PowerMouth Entertainment presents
Issue 8 November 2013
LOU REED 1942-2013
Reflect on their anniversary tour ESKIMO JOE age Backst antics!
BUSBY MAROU • KATCHAFIRE • WOLF AND CUB
Managing Editor Randy G
Talks to MouthZoff
Kicking back with roots’n’reggae
Riding the MIDI train
Sub-Editor Peter Muldoon
24 SAHARA BECKS
talks to MouthZoff
6 LIVE’N’LOCAL 8
Art Direction & Layout Mike Roberts
Performance snaps from around town
25 ROCK ALIVE
26 MOUTHZOFF TALKS TO
Live review and interview
12 SONIC BOOM
Song structures Part 2
13 WOODY WOODMAN talks to MouthZoff
Writers Hugh Brown Sonic Edwards Randy G Abby Skye Angie Everingham Jae Salmon Cat Anderson Matt Thrower Tjay David Rowlands
An all-original showcase
26 ASK ABBY
Contracts - perils and benefits - Part 2
28 MASS SKY RAID
Descend on the Gold Coast
14 WOLF AND CUB
Taking over the Zoo
31 BUSBY MAROU
Live at the Hi Fi
16 ESKIMO JOE
Live review + exclusive pics
20 GARAGE GOSS with
Who to watch out for
Business Manager Wayne Ficnerski
Your comprehensive guide to who’s playing where
36 BLUES NEWS with Dave Rowlands
22 DR HUGE
On the cover: Parkway Drive Pic: Supplied Eskimo Joe Pics: Gary Howard
General Manager Abby Skye
Photographers Benjamin Knight Gary Howard Brett Linsley Hi Nrg Studios Bob McGahan Geoff Norris Web
www.mouthzoff.com Advertising and general enquiries email@example.com
message from the Editor November has been a really good month, the team and I have been indulging in the wave of artists touring here such as Eskimo Joe, Parkway Drive, Katchafire, Busby Marou, to name a few. So if you didn’t get there you can read all about that in just a moment and if you did get out to see some, then “REMMENISCE NOW!” Something not so positive would be the passing of Lou Reed one of music’s greats and the team have been very passionate about writing their tributes to this legend. Also on the shock front, I know many are greatly
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saddened by the news that Fleetwood Mac bassist John McVie has taken very ill and the much anticipated Fleetwood Mac tour has been cancelled. But I am sure that you would like to join me in sending all our warmest thoughts and wishes to John and the family. Well there’s nothing like the now- it only happens once! So get into each and every moment with all your soul and support local talent while you’re at it.
MouthZoff Crew remember Lou...
Sympathies are also extended to his wife, the experimental music artist Laurie Anderson. MATT THROWER
I will always remember the first time I ever heard Lou Reed sing. It was a hot summer’s day I was at home with friends and lots of ice cold beers, although by the time Lou popped on to the stereo there were more empties than beers. Prior to Lou playing on that day we had been listening to a mate’s mix tape of Blood, Sweat and Tears, Backman Turner Overdrive, Status Quo etc, you get the picture. Then the silence was broken by the low toned narrative sound of “Walk on the Wild Side”. I was instantly hooked to his relaxed style and ‘devil may care’ attitude from that moment on. Lou’s music and lyrics has a way of cutting through the crap and just saying it how it is. He pushed the envelope in so many ways without even intending to. I regret never having seen him play live. He is a true legend of the music world and will be sorely missed. JAE SALMON I met Lou Reed only once... queuing up in the pouring rain for one of those interminable in-store signing sessions. A security guard started wandering up and down the queue “Lou will only sign TWO items” which, with me clutching a bag of cd covers, vinyl, bootlegs and a book, pissed me off. I wasn’t alone. When I was finally in front of the great man, I explained that I simply couldn’t choose which two items he should autograph, so perhaps HE could. His bored, craggy face suddenly unfurled into a wide grin, taking my entire stash and saying “Let me see”, before checking each item closely and signing every one. Still smiling, he said “Make hay while the sun shines, right?” So I made Lou Reed smile. I can take that happily to the grave. MIKE ROBERTS
Lou Reed’s music was familiar to me long before I began to discover who he was as an artist. His gritty, veracious, darker-side ofrock n roll sensibility had an organic sound, long before it was ever popular to try & create an organic sound. He will be remembered as a true New Yorker, an artist’s artist and a brave pioneer, whose masterful musical influence will continue to inspire the generations, and whose sound they can only hope to reprise.
Like all true artists, Lou Reed enchanted, frustrated and confused his audience in equal measure (sometimes all at the same time!). He once released a double album called Metal Machine Music consisting entirely of cacophonous electronic feedback and people are still debating whether or not Lou released it as a joke (he always insisted he created the work in earnest). He also set powerful and sympathetic street poetry to visionary rock & roll on albums like Transformer and Berlin and made one of the most moving eulogies to his old patron Andy Warhol on the haunting John Cale collaboration Songs For Drella. Most importantly for this writer, he fronted the ‘60s band The Velvet Underground. Along with cellist John Cale, guitarist Sterling Morrison and drummer Maureen “Mo” Tucker, the Velvets enhanced Andy Warholorganised happenings with primal, dark, droning avant-rock, silhouetted against multi-coloured oil slides. With their debut album (also featuring the icy vocals of doomed German model and chanteuse Nico), the Velvets basically created alternative rock – every indie band you ever discovered owes something to this record. So long Lou.
Lou Reed tributes have flowed this week from family, friends, artists, enemies, lovers and even The Vatican, and it’s a privilege to tribute this genius who will be well remembered and sadly missed. It’s fair to say I don’t remember not knowing what it was like to take a walk on the wildside…I for one, will be dusting off my “Velvet Underground” LP this weekend! And the coloured girls go, “doo do doo, doo do doo, doo do doo” … Vale Lou Reed! ANGIE EVERINGHAM The Velvet Underground’s narco-deadpan thuggery set the stage for a glut of quality sounding bands and Lou was the mastermind behind the insanity. You wouldn’t be able to call it a perfect existence but he always managed to get back to the top with killer writing and whimsical melodies. The earth has lost such an important artist but his music will live on through every gravelly cord in future wanna be Undergrounders. Thanks for the memories Lou, hope you can still ‘swoop, swoop, rock, rock’ up high in that seat they were saving for the king of grit. BENJAMIN KNIGHT
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talks to DARKLAB Who are Darklab?
What releases have you had to date?
Darklab are a three piece, eclectic/ psychedelic rock band comprised of Andy Edwards (guitar, vox) Dean Hamilton (drums vox) Jon Hambly bass, vox)
We released our debut EP Darklab #1 December 2012 and gigged all over the place selling them all off to cover costs. We’d give the rest away to our audiences mid gigs, with cosmic trivia questions.
When and how did you form? Darklab met studying music at QUT back in 2002/2003. We all gigged around Brissy in (defunct venues now) REV, ALLEY BAR, INDIE TEMPLE in assortments of bands. Fate put us together circa 2011 with a gig at The Beetle Bar supporting The Volcanics from WA. We started recording long meandering jams and the first EP was constructed from hours of our jamage. After developing a diverse and solid set Darklab began to gig around Brisbane and coastal regions 2011-2013.
What’s in the pipeline? We are playing some shows with Stonechimp in December at Sewarts Maroochydore up Sunshine Coast on the 6th December and then at TEMPO Brisbane on December the 22nd. Tell me about the name Darklab? Darklabs are loyal cosmic dogs that steer the blind to the right side of the road. I grew up with one! One moved in across the road and I’d pat him on my way down to the coffee shop every morning. Darklabs ROCK!!!
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Whats the plan for the next 12months? We have ten new tracks ready and are looking to record at Ian Haug’s (Powderfinger) studio. Then were looking to do a southern tour down to Melbs and Sydney and also some regional stuff. (Go get lost in the Hiace for a month...) If you could share the stage with whoever you choose, who would it be? I’ve worked stages for ten years and seen some pretty cool stuff… If I could choose to have a roadie moment where the star says “Ted come and play this song” I’d like to jam with Jeff Beck or Jimi Hendrix. www.facebook.com/DarkLab www.hobokebab.com
e c i v d a Sound
EMBRACE MIDI by TJAY
IDI (Musical Instrument Digital Interface) is astonishing. It’s quite an amazing tool in the right hands and it’s the digital language behind the control of just about every piece of good studio software and hardware. MIDI has been around for many years – so it’s not some kind of brand new gizmo revolutionand you’ll hear some people grumble about it, but without MIDI life in the studio wouldn’t be as nearly as creative or fun. Embrace MIDI and it’ll love you back. Your DAW will be the centre of your MIDI setup. In fact, that’s how programmes like Logic and Cubase got their start – as MIDI ‘sequencers’. The sequencing aspects of your DAW will be to trigger and control your software instruments, samples, drum machines and electronic drum kits. Any and every parameter of these sound sources can be controlled and automated with MIDI- pitch, filter sweeps, LFOs, drawbars – every nuance. A whole world of advanced editing and control is possible in the MIDI pages of your DAW. Not only that, there are a number of hardware MIDI guitars, breath controllers or drum pads and some external MIDI sound sources are ‘to-die-for’ with the likes of Roland, Korg, Yamaha and Nord making great synthesisers that can be ‘played’ by your DAW. MIDI- Talk the Talk, No Audio The most critical point to understand here is: MIDI isn’t audio. MIDI is a binary language designed to instruct
noise-making equipment/software (ie. what to play, how and when). MIDI doesn’t actually make the sound itself. Think of it this way: the sound quality of the music is dependent entirely
once as long as it has it’s own channel. For instance you might like to have two or three different pianos playing their own melodies. The MIDI Channel Assignment is the virtual parameter to make sure that whatever instrument you want is played only by it’s own data track and not one of the others as well. Depending on what you’re using as your MIDI sound source, such as a synthesiser or soft-synth, you might have to set the ‘receive’ channel on that device to correspond with the sequencer. Most modern synths will automatically figure this out for themselves. MIDI- Restrictions
on the instrument receiving the MIDI data. It’s kind of like a sophisticated On/Off button. For a while MIDI sequencers and external sound sources ruled the world of computer music, simply because the computers didn’t have the CPU power or hard drive space to handle audio recordings. That didn’t last long, although today, with your modern DAW, you’re still working with a sequencer for your MIDI tracks. Not much has changed from the original concept and the idea is still the same, except the level of editing has developed and the audio capability has been around it. MIDI- Lets Get Specialised A single MIDI connection provides 16 separate channels (or types of sounds). There’s nothing stopping you from using any instrument more than
One of MIDI’s restrictions you need to be aware of isn’t in the protocol itself or how much you can program it, but in the polyphonic and voice capability of the instrument you’re playing. ‘Polyphony’ is the number of notes that can be played at exactly the same time, before your virtual instrument or module runs out of legs. Summary MIDI is a digital language or protocol for interconnecting all kinds of electronic instruments. To begin to understand MIDI you need to understand one thing: it is not audio, it is control data telling the sound source what to do. The sound of MIDI programming depends on two things: the quality of the sound source receiving the data and how well it is programmed. If your musical genre of choice is based on synths, loops and samples then MIDI will be your resource - embrace it, love it and it will be your best friend.
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Scott Carne, Brian
Mannix, Dale Ryde
Kylie Southwell from Laique
Laique Renee Suttie
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talks to PA
Questions answered by guitarist Luke Kilpatrick You’ve just recently wrapped up your ‘10 years of Parkway Drive’ tour - seriously, how much do Aussie crowds rock?? Aussie crowds rock the most! We’ve played our biggest shows here, our sweatiest shows here and our craziest shows here. I guess there’s a sense of Aussie pride getting around now, especially since we’ve been playing together for 10 years. Where/who did the idea of doing old venues and old setlists come from? We wanted to do something different as playing the same rooms year after year kind of becomes stagnant. So once the idea of the book came about we just got talking about touring the book and one thing led to another and before we knew it we had a tour in smaller ‘old’ venues for us, and were playing a setlist comprised of songs from every release played in chronological order! We make all these decisions ourselves and the ideas are mostly our own. We have no pressure from anyone else to make anything happen for any reason. And did your fans totally dig the concept? I was so stoked with how everything about the tour was received. Fans loved the old songs, they came to our book signings, our production looked amazing, everything about it was a success in my eyes. I was a little concerned before the tour wondering if people would accept the idea, the smaller rooms, the whole concept of it. But I guess it worked so I’m happy. Where/who did the idea for your coffee table book ‘10 Years of Parkway Drive’ come from and what will we see in it? Again, it’s just something we thought of ourselves. I think I brought up the idea to Graham our manager and from there took it to the other guys and it all just happened from there. Our good mate and designer of various things for us over the years Callum Preston did the whole thing. He came up and went through all our shit and photographed everything and turned it into a 300 page hardcover masterpiece! Haha, we are seriously amazed at the job he did on it though, you will see everything you ever wanted (and didn’t want) to see from Parkway Drive.
PWD have been a huge source of inspiration for countless bands, especially ‘homegrown’s’ - what is the best piece of advice you can offer people who look up to you?
sions. Don’t strive for success, take it if it happens to come. Keep a level head, you’re not cool cause you’re in a band, you’re actually a loser!
Just keep it real, work hard and back yourself more than you think. Too many bands get told they have to do certain things, go about things certain ways, I say be original and make your own deci-
You guys seem to have a new release out roughly every two years - can we hope for a new album in 2014?
S h y s c
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I don’t think it’ll happen in 2014, well maybe late 2014 actually. Either then or
A p p
aim for the first half of 2015.
Apart from Australia (obviously!), what part of the world has been your favourite place to tour?
Shit, we’ve played so many places it’s hard to have one favourite. So I’ll give you a few based on the craziness of shows. Chile, Ukraine, Malaysia. Mainly cause when we went kids had never seen
Pic: Supplied us before and they are just so excited they make the show memorable. What’s the funniest/weirdest/most bizarre tour experience that you can share with our readers?
completely contrasting genre to yourselves to collaborate on a track with you, who would it be, playing what and why?
Playing an entire Australian and European festival tours in a wheelchair?
Tom Petty. I’d just make him teach us all one of his classics and we could play it along with him. Just love the guy’s stuff, legend!
If you had to choose a musician from a
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NINETEENTH NERVOUS BREAKDO
s An appreciator of extreme metal and its myriad of intricate sub-genres, the mosh-baiting breakdowns and full leg tattoos of metalcore (a blend of extreme metal and hardcore punk) has never been one of your narrator’s favourite strands of heavy music. But the job of any selfrespecting reviewer is to critique a concert on its own merits rather than one’s personal preferences in musical style and as a purely visceral, visual and heart-pummelling good-time experience, Parkway Drive provide one of the finest extreme shows out there. It’s quite clear that their music has begun to seep into the consciousness of younger generations of music fans. Because, hard as it may be to believe, this tour is celebrating 10 years of Parkway Drive. That’s long enough for their records to be handed down to younger siblings, resulting in a largely youthful but overall quite diverse age span at this particular concert. A couple of labelmate bands provide able support – Melbourne-formed Confession and the Gold Coast’s survival
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(both on Resist Records, along with Parkway) treat early comers to some appropriately savage music. Your reviewer finds himself on the mezzanine level at one point during survival’s set, enjoying the sensation of kick drum thumps reverberating through my entire body. However; the real cause for partying is to celebrate 10 years of Parkway Drive, the Byron Bay outfit whose brutal brand of metalcore has gone on to conquer the world. In fact, they are surely Australia’s most successful metal-oriented act, scoring ARIA awards and successive top 5 albums, not to mention an enormous worldwide following. And tonight the band combine not only crunching, heavy music and hyperactive energy (especially from mega-confident frontman Winston McCall), but also rather epic and impressive production values too. Their lighting and digital back projections help make the evening’s show a truly audio-visual treat, one that has already been lapped up by two sold-out Brisbane crowds. There’s no flagging energy tonight however, as Parkway proceed to put 110% into
OWN Live review by MATT THROWER every aspect of the performance. Those aforementioned back projections provide visuals, fonts and logos from the band’s different eras. suitably, the music is performed in a chronological manner, beginning with the vintage ‘I Watched’ (from their 2003 split EP with I Killed The Prom Queen) and culminating in tunes from their 2012 album Atlas. Early tunes such as ‘smoke ‘Em If You Got ‘Em’, ‘Don’t Close Your Eyes’ and ‘Gimme AD’ blow the roof off the place, but the intensity is maintained right up to the 2012 material. The classic elements of metalcore are present and correct. There’s the allimportant breakdown, generally slow, heavy sections with chugging, attacking guitar passages that naturally create circle pits in which fans show their appreciation with moshing and slamdancing. Then there’s Winston’s roared vocals and the backward caps, full leg and arm tattoos and basketball jerseys that are the apparent uniform of both fan and band. But it’s too convenient, not to mention
inaccurate, to describe Parkway as a mere cookie-cutter metalcore band. Their sound is more epic and ornate that many other practitioners of the genre, particularly those whose roots perhaps lie more closely with hardcore than metal. By contrast Parkway Drive don’t shy away from traditional metal elements – there are shredding guitar solos and riffs that have been the hallmark of heavy music since way before many of these sub-genre terms were even coined. The odd drum loop and synth line provides the occasional industrial flourish and the group as a whole create a sound so immense it’s too stately and majestic to be lumped into one particular style of music. This is quite simply an amazing concert. One of the pleasures of reviewing music is getting to see bands that you wouldn’t normally experience as a general punter. For me, tonight is a classic example. I’m no Parkway Drive fan and had I not been reviewing I wouldn’t have even contemplated going to this concert, but the sheer power of tonight makes me feel “oh-so-glad” that I did. Immense.
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m o o B c i n o S SONG FORMS THREE AND FOUR
ast month’s issue saw us looking at First and Second forms, also referred to as AAA and VCVCVCC, respectively. Two of the most popular forms, Third and Fourth both add sections to expand the story.
Like second form, Third form contains Verse and Chorus sections, but what makes it different is the added part known as the Bridge - also known as the Middle 8 (which refers to the position in the song and the typical length of the section – eight measures [bars]). The function of the bridge is to add a new perspective to the story and to add a new musical flavour. Lyrically, this might be asking ‘what if...?’ or giving new information that doesn’t fit into a verse structure. A bridge typically doesn’t repeat, but usually leads back into the repeated chorus to take us to the end. When writing a bridge it needs to be seen as a musically new section, so you would typically create a new sound without recycling chord progressions or melodies from verses or choruses. It may dynamically come down to a quiet reflection of the rest of the song or build with a possible key change (like in “Leave The Pieces” by The Wreckers, written by Billy Austin and Jennifer Hanson). Its strength isn’t in a soaring melody and catchiness like a chorus, but rather in the fact that it is different. The rhyming scheme should also change from what was previously used in the verses and choruses. Some great examples of this form are “My Life Would Suck Without You” by Kelly Clarkson (written by Max Martin, Lukasz Gottwald and Claude Kelly) or “Then” by Brad Paisley
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(written by Chris DuBois, Ashley Gorley and Brad Paisley). Fourth form is also similar to second form, but the new section is known as a Pre-Chorus or Lift. This is the short, ramped up section between the verse and the chorus that prepares you for the gloriously soaring chorus. The pre-chorus is usually repeated exactly the same each time and should have a unique rhyming scheme, similar to the bridge. Pre-choruses often use some literary tricks like rapid fire, internal rhymes (“I stole a whole fruit bowl”) or alliteration (“Lucky lizards lounged while leering at Lucy”). Also musically, it should build and lead into the chorus. It is these types of ideas that make the Chorus seem catchier and more appealing. Over the last 10 years or so trends in songwriting have lead to the expansion of this form to also contain a Bridge. Obviously writers only use this when they have a lot to say and it won’t just fit into a couple of verses, a lift (repeated) and a chorus (repeated). For example, “Summer of ‘69” by Bryan Adams (written by Bryan Adams and Jim Vallance). Some Fourth form examples are “Roar” by Katy Perry (written by Katy Perry, Lukasz Gottwald, Max Martin, Bonnie McKee and Henry Walter) and Taylor Swift’s “Sparks Fly”. Next month we will finish up this 3-part series on song forms with a look at the final two forms – Fifth and Sixth.
talks to woody woodman You’ve been a staple figure in this town for ages now, doing about a trillion gigs, both solo and with your band Berst. Is there any other bands or line-ups you’ve been part of that I’ve missed? I was part of a rock outfit called The Driving Conditions (all originals) which supported alot of kick arse Aussie acts like The Screaming Jets , Jimmy Barnes , Rose Tattoo just to name a few & am no longer with the band. Before that I was Drumming for an originals band called Polish which featured Mike Goldman (from Big Brother) on Vocals. I first started learning the drums at 10 years old and my parents refused to buy me a drumkit for almost a year to make sure I stuck at it. I could go on & on about my history but wouldn’t want to bore your readers.
and harmonies . Darren Jardine played the guitar parts & Paul/Tony Randall recorded the guitars on the acoustic version of the song & also some harmonies. Paul (from Mofo is Dead & the new Butterfly Effect lead singer) has been helping me SSSSSSSSSOOOOOOOOOOOO much with Engineering and a little bit of production. Most of the production of the material has been by myself so we’ll see how it all turns out.
judd. We r using pro tools and some good quality mics so we should get a good result.
Where did you record it and using what?
Thrs been so many .... Supporting the Jets was a bit of highlight . I actually had to say to a punter “that I’m not being rude but can we chat after the band has finished “ Also Joel O’keefee from Airbourne was at the pub having a couple after his show and heard my acoustic version of Highway to hell and said it was one of the best versions he has heard . which is a big compliment coming from him. I’m very lucky as a performer cause I get to Rock out with the band on Fri & sat nights then lay it back on a Tues night at Irish Murphy’s. I also am lucky enough to still jump on the kit from time to time. I wish to thank all my friends and family and my lovely girlfriend for all their support over the years.
It was recorded at a great mate of mine and fellow musician The Juddman at his place called Belonga-
You’re working on a solo original album - awesome! What’s it called and where’s production at? I’m currently working on my solo stuff & am going to realease a single first followed by two EPs . One with my rock stuff and the other with my more country/folk stuff. I’m at that stage in my life where I wanna record music with people that share my passion for music. That’s why on the recordings it won’t be the same members in the band all the time. On the single I recorded the Drums, Lead Vocals
by ABBY SKYE
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What’s the craziest sh#t you’ve ever seen at a gig? Depends on ur definition of crazy shit. I have seen alot . There’s not much that shocks me these days. As long as people are respectful and have a good time I’m all good. What’s the coolest gig you’ve played?
Rock On !!
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Live review b
onighT’s line up is stylistically a very eclectic one. it feels a bit like one of those houses with a décor where nothing matches but it all looks and feels great anyway.
The party starters are local lads Little odessa who are a bit Frankie goes to hollywood meets Vampire Weekend with a healthy dose of pretty much any 60’s surf pop band you care to mention. The band looked the part too with slicked back hair styles matching the era. Little odessa were the perfect choice for getting the room in the mood for a night of the great ‘let your hair down’ music that is to come. next up are sydney-siders Zeahorse. These guys are making their presence felt on the scene once again after a lengthy break. september 2013 marks the release of the long awaited debut album ‘Pools’. After listening to the album i knew i could expect to be taken on a trip by the transportational psychedelic goodness of the Zeahorse signature sound and was not disappointed. i have labelled them the Thrumming Feedback Kings. There is a solid back beat with a woozy experimental frontline. Zeahorse go into the category of ‘my kind of heavy’. The music communicates the feeling of emergent need that is drowned out by intensive fuzz. The moaning lead vocals are a stark contrast to the punchy expressive lyrics. standing here watching the quadret there is a sense that Zeahorse would perform regardless of an audience being there to watch them or not. The gratification is in the performing and the audience is secondary and there is nothing wrong with that. ironically the venue is the Zoo and this performance feels a little like watching Rock gods in the natural habitat of their enclosure at a zoo.
Wolf & Cub
Pic by Benjamin Knight
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The crowd is now waiting in nervous anticipation for the main act this evening to take the stage. Wolf & Cub who are touring to promote their third album ‘heavy Weight’ have done the sound
o o Z e h t t a ghts
Wolf & Cub Zeahorse +/little odessa/ + the Zoo
by JAE SALMON
W&C is that they sure know how to put on a show. i guess when you have been playing together for ten years you figure out how to do that. i find it interesting to compare the performances that i mostly see of bands that are still fresh on the scene, still so keen and new, to the seasoned, well marinated deliveries from legends like these. i do notice a difference and it’s not anything about being better or worse but there is a marked difference. What the more experienced players may lose in the fresh eagerness that accompanies new bands they more than make up for in captivating the audience in the moment and the elusive ‘zone’ musicians often allude to. This is where we find ourselves this evening. We are in the ‘zone’ with Wolf & Cub and it is a taste of the intoxicating element of playing that keeps musicians addicted to their passion of writing and performing music. Above: Zeahorse. Below: Little Odessa. Pics by Benjamin Knight
check, all instruments and microphones are working fine. i am in pole position at front and centre of the stage and we are waiting. The suspense is growing as we wait. Then, after what seems like a long time, Keyboardist, Brock Fitzgerald jumps on stage and builds the atmos-
phere with a sustained sonic rumble. All of a sudden we are feeling more like we are at a monumental stadium gig rather than the roomy loft that is the Zoo. The band take their places on stage, pick up their instruments and we are away. one thing that can definitely be said about
heavy Weight has been self produced by virtue of the skills of Bass player and sound engineer, Wade Keighran. The album like the performance tonight is awash with psychedelic guitar, haunting vocals and catchy melodies. Lead singer Joel Byrne has hair that falls like curtains across his face, he is very obviously a talented guitarist and demonstrates his dynamic vocal range with a falsetto number ‘What More Could i say’. i spoke to Byrne recently and he admitted to a mild fear of performing this song live as it takes its toll on his vocals. he introduces this song tonight by expressing similar concerns. i notice he takes a swig of something out of a tube before he launches into the number. he has no need to fear at all, he smashes it singing the song note and pitch perfectly throughout. ‘heavy Weight’ would make a wonderful gift for any lover of heavy, dream rock. i will certainly be putting it on my list of ‘wants’ for Christmas, but somehow i don’t think i can wait that long for it to be part of my pack.
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e o J o m i k s E Live review by ANGIE EVERINGHAM
ALLoWEEN night at West End’s Hi Fi Bar took on a new face when I was invited to review Eskimo Joe’s gig on the back of their new album, Wastelands. Recorded in their own studio in Western Australia, the album has a distinctly different feel from the band’s previous offerings. Long term fans may find themselves listening to this album a few times before they get into the groove of the new sound, with a more electronic, dare I say almost 80’s synth feel to some of the new tracks. Most of it just makes you want to get up and dance! But as a band with a solid discography, they have not moved completely away from their sound, giving their fans a sense of comfortable familiarity.
BUT, without having heard any of the new album before the gig, I came with the expectations of rocking out to some of Eskimo Joe’s biggest hits, and an open mind to take on their new tracks … I was not disappointed. The band hit the stage at 10pm, following support act Pluto Jonze, from Sydney. I’d been surprisingly well entertained by the electronic pop sounds of this exciting new band – so if like me, you’ve never heard them, check them out, they were awesome!
Eskimo Joe is obviously a well-seasoned band. Their set is dynamic, the band is tight, and the interactions between the guys on stage is natural & fun. It looks and feels like they’ve recently spent a lot of time in a studio together, and thoroughly enjoyed the experience. It’s a joy to see a solid band, with great musos, fronted by a talented vocalist, singing intelligently written lyrics. What’s not to like?
What impressed me the most was the musical flexibility within the band, which each of the members effortlessly crossing over from keys to guitar to bass, and keeping the stage crew and guitar hands very busy. Notably, talented guitarist Joel Quartermain, captures your attention with his musical ability, and the gymnastic approach he takes to handling his axe, throwing it around his body, playing it above his head and bending a note straight into the amp behind … I found it hard to take my eyes off him! Seriously, well played! Next, the band challenged us all to get into it and paraded out their more
Eskimo Joe took the stage, kicking off their set with the ever popular “Running”, and following up with “Not Alone” the crowd was singing along, pumped and ready for a night of solid pop rock from one of Australia’s favourite bands. Frontman Kavyen Temperley, then slowed it down with their songs “New York”& “Smoke”, and took us on a journey with “London Bombs”, a poignant song written after the London Bombing incident, and one of the highlights of the evening for me.
MouthZoff NoVEMBER 2013
upbeat tracks like “Sarah”, “Harmony” & “A Song is a City”, before moving into another of the night’s big moments with their new song “Disgrace”. Temperley explained to the crowd that “Disgrace” was one of those songs written about the experience of coming to the end of yourself; you’ve lost the job, you’ve lost the girl, you’ve lost an opportunity … the song was reminiscent of early U2, and mid-career Matchbox 20, and told a relatable story of love & loss. It’s a song I want to hear again & again. Foreign Land & Get What You Need rocked the house, before the crowd almost drowned out the band performing their smash hit Black Fingernails, Red Wine, which brought us to the first break in the set. When Kavyen made a hasty retreat off stage, I’m not sure anyone was expecting him to return dressed in a Halloween skeleton suit which lit up under the neon lights … he danced his way onto the stage amid cheers from the crowd, not just for the suit, but because it meant more songs!
T a r K a w h t f u
F h p o c d j B
The encore set of Sad Song, Love is a Drug & the ever popular The Sea rounded out the night, and when Kavyen jumped into the crowd and danced around taking photos with those lucky enough to be in his reach, it was the perfect way to end a night of great music, from a band who makes you sit up and pay attention.
Fans of Eskimo Joe already know how good they are, and this solid performance will have me heading out to pick up the back catalogue of a band I didnâ€™t realise I enjoyed so much. Bravo!
ESKIMo JoE fYI LINE-UP Stuart MacLeod - guitars, backup vocals. Joel Quartermain - guitars (originally on drums) Kavyen Temperley, - lead vocals, guitars GENrE Alternative rock band that formed in 1997 From East Fremantle, Western Australia orIGINS Stuart and Kav were childhood friends growing up and schooling together. Both boys were involved in different bandsbut began jamming together as a side project in 1997. They auditioned a few drummers and settled on Joel Quartermain, who was predominantly a guitarist but displayed more skill as a drummer then any of the previously auditioned drummers. Joel also plays keys and is a backing vocalist. In 2004, Joel opted to move to guitar with the live drumming position being filled by a number of musicians. Their first performance was in the Australian National Campus Band Competition in August 1997 where they went on to win the state final and then the national competition, the prize being a chance to play at the Livid Festival and a recording session in Sydney. The boys went on to win eight ARIAâ€™s have toured the nation, the country the world and played with some of the best such as Coldplay, The Presets, You am I, IceHouse, Jet and Wolfmother among others. ALBUmS Girl (2001) A Song Is a City (2004) Black Fingernails, Red Wine (2006) Inshalla (2009) Ghosts of the Past (2011) Wastelands (2013, pictured)
e v i s u l c Ex
MouthZoff NOVEMBER 2013
ESKIMO JOE – Kavyen Tempe catch up with our photographer Ga
erly, Joel Quartermain and Stuart MacLeod ary Howard before their HiFi Bar show
Pictures: Gary Howard mylifeimagery.com
MouthZoff NOVEMBER 2013
e g a r a G s s o G
news from the stA
Blending and bending gen familiar forms ROTH belt o surf beat, Brit pop, grunge Onstage the performance guitar feedback and boun however, ROTH are curren debut album, a follow up t Boozy Rouge’. ROTH have b and have played many of B including The Zoo, X&Y Ba They are one of those live in their thrill of performin you to the euphoria that li
The album is set for releas feature the infectious hoo ments that ROTH are reno catch their energetic live s them in a line up.
Sydney based, Brit punk rock, garage thrash, snarl sensations The Spitfires are planning to land back in Brisbane to deliver yet another impressive performance in November. The last fly past these talented gentlemen made to Brisbane audiences was in August when they played at Trainspotters in support of Sydney quintet Chicks Who Love Guns who are currently in New York as I write this piece. The Spitfires are normally a three piece with tactical assault master and song writer Sean Regan out front. However the band has been appearing as a two piece of late as Bass player and founding member Paul Bovenkerk has been stalled in Perth for the past few months. Bovenkerk is working furiously to free the band from some debts incurred earlier this year when an explosion caused by a gas leak demolished their flat
MouthZoff NOVEMBER 2013
in Perth just prior to the band’s move to the East Coast. Quite ironically their debut album is titled ‘Songs for the Debt Generation’ which is receiving a lot of interest from Community Radio Stations and is currently available on itunes. Despite Bovenkerk’s absence, Drummer Neel Shukla and Regan continue to perform with their band mate in digital format via Bass backing tracks. Having witnessed this performance I must say the transition is seamless. The three were recently reunited for a performance in their hometown of Perth on the WA leg of another National tour. Brisbane dates are still being finalised but the band hope to be here in late November early December. Why not join their fleet of fans when next they strike and be propelled by the barrage of melodic sonic booms that only The Spitfires are able to deliver.
PETER WILSON G
Peter Green, founder of Th The Midnight Revelators (f Prophets), is taking a new project Peter Wilson Green n c G f a s t m w 2 P t M t
Ars of BrisBAne’s smAller venues with JAE SALMON
nres into new, yet out sounds replete with e, NYC punk and blues. e is a frenzy of drum rolls, ncing rhythms. Offstage ntly recording their to their 2012 EP, ‘The been around since 2010 Brisbane’s iconic venues ar, 633 Ann St and Ric’s. acts that sweep you up ng, which instantly binds ive music creates.
indefinite hiatus after the birth of the first child for Bass player and cousin of Peter, Jordan Green. There are vague plans for the band to record and gig again but Brisbane audiences may have to wait a while. They have however recorded three new tracks a couple of months ago and intend on releasing them; no word of a launch gig yet. There are also firm plans for shooting a clip to accompany one of the new tracks. As for the-band-formally-known-as-Midnight Prophets/Revelators, Green has decided to convert that into the solo project. Green explains “[The Revelators] recorded the EP Lover, Bury Me but I have released it under my own name because the band had disintegrated around me before it came out. So the simple solution was to make it a solo project.” The EP features Alex “Sleepy“ Morrison on drums, Jackson Fitzpatrick on guitar and Paul Black on bass. For now the music of Peter Wilson Green will have an online presence over live performances but let’s hope a gig is in the pipeline in the near future.
and get out to see these flamboyant Gods of dance/rock wherever they play next they are worth the travel.
Bursting on to the Brisbane scene in 2010 brothers Sean (guitar, vocals) and Wayne (drums) Jackson and friend Nik Shulz on Bass wasted no time setting the scene alight with their blues soaked, gritty, smoking rock numbers. The band recorded their debut EP ‘Dirty Attraction’ late 2011 and played a bunch of shows in 2012. Early 2013 the trio recorded their new album ‘Wicked Vanity’, a tasty collection punchy tunes deserving of a place
se in early 2014 and will oks and crafty arrangeowned for. Be sure to show next time you see
he Purgatories and formerly Midnight w direction with a solo n adding his middle name ’Wilson’ to avoid confusion with Peter Green of Fleetwood Mac fame. The Purgatories and the Revelators share similar members but took different directions musically. The bands were very active in 2011 and 2012 with the Purgatories releasing their debut EP ‘Junk’ in May 2012. The Purgatories are currently on
By far Zeus Baby have to be at the top of my list of ‘super fun night out dance til you drop, go hard’ masters of sound. But they are much more than a band who are wonderful to watch and listen to. I am in admiration of their wordsmithery, the lyrics have substance adding a genuine layer of meaning and purpose to this act . These Gods of sound are based at the Gold Coast, regularly play spots in Brisbane and are hoping to visit again before the end of the year. They released their debut album titled ‘Destination’ mid 2012 which achieved rapid and due recognition by having three songs simultaneously appear in the top 10 of the Triple J Unearthed Dance chart in September 2012. The album was recorded inn Northern New South Wales with producer Govinda Doyle at his Water Tank Studio famous for recording acts like Angus and Julia Stone. Definitely keep an eye on the gig guides
in every rock lover’s music collection. The band also took part in the Bundaberg Flood Relief benefit concert and were included in the line up for this year’s Red Deer Music festival in September alongside artists such as The Grates. Latest news from the ‘Queens is the recording of a new single before the end of the year and multiple East Coast tour dates are planned also. Jump on the Trashqueen facebook page to catch all the latest news for these guys.
================ KALACOMA (UPdATE)
In the last issue of Garage Goss the article stated Kalacoma would play 28th and 29th of November. The band has told Mouthzoff of an amendment to those dates and at the time of this publication has confirmed a performance on 6 December at Ric’s.
MouthZoff NOVEMBER 2013
e g u H r D Independence – the power is in the network
Kate Miller-Heidke via Instagram
ast edition we discussed the importance of recording and releasing music early and often so as to build fan base including people from the music industry. This week we look at the down side of attracting industry attention and how this can compromise an artist’s independence. So what does “independence” really mean? Well, anyone who’s been paying attention to the Australian music scene lately would know that Kate Miller-Heidke, after four albums released through Sony, has decided to make her next album on her own with the help of some crowd-sourced funding through Pledge Music. This campaign has been so powerful that she is now the fastest and most successful fan-funding artist in Australian history, for O Vertigo. Similarly, Amanda Palmer left her record label and tried to raise $100K to make her Theatre is Evil album and go on tour. She raised almost $1.2million in two months. Radiohead tried a variation on this when they left their label, EMI, and recorded and released In Rainbows as a pay-what-you-like digital download. Radiohead’s lead singer, Thom Yorke, is quoted as saying at the time: “I like the people at our record company, but the time is at hand when you have to ask why anyone needs one.” So, does this rejection of record labels make these artists independent? What
by HUGH BROWN
are the advantages and disadvantages of rejecting labels and maintaining artistic independence? He first answer is a rather unconvincing “not necessarily”. The reality is that achieving any level of international success requires an artist to partner with a range of other companies: distributors, marketers, media, etc, any of whom can influence an artist’s work simply by refusing to do their thing with the artist’s latest work. For example, Radiohead were able to record In Rainbows at their own studio and make all of the creative decisions themselves, but they still needed Warner Chappell Music Publishing to put their CDs in stores all over the world. By contrast, Amanda Palmer distributes her physical CDs, as CDs or vinyl to stores via Alliance Entertainment and has signed a quite unique deal with record label Cooking Vinyl. In doing this she retains full creative control of her future and also ownership of her materials. The label just helps with “distribution, project management, marketing and promotional services for her forthcoming album in the UK and Europe”, while her personal record label, 8ft Records, oversees the process globally. Clear as mud? And that’s the greatest advantage of independence: the artist gets to make all the decisions about who to work with, where to record, where to dis-
tribute, how much to charge, where to promote, how much to spend … and so on. They have complete freedom within the laws of business and the artist’s ability to negotiate with the people they need to achieve their goals and meet their needs. And that’s also the biggest problem: the artist HAS to make all those decisions and enter into all those negotiations. There is no-one else to turn to. Even worse, when the artist’s negotiating power is limited by their lack of funds, there is no record label there to advance them some capital. That’s why artists like Ani DiFranco and John Butler have worked hard to create their own record label to help out. As their careers grew and they solved the problems they needed to get achieve success, they hired people they worked well with and built relationships with companies that were mutually beneficial. For each artist, this network of contacts and relationships has become its own record label. The lesson? Musos should look to the power of their networks and build long-term relationships with people they meet to who turn out to be trustworthy, valuable and honest. Of course, if the artist starts to gather any kind of momentum, the industry will come calling on them – 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-by-Step_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
MouthZoff NOVEMBER 2013
KICKING BACK WITH ROOTS’N’REGGAE
ocal Brisbane/Gold Coast roots-reggae, seven-piece Paua warmed up the Sunday night crowd with a groovy laid-back vibe, soulful sax breaks and funky trumpet solos. Their sweet multi-part harmonies enticed the early arrivals to start swaying as the line-up to get into the venue extended down the stairs and into the carpark. The crowd had swelled almost to capacity by the time Orange County’s Common Kings hit the stage, with their high energy Polynesian pop/rock encouraging the crowd participation, as they busted out a mashup of the Jackson 5’s “Blame It On The Boogie” & “I Want You Back” with MJ’s “Beat It” & “Rock With You” – complete with coordinated dance moves from the band. Common Kings’ set was like a super fun
Pics: Brett Linsley
live mix-tape of their groovy take on the classics, along with modern hits and original tunes including hit song “Alcoholic” and summer anthem “Sickness” as the audience bounced along with the band and the distinctive smell of ganga started wafting through the room. Katchafire’s fanbase in Australia started out as proud Kiwi expats flocked to their shows, but their audience has diversified as their global success has grown and New Zealand’s current hottest musical exports hit the stage to an international audience from all walks of life. Their current world tour is celebrating the release of the “Best So Far” album so the set was a best-of blend of all their hit singles, along with some reggae classics. Kicking off with “Groove
Again” the crowd started dancing arm-in-arm with arms swaying in the air for Marley’s “One Love” and rapturously singing along to obvious favourites “Got To Get Away”, “Wrap It Up” and recent single “Irie”. The audience seemed to be having a collective, religious experience and an invitation to the Common Kings to join Katchafire onstage for “Every Little Things Gonna Be Alright (Three Little Birds)” had the crowd chanting for an encore before the last song had even finished. Ellen Moloney
Please tell us a little about who you are as an artist? I started performing with some local musicians on the Sunshine Coast when I was 12 or 13 and then started learning guitar a couple of years after. I grew up in a very musically supportive family that helped me make the decision to move to Brisbane on my own at the age of 16, to join Music Industry College. I’ve always worked very hard on my music, I wouldn’t really call it working though. It’s my life so I happily spend a lot of time meeting likeminded people and finetuning my sound. I wouldn’t really know what to call my genre, I always say that I have been influenced by a variety of artists and bands while growing up. My parents exposed me to everything, so I’m somewhere between Frederick Chopin to The Gypsie Kings or perhaps more on an Australian scale- The Cat Empire. I learnt how the trumpet and classical piano from a young age so I’ve always had an appreciation for artists that are good at their craft. What are the most important influences in your songwriting and music?
I very rarely write about myself or my own experiences. I usually write a song after I’ve gone out and seen a mind blowing band play live, or if a friend of mine is going through something. I find it easier to write about something when I am looking in from the outside rather than experiencing it myself. There are the few exceptions however like C’mon Man You’re Dead or In The Valley and a couple others. What do you enjoy doing when you’re not songwriting or performing? Well this year I was still finishing school so in my spare time I had to really find some sort of ‘enthusiasm’ in doing assignments! But something I have always found very grounding is drawing. It keeps me sane! Tell us about your recently having sang with Busby Marou at the Caloundra Music Festival? A couple of years ago my friends from Rev Sunday asked me to join them at the Roma Races show which was an amazing experience in itself…When we arrived I realised we were opening for Busby Marou! I met all the guys after the show and we had a jam
MouthZoff NOVEMBER 2013
and all got along really well. (That’s actually where I found my drummer ‘DJ’). We stayed in touch after that and have played music from time to time and while we were at Caloundra we were playing music in the Greenroom and Tom asked me to join them on the main stage and I was so happy…Honestly a dream come true singing in front of that many people, amazing! What are your dreams and aspirations for the future? Honestly my ultimate dream is to play to crowds that enjoy singing my songs as much as I do, that would be very cool. Which Hollywood actor would you like to have a romantic dinner with and why? Interesting question. There’s so many but I’m leaning towards Russell Brand right now… Is he considered a comedian or an actor? Oh well I chose him! I just think he would be the funniest guy to spend a day with, he’s so witty and appears to take things lightly by taking the jimi out of everything. My kind of person! dave rowlands
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DANGER A /BRACHI T THE DOOR O RADIC /PYRE & ALS I /ROWAN J EDWAR CE DS JUBLIEE HOTEL
Pics: Hi NRG Studios
Live review by CAT ANDERSON
ock Alive is an event created by the boys from Brachio Radicals as a showcase for original music in Brisbane. Featuring four bands at the Star Room at the Jubliee Hotel; the room is not packed to capacity but there is certainly a lot of love and support going on from the punters in attendance. First up is Rowan J Edwards who actually hails from Nanango, about 3 hours north-west of Brisbane, but local enough for everyone’s taste. He performs solo just his voice and guitar and what a voice it is. He quips at one point during his set that he was “not the voice the X-Factor wanted”. In all honesty, I find it incredible to believe they knocked back such a talent. His set is packed with original songs that show a remarkable songwriting maturity. They are well-crafted songs, covering a variety of styles. At times it feels as though his voice is almost too big for a simple guitar accompaniment. I think this guy is a talent to watch and would sound amazing with a full band backing him. Next on the bill are Pyre and Ice, fronted by the charismatic Teri Abbot who is a relatively recent arrival to the Brisbane scene and they are a shift in vibe from Rowan J Edwards. Their sound is reminiscent of both late-60s San Francisco
Terri Abbot, Pyre and Ice
Danger At The Door
and mid-90s rock. A large part of this is due to Teri’s amazing voice, which to me sounds one part Grace Slick to three parts Johnette Napolitano and all power. Pyre and Ice make good use of Teri’s vocal talents, although her voice was lower in the mix than perhaps desirable during this set. Their sound is guitar-driven and atmospheric, and you can hear the potential for greatness in their songs. Third up are our hosts for the evening, the four-piece Brachio Radicals, whose joy in playing together really shines through in their performance. I’m reliably informed that while some of these guys all have relatively sweet day jobs and the music thing would have to become huge for them to go at it full-time, it doesn’t seem to take anything away from either the quality of their songwriting or performance. Fronted by the energetic Kyle Wright, the Brachio Radicals (whom I so want to call “the Rads”) take us through an engaging set that sees many of the punters hit the dance floor. The songs are catchy and clever and really show off both their skills as musicians, along with their chemistry as a Brachio Radicals
band. It’s not impossible to imagine that the music thing could indeed become huge for them. The final act is Danger at the Door who are self-described as “a thumping rhythm section with crazy guitar licks and diverse melodies” and yep, that is pretty much exactly what they are, in the best possible way. This three piece, comprising the Hourihane brothers Luke, Ryan and Nathan, deliver a rousing set that shows off both their songwriting and performance chops. These guys are tight, as you’d expect a band of brothers to be and their enjoyment in performing really comes through. The songs are catchy and well-arranged, with a maturity that belies the ages of the band. Danger at the Door’s set is well-received by the crowd and again there is dancefloor action happening. In an industry that is having the old way of doing business splintered by technology, as well as the closure of many former venues for bands, it’s refreshing to go along to an event featuring local and original music. It’s downright wonderful to discover such quality musicians and great songs not just waiting for their chance to be heard, but actively seeking it out. All four acts played sets containing only original songs, which these days even big stadium acts don’t do and all four acts are out there playing gigs on a regular basis as well as maintaining an online presence; all we have to do is show up and enjoy.
. . . o t talks The Royal
So Zed, what’s new at The Royal
Ben and I have just welcomed A into the band on drums, it’s bee for us with drummers of late an someone in for our Summer tou got some cool festival dates ear
Are there any plans for touring a you go?
Yes there are definitely plans for touring to support the release o ‘Odd’s & End’s’, available on Ban We’re playing up and down the Sydney, Melbourne and a few ot of the line up for this year’s Grot up on Facebook or Google reade down to a gig!
The benefiTs and The peril
with ABBY SKYE
OPEFuLLY I didn’t scare the buggery outta you too much in Part 1 (unless you’re about to sign a contract you haven’t read, in which case – good!), because just like so many other things that flourish or perish depending on how they are nurtured early on, a contract’s lifespan (more importantly, it’s actual impact on you) is no different. Every serious musician will be required to enter into a contract for their services or compositions at some point and how you handle your negotiations this stage can affect the trajectory of your career quite dramatically. Having already discussed the unregulated playing field and the number of unscrupulous characters and general absurdities that populate our beloved music industry, let’s now talk about how you can make your contracts work for you.
MouthZoff NOVEMBER 2013
Let’s say you’re in early talks with a record label - you’re still getting to know each other and assessing the potential of the pairing. You both are growing visions in your mind about where and how this can go and by the time they offer you a contract, their vision will be pretty welldeveloped. For instance, if they think you’re starry-eyed and too excited to even read the contract, the offer might be a bit more outlandish than otherwise. While contracts range from single-page to whole-tree documents, from the reasonable to the preposteros, here’s some basics you can apply to any scenario: Write down any key things that have been mentioned verbally by both parties that will form the constituents of your agreement, such as promises, assumptions, conditions, expecations, etc.. This will not only help you to remember important things during this exciting time, it will be a good comparitive reference for while you’re dissecting the fineprint. Look into the party offering the deal, whether it’s an individual or a company. How many people can you verify have they successfully provided these services to before? How happy do their employees seem? Are their names actually
l aRTilleRy’s zed chaRles
Andrew (Vayer/Dawn) en a bit like Spinal Tap nd we’re glad to have ur because we have rly in 2014 cooking.
and where would
r touring. We’re of our new album ndcamp and Itunes. East Coast- Brisbane, ther places as part tto Festival. Look us ers and get your grits
What’s the new record all about? It’s a bunch of recordings from previous releases with some unreleased demos. It’s basically all my favourite bits from the past few years and features our new single ‘Johnny Cash Invents the Blues’. It pretty well sums up our sound, heavy and bluesy- I can’t wait to bomb my mate’s stereo’s with it. If you could take your band to any country and any venue in the world where would that be? Somewhere on Sunset Boulevard in Hollywood, either at the House of Blues or the Roxy. I am planning on doing it one day... I was in LA last year and fell in love with the place, met Josh Homme of QOTSA at the Echoplex in Siverlake, it was the first night of Mark Lennagen’s album tour, that was sweet.
Imagine that Rolling Stone magazine has just printed an article about you that refers to you as being one of Brisbane’s Guitar Gods. How do you respond to that? Oh dear, how do I answer this?! That’s a lovely compliment but I never had a moment where I was like, “holy shit man, I shred!” Playing guitar continues to be an on-going learning curve for me. I love blues guitar, from traditional sounds where the emphasis is on feel and conviction right through to the more flashy and heavy stuff that Artillery is known for, it’s really an emotive appreciation and I’ve worked at carving out my own vibe and flavour, but theory wise and technically speaking, there’s guys out there doing jazz, metal and even rockabilly stuff that blows my mind! JAE SALMON
ls of conTracTs pT2: Negotiating a contract you’ve been offered on the cd covers of the people they’ve said they produced? In short; make sure they’ll be able to deliver and have a history of delivering their end of the bargain. Read every part of the document and use a pencil to circle (or pens and hightlighters if you’ve made a duplicate copy) and write details next to every single clause, section or word that you don’t understand or have a question about. Have a pad of paper next to you as you’re reading through and making scribbles on your contract and compile the things you’re highlighting into a list of questions & concerns. The trick is to capture as much information from your first read and impression of this document and this list will become a tool to help you successfully navigate the rest of the process. Persist. It’s easy to get a bit overwhelmed by the curious and bizarre language of Legalese, but if you’re serious about your career, invest the time in takes to understand the basic gist of every section so that you could explain it back to someone in a sentence. If you’re serious about your career, invest some serious time here (See what I did there?! I was sooo meant to be a writer..).
Run as many hypothetical scenarios as you can, such as; if they sell their business, is your contract an asset and part of the sale?; could they be trying to pull a sneaky regarding ownership in copyright of your work that hasn’t been discussed with you previously? Imagine all the places your experiences with them might go so you can be aware of what can and can’t happen in the proposed agreement. Don’t expect someone you dont know to keep looking after you as a long-term priority, even though you might get along with them really well now. Get a second pair of eyes on the contract, whether it’s a legal-savvy friend, a manager or a lawyer, if it’s serious and get answers to as many things on your list as possible. Ask if anything other than what you have mentioned jumps out at them and what their opinion is, as they may help you find new questions or concerns to add to your list. Try to narrow down your list of questions now, in preperation of your response to their offer. Communicate your queries back to the offering party by way of email, so there is a paper trail and less room for misinterpretation. From this point on, if every party re-
mains calm and true to the intentions they’ve stated (refer to your list from the first dot point here), the next stages of consolidating your queries and reaching a point where you have no more should be easy. You should then be looking at a scenario that you either want to be a part of or not and be able to make a choice easily. If things don’t go that way or you experience any pressure, inticement or intimidation to sign something before all of your questions are answered, your intuition will be your greatest guide to working out if something suss is going on. There’s much more that can be said about this too, but i’m already pushing my word limit! Don’t gamble with your music and your ability to paint your own life – educate yourself on the things that are requried for your career, so you can stay in the captain’s seat. Next up, we’ll talk about the reverse of this scenario – writing your own contract (where it gets really interesting).
MouthZoff NOVEMBER 2013
MASS SKY RAID ACROSS SE QLD
TO TO LISTEN
ans of Dead Letter Circus, Cog & Karnivool should get along and check out Gold Coast alternative rockers Mass Sky Raid at one of their upcoming shows.
With their debut EP racking up some great reviews, a 4.5 out of 5 rating from Blunt Magazine, and Cog’s former Publicist taking them onboard, this formidable foursome could be on their way to becoming Queensland’s next heavy duty household name. Mass Sky Raid’s debut EP ‘Courage Under Fire’ is out now on MGM, featuring “Broken Wires” & “Awake”. Tour dates are as follows: THURSDAY 24TH OCTOBER – TEMPO, FORTITUDE VALLEY w/ The Orchard & The Keepaways - Free entry FRIDAY 29th NOVEMBER – SOUTHERN CROSS TAVERN, COOLANGATTA w/Forever The Optimist, Redstarbourbon & Stellar Green Tix $10 presale or $15 at the door.
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
f o e g A n e d Gol looning Bal Live review by ANGIE EVERINGHAM Pics by BRUCE HEATH
olden Age of Ballooning .. . a little bit country and a little bit rock n` roll!
Weekends in Brisbane are filled with opportunities to find yourself in a nottoo-crowded bar or pub and experience the sounds of a new indie band, while enjoying a tasty red or the latest fad cider. Every once in a while you’ll come across a band whose sound captures your imagination and makes you seek them out and find when and where you can hear them again. The Golden Age of Ballooning is my latest such serendipitous find. Sunday nights at the valley’s Black Bear Lodge are pretty chill (just like the red wine I was drinking) and with no set expectations I’d come to check out a band
I’d not heard of and knew very little about. They had a decent crowd for a ‘school night’, made up of largely university students and an attractive young woman bravely being body painted into a moving piece of human artwork. When Golden Age of Ballooning hit the stage my attention was immediately drawn to the tall, long-haired guitarist who happened to be standing in front of a fan, doing his best ‘80s power ballad music clip’ impersonation! Awesome! I found their sound to be fresh and well-rehearsed. For a five-piece collective whose latest member only recently joined the band, that’s quite an achievement! Their set journeyed through modern folksy, almost country sounding
tracks to a heavier, classic rock feel with huge guitar riffs and had those around me throwing around comments like ‘sounds a bit Nirvana’ and ‘I can hear old Kings of Leon’. High praise in anyone’s language! Their debut EP “Don the Winter Coats” was released in mid 2012 just after the band formed and newer tracks on the night already indicate that this band is honing their sound and moving in a dynamic space, capturing the attention of the listener. I for one will be lining up to see Golden Age of Ballooning again. You can check them out on the usual Facebook, Bandcamp, MySpace, YouTube, but do yourself a favour and catch them live and local sometime soon!
MouthZoff NOVEMBER 2013
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BUSBY MAROU/HARRY HOOKEY/NAT DUNN ++ HI FI BAR, WEST END
BUSBY MAROU Live review by CAT ANDERSON
usby Marou are Thomas Busby and Jeremy Marou, who hail from Rockhampton and perform gorgeous songs blending their soulful voices and guitars, although the new album contains more rich instrumentation than their first. There is also beard involvement; it’s pretty much a genre these days. I rock up at the HiFi to catch their show expecting it to be a chilled kind of event, and boy was I wrong. In a very, very good way. The show starts with support acts Nat Dunn and then Harry Hookey both delivering performances fitting such a vibe: joyous and entertaining without being overwhelmingly intense. Clearly both of these performers are enjoying the opportunity to play to an almost capacity crowd. Then, with minimal delay between the acts, Busby Marou take the stage with a four-piece backing band to rapturous applause. The inclusion of their band takes the energy up a few notches and creates a framework for Jeremy Marou’s guitar skills. Much has been said elsewhere of this man’s
Above and left: Busby Marou Bottom left: Harry Hooky Pics: Benjamin Knight
and the current single ‘Get You Out of Here’. Tom Busby’s vocals are just perfect: bluesy, strong, and ably supported by the tight harmonies from not just Jeremy Marou but the entire band. This is a band that is in peak form in terms of both skills and tightness, not to mention sheer enjoyment factor. As each member is introduced, the camaraderie is clear. “freakish” ability, and it’s true: he is more or less a virtuoso, effortlessly weaving melodic riffs through the tracks and not just on guitar. The set is peppered with old and new songs, all well-received by the enthusiastic crowd. It is very clear right from the opening song that these guys have not only a large fan base, but a loyal and vocal one. Throughout the show there are cheers, screams, shout-outs for favourite tunes, and of course, the sing-alongs. It’s a truly uplifting atmosphere, the constant screaming for “Save Some for the Others” by one enthusiastic woman notwithstanding. Highlights include the Triple-J favourite ‘Biding My Time’, the gorgeous ‘Luck’ co-written with Don Walker,
There is a very clear musical chemistry both between the Busby and Marou elements, and among the whole six and the special guest star, Jeremy’s cousin Dave, who arguably is having the most fun on stage tonight. Songs are rounded out by improvised solos, and the encore begins with what appears to be a bluesy jam session. The blistering ukulele AND guitar solo to close the set is Jeremy Marou at his skilful best; but using the uke as a guitar slide? Some might say showing off, but I say priceless! Busby Marou: write that name down and remember it’s a band not a person’s name. Going by the quality of this performance and the potential of these guys, you’re going to be hearing more from them.
MouthZoff NOVEMBER 2013
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November 2013 DATE ARTIST 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 01-11-13 02-11-13 02-11-13 02-11-13 02-11-13 02-11-13 02-11-13 02-11-13 02-11-13 02-11-13 02-11-13 02-11-13 02-11-13 02-11-13 03-11-13 03-11-13 03-11-13 03-11-13 03-11-13 03-11-13 03-11-13 03-11-13 04-11-13 06-11-13 07-11-13 07-11-13 07-11-13 07-11-13 07-11-13
MARVILLE / EL MOTEL / YOU IN REVERSE / THE STEADY AS SHE GOES BEETLE BAR LACHLAN BYRAN AND THE WILDES BURLEIGH UNDERGROUND DRUMMERS MCKISKO COORAN MUNICIPAL HALL WOMEN IN DOCS JOE’S WATERHOLE KING GIZZARD & THE LIZARD WIZARD ALHAMBRA LOUNGE JORDIE LANE BLACK BEAR LODGE JOEY CAPE / BRIAN WAHLSTROM CROWBAR APATE / REUD MOOD / RUKANDJI / ICARUS COMPLEX / ELECTRIC SAMURAI THE TEMPO HOTEL EVAN & THE BRAVE THE HIDEAWAY THE CROOKED FIDDLE BAND / THE MAIN GUY AND THE OTHER GUYS SOLBAR DREAM ON DREAMER / A SKYLIT DRIVE / NO BRAGGING RIGHTS / HELLIONS EXPRESSIVE GROUNDS GREEN JAM SESSIONS w/ EUAN CUMMING QUARTET MELBOURNE STREET GREEN (QPAC) THE OTTOMANS ELSEWHERE GUS G’S FIREWIND THE HI-FI DAN SULTAN WOOMBYE PUB DESERT BLUES CARTEL THE OLD MUSEUM ALTER EGOS MICK O’MALLEYS IRISH PUB MISSION X CALOUNDRA RSL JOEY CAPE / BRIAN WAHLSTROM THE LOFT JUNGLE GIANTS ALHAMBRA LOUNGE A MILLION DEADS BIRDS LAUGHING CROWBAR JAKE WHITTAKER GPO HOTEL QUEENSLAND FESTIVAL OF BLUES NEW GLOBE THEATRE THE SIRENS TOWER THE TEMPO HOTEL LESUITS / THE GIVEN THINGS / BIG DEAD / HRBRT THE ZOO ALEX BOWEN MANDALA ORGANIC ARTS CAFÉ LUKE PEACOCK SOUTHSIDE TEA ROOM THE CROOKED FIDDLE BAND THE JOYNT BRISVEGAS KUSTOM KARNIVAL ACACIA RIDGE HOTEL MEGAN COOPER THE OLD MUSEUM PGSLEY BUZZARD BLACK BEAR LODGE ALEX BOWEN RIC’S BAR YANK TANK w/ LUCY STREET THE TEMPO HOTEL JEREMY NEWELL SHUCKED LANE ELLA FENCE / WILL WATSON / JOSH LOVERGROVE DOWSE BAR ENSLAVED / RISE OF AVERNUS / NEOBLIVISCARIS THE HI-FI ROCKAOKE THE TEMPO HOTEL T.J. QUNTON & AHLIYA KITE / SLEEPY TEA / LI LI KITE BLACK BEAR LODGE THE SHAKEOUTS / ALLA SPINA BEETLE BAR LIME CORDIALE ALHAMBRA LOUNGE TAGLINE THE TEMPO HOTEL SUE-ANNE STEWART DOWSE BAR THE KITE STRING TANGLE BLACK BEAR LODGE
SUBURB BRISBANE BURLEIGH HEADS COORAN EUMUNDI FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY MAROOCHYDORE PALM BEACH SOUTH BRISBANE SURFERS PARADISE WEST END WOOMBYE BOWEN HILLS BRISBANE CALOUNDRA CHEVRON ISLAND FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY MERMAID BEACH MORNINGSIDE WEST END ACACIA RIDGE BOWEN HILLS FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY NEWSTEAD PADDINGTON WEST END FORTITUDE VALLEY FORTITUDE VALLEY BRISBANE FORTITUDE VALLEY FORTITUDE VALLEY PADDINGTON FORTITUDE VALLEY
07-11-13 07-11-13 07-11-13 07-11-13 08-11-13 08-11-13 08-11-13 08-11-13 08-11-13 08-11-13 08-11-13 08-11-13 08-11-13 08-11-13 08-11-13 09-11-13 09-11-13 09-11-13 09-11-13 09-11-13 09-11-13 09-11-13 09-11-13 09-11-13 09-11-13 09-11-13 09-11-13 09-11-13 10-11-13 10-11-13 10-11-13 10-11-13 10-11-13 10-11-13 10-11-13 11-11-13 12-11-13 12-11-13 12-11-13 13-11-13 14-11-13 14-11-13 14-11-13 14-11-13 14-11-13 14-11-13 14-11-13 14-11-13 14-11-13 14-11-13 15-11-13 15-11-13 15-11-13 15-11-13 15-11-13 15-11-13
THE ZOO THE TEMPO HOTEL COOLANGATTA HOTEL THE HI-FI TALL POPPY STUDIOS THE SOUND LOUNGE COOLANGATTA HOTEL BLACK BEAR LODGE ELEPHANT ARMS THE ZOO SOLBAR MON KO MO HOTEL MELBOURNE STREET GREEN (QPAC) GOMA TWIN TOWNS THE OLD MUSEUM BEETLE BAR CALOUNDRA EVENTS CENTRE BLACK BEAR LODGE CROWBAR THE TIVOLI THE ZOO
FORTITUDE VALLEY FORTITUDE VALLEY COOLANGATTA WEST END SALISBURY GOLD COAST COOLANGATTA FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY MAROOCHYDORE REDCLIFFE SOUTH BRISBANE SOUTHBANK TWEED HEADS BOWEN HILLS BRISBANE CALOUNDRA FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY
CLUB GREENSLOPES MIAMI TAVERN SHARK BAR BRONCOS LEAGUES CLUB THE SPOTTED COW THE HI-FI SCREAM AHEAD STUDIOS BLACK BEAR LODGE RIC’S BAR SOLBAR SHUCKED LANE DOWSE BAR QPAC CONCERT HALL VICTORIA POINT SHARKS CLUB THE TIVOLI THE TIVOLI THE SCRATCH PRINCE OF WALES HOTEL BLACK BEAR LODGE BRISBANE ENTERTAINMENT CENTRE BEETLE BAR THE ZOO CALOUNDRA POWERBOAT CLUB EMPIRE THEATRE THE HI-FI THE JOYNT ALHAMBRA LOUNGE BLACK BEAR LODGE THE HI-FI ALHAMBRA LOUNGE ALHAMBRA LOUNGE CROWBAR THE ARENA THE ZOO BRISBANE POWERHOUSE
GREENSLOPES MIAMI RED HILL TOOWOOMBA WEST END BRISBANE FORTITUDE VALLEY FORTITUDE VALLEY MAROOCHYDORE NEWSTEAD PADDINGTON SOUTHBANK VICTORIA POINT FORTITUDE VALLEY FORTITUDE VALLEY MILTON NUNDAH FORTITUDE VALLEY BOONDALL BRISBANE FORTITUDE VALLEY GOLDEN BEACH TOOWOOMBA WEST END WEST END FORTITUDE VALLEY FORTITUDE VALLEY WEST END FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY NEW FARM
KILL DEVIL HILLS SARAH MCLEOD IAN MOSS THE RED JUMPSUIT APPARATUS SAVIOUR SARAH MCLEOD BOY & BEAR / BATTLESHIPS / DUSTIN TEBUTT SASKWATCH ALTER EGOS NANCY VANDAL / 1.1.1 / SPIKE CITY LIME CORDIALE DAMIEN LEITH GREEN JAM SESSIONS w/ TAMARA O’CALLAGHAN UP LATE AT QAG: CALIFORNIA DESIGN w/ THE BREAK IRENE CARA DON WALKER DEF FX IRENE CARA STORYHORSE HIGH TENSION BOY & BEAR / BATTLESHIPS / DUSTIN TEBUTT SCOTT KELLY & THE ROAD HOME / JARBOE HOSTILE TAKEOVER / DEADLY COMBINATION / VAGUELY HUMAN / SOLAR FISTEM NANCY VANDAL DAMIEN LEITH SASKWATCH BLUEJUICE / SURES / ROLLS BAYCE SUMMER SALT STORYHORSE LEPERS & CROOKS ALEX & THE SHY LASHLIES BRIAN SEXTON THE TWOKS / KATHRYN MCKEE A MUSICAN ZOO MEETS PETER AND THE WOLF DAMIEN LEITH ONE REPUBLIC NEUTRAL MILK HOTEL / M WARD / SUPERCHUNK LIAM GERNER THE MEMBERS HIS MERRY MEN / STORM CHASERS FLEETWOOD MAC ALEX & THE SHY LASHLIES BETWEEN THE BURIED AND ME / NE OBLIVISCARIS RUSSEL MORRIS SMOKIE NILE DEENA HEY GERONIMO FLYING COLOURS NILE GOSSLING WHITAKER USELESS ID / THE DECLINE J BALVIN BETWEEN THE BURIED AND ME / THE CONTORTIONIST THE GOOD SHIP
15-11-13 15-11-13 15-11-13 15-11-13 15-11-13 15-11-13 16-11-13 16-11-13 16-11-13 16-11-13 16-11-13 16-11-13 16-11-13 16-11-13 16-11-13 16-11-13 16-11-13 17-11-13 17-11-13 17-11-13 17-11-13 17-11-13 17-11-13 17-11-13 19-11-13 19-11-13 20-11-13 20-11-13 20-11-13 21-11-13 21-11-13 21-11-13 21-11-13 21-11-13 21-11-13 21-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 22-11-13 23-11-13 23-11-13 23-11-13 23-11-13 23-11-13
MELBOURNE STREET GREEN (QPAC) SOUTH BRISBANE GOMA SOUTHBANK QPAC CONCERT HALL SOUTHBANK QUEENSLAND STATE LIBRARY (LEVEL 2) SOUTHBANK THE SPOTTED COW TOOWOOMBA TWIN TOWNS TWEED HEADS BEETLE BAR BRISBANE ELEPHANT ARMS FORTITUDE VALLEY GRAND CENTRAL HOTEL BRISBANE RIC’S BAR FORTITUDE VALLEY THE ZOO FORTITUDE VALLEY SOUTHSIDE TEA ROOM MORNINGSIDE SPRINGWOOD TAVERN MORNINGSIDE QPAC CONCERT HALL SOUTHBANK BON AMICI CAFÉ TOOWOOMBA THE HI-FI WEST END BEETLE BAR BRISBANE THE TIVOLI FORTITUDE VALLEY SHUCKED LANE NEWSTEAD DOWSE BAR PADDINGTON BRISBANE CONVENTION & EXHIBITION CENTRE SOUTHBANK QUEENSLAND STATE LIBRARY (LEVEL 2) SOUTHBANK THE HI-FI WEST END THE HI-FI WEST END BLACK BEAR LODGE FORTITUDE VALLEY BRISBANE CONVENTION & EXHIBITION CENTRE SOUTHBANK JUPITERS CASINO BROADBEACH ALHAMBRA LOUNGE FORTITUDE VALLEY THE HI-FI WEST END ALHAMBRA LOUNGE FORTITUDE VALLEY BLACK BEAR LODGE FORTITUDE VALLEY X&Y BAR FORTITUDE VALLEY SOLBAR MAROOCHYDORE NAMBOUR CIVIC CENTRE NAMBOUR QPAC CONCERT HALL SOUTHBANK THE JOYNT WEST END CALOUNDRA EVENTS CENTRE CALOUNDRA KEDRON-WAVELL SERVICES CLUB CHERMSIDE THE LOFT CHEVRON ISLAND ALHAMBRA LOUNGE FORTITUDE VALLEY CROWBAR FORTITUDE VALLEY LARUCHE FORTITUDE VALLEY NEW GLOBE THEATRE FORTITUDE VALLEY THE ZOO FORTITUDE VALLEY TRINITY CHURCH HALL FORTITUDE VALLEY MELBOURNE STREET GREEN (QPAC) SOUTH BRISBANE
GREEN JAM SESSIONS w/ LAURA MULCAHY UP LATE QAG: CALIFORNIAN DESIGN w/ SONGS SMOKIE 4 SENSES BREEDERS MARTHA AND THE MOTELS BREEDERS / SCREAMFEEDER ALTER EGOS I KNOW LEOPARD THE DELTA LIONS JEREMY NEALE / MAJOR LEAGUES THE ANSWERS ALEX LLOYD GALA 2: LAST NIGHT OF THE PROMS THE MERRYS HITS & PITS 2.0 SCREAMFEEDER FRANZ FERDINAND SHIFTING SANDS WAYWARD SMITH / BELLTALK EROS RAMAZZOTTI 4 SENSES HITS & PITS 2.0 BLACK REBEL MOTORCYCLE CLUB BEHIND THE VELVET CURTAIN JESSICA MAUBOY JESSICA MAUBOY TOM KLINE MOONSORROW SEABELLIES HOLY HOLY NECK DEEP THE MERRYS BJORN AGAIN MORNING MASTERWORKS 4 QSO CHINDAMO / FRITZSCH SAL KIMBER JESSICA MAUBOY AMBER LAWRENCE & JACKIE OWEN BEC LAUGHTON STONEFIELD DAYLIGHT N’FA JONES RAPSKALLION BRITISH INDIA / LUNATICS ON POGO STICKS NECK DEEP GREEN JAM SESSIONS w/ RIFFRAFF UP LATE QAG: CALIFORNIAN DESIGN w/ SONNY AND THE SUNSETS TOM KLINE BJORN AGAIN BODYJAR CLAUDE HAY BODYJAR THE LIVING END / PEZ / VIOLENT SOHO / YACHT CLUB DJs / DUNE RATES BRITISH INDIA THE OTHER SIDE w/ ASH GRUNWALD / STONEFIELD / THE VERNONS
GOMA BON AMICI CAFÉ TWIN TOWNS THE HI-FI THE LOFT THE COOLANGATTA HOTEL EATONS HILL HOTEL THE ZOO MARINERS COVE MAIN BEACH
SOUTHBANK TOOWOOMBA TWEED HEADS WEST END CHEVRON ISLAND COOLANGATTA EATONS HILL FORTITUDE VALLEY MAIN BEACH
23-11-13 23-11-13 23-11-13 23-11-13 23-11-13 23-11-13 24-11-13 25-11-13 27-11-13 27-11-13 27-11-13 28-11-13 28-11-13 28-11-13 28-11-13 28-11-13 28-11-13 29-11-13 29-11-13 29-11-13 29-11-13 29-11-13 29-11-13 29-11-13 29-11-13 29-11-13 29-11-13 29-11-13 29-11-13 30-11-13 30-11-13 30-11-13 30-11-13 30-11-13 30-11-13 30-11-13 30-11-13 30-11-13 30-11-13 30-11-13 30-11-13 30-11-13
SOUTHSIDE TEA ROOM MORNINGSIDE VILLA NOOSA HOTEL NOOSAVILLE BRISBANE CONVENTION & EXHIBITION CENTRE SOUTHBANK QPAC CONCERT HALL SOUTHBANK TWIN TOWNS TWEED HEADS BEETLE BAR BRISBANE MUSTANG BAR FORTITUDE VALLEY BRISBANE POWERHOUSE NEWFARM BRISBANE ENTERTAINMENT CENTRE BOONDALL JUPITERS THEATRE BROADBEACH BLACK BEAR LODGE FORTITUDE VALLEY ALHAMBRA LOUNGE FORTITUDE VALLEY CROWBAR FORTITUDE VALLEY BRISBANE JAZZ CLUB KANGAROO POINT SOLBAR MAROOCHYDORE THE SPOTTED COW TOOWOOMBA THE JOYNT WEST END
FLAVOUR MACHINE STONEFIELD VIDEO GAMES UNPLUGGED - SYMPHONY OF LEGENDS BJORN AGAIN AMBER LAWRENCE & JACKIE OWEN JERRICO BAD VISION RAUL MIDON JUSTIN BIEBER AIR SUPPLY PATRICK JAMES WHTLEY ULCERATE OZ MANOUCHE 2013 PAUL GREENE THE JOHN STEEL SINGERS / GO VIOLETS AURORA JANE VANS WARPED TOUR w/ THE OFFSPRING / AMITY AFFLICTION / THE USED / and many more DARREN MIDDLETON FOREVER THE OPTIMIST THE JOHN STEEL SINGERS / GO VIOLETS PAUL GREENE OZ MANOUCHE 2013 DIVA DEMOLITION GREEN JAM SESSIONS w/ FOUR UP LATE QAG: CALIFORNIAN DESIGN w/ BANDITO FOLK / VELOCIRAPTOR ABBY SKYE THE BAMBOOS WHITLEY LEONARD COHEN CITY AND COLOUR / TWIN FORKS TRAINSPOTTERS w/ RAY DAVIES PAUL GREENE WHITLEY THRILLER w/ FOREVER CAME CALLING / MONUMENTS FOREVER THE OPTIMIST / GUARDS OF MAY FOREVER CAME CALLING / MONUMENTS OZ MANOUCHE 2013 THE JOHN STEEL SINGERS / GO VIOLETS BEACH DAY OUT MAESTRO 10 - QSO CHEN / FRITZSCH MACHINE TRANSLATIONS
jam/ open mic
DATE VENUE Wed 6TH Jam Thu 7TH Jam Wed 13TH Jam Thu 14th Jam Wed 20th Jam Thu 21ST
RNA SHOWGROUNDS THE OLD MUSEUM SOUTH CROSS TAVERN THE ZOO THE ROYAL MAIL HOTEL BRISBANE JAZZ CLUB HINTERLAND HOTEL MELBOURNE STREET GREEN (QPAC)
BOWEN HILLS BOWEN HILLS COOLANGATTA FORTITUDE VALLEY GOODNA KANGAROO POINT NERANG SOUTH BRISBANE
GOMA BREEZERS BAR, TWIN TOWNS THE HI-FI WOOMBYE PUB BRISBANE ENTERTAINMENT CENTRE RIVERSTAGE THE GRAND CENTRAL HOTEL THE LOFT THE COOLANGATTA HOTEL CONISTON LANE THE ZOO TRINITY CHURCH HALL BRISBANE JAZZ CLUB SOLBAR SANDSTORM BEACH CLUB QPAC CONCERT HALL THE HI-FI
SOUTHBANK TWEED HEADS WEST END WOOMBYE BOONDALL BRISBANE BRISBANE CHEVRON ISLAND COOLANGATTA FORTITUDE VALLEY FORTITUDE VALLEY FORTITUDE VALLEY KANGAROO POINT MAROOCHYDORE NATHAN SOUTHBANK WEST END
s w e N s e u l B
November is shaping up as a great month for blues events.
1 November - The Soul Men at Brothers Leagues Club, Ipswich. This is a Blues Brothers tribute show band. Recommended for a great night of entertainment. Top musicians with vocalist, Yasmin Rajah. The 5th Annual QLD Festival of Blues is on at the New Globe Theatre, Fortitude Valley on 2 November. The lineup is: Mojo Webb, 8 Ball Aitken, Transvaal Diamond Syndicate, The Walters, Mojo Bluesmen, Morningside Fats, Jimi Beavis, Steve Skinner, Moondog Gypsy Blues Band, Brodie Graham, Lazy Eye, Baton
Jukes, Lochart Ryder and Folklore. Sunday 3 November is Mark D’s Harmonica Blowout show at the New Globe Theatre. The lineup is: Jamie Symons, Kiam Adcock, Mark Gibbons, Jimi Beavis, Syncopated Pete and Mark Doherty. A full weekend for all blues lovers. Mason Rack Band hail from the Gold Coast. You can see them on 3 Nov at Bucca Hotel Bucca QLD. 3 November - Alex Bowen is at Rick’s Bar, Fortitude Valley. The Royal Mail Hotel Goodna has some great blues acts on during the month
2 November - Ladies Sing The Blues Day, Dezzie D And The Stingrayz, Claire Anne Taylor, Angela Fabian Band. 8 November - John Malcolm. 9 November - Andrew Baxter Band, Lazy Eyes. 23 November - Devil’s Kiosk. Throughout the month there are many venues featuring blues artists. Check your local gig guides for further shows in the SE QLD region.
MouthZoff Mag- an exciting new digital mag on the QLD music scene. With reviews, interviews, goss, informative articles, special events and...
Published on Apr 1, 2013
MouthZoff Mag- an exciting new digital mag on the QLD music scene. With reviews, interviews, goss, informative articles, special events and...