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PowerMouth Entertainment presents

Issue 5 August 2013

World’s largest orchestra Dead of Winter Ask Abby column Down to the Roots

Winterfest British India & Spiderbait heat up Eatons Hill


h t n o m s i h t e nsid 4










Randy G

MouthZoff talks to the Brisbane band of brothers

”Tell me, wise one - how do you get gigs in Hip Hop?”

Lilly Rouge and Smoking Martha at the DOW Fest








cover story






soundscapes + LAUREN LUCIlLE




sound advice



Using the Net to drum up your fanbase

Who’s been playing where

Monkiblood join others in benefitting epilepsy

Managing Editor Randy G Art Direction & Layout Charcoal Mark Graphics Sub-Editor Mike Roberts Writers Hugh Brown Harmonie Downes Sonic Edwards Randy G Mike Roberts Abby Skye Matt Thrower Tjay Photographers Brett Linsley Grant Linsley Steve Barrett Luke Monsour Geoff Norris Powermouth Entertainment Hugh Brown

Eatons Hill Winter Festival wrap-up

Harmonie Downes records a record feat

Web Advertising and general enquiries

The lowdown on free, high-level tuition

Contemporary modern at the BJC

Eclectic groove infusion at the HiFi Bar

Software — what’s right for you?

Your free monthly gig guide

On the cover Declan Melia of British India. Picture by Luke Monsour

The team: (L-R) Geoff Norris, Grant Linsley, Mike Roberts, Brett Linsley, Abby Skye and partner Wayne, Randy G, Tjay and partner Des, Harmonie Downes, Matt Thrower and Peter Muldoon. Pic: Brett Linsley

Message from the Editor


ell as the months fly, we say farewell to July and the fresh smell of spring is in the air (amongst other things!). August is a busy month, with two of the state’s major jazz festivals at either end, and with so many great gigs and touring shows I really think we are spoilt for choice. Hard to believe we’re already onto our 5th issue of MouthZoff Magazine ... I really hope you have enjoyed reading it each month and we’d all like to thank you for all of your support. We have been busy not only keeping up with the rapid currents in the local music scene but also modifying the magazine features and website to suit growing needs and demands. The free WhatZon gig guide found at whatzon has had a bit of work done to it and it’s now fully functional. Our Ask


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Abby column is also getting some interaction and I’m really happy to have her working with us.

MouthZoff Magazine Po Box 2156 Redcliffe North 4020

The magazine is growing and expanding which is really exciting to see – a few weeks ago we had our first official team meeting at Hotel Urban and it was terrific! There’s a real buzz of excitement and enthusiasm in the team and we have some great professionals on board.

And don’t forget to subscribe (this too is free!) – just head to and click on the subscribe tab at the top of the page.

This month we are also beginning to feature album reviews. A few of you have already sent your albums in…thank you! If you are interested in having your newly released Albums/EPs reviewed then you can send your cd (please include a cover letter with your name as well as stage name, email and contact number, so that we can make contact with you) to:

You can also follow us on our Facebook page:

as well as Twitter: Stay safe, do good and keep supporting local talent! See you around town.

Randy G


Meet the Writers Randy G

Founder of both MouthZoff and PowerMouth Entertainment, Randy has been a one-woman hive of activity in the local music scene since her relocation from Victoria. She was a budding musician, lyricist, composer and songwriter before taking the plunge into Marketing, Promotion, Artist Representation and now magazine production! When she arrived in Queensland she became increasingly aware of the positive contribution she could make to local artists and industry, and as a result, PowerMouth Entertainment was born. In setting up MouthZoff, she hopes that it will become a valuable tool for focussing on and expanding interest in the Queensland music scene.

Abby Skye If anyone is qualified to comment on our local artists and bands, it’s Abby Skye. After exploding onto the Brisbane music scene a few years ago with a gamut of solo gigs, some amazing creative events and founding her successful rock band Mission X, Abby has established herself in the music community as a singer, songwriter and entrepreneur to be taken seriously. Bearing an incredible singing voice and a deadly creative flair, Abby lives and breathes art of all kinds, so writing for MouthZoff Magazine was inevitable. When this chick puts pen to paper, sit up and listen.

Dr Huge His high school music teacher nicknamed him ‘Huge’ and he took it for a stage name. Growing up in amateur theatre and playing in school jazz, rock and concert bands, Huge played drums and percussion in originals and covers bands around south-east Qld. Soon he started taking his own compositions seriously, and fronted many original bands in the mid-90s before joining Celtic folk band Bun’ Ber E in 1997.

With experience straddling the creative, business and academic worlds, Dr Huge is passionate about helping Independent musicians develop their craft to its full potential. In each edition, he will write about the latest music industry developments – especially reviewing the latest services that can help Independent Musos make the most of their music business.

Harmonie Downes Harmonie Downes is a broadly talented, semi-professional musician who is well connected with the Brisbane music scene. She’s worked as a children’s performer singing Christmas songs and playing ukulele to small children. From going to Woodford playing handmade instruments in an orchestra to singing originals of her own as well as other people’s originals. She’s passionate about accessibility in the industry for all walks of life and varying skill levels and believes that everyone should and can play music.

Matt Thrower Matt is a veteran of music writing, beginning his career with a music column while a journalist at the Gladstone Observer in the early nineties. He started writing for Rave Magazine in 1997 and was a mainstay of the weekly Brisbane music and arts magazine until its demise in 2012. His work has been published in Brag, The Weekend Australian Magazine, The Big Issue and Rolling Stone. In addition, he has worked as an Acting Editor for Rave and was Assistant Editor on glossy monthly publication Plastic and weekly Brisbane entertainment magazine Street Press. Matt is excited to get back into music writing after having a year off (the longest time he’s had off his craft in over 20 years!).

Tjay Not only is T-Jay a session Bass Player, he is now a Producer and engineer for a busy recording studio, Crystal Rhythm Music based on the North side of Brisbane. Sydneysider T-Jay began his music career at a very young age with a guitar, then changing to bass in his

highschool years. He won many awards along the way, noteably the 24hr Rock-A-Thon, playing at the Sydney Entertainment Centre. These days T-Jay produces music for radio/TV commercials, film, animation, musicians, poets and story tellers… anything audiorelated! T-Jay is also a Logic Studio Trainer, specialising in production set-ups, either in-house or externally.

Mike Roberts Mike Roberts began his career as a music journalist in Sydney, writing for the now-defunct On The Street, Juke, Countdown and RAM magazines. Additionally he worked as a collaborator for various PR firms, knocking up press releases and bios for local and overseas artists. Also a bass player, he played in bands for a few years while juggling a full-time career in newspapers, where he quickly swapped the typewriter (...ok, computer) for the paintbrush (...again, ok, computer!) and has spent the last few decades designing all sorts of bits and pieces. He’s now putting together his own business, tutoring part-time, and is thrilled to be a part of the MouthZoff team.

Sonic Edwards Sonic Edwards has been playing bass as a freelance musician for 17 years. He jokes that he plays so many styles of music that “there’s sure to be something you can’t stand...” He’s taught from Primary age to University level, private to classes and clinics with qualifications such as Advanced Diploma in Music Performance and Vocational Graduate Diploma in Multi-Instrumental Pedagogy, Certificate IV in Training and Assessment. His writing experience includes instructional books for JMI (Jazzworx) as well as newsletters for Browning Street Studios and Allans Billy Hydes Music. His live and studio production work includes Amber Lawrence, Paul Costa, CMAA (Country Music Association of Australia) Academy and Hats Off to Country 2010. He’s also an in demand music copyist (charts) and session musician (live and studio).

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talks to... dANGER AT THE DOOR Who is Danger at the Door? Luke Hourihane guitar/Backing vocals Ryan Hourihane Bass/ Lead vocals Nathan Hourihane Drums We are an originals band consisting of three brothers.

When did the band form and how? The band formed in late 2011 when Ryan returned from an overseas trip looking to join a new band and Luke and Nathan (who were playing with another one) jumped at the opportunity to play with such a talented front man. We had a fourth member, Keelan, for a while at the start of 2012.

How did you come up with your name? The name “Danger at the Door” actually came from a scene in the movie “Dumb and Dumber”. Coming up with a good band name is a horrible task, everyone has to agree on it but we saw this one and it jumped out at us.

How long have you been gigging around Brisbane? We did 1 or 2 gigs in late 2011 but really hit the scene in early 2012, clocking up around 50 gigs by April/ May. We won a Battle of the Bands competition with a $2000 grand prize and in the same weekend won some recording time after playing gigs at the Tweed Heads battle of the bands and the Hifi bar in Brisbane, so we were pretty proud of that.

Describe your music ... Our music is alternative rock, at times it can be hard rock and other times it is soft rock. We have never pigeon-holed our sound and have always been open to whatever song or sound each member brings to the table. We have a lot of influences and sometimes one of our songs can have a completely different sound to another. We might have a song that’s heavy and full of big riffs like the Foo Fighters then we’ll have a poppy feel good song that might sound like The Strokes. People have told us we sound like a lot of 90s Aussie bands like


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Pic: Steve

Barrett Silverchair, Motor Ace, or Grinspoon.

Name the top three venues or events you’ve liked playing at the most ... Well one of our favourite places to play is The Zoo in Brisbane. It’s an iconic Brisbane venue and knowing that you are playing on the same stage that some of your favourite bands have played is cool. The guys there are very professional too. Playing the Hifi in Brisbane’s West End is fun because of the size of the stage. The Tweed Heads Civic Centre is also somewhere we have really enjoyed playing

Whats the most awesome thing about a Danger at the Door Gig? Something that sets you apart from others? We always put on a solid live show. That is a must for every gig. I think even if someone didn’t even really like the music they couldn’t say that we weren’t up there putting on a good show. We like to interact with the crowd and love jumping around and showing off our best rock moves. We try to avoid gimmicks as we really want people to come out and enjoy a

really good live show with the focus being on the music and the energy of the band rather then something silly.

What are your plans for the future? So many, really. We’d love to start supporting bigger touring acts to help ramp up our fan base. Playing festivals would be great, and we might look into doing a full album or new E.P. in the near future.

Does the band have a motto that you all try to live by? Probably just to “treat people how you’d like to be treated”. We’re pretty straightforward guys and have strong principles, so if someone is an asshole towards us we won’t have anything to do with them.

Hypothetical question: Someone in the audience thinks you’re a heartthrob and chucks you their undies. What would your reaction be? It happens all the time and they are always directed at Nathan the drummer! Chicks love drummers. However one time it was a big sweaty guy throwing his undies at Nathan, but we’ll save that story for another time ...


y b b a ask with ABBY SKYE

as a session musician/rapper. This could open a bunch of doors that were previously unavailable to you, not to mention get you heard on commercial platforms that may not have been considered appropriate for your act on its own before.

N LAST month’s column I encouraged people to write in with any questions they have about the music industry or to describe a musical/business struggle that they, or someone they know, might need help with. I received a quick reply from a disgruntled guy who asked “Tell me, oh wise one - how do you get a gig in hip hop? Bet you ain’t go a clue!” Second article topic found! I do empathise with Trashy’s plight – I have no experience in hip hop and imagine it would be a very tough scene to navigate, not to mention vastly different from the pop, rock and dance worlds that I’m used to, where there is generally a plethora of references, information and assistance on hand to help artists in those fields. This is quite a challenge to assist in an area that I’m unfamiliar with, but that’s what this column is about, right? There’s always something you can do! So, let’s give it a go by applying some basic principals that apply to all music genres: 1) Define your goals. Envisage where you want to be and see your journey to get to that point and work backwards, step by step. Put it all down on paper (the essential bit), so that you can see your path, goals and the steps that will take you to where you want to be. Artists are often solely responsible for the growth of their careers, as well as the shaping of their craft to the required standard to even get a lookin. This cannot only be hopelessly frustrating at times, but it can make us temporarily lose our focus and motivation. That’s when having a plan on paper can help keep you on track and remind you that your dream is actually quite realistic. 2) Do an honest assessment of your ‘product’. Enlist help, if you

Pic: Brett Hotchkins can. Is your act/music unique enough to stand out against the rest in your genre, or to be worthy of investment? Do you have tracks ready to be promoted and are they truly of a good enough standard? What sort of people will enjoy these tracks and where will you find these people? How will they find you? Ensure your view of how your act and product will be received by your target market is accurate, so there’s no tears when your thrash metal song about the depths of hell doesn’t get played on commercial radio or picked up by Sony. There is room for every artist, genre, song and talent in this world and the success of your career will be influenced greatly by your ability to place yours appropriately. 3) Collaborate. Some people may think hip hop all sounds the same, so apart from proving them wrong by bringing something totally fresh to the table, lend the elements of your genre to another. There are numerous bulletin boards, forums and studios that you can contact to offer your services

4) Getting gigs: Obviously, a cafe or bar is not going to give you a 3 hour gig to entertain their patrons, it’s simply not appropriate. You may find an adventurous club owner that will give you a half hour spot, though. There has got to be hip hop collaboration events in the area, do your best to find them ALL. If your songs are suited to a cause or upcoming event, call and offer your services in exchange for promotion. Your focus for now should be on shaping and presenting your act pristinely and developing a respectable name in your field. There are plenty of free platforms and apps that can help you do this, use them and network your butt off! Videos are inexpensive nowadays – so make something unique and pimp it on YouTube. Plenty of others have done it. 5) Present a positive attitude. No one wants to hire or work with someone who is bitchy, bitter or unmotivated. Give people reasons to be drawn to you and what you do, not reasons to turn their back. Your journey may have been tough, but don’t let your fans and peers see how jaded you are about it. I don’t know all there is to know about the music industry, even after performing and recording full time for 18 years and obviously, I never will. But what I have learned is just how imaginative, persistent, strong and hard-working you need to be to even have a chance. At the end of the day, you’ll get out what you put in.


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The Dead of W REVIEWED

Steve Barrett /thelillyrougeband Pic:


ig, are kel and guitarist Paul Cra bass player Barnaby Gic ir riffs and tunes the t tel ou Ho e ing ile mp Jub pu nes in ter Festival at Brisba completely engrossed als, centre stage and at I’m at the Dead of Winre misplaced. Heavy metal, Punk, and ly’ is smashing out voc ‘Lil ilst wh mo l fee ear ’t ldn my down and I cou guitar. ise screamed directly n more intimes playing electric all things loud or otherw d to. Eve ose exp en oft t the band, sparking my no I’m e carnage lying eady heard a bit about generating some serious talk canal - are genres tiv alr ora had I dec hat ew som teresting is the fake and at isn’t yet dead will be sure to drag curiosity as they are presently the music scene. I think front ples in around the place and whnt now. Yes, from Gothic warlords to considerand causing definite rip al vocalist, especially itself past at any mome victims in between, this is definitely n ‘Lilly’ is an exception ning despite wearing a corset ma wo ted mo tila sum s seems, I’m zombies and mu ing the power she was may not live to regret), but I cerer. As interesting as thi ed a gathering like no oth two bands: Smoking Martha (Yes I’m ision she may or dec (a difficulties. She manag not detect any obviousge without missing a beat, specifically here to see esie) and Lilly Rouge, who are just did nly tai d that sta going to mention the on to actively move aroun! c bar. ver ate wh , ath setting up in the publi bre note, rted off they are, that uge speak exactly who Severed Souls”, that sta At first glance Lilly Ro original hard rock band. Getting in ed the song “House of pular old tune ‘House of the oy enj I of a po being a powered up all‘all things in the grave and beyond’ with the opening bars ned into something very NOT, House tur l n vei s the ow and ’ wid with today’s theme of rising sun ly got the fire burning hic makeup and the y certainly sun.‘Lilly Rouge’ has trung hot and right down the ing the fake wounds, the got ge ris sta the on of t bu rm the no eady smolderi might be a little out of in a room that was alr had her most energetic bass guitarist ich wh g son t look the part. las the to Gold Coast, ience just loving it! RANDY G r-piece band from the fall to his knees, the aud This femme fronted foug off the festival proceedings. With kin kic in e us, er Matt Foc waste no tim slogging from drumm the stage kit copping a


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Winter SMOKING MARTHA Well, as previously stated, the room was already hot by the time the first act had finished and now with the likes of Smoking Martha, It’s safe to say this is festival going OFF! The stuffy bar area is now packed full and everyone except me seems to know what they are in for. Not to mention for someone who’s not a fan of crowds, I’m certainly in denial of the situation at hand and focusing intently on the stage area in front of me. Having heard much from my team about this band, I must admit this was my first time seeing them perform. Immediately I was humored by the rhythm guitarist AZ, wearing a faux (I assume) fur vest and he was a scream to watch. Just when I thought the fashion sense might improve, lead lady Tasha D steps on stage in a hot pink ‘onesie’ and her space boot-style wedges. I don’t believe many people could make this look as good as she does. Drummer PABLO immediately set a strong, solid beat, smashing the skins with hard rock confidence. With just one sexy chick and four men, Martha is soon smoking. The guitarists (Mick on lead, Chris on bass?) are very entertaining, completely absorbed in the task at hand:

heads thrashing backwards and forwards while Tasha is giving absolutely everything she’s got to her vocals Sadly, though, the sound in this room lets them down badly (not THEIR fault, of course). The instruments, drums in particular are so loud that I am unable to hear much of the vocals. Speaking with the band after the show, Tasha tells me she was unable to hear herself properly and it made her plight that much harder. The band, however, rose above the difficulties to deliver an astonishing performance. It’s really wonderful having listened to two very different hard rock bands – both fronted by female vocalists. I felt the energy that Smoking Martha had as a whole, was amazing and despite the sound issues, the bands performance was faultless. I dare say that we will be hearing a lot more from this group in coming days as I’m also told that Tasha recently recorded with Ian Haug (from Powderfinger) and we can expect an EP release later this year. RANDY G Pic: Steve Barrett

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e g u H r D



ast edition’s column was about the fan-artist relationship and finished up by noting that once you have started to build a fan base it takes a special effort and facilities to manage them. The great news is that this is one area where technology can very inexpensive and simply help – but it only provides half of the answer. The most critical ingredient still has to come from the artist. Let’s start by looking at fan management tools. To set yourself up properly you are gong to need 4 basic tools: 1. Social media 2. E-mail management 3. A gig guide 4. An online shop These each represent one basic function that should not be confused with the others. 1) Social media, including Facebook, Twitter, Instagram, etc, are great for keeping fans up to date with what you are doing. These connections are not deep or persuasive, but they are a great way to just remind people of your presence and inspire them to check out other things. This is where you build a reputation as an artist, thinker, party animal, whatever – and you have to be consistent, just make

sure every post fits with your artistic “brand”.

Remember that, on average, only one in 10 of your Facebook friends will see any particular post and only 1 in 10 of these will do anything with or about it. Social media is NOT very effective for selling things. There are exceptions to this, like Amanda Palmer, who organizes every fan interaction via her Twitter, but they are rare and have a different focus. 2) Email management facilities are essential. You can use either Mailchimp, Reverbnation or Bandcamp’s email services, or you can keep an email list in a database on your laptop, but you need to use email for less frequent but deeper connections. This is where you send out special offers or gifts, ask for specific feedback, mention tips, tricks and suggestions and generally engage with your fans on a more direct and intimate level. There are two major differences between social media and email. First, a fan who has given you their email address is much more committed than someone who has just liked your Facebook page. Second, everyone on the email list will get your email whereas most people will not see your social media posts. This Facebook “invisibility” fac-

tor is easily overlooked.

3) A gig guide is an essential and enduring point of reference for fans who want to see you. Hostbaby provides one as a standalone page and Reverbnation integrates one into your main page and email system. This is the way to leave info for people who are interested enough to come looking for it. They want to know when you will be performing next and can catch up with you. 4) An online shop is the most efficient way to sell your paraphernalia and merchandise direct to your fans. You should release your music through iTunes and so on, but you’ll be paying someone else to manage your distribution and sales. With your own shop you get to keep all of the income, less transaction fees from your bank or other provider. For example when iTunes sells your MP3 for 99c, you get 70c. CD Baby get 70c and you get 63c. But if you sell that same MP3 via your own shop for 80c you get to keep the entire 80c. Stay tuned for next month’s MouthZoff issue when we will be discussing the difference between CD Baby distribution and the Tunecore model.

MouthZoff JULY 2013


Out of the mo JAZZING IT UP

=ts .galea.79?fref oo b ce .fa w w https://w Cleon Barraclough on Facebook

Ariel. Fearlessly transcends musical boundaries and delivers her performance with fiery passion. Captured here during her Jazz Singers’ Jam Night set at the Brisbane Jazz Club. Pic: Steve Barrett


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Cleon Barraclough in action with piece Brisbane Contemporary Ja the Jazz Club in mid-July. Pic: G


h the twentyazz Orchestra at Geoff Norris Bec Whitehead with the Jesse Green Band featuring the Hanlon Brothers. Bec has a new TV series called “TV head” with a live audience in the Gold Coast Arts Centre basement! Tickets available online on the Arts Centre’s site.

ting absolute a demonstra David Gale nt six string s magnifice mastery of hi “Wood and s hi during sbane bass guitar ch at the Bri Wire” CD laun Jazz Club.

Pic: Geoff Norris


Pic: Steve B

Lauren Porter is the voice of “Say Do Now” who had their EP Launch a couple of months back. We caught Lauren here at a Jazz Singers Jam Night last month, but you can also check out their new video or catch Lauren on Network Ten’s “Wurrawhy” programme. Pic: Geoff Norris

David Galea demonstrating absolute mastery of his magnificent six string bass guitar during his “Wood and Wire” CD launch at the Brisbane Jazz Club. Pic: Steve Barrett

Funk with a cause

MONKIBLOOD/SUICIDE SWANS/JACKSON DUNN The Beetle Bar, Sat July 6 By MATT THROWER The Beetle Bar is one of Brisbane’s more reliable good-time venues, boasting an admirably diverse range of live bands, excellent sound and a jovial, laid-back atmosphere. Tonight is a special occasion as it is not only a gig by high-energy funkrock locals Monkiblood, it’s also a self-proclaimed Epilepsy “Funraiser” – a night of fine live music with money going towards a most worthy cause. The only unfortunate aspect about the evening is the fairly modest turnout. This would have been an even more explosive night if Monkiblood were cranking it to a packed room. No matter. As punters are starting to trickle in, Gold Coast singer/ guitarist Jackson Dunn is performing his dexterous six-string jams, feet pounding out snare beats and using a half-full beer for a nifty slide effect. He sings in a slightly gritty tenor which suits the raw yet skilful nature of his performance. These are no-frills coastal bluesy acoustic rock songs, given intensity by Dunn’s impassioned vocals and fiery solos. Even his cover blend of Ice Ice Baby and Insane In The Brain transforms the ‘90s ditties into furious blues jams. Brisbane/Toowoomba five-piece Suicide Swans are up next, injecting the evening with anthemic folk rock. Taking the raucous roots music of The Band and giving it a

14 distinctly Australian twist, this is a combo big on beards and instrument swapping. At times they bring to mind the gracefulness of The Triffids and Augie March, at others the joyously drunken bar room soul of The Gin Club. Even the fact that the drums are quite soft in the mix doesn’t dampen the impact, as the instruments frequently seem fused into one

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wall of sound. The double electric guitar attack certainly helps, enhanced with generous doses of keys, fiddle, bass and vocals. This is a band ideal for crying into your beer one minute, and pouring the amber beverage over your head in celebration the next. The technicolour ’90s flashbacks of Monkiblood ensure we won’t forget this night in a hurry. Touring their

single Man’s Be ing coin for Epil their show is a p positivity, toilet stop energy. Sin per Paul Dunn often as he is o with audience m even performin zanine level wh his supremely c

een Crazy and raislepsy Queensland, punk-funk flurry of humour and nonnger/shouter/rapunne is off the stage as on it, shaking hands members and ng from the mezhile he’s delivering confident vocals.


He’s as much at home crooning as he is rapping, able to deliver soulful melodies or bellow like a sideshow alley promoter into the mike. But the energy isn’t confined to Paul – brother Sean and bassist Marc Gregory have their shirts off quicker than you can say “slappin’ de bass”, while keyboardist/DJ Sam Cusworth can be spotted reeling off synth licks, hip-hop scratching like a demon and filming the performance with a handicam, sometimes all at once! Keeping the beat in true style is bass man Marc’s brother Matt, the duo forming a rock solid rhythm section. By this point of the night, the crowd are at the front of the stage, dancing their daily stresses away. With plenty of humorous band banter between the tunes, this is a night of good old-fashioned entertainment. “We’re giving you 110%,” Paul states at one point, “You need to give it right back to us.” With such an infectious good-time band on the bill, it’s difficult to do anything less.

All pics by luke monsour



ontinuing south-east Queensland’s increasing tendency for wet winters, the outdoor section of 2013’s Winterfest is reliably lashed with on-off rain throughout the day. The impressive line-up of DJ’s stationed at the outdoor dance stage is, as a result, plagued with low but enthusiastic attendances. Nina Las Vegas is among the tune spinners, while Bluejuice’s DJ set has the immense good taste to include Azealia Banks’ potty-mouthed thumper 212, one of the finest club floor-fillers of the last 18 months. In the rain-free intermissions, spectators watch snowboarders smash and stack over a long ramp of ice, while deposits of “actual snow” provide a rare opportunity for Queenslanders to engage in snowball fights in their own back yard! Band-wise, it’s a pretty amazing day. The interior of Eatons Hill Hotel is, as many gig-goers will attest, a fine space for live music. Crisp sound, great lighting and, of course, the hotel’s truly epic ceiling all help punters enjoy a diverse roster of bands. Headliners Spiderbait, British India and Kingswood all turn in excellent sets, but the lesser-known groups are similarly impressive. Highlights include Jakarta Criers, Brisbane boys a million miles removed from the Last Dinosaurs/Hungry Kids-esque indie pop that has (inaccurately) been interpreted as the dominant sound of our fair city. Instead, this four-piece make a more classically-structured style of melodic rock. It’s a builder of a set, rising to a euphoric finale of chiming riffs and singer/guitarist James Walker’s tuneful, emotive vocals. Anyone who has swooned to the likes of nineties power pop outfit Buffalo Tom could conceivably find themselves getting into this band. The more scraggly slacker-pop of Woe And Flutter gets a more muted response from the crowd, but this doesn’t adversely impact their set. Audience members seem to enjoy lounging on the floor as the Gold Coast quartet’s languor-


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SPIDERBAIT’s Janet English

ous anthems wash over everyone. Vocals are shared between the band’s two guitarists, Dusty Anastassiou and Adam Schneider. The band excel in shambling pop songs that dip into the likes of Pavement and Yo La Tengo for inspiration even Dinosaur Jr’s more sedate moments. That said, they never come across as plagiarists, the band emanating a hookladen charm that is all their own. One of the true highlights of the day follows in the shape of Brisbane five-piece The Trouble With Templeton. With their debut album Rookie set for an August 2 release, the lucky, lucky attendees at Winterfest get some idea of what to expect from the record with this luminous, atmospheric set. Singer/guitarist Thomas Calder boasts a soaring tenor, the songs scored with guitars and keyboards that fall somewhere between folk and shoegaze. The drums and bass provide as much dramatic thunder as rhythm, the mood varying between tender and raging, but never at the expense of accessibility. For the uninitiated, this band is a real find.

lision of vocal harmony and fuzzed-up blues riffs from the quartet who even pay tribute to their Liverpudlian idols with a version of I Want You (She’s So Heavy) that, and there’s no other way put this, kicks total arse. They also ma easy work out of The Doors’ Break O Through To The Other Side (cleverly in porating the same band’s trickling ke board motif from Riders On The Storm But their own material is never dwarfe by these covers, taking elements from kind of proto-punk groups you’d find the legendary Nuggets compilation an artfully blending them with harmonypop melodies.

The last 12 months have been exciting times for Kingswood, their punchy riff rock finding a solid audience via some heavy Triple J rotation. The crowd is u on their feet and tightly packed into th room when the Melbourne band begin their performance. Let’s be clear –the

Things get all sixties garage rock when Melbourne’s All The Colours take to the stage in matching Beatles-esque jackets. We are treated to a thrilling colkingswood

all the


to ake n corym). ed m the on nd rich


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Thomas Calder – The Trouble With Templeton

guys are not about to “reinvent the wheel” or “change the face of music”. Their aims are far less pretentious than that. They just want to give us a good Saturday night of high-volumed rock & roll. And in these increasingly complicated times, it’s reassuring to find a band that not only does this, but does it really, really well. Their increased popularity Pics: Supplied has obviously boosted their confidence, singer Fergus Linacre pulling all the rock star moves without coming across as a tosser. But the day truly belongs to British India, the band’s propulsive indie rock making total sense in a live setting. Tie Up My Hands inspires a mass singalong, while new material from their third consecutive top 10 album Controller (and their first since 2010) gets a similarly warm reception. Pint-sized frontman Declan Melia may as well be seven-foot tall, such is the confidence in his perfor-

e colours

mance. Vocally, he’s on top form and he’s a commanding yet amiable presence on stage. There’s even a roofraising charge through Harvey Danger’s Flagpole Sitta (the moment when everyone shouts “You cut off my arms, now I’m an amputee goddamn you” is simply priceless). It’s just the icing on the cake from one of Australia’s finest live bands. Put simply, these guys rock. It’s a hard act to follow, and seasoned veterans Spiderbait don’t quite rise to the occasion. The audience is thinning and audibly restless during the trio’s forays into jazz-style jams and quiet-loud interplay (admittedly, both of these elements are their trademarks). That said, Kram, Janet and Whitt give us plenty of reasons to stick around. Not least is their awesome back catalogue of cartoonish punk, furious electric hoedowns and sugary-sweet indie pop. Bassist Janet English is a dab hand at the latter category and her rendition of Calypso puts a smile on everyone’s dial (you know, the “sunshine on my window” song!). Kram is the drum master and ringleader we all remember fondly from sweaty venues and festivals in the nineties and noughties and has the audience in the palm of his hands during Buy Me A Pony and especially in the euphoric encore charge through Black Betty. It’s a fine way to close the curtain on an outstanding day of live entertainment.

Suncorp Stadium, Brisbane 13th July 2013 by HARMONIE DOWNES (world record holder)


hen I heard noises of this through various people, I thought I’d check out the rehearsal led by James Morrison at the Suncorp Piazza at South Bank and in retrospect, like a miniature Suncorp Stadium. I looked at the different scores for various instruments and decided on playing the recorder due to them being generously free and an instrument that I haven’t played since I was a kid! I thought I’d take the hardest part of the recorder scores and give it a toot. I played along sitting in a blue bean bag overlooking the orchestra perched on the steps. I was amazed at how proficient everyone was for a first run through. I liked the arrangement so I registered then and there! Some people had said that since Queensland Music Festival was funded, we shouldn’t have to pay to play, but the cost covered a lot of perks and I thought it was worth the $20.


MouthZoff AUGUST 2013

To break the record, the piece needed to be more than five minutes long with everyone playing continuously. The music itself consisted of a medley; first with “Waltzing Matilda” then a key change to “Ode to Joy” and another key change and tempo increase to end with “We Will Rock You” The day fast approached and I did a few run throughs with my recorder part and felt confident about playing it. Queensland Music Festival had also organised free bus passes for anyone performing, so the bus stops were a lively mix of musicians all excited about being part of the great event. I went to grab a complimentary blue shirt on the day but they had all run out! So I scanned my ticket and popped through the turn style gates and looked for the recorder section. I noted that a late addition of triangle and tambourine parts had been added to the score! Go the percussion!! The stadium was filled with a sea of blue running through their parts, tuning up,

chatting away and down on the grass I noted that they had also done some warm ups too with the crowd and gone on to showcase an all male a capella group right in from the States called “Take 6”singing “Stayin’Alive”. (A side note to that: Take 6 have been together for 33 years and have won 10 grammy awards. Check them out!) Right on 3pm, an announcement is made and a big band waltzes across the stadium grounds preceding James Morrison himself who was greeted with a big cheer from the crowd! After a few words and instructions about following the conductor and a run through of the first section of the piece, James calls out each group of instruments to play the last note which was a D. What an amazing sound, especially the lower timbered instruments such as the cello, the double bass and bassoon. The piccolos seemed ridiculously toy like in pitch! Mr Morrison explained to the eager crowd to follow the screen as he conducts since it is out of sync in real

time soun arou ing t mad in tim

We r Rock po in us in reco a sou soun bly d was and and

We b by V Brisb 7,22

Well tions Team Morr men to pl big a

e. The way the nd reverberated und the field durthe practise run de it hard to keep ime!

ran through “We Will k You� to practise nailing the temncrease and then James counted n! It was finally time to go for the ord and play the piece itself! What ound! Just to hear the different nds reverberating together, possidue to their personal wavelengths, quite surreal; the sound bounced echoed, but the timing was kept the piece was done!

broke the record previously held Vancouver with 6,453 and now bane holds the world record with 23 players!

l done Brisbane! And congratulans to the Queensland Music Festival m and a big thank you to James rison for the delightful arrangent of the piece, and the opportunity play and be a part of something so and record-breaking!

MouthZoff august 2013



C is an educational technology company offering Massive Open Online Courses (MOOCs). MOOCs are a recent development in distance education that offer an online course aimed at large-scale interactive participation and open access via the web. Founded by two computer science professors, Andrew Ng and Daphne Koller from Stanford University 2012, the premise behind the education startup is limitless, world-class learning experiences backed up by sound teaching principles. They offer over 400 free courses in various subjects and worldwide they boast more than four million users. Taking the plunge, I have just started two courses from Berklee College of Music - Jazz Improvisation by the pioneer of vibraphone, Gary Burton and Pat Pattison’s song-writing course, helping hundreds of aspiring songwriters. I am currently in week one of both (very

aambitious, I know. We’ll just have to see how I end up coping with the massive workload!) One of the key things with MOOCs is assessment and in addition to online multiple choice style quizzes during the video lectures (you have to be really focussing on folding the washing to get these wrong), this is dealt with by peer review. This means that everybody else can see your work and you are in charge of giving feedback for at least one other student’s work. Having not yet experienced this, I am of two minds about it – it is obviously necessary due to the scale of the class sizes; however, I would prefer feedback from an expert (which is why I am a fan of face-to-face). You also get to interact with other people with various degrees of expertise in the forums. While I have not spent a lot of time here, this may be a good opportunity to get new perspectives on the course materials. Karen Thomsen of Karen Thomsen

Artist Development advocates online learning as a viable addition to traditional face-to-face tutoring; “In each of the courses you are clearly directed to the tools you will require as resources simply by link or youtube....the one stop shop on our lap top. For those that can not afford formal education, be it because of time restraints or financial commitments, these courses are a treasure of knowledge. One of the added advantages is that if you are having trouble understanding any little thing you can go back and listen again as many times as you like...until the penny drops.” Essentially, you can’t beat the value for money (eg FREE!), especially with access to world-renowned artists and professors that deliver similar courses at many prestigious universities. The range of courses on offer is huge and you’re bound to find something to build your knowledge in, whether you’re an amateur or a pro.

s d r a w d E Sonic

Pic: Steve Barrett

SOUNDSCAPES TRIO with Lauren Lucille


F IT’S jazz you want, the Brisbane Jazz Club has it. Tonight it is Soundscapes Trio with a twist, and a guest or two - this modern contemporary Jazz group are normally a quintet. Tonight however, they are stripped back to a trio consisting of pianist, composer, band leader and all round nice guy Cleon Barraclough, fill-in bass player and jazz pro in his own right Dave Galea and the man with all the beats, drummer Luke Pammenton. The opening piece was a somewhat complicated aperitif, primarily piano based and showing the great skills of Barraclough. His stylings are fairly intricate and complex at the best of times and as the song progresses you

get the lovely rich bass tones coming through which, I might add, really hugged tightly to the pianist’s unspoken thoughts or musings. This only occurs between musicians that have played together many times and is a pleasure to observe. Let’s not leave out Luke Pammenton who did not noticeably drop a beat all night. Then Lauren Lucille takes to the stage. She is certainly not dressed as your typical Jazz artist, in her leather jacket and red jeans. She certainly seemed relaxed and quietly confident. Tonight held a real difference for me, having seen all of these musicians perform in different formats and occasions. This was a night primarily

showcasing Cleon’s own compositions, some of Lauren’s originals as well as brand new material not yet heard by the general public. Being more modern contemporary was a bit of a change to the usual sounds the jazz genre entails. Though the piano arrangements were intricate they were complex and very dramatic at the best of times. The bass and percussionist added a more lively flavour to it and together is was easily consumable. Lauren did not sing like I have heard her do so many times, as these were compositions, without words. Her scat singing was improvisational jazz at its very best.

Get set to tempt your tastebuds when Noosa’s famous Hasting Street transforms into a pop-up restaurant for 600 diners on Friday 30th August as part of the 22nd annual Noosa Jazz Festival. Tastings on Hastings has become one of the major highlights of the Noosa Jazz Festival with festival goers wined and dined by some of the best restaurants and chefs from Hastings street while being entertained by acclaimed jazz musicians. Tastings on Hastings is the only day of the year where Hastings Street is closed to traffic with restaurants setting up their tables on the street. With limited tickets available, those lucky enough to secure a seat will be treated to appetite appealing menus by AROMAS, BERARDOS (both Berardos on the Beach and Berardos Restaurant), BISTRO C, GASTON, LA VIDA RESTAURANT, NOOSA BEACH HOUSE PETER KURUVITA, Noosa Heads Surf Club, ROCOCO, SEASON RESTAURANT and the Noosa Jazz Festival Pop Up Restaurant.

Down to the Ro All pics by Steve Barrett KOOII


ne of the country’s much-loved innovators of roots music, Kooii, came together with Chocolate Strings, Ladi Abundance and Georgia Potter for the Earth Frequency Festival - a soulful and rockin’ night celebrating the eclectic groove music culture that orbits West End. First up, young and exceedingly well-known local artist by the name of Georgia Potter took to the stage. Not knowing what to expect from her, I assumed she would have a full stage band, as the instruments were all set up and waiting. But no, this young lady came to the stage with her guitar and thoroughly entertained the near-full venue. Usually a solo performance is played on an acoustic ... but no, not this time! This performance was pure electric as was the clash between a somewhat somber mood she was promoting and the raw sounds she was filling the room with. Though it was a relatively brief set, it was an emotionally-packed set full of quality Particularly captivating was a song she wrote that was based on the recent problems in Egypt. Clearly a topic particularly close to her heart. Overall this was a really bold and expressive performance by a wonderfully gifted young woman. Next in line were LADI ABUNDANCE PROJECT - Modern funk queen Ladi (Zoe) and her crew continue to perfect their art with each outing, and it was super nice to see them performing tonight. Joining Ladi were her abundance of backup vocalists Tenille West and Katia Demeester, and the rest of the smoking-hot combination: drummer Nathan Macgregor, trumpeter James Pendrith, Lee Brackenborough on keys and sax, bass player


MouthZoff AUGUST 2013

Andrew Fincher and Mariel Hopper on guitar. Ladi Abundance Project is tight and thriving, so if it’s funk and soul you like with a hint of hip hop, then check out this stunning eight-piece act. Chocolate strings is a seven-piece ensemble consisting of saxophone, drums, guitar, percussion, bass and two vocalists. Lead singer Ofa Fanaika has a rich cadence in her voice, and I personally don’t have to try too hard to associate it with chocolate. Ofa has a beautifully-rounded vocal style with a lot of power and clear projection. Her ability to really embody each song is remarkable! She performs from the centre of her soul and the way this captivates and touches her audience is something to behold. Equally as soulful was accompanying vocalist, Nia Falekakala, and together the blend was surreal. An exciting thought, I feel Nia’s voice has some resemblance to Amy Winehouse and somehow I don’t think anyone here will complain about that! Finally, a hairy situation emerges as Kooii make their presence known – I can’t recall ever seeing so many beards on stage!

enticing show an go-go dancers w audience gave cl cool with this.

Each and every b submersed in the ing on here! Chu stage is smoking restrained in the throught the sho they could resist it was rather syn guess it’s a set-u

If you like a stron the rhythm for a party spirit- then

A brilliant night w of sounds, feels a the HiFi!

Energy-wise, with just the opening song, these guys seemed to immediately own the night. A good solid beat on the kit coupled with flashing lights and I can feel the anticipation building of the already more then happy punters. I wasn’t sure how many people were actually in this band – seven, eight, nine - maybe even 12 if you count the go-go dancers! In any case, the rootsy feel of their reggae, funk, soul/islander, perhaps even blues was quickly being absorbed. As the headline act, they certainly put on an

Chocolate String



nd with the introduction of two cute wearing islander style muumuu’s the lear indications they were more than

band member were completely eir performance, there’s a party gouck in the two dancer girls and the g. I could see the urge to dance being trumpeter and the lead vocalist ow, but as the night drew to a close t no longer and IT HAPPENED. Actually nchronized at times with the girls, so I up. Very effective none the less.

ng Reggae/Afro beat and you’re in swanky horn section and unrelenting n Kooii are definitely the band to see.

e Proje


Ladi Ab

e.cfm fr_hom / m o ct.c eproje ndanc u b a i d ://la ct http

which featured a most amazing array and talent. It was truly party-time at


Georgia Potter

MouthZoff AUGUST 2013






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YOU 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 2256, North Redcliffe 4020

e c i v d a Sound



o here’s the question: Which software is best for you? Considering how much choice the internet has to offer you with most other things, there is not a whole lot of software to choose from. In saying so, there is not a lot in the way of fully- developed and properly supported applications with a solid reputation. I can tell you that there are thousands of shareware and freeware programs out there declaring to give you just as much as the other serious competitors in the market. But there’s a very good reason WHY they are shareware and freeware ... I am sure you know what I’m saying! The first thing to consider is knowing exactly what you want to do with your DAW (Digital Audio Workstation). Each DAW has different strengths in different areas, so it’s impossible to say that one is better than the other. Most professionals would tell you that some software is firmly aimed at a particular approach to music production and would be more suited for you than any other software.

SOFTWARE DIFFERENCES What are the differences and how will they relate to what you want to do? Midi (Musical Instrument Digital Interface) programming in many ways is used to compose and record music. Midi is a computer language that conveys musical instructions. For example when you play a midi keyboard messages are sent which describe what notes are played, the length of the note and how hard the note is hit (velocity/volume) on the keyboard. Midi is a powerful tool for creating great tracks. If this is for you and how you would like to work, you are going to need a software application like

Apple Logic Studio, Sonar or Cubase, to name a few. The above applications have an excellent reputation for their ability to edit as well as record audio very well. Depending on your preferences and style of recording, if you are a musician that would rather sit in front of a microphone and prefer playing the real thing, you may like to choose programs like ProTools or Adobe Audition, which may appeal to you. In saying that they do support Midi, ProTools etc, have a strong focus on editing in real time. Using any of these applications will open up a new world to you for producing music with ease, which allows you to create a new style of music. Using and arranging audio loops without ever actually playing a note yourself, either real (Acoustic) or with midi (Using a keyboard or controller) cutting, pasting, gluing, slicing, dicing. “You name it” Programs like logic studio, acid pro and Ableton- Live have taken the art far beyond what anyone imagined.

DO YOUR HOMEWORK Ask yourself the question of how you want to create your music. Keeping in mind what ever you invest in now, you need to have the room for expansion. Research the various software packages that are available, including the one’s that I have mentioned. A good start is to surf the net, head to your local Hi Tech audio music store or buy a few recording magazines (Music Tech, Sound on Sound etc) The web is full of forums and help sites for all kinds of software and these can be a great source of information. The best software for you is the

program you choose at the start and stick with it for as long as it takes. Probably for years..

WHICH DAW ? Getting back to that original question: which software is best for you? Working with a great program with Midi capabilities is awesome in regards to producing music. It is all about controlling samplers and virtual instruments to a fine degree with a piano keyboard and coming up with very realistic sounds. The amount of skill you can apply to your programming is really only limited by how much time and patience you have. The argument is if this type of Midi software is not your scene then your going to have a wasted and untouched application just sitting there doing nothing. It is just as exciting to use Software that focuses on real-time recordings- like playing into a microphone or plugging your guitar into your interface. They still have some MIDI programming features but the emphasis is squarely on capturing on live performances, not live midi data generated by a keyboard.

Summary • Be wise and choose carefully and try to focus on how you would like to end up working. • Be aware that most software packages will claim to be great at everything. • Talk to the professionals. • Invest in genuine software • Have peace of mind • Get satisfaction • Get free downloads • Upgrade with ease

MouthZoff AUGUST 2013


August 2013 DATE ARTIST



Jazz singers Jam night

Kangaroo Point

Brisbane Jazz 7:00pm.



Fortitude Valley

The Zoo 8:00pm.


Trading places- charity concert

Eatons Hill

Eatons Hill Hotel 7:00pm.


Casey Fogg

Fortitude Valley

Manhattan Club 7:30pm.


“Monster Guitars” with Adam Hole and Mark Easton


Nimbin Hotel 7:30pm.


Stone Cold

Murrumba Downs

Murrumba Downs Tavern 8:00pm.


International Blues Music Day


Squealing Pig


International Blues Music Day


The Royal Mail 12:30pm.


Astrid and the Asteroid

Fortitude Valley

The Hideaway 8:00pm.




Caloundra RSL 8:30pm.


Gustav band

West End

Lock n Load 10:00pm.


Bluesville Station


Bearded Dragon 1:00pm.


Elly Hoyt

West End

The Box 6:00pm.


Brisbane Contemporary Jazz Orchestra feat Ingrid James

Kangaroo Point

Brisbane Jazz 6:00pm.




Nerang RSL 8:00pm.


Lauren Lucille

West End

Lock n Load 6:00pm.


Lauren Lucille and Mark Moroney Fortitude Valley

Black Bear Lodge 7:30pm.


Mission X

Tweed Heads

South Tweed 8:00pm.


Ray Beadle and Monica Trapaga

Kangaroo Point

Brisbane Jazz 7:00pm.


Kelsey Giarola Quartet

Kangaroo Point

Brisbane Jazz 7:00pm.


Kat Kellalea Trio

St Lucia

St Lucy 5:00pm.


Stone Cold

Murrmuba Downs

Murrumba Downs Tavern 8:00pm.


Kristin Beradi

West End

The Box 6:00pm.


Charlotte McLean

Kangaroo Point

Brisbane Jazz

The WhatZon gig guide is TOTALLY FREE! – list your shows for nothing! Just head to for details

Mouthzoff Issue 5  

MouthZoff Mag- an exciting new digital mag on the QLD music scene. With reviews, interviews, goss, informative articles, special events and...

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