halloween - feat: DJ Fasmwa + Deejay Koolbreeze Brighton Up Bar, Darlinghurst. 10pm. $11.50. Red Bull Sound Select - feat:
Mansionair + GL + Alta Civic Underground, Sydney. 8pm. $3. Sam Wall Manly Wharf Hotel, Manly. 8pm. Free. Step On Hudson Ballroom, Sydney. 9pm. $8. Sweet Echoes - feat: Cale Sexton (Live) + Cop Envy + Marco Vella + DJs Jon & Hugh Freda’s, Chippendale. 7pm. $10. The Elements Of Tech And Bass Halloween Party - feat: Thierry D. ≠ Geoff Da Chef + 8 Diagram + Vertigo + Fabs Valve Bar, Agincourt Hotel, Ultimo. 8pm. Free. Wiradjuri Platinum Mixerz Freaky Halloween Friday feat: DJ Coco + DJ Moto + A-Dub Valve Bar, Agincourt Hotel, Ultimo. 10pm. $10.
SATURDAY OCTOBER 29 CLUB NIGHTS
Bandulu Records Halloween Party feat: Kahn + Neek + Boofy + Hi5ghost Uts Underground, Ultimo. 10pm. $25. Blueprint - feat: Sebo K + U-Khan + Ben Nott Civic Underground, Sydney. 9pm. $44. Boything Halloween Thriller - feat: Matty Bix + Wonky + Dunny Minogue + Dolly B Imperial Hotel, Erskineville. 9:30pm. $16. Cakes The World Bar, Kings Cross. 8pm. Free. Clique Sydney: The Haunted Lounge feat: DJs Skinny + Mike Hyper + Just 1 + DPak Cruise Bar, Sydney. 8:30pm. Free. Comfort Club 9 feat: Dave Stuart + B&H Smooth + Señor Face + Bilsn Tokyo Sing Song, Newtown. 10pm. Free. Days Like This! feat: Green Velvet + Gabby + Sam Arellano + Marc Jarvin + U-Khan + Cassette + Andrew Wowk + Illya + Jueo Brunning + B_A + Mark Craven + Summit DJs + Friday Records DJs + Harry Sanger + Aaiste + Anya + Nick Reverse + Hoten + Db + Jakob + Mitchell Flower + Wildfox B2B Nine One + Endy Ef + Andy Bird + Micky Price + Alex Ludlow + Eclipse DJs + Louis Coste + Phil Kanis + Jermaine Jones Greenwood Hotel, North Sydney. 2pm. $69.15. DJ Mike Dotch The Newport, Newport. 3pm. Free. Father Halloween feat: Gladiator + Quix Manning Bar, Camperdown. 9pm. $34. Frat Saturdays Side Bar, Sydney.
8pm. Free. Freak Show Halloween Weekend - feat: Glover + Tess Vockler + Helena Ellis + Fingers + Recess The Argyle, The Rocks. 8pm. $40. Graham M + Oh! Manly Wharf Hotel, Manly. 6pm. Free. Halloween At Della Hyde - feat: DJ Della Hyde, Darlinghurst. 10pm. Free. Hitech Halloween Party - feat: Reflection + Phsiris + Aesop + Bear + Dr Dom + Horuscope Valve Bar, Agincourt Hotel, Ultimo. 10pm. $10. Hot Kandi Halloween Max Watt’s, Moore Park. 7:30pm. Free. Insane Asylum - feat: Justin + Sarkozy + DJ Dez + Rzn + Crux + Snt + Abbie + Aztec + Lugia + Tyson + Rack A Mack + Balor + Cmarthy Carmens, Miranda. 8pm. Free. Jigsaw & Reset Presents Halloween Harbour Cruise feat: Robbie Lowe + Tristan Case + Ricky Cooper + Jez Sands + Aaron Smith B2B Ed Wells + Jezza B2B Steve Marx + Neil Smith Sydney Harbour, Sydney. 3pm. $33. Lndry - feat: Touch Sensitive + Bruno Furlan + Friendless + Peekay + Oscar De Lima + Royle Pineapple + Taaka + Mike Hyper + King Lee + DJ Just 1 + Offtapia Chinese Laundry, Sydney. 9pm. $28. Micky Trick Rooty Hill RSL Club, Rooty Hill. 8:30pm. Free. Moonshine Saturdays - feat: DJs Moonshine Cider & Rum Bar, Manly. 8pm. Free. Pacha Halloween - feat: New World Sound & J-Trick Ivy Bar/Lounge, Sydney. 6:30pm. $27.70. Parental Guidance First Steps - feat: Parental Guidance DJs + Andy Webb + Lauren Hansom Secret Location, Sydney. 9pm. $44.75. Rocky Horror Halloween Party feat: 3 Monster Mash DJs Soda Factory, Surry Hills. 6pm. Free. Sander Van Doorn Marquee, Pyrmont. 10pm. $26.60. Sangria Latin Saturdays St Johns Park Bowling Club, St Johns Park. 9pm. Free. Sleeparchive + Claudio Prc + Methodix + Thick Owens + David Mccann + Qu-Zen + Sebastian Bayne + Gav Whalan Zoo Project, Potts Point. 9pm. $27.50. Something Else House Of Horrors - feat: Mark Reeve + James Petrou + Edward Macdonald + Shepz + Jahra Mortimer + Steve Frawley + Brosnan
Perera Burdekin Hotel, Darlinghurst. 10pm. $11. Spektrum - feat: DJ Robbie Lowe + Eden + Simon Mellor + Nicholas George Burdekin Hotel, Darlinghurst. 9:30pm. $10. Synchronicity - feat: Steez + Storm + Senka + Subsense + More Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. The Sweet Escape feat: Stereogamous Imperial Hotel, Erskineville. 9pm. Free. The Underground Cirque De La Mort - feat: Molly + Monika Ross + Mantra Collective + Bodywork + Kev Frost Jam Gallery, Bondi Junction. 8pm. $40. Treble N Bass + DJ Mike Dotch + Treble N Bass + DJ Mike Dotch The Newport, Newport. 8pm. Free. Yours - feat: Two Can Beach Road Hotel, Bondi Beach. 8pm. Free.
HIP HOP & R&B
99.9% Afterparty - feat: Stwo + Lou Phelps Factory Theatre, Marrickville. 10pm. $35. Kaytranada + Stwo + Lou Phelps Enmore Theatre, Newtown. 7pm. $63.11. Litemare Halloween Club - feat: Aspartame Vs Rap Simons + Body Promise Vs Eve + Unofficial: Chanel Vs Jalé + Cache One Vs Sal + Kimchi Princi + Slim Set + Strict Face Hudson Ballroom, Sydney. 9pm. $13.80.
SUNDAY OCTOBER 30 HIP HOP & R&B
The Four Owls
FRIDAY OCTOBER 28 All Out! Halloqween - Feat: DJs James Tobin + CKDJ + Tiny + Astrix Little + Panz Slyfox, Enmore. 8pm. $10. Hustle & Flow Halloween Party - Feat: Animal Child + Crooked Rookie + DJ 26th Letter Hustle & Flow, Redfern. 5pm. Free. Role Modelz Beach Road Hotel, Bondi Beach. 8pm. Free. The Four Owls Max Watt’s, Moore Park. 8pm. $65.
SATURDAY OCTOBER 29 Blueprint - Feat: Sebo K + U-Khan + Ben Nott Civic Underground, Sydney. 9pm. $44. Father Halloween - Feat: Gladiator + Quix Manning Bar, Camperdown. 9pm. $34. Freak Show Halloween Weekend Feat: Glover + Tess Vockler + Helena Ellis + Fingers + Recess The Argyle, The Rocks. 8pm. $40. Jigsaw & Reset Presents Halloween Harbour Cruise - Feat: Robbie Lowe + Tristan Case + Ricky Cooper + Jez Sands + Aaron Smith B2B Ed Wells + Jezza B2B Steve Marx + Neil Smith Sydney Harbour, Sydney. 3pm. $33. Kaytranada + Stwo + Lou Phelps Enmore Theatre, Newtown. 7pm. $63.11. Lndry - Feat: Touch Sensitive + Bruno Furlan + Friendless + Peekay + Oscar De Lima + Royle Pineapple + Taaka + Mike Hyper + King Lee + DJ Just 1 + Offtapia Chinese Laundry, Sydney. 9pm. $28.
Rooftop Sundays Beach Road Hotel, Bondi Beach. 8pm. Free.
SUNDAY OCTOBER 30
CLUB NIGHTS
Bollywood Beats - Feat: DJ Ra1 Hustle & Flow, Redfern. 8pm. Free.
Bollywood Beats feat: DJ Ra1 Hustle & Flow, Redfern. 8pm. Free. Halloween Madness - feat: God’s Broccoli + Luke Aaron + Cakewalk + Feast Of Fools Valve Bar, Agincourt Hotel, Ultimo. 6pm. $10. Meem The Newport, Newport. 7pm. Free. Picnic Social - feat: Phil Smart Cake Wines Cellar Door, Redfern. 3pm. Free. Rimbombo + Daydreams Hermann’s Bar, Darlington. 2pm. $11.75. Shady Sunday - feat: Retro DJs Imperial Hotel, Erskineville. 4pm. Free. Sin Sundays
Rimbombo + Daydreams Hermann’s Bar, Darlington. 2pm. $11.75.
The Argyle, The Rocks. 7pm. Free. Somatik + Tim Boffa Manly Wharf Hotel, Manly. 4pm. Free. Tropical Sundae The World Bar, Kings Cross. 5pm. Free.
MONDAY OCTOBER 31 HIP HOP & R&B
Method Man + Redman Enmore Theatre, Newtown. 7:30pm. $86.60.
CLUB NIGHTS I Love Mondays Side Bar, Sydney. 9pm. Free.
TUESDAY NOVEMBER 1 CLUB NIGHTS
Coyote Tuesdays The World Bar, Kings Cross. 8pm. Free. Propaganda Tuesday Scary Canary, Sydney. 9:30pm. Free. Side Bar Tuesdays Side Bar, Sydney. 9pm. Free.
BRAG :: 686 :: 26:10:16 :: 33
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up all night out all week . . .
Off The Record Dance and Electronica with Tyson Wray
Stephan Bodzin
I
f dark and driving techno is your game, you’ll want to be sure to catch Stephan Bodzin when he hits our town next month. Having worked with the likes of Marc Romboy and Oliver Huntemann, as well as releasing on DJ Tennis’ and Tale Of Us’ imprint Life & Death, the German head also runs his own Herzblut label, the home for releases from Dominik Eulberg, Max Cooper, Pig&Dan and many more. He’ll hit Sydney on Friday November 18 at Chinese Laundry. With a sound that sits somewhere in the middle of the Venn diagram of Chicago house and Detroit techno, Berlin native Sebo K will be serving up a lashing of his all-encompassing and evereclectic selections on Australian shores mighty soon. A resident of the infamous Watergate club for over a decade, he’s also a favourite with the likes of Anja
One of the fastest-rising names on the Drumcode imprint, Mark Reeve, has locked in an Australian tour. Growing up on a healthy (but let’s be real, debaucherous and probably clinically bad for your long-term health) diet of Sven Vath and Ricardo Villalobos, he’s gone on to release through Cocoon Recordings, Traum Schallplatten, Trapez and Monique Musique, and judging by what I’ve read, has enlisted some absolutely shithouse publicists to write his bios (seriously, I’m dodging the words ‘tasty’, ‘groovy’ and ‘juicy’ in a press release here). Semantics aside, he’s well worth checking out behind the decks when he hits the Burdekin Hotel on Saturday October 29.
mind gamers
PICS :: KC
Schneider, Prosumer, Nina Kraviz and Martyn, releasing on the likes of Robsoul Recordings, Tsuba and his own vinyl-only label Scenario Music. Catch him on Saturday October 29 at Civic Underground.
21:10:16 :: 38-46 Oxford Art Factory :: Oxford St Darlinghurst 9332 3711
Did you see that the lords from Astral People are throwing a gig with Moodymann and Dan Shake on Saturday November 19 at Cake Wines Cellar Door? No? Well I’m not going to go into any further details, because this shit is already sold out. You snooze and you well and truly lose. ‘Northern Merry’ by Señor Shake is without doubt one of the best tracks of the past 12 months. Lily Belle, your hair is golden brown. Sebo K
TOUR RUMOURS
The biggest name in Italian techno, Donato Dozzy, is coming – lock it in. Nicolas Jaar has also been revealed as a headliner for Golden Plains, but I hear a sideshow is soon to be announced.
BEST RELEASES THIS WEEK
Pangaea’s In Drum Play (on Hessle Audio) is pretty, pretty, pretttttttty damn good. Monolake’s VLSI (Imbalance Computer Music) is also worth your time, while I’d keep your eyes peeled for what’s dropping on Blowing Up The Workshop this week. Wink wink.
Dream 2 Science JAM Gallery
SATURDAY OCTOBER 29
Green Velvet Greenwood Hotel Mark Reeve Burdekin Hotel Sebo K Civic Underground Sleeparchive, Claudio PRC Zoo Project
Kevin Saunderson Chinese Laundry
THURSDAY NOVEMBER 10
more Del Rio, Wisemans Ferry
SATURDAY NOVEMBER 12
Marcel Dettman Chinese Laundry
DJ EZ Oxford Art Factory
SUNDAY NOVEMBER 13
FRIDAY NOVEMBER 11 – SUNDAY NOVEMBER 13
FRIDAY NOVEMBER 18
Return To Rio: Carl Cox, De La Soul, Eric Powell, DJ EZ +
Powder TBA
Nina Kraviz, Stephan Bodzin, Bjarki Chinese Laundry
SATURDAY NOVEMBER 19 Moodymann, Dan Shake Cake Wines Cellar Door
SUNDAY NOVEMBER 20 HVOB Cruise Bar
SATURDAY NOVEMBER 26 Jackmaster Greenwood Hotel Randomer TBA
lndry x v movement sydney
PICS :: AM
FRIDAY OCTOBER SATURDAY 28 NOVEMBER 5
22:10:16 :: Chinese Laundry :: 111 Sussex St Sydney
Got any tip-offs, hate mail, praise or cat photos? Email hey@tysonwray.com or contact me via carrier pigeon. Hit me on Twitter via @tysonwray. 34 :: BRAG :: 686 :: 26:10:16
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Stephan Bodzin photo by Natascha Romboy / Sebo K photo by Marianne Waquier
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