Issue 7 October 2013
PowerMouth Entertainment presents
BrisFest & RedFest ignite the town Mere Noise turns 10
WhatZon gig guide: bigger and better
e d i s In
Managing Editor Randy G Art Direction & Layout Charcoal Mark Graphics
5 ASK ABBY
Contracts - perils and benefits - Part 1
Sub-Editors Peter Muldoon Mike Roberts
6 MOUTHZOFF TALKS TO
Penny Rides Shotgun and Mark Sheils
Writers Hugh Brown Sonic Edwards Randy G Abby Skye Peter Muldoon Jae Salmon Cat Anderson Matt Thrower Tjay David Rowlands
8 SONIC BOOM
9 FISHLANE ft CLAIRE WALTERS Live review by Randy G
10 DR HUGE
How much art is good enough?
12 mere noise RECORDS
10th birthday celebrations
14 GARAGE GOSS
New feature with Jae Salmon
16 FACEBOOK FRIENDS
General Manager Abby Skye
Like us, and we’ll like you back!
17 BRISBANE’S BIGGEST JAM
Business Manager Wayne Ficnerski
QPAC’s Green Jam returns
18 FESTIVAL FRENZY
Redfest by Peter Muldoon
Photographers Brett Linsley Hi Nrg Studios Steve Barrett Bob McGahan Geoff Norris Benjamin Knight Mike Roberts
20 FESTIVAL FRENZY
Brisbane Festival by Cat Anderson
22 ABBY SKYE EP LAUNCH
Live review by Matt Thrower
23 SOUND ADVICE
Setting up – Part 2
24 ALBUM REVIEWS 26 WHATZON On the cover Brisbane Festival. Pic: Bob McGahan
Your comprehensive gig guide, Now including Open Mic/Jam session venues
30 BLUES NOTES
Web www.mouthzoff.com Advertising and general enquiries
message from the Editor Looking at how fast September has slipped by only makes me feel more excited. Along with the finer weather comes more outdoor shows, events and festivals. Part of this months treats would be the Brisbane festival offering a whole variety of musical performances throughout the city and many of which were free. Noosa Jazz festival overlapped from the end of last month and also some smaller community festivals,
such as Redfest (also in this issue). Keep checking out the WhatZon guide to see who’s touring as well as supporting local artists and bands with performances and new releases. MouthZoff wishes them all the best and encourages everyone to support our Local Music Scene as we rapidly head toward the new year!
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y b b a ask
with ABBY SKYE
The benefits and the perils of contracts PT1
his particular topic has posed a nightmare for me so many times, I could write about it forever. Then again, contracts have also saved my butt on countless occasions. Contracts can be a powerful tool or an impossible thorn in your side for any amount of time that you’ve agreed to and it very much depends on how you view, treat and handle them that determines the outcome. I constantly hear of instances where musicians have not even read, let alone tried to understand or negotiate contracts and entered into them blindly. I wish there was a basic course as readily available as overlyattached-girlfriend memes (though I do love them) that could educate people on the impact and implications this legal instrument can have on their musical dreams. Put simply, a contract is just a legallybinding agreement, executed by the signatures of the presumed informed and agreeable parties to the contents of the document and is usually (unless by circumstance, such as bribery or duress), completely negotiable. The entertainment industry however, is historically one of the most lucrative and un-regulated industries we’ve ever known and so inevitably, countless corporate machines have popped up over the decades, prepped to sell a ‘dream-come-true’ opportunity to the eager, budding musician. Knowing that many of the hopeful applicants would not be experienced enough to negotiate effectively for themselves in that situation (I know, because I was one of them) and that some would compromise to the extreme (ye ol’ ‘casting couch’), an industry of ‘bribing dreams for peanuts’ thus thrived.
I know it’s all very drastic and negative to say (and please don’t think I’m saying that every label is out to get you!), but it’s been really heartbreaking to look back on how many of the ‘amazing opportunities’ I put my hopes and efforts into, only to then kiss them goodbye because I discovered alterior motives in the contract. Here’s just one example – in the fine print of a contract I’d been offered for a deal that was pitched impeccably and seemed like a gift from the heavens to begin with, I found a clause that would see handing over legal power of attorney to this manager (who I had known for a matter of weeks), that would allow him to enter into contracts on my behalf, with or without my consent. I thought that was a little unnecessary, so I looked into it and spoke with a solicitor. After finally joining all the dots and working out that he had only been bluffing about recording an album of my original songs, he was actually secretly plotting (it sounds like a movie, right?!) to fly me to the US, where he had racked up some serious debt, where I would be signed to front an all-girl group of retired strippers (all of whom I would need to teach to sing) so that they could fulfil their commitments to their really bad 5-year record deal (which I presume had something to do with his money troubles). This is totally un-inspiring stuff for the readers at home (sorry for all the down-talk, people!), but seriously can you imagine how much
trouble I could have found myself in if I had of signed that damn thing?? I made sure that guy left with his tail between his legs, but it took a lot of strength. It’s just so silly! It doesn’t need to be this way, certainly not any more. After over a decade of navigating countless people and situations like this and learning about how contracts work, I now use them to concretely communicate and ‘verify’ intentions and commitments with the people I work with, to clarify any unsureties or inconsistencies and to make sure we stay awesome. I work only with friends and people I trust and because we’re on the same page (at least, morally), things seem to flow effortlessly. In Part 2, I’ll give you some tips on how you can make contracts work for you, how to protect yourself (and your music) for the long-term, plus how you can use them to build a great team and flourishing career.
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. . . o t s talk Penny How did you come up with the name Penny Rides Shotgun? Alby and Pete were throwing around ridiculous potential names in text messages one night, and it got worse and worse. Alby’s wife Jo quite rightly stepped in and came up with ‘Betty Rides Shotgun’. We all thought it was cool, but weren’t 100% sold on the Betty part. Pete’s wife’s name is Penny, and we all loved how it sounded in the band name. Now Penny gets “oh so YOU’RE the Penny who rides shotgun?” whenever she’s at a gig......she loves that....... What’s the line up/who’s on what? Troy on Vocals, Pete on Guitar and Vocals, Alby on Bass and Vocals, Yorky on Guitar and Tom on the kit Is your music/genre describable by say, a comparision or combination of artists, or have you created something completely new? We all draw different inspirations, ranging from Radiohead, Crowded House, Led Zep, Keith Urban to local lads The John Steel Singers . Our style as a band kind of brings a lot of that together, with a focus on strong harmonies and catchy melodies. Pretty radio friendly and easy to listen to is our goal. Is there a main message, theme or legacy behind the band and its material?
We’re all mates, but this is our first time playing in the 1 band together with this line up. We hope that no matter what, it’s clear we believe in what we do and we come across as sincere. We’re not trying to be anything we’re not, and we reckon without sincerity in your music, you get called out. The public are smart and see right through the try-hards. We write and play material that we all love to listen to – which hopefully shows in how we perform on stage. What is the weirdest thing you have ever seen at a gig? I was doing a last minute fill in acoustic gig down the coast back in the day, playing covers to a Sunday afternoon crowd at a Tavern off Nerang Broadbeach Rd. The crowd up the front were great fun, asking for songs I generally knew, and we got to talking between sets. I asked if they all knew each other and what the occasion was, and it turns out it was a family reunion of a bunch of ‘Crawfords’, around 60 of them who hadn’t seen each other for years. I got my licence out and showed them my surname is Crawford too, and I was treated like a long lost brother. It was really random and weird for those stars to align in the way they did...and it was a really fun gig!
What are you working on right now? We’re putting a film clip together for our single ‘Hand to hold’, and aren’t too far away from recording a few more tracks as well. A number of gigs on the horizon, one we’re really looking forward to is ROCKTOBERFEST @ IRISH MURPHY’S October 19th - a great line up of Originals acts all afternoon followed by our good mates JABBA from 10pm. We’re on @ 3:40pm. We’re also on the lookout for some Management to help us maintain the momentum we’ve gathered this year. If anyone is interested, they can contact us on our Facebook page. What are some of your main achievements or highlights to date? We played the Caboolture Urban Music Festival this year, we’ve written a number of new tracks, played a bunch of gigs around Brisbane, recorded 3 of them at Airlock Studios, managed to get some airplay on 98.9FM and are currently sitting at #12 of their Top Australian Songs chart. We’ve literally just gotten back from the 98.9 studios for an interview and live track that was played during the drive time shift which was great exposure. We’re pretty stoked with how this year’s panned out and hopefully it’s the start of bigger things to come !! And of course an interview with MouthZoff Magazine!!
... and Mark
Who Is Mark Sheils? I am a solo acoustic covers artist with another originals project hopefully to share more of the spotlight soon. My backround has been ten years as frontman with heavy/alternative original act ‘Laoch’, with acoustic Tribal trimmings, and my new acoustic material I am creating at the moment will have that same intensity & flow, with a little more commercial influence ... just a little ... ha!
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W la W o s e w n k b c w r I p w F S a u c a t t b
Who Inspires you? Muse, Led Zepp, System, Tea Par WhatZon & Where can people My mid week Gigs are Trivia host ‘Hell-Yeah’ trivia (because of som tions & prizes are awarded to the and thrown in to the mix are thin feeds, T.V theme songs, ‘Who am Live guitar questions to finish the
Where can people hear your atest single ‘Hand To Hold’? We’re obviously getting airplay on 98.9FM and are working on some other stations too - otherwise we have our tracks on www.soundcloud.com/pennyridesshotgun . We’re just keen to get these songs heard by as many people as we can - and our next recording will likely result in an official release If you could choose a superpower for each band member- who would get what and why? For Troy and Tommy - I’d say Super Strength so they can lug Tommy’s kit and be our roadies too – the rest of us it’d be Jedi mind tricks so that we could get in front of whoever we want, and with a calm Jedi instruction have them agree to festival gigs and a lucrative record deal. Could get a few free beers at the bar as well!
FOR MORE INFO:
rty, etc see you? ting roles, called me of the quese loudest team) ngs like Live Movie m I’ life stories and e night off. It looks
like trivia has now become cool! https://www.facebook.com/HellYeahTriviaLiveMusic MarkSheils?fref=ts Tue nights are Samford Valley Hotel. Wed nights are RG’s Beergarden (Valley) Weekends you can catch me playing the predictable acoustic cover haunts around Brisbane & Gold Coast.
What do you think is the best aspect of our local music scene? I think the best aspect of the local music scene in Brisbane, is that it’s growing and people are responding in an alarmed manner, despite DJ orientated venues. However, I would love to see that growth occur thicker & faster, if you were to draw a line on a graph it would only be a gradual steady ascension compared to ten years ago.
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m o o B Sonic THE THEORY OF SONG STRUCTURE Hey, let’s chat about something you don’t often hear about in depth - musical structure. Everybody is familiar with the terms verse and chorus, some of you will also know bridge and pre-chorus and some will even be familiar with assigning letters to each different section, such as A, B, C and so on, but their purpose and how best to string them together often seems to be a bit ‘hit and miss’. I suppose we had better start by saying that there are six commonly used forms in music. I’m not dismissing all others, but simply giving a framework to base them on. When we write a song we’re trying to communicate an idea - not just a lyric and a story, but also a feeling provided by the combination of music and words. If you were attempting to tell a story about a man who was frantically searching for his keys, you might try to reinforce the frustration (we’ve all experienced it) by singing fast and rapid-fire lines while musically switching to a new section at an odd time in the song, just as he would be changing direction after looking in the same places over and over again. So, to try and understand how the sections of a song can impact the way the story is told let’s look at First Form. At first glance this is the simplest from of all because it’s just the same section over and over. Same chord progression and melody (maybe some subtle changes for each time around); however this can make it difficult to pull off. Not only does the story need to be interesting and develop throughout the song, but
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the title still needs to be in the prime location so that it is remembered. Typically this is in the first or last line of a section and in this form has a name for the more common-place end line – refrain. Another thing to keep in mind is the rhyming scheme. For example, if you rhyme the first two lines “I love my fat orange cat, sometimes he wears a purple hat”, then the first two lines of the next ‘A’ section need to follow the same type of rhyme, but not necessarily the same sound, “Breakfast was just toast and jam, for lunch I think I’ll have clam”. This form originates from the 1930s when songwriters were like factory workers and would sit in a small room, working nine to five, cranking out song idea after another and when they came up with a good one they would run next door to the publisher who would then tell them to finish it. The first part they came up with is the bit that would be repeated and played on radio. This became known as the chorus, whereas the ‘rest of the song’ was the verse or the set up to the story. This part usually wasn’t as catchy, memorable or even the same tempo, so was often dropped before it reached the general public. Examples from that era are Cole Porter’s “I get a kick out of you” and Hoagy Carmichael’s “Stardust”. Second Form uses the verse and chorus to drive the song. This is used a lot in rock (with catchy guitar riffs), urban and folk. The chorus is the section that repeats throughout the song and is the memorable ‘singalong’
part, typically with the title in the first or last line. It contains the main idea of the lyrics and the main hook or riff of the song. The chorus chords and melody would normally remain the same on each repetition as would the verse. The verse fleshes out the idea and explains a lot more detail and although the lyrics change for each verse, the rhyming scheme remains the same, again not the same rhymes but the same format. A typical layout for a song in second form is Verse (V), Chorus (C), V, C, Instrumental, C with the chorus repeated until the end. If the songwriter has more to say they usually wouldn’t add a verse after the instrumental, but rather add a second verse before the first chorus – V, V, C, V, C, Instrumental, C, C, C. Examples of rock songs that use second form are Rolling Stones’ “Satisfaction” and “Maybelline” by Chuck Berry. When writing any form of song it is important to pace your lyrical ideas so that there is a sense of story with a number of stages. This doesn’t necessarily need to line up with different sections like the verse or chorus. A story that really pulls you in has detail and explains everything before the end of the song so that you’re not left wondering about what happened or why. Next month we will look at two of the most popular forms, Third and Fourth and how they add sections to expand the story.
s d r a w d E Sonic
FISHLANE WITH CLAIRE WALTERS incredibly controlled and sultry performance with brilliantly executed scats throughout. Starting out with a belly full of nerves mostly due to the fact this was her first time back at the Brisbane Jazz Club in almost two years, her talent soon shone through and made for a more then excellent night. In fact it was Claire’s rendition of Stardust, an old Nat King Cole classic, that made Rita (president of the jazz club) tear up. Then finishing off the night in pure style with Etta James’ I’d Rather Go Blind, leaving us all very much looking forward to her next performance.
Pic: Steve Barrett
She’s the more than cheeky front woman of soul covers band Capitol Groove and originals funk band Boss Cats, but who knew Claire (Frances) Walters also sings jazz? Joining this night with exceptional jazz trio Fishlane, the group provided a very enjoyable and entertaining night. All four musicians on stage appeared equally brilliant in their fields with great musicianship, energy and vibrant sound, but it was Claire who had my full attention. Due to the fact I’m use to seeing (or hearing) about her accolades at the press club and though she certainly wasn’t dancing on window sills or harassing passing taxi drivers tonight she amazed the audience with an
Pic: Wikicommons/Louise Docker
e g u H r D by HUGH BROWN
The art OF maKing enough good art
ast edition we discussed the fundamental differences in approach between flat-fee services and percentage services. Flat-fees work best for independent musicians when they apply to once-only expenses like a specific marketing campaign or a artwork design. When it comes down to longer-term expenses like digital distribution, it’s important to run the numbers of sales vs the fixed fees over each release’s whole product life-cycle. This is especially important for an artist’s back catalogue of material, which is something a new artist should look to build up as quickly as possible. The reason is simple: when a new fan finds the latest releases, they will probably be interested in the earlier stuff. The more of this an artist has, the more opportunities people have to support that artist. This poses a difficult question for an artist – especially a new artist. How good is good enough? Some artists are perfectionists – they obsess over every small detail and focus all of their energies on making the best art they can possibly make before releasing it to the public. Others just release whatever they can easily make and try to improve with each next effort.
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Most fall somewhere in between these extremes. There is no right or wrong answer to this question, but there are consequences for either position and the best solution will depend on the abilities of the artist and the artist’s network of supporter. The tendency to release everything can put people off when the great releases get lost in a cloud of stuff not many people like. Not releasing often enough runs the risk that when the release arrives, not enough people will relate to it to provide adequate support for the next release. Essentially, a career can be built either by producing a great volume of mediocrity or rare releases of brilliance. It’s most likely that a new artist will begin with the former as the career builds. Preferably, the artist releases a constant stream of ever-improving work leading up to a masterpiece or two. That’s a great approach because it means the artist will have a growing fan base who will trace the themes of development back through the artist’s career. It’s extra-ordinarily rare for an artist’s initial release to be mind-blowingly classic and when it does, it’s come on the back of a heap
of unreleased testing and refinement through feedback – usually hard work playing live and building a following. This is not to say an artist should release any old garbage they feel like making off the cuff. Always make every release the best it can be. Constantly release the best work possible, playing it or promoting it in front of existing fans and asking for feedback is a great way to grow a loyal fan base. The lesson? Musos should start their career by releasing early and releasing often, always seeking feedback and learning from the experience. Of course, this growing fan base will include peers and industry colleagues whose well-intentioned advice can compromise an artist’s independence – but that’s a topic for another column. Dr Huge is an independent musician and author of “How the record industry got it so wrong” (http://www.huge.id.au/How_the_record.html) and “The step-by-step music career” (http://www.huge.id.au/Step-byStep_Music.html). He is always happy to help musicians reach their musical goals and would love to write about the issues that are bugging you – email him at firstname.lastname@example.org
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e s i o N e r e M A DECADE OF
by MATT THROWER
Photo by Benjamin Knight
or ten years, Brisbane label Mere Noise has stood up for every reason we love subterranean rock & roll. From the alcohol-fuelled New York Dolls rampages of HITS, to the reverbdrenched slow motion surf rock of Keep on Dancin’s and the ethereal country narratives of Texas Tea, the label has released work by some of the city’s finest independent bands. As well as CD’s and downloads, they have put out 7” singles and (yes!) cassingles from their roster of artists, but their bands are accessible and inclusive, and any concert from a Mere Noise act is always way too euphoric to be just another arms-folded hipster display. At the greatest shows from these acts, the audience are as much a part of the experience as the bands themselves. And while the crowd at tonight’s showcase at the Black Bear Lodge is largely more subdued than many similar shows from the past (anyone remember all those wild nights at the Step Inn?), the celebratory
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mood ultimately proves infectious. The aim of tonight is to celebrate 10 years of Mere Noise records, and while Melbourne has been rocked to the core by Digger And The Pussycats, Keep on Dancin’s and Kids of Zoo, the hometown show rises to the challenge with the country ramones cover outfit Death rides A Horse, the scrappy twang of Tiny Migrants, the boozy roar of HITS and a one-night-only reunion from blues mutants Vegas Kings. Mere Noise’s 7” singles club has put out split releases between label mainstays and underground giants such as Cosmic Psychos and Spencer P Jones, almost like an audio lesson of some of these bands’ most potent influences. Tonight, our groups wear these influences on their sleeves, but bring their own ramshackle stagecraft and individualistic touches to their rich source material. Two-piece Death rides A Horse start the evening
with their reductionist ren from punk titans The ram and steel guitar, and oddly cent vocals, it’s an opport songs in a new light – as storytelling, given a noir-i gothic arrangements. Launching their own supe make music beamed in fr bar, all gang-rumble Link rockabilly drums and voca guitarists Julien and Jacin larly excellent vocalist, als the magnificent Keep on musically colourful outfit manages to combine a wh psych and old-school rock compelling and exotic wh The amps are tipped into
nditions of classic tunes mones. Blending acoustic y Elvis Costello-reministunity to enjoy ramones compelling delinquent ish edge by their dusty
erb 7” EP, Tiny Migrants rom a seamy ‘60s go-go Wray guitars, rolling als shared between nta (the latter a particuso known for fronting Dancin’s). The most of the night, the group hole host of garage, k & roll elements into a hole. overdrive by HITS, one
of Brisbane’s most simultaneously chaotic and reliably muscular rock & roll bands. The band’s charismatic frontman Evil Dick has a shambolic presence that always threatens to implode but never does (at least I’ve never seen it happen in the numerous occasions I’ve seen this group). For all his staggering and drunken betweensong banter, he’s actually an enviably controlled performer, like Guided By Voices’ robert Pollard except with more ability to hold his booze. Guitar-toting vixens Tamara and Stacey add to the band’s appeal, providing a gang-vocal approach to the voice backings and electric six-string meltdowns that add a metallic (as opposed to metal) danger to the music. I’ve never seen them play a bad show, and tonight’s is very good indeed. This just leaves the much-missed Vegas Kings to make a brief but triumphant return to the limelight. I’m probably not the only one, but one of the many reasons I venture out tonight is to
provide myself with much-needed escapism from the day’s federal election and its depressing yet inevitable outcome. Each band tonight has made me forget about cruel, cruel reality and Vegas Kings only enhance this very pleasant state of mind. The three-piece have a simple, effective approach to their garage/blues/punk onslaught – attack, attack, attack! Their show is visceral and danceable, to the point that it’s simply impossible to resist the urge to shake it throughout the set. Members of other bands step on stage to dance with the band and hand out trays of shots (before security asks them to step down) and the night ends as one would want any Mere Noise showcase to end – in a maelstrom of riffs and deliriously happy audience members. Maybe the crowd stumbling about to Spice Girls across the road haven’t caught on, but this is rEAL music for the people. We’ve all had a better night than any club straggler could hope for.
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s d n e i r F k o o b ace Every month, we randomly feature three local musical acts from those that have liked us on facebook. Like us and your band could be next!
s hip, The Wine andd woUrkpshouDoll antic and musical partners rom by d rge Fo x? mi r ve ld ne with
Who says that lov le and Texas by and both locally and in Nashvil ed ord rec ve ha ith Sm el chel doing vocals, Marty and Rach ms and percussion and Ra dru on rty Ma th Wi t. es fin ble level of regional some of country music’s Dolls’ received a respecta Up nd Wi e ‘Th um alb ir the mpie Times, 2010) bass, piano and organs, knock your socks off.” (Gy ill “w t tha sic mu th wi n and national attentio
zoe louicansacahieve anything
“I believe that you Never stop if you put your mind to it. als no matter aspiring to reach your go em. You will how far away they may se ish the world.” astound yourself and aston
arke ught some of her Brissy gigs), songstress Laura laura cl and urne (though we’ve ca
Hailing from Melbo has travelled the UK lly sweet and honest. Laura rea is t tha d un so op k/p which was Clarke has a fol “Looking For Inspiration”, EP nt de en ep ind r he m fro ell, Stevie Nicks and Europe, performing songs rning blend of Joni Mitch mo ay nd Su a e lik g din un to your Sunday playlist. released in April 2012. So a copy of her EP to add it b gra to m .co ke lar rac lau Jewel, head to www.
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Pics: Dylan Evans
brisbane’s biggest jam session!
he Queensland Performing Arts Centre’s (QPAC’s) popular FREE Green Jam Sessions will be returning to the Melbourne Street Green to celebrate Brisbane’s warm summer season, from the 18 October to 20 December 2013 (inclusive) every Friday afternoon starting at 5pm. The students from the Queensland Conservatorium are back and better than ever, showcasing their impressive skills with a repertoire of jazz standards, contemporary grooves and laid back funk, to help you ease into your weekend. To enhance your Green Jam experience and really leave the working week behind, the Green Jam Grill will be cooking up a range of delicious snacks, including the in-demand Spiced Chicken Wings and Grilled Haloumi with salsa verdi & ciabatta, and the bar will be fully stocked with beverages to help you stay cool on a balmy summer’s afternoon. Every Friday night at QPAC, the trees around the Melbourne Street Green will be lit up, the rugs and chairs put out and the FREE entertainment will have you swinging, all welcoming you to stay for the FREE Green Jam Sessions. This FREE program of live music continues to be proudly supported by Major Partner Heritage Bank, putting People First. As part of its commitment to the wider community, Heritage Bank is proud to be involved with bringing Green Jam Sessions to the people of Brisbane at South Bank. For Green Jam Sessions program information go to www.qpac.com.au
TO TO LISTEN
Y U If you are interested in having your newly-released albums/ EPs reviewed then please send your cd (please include a cover letter with your contact details) to: MouthZoff Magazine, Po Box 775, Waterford QLD 4133
l a v i t s Fe zy!! n e fr
REDFEST 2013 by Pet
he stages are set, the sun on its way out, the aroma of fresh strawberries fills the air and the crowds start to fill the showgrounds...Redfest is here!
Run by the community for the community, thi two and a half-day Spring Festival is a celebration of music, art, food and fun and this yearâ€™s Redland Spring Festival was exactly that. held at the Cleveland Showgrounds this leading community event has been running for over fifty years and during this time has boasted some of Australiaâ€™s finest acts.
Above: Sarah Collyer Below: Sam Luff
Heidi Cunningham, with showbag and giant pointing hand
This year was no different with amazing performers, singers, dancers, poets and artists. helping to fill the air with music were performers Damian howard, hillbilly Goats, Richard Perso, Sam Luff, The Company, Two Lions, Whipbird, John Morrison, Rose harvey, Toni Childs to mention a few. New to Redfest this year was the addition of theatrical acts with performances by groups of all ages and from all over southeast Queensland.
There were heaps of activities for the kids with KidzKorner featuring a circus workshop, puppet theatre and
Photographs by Bob McGaha 18
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performances from Red Rocket 3 and for the not so young there were creative workshops such as beading, weaving, vintage lace-tagging and Flyball - a relay race between two teams of four dogs. In keeping with tradition, the worldfamous Strawberry eating Competition was held just as it has been since this festival started all those years ago with winner Colin MacLaurin polishing off a plate of strawberries in a record-breaking 15 seconds! The cultural extravaganza concluded with a spectacular fireworks display. There is no doubt this leading community event will continue to grow with more people attending each year. All profits made are shared with community groups who also volunteer their services to the community. The Redfest Committee are always looking for more volunteers to help out with this great event so if youâ€™re interested,visit www.redfest.com.au/get-involved.
Above: The Company Left: The Crawford-Flett family
an and Benjamin Knight MouThZoFF oCToBER 2013
! ! y z n e r f l a v i t es
A tAste of the BrisBAne festivAl by Cat Anderson
his year’s Brisbane Festival has just wound up, after three weeks from september 7 to 28 of genre-spanning shows and enormous pink rabbits (it’s commissioned art, i haven’t gone mad, i promise!). The festival has brought performers from across the world to Brisbane as well as providing showcase opportunities for local talent. One such presentation occurs at southbank’s Festival stage, offering free performances Thursday to sunday for each week of the festival.
On Thursday night, i head along to catch local outfit Astrid and the Asteroids, who in their own words combine their knowledge of “space, time, music, medicine and mechatronic engineering” to play sci-fi soul and cosmic pop. Fronted by the energetic Astrid, the Asteroids perform a set that has the crowd toe-tapping and a lot of the little kids dancing. Their songs range from the quirky – “West End” is a particular highlight – to soulful and veering through catchy and dance-
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able along the way. Most songs are originals, showing off Astrid’s vocal talents as well as the individual skills of the five other band members. special mention must be made of Evyn Arnfield’s trumpet prowess, providing a great counterpoint to the vocal on several songs. AATA are preceded on the Festival stage by soulstice, an a cappella ensemble who perform clever interpretations of well-known songs. soulstice is a large group who have been performing around the traps in Brisbane for a couple of years now. six of them assemble tonight and perform an entertaining half-hour set, peppered with what seems to be characteristic banter as well as truly gorgeous vocal arrangements. The free stuff at the Brisbane Festival doesn’t start and finish with just the Festival stage. The WunderBar, set up in the QPAC courtyard, also plays host to a variety of local bands across the festival. Many of us are fortunate enough to catch local jazz/ swing group The Calibre Cats play two killer sets including an
Main pic: Astrid and the Asteroids Right: Some of the wide variety of acts from the Festival Pics: Bob McGahan
incredible intermission performance from two of the La soiree boys, before i head off to a ticketed show at the spiegeltent. The Basics are a three-piece originating from Melbourne who play a mixture of genres, mostly catchy pop with a dash of ska and huge shavings of humour. You might have heard of their drummer, a guy named Wally de Backer (aka Gotye). it seems no mention of these guys can be made without drawing attention to Wally and his other work. The thing is, that is not how the Basics roll. There is no ego behind that kit, just a hard working drummer in a hard working band. This is another group that has a tangible energy and chemistry, which is very evident despite the lateness of the hour and the fact that this show is their second performance of the night. The Basics have been a going concern for over 10 years now, despite a recent hiatus, and their set covers songs from across their career as well as some entertaining and well-chosen covers. While the later evening performance is not sold out,
a substantial crowd has assembled, all of whom seem to be having almost as much fun as the band and believe me, that’s something. This is a band who clearly enjoys playing together and it shows in their tightness as well as the on-stage communication, and OK yes, the good natured mockery of each other. Each night the festival plays host to the remarkable City of Lights. The idea of putting lights on buildings on the other side of the river then projecting them onto plumes of water set to orchestral music might sound strange. however, it’s well executed and has drawn crowds of over 400,000 over the three weeks. The mix of art displays and performances across all genres – presented for free not just at southbank but across the entire festival – has given Brisbanites exposure to many forms of entertainment that they may not have otherwise seen. Definitely crowd-pleasing as this year’s record attendances have clearly shown.
MouthZoff OCTOBER 2013
This Skye Has No Limit
bowls club is not your average venue for a great live show, and yet that’s exactly the purpose it serves tonight. In an intimate setting as punters eat meals to the accompaniment of live music, it needs to be said that the evening’s headliner, singer/songwriter Abby Skye, is a million miles removed from background music. Polite dinner jazz to unobtrusively accompany one tucking into a basket of prawns this is NOT. Following some fine classical guitar playing from Jeff Wright, Abby has two sets this evening, both peppered with a combination of originals and covers. Even the covers are stamped with Abby’s own style – the opening Wicked Game is perhaps even more ethereal than Chris Isaak’s haunting original, while she sheds Live’s Dolphins Cry of its bombast, her soulful, technically astonishing vocals making one believe the lyric far more strongly than when delivered by writer Ed Kowalczyck’s stadium wail. There are more esoteric cover choices as well, not least the haunting chant of Dancing Shiva, a hypnotic composition by Victorian outfit Sacred Earth. Throughout the evening, Abby’s vocals are magnificent, to the point of “you have to hear it to believe it”. It’s hard to believe she’s been plagued by polyps – if this isn’t a voice firing on all cylinders, then I don’t know what is. If that’s not enough, she’s a fantastic, intuitive guitarist and keyboard player to boot. And her musical companion
By MATT THROWER that also inhabits her live persona. She does angelic and pure down to a T, but there are also hints of bluesy gravel where necessary. I imagine when she fronts her hard rock band Mission X, she’s just as potent belting out more amped-up numbers.
throughout the night is the extraordinary bassist Craig Kickbush, who does things with the instrument you would not believe possible. If you closed your eyes, you’d swear you were hearing the echoes of ‘70s synth the Mellotron or disembodied samples – but these amazing noises are all coming from Kickbush’s bass. This is your reviewer’s first time hearing Abby perform live, and while this is a stripped back, heavily ballad-focussed evening, I can clearly detect the rock chick
Throughout the two sets, we are treated to Abby making imaginative and moving rearrangements of popular favourites – Concrete Blonde’s Joey, Adele’s Someone Like You and Dusty Springfield’s Son Of A Preacher Man are all highlights, while the raucous version of The Cranberries’ Zombie makes for an anthemic end to the night. It’s testament to her songwriting prowess that her originals (including the fantastic Silo) stand up strong next to these popular classics. Launching her new ‘Live At Friday’s’ EP, it’s clear that for Abby, music is a living organism, a healing energy that lifts and rejuvenates us. Even when singing the most melancholic lyric, there’s a warmth and humanity to her performance that is utterly positive. She has a take on art that requires only two things from the listener, and that’s to leave cynicism and pre-conceived notions of what is and isn’t “cool” at the door. Shed of these elements, the listener can enjoy music for music’s sake. This is an undeniably beautiful thing to experience.
Pics: Benjamin Knight and Mike Roberts
e c i v d a Sound
Music Hardware & Setups CONTINUED by TJAY DAW Controller By now, chances are your wallet may be completely empty, so the last thing you need to read is that you should have a control surface or DAW controller. If you’ve got a few bucks left it may be well worth considering. Controllers introduce the real feel of faders and knobs for the virtual studio. Some of the high-end controllers also include pretty good pre-amps and are actual digital desks in their own right. You can also get keyboards that have some controller functions as well such as Digidesign (pictured) and others like this. They’re all designed to put your hands back on real controls instead of using a mouse. It has been said many times that once you’ve used a controller, you’ll never go back to fiddling around with a mouse again. It is all up to you and what you are most comfortable with. Music Keyboard Finally, and certainly not the least important, even if you’re not a piano player of any description, a keyboard is a vastly better way of programming MIDI tracks than ‘painting’ them in with a mouse. You can buy MIDI keyboards like the one from M–Audio (pictured) that don’t make any
noise themselves, as they rely on VST instruments for sounds, or you can get a comparatively inexpensive synthesiser that also spits out MIDI. It’s up to you how much value you’ll get from a keyboard that can be played on its own. The only thing to avoid are really cheap keyboards that don’t have velocity-sensitive keys. Velocitysensitive means that the volume/ attack of the note can be controlled by how hard you press the keys and this is important with programming natural-sounding MIDI tracks. Wired for Sound Connecting or wiring all this stuff together in your studio may look terrifying to some people, but it isn’t that hard so long as you obey a couple of simple rules. If you get your wiring wrong you’ll suffer what we call earth loops, buzzes, whistles and other little gremlins that tend to breed around the studio. An earth loop usually rears its ugly head via a constant ‘buzz’ through your speakers and can find its way into your otherwise-perfect recorded takes. A bad earth loop can be annoy-
ing and loud. By the way, guitarists shouldn’t confuse earth-loops with the kind of induced noise that a lot of pickups will create around other electronic equipment - that frying eggs sound that disappears when you touch your strings. For this you’ll have to resort to the time-honoured method of positioning yourself just right to minimise the noise, like standing in the corner with an arm up here and one foot up on the vacuum cleaner. One of the best solutions would be to have a couple of good decent power boards with surge protection as they not only reduce the mess of plugs and adaptors, but also protect your valuable equipment. Summary Music keyboards are not just for piano players, they’re great for programming MIDI and are far more convenient than drawing musical/ rhythmic information in with a mouse. Buying a baby analogue mixer can be a cost-effective way of having extra pre-amps as well as a better way of monitoring your sound. Earth loops are a pain. Provided you only have a power board worth of gear, use the one socket as this will help.
M-Audio Axiom MIDI Keyboard and Controlle, and the Digidesign 002 Control Surface (right)
MouthZoff OCTOBER 2013
MAllorY VANeTTi – Domino
From the moment I saw the edgy artw holding in my hands something speci play, I was welcomed into a world inh who could be described as what wou Perry was raised on a strict diet of pu ‘Last Laugh’ to the title track ‘Domino definitely delivers raunchy vocals and heavy rock, to even a polka in the for
remarkable, bands. What makes them exceptional is the sharp songwriting of frontman Thomas Calder, whose songs positively bleed with melancholy and humour without coming across as corny or self-pitying. The other factor that makes the group rise way above average is the meticulous detail with which they arrange their songs. If all we got was straight acoustic settings and Calder’s expressive croon, this would be a good, not great, album. Instead, the songs shimmer with powerful atmospherics, inventive rhythms and swelling guitar arrangements that enhance but never overpower the songs. The result is one of the year’s most satisfying albums. It begins on a subtle note with the sighing jazz shuffle of Whimpering Child, before providing excursions into epic balladry (You Are New) and boisterous chanting fuzz rock (Like A Kid). Even more impressive is the way
The TrouBle WiTh TeMPleToN rookie The Trouble With Templeton could easily be filed into the “indie folk rock” folder that includes many proficient, yet un-
Chris Poulser Trio David and Goliath The tones of this album are intriguing, in a really good way the organ jumped out at me immediately. The sounds are very soft funk alternative blending with a modern contemporary Jazz. There are definite abstract concepts scattered through the entire album and in this way unified. While track one sets a good
MouThZoff oCToBer 2013
the tune Six Months In A Cast manages to possess all the hallmarks of anthemic, yet introverted, indie rock (a la Augie March), but is so good it’s practically a master class in how to create songs in this style. Everything falls into place, right down to the piano phrase that elevates the chorus into something that’s actually quite magical. Luckily, the standard is maintained throughout the album. Soldiers, for example, recasts childhood memories in a winding forest of ringing guitars and an electronic bass pulse. This actually sums up why Rookie is such a good record – the lyrics are always backed with musical arrangements that may not be obvious ways to communicate the song’s messages, but they provide an impressionistic and strangely apt setting for Calder’s dreamlike memory tales and wounded love songs. This is haunting, warm and intelligent music MT
chilled out theme, you only feel subtle suggestions of relaxation and its very consistent of the modern lounge music style. The bitier bits on the album are clearly the solos and improvisational sounding bridges. There’s no doubting the talent behind each musician, I did find the solos and even some tracks tended to ramble on far too long- but the overall feel would definitely sit well in many a café in Melbournes CBD. RG
souND sABer The escape route The dark mood of this rock album is set up from the opening track ‘I Am The One’, with a long atmospheric introduction giving way to an equally menacing guitar riff. Unfortunately, I was not prepared for the remainder of the track and ultimately the rest of the album, from oddly mixed drums to the unpolished vocals. Of course I realise that these four guys poured their heart, soul and hard-earned into this memento of their times together and as such, will not set the world on fire and become a runaway
work, I suspected that I was ial. When I put the CD on to habited by a red-headed diva uld have happened if Katy unk. From the opening track o Effekt’ this album of originals d a wide range of genres from rm of ‘Perfect Girl’, all with
hit. Therefore I will judge as it is, rather than against professional releases. While the majority of the songs feature guitar riffs that use metal rhythms mismatched to the rest of the band, there are a number of interesting moments. The second track ‘Smile’ and the final track ‘Deeper Than You’ definitely rock. The catchy, but poorly executed, ‘Honey Honey’ features the vocals of Lucy Fleur, but I believe the riff-heavy ‘Don’t Know How To Fight’ is the highlight of this collection. Overall, as a self-deprecating garage band wanting to immortalise their songs, they achieved what they set out to do. SE
a pop sensibility that ties the whole thing together. Even the lone cover of the Buzzcocks’ ‘Ever Fallen in Love’ is a musical statement that just adds to the versatility of this offering to musical gods. If you like ANY (not necessarily all) artists such as Evanessence, No Doubt, Paramore, Jesse J, Katy Perry, My Chemical Romance, System of a Down or P!NK I think you’ll get a kick out of Vanetti’s debut album, especially if you enjoy being taken on a rollercoaster ride of angsty ballads, loud guitars and catchy hooks. I’ll shut up now. Just listen to it. SE
hAiM – Days Are Gone Sure, there’s been plenty of hype about these three sisters from Los Angeles. The funny thing is, they’ve actually been justifying the column inches, word-ofmouth and internet buzz that has come in the wake of their almost absurdly well-crafted pop songs. With four singles and an EP behind them, anticipation has been especially high for this debut album. And it’s brilliant. The long-standing tradition of West Coast pop/rock songs that are custom-made to practically glide out of radios continues in force here. Lead singer Danielle Haim has a voice like Fleetwood Mac’s Christine McVie while the songs chug along with the slick ear-worm capabilities of the Mac, The Eagles and Pat Benatar. Many of these songs will be familiar to those who fell under Haim’s spell with their
earlier single and EP releases. Those four singles are present and correct and, as many of you are already aware, they are all magnificent. This is smooth ‘80sstyle pop music made by girls who grew up on Timbaland and Beyonce. Hence, the likes of Falling and Don’t Save Me blend their ice-sculpture clean melodies with skittering rhythms that make them sound simultaneously retro and contemporary. Fortunately, most of the album tracks maintain the powerful momentum of that extraordinary quartet of singles. The title track could be from an alternate universe where Bananarama got voice lessons and worked with electro-pop pioneer Arthur Baker. If I Could Change Your Mind is total mid-80s Madonna and Running If You Call My Name is an atmospheric Kate Bush-via-MS MR concoction. On these 15 tracks, there are only a couple of misfires, including the ambitious My Song 5 which has the fearlessness to resemble a Jack White track remixed by Diplo – but it’s a tad unwieldy and heavy-handed. Kudos to the group for being willing to experiment, though, especially in such a generally mass appeal setting. Where the trio become most successful is in their 20-something relationship tales moulded into music that glitters like skyscrapers lovingly photographed at night. Put simply, this album represents pop at its poppiest – and resistance is futile. MT
hAileY CAlVerT Geography All ten tracks of the album are not enough! Hailey’s beautiful soul/ folk style is already well known and respected throughout the state. If you had to describe this in one word it is definitely “CAR”. You could put this on for a road trip and listen to it on repeat it’s so smooth. Hailey’s voice bares strong resemblance to Joss Stone-meets-the Waifs and yet there’s more, as Calvert has her own unique, smokey sound. Of course there are the themes of love and lack thereof that most music is based on, but then there’s that, so earthy and relatable there’s bound to be something that strikes a chord with nearly everyone. GEOGRAPHY is a must hear album! RG
MouThZoff oCToBer 2013
The WhatZon gig guide is TOTALLY FREE! – list your shows for nothing! Just head to www.mouthzoff.com/whatzon for details
October 2013 DATE ARTIST
01-10-13 01-10-13 01-10-13 01-10-13 02-10-13 02-10-13 02-10-13 02-10-13 02-10-13 02-10-13 02-10-13 03-10-13 03-10-13 03-10-13 03-10-13 03-10-13 03-10-13 03-10-13 03-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 04-10-13 05-10-13 05-10-13 05-10-13 05-10-13 05-10-13 05-10-13 05-10-13
EATONS HILL HOTEL SAMFORD VALLEY HOTEL THE TEMPO HOTEL THE SCRATCH THE TIVOLI BLACK BEAR LODGE PRINCE OF WALES HOTEL THE HI-FI THE ROYAL GEORGE HOTEL THE ZOO X&Y BAR QUEENSLAND MULTICULTURAL CENTRE ALHAMBRA LOUNGE THE ZOO BROTHERS LEAGUES CLUB WASTELAND COOLANGATTA HOTEL
THE CULT MARK SHEILS ROCK ESCALATE / MINUS NINE / CHROME RECLINER / WHITE ELEPHANT ALI BARTER FOALS EDWARD GUGLIELMINO / RICHARD CUTHBERT UK SUBS SOILWORK MARK SHEILS THE KINETICS WILL WATSON NGAIIRE / LESTER THE FIERCE THE DELTA RIGGS / THE WALKING WHO RUFUS / YESYOU / THE KITE STRING TANGLE WILL WATSON SNITCH / HELLIONS THE APE COOMSDAY FESTIVAL - CHURCH OF MISERY / CLAGG / SHELLFIN / FROWN THE GENES CALOUNDRA MUSIC FESTIVAL THE GRISWOLDS / CHANCE WATERS YOUNG LIONS ME FIRST AND THE GIMME GIMMES RUFUS / YESYOU / THE KITE STRING TANGLE PALMS DAVID LIEBE HART BAND THE LAMPLIGHTS THE DELTA RIGGS / THE WALKING WHO WILL WATSON NGAIIRE / LESTER THE FIERCE WAYWARD SMITH THE APE ROSE WINTERGREEN THE SPINNIN ROOMS CALOUNDRA MUSIC FESTIVAL LISTEN OUT - ALUNDGEORGE / AZEALIA BANKS / CLASSIXX / DISCLOSURE / DUKE DUMONT / JAHN TALABOT / JUST BLAZE / LAURA JONES / MIGUEL CAMPBELL / RUFUS / TNIGHT / TOUCH SENSITIVE ROCK ALIVE - DANGER AT THE DOOR / BRACHIO RADICALS / PYRE & ICE / ROWAN J EDWARDS LAVIDIUS / CONTINUUM / CHASING GREY / UNITED STATES OF OZ / THE UNDEADNECKS BRING ME THE HORIZON / CROSSFAITH / OF MICE AND MEN STEVEN WILSON PAUL DEMPSEY / OLYMPIA
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CROWBAR DOWSE BAR, ICEWORKS KINGS BEACH PARK ALHAMBRA LOUNGE BEETLE BAR THE HI-FI THE ZOO BLACK BEAR LODGE CROWBAR SOUNDLOUNGE, CURRUMBIN RSL ELSEWHERE MANDELA ARTS CAFE SOLBAR SOLBAR COOLANGATTA HOTEL THE HIDEAWAY THE WAITING ROOM KINGS BEACH PARK
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BARRA BAR, SPRINGWOOD HOTEL THE MARQUE BRISBANE, RNA SHOWGROUNDS THE TIVOLI THE ZOO
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05-10-13 WILL WATSON 05-10-13 THE NATION BLUE / POSTBLUE 05-10-13 THE LORD OF THE RINGS: THE TWO TOWERS 05-10-13 THE MISTAEKS / THE PHONCURVES 05-10-13 GUARDS OF MAY / SOMNIO / SAY DO NOW 05-10-13 AZADOOTA / MZAZA 05-10-13 MAL WOOD / MARTH BAARTZ 05-10-13 NGAIIRE / LESTER THE FIERCE 05-10-13 THE APE / BITTERSWEET KICKS 06-10-13 CALOUNDRA MUSIC FESTIVAL 06-10-13 PYRE & ICE 06-10-13 DEVIN TOWNSEND 06-10-13 PAUL DEMPSEY / OLYMPIA 06-10-13 CHRIS PICKERING 06-10-13 THE APES 06-10-13 CARAVANA SUN 06-10-13 MADWORLD FESTIVAL - DALLAS FRASCA / OVER-REACTOR / RELEASE THE HOUNDS / DAVE’S PAWN SHOP / PLANET FICTION / THE BOYS / BREACH NOTICE / SMOKING MARTHA / DICK DESERT / BETH LUCAS / SUB INC / DJ MIKEY 06-10-13 BRISBANE ZOMBIE WALK - ZOMBIE APOCALYPSE THEORY / THE BLOODPOETS / CASSINGLES / LESUITES 06-10-13 JOHNNY PAV / O’ LITTLE SISTER 07-10-13 CALOUNDRA MUSIC FESTIVAL 07-10-13 XAVIER RUDD / DONAVAN FRANKENREITER / NAHKO / MEDICINE FOR THE PEOPLE 08-10-13 MARK SHEILS 08-10-13 XAVIER RUDD / DONAVAN FRANKENREITER / NAHKO / MEDICINE FOR THE PEOPLE 09-10-13 MARK SHEILS 10-10-13 KISSCHASEY 10-10-13 THE BUTTERFLY EFFECT 10-10-13 LITTLE SCOUT / LITTLE CASINO 10-10-13 LOON LAKE 10-10-13 ROLO TOMASSI / TOTALLY UNICORN / STOCKADES 10-10-13 REGURGITATOR 10-10-13 BEC LAUGHTON 10-10-13 ELEVENTH HE REACHES LONDON 10-10-13 CARAVANA SUN 11-10-13 REGURGITATOR 11-10-13 BULLHORN / BEC LAUGHTON / SLIP ON STEREO 11-10-13 OWL EYES / WILLOWBEATS / KITE STRING TANGLE 11-10-13 ADEPT 11-10-13 ED KUEPPER 11-10-13 CARAVANA SUN 11-10-13 ELVIS NOW & THEN / MARK ANDREW 11-10-13 LACHY DOLEY GROUP / RENEE SIMONE / BRODIE GRAHAM 12-10-13 ALTER EGOS 12-10-13 THE HOLIDAYS 12-10-13 MIND OVER MATTER 12-10-13 ANDRE RIEU 12-10-13 WOLF & CLUB / ZEAHORSE 12-10-13 DANGER AT THE DOOR 12-10-13 THRILLER / OCEANO / AVERSIONS CROWN / FEED HER TO THE SHARKS 12-10-13 REGURGITATOR 12-10-13 MAESTRO 8 / SCHWARZ 12-10-13 LACHEY DOLEY GROUP / ZAC GUNTHORPE / SWAMP STOMPERS
BON AMICIS CROWBAR RIVERSTAGE SOUTHSIDE TEA ROOM STUDIO 188 TALLEBUDGERA VALLEY COMMUNITY HALL THE BASEMENT, THE ARTS CENTRE GREAT NORTHERN HOTEL THE TRANSCONTINENTAL HOTEL KINGS BEACH PARK CLUB GREENSLOPES RNA SHOWGROUNDS THE ZOO DOWSE BAR, ICEWORKS GREAT NORTHERN HOTEL NOOSA SURF CLUB
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RNA SHOWGROUNDS SHUCKED COFFEE HOUSE KINGS BEACH PARK
8.00PM 8.00PM 9.00AM
YAC AMPHITHEATRE SAMFORD VALLEY HOTEL
THE TIVOLI THE ROYAL GEORGE HOTEL THE RED ROOM, UQ THE ZOO BEACH HOTEL BLACK BEAR LODGE CROWBAR KINGS BEACH TAVERN SOLBAR THE TEMPO HOTEL THE JOYNT THE HI-FI THE ZOO ALHAMBRA LOUNGE CROWBAR SOUNDLOUNGE, CURRUMBIN RSL SOLBAR SOUTHPORT SHARKS EVENTS CENTRE THE LOFT ELEPHANT ARMS ALHAMBRA LOUNGE BEETLE BAR BRISBANE ENTERTAINMENT CENTRE THE ZOO BARRA BAR, SPRINGWOOD HOTEL WASTELAND COOLANGATTA HOTEL QPAC ROYAL MAIL HOTEL
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12-10-13 WOLF & NAPOLEON / NEIGHBOUR 12-10-13 GUARDS OF MAY / OPIA / X-RAY RECORD CLUB / HOUSE OF GIANTS 12-10-13 AMORPHIS 12-10-13 CLAVE CONTRA CLAVE BRISBANE HEAT 12-10-13 OWL EYES / WILLOWBEATS / KITE STRING TANGLE 13-10-13 LIME CORDIALE / COSMOS JARVIS 13-10-13 KATCHAFIRE 13-10-13 ROZ PAPPALARDO AND THE SOUTHERN WAYWARDS 13-10-13 SWEET FORMIDABLES 13-10-13 REGURGITATOR 13-10-13 ONE MORE BEN 13-10-13 OCEANO / AVERSIONS CROWN / FEED HER TO THE SHARIKS 13-10-13 BRITISH BLUES INVASION 13-10-13 THE BON SCOTTS 15-10-13 MATT CORBY 16-10-13 LORDE / OLIVER TANK 16-10-13 BEAR’S DEN 16-10-13 RICKY MARTIN 17-10-13 DARYL ROBERTS 17-10-13 GREY GHOST 17-10-13 BIG DEAD / HALF CUT MOON / THE FURRS 18-10-13 EVERY TIME I DIE 18-10-13 THE AMITY AFFLICTION / CHELSEA GRIN / IN HEARTS WAKE / STICK TO YOUR GUNS 18-10-13 THE BON SCOTTS 18-10-13 BABY ANIMALS / STEVE BALBI 18-10-13 JAE LAFFER 18-10-13 LITTLE SCOUT / EVES 18-10-13 HAVE/HOLD / WE SET SAIL 18-10-13 GREEN JAM SESSIONS - EDDIE GAZANI TRIO 18-10-13 BAND OF FREQUENCIES 18-10-13 MARCUS BLACKE 18-10-13 PETE CORNELIUS / ARBORI / BRODIE GRAHAM 19-10-13 MEGA TRIBUTE EVENT 19-10-13 ONE DIRECTION 19-10-13 ANDY BULL 19-10-13 CALL THE SHOTS / DAY BREAK 19-10-13 THE GOOCH PALMS 19-10-13 PAPER ARMS 19-10-13 PETE CORNELIUS / ADAM HOLE / MARK EASTON 19-10-13 GREY GHOST / MANTRA / WEATHERED 19-10-13 BARBITURATES / SALVE LABOUR 19-10-13 ADALITA / LAURA JEAN 19-10-13 IMAGINE DRAGONS 19-10-13 JAE LAFFER 19-10-13 ZENITH ART PARTY - THE BASKERVILLAINS / THE FARGAN BROTHERS / THE FEELS 20-10-13 ABBY SKYE 20-10-13 ONE DIRECTION 20-10-13 BON SCOTTS 20-10-13 CODY CHESNUTT 20-10-13 THE BON SCOTTS 20-10-13 WEATHERED 20-10-13 KATCHAFIRE / COMMON KINGS 20-10-13 JARRAH AND THE LIONHEARTS 20-10-13 PETE CORNELIUS / BRODIE GRAHAM
SOUTHSIDE TEA ROOM
THE TEMPO HOTEL THE HI-FI THE TIVOLI WOOMBYE PUB BEETLE BAR THE HI-FI BRISBANE POWERHOUSE DOWSE BAR, ICEWORKS GREAT NORTHERN HOTEL SHUCKED COFFEE HOUSE TALL POPPY STUDIOS THE TEMPO HOTEL THE RAILS ROYAL INTERNATIONAL CONVENTION CENTRE THE ZOO BLACK BEAR LODGE BRISBANE CONVENTION & EXHIBITION CENTRE LOCK ‘N’ LOAD BISTRO THE TEMPO HOTEL THE TIME MACHINE THE HI-FI
8.00PM 8.00PM 8.00PM 8.00PM 7.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 7.30PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 7.30PM
RIVERSTAGE THE JOYNT THE ZOO ALHAMBRA LOUNGE BLACK BEAR LODGE CROWBAR QPAC SOUNDLOUNGE, CURRUMBIN RSL THE HIDEAWAY THE LOFT THE VENUE BRISBANE ENTERTAINMENT CENTRE ALHAMBRA LOUNGE UPSTAIRS AT 199 CLUB GREENSLOPES CROWBAR JOE’S WATERHOLE SOLBAR SOUTHSIDE TEA ROOM GREAT NORTHERN HOTEL THE HI-FI THE LOFT
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THE TRANSCONTINENTAL HOTEL BREEZERS BAR, TWIN TOWNS BRISBANE ENTERTAINMENT CENTRE BRISBANE POWERHOUSE THE HI-FI BRISBANE POWERHOUSE DOWSE BAR, ICEWORKS PARKWOOD TAVERN SHUCKED COFFEE HOUSE THE JOYNT
8.00PM 4.00PM 7.15PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM
21-10-13 ONE DIRECTION 22-10-13 KORPIKLAANI 24-10-13 STONEFIELD 24-10-13 ADALITA 24-10-13 THE JUNGLE GIANTS 24-10-13 THE BENNIES 24-10-13 VIOLENT SOHO / STRAIGHT ARROWS 24-10-13 BUSBY MAROU 24-10-13 CALLING ALL CARS / SUPER BEST FRIENDS 24-10-13 STONEFIELD 24-10-13 WOMEN IN DOCS 24-10-13 DYSON, STRINGER & CLOHER 24-10-13 ADALITA / LAURA JEAN 25-10-13 RAMJET 25-10-13 LIMP BIZKIT 25-10-13 PAUIL DEMPSEY 25-10-13 BUSBY MAROU 25-10-13 SHINING BIRD 25-10-13 NEW EMPIRE 25-10-13 MALAKYTE / ELM STREET / GOREFIELD / IRUKANDJI 25-10-13 PETE CORNELIUS 25-10-13 ADALITA / LAURA JEAN 25-10-13 GREEN JAM SESSIONS - MATTY COOK QUARTET 25-10-13 THE JUNGLE GIANTS 25-10-13 DYSON, STRINGER & CLOHER 25-10-13 BUSBY MAROU 25-10-13 STONEFIELD 25-10-13 LITTLE SCOUT / EVES 25-10-13 YELLOWCARD / TOY BOATS 25-10-13 CALLING ALL CARS / SUPER BEST FRIENDS 25-10-13 THE CRIBS 26-10-13 SUPER BEST FRIENDS 26-10-13 VIOLENT SOHO / STRAIGHT ARROWS 26-10-13 CALLING ALL CARS / SUPER BEST FRIENDS 26-10-13 STICKY FINGERS 26-10-13 NEW EMPIRE 26-10-13 DYSON, STRINGER & CLOHER 26-10-13 MAKALYTE / DE LA CRUZ / BLACK SWAMP / GOREFIELD 26-10-13 LITTLE SCOUT / EVES / HANNAH KARYDAS 26-10-13 THE NINAS 26-10-13 JIM BEAM SAND JAM: GYM GLASS HEROES / SPIDERBAIT / HAVANA BROWN / BOMBS AWAY 26-10-13 ADALITA / LAURA JEAN 26-10-13 JUNGLE GIANTS / NORTHEAST PARTY HOUSE / THE CREASES 26-10-13 BUSBY MAROU 26-10-13 HALLOWEEN FROM HELL! 26-10-13 VIOLENT SOHO / STRAIGHT ARROWS 27-10-13 FALL OUT BOY / BRITISH INDIA 27-10-13 JUNGLE GIANTS / NORTHEAST PARTY HOUSE / THE CREASES 27-10-13 DREAM ON DREAMER 27-10-13 SLIP ON STEREO 27-10-13 BEHEMOTH 27-10-13 TOMMY TIERNAN 27-10-13 DYSON, STRINGER & CLOHER 28-10-13 MATT TAYLOR 28-10-13 CLANNAD 28-10-13 BEYONCE
BRISBANE ENTERTAINMENT CENTRE THE ZOO THE RED ROOM, UQ THE ZOO COOLANGATTA HOTEL CROWBAR GREAT NORTHERN HOTEL SOUNDLOUNGE, CURRUMBIN RSL SURFER’S PARADISE BEER GARDEN THE RED ROOM, UQ THE ROYAL HOTEL THE SPOTTED COW THE ZOO ELEPHANT ARMS RIVERSTAGE THE HI-FI THE HI-FI BLACK BEAR LODGE BRISBANE POWERHOUSE CROWBAR GREAT NORTHERN HOTEL KINGS BEACH TAVERN QPAC SOLBAR SOUNDLOUNGE, CURRUMBIN RSL THE HI-FI THE RACECOURSE HOTEL THE SPOTTED COW THE TIVOLI THE WHARF THE ZOO ALHAMBRA LOUNGE THE ZOO ALHAMBRA LOUNGE GREAT NORTHERN HOTEL JOE’S WATERHOLE JUDITH WRIGHT CENTRE MIAMI TAVERN SHARK BAR SOLBAR SOUTHSIDE TEA ROOM SURFERS PARADISE BEACH COOLANGATTA HOTEL THE HI-FI THE SPOTTED COW THE TRANSCONTINENTAL HOTEL THE ZOO BRISBANE CONVENTION & EXHIBITION CENTRE ALHAMBRA LOUNGE CWA HALL DOWSE BAR, ICEWORKS THE HI-FI THE TIVOLI WOOMBYE PUB BLACK BEAR LODGE BRISBANE CITY HALL BRISBANE ENTERTAINMENT CENTRE
7.15PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 10.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM
29-10-13 29-10-13 30-10-13 30-10-13 31-10-13 31-10-13 31-10-13 31-10-13 31-10-13 31-10-13 31-10-13 31-10-13 31-10-13
BRISBANE ENTERTAINMENT CENTRE THE TIVOLI BRISBANE ENTERTAINMENT CENTRE THE HI-FI THE HI-FI THE OLD MUSEUM BLACK BEAR LODGE CAFÉ LE MONDE THE HIDEAWAY THE OLD MUSEUM THE SPOTTED COW
8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM 8.00PM
THE TEMPO HOTEL THE TRANSCONTINENTAL HOTEL
BEYONCE THE BREEDERS PITBULL / KE$HA WEDNESDAY 13 ESKIMO JOE DAN SULTAN MCKISKO EVAN & THE BRAVE SAHARA BECK DAN SULTAN JORDIE LANE DREAM ON DREAMER / A SKYLIT DRIVE / NO BRAGGING RIGHTS / HELLIONS STEVE SUMMERS
s e t o N e Blu
4-6 October Great Southern Blues & Rockabilly Fest, Narooma NSW
4-7 October Caloundra Music Festival, Kings Beach QLD Whilst not a truly blues oriented festival it still has some great blues/ roots artists on the bill. In particular The Holmes Brothers, Dumpstaphunk, Earth Wind And Fire Experience, Russell Morris, Xavier Rudd, Ash Grunwald and Sharon Brooks will give you what you need. Queensland favourites are Kevin Borich, Barry Charles, Mason Rack and Brodie Graham. All of these artists are well worth seeing. The festival is jam-packed with a huge variety of international, national and local music artists. More than enough for avid live music fans.
This event features The Holmes Brothers, Dumpstaphunk, Russell Morris, The Backsliders, Mal Eastick, Continental Blues Party, Claude Hay, Two Rivers Blues and our muchloved Transvaal Diamond Syndicate. This festival is well worth attending and features other well known Aussie favourites such as Renee Geyer. 24-27 October Sydney Blues And Roots Fest, Windsor NSW Numerous acts including Russell Morris, Ash Grunwald, Dave Hole, The Cyril B. Bunter Band, Foreday Riders featuring Leszek Karski, Muddy Water Tribute featuring Dom Turner, Ian Collard, Kevin Bennett and Don Hopkins, Mal Eastick Trio, Continental
jam/open mic DATE VENUE TIME TYPE
Wed 2nd Thu 3rd Wed 9th Thu 10th Wed 16th Thu 17th Fri 18th Wed 23rd Thu 24th Fri 25th
Boundary Hotel Mick O’Malleys Boundary Hotel Mick O’Malleys Boundary Hotel Mick O’Malleys Melbourne Street Green Boundary Hotel Mick O’Malleys Melbourne Street Green
7.00pm 8.00pm 7.00pm 8.00pm 7.00pm 8.00pm 5.00pm 7.00pm 8.00pm 5.00pm
Open Jam Open Jam Open Jam Open Jam Open Jam Open Jam Open Jam Open Jam Open Jam Open Jam
Blues Party, Ginhouse Blues Band and Tony Cini’s Blues Explosion Blues Cruise. This festival always has a great line-up of International blues/ roots music artists. Throughout the month, there are many venues featuring blues artists in the region. Pick up copies of the street press publications that are freely available. The South East Queensland region, including the Sunshine Coast and Gold Coast has a busy blues scene with plenty of great blues artists performing regularly. Check the WhatZon Gig Guide regularly for events happening near you: www.mouthzoff.com/whatzon
s d n la w o R d i v a D
MouthZoff Mag- an exciting new digital mag on the QLD music scene. With reviews, interviews, goss, informative articles, special events and...