Reverb Magazine - Issue 41

#041 Dec ‘09

FREE

arts & entertainment news monthly newcastle|hunter|coast

Drowning in the sounds of

Red Riders Time tr avelling with ALBERTA CROSS

GORDON GANO ale Femme fat

Up close and

personal with PHIL JAMIESON

Also Inside: Wa ndering Bea r + Biffy Clyro + l a mb + Tim Minchin + drea m theater

REVERB’S XMAS PARTY SATURDAY DECEMBER 12, 2009 CAMBRIDGE HOTEL

RED RIDERS FEAR OF MONSTERS CANVAS KITES THE BASTILLES MATT SAXON D-STEADY BEATNIK DJs LOODS EL FIDDE TIX $15 PRE/$20 DOOR

No. 41 index

The Bastilles PAGE 11

08 News 14 Gordon Gano 15 NYE Preview 16 The Mess Hall Atreyu 17 Alberta Cross 18 50 Lions Dream Theater 19 Eulogies 20 CD Reviews 22 Sunny Day Real Estate 23 Lamb

Benjalu 26 Sarah Humphreys

Kid Sam

Kira Puru 27 Biffy Clyro 28 Gig Guide 30 Red Riders 31 The Pictures 32 Talking Shop Dead Letter Circus

Wandering Bear 33 Philadelphia Grand Jury

Urthboy 34 Fashion 36 Motoring – VW Golf GTi 37 Tim Minchin

Kitchen Complaint 38 Live Reviews 40 Phil Jamieson 41 Gamer’s Corner 42 Film Reviews 43 DVD Reviews 44 Socials

Publisher’s letter One of the things that we all face as we get older is coping with the illnesses of our older relatives. It is never easy seeing someone, whose vibrancy and passion for life is a part of your upbringing, being knocked off their feet.

This issue is dedicated to my mother, Sandra Bull. She was always supportive of my move into all things Reverb, to the point where she was the Reverb Accounts Department, until her illness took hold. With her passing a few weeks ago, I was faced with a very odd coincidence. The pastor that performed the funeral just happened to be a subscriber of Reverb. What should I make of this? Certainly got me thinking. Much love all, KB

Editorial nick@reverbstreetpress.com.au Phone 4929 4739 Gig Guide gigguide@reverbstreetpress.com.au Sales Enquiries sales@reverbstreetpress.com.au Sales Manager kevin@reverbstreetpress.com.au Phone 0410 295 360 Production cam@reverbstreetpress.com.au

Editor Nick Milligan IT Manager Kieran Ferguson Sales Kevin Bull Nick Milligan

Senior Writers Peter Douglas Hugh Milligan Mark Snelson Writers Ross Beckley Nick Bielby Stephen Bisset Kevin Bull Andrew Chesham Cameron Clarke Noah Cross Sean Frazer Paul Frost Scott Gilbert Lucy Hearn

Jess Henderson Veronique Moseley Scarlett O’Horror Lilen Pautasso Anthony Pollock Ian Bull Yumi Sed Byron Struck Steve Tauschke Lee Tobin Nathaniel Try Marija Zeko

Courtney Fitzsimmons Dane Geercke Michelle Ho Mick Mayer Robyn Moore Ryan Nix Mark Snelson

Photographers Johnny Au Kevin Bull Derek Fernandez

Cartoonist Dave Townley Jones

Graphic Designers Kevin Bull Nick Milligan

Reverb Magazine is locally owned & published by The Lockup Garage. Printed by Spotpress Pty Ltd: sales@spotpress.com. au r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

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Giveaways

Up for grabs this month: • 1 double pass to Festival Of The Sun, December 11-12, Port Macquarie • 2 copies of Josh Pyke’s new DVD, The Lighthouse • 3 copies of Kings of Leon’s new DVD, Live at the O2.

• 5 copies of Triple J’s, Like A Version 5 CD • 5 copies of Rage —T he Epic 90s CD/DVD • 3 copies of Wolfmother’s newie, Cosmic Egg • 2 double passes to see The Middle East at the Gallipoli Legion Club, Sunday December 6 • 3 double passes to see Mourning Tide & Deez Nuts at the Oasis Youth Centre, Wyong, Thursday December 17.

Just tell us what you want by emailing editorial@reverbstreetpress.com.au.

First come, first served.

RENAISSANCE MAN at THE CBD hotel

Well, the crazy kids at the Newcastle’s CBD are cooking up an absolutely massive night of electronic music. Happening on Friday December 4, 2009 from 9pm to 3am. It’s headlined by Helsinki’s DJ supreme team, the duo Renaissance Man. It’s an exclusive Stereosonic sideshow. Best known for their super hot anthems ‘Spraycan’ and ‘What Is Guru (Hare Krishna!!!)’, as well as remixes of Brodinski & Noob, Harvard Bass, DJ Hell, Sharkslayer and Crystal Fighters, the boys are set to blow minds and bring one helluva party. Two rooms of top Newcastle talent join Renaissance Man on the night including Kato, Menna, A-Catt, Loodz, Bcattz, Sol C, Cassi, Cal, Keegz, Park-Ohh!, PonyBoy and more. First release tickets are only $10 and are available from Overt Clothing, CBD Hotel and the DJs.

MAMMAL CALL IT A DAY

On November 1, 2009, Mammal posted a message on their website that announced their split. Reverb would like to wish them the best of luck in their future endeavours. This was the message posted on their website on: “Due to long standing personal, political, musical and business differences, Mammal has decided it cannot continue and is no more.

Ezekiel Ox will be releasing the debut album for his folk/rock outfit The Ox and The Fury in early 2010, as well as continuing to work with super-producer and long time friend Forrester Savell on their new incarnation Smash Nova.

He will also continue his activist work with Musicians Against Police Violence (MAPV) and Melbourne Copwatch. Pete, Nick and Zane will continue to work together with a new project scheduled for 2010. We would like to thank all of our families and friends for all

A CRUISEY NEW RANGE

their love and support over these last four years.

We would also like to give thanks and love to all the great bands we have had the pleasure of sharing the stage with, in particular Cog — a big thank you for giving us our start. But most importantly we wish to thank the fans for their unbelievably loyal and heartfelt support which gave us the opportunity to play some amazing shows, to release our records and travel the world. We will never forget these times. Peace, Love and Music. Mammal.”

DIE! DIE! DIE! AT THE CAMBRIDGE

New Zealand’s finest avant-garde punk band Die! Die! Die! are putting the finishing touches to what will be their third, as yet untitled, fulllength record due out in Spring 2010, preceded by a single and a quick return trip to Australian shores. It’s said to “boast a reckless, driven dynamic and sometimes menacing sound — the kind of energy-ridden anarchy of their debut record — based on rhythm and volume.” Recorded at Lab in Auckland and Chicks Hotel in Dunedin, New Zealand, it was produced by Nick Roughan.

Catch Die! Die! Die! at The Cambridge Hotel on Thursday December 3, 2009. Tickets are available through Moshtix.

A staple of Australia’s party scene for some time now, Cruiser are introducing a new range of drinks for the coming Summer. In their own words, “Cruiser introduces a new range of sophisticated beverages designed specifically for women. The elegant new suite of products caters to more refined tastes and includes Lady Luck (RTD), Apparella (Cider), and Hummingbird Blonde Lager, a refreshing beer created specifically for the female palate.”

Indeed, the new Hummingbird beer is a crisp, clean beer with a hint of citrus and also comes in a 275mL bottle. You can get the straight Blonde Lager, or you can get a version that has a hint of passionfruit.

The new Cruiser ‘Lady Luck’ varieties come in three flavours — Blood Orange, Dry Lime and Tonic, and Yumberry. Six packs of the Lager, Cider and Lady Luck Cruisers have a RRP of $15.00.

Because Cruiser are recognising the needs of modern female, they have also been running the ‘Hummingbird 100 — Hottest Female Artists’ competition, which is a response to the absence of female artists in Triple J’s Hottest 100 of all time. For information about the winners of the poll, head to hummingbird100.com

MYSPACE.COM/AMPDUPENTERTAINMENT CHILLILOUNGE.NET

DEC 4

HARBINGER + SUPER FLORENCE JAM + PLANET Dec 5

MERCIFY + ONE DAY AT HoRRORLAND + OVERTHROWN + FEW AND FAR BETWEEN + DROWN THE ARMADA **ALL AGES 2-6PM**

Dec 11

THE ARLEQUINS + THE CLAP + BRUT 66

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Dec 12

4TH STREET + TRANZPHAT + OUTSANE Dec 18

DAMNATION AC/DC SHOW + BUG GIRL + PLANET Dec 19

BLATHERSKITE + SPREAD THE ASHES + RED BEE + KILL CROTTY **ALL AGES 2-6PM**

Dec 20

SARAKULA + TAOS

Dec 31

NEW YEAR’S EVE two ROOMS OF MADNESS!

DOWNSTAIRS “THE PLAYGROUND” FEAT. BUG GIRL UPSTAIRS “DETENTION” FEAT. NIK FISH + AMBER SAVAGE RECOVERY FROM 8AM NEW YEAR’S DAY FEAT. MASTA YODA. ALL UNDER one ENTRY TICKET, $45 +bf.

AVAILABLE FROM OZTIX.COM.AU OR LIMITED FROM THE VENUE

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BIG DAY OUT ANNOUNCES SECOND ROUND

diana krall

DIANA KRALL AT THE VINEYARDS

Not that she needs any more ‘cool-cred’, but the fact that she’s married to Elvis Costello makes her a Goddess in our eyes.

On Saturday March 6, 2010, the worldclass jazz musician Diana Krall will play A Day On The Green at Bimbadgen Estate, Hunter Valley.

In a world first, she will be joined by the sublime talents of Madeleine Peyroux and Melody Gardot. The wonderful Katie Noonan and the Captains will also perform at the ‘a day on the green’ concerts.

Diana will tour Australia for the first time since 2005 in support of her twelfth album Quiet Nights (released in March through Universal). Since her last visit she has given birth to twin boys, released four albums, produced and performed on Barbra Streisand’s new album, and toured extensively across the United States, Europe and UK. Reviews for Krall’s Quiet Nights tour have been uniformly glowing with the Los Angeles Independent writing “…nothing was musically impossible with Diana Krall’s easy and sublime performance” and the Winnipeg Sun called it a “…flawlessly executed performance from all concerned”.

Since her debut in 1993, Krall has topped both the pop and jazz charts and sold millions of records worldwide. She has proven her genuine talent and credibility as a mould-breaking jazz musician time and again. Tickets are on sale now through Ticketmaster.

SPLENDOUR 2010 ANNOUNCEMENT

As you may know, Splendour In The Grass has been working toward establishing a permanent sustainable event venue to stage the festival. The chosen 660 acre North Byron Parklands site at Yelgun in the Byron Shire is undergoing the comprehensive approval process with the NSW Department of Planning for a permanent cultural event venue and will not be ready for next year’s event.

While this approval process goes ahead, Splendour In The Grass organisers are delighted to announce the festival will temporarily relocate to Woodford in Queensland, home of the Woodford Folk Festival, for the event’s 10th anniversary in 2010.

They’re also thrilled to confirm Australia’s number one mid-winter music celebration will be held across three glorious days next year!

Bringing you more incredible music, arts and culture from around the globe from Friday, July 30 to Sunday, August 1, 2010!

“Woodford Folk Festival and their beautiful site, Woodfordia, have been a great source of inspiration to us and we feel honoured to borrow their home,” says Jessica Ducrou, organiser of Splendour in the Grass.

“We have a great opportunity to grow our event and give people better access to the festival, but at the same time keep Splendour In The Grass a unique and personal experience,” says Ducrou. “Given the size of the venue we will be able to accommodate almost all festival patrons in camping grounds on-site, giving more people the full festival experience.”

Reverb was already considerably impressed with the Big Day Out line-up, but the addition of The Middle East, Passion Pit, Simian Mobile Disco, Hilltop Hoods, Sasha, Devendra Banhart, Jet, Decoder Ring, Itch-E and Scratch-E (featuring Paul Mac), Maya Jupiter, Mark Dynamix, Miami Horror, Beenie Man, Silent Disco, Wagons, Sam La More, The Scare, Phrase, Grrilla Step, and Sugar Army, is almost too much to bare!

They join a bill of artists that includes Muse, The Mars Volta, Powderfinger, Lily Allen, Eskimo Joe, Groove Armada, Grinspoon, Ladyhawke, Dizzee Rascal, Karnivool, Peaches, The Temper Trap, Kasabian, Midnight Juggernauts, Rise Against, Magic Dirt, Mastodon, Lisa Mitchell, The Horrors, Bluejuice, Calvin Harris, Kisschasy, The Decemberists, Tame Impala and Girl Talk.

Tickets for both Sydney shows (January 22 and 23) have sold out, but there is currently a ballot running for the final release of tickets.

Good luck!

EDDY CURRENT SUPRESSION RING ENERGISE NEWCASTLE

Get ready to lose your shit to the most gloriously shambolic double-bill to launch you into summer, shaking any remnants of winter hibernation and thrusting you a cold beer.

December will see local heroes Eddie Current Suppression Ring hit the road with US label mates, Thee Oh Sees.

There could be no better guide to the dust, heat and desperation of an Australian summer than hometown crowd favourites, the critical beloved messiahs of the Melbourne underground, Eddy Current Suppression Ring. With two LPs under their belt, ECSR are at the forefront of Australian music, garnering both critical and popular acclaim whilst staying true to their punk roots. ECSR practise wide-awake, literate punk that makes crowds crazy worldwide. It’s manic, rangy, unabashedly local and snarling with wild intent.

Hailing from San Francisco, Thee Oh Sees come to Australia for the first time, dripping with acclaim from critics and fans who have been avidly following the growth of the band from guitarist/vocalist John Dwyer’s solo folk project to the exploratory, reverential and revered four-piece that compares favourably to the influences they draw on; Small Faces, 13th Floor Elevators and others.

Thee Oh Sees make straightforward goodtime rock that’s heavy like hot asphalt and hard drinking.

To see both bands, head to The Cambridge Hotel on Friday December 4, 2009. Tickets available on moshtix.com.au.

FESTIVAL OF THE SUN SECOND ANNOUNCEMENT

So to put everyone out of their anticipatory misery, here are the final acts that will be making their way up to Port Macquarie this December with the rest of the smashing FOTSun 09 troupe: Red Riders, Me, The Foreign Objects, Ashleigh Mannix, Geoff Turnbull, Nick & Liesl, Nathan Kaye plus the winner of their Triple J Unearthed competition, local Port Macquarie band, Royal Chant.

The stellar final line-up for Festival of the Sun 2009 also includes Spiderbait, Little Birdy, The Beautiful Girls, Children Collide, Urthboy, Pez, Philadelphia Grand Jury, Bob Log III, The Wilson Pickers, Grant Walmsley & The Agents Of Piece, Bonjah, Red Ink, and Purple Sneakers DJs. FOTSun happens at Sundowner Breakwall Tourist Park this December 11 and 12, 2009.

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IT’S NOT UNUSUAL TO LOVE TOM JONES

the middle east

THE MIDDLE EAST AT GALLIPOLI LEGION CLUB

The Middle East are currently recording their debut full length at home in Townsville, Queensland, but the moment summer hits, they’re taking to the road for a long list of shows across Australia.

December through February sees The Middle East perform in major cities across the country, with large and more intimate shows on the schedule. The band will headline shows with support from Emma Russack (soon to release her debut EP through Spunk Records), as well as perform at Homebake Festival, Meredith Music Festival, Sydney Festival, Laneway Festival, and support the enigmatic Cat Power and beloved indie New Yorkers Grizzly Bear.

Newcastle fans will get the chance to see them at Gallipoli Legion Club on Sunday December 6, 2009. Tickets available now from Moshtix.

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Sir Tom Jones, one of music’s most-loved and celebrated stars, will headline the next ‘a day on the green’ concert at Bimbadgen Estate on Saturday February 27, 2010.

Tickets for what will be one of the most memorable concerts in the Hunter Valley are on sale now from Ticketmaster and 136 100. In a very special offer to celebrate the release of Tom’s new album 24 Hours, anyone who purchases a ticket to the concert will also receive a free copy of the album (limited time only). Tom has enjoyed a phenomenal career spanning five decades, and along the way has sold more than 100 million records worldwide, continually topped charts and won an unmatched reputation as one of the great live performers.

With chart-topping hits including ‘It’s Not Unusual’, ‘What’s New Pussycat’, ‘She’s A Lady’ and club favourites ‘Sex Bomb’ and ‘Kiss’, the concert is set to be one of the most memorable ever staged in the Hunter Valley.

Special guest support artist will be the fabulous David Campbell, one of Australia’s most popular entertainers.

“I still love it and feel great!,” says Jones. “I know some performers who grumble: ‘Oh I’ve got a new album coming out and I need to go promote it’ — like it’s a negative — and I can’t understand it,” he says. “I honestly love touring, I couldn’t imagine not doing it!”

The next chapter of his amazing career sees the December 4 release of his first new album in 15 years titled 24 Hours. It represents a milestone for the singer, from interpreting a classic Bruce Springsteen track (‘The Hitter’) to writing and working alongside the likes of Bono and The Edge (‘Sugar Daddy’) to utilising modern day producing maestros, Future Cut (Lily Allen). 24 Hours showcases the best of what has made him a legend.

OF THE RED SEA LAUNCH SINGLE

Of the Red Sea are seeing out 2009 at The Cambridge Hotel on Friday December 18, with the launch of their new single ‘Easy’.

Joined by friends Paper Prophets, Alter Ego Mania and The Owls, it’s going to be one stellar Christmas party, with danceable indierock tunes aplenty and presents for all.

Described as “beautifully crafted rock that simmers in its own ambience, rising and falling with bursts of energy” (Nick Milligan, Reverb), their self-titled EP was released this year to critical acclaim and national airplay.

Mixed by Wayne Connolly (Dappled Cities, Red Riders, Paul Dempsey, Josh Pyke, Youth Group and Firekites), the EP will be yours to take home on the night as a Christmas gift from the band.

At the moment Of the Red Sea are starting to record their next release, due out in early 2010. ‘Easy’ is the first single and hints at more dance-rock and electro influences. The band will be previewing ‘Easy’ and other new material, along with songs from 2009’s selftitled release, and a few surprise ‘remixes’ of older songs as well.

GROOVIN’ THE MOO DATES CONFIRMED

Groovin’ The Moo, the perennial regional festival tour, has released dates for 2010 — and some new locations. GTM has become a fixture on the Australian music event calendar and is distinctively the only single day touring music event to dominate the youth market in regional areas. It returns to Maitland Showground on May 08, 2010, as well as passing through Canberra University (May 9), Bendigo (May 1), Townsville (May 2), and Bunbury, Western Australia (May 15). Keep your eyes on www. gtm.net.au for further updates.

Paul Dempsey

DEMPSEY RETURNS

Only weeks after completing a sold out national tour with his band, Paul Dempsey will head back out on the road due to the large number of requests received from people in areas the tour did not initially visit.

This time he will be going it alone in solo acoustic mode and heading to regional and outer-city areas. Tickets are sure to sell fast so make sure to get in early for your chance to see Dempsey playing songs from Everything is True in intimate solo-acoustic mode. Local tour dates are Monday December 7 at Lizottes, Kincumber, Friday 11 at the Cambridge Hotel, and Saturday 12, 2009, at Doyalson RSL.

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Yacht Club DJs

JOIN THE YACHT CLUB

Sailing triumphantly in to a crowd of thousands, the Yacht Club DJs have cemented their place in the hearts of mash-up fanatics all over Australia. The duo will embark on their first national headline tour next month, introducing a new generation of sailors to their infectious performances.

The saviours of the mash-up genre were the surprise act at the national Parklife tour – media attention grew with each show, cameras eagerly poised to capture their crazy antics. An explosive concoction of classic pop, metal, cartoon theme songs and everything in between sent the crowd into a frenzy.

Meanwhile, on-stage nudity, dancing on the decks, even crowd surfing in an inflatable boat created a lasting impression in the minds of those lucky enough to be there.

Kicking off in Sydney, the Yacht Club DJs will play headline capital city shows before voyaging to the summer festivals, including Meredith Music Festival, Falls Festival (TAS) and Southbound (WA).

The Yacht Club DJs formed in 2007. They started off as humble resident DJs at Karova Lounge in their hometown of Ballarat, before a stellar and unforgettable performance at Meredith Music Festival (2008). Since then, the pair has toured this yacht-loving country with everyone from Lady Gaga (US) to Girl Talk (US), Friendly Fires (UK), Dappled Cities and Does It Offend You Yeah! (UK). Festival highlights also include Splendour In the Grass and Coaster Festival.

Yacht Club DJs is becoming one of the most talked about yacht clubs in Australia.

They play the King Street Hotel on Saturday December 19, 2009.

runner up — cota ©Kevin Bull

the bastilles win BACARDI BAND COMP

Following many weeks of heats, the Bacardi Band Comp, held at the Cambridge Hotel and presented by Reverb and Studio One, came to its ultimate conclusion with The Bastilles taking out the Grand Final.

“All three bands delivered really strong performances making it very difficult to pick a winner - especially considering the diversity of the three groups,” commented Nick Milligan, Reverb editor and Grand Final

Judge. “The Bastilles’ songs have so many hooks, you could hang your entire wardrobe on their set list. Every song is a potential single, with fast-paced indie-pop flourishes that fall in the same ball park as Phoenix or Vampire Weekend.

“Wandering Bear are a marvellous group to watch live. For lack of a better term, their sound is ‘math-pop’ - strong melodic hooks with unconventional arrangements and time signatures. Technically amazing.

“Cota’s thundering and progressive

arrangements echo of influences from grunge and metal, without over-shadowing the inventive nature of their songwriting.

“It was disappointing to hear The Bastilles booed by Cota and Wandering Bear fans as they accepted their $1000 cheque - even more disappointing to hear that later in the evening some of Cota’s fans threw glassware at The Bastilles. The spirit of this competition is to support local music - not to try and physically injure independent and original bands. Boo to that.

BUSKER FESTIVAL

Keep your eye out around town this December, as Newcastle Conservatorium students will be popping up around Newcastle’s CBD, busking for your free inspection. Taking place from December 2-23, 2009, the showcases will encourage students to leave the confines of the Con and perform in public. Groups will range from an a capella vocal quartet to a clarinet quartet, wind trio, jazz trio and solo guitarists.

The initiative is proudly sponsored by the City Centre Committee, Nicolas Moir Associates Mayfield, the Independent Muso’s Network in Bendigo and local businesses such as Muso’s Corner, Villa Clone and other smaller businesses in the CBD. Performances will be concentrated around the Red Lantern Night Markets on Friday nights in the mall in December, as well as during lunch hours in the mall on weekdays. Darby Street is also a location where you will be able to see some students busking.

Keep your ears out this December!

COTTON SIDEWALK LAUNCH ALBUM #3

Having moved to Melbourne in 2008, the sight and sound of Cotton Sidewalk has surely been missed in their hometown of Newcastle.

With the release of their epic third album Evil Versus People upon us, the now three piece head back home for the album’s debut. As a taster, the first single, ‘Feet, Teeth and Hands’ has been released digitally, but the main course will be the album launch at the Cambridge Hotel, Wednesday December 23, 2009. r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

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WITHIN THE ARENA

Take a look at Renny Field’s tour dates and you will see that he is outrageously busy. Through November and December, he has travelled completely around Australia playing over 40 shows. Field’s third studio album, The Arena, has just been released through MGM, and contains 14 self-produced tracks ranging from heartfelt acoustic folk to rich cinematic pop. If you missed his recent shows at Lizotte’s and the Cambridge Hotel, you get another chance when Field returns to the Lass O’Gowrie Hotel, on Wednesday December 23, 2009.

Thursday April 15, 2010. Opening for Kelly Clarkson will be Eric Hutchinson, who won over countless fans when he toured Australia in April this year with Jason Mraz, and is probably best known for his catchy song ‘Rock and Roll’, featured on the hit TV show, Packed To The Rafters.

GIVING IT SOME

Having the Reverb Album of the Month back in January with Kicking Indifference, it is rather exciting to hear that The Pictures, aka Davey Lane and Luke Thomas, will be in Newcastle mid December. Editor Nick Milligan said of the album, “While Kicking Indifference is consistently catchy, one of its tracks knocks you for six - it’s an instant classic. ‘Give It Some!’ is an off-kilter, disco-funk, rock song. With semifalsetto vocals and a slinking guitar riff, it’s funk to the max.” To celebrate the digital release of their power-pop single ‘Give It Some!’, The Pictures will be playing the Cambridge Hotel, Thursday December 17, 2009.

KELLY CLARKSON back AT N.E.C. IN 2010

Kelly Clarkson, the first ‘American Idol,’ now a certified pop sensation, is bringing her All I Ever Wanted tour to Australia. Clarkson’s latest studio album, All I Ever Wanted, has been dominating Australian airwaves since its March 2009 release, and in April 2010 she will be hitting Australian shores with her infectious, high-energy live show. The tour will begin in Auckland before heading to the Newcastle Entertainment Centre on

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ray raposa

FATHER OF FREAK FOLK FLIES SOUTH

A decade ago, Castanets’ Ray Raposa was wandering across the United States, living on Greyhound buses, and writing the songs that would become his first album. In October this year, Raposa released his fifth long player, Texas Rose, The Thaw and The Beasts, through Sufjan Stevens’ label Asthmatic Kitty, and now the Castanets’ first Australian tour is upon us. Castanets’ Ray Raposa (an oft declared major proponent of the New Weird America/freak folk scene) will peddle his electro-flecked alt country and folk up and down the East Coast, stopping at the Croation Club on December 26, 2009.

Castanets will be joined by Tiger Saw (USA) and Alps. Texas Rose, The Thaw and The Beasts is out now through Inertia.

salmonella dub headline SUBSONIC FEST

Set in the picturesque surrounds of the worldclass Mountain Valley Resort, the Subsonic Music Festival promises to be the summer’s only true techno, beats, and bass-oriented festival. This custom-built lifestyle festival presents a rare chance to flee the city and lose youtself in the picturesque surrounds of Riverwood Downs Mountain Valley Resort, located beside a crystal clear river at Barrington Tops. The Subsonic Music Festival will incorporate a broad spectrum of sounds spanning dub, techno, trance, indie, house and electronica, placing a firm emphasis on the quality of performance with international drawcards playing extended sets. Beyond the music, expect performers, interactive art installations, workshops and whacked-out activities, entertainment of all kinds as well as market and food stalls. Headliners Salmonella Dub will be joined by Berlin techno heavyweights Format: B and Tom Clark, UK tech-house maestro Jamie Jones, Glaswegian luminary Alex Smoke and psychedelic pioneers, Transwave. It all happens from Friday December 4 until Sunday 6, 2009.

BLUES & ROOTS ANNOUNCES MASSIVE LINE-UP FOR 2010

The line-up for 2010’s Blues and Roots festival is as follows: Crowded House, Jack Johnson, Buddy Guy, Roger Hodgson (Supertramp), The Gipsy Kings, Orquestra Buena Vista Social Club, Jeff Beck, Peter Green, Lyle Lovett, Jimmy Barnes, Jessica Mauboy, Rockwiz, Newton Faulkner, The Swell Season (featuring Glen Hansard of The Frames), Dr John, Al Di Meola, Bela Fleck, Blue King Brown, Gogol Bordello, Fat Freddys Drop, Joe Bonamassa, The Flatlanders, Avett Brothers, Renee Geyer,

Justin Townes Earle, Colin Hay Band, Brian Auger’s Oblivion Express, Lil’ Band O’ Gold and Robert Gordon and The Band They Couldn’t Hang (featuring Chris Spedding of Roxy Music, Glen Matlock of the Sex Pistols and Slim Jim Phantom of the Stray Cats).

Tickets are on sale now through www. bluesfest.com.au. It takes place from Thursday April 1-Monday April 5, 2010.

REVERB PRESENTS LIVE AND LOCAL

mike mccarthy

Do you all have some local live music on your Christmas wish list? We hope so. Have recently survived their first ABC Newcastle Music Awards night, Lizottes have you sorted.

Coming up during December at the Lambton venue is the ABC Music Award Winners Showcase on Wednesday December 2, with Benjalu, Zoe K and the Money Shot Band, Mark Wells and Jaywalker. A fortnight later, Wednesday 16 will be Bob Corbett, with Nick and Liesl supporting. Down south at Lizotte’s in Kincumber, Dr Goodvibe bring in the Christmas spirit on Thursday December 17. Finally, Sunday December 27 sees a very special performance from Mike McCarthy.

Though not local, we also wanted to mention the fact that The Church will be playing a number of shows at Lizottes this month, Wednesday 9 at Kincumber, and Thursday 10 and Friday 11 at Lambton.

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Wednesday Dec 2

Danny Green v Roy Jones Jr S a t u r d a y D e c 5 B a c k Ro o m 10 p m

Sydney City Trash, Local Resident Failure, Crashing Planes Sunday Dec 6 Beer Garden 2pm

Paul Nickerson Sunday Dec 6 Front Bar 8pm

Crater Face, Revived, Taken By Force We d n e s d a y D e c 9 Fr o nt B a r 9. 3 0 p m

The Playtapes, Candy and the Full Moons, Truth Ruby

sarah humphreys receives her award ©courtney fitZsimmons

humphreys wins accolades

Lizotte’s Theatre Restaurant was the venue for this year’s Newcastle ABC Music awards, and what a glitz, ritz and spritz night it was!

Despite some initial doubts about the change over from the previous venue – The Civic Theatre - Lizotte’s provided a relaxed atmosphere that enabled many to interact in a more laid-back fashion than previous years.

The other change this year was that announcements of category winners which were made on air in the weeks leading up the awards ceremony. The broadcasters commented that this had been a significant change for them, and an absolute delight to be able to ‘surprise’ the winners on air with a huge audience of listeners.

Between announcements of winners, superb performances were held throughout the night by hip-hoppers Soul Purpose, contemporary musician Brooke Harvey,blues and roots newcomers Kira Puru And The Very Geordie Malones, and the 2008 ABC Artist of The Year, Jason Lowe. The Stick Up Kids — who performed a blistering set and really got the crowd going — were followed by rock band Sketching Cato. The impressive Elephant Funk closed the show.

Now in its eighth year, the 1233 ABC Newcastle Awards recognises local talent within the Hunter and Central Coast Regions. Thirteen artists received awards plus will receive airplay across 1233 ABC Newcastle, 92.5FM Central Coast as well as other National ABC Networks.

Best Artist, Sarah Humphreys, touched the crowd with a teary thank you speech on receiving the prestigious “ABC Music Best Artist”. She will have the opportunity to have her music released by ABC Music Publishing.

Chris Mollar from APRA announced Amy Vee as the winner of the ABC Music Publishing/ APRA Songwriters and Composers Award which included a $1,000 cash prize.

THE FUTURE PRODUCER

During the past four years Mihirangi’s CD sales have hit the roof, achieving sell-out sales from “side of stage” (without her albums being available in stores or on-line). A solo loop artist creating her own band sound live in front of her audience — utilising a loop pedal the key to Mihirangi’s music is the layering of her own vocal sounds. From the foundation of earth-shaking bass lines to intricately layered harmonies, rhythmic ‘ska’ chops, sensuous jazzy riffs and beat boxing — it’s all done with the power of her voice, an incredible vocal range and an exceptional talent of timing, rhythm and dynamic tonality.

Inspired by her loyal fan base, Mihirangi created her own record label, Future Producer, giving fans the opportunity to become involved as producers by purchasing “producer points” in the album. As a “future producer” fans become personally involved in the

S a t u r d a y D e c 12 B a c k Ro o m 10 p m

Dime Bag Darrell Tribute Night, Sabretunge, Grim Demise

the honour roll

Sunday Dec 13 Beer Garden 2pm

Nick Saxon

ABC Music Best Artist

Sarah Humphreys

Sunday Dec 13 Beer Garden 8pm

A B C M u s i c P u b l i s h i n g /A P R A S o n g w r i t e r s a n d C o mp o s e r s R e c o g n i t i o n Awa r d

Funky Farmer, Mick Ferfoglia, Jen Buxton

Amy Vee

We d n e s d a y D e c 16 Fr o nt B a r 9. 3 0 p m

12 3 3 A B C N e w ca s t l e T o u r S u pp o r t P r i z e

Sagacity, Red Dawn, Deathmaask

Brooke Harvey

T h u r s d a y D e c 17 B a c k R o o m 1 0 p m

Blues & Roots

Benjalu ‘So High’

Captain Cleanoff, Ebolie, Grannyfist, C-ntsrcaper

A lt e r n at i v e

S a t u r d a y D e c 19 B a c k R o o m 10 p m

Birds & Belles ‘Desert Song’

Marones Xmas show

Pop

Sarah Humphreys ‘Love Like You’

Sunday Dec 20 Beer Garden 2pm

Rock

Paul Nickerson

The Evening Son ‘All Aboard The Boat Wherever’

Sunday Dec 20 Front Bar 8pm

C o n t e mp o r a r y

ACALMA:C, Tim Crossey

Amy Vee ‘We Are The Hours’ B e s t F e ma l e A r t i s t

We d n e s d a y D e c 2 3 Fr o nt B a r 9. 3 0 p m

Zoe Klemenczuk ‘Outside Lookin In’

Rad Beligion, Local Resident Failure

H e av y R o c k

Sunday Dec 27 Beer Garden 2pm

The Evening Son ‘We The Majority Suck Our Thumbs’ Best Sound Production

The Bad and The Ugly

Sarah Humphreys and Shane Nicholson

Sunday Dec 27 Front Bar 8pm

U r ba n

The Havelocks, Jen Buxton

Nhostic ‘Street Life’

Thursday D ec 31 8 pm

B e s t M a l e V o ca l i s t

NYE PARTY 10 bands across 2 stages

Jason Hicks – Jaywalker I n s t r u m e n ta l

Adam Miller ‘Traffic’ and Pete Hawkes ‘In The Labyrinth Of Lady Laura’ [tied] Folk

Amy Vee ‘Borrowing From Theives’ Country

Mark Wells ‘You’re Still On My Mind’ B e s t Yo u n g Ta l e n t

Mondays 9pm Muso’s jam night - cheap booze, free pool Tuesday – Hamilton’s best pool comp 7.30pm

Benjalu ‘Grey Old Man’

Beer of the month:

B r o a d ca s t e r s C h o i c e Awa r d

The Stick Up Kids ‘Make Time For Love’

PERONI

Live It Up Karaoke

Thur- Sat 9.30-2.30

Little Creatures Pale Ale now on Tap production process from song selections right down to the artwork. The “producer points” also entitle producers to receive revenue from their shares plus a personally signed limited edition of the album they helped create.

Mihirangi will be supporting her latest release, Somebody Shake The Tree with shows at The Rhythm Hut, Gosford, Sunday December 6 2009, followed by The Grand Junction Hotel, Thursday December 10, 2009.

Muzzy Pep are alive

The boys are dusting off the mothballs, strapping on the guitars, and are hitting the stage for a couple of gigs just before Christmas. Maitland’s Grand Junction Hotel is the lucky recipient of the only local gig, Friday December 18 supported by The Stiffies. If you miss this one, you will have to travel to the Lansdowne Hotel in Sydney the following night.

Happy Hour Thurs & Sun 4-6pm $3.30 Schooners Live Entertainment In the Beer Garden every Sunday

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7 Days a Week

Bistro now open til 10pm Thu-Sat

AUSTRALIA’S BEST PUB MEAL - THE FOOD CHANNEL

BOOKINGS: kurt@hamiltonstationhotel.com

cnr BEAUMONT & FERN ST’s ISLINGTON myspace.com/hamiltonstationhotel 02 4961 3852

OPEN 9.30AM-3AM DAILY EXCEPT SUN 10AM-MIDNIGHT r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

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gordo n ga n o a n d th e R y a n s

I think if there’s one song, that’s the one. It was the first song we wrote together. It also was written very soon after the September 11 attacks in 2001. Everybody knew somebody who was killed or knew somebody that was close to someone killed. It was a very emotional time.

There’s nothing specifically saying that in the song, but to me there’s a lot of that time and emotion in the song.

Has that song changed a lot since it was written back then?

No, there’s no reason to change a classic! [laughs] It’s a good question, but no it hasn’t changed.

Femme

Fatale

Tell us about how you met the Ryan brothers and how you came to make music together?

We all lived in the same neighbourhood in the West Village of Manhattan. At some point somebody must have introduced me to them — I don’t recall the moment when we met. We were always walking the same few blocks and would run into each other. This was in the late 90s. We’d talk about music. We also had something in common — Jerry Harrison had produced a Violent Femme record in the mid80s and had also produced a record with The Bogmen (The Ryans’ old band), who were just splitting up at that time. So we shared stories about Jerry in the studio.

The Ryans were starting to write a lot of music for film and TV, so they had instrumentals and pieces of things — the idea was to get me some music and see if I had lyric ideas or could make them into songs.

Sometimes their songs were fully realised.

Other times it might have been just a guitar riff or 20 seconds of something. An incredible variety of things. I started getting inspired and they liked what I was doing. We built up songs over the years, but we had it as an ongoing project among ourselves. Then we had so many songs that we really, really liked, we decided to make a record.

While his work as the singer of the Violent Femmes has given him a place in the royal family of ‘alternative’ musicians, Gordon Gano’s most impressive and important work can be heard in his new outfit, Gordon Gano and The Ryans. A collaboration with composers Billy and Brendan Ryan, the group have released a stellar record called Under The Sun. Nick Milligan speaks with Gano about what keeps him sane.

Do you feel like you’re pushing yourself vocally on Under The Sun? I’m doing more vocally on this record than I’ve ever done before. I’m hitting higher notes at times. Both the Ryans sing — more so Billy.

But I’m doing a lot of the background vocal stuff in there. I know I’m singing lower, so my register is more on this record than anything else I’ve done. Vocally, I feel stronger.

Because the songs were written over such a long period of time, were you worried that they wouldn’t sound cohesive together on a record?

“By rest less, could you also mean self-destr uct ive?

Then I’d have to say yes.”

I was never worried about that and I think they hang together well. Of course, that’s just an opinion. But a huge part of that is that they weren’t recorded over several years. It’s all the same musicians — a core of five people in one studio. All those factors, for me, make it work together.

Do you get restless when you’re not working on new material?

By restless, could you also mean self-destructive? [laughs] Then I’d have to say yes. Sometimes, I’m not treating myself as nice as I should. I’m focused if I’m writing or in the studio — it’s allconsuming. There’s a lot of good energy. The synapses are really going.

You’ve pointed out that this project is quite different to your work with the Violent Femmes. Have you felt an inclination to distance yourself musically from that band?

It’s natural, because this is a collaboration with two other people that’s never had anything to do with the Violent Femmes. But [The Ryans] joined us on stage a couple of times in a massive horn-section thing that we would often have.

The title track is wonderfully epic. Could you tell me about that song?

Does songwriting get easier with practise or is it the ever-living challenge?

Every time is kind of like the first time. There’s a newness in that moment of creating something that hadn’t existed before. Sometimes it can be frustrating or occasionally something isn’t working and you have to walk away from it. But I don’t really think of it in terms of ‘difficult’ or ‘easy’, but if I had to lean toward one over the other, I’d say it’s difficult (laughs). But if I work on something for a whole day, it doesn’t matter.

Would you have liked Under The Sun if someone had handed you a copy back in the early 80s when you were forming the Violent Femmes?

I’m pretty sure that I would have liked it, because there’s musical flavours and feels of different things that I certainly would have liked in the early 80s. Maybe I wouldn’t have recognised ‘Under The Sun’ as being as good as I now think it is. It goes on quite a journey, and I think maybe I wouldn’t have had as much patience for that in the early 80s [laughs].

Gnarls Barkley released a cover of the Femmes’ ‘Gone Daddy Gone’. What did you think of it?

Oh, I thought it was great. I loved it.

You’ve been to Australia many times over the years — do you have any specific memories that stand out for you the most?

I don’t know how many times I’ve been — maybe eight? [Each visit] was almost a month in length. As far as a span of time, it’s probably close to a year. The very first time was exciting.

To be on an airplane that long… [laughs].

The group that we stayed friends with and that we opened for was a group called The Johnnys. Spencer P Jones was the front man for that band, and I’ve enjoyed his solo stuff over the years. He’s been involved in many groups and I love the way he plays.

Under The Sun is out now through Shock.

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IN R U O

G

IO NAT

N

J N I Y ALL

R A U AN

Y

n e w y e ar ’ s e v e

THIS IS THE NEW YEAR

only an hour from home, Peats Ridge is practically in your back yard. Besides have an amazing line-up, Peats is also a very eco-friendly event. This is definitely a New Year’s Eve show that you should get along and support.

Choosing your New Year’s Eve destination is always tricky, but at least you’re not starved for choice. Reverb breaks down your best options.

NEW YEAR’S EVE AT THE BREWERY Line-up: The Living End, Children Collide, Dead Letter Circus, Benjalu Ticket Price: $71.70 Location: Queen’s Wharf Brewery, Newcastle.

Why should you go?: There’s a lot to be said for staying home for New Year’s Eve. Firstly, you’ll save a hell of a lot on travel and accommodation costs. Secondly, Newcastle harbour has a magical view of the fireworks and thirdly, you get to rock out to mammoth acts like The Living End, Children Collide and Dead Letter Circus. Local boys Benjalu are going to warm up the audience with some chilled out, peace-lovin’ vibes. Good times.

SHORE THING Line-up: Carl Cox, Danny Tenaglia and Roger Sanchez.

Ticket Price: $139.20 Location: Bondi Beach, Sydney Why should you go?: Beach parties don’t need much selling. There’s waves, sand, and lots and lots of hot people. Shore Thing is sure to be pumping with this line-up of legendary DJs. HARBOUR PARTY Line-up: Pendulum (DJ Set), Grafton Primary, Ian Carey Project (UK), Ajax, Bass Kleph, Lost Valentinos, JD Samson (Le Tigra/Men–USA), Hoops, plus more to be announced.

Ticket Price: $165.40 (third and final release) Location: Luna Park Big Top, Sydney Harbour Why should you go?: Sydney Harbour is an amazing place to hang out when the new year ticks over. There’s a shitload of fireworks and

your Harbour Party ticket will also give you free access to Luna Park’s rides all night. Not to mention that Pendulum’s DJ set will be absolutely epic.

PURPLE SNEAKERS NYE HOUSE PARTY Line-up: The Grates, The Boxer Rebellion (UK), Ponytail (USA), Baddies (UK), Red Riders, Philadelphia Grand Jury, DZ, Deep Sea Arcade, Young Heretics, The Trivs, Chaingang, PhDJ, Shazam (Bang Gang), Beni (Kitsune), Astronomy Class, Franki Chan (USA) plus more to be announced.

Ticket Price: $53.50 from Oztix.com.au Location: Manning House (all three levels), Manning Road, University Of Sydney.

Why should you go?: This is a more intimate affair than most of the NYE events on offer, but the layout of Manning House is brilliant and this line-up is sure to keep celebrations at an energetic peak all night long. You could do a lot worse than ringing in the new year with The Grates’ brand of frivolity.

FALLS FESTIVAL Line-up: Yeah Yeah Yeahs, Grizzly Bear, Datarock, Wolfmother, Moby, Hilltop Hoods, Rodrigo y Gabriela, The Temper Trap, Midnight Juggernauts, Emiliana Torrini, Editors, Seasick Steve, Major Lazer, Xavier Rudd, Andrew Bird, King Khan & The Shrines, Art Vs Science, Liam Finn, Little Birdy, Whitley, The Phenomenal Handclap Band, Chairlift, Jamie T, Lyrics Born, Patrick Watson, Lisa Mitchell, Future Of The Left, Dappled Cities, Kaki King, plus many more.

children collide

Ticket Price: Tickets are completely sold out, though they’re going thick and fast on eBay for over $500 each.

Location: Lorne, Victoria, and Marion Bay, Tasmania, from December 29-31.

Why should you go?: Well, quite simply, Falls Festival is the best festival in Australia.

Hands down. Best sound, best atmosphere, best crowd, best location, best layout. It’s some distance from Newcastle, but the pilgrimage never lets us down.

PEATS RIDGE FESTIVAL Line-up: Lamb, Jeff Martin, Sarah Blasko, Whitley, The Panics, Blue King Brown, Liam Finn, Dappled Cities, Ash Grunwald, Bertie Blackman, Leader Cheetah, Jeff Lang, Astronomy Class, Jack Ladder, Lost Valentinos, Mountain Mocha Kilimanjaro (Japan), Jen Cloher and the Endless Sea, Ember Swift/Lentic (Canada), Diafrix, Deepchild, The Bird, The Nomad (NZ), Steve Poltz (USA), Tijuana Cartel, Mark Pritchard/ Harmonic 313, The Tongue, plus many more.

Ticket price: Adult Season Pass plus Camping $291.50 from Oztix.com.au Location: Peats Ridge, Glenworth Valley, from December 29, 2009, to January 1, 2010.

Why should you go?: Peats Ridge is said to have one of the best and most enjoyable festival atmosphere of any event in Australia. Being

THE PYRAMID ROCK FESTIVAL Line-up: Empire Of The Sun, Cat Power, The Cat Empire, Biffy Clyro, Grinspoon, Ugly Duckling, The Butterfly Effect, Architecture In Helsinki, Faker, The Beautiful Girls, LCD Soundsystem (DJ Set), Amp Fiddler (USA), Blue King Brown, Krafty Kuts (UK), British India, The Drones, Tame Impala, Baddies (UK), Van She, The Boxer Rebellion (UK), Bluejuice, Grafton Primary, Clare Bowditch, Something With Numbers, Funkoars, Kram, Bumblebeez, Dead Letter Circus, plus many more.

Ticket price: Two day pass (includes two nights camping) $250.00.

Location: Phillip Island, Victoria Why should you go?: Phillip Island is a truly picturesque area, making Pyramid a fairly stunning place to spend New Year’s Eve/New Year’s Day. It’s only 90 minutes from Melbourne, so it’s a perfect road-trip distance.

We probably don’t need to point out that the line-up is farkin’ brilliant.

SUMMANIGHTS 2010 Line-up: Sharam (Deep Dish), Eddie Halliwell, Mark Knight, Tom Novy, Josh Wink, The Shapeshifters, Don Diablo, Menno De Jong, Evil Nine plus more.

Ticket price: Adult $134.85, Platinum $204.85, Titanium $245.85.

Location: Home The Venue, Darling Harbour Why should you go?: Home is definitely a great venue — massive and well laid out, but also has a really intense club atmosphere. If you’re not after a festival-sized affair, then having a big one in Sydney might tick all your boxes.

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th e m e ss hall — atr e y u

Birds of a Feather The Mess Hall have always been a band willing to experiment. Now they have taken things a step further with their mammoth new album, For The Birds. Stephen Bisset chats to the duo about recording, soundtracks and lazy journalism.

It’s been a couple of years since we’ve heard from Brisbane duo The Mess Hall, but in that time they have been expanding on their already unique sound to bring us a fourth long player, For The Birds. Guitarist/vocalist Jed Kurzel says the pair are just glad to be out of the studio and getting ready to hit the road with some new material under their belt — a sentiment which his drummer partner Cec Condon echoes. “Yeah, we’re pretty relieved to be getting the album out, Kurzel says.

“It’s good to be out of the studio and getting ready to play some shows,” Condon added.

Given The Mess Hall prefer to just hit the studio, let the tape roll and experiment — which inevitably leads to a string of sleepless nights and minor bouts of cabin fever — one can forgive them for being glad to be out in the light of day again. Kurzel says that re-enlisting the services of Burke Reid, who produced Devil’s Elbow, made the recording process that much easier and helped give the album a sense of continuity. “Yeah, it was really good working with Burke again,” says Kurzel.

“Obviously because Devil’s Elbow was the first

album he produced we were kind of learning a lot together on that album which we used here. Also, we all got along fantastically in the studio — there was plenty of honesty and no egos at all. It was great.”

Condon says there were myriad influences, both musical and non–, that found their way on to For The Birds. “I guess we were listening to a lot of 1950s [music] while we were recording among other things, but we filter a lot — stuff we listen to and stuff going on around us — through the band and I guess it makes its way into the songs in one way or

another,” he explains.

In this day and age, being in a two-piece rock and roll band will inevitably invite comparisons to virtually every other rock and roll two piece in existence — especially The White Stripes. Condon puts this down to lazy Google journalism and while it tends to stick in his craw, it’s something he is learning to accept. “Yeah, that kind of stuff is always gonna happen,” he says wearily. “It’s just lazy… it comes from reviewers just getting on Wikipedia or something without actually listening to the album.”

In the promotion leading up to the album’s release, one word that keeps popping up is cinematic. “For The Birds is a cinematic, swinging loping masterwork,” says the bio.

Given the chance, Condon says The Mess Hall would probably provide the soundtrack to a horror film — albeit a classy one. “At the moment I’d probably say some kind of horror film, something like [brooding romantic Swedish vampire flick] Let The Right One In,” he says.

For The Birds is out now on Ivy League Records.

think he’s definitely pulled it off.

Atreyu seem to be one of those bands who have their rabid fans on one side, and, for want of a better term, ‘rabid haters’ on the other. What do you think it is about the band that elicits such strong reactions from people?

I don’t know what it is. It does get kind of old though, I mean, we just want to play good music, so I guess you’ve just got to put it out of your mind. I guess it’s good in the sense that at least people are talking about Atreyu, right? [laughs]

Damned if You Do

Go to any metal or hardcore internet forum and search for Atreyu. You will find there is just as much love as there is hate for the Californian quintet. But Atreyu aren’t going anywhere. Stephen Bisset chats with guitarist Travis Miguel about the band’s fifth studio effort, Congregation of the Damned.

So Congregation of the Dammed is about to hit the shelves, how does it feel to be out of the studio and getting ready to give people a taste of some new Atreyu?

We’re all definitely excited but at the same time we’ve been getting pretty antsy about getting out there. I guess it’s because we worked really hard on this album and it’s always nerve racking waiting to get it out there. That time between when you’re done mixing it and it being on the shelves can be hard. So yeah, we kinda just want to get it over and done with [laughs].

What would you say you guys wanted to achieve with this record?

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Overall, we always try to put out good music and this time I guess we just wanted to make a huge sounding record. We’ve kind of gone back to our roots with this album. It’s kind of got a little bit of everything Atreyu have ever done. It’s kind of an all encompassing body of work, and we’re all really proud of how it has turned out.

How would you say Atreyu has grown as a band since Lead Sails Paper Anchor?

It’s coming up on ten years now that we’ve been together so we know each other’s strengths and weaknesses pretty well and we’re able to hone in on what each other does best. After being in a band for so long you kind

of tend to influence one another, you know what I mean? You instinctively know where each other is going, both in the studio and on stage and I think that can only make you a stronger band.

From what I’ve heard, Congregation of the Damned is a pretty eclectic record. Do you think having someone like Bob Marlette [Ozzy Ozbourne, Seether] at the helm helped give the album a sense of cohesion?

Bob had a huge role in this record. He was always in the studio fine-tuning stuff and I think he was an integral part of the sound we got on this record. He really listened in to what we wanted to do with this album, and I

What’s the biggest misconception about Atreyu?

I guess that we’re not that cool [laughs]. We’re just five everyday guys from California that hang out and go to shows and stuff. I mean, I still freak out when I meet guys from bands that I’m really into. I can be a real geek like that.

What are you passionate about?

Just living life happily, I guess. That and making great music with my band.

What’s next for Atreyu? When can we expect you back down here?

Hopefully we’ll get back to Australia real soon. We’re on a tour of the US until midNovember then we’re heading to Japan. So hopefully we can get down there before the end of the year or early in the new year.

Australia is a great country to play — you guys are great.

Congregation of the Damned is out now through Roadrunner.

alb e rta cross

Crossing The Divide I guess I’ll start with the obvious. Where are you and what are you up to at the moment?

We’re in London at the moment. We just came over from New York after a brief stopover in Paris to do a TV show. We’re back in London for a while to do a little bit of promo.

For the uninitiated, what is Alberta Cross all about?

Well our sound has changed a fair bit since Thief and the Heartbreaker [Alberta Cross’s debut EP] which was a little bit more folky, Americana kind of stuff and comprised our first three demos that Fiction Records flipped out over and wanted to get a hold of. I guess with Petter [Ericson Stakee, vocals/guitar] and I moving to the States and getting the new guys in the band, we have grown a fair bit and our sound has gotten a lot more heavy. It’s always hard to describe what your band sounds like, I guess, but Petter and I as well as the rest of the guys in the band grew up loving music and we have lots of different influences in there.

I get the impression from listening to Broken Side of Time that Alberta Cross would be a kick arse live band. Have you captured the energy of your live shows with this album?

To me, all the best albums have that live vibe

about them and that is definitely what we were aiming for with Broken Side of Time. We were trying to re-create as best we could the energy of live performance without the crowds and all the buzz that goes with being onstage. We all played together in the studio and there were very few overdubs used, which makes it much more of a live sounding album and much easier to reproduce on stage.

How do you think the re-location from London to the US informed how you guys approached making the album?

A lot. Moving to the States was a massive change for Petter and I — not in terms of moving to a big city, because we were coming from London. But it was more about the energy of New York and we were kind of getting the feeling that London was getting a little bogged down with a lot of bands, who are all really great, but are kind of doing the same thing. I think we may’ve suffered a little bit in London because what we were laying didn’t necessarily fit with what was going on there at the time, whereas in New York there are tonnes of bands, each with their own thing going on, and when one gets big, instead of everyone else kind of doing that sound, it kind of inspires other bands to do their own thing even more.

Chances are, if you haven’t heard New York-based Alberta Cross, their edgy gospel-rock is definitely in the post. Bassist Terry Wolfers speaks with Stephen Bisset about the band’s release, The Broken Side of Time.

Does it ever annoy you, when you’re trying to do your own thing, to be constantly compared to other bands in the music press?

Yeah, I think so. I mean it is kind of annoying when you hear your band compared to another and you just can’t see it yourself. It kind of makes you think, ‘I hope people don’t think we’re trying to ride on the coat-tails of these bands we’re getting compared to’, because we are definitely not trying to do that.

But I guess it’s just the way it goes, whenever I tell someone about a new band, they always ask me ‘who do they sound like’. I guess people just need that frame of reference.

How would you say the recording of Broken Side of Time differed from the EP? Well this album we recorded with a producer and the EP was basically just demos that me and Petter recorded. We roped a friend of ours in to play drums on the demo and Petter’s brother was playing keyboards. We were directing them quite a bit on what to play.

When we moved to the States we wanted to expand on our sound and make Alberta Cross more of a band. A lot of the stuff on the album came out of us just jamming on riffs that Petter brought in when we were doing some recording in Haunted Hollow Studios in Charlottesville. The first EP was more like a

singer songwriter thing, and I guess the new album is heavier and more expansive.

When can we expect Alberta Cross in Australia?

We’ve been trying to crack on down there for ages but we haven’t managed it yet. We really wanted to get down there for the Big Day Out but unfortunately it clashes with when our record company is going to be pushing the album in the US so we’ll be doing promo and shows in the States then. But there has been some talk of us coming down there some-time around mid to late February so you guys will definitely get to check us out before too long.

What’s next for Alberta Cross?

We fly back to the US tomorrow and we’re doing a little ten-date tour. We’re having a three day break during the tour to go back to Haunted Hollow to try and get some new tracks down.

We’re not the kind of band that likes to take too long putting stuff out. I mean it’s really lovely to come off tour and spend some time with your girlfriend, but after a while you start getting itchy to record again. I just don’t like sitting around waiting for the next tour. It’s good to be productive.

The Broken Side of Time is out now through Dew Process.

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5 0 lio n s — dr e am th e at e r

LIFE ON THE LION Taking their name from the poker machine of the same title, 50 Lions began in Byron Bay as nothing more than a bit of fun. Where Life Expires, the quintet’s sophomore album, conveys a matured sound, confirming that this once hobby has undeniably paid off. Nathaniel Try chats with vocalist Oscar McCall.

Your second full length Where Life Expires has just dropped. How is this release different from recordings you have created in the past?

It’s been two years since we put out our first full length. We’ve had some member changes, toured around a lot and a few of us have moved cities. The writing and recording was similar to how it has always been. We recorded again with Sam [Sam Johnson from Three Phase Studios in Melbourne], who recorded our seven-inch for us. But this time we spent a bit longer in the studio, took a more methodical approach and planned everything out a bit more than we have done in the past. All of these things affected the finished product. So overall, it’s a more mature album in every aspect.

What is the meaning behind the title, Where Life Expires?

It’s basically about realising the fact that everyone eventually has to die. Lyrically, the whole album is about working, dealing with what you have to do to get by and coping with other social issues. Overall, it’s about making the most of your time on the earth.

Trapped Under Ice from the US will be touring

with you in November for your album launch tour. What are you most looking forward to about this tour?

They’re friends of ours to start with. We’ve played a few shows with them in Europe, I’m really into their last few records and they’re a really hyped band at the moment. So it will be cool to tour with a band we like musically, as well them actually being friends of ours.

When watching you guys support Rise Against earlier this year, I noticed Baina [former vocalist of Her Nightmare] is now playing guitar for 50 Lions. How has his inclusion enhanced the group’s dynamics?

He had a big part in the writing process as he’s a pretty musical dude. He had some fresh ideas and some different riffs that we weren’t used to. In general, it’s a new element added to the band, so I think you can notice that on the record. Baina’s a big dude too and he’s obviously got a big voice, so on the album he does some of the vocals. It’s definitely a benefit having him in the band, not just musically but for security reasons as well!.

What’s 50 Lions touring schedule looking like after the album launch shows finish up?

After this tour we’re doing ‘The Boys of Summer’ [around Australia in January, with Every Time I Die, Trap Them and Mary Jane Kelly]. We’ve got things in the works to keep us busy up until about September next year at this stage.

We’re going to be touring Australia a lot more.

But we’re also heading back to Europe and south-east Asia and we’re hoping to go to the

States soon, too. So we’ll be pretty busy, but you may as well make the most of it when you get to travel for free.

Catch 50 Lions at Manning Bar, Sydney on November 13; Cambridge Hotel, Newcastle on January 15 and Oasis Youth Centre, Wyong on January 16. Where Life Expires is out now.

Sweet Dreams When it comes to virtuosity, they don’t come more on the money than Dream Theater. For the past 34 years the nucleus of drummer Mike Portnoy, guitarist John Petrucci and bassist John Myung, along with more recent members Jordan Rudess and vocalist James LaBrie, have been issuing some of the most mind-bending prog rock since Yes. Aussie fans will once again get their fix of the band when they land in December, and keyboardist Jordan Rudess says the guys can’t wait to get down here — if only to get warm.

“Yeah we had such a nice time in Australia last time we were out there,” Rudess says from his hotel bed in Oporto, Portugal.

“Australia is such a beautiful country and the people we’ve met have all just been super nice. Also, December is a really great time to be out there as I’m really looking forward to escaping the cold.”

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On the eve of prog metal maestros Dream Theater’s second trip to Australia this year, Stephen Bisset sits down with keyboard impresario Jordan Rudess to find out just what makes him tick.

Rudess is the newest member of the band [he joined in 1999] and says that whilst he sometimes feels like the new kid on the block he’s pretty much part of the Dream Theater furniture now. “Yeah it’s really interesting because sometimes I kind of do feel like the new kid, but I mean I’ve been playing with Dream Theater for ten years now which is longer than most bands are together,” Rudess explains. “I mean, I feel really sad that I wasn’t there when the group first hit it big, and there’s no going back in time, but I’m just really excited to still be playing with these guys after ten years.”

For Rudess, coming into the band as a fan first has given him a unique perspective on Dream Theater’s place in the pantheon of popular music. “When you’ve been doing your thing for

as long as Dream Theater has, you’d expect that you would’ve influenced some people,” he says.

“I think Dream Theater’s influence is notable especially in things like creating an interesting mix of the prog rock of bands like Genesis, Yes and Pink Floyd with the more metal side of things, which hadn’t really been done before.

“And beyond that I think the extreme sense of virtuosity and willingness to experiment with many different styles ... I mean, while I didn’t really relate to the metal side of things as much, when you put them together it makes for a really interesting combination.”

In this scribe’s experience, most keyboard players are obsessed about gear — conversations about Leslies and Hammonds can drive any non-ivory tinkler to distraction.

Rudess laughs at this proposition but still

admits to being somewhat obsessed with equipment. “Yeah, I’m definitely well known to be a tech geek, which is probably annoying for some people,” he says, “but of all the gear I own, the one piece of equipment I’m most passionate about is my iPhone… I have an application on it — essentially a really awesome keyboard — that I have used onstage before… which, I think, is pretty amazing.

“For me the iPhone is probably the most amazing piece of technology ever and probably the most versatile musical instrument of all time… but, that said, I’m always on the lookout for something new to blow my mind.”

Dream Theater play the Hordern Pavilion Saturday December 5, 2009.

e ulogi e s

Indie Influence Sneaking out of LA’s renowned indie scene to deliver the highly-rotated ‘Two Can Play’, Eulogies are becoming the band you want to know about. While they were recently in Newcastle supporting The Seabellies, Lee Tobin sat down with lead singer Peter Walker to discuss life as a bittersweet rocker.

A eulogy is usually associated with a funeral, but your music is bit more upbeat.

What’s up with the name?

I like the play on the word. For me, it is definitely dark… but what we write about and what we sing about is kind of shining a light on the dark things.

Peter, you were originally a solo act. Why the change in direction?

I always wanted to be a part of a band, that’s definitely been the goal, the dream, and you just can’t create that out of thin air. I started making music on my own and the band came around as a part of that. So I got to where I wanted to go but I had to take it step-bystep.

You list your influences as being everything from Neil Young to Cat Power. How do these different sounds manifest themselves in Eulogies’ music?

[Our songs] will draw references from what we’re listening to at the time or what we’re going for sonically and some of our other influences are kind of deeper, from childhood and growing up. I think anything can influence you. Relationships are historically a big influence on music and I think the same goes for me, but books, movies, music — anything is game.

There’s a book by James Fray called The Million Little Pieces and that really touched me, so I wrote a song about that, but later it came out that… he made some of it up, but anyway [laughs]. Another song from the record comes from an article I read in Vanity Fair one time about this artist who committed suicide.

There’s always talk about bands ‘selling out’ with big corporate record labels. Being signed with an indie label [Dangerbird Records], do you feel exempt from this pressure?

To me, selling out is a pretty harsh judgement that you can put on someone else for what they’re doing with their art and part of what we’re doing as musicians is trying to get our art out there…so you have to sell out a little bit if you want to try to reach people, but I guess I’m holding on to the artistic integrity. That’s what it’s all about.

Your sophomore album, Here Anonymous, was released earlier this year. Why should we buy it?

I feel like it’s a cohesive album. It’s not just a bunch of songs put together. It’s something larger than the sum of its parts, and, for me, it’s just a real progression in the band and from the last record. There’s opportunity to maybe be touched by something that’s there.

Eulogies have toured with everyone from Sea Wolf to Film School. Who has had the greatest influence on you as a band?

We did a month-long tour with the Dears and that was very influential. They’re just amazing… super nice people. Every night they just did such as good job on stage… so it was really inspiring. We still talk about that tour a year later.

The Seabellies are clearly in their domain here in Newcastle. Is it intimidating supporting a local band when you’re so far from home?

Definitely not intimidating. They’re really nice and we’re just here to do what we do and I don’t think we’re ever nervous about it. I think it’s good to travel with a local band just to make some new fans.

What do you hope people will get out of your music?

If someone can get something out of a song, that’s a goal for sure. To me when I listen to something and it touches me that’s just a powerful thing. I kind of liken it to visual art, where if two people look at a painting they’re both going to get different things out of it and I think that the same goes for music. I try to write… and shape things so they can be taken in different ways and reach different people.

Any more insights you want to add for Reverb readers?

Just as a reflection on our experiences here, I feel like there’s a really vivid music culture here and people who really care about indie music… That’s easy for us to see from being outsiders. It’s a great place…There’s pockets of people in America who care about the same thing but to go across the world and find those same pockets is really inspiring.

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album reviews Feature albums

TORI AMOS

atreyu

Midwinter Graces Universal Republic 4.5/5

Confessions Of The Dammed RoadRunner/WarnerMusic 3/5

Tori’s eleventh studio album is also her first seasonal release, an amalgam of traditional Christmas carols and original compositions drawn from her upbringing as the daughter of a Methodist priest. It casts aside much of the subversion and defiance of her last album, Abnormally Attracted To Sin, and instead finds greater communion with arrangements from earlier in her career – moments of Baroque harpsichord and string lines transition seamlessly into rich choruses in carols such as ‘What Child, Nowell’ and ‘Star of Wonder’. The best tracks are, however, Tori’s own songs, whether it’s the exquisite warmth of ‘A Silent Night With You’ or the 1940s big-band decadence of ‘Pink and Glitter’. Each song, new or old, is arranged with the same mastery. For fans of: Kate Bush. ~Hugh Milligan

Rammstein Liebe Ist Für Alle Da Universal Music 4.5/5

These crazy kids are back and their new album is crazy good! Berlin based industrial/rock six piece Rammstein have produced a more varied sound whilst still keeping their classic Rammstein core. ‘Pussy’, a German/ English track is crass, hilarious genius, the film clip to which features porn, so what’s not to like? My other pick from the album is ‘Frühling In Paris’. This is a truly beautiful melodic and poetic anthem, which incorporates lines from the Edith Piaf song ‘Non, je ne regrette rien’. There is some amazing synthesiser work on this album. I fell in love with this album and no, it wasn’t just because of the porn! ~Scarlett O’Horror

MARTHA WAINWRIGHT Sans Fusils, Ni Souliers, à Paris Shock Records 4/5

Her brother Rufus gave musical tribute to Judy Garland two years ago, and now it’s evidently Martha’s turn to channel an esteemed songstress of yesteryear. This album, recorded live over the course of three New York concerts given by Wainwright earlier this year, comprises fifteen songs made famous by the legendary Édith Piaf.

Martha recreates Piaf’s original arrangements with some degree of accuracy while overtly injecting her own style – from the smeared accordion rubato of the first track, ‘La Foule’, her sound is rougher and dirtier, and her coarse, smoky vocals are dripping with French indulgence. This is no simple ‘Best Of’ album either, as she selects more abstract songs from Piaf’s catalogue; ‘Les Blouses Blanches’, for example, closes the album with striking dissonance. ~Hugh Milligan

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Confessions Of The Dammed, the fifth album from American Metalcore band Atreyu, is surprisingly likeable. I’ve been known to walk out during Atreyu at gigs, so I wasn’t sure how this would go down. They still aren’t my favourite band however Confessions Of The Dammed is well produced and definitely has substance. ‘Bleeding Is A Luxury’ is your general power ballad track, but it’s catchy and I’m a sucker for orchestral string work. ‘I’ll Wait For You’ is much softer than the other songs and is a strange mix of Emo meets Aerosmith. Again it’s catchy and perhaps a bit soppy, but hey, they can’t be Metalcore tough all the time. I did enjoy Confessions Of The Dammed but don’t think I’ll listen to it again for a while. ~ Scarlett O’Horror

The Black Ryder Buy The Ticket, Take The Ride EMI Music 3/5

Having been personally invited to support renowned international acts such as Black Rebel Motorcycle Club, The Raveonettes and The Brian Jonestown Massacre, The Black Ryder translate their recent touring successes into a well-produced, consistent debut album in Buy the Ticket, Take the Ride. Composed of singer/songwriters Aimee Nash and Scott Von Ryper, the band’s sound hearkens back to early 90s shoegaze and grunge-inflected rock. Often, the similarities between The Black Ryder and their influences are a little too close – for instance, the delayed guitars and rock explosion of opener ‘To Never Know You’ recalls My Bloody Valentine’s Loveless, and Nash’s soft coos too closely resemble the voice of MBV’s Bilinda Butcher. Although borrowing from other bands is okay – and borrowing from terrific bands like MBV is even better – there is a point where ‘borrowing’ becomes ‘stealing’; and The Black Ryder cross this line more than a few times on Buy the Ticket, Take the Ride. ~Scott Gilbert

The Fall Of troy In The Unlikely Event Stomp 4/5

Washington’s innovative, powerhouse threepiece The Fall Of Troy return with an epic fourth record. It’s a broad and emotive soundscape, that will immediately remind the uninitiated of The Mars Volta and Thursday. The Fall Of Troy combine a penchant for progressive arrangements with flurries of melodic hooks. The chaotic undercurrents serve as a furious foundation for singer and guitarist Thomas Erak’s soaring vocal harmonies. While on first listen, the final concoction may be a little too much to take in, continued listens expose the incredible cleverness that runs throughout In The Unlikely Event. Tracks like ‘Single’ and ‘Empty the Clip, the King Has Been Slain, Long Live the Queen!’ are unashamed pop rock anthems. There’s a lot to admire about The Fall Of Troy’s twisted, mile-a-minute sonic explosions – particularly

Erak’s scintillating guitar-work in ‘Dirty Pillow Talk’. They shift between ballad and post-punk echoes with finesse. For fans of: Coheed & Cambria, The Mars Volta, Thursday, Biffy Clyro. ~Noah Cross

Gordon Gano and the Ryans Under The Sun Yep Roc/Red Eye 4/5

Former Violent Femmes’ front man Gordon Gano has made me realise that it’s ‘ok’ to not like Lou Reed’s music. Lou Reed was hugely influential to some of my favourite musicians, so I felt I should like him too, at least a little. But, I don’t really. I find his spoken-word style too frustratingly understated. On Under The Sun, Gordon Gano and The Ryans’ new album, two tracks could easily belong to Lou Reed (‘Here As A Guest’ and ‘Under The Sun’). The difference being that on this album this style has a distinct purpose. The tracks on Under The Sun vary in style. There is jazzy, cabaret (‘Oholah Oholibah’), old-style Bop dance music (‘The Way That I Creep’), country twang (‘Hired Gun’), Pink Floyd-style classic rock (‘Still, Suddenly Here’), and punk (‘Wave and Water’ and ‘Red’). With all these different styles, the “Lou Reed sound” has poignancy; it punctuates these track, adding weight and purpose. Under The Sun has made me realise that this style can be done in a way I can connect with. If only Lou Reed could have done the same. ~ Andrew chesham

GRINSPOON Six To Midnight Chk Chk Boom/Universal 3.5/5

Six To Midnight is the hallmark of a band that are very comfortable in their skin. Grinspoon are an enduring hard rock act with a definable sound, honed over years of hard touring and hard playing. This is the Lismore group’s sixth studio record and sees the band get back to basics. The two opening tracks set a high benchmark. ‘Dogs’ and ‘Run’ are tightly-coiled, punch-in-theface numbers – they indicate that these guys know what they do best. As with a lot of their records, there’s a pop song – ‘Comeback – a sign that Grinspoon haven’t lost their ability to write simple, anthemic tracks that echo of the days of fist-in-the-air pub rock. The gritty, distorted sound of early material reappears on ‘Right Now’, while ‘Give You More’ is a surprise slice of psychedelic altcountry. But fans who yearn for a great evolution in Grinspoon’s sound will be disappointed. However, for those of us that love Grinspoon for all the things that make them who they are – a solid rock band – then this is an opportunity to sit back and admire one of Australia’s great acts, who have never promised more than they could deliver. They drop big, aggressive riffs and mammoth choruses in spades. Here’s to Grinspoon. ~Noah Cross

THE JEZABELS She’s So Hard Independent 3.5/5

The second EP from Sydney indie-pop rock outfit The Jezabels is very much an extrapolation of their first, The

Man Is Dead. Drifting piano chords are underpinned by driving drum beats, an effective combination crowned by Hayley M’s raw vocals (strongly reminiscent of Little Birdy’s Katy Steele) which reach their wailing climax in ‘Into the Ink’.

The standout, however, is ‘Hurt Me’, musically the most eloquent of the five tracks. While their sound is at times compelling and even anthemic, the songs on the whole aren’t terribly adventurous and the EP confines itself to a fairly uniform style and pace. It is, however, another promising offering from an intriguing band.

For Fans Of: Little Birdy, Neko Case ~Hugh Milligan

Jack Johnson En Concert Bushfire Music/ Universal Music 4/5

Recorded on the European leg of Johnson’s Sleep Through The Static tour as part of a live album/concert-film package, this collection of songs is quality from the get go. Johnson and band breathe new life into songs like ‘Do You Remember’ and ‘Staple It Together’, in some cases jamming previously unrecorded additions to well known songs. This is not just a band going through their paces. The enthusiasm on this album is contagious. Eddie Vedder of Pearl Jam is a welcome surprise in this set, lending a voice to ‘Constellations’. This album flows well and closes perfectly, with Johnson alone playing his guitar and singing ‘Better Together’ while thousands of people sing along with him. For fans of: Animal Liberation Orchestra, Matt Costa, G-Love. ~Scott Gilbert

KISS Sonic Boom Universal Music 3.5/5

Okay, let me just say from the get go that Sonic Boom never reaches the same dizzying glam rock and roll heights as Destroyer, Dynasty or even Love Gun. But for a band who have not released an album in ten years (let alone a good one since 1980) KISS have put in a pretty darn good effort here.

‘Modern Day Delilah’ kicks of proceedings with buckets of adrenaline and some of the smoothest Paul Stanley vocal delivery in recent memory. From here on out, if you’ve heard a KISS album you’d pretty much know what to expect – sleazy rock classics and potential stadium anthems. While Ace Frehley’s presence is once again missed here, the lineup of Gene Simmons, Paul Stanley, guitarist Tommy Thayer and drummer Eric Singer prove effective – especially Thayer, whose solos on songs such as ‘Stand’ and ‘Russian Roulette’ threaten to usurp Frehley’s position as the Spaceman for good.

KISS are basically preaching to the converted with Sonic Boom.

The album is literally filled with rock and roll clichés that were started by these guys in the first place. Done by anyone else this album would seem derivative, but coming from THE glam rock and roll band, it’s glorious. And any album by a band whose principal members are pushing 60, that features the line ‘If it’s too hot/you’re too cold/if it’s too loud/ you’re too old’, is alright in my book. ~Stephen Bisset

album reviews album of the month

Jeff Lang

Porcupine Tree

The Chimeradour ABC Roots/Universal 3.5/5

The Incident Roadrunner 2.5/5

The Chimeradour is the 16th album from Melbourne blues troubadour Jeff Lang and the man is not getting stale by any means. To lovers of John Butler and Ben Harper, Lang is a man who does swampy blues and slide-infused rock with heart, soul, skill and invention – with the latter being perhaps the most important part. Blues has been done to death, so what can make it stand out? Interesting melodic choices and song structures, which Lang executes perfectly.

Opener ‘Two Worlds’ is as soft a tune as Lang can probably muster but don’t settle in, as ‘Home To You’ will have you out of your chair for the next eleven songs. The drums are at times frantic and while the slide playing is energetic, the notes are always carefully chosen (Butler, I’m looking at you). With the production heavily focused on capturing Lang’s dynamic style, The Chimeradour is a perfect representation of blues at its best. ~Yumi Sed

Heavy-prog-rock guitar riffing? Check. Synth layered harmonies over catchy bass lines? Check. Borderline tribal drumming with the odd hint at trip hop?

Check it all. It’s all enough to keep the avid Porcupine Tree fan gaping at their talented brilliance whilst grinning from ear-to-ear.

There is very little in the way of originality in The Incident, however, those who have experienced the journey of sound in vocalist Steven Wilson’s last solo record Insurgentes will be happy to note the continued progression and additives of trip-hop, ambient keys and quiet melancholic vocals mixed into the final recipe. This release follows the classic prog-rock element of movements (rather than songs) divided by each track except for the bonus CD which contains a few memorable moments like ‘Remember Me Lover’. Don’t expect a repeat of Fear Of A Blank Planet because it’s certainly nowhere near as catchy and this is certainly nowhere as brilliant as ‘Voyage 34’. I would however recommend The Incident only to already “avid” fans of Porcupine Tree or those with a particular lust for the psychedelic/progressive rock elements. ~Anthony Pollock

MOURNFUL CONGREGATION The June Frost Weird Truth Productions 4/5

The third full length release from these Adelaide funeral doom pioneers since their 1993 inception is, like anything else pertaining to their body of work, simply stunning.

Transcendental in its glacial beauty yet devastatingly heavy, with a melodic backbone evocative of vast open spaces on a bleak winter’s day, Mournful Congregation’s music manages to tap into a sense of longing, foreboding and joyous suffering without ever resorting to the clichéd lyrical or musical trappings. Moving at the pace of a crawl and surrounding the listener with its own epically intimate, yet never invasive ambience, this is art of a high calibre – suitable for either a soothing balm for misery or as an accompaniment to a funeral service for a departed loved one. Highly recommended for anyone interested in dark and deeply emotive music, sans the black fringe and eyeliner. For fans of: early My Dying Bride, Paradise Lost. ~Byron Struck

Parallel Lions Holding Patterns Bird Music/Shock 2.5/5

Parallel Lions’ debut LP Holding Patterns is a lesson in pop rock precision, and is worlds away from the listless, sad sounds of bandleader Ollie Browne’s other band, Melbourne indie rock act Art of Fighting.

Beginning with a shimmering synth and processed bleeps, opener ‘Taste of Your Heart’ is intriguing, and rewards the listener quickly with a payoff of lovely sustained piano chords and Browne’s clear, familiar voice. However, the song’s chorus strays a little too far into adult contemporary territory, with the chord change and Browne’s sugary vocal melody sounding closer to Michael Bolton than Art of Fighting. In the end, the debut album from Parallel Lions is built upon a bed of solid songwriting and interesting synth flourishes – the only drawback being the band’s proclivity to over-produce their songs with glossy orchestral accompaniment and tone correction, when the simple method would be the most appealing in almost every case. ~Scott Gilbert

The Scotch of Saint James Vigilante Neck Tie Party Shock 3.5/5

Given that they have taken their name from the uber cool 1960s club frequented by people like Long John Baldry, Mick and Keef, Keith Moon, Jimmy Page et al, you get a pretty fair idea of the vibe that the band wanted to create with Vigilante Neck Tie Party. This is all about rock and roll swagger with enough hooks to put a tackle shop out of business. Although that’s not to say that The Scotch are just another in the long line of dodgy retro knockoffs like Jet. These guys have more than just a morsel of substance to them.

For every ‘Square Eyes’ with its rollicking verses and Small Faces–esque chorus, there is ‘The Happy Peacock’ a lazy meandering rocker whose snaky guitar lines worm their way into your brain before you even know what’s going on. There is a fair bit of light and shade on this record that piqued this reviewer’s interest and will be sure to prompt more than a second spin.

There’s no doubt that these Sandgropers would be a formidable live act and this album serves to familiarise punters with the stops/starts/ oohs and ahhs, so they can concentrate on nodding their heads with abandon at the show.

Good stuff. ~Stephen Bisset

Darren Sylvester Darren Sylvester Remote Control 4/5

You’d be forgiven for thinking that Darren Sylvester started releasing music in 1983 in the sparkling, glamorous nightclubs of Los Angeles. In fact, the songwriter has arrived late as a musician, building a reputation in Melbourne as an innovative visual artist.

Indeed, Sylvester approached this record as he would one of his artworks – alone. He performs every instrument. On this shimmering, impressive debut album, he

Wolfmother Cosmic Egg Universal/ Modular 4/5

It was hard to know what to expect from Wolfmother’s second record. Their multi-million selling debut was an international success and mastered Black Sabbath’s legacy of brutal, progressive hard-rock. When the band’s rhythm section parted ways with singer, guitarist and principal songwriter Andrew Stockdale, it was perhaps an indication that the band’s visionary was hell-bent on an unwavering cosmic direction – the choice was to jump on his spaceship or be lost in the ether. Indeed, with a fresh line-up – which now features an extra guitarist – Stockdale has written Cosmic Egg. He hasn’t reworked the scripture.

As any good sequel should, this sophomore record takes the best elements of the original and expands upon them.

It’s slightly darker, more aggressive and even more three dimensional. The drumming is primal, the bass is fuzzy and the grooves are immediate and unavoidable. There’s also another diverse element that appears on third track ‘White Feather’ – sunny guitar and vocal harmonies that echo of California in the 70s. Stockdale unashamedly wears his influences on his sleeve (yes, he’s stolen the bass riff and chorus from Sabbath’s ‘N.I.B.’ for the fourth track ‘Sundial’ and the intro of ‘In The Morning’ has a touch of ‘Lucy In The Sky With Diamonds’ about it), but this is an absolute juggernaut of a rock record. How can you dislike something that’s delivered with such conviction?

While prudes and purists will stand back and point their fingers, cursing Wolfmother on behalf of Ozzy Osbourne, the rest of us will be working up a sweat, enjoying what is essentially a passionate and thoroughly enjoyable heavy rock album.

For fans of: 70s rock. ~Nick Milligan

weaves thin, vapour-like layers into something quite breathless and beautiful. It’s a nod to that icy cold sexiness of the 80s, best exemplified in the track ‘Telephone On The TV’. The 70s Lou Reed-esque sheen of ‘That’s A Nice Haircut’ has an instant impact, particularly because of its tongue-in-cheek subject matter. Sylvester creates uber-cool soundscapes that could soundtrack a Bret Easton Ellis novel – a writhing, Wayfarer wearing, drug-hazy party with Bowie and The Velvet Underground. A good album to throw on at sunrise. For fans of: M83, The Big Pink, The Teenagers, MGMT. ~Nick Milligan

tegan and sara Sainthood warner 4/5

Our favourite set of Canadian identical twins, Tegan Rain Quin and Sara Keirsten Quin, continue to imbibe their upbeat indiepop with yearning lyrics and a punk ethos. The latter manifests itself on the seventh track of their latest album, ‘Northshore’. In general, Sainthood is a little more twisted and synthorientated than their previous outings, giving

an overall sense of melancholy and claustrophobia. The arrangements are tightlywound and rarely stop to take a breath. It’s unavoidably emotive, delivering the punch of “obsession with romantic ideals” that the twins have claimed is a recurring theme throughout Sainthood. Produced by Death Cab For Cutie’s Chris Walla, Tegan and Sara just might capture the attention of their desired objects, with deliciously catchy tunes like ‘Alligator’ and ‘The Ocean’. Usually writing separately, Sainthood notably features the first recorded songs to be co-written by the sisters. ‘Don’t Rush’ even has a third writing credit – AFI’s Hunter Burgan. While the pace of the record may be a little too much on the first listen, Sainthood’s honesty and melodic hooks will get you in the end. For fans of: The Bangles, Alanis Morissette. ~Nick Milligan

Warpaint Exquisite Corpse Rough Trade 4.5/5

Founded in Los Angeles in 2007, Warpaint are kind of a big deal in Hollywood. The mostly girl-group’s postrock dirges have been cited as favourites by such big name actors as the deceased Heath Ledger, and musicians such as Chilli Pepper’s guitarist John Frusciante, earning the band a significant wellspring of hype. But, as is rarely the case, the hype surrounding Warpaint is more than justified. Exquisite Corpse opens with the six and a half minute opus ‘Stars’, which shows off the band’s opium-riddled Cat Power sound – simplistic guitar and bass interplay that provides a cage for the detached, waifish croons of lead vocalist Jenny Lee Lindberg. What is remarkable about Exquisite Corpse is that it sees the band creating through the lens of a tried and true formula – namely, echo-laden post-rock – and coming up with something so engaging, and something that strikes a comfortable balance between familiarity and originality. ~Scott Gilbert

50 lions Where Life Expires Resist Records 3.5/5

For some hardcore bands, the key to their evolving success is to become more technically adept. Other groups can accredit their rise through the ranks to employing a more marketable sound. For 50 Lions, a different path was followed. Where Life Expires; the Byron Bay/ Melbourne quintet’s sophomore album, presents a more matured sound than 2007’s debut full length Time Is The Enemy. By taking direct influence from the heroes who shaped the modern hardcore scene, 50 Lions have successfully intensified all elements of their delivery. This 25 minute punch-in-the-face bestows a sound palpably inspired by New York heavyweights Cro-Mags and Madball.

Complementing this established sound is a universally relevant lyrical approach, which explores issues related to being part of a society that doesn’t necessarily operate the way you would like. Featuring guest vocals from throatsmith Oscar McCall’s brother Winston McCall (Parkway Drive), ‘Locrian’ contrasts forceful unrelenting growls with a laid-back, minimally layered interlude.

For fans of: Cro-Mags, Madball, Sick Of It All. ~Nathaniel Try

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su n n y da y r e al e stat e

e music “W e wanted to have th speak for itsel f and w e felt w e didn’t need to mark et ourselve s…”

Before his days as the bass player for uber-massive rock band the Foo Fighters, Nate Mendel was in a ground-breaking Seattle group known as Sunny Day Real Estate. With the original line-up together again after 15 years, an Australian tour and talk of a comeback album, there’s clearly some Sunny days ahead. By Steve Tauschke.

To bring Sunny Day Real Estate to the phone is no mean feat — at least that was the case back in their 90s heyday.

Formed in1992 at the height of the Seattle grunge fervour, the introspective guitar-pop quartet took a different path to many American north-west acts at the time, refusing to conduct press interviews or even perform in California. It was a brave stance by a young bunch of idealistic high-school graduates who believed rock groups ought not be bought and sold.

“We had a lot of large ideas back then, the main one being ‘let’s not make being in a band and putting out music a commodity experience’,” explains bassist Nate Mendel.

“We wanted to have the music speak for itself and we felt we didn’t need to market ourselves and publish photos and do interviews to talk 22

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about the process of being in a band.”

“But we didn’t really understand at the time how doing all that would be interesting or relevant to people,” continues Mendel. “We just wanted to be an enigma and go out there and play and see what happens. Some of that was us not knowing in our own hearts what we wanted out of a band and some of it was arrogance and some of it was kind of genius.”

Ironically, Sunny Day Real Estate’s faceless profile added mystery to their angular guitar oeuvre, helping them sell more than 230,000 copies of their 1994 debut album Diary, Sub Pop’s seventh highest-selling release.

Whilst Mendel was initially forced to abandon his journalism studies to concentrate on the group, a year later it all came crashing down when singer Jeremy Enigk found God and quit.

“That wasn’t compatible with being on tour with a rock band,” muses Mendel. “But reexamining it, that wasn’t what happened at all. I think it was a more traditional band break up scenario and had more to do with different people ready to make being in a band a full-time job and others not being so ready to take on that responsibility.”

The split saw Mendel and drummer William Goldsmith become Dave Grohl’s rhythm section in his post-Nirvana outing Foo Fighters while Enigk and guitarist Dan Hoerner pursued solo careers. The group reunited briefly (without Mendel) in the late 90s, recording a couple of albums only to sever ties again in 2001. But last year Sub Pop created a catalyst by re-mastering and re-reissuing Sunny Day’s first two albums, with bonus tracks.

“We did liner notes for those records and we realised the history of the band didn’t really have a chance to get written,” says Mendel. “We were looking at each other going ‘what really happened back then?’.”

This latest reformation re-assembles the

original lineup for the first time in 15 years.

American and Canadian audiences are currently enjoying the band’s reunion shows with debut tours of Europe and Australia to follow.

“All the characters in the band are kind of the same,” laughs Mendel. “We’ve pretty much picked up from where we left off.”

A new track has also crept in the live sets and a comeback album is slated for 2010.

“Our guitar player Dan said something in an interview that I read and I thought was great,” says Mendel. “I’m para-phrasing, but he said ‘we’ve got a musical communication going now and it’s been happening through the years and we pick it up and drop it off but it’s always continuing, this conversation we have’.

I mean the band is reforming now for the third time but it’s really just a continuing conversation.”

Sunny Day Real Estate play the Soundwave Festival in Sydney on Sunday February 21, 2009 at Eastern Creek Raceway.

p e ats ridg e f e stival sp e cial lift - out

Flock together Long before David Walliams and Matt Lucas had the world laughing with the antics of a wheelchair bound man and his carer, there was another Lou and Andy — although this duo came in the form of trip-hoppers, Lamb. Stephen Bissett caught up with singer Lou Rhodes on the eve of their performance at the Peats Ridge Festival.

Throughout the late nineties and early naughties, ethereal songstress Lou Rhodes, along with Andy Barlow, had pundits and punters enthralled as Lamb — the Mancurian pioneers of minimalist dreamy trip-hop. After a break of four years, various solo projects and children, Lamb are back with a run of festival dates that will see them headline the Peats Ridge Festival in December.

While Rhodes says she is excited at the reception the band has been getting at recent shows and the prospect of coming to Australia, the realities of life have kept her feet on the ground.

“Well I’m at home right now in my kitchen and my kids were just bombarding me with questions, and I told them I had to speak to an Australian person but I still had to go upstairs,” she laughs. “But yeah, [the shows] have been really good fun, although it is kind of weird after so many years of not playing with Lamb and getting back on stage with Andy is just really familiar, so we’ve just been having a really great time getting back into it.”

Rhodes says that while talk of a reunion had been bandied about for some time now, the impetus to get back on stage came from the unlikeliest of places — Lara Croft. “I guess the reunion was something that had been

lurking around in the ether for some time now,” Rhodes explains. “Obviously when Lamb split, I went off and started doing my solo stuff and I’ve been pretty busy with that, and Andy has been involved in a whole number of projects, and I guess through that time there were always people asking us when we were going to play again.

“But I think maybe the main push that made us think about it was that our song ‘Gorecki’ was used in an advert for the new Tomb Raider game and suddenly there were all these people going ‘who’s this band?’

So we just liked the idea of playing to all our lovely fans again as well as some new people.”

Rhodes explains that she is still passionate about performing with Lamb, but concedes that this passion is not uncommon. “Yeah, I really am passionate about most things, even if I’m passionately negative about something,” she laughs. “But I guess I’m one of those people who don’t really like doing things by half-measures.”

Rhodes says that for now the band have no immediate plans to get back into the studio as they are currently having too much fun playing the festival circuit. But that’s not to say a new album isn’t on the cards.

“We’ve basically been playing live in the

summer in the UK and it’s been very much a being-in-the-moment kind of thing,” she says. “I really don’t know what will happen in terms of us writing together again, as I’m about to bring out another solo album and Andy is also really busy with his solo album, but we certainly wouldn’t want to rule it out.”

Apart from her work with Lamb and her solo efforts, Rhodes has also made a bit of a name for herself on collaborations with artists as diverse as 808 State, Sheila Chandra, and A Guy Called Gerald. She said while she is still open to collaborations, she wants her next one to be a little different.

“I do have a bit of a yearning to do a duet of some sort with maybe a male singer whose

voice I really like,” she says.

“I’m not so lit up by collaborations with other producers as I feel I’ve done a lot of that already. I have been talking to [Canadian singer/ songwriter] Patrick Watson about the possibility of doing something together so that could happen at some point. But who knows?”

For now though, Rhodes says she just wants to concentrate on having fun with Lamb on stage adding the band was quite excited about playing Peats Ridge. “Yeah, we’re really looking forward to playing down there,” she enthuses. “I had a look at it on the website and it looks like it’s going to be a really, really amazing festival and I guess I just hope everyone comes away from our show with an open heart.”

Lamb headline Peats Ridge Festival, December 29-January 1, 2009-2010.

Aiming So High Benjalu, made up of Ben ‘Gumby’ Gumbleton on guitar and vocals, Luke Elsley on guitar, Brett Foreman on drums and Anthony Morris on bass, have impressed critics and music aficionados alike — all in just a few short years.

Winning numerous awards for their original music and their equally engaging live shows, Benjalu are now set to bring in the New Year at the Queen’s Wharf Brewery alongside Dead Letter Circus, Children Collide and Aussie rock ‘n’ roll favourites The Living End. Described as an event that hosts “the most dynamic rock performers on the live music scene today”, New Year’s Eve at the Queen’s Wharf Brewery is guaranteed to haul in thousands of party goers and rock ‘n’ rollers ready to ring in 2010.

Having performed an almost endless cycle of shows since 2007 and with two critically acclaimed EPs to their name, Benjalu are set to end the year with a ‘bang’ — both figuratively and literally. As Morris explains, it is the chance to bring in the New Year alongside beloved Aussie musicians that proves most rewarding.

“It’s a great feeling because, to me, it feels like all the work we’ve put in is paying off and we’re really getting somewhere,” he says Morris.

“To be able to play in front of that crowd who are all there to appreciate your music, and at such an important gig, is incredibly rewarding.”

Yet, despite being given such a significant opportunity, a New Year appearance is only one of the band’s many achievements. Just this month, Benjalu took out the Blues ‘n’

With a handful of awards up their sleeves and a fan base resembling that of a rock star, emerging Newcastle roots-fused rock band, Benjalu, are on a path to success. With just one month before the band’s “biggest show of the year”, Benjalu bassist Anthony Morris catches up with Lilen Pautasso to discuss the band’s bourgeoning breakthrough.

Roots category at the 2009 Newcastle Music Awards with their song ‘So High’ and over the past couple of years the band has been given the chance to support some of their favourite musicians. “We supported one of our favourite bands in the whole world called State Radio from the USA,” explains Morris. “The lead singer of the band was also from another band called Dispatch, and they did basically the same thing we are doing for 15 or so years… so we got to talk to him about the experiences we were going through that were identical to what he went through with Dispatch.”

And apart from supporting artists such as

State Radio, Josh Pyke and Kate Miller-Heidke [to name just a few], professional acclaim has also become just as rewarding. “It’s so great to see all our hard work become recognised by not just our friends and listeners, but profess­ionals,” enthuses Morris. “One of the biggest highlights of my career happened only yesterday [November 9, 2009] when we won the Blues ‘n’ Roots category for the ABC music awards. It’s been wonderful to win all the awards we have and get some Triple J radio air play, too.” As Benjalu continue to cement themselves as one of the region’s most loved acoustic rock acts, critics are calling the band

a “supremely mature and exciting act” with their latest EP praised as an album that surpassed all expectations.

After releasing their first studio-polished EP Reflecting On, Benjalu opted for a different, more laid-back approach to their second release, Waterwalls, in an attempt to bring out the real identity of the trio. Ditching the studio and sitting on lounges instead, the mellow and more folkdriven beat of Waterwalls is, as Morris describes, the band’s most honest release.

“Last time we recorded in a studio and it was all very serious so it came out that way,” says Morris, “but this one seems to flow more and it has more of a raw vibe, which is what we were going for, because the more relaxed and mellow sound is what we love and what also makes up our image. Waterwalls, in my opinion, is definitely our best release.”

Like Reflecting On, each song on Waterwalls takes on a uniquely different personality, mixing elements of jazz, folk and contemporary rock to maintain the group’s fresh sound.

With a handful of awards under their belt, a loyal fan base both home and abroad, and a spot at this year’s biggest show, Benjalu have undoubtedly solidified themselves as both a mature and truly unique act. As a young and vibrant rock group, it is certain that the band will continue to make their mark on the Aussie rock scene and attract music lovers of all sorts along the way. r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

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p e ats ridg e f e stival sp e cial lift - out

k i r a

puru

What was your reaction to being a finalist in the ABC Newcastle Music Awards this year?

I just thought… “naturally”.

You’ve just completed your debut EP. How was the recording experience with Calf?

Calf is amazing at what he does. He has a gentle way of guiding an artist when they’re tracking that draws out their best performances. He’s a very intuitive and creative producer, a talented engineer and a beautiful man. We’re sad to lose him to Melbourne, in my opinion he was one of Newcastle’s finest producers. We’ll track him down when we’re ready to record the album though, that’s a definite.

What must an artist do to create uniquely original music while residing in Newcastle?

I don’t think it’s any more or less than what you’d

sa r a h

have to do anywhere else, really. Newcastle has a bustling cultural underbelly that can challenge and inspire you if you let it. I think what’s really important for an artist is to be self aware, to not only welcome growth and change but to prompt it, and it always helps to throw yourself into chaos from time to time... for inspiration. And if all else fails, try a glass of good red, a cigar and some Billie Holiday.

What would you add backstage at a festival to make it better for the artists?

A good rider always helps. I think true artists shouldn’t be performing dry. Ultimately I’d like to have some sort of artist gopher… kind of like a mildly annoyed Samuel L Jackson in a three-piece suit who manages all my needs, from hors d’oeuvres to fold-back — that’d be golden.

h ump h r e y s

How have you dealt with winning three ABC Newcastle Music Awards this year [Pop, Sound Production, and ABC Artist of the Year]?

It is such an overwhelming experience being recognised like this by the ABC. Being an independent musician, you have to have a lot of self belief to stick with it and when other people come along and believe in you too, well that’s just really special and gives you a huge dose of love. I cried my eyes out when I won!

How did working with Shane Nicholson on the latest EP Autumn shape your songs?

Shane, like me, believes in the less-is-more approach! I heard his solo album Familiar Ghosts and that sealed the deal, it’s beautiful.

We worked together to create something that had spaces and I think created a sense of peace. Having someone like him believe in

k i d

What are the positives of being cousins when it comes to the creative process?

It’s hard to say, really. We honestly haven’t thought about it. When it gets down to it and you’re making artistic decisions about things, I don’t really think it affects the creative process either way.

r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

How did becoming a new mother affect your songwriting?

It has made me a deeper and more emotional person and filled me with a lot of happiness, but also raised doubts and questions in my mind and made me want to change to be a better person and a better mother. So I have written a lot about those experiences. I think it just opens your heart more to the good and the bad.

What would you add backstage at a festival to make it better for the artists?

Well as I haven’t been able to eat camembert cheese or have a beer or glass of wine for nine months, so I would say those things! But usually I’m just happy if I can have a free bottle of water. Or maybe even two!

sa m

Your self-titled debut has received much critical acclaim. Have you been happy with how the general punter has responded?

Well, yes. You can’t really make music and know what people are going to think about it. Also, once it’s out it’s really hard to measure how much people like it or not. That said, it seems as though it’s had a good response, and that’s a nice thing.

26

what I do is amazing.

When will Newcastle or the Central Coast be added to your touring calendar?

There aren’t any booked in for this year so it’s very unlikely that we’ll play there in 2009, but we’re definitely going to try for a show there next year some time.

What would you add backstage at a festival to make it better for the artists?

Ah, I don’t know. I just decided today that I’m going to learn how to play poker. How about a proper poker table with a dealer with slickedback hair in a tux, and moustached Texas oil barons to play some hands with? That would be cool.

biff y cl y ro

Do The Revolution Having supported bands like The Rolling Stones, Red Hot Chili Peppers and The Who, Scottish band Biffy Clyro are a band on a continued rise. Sean Frazer chats to bassist and singer James Johnston about their newly released studio album, Only Revolutions.

Your latest album, Only Revolutions was released November 9 of this year. How much have you evolved since your last record?

I think we’ve evolved a lot. A key goal for the band has been not do the same things over and over again. We have definitely moved on from the previous record.

While you were recording Only Revolutions in the States, apparently you guys would come home in between sessions?

Yes, we would record for a month in the States then we would come home for a month or so and do the odd festival or two. It really helped us out having that break between recording sessions; it really kept the recording process feeling fresh. The album took about two months in total to complete.

What do you think will shock Biffy Clyro fans about this album?

I think they will be shocked by this album because it sounds so much different compared to the last record. I guess it’s a lot more upbeat, I think it’s a lot more fun melodically.

Even musically I believe it sounds a lot huger.

What was it about [producer] Garth Richardson that attracted you to using him once again on the new album?

I think that the relationship that we’ve built up

with Garth has made us feel really comfortable.

In saying that, there were a couple of sticky patches at the start where we didn’t really understand each other properly. I think once we got to know each other and started to understand each other he really began to get an idea of our direction as a band. I think he is a great ally. Garth’s work on these records has been amazing and he will be alongside us for further records.

Is Only Revolutions Biffy Clyro’s heaviest album to date?

Yeah I think there’s definitely moments where the album peaks in with heavier sounds — there’s never a flat line in the composition.

Has the band member’s numerous side projects helped in any way?

We really take this band seriously, so the side projects have given us the chance to let our hair down and have some fun. It has allowed us to do something that’s not so ultimately important.

Orchestral sounds can be heard throughout the album tracking beside the heavy guitars.

Can you enlighten me on your decision to have such unique sounds?

The orchestral sounds have been something we’ve always liked to experiment with in our

comes from when it comes to writing.

music.

We believe it has been a success to our sound as it adds thickness and creates a more diverse sound to our rock dynamic. We have the horns for a bit of a surprise, but there was never an influence to introduce these sounds it’s just been an idea that we’ve always had.

Do you guys get your say when it comes to picking the single?

We do get our part in the say, but in the end it’s never ultimately our decision. When it comes to singles, the thing that we care about most is making sure that the B- sides are really good and the artwork is looking great.

How does the writing process work?

It usually starts with Simon strumming the guitar at his home. He is a bit of a night owl; he always seems to write late at night. Sometimes he will bring in something to rehearsal that is completely finished or maybe it’s just an idea or a riff, and we will try and turn them into rock songs by putting the band touch on them. I suppose being a very guitar orientated rock band, Simon is where the initial spark

You will be here in Australia for the Pyramid Rock Festival to bring in the new year. Is it always exciting to come to Australia just after releasing a new album?

We love to come to different countries for the sole reason of connecting with people.

The fun thing about playing music and travelling is connecting with as many people as you possibly can. We’ve had an amazing time the last couple of times that we’ve made our way out to Australia and we really can’t wait to come back.

It’s almost a ritual for fans to shout “Mon the Biffy!” at each show. How did that chant come about?

The phrase “Mon the” has been abbreviated from “come on”. “Mon the Biffy” just started out locally and soon became a ritual at almost every gig we play at. It really gets us amped up to play when we hear it moments before we head out on to the stage. It’s great fun. I hope to hear plenty of you Aussies blasting the chant!

Only Revolutions is out now through Warner Music.

FRI DEC 11

Cambridge Hotel NEWCASTLE SAT DEC 12

Doyalson RSL DOYALSON

Everything Is True OUT NOW The Australian The Age Rolling Stone JMag The West Australian The Daily Telegraph

SOLO ACOUSTIC

Everything Is True Tour continued…

TIX ON SALE NOW AT PAULDEMPSEY.OZTIX.COM.AU OR 1300 762 545 PAULDEMPSEYMUSIC.COM THEINSOUNDFROMWAYOUT.COM

r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

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CENTRAL COAST Don’t forget — Live & Local every Wednesday night 3 Dec

Choirboys

4 Dec 6 Dec 8 Dec

Wendy Matthews Monsieur Camembert Fernando Aragones (Brz)

9 Dec 10 Dec

The Church Steve Poltz (USA)

13,15 Dec The Songbirds

22,23Dec Richard Clapton 30 Dec Jeff Martin 31 Dec NYE EXTRAVAGANZA Floyd Vincent, The Child Brides, Jackie Loeb 6-8 Jan James Reyne 9 Jan Amber Lawrence & Travis Collins 14 Jan Rock Trivia 15 Jan Mental As Anything 16 Jan Vince Jones

17 Jan

21,22Jan 23 Jan 27 Jan 29 Jan

The Badloves

Ian Moss The Robertson Brothers Mia Dyson Katie Noonan

Wednesday, Dec 2 Cambridge Hotel, Newcastle Stonehawk + Tim Kellaway + Liam Green Enmore Theatre, Sydney Les Claypool Hamilton Station Hotel Danny Green v Roy Jones Jr (boxing) Lass O’Gowrie Hotel, Newcastle Leed Fiends + The Owls Lizotte’s, Lambton Benjalu + Zoe K and the Money Shot Band + Mark Wells + The Stick Up Kids + Jay Walker View Factory, Newcastle Laneous and the Family Yah Wickham Park Hotel Merewether Fats

Thursday, Dec 3 Cambridge Hotel, Newcastle Die! Die! Die! + Wandering Bear Grand Junction Hotel, Maitland CJ Shaw and the Blow-Ins Lass O’Gowrie Hotel, Newcastle The Velocettes + The Havelocks + Joanna Leigh + Sarakula Lizotte’s, Kincumber Choirboys + Halfway To Forth Lizotte’s, Lambton Diesel + Asa Broomhall Northern Star Hotel, Hamilton Nick and Liesl Oasis Youth Centre, Wyong In The Wake + One Day At Horrorland + Swallow Your Bride + Spread The Ashes + Bound By Shadows Woodport Inn, Erina The Scare + Cabins

30,31Jan Tim Freedman

Thee Oh Sees

For bookings and information, phone (02) 4368 2017 or visit lizottes.com.au

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r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

Friday, Dec 4 Cambridge Hotel, Newcastle Eddie Current Suppression Ring + Thee Oh Sees + Witch Hats + Crabsmasher CBD Hotel, Newcastle Renaissance Man + Dubsided + Kitsune + Sound Pellegrino + One Love Chilli Lounge, Wyong Harbinger + Super Florence jam + Planet Doyalson RSL Marcia Hines Grand Junction Hotel, Maitland The Re-Mains

King St Hotel, Newcastle Bang Gang DJs Lass O’Gowrie Hotel, Newcastle The Pornskas + Leatherfeather + Psycho Pucko Lizotte’s, Lambton Diesel + Asa Broomhall Lizotte’s, Kincumber Wendy Matthews + Halfway To Forth The Loft Youth Centre, Newcastle A December Truth + Rosevelt + Room 24 + Searching Within + Drown The Armada + Crystal Cove + The Heartfelt Promise + The Shivering Indies + Ava Flyway Sydney Opera House Moby View factory, Newcastle Grandmaster Monk Wickham Park Hotel Kamakazi Cowboys Woodport Inn, Erina Mark Dynamix

Saturday, Dec 5 Barrington Tops Subsonic Music Festival w/ Salmonella Dub + Tijuana Cartel + Jamie Jones + King Tide + more Cambridge Hotel, Newcastle Dropsaw + Relentless + Violence + Taken By Force Chilli Lounge, Wyong Drown The Armada + Few And Far Between + Mercify + One Day At Horrorland + Overthrown Domain, Sydney Homebake Doyalson RSL Mick Meredith + Ryan Meeking and the Few Grand Junction Hotel, Maitland Rapskallion Hamilton Station Hotel Sydney City Trash + Crashing Planes + Local Resident Failure Hope Estate Fleetwood Mac + The Verses Hordern Pavilion Dream Theatre Lass O’Gowrie Hotel, Newcastle Within The Crypt Lizotte’s, Lambton Diesel + Halfway To Forth Old Pub, Woy Woy Dan Granero Royal Inn, Waratah Caleb Skips Chemistry + Shivering Indies + COTA Wickham Park Hotel The Dennis Boys Band

Sunday, Dec 6 Gallipoli Legion Club, Newcastle The Middle East + Emma Russack

Grand Junction Hotel, Maitland Milestones Hamilton Station Hotel Crater Face + Revived, + Taken By Force Lizotte’s, Lambton Wendy Matthews + Halfway To Forth Premier Hotel, Broadmeadow Steve Edmonds Band Queens Wharf Brewery, Newcastle Dubbly The Rhythm Hut, Gosford Mihirangi Toukley Golf Club The Rollercoaster Blues Band Wickham Park Hotel Mark Wells + Darren Jack

Monday, Dec 7 Lizotte’s, Kincumber Paul Dempsey Metro Theatre, Sydney Jarvis Cocker

Tuesday, Dec 8 Cambridge Hotel, Newcastle Industrious Lizotte’s, Kincumber Fernando Aragones Lizotte’s, Lambton Axis of Awesome

Wednesday, Dec 9 Cambridge Hotel, Newcastle Buzz Deluxe Grand Junction Hotel, Maitland Bob Log III Hamilton Station Hotel The Playtapes + Truth Ruby + Candy and the Full Moons Lass O’Gowrie Hotel, Newcastle Tad Poedee + Barry March + Danny Sullivan Lizotte’s, Kincumber The Church + Mark Moldre Lizotte’s, Lambton Monsieur Camebert Metro Theatre, Sydney Patrick Wolf + Crocodiles Northern Star Hotel, Hamilton Ngariki Wickham Park Hotel The Havelocks + Bye Bye Birdy

Thuesday, Dec 10 Grand Junction Hotel, Maitland Mihirangi Lizotte’s, Kincumber Diesel + Halfway to Forth Lizotte’s, Lambton The Church + Mark Moldre Wickham Park Hotel Rory Ellis

Friday, Dec 11 Acer Arena Green Day Blush Nightclub, Gosford Children Collide + Bright Yellow Cambridge Hotel, Newcastle Paul Dempsey Chilli Lounge, Wyong Brut 66 + The Arlequins + The Clap Croation Club, Newcastle Kevin Blechdon + Alps of New South Wales Doyalson RSL Short Stack Enmore Theatre, Sydney Animal Collective + Bachelorette Grand Junction Hotel, Maitland Ooh La La + The Owls Lass O’Gowrie Hotel Yae!Tiger + Heartattack and Vine + Mornings Eleven Lizotte’s, Kincumber Diesel + Halfway to Forth Lizotte’s, Lambton The Church + Mark Moldre The Loft Youth Venue, Newcastle Loaded w/ The Vaine + Missouri Breaks + Pat James + Urban Freeflow + Clik + Soul Purpose + North Of The Border Stag and Hunter Hotel, Mayfield Amy Vee Sundowner Breakwall Tourist Park, Port Macquarie FOTSUN w/ Spiderbait + Little Birdy + The Beautiful Girls + Children Collide + Urthboy + Pez + Philadelphia Grand Jury + Bob Log III + The Wilson Pickers + Grant Walmsley & The Agents Of Piece + Bonjah + Red Ink + Chris Pickering + Eliza Ellen + Purple Sneakers Wickham Park Hotel Milestones Woodport Inn, Erina Nino Brown

Canvas Kites

Bob Log III + The Wilson Pickers + Grant Walmsley & The Agents Of Piece + Bonjah + Red Ink + Chris Pickering + Eliza Ellen + Purple Sneakers Woodport Inn, Erina Highway To Hell

Sunday, Dec 13 Big Top, Luna Park Lamb Of God + DevilDriver + Shadows Fall Chilli Lounge, Wyong Blatherskite + Spread The Ashes + Red Bee + Kill Crotty Doyalson RSL Paul Dempsey Grand Junction Hotel, Maitland Ngariki + G. Numan Hamilton Station Hotel Funky Farmer + Mick Ferfoglia + Jen Buxton Lizotte’s, Kincumber The Songbirds Lizotte’s, Lambton Richard Clapton + Halfway To Forth

Tuesday, Dec 15 Lizotte’s, Kincumber The Songbirds Lizotte’s, Lambton Katie Noonan and the Captains

Wednesday, Dec 16 Cambridge Hotel, Newcastle Mucho Machina Lass O’Gowrie Hotel, Newcastle The Fuji Collective Lizotte’s, Lambton Bob Corbett + Nick and Liesl Woodport Inn, Erina Ajax

Thursday, Dec 17 Cambridge Hotel, Newcastle The Pictures + The Ride Ons Grand Junction Hotel, Maitland The Beards Lizotte’s, Kincumber Dr Goodvibe Lizotte’s, Lambton Jon Stevens + Daniel March Oasis Youth Centre, Wyong Mourning Tide + Deez Nuts + The Ghost Inside + Mark My Words

Saturday, Dec 12

Friday, Dec 18

Acer Arena Green Day Big Top, Luna Park Lamb Of God + DevilDriver + Shadows Fall + High On Fire cambridge hotel Reverb Xmas Party w/ Red Riders + Canvas Kites + Fear Of Monsters + The Bastilles Chilli Lounge, Wyong 4th Street + Tranzphat + Outsane Doyalson RSL Paul Dempsey Grand Junction Hotel, Maitland Brothers Grim and the Blue Murders Iguanna, Gosford Bang Gang DJs Lass O’Gowrie Hotel, Newcastle Bitchcraft + Motherlode + Sandpaper + The Rodgers Lizotte’s, Kincumber Diesel + Halfway to Forth Lizotte’s, Lambton Richard Clapton + James Chatburn Sundowner Breakwall Tourist Park, Port Macquarie FOTSUN w/ Spiderbait + Little Birdy + The Beautiful Girls + Children Collide + Urthboy + Pez + Philadelphia Grand Jury +

Cambridge Hotel, Newcastle Of The Red Sea + Paper Prophets + Alter Ego Mania + The Owls Grand Junction Hotel, Maitland Muzzy Pep + The Stiffies Lass O’Gowrie Hotel, Newcastle The Zillers + VAMP + CentreSection + Jet To Vegas Lizotte’s, Kincumber Diesel + Halfway to Forth Lizotte’s, Lambton Jon Stevens + Benjalu Queens Wharf Brewery, Newcastle Mark Walton + Jimi Polar + Matt Saxon + Surian Wickham Park Hotel Johnny Gretch & the Wasted Ones Woodport Inn Erina Steve Edmonds Band

Saturday, Dec 19 Cambridge Hotel, Newcastle Crystal Cove Chilli Lounge, Wyong Blatherskite + Red Bee + Spread the Ashes Davistown RSL Ian Moss + Wes Carr

Lass O’Gowrie Hotel, Newcastle Dirt Track Demons + Catfish Soup Lizotte’s, Kincumber Diesel + Halfway to Forth Lizotte’s, Lambton The Sheila Sessions w/ Beccy Cole + Chis E Thomas + Kate Ballantyne View Factory, Newcastle The Woohoo Review

Sunday, Dec 20 Chilli Lounge, Wyong Sarakula + Taos Grand Junction Hotel, Maitland The Lairs Lizotte’s, Kincumber Diesel + Halfway to Forth Lizotte’s, Lambton Bondi Cigars

Tuesday, Dec 22 Lizotte’s, Kincumber Richard Clapton + Mark Wilkinson

NEWCASTLE Don’t forget — Live & Local every Wednesday night 6 Dec 8 Dec 9 Dec 10,11Dec 12,13Dec

Wendy Matthews Axis Of Awesome Monsieur Camembert The Church Richard Clapton

15 Dec 17 Dec 19 Dec 20 Dec 23 Dec

Katie Noonan Jon Stevens The Sheila Sessions Bondi Cigars Grant Walmsley & The Agents Of Peace

Wednesday, Dec 23 Cambridge Hotel, Newcastle Cotton Sidewalk + The Evening Son Lass O’Gowrie Hotel, Newcastle Rein Rom + Renny Fields + Joram Lizotte’s, Kincumber Richard Clapton + Halfway To Forth Lizotte’s, Lambton Grant Walmsley and The Agents of Peace

Saturday, Dec 26 Croatian Club, Newcastle Castanets Woy Woy Leagues Club Steve Edmonds Band

27 Dec Mental As Anything

29 Dec Jeff Martin 30 Dec Floyd Vincent & The Child Brides 31 Dec NYE BASH Kevin Bennett & The Flood

Sunday, Dec 27 Kent Hotel, Hamilton Steve Edmonds Band Lizotte’s, Kincumber Mike McCarthy Lizotte’s, Lambton Mental As Anything

2 Jan 6 Jan

Tuesday, Dec 29 Lizotte’s, Lambton Jeff Martin

Wednesday, Dec 30 Lizotte’s, Kincumber Jeff Martin Lizotte’s, Lambton Floyd Vincent and the Child Brides

Andrew Winton The Folkoholics & Nano Stern 7 Jan Borich & Borich 8 Jan Amber Lawrence 9, 10 Jan James Reyne 13 Jan Ash Grunwald 14 Jan Ember Swift 16 Jan The Badloves 22 Jan James Morrison 23,24Jan Ian Moss 28,29Jan Tim Freedman 30 Jan Austen Tayshus

3 Feb

Chase the Sun

The Mcclymonts

For bookings and information,

Thursday, Dec 31

phone (02) 4956 2066

Chilli Lounge, Wyong Bug Girl + Nik Fish + Amber Savage Grand Junction Hotel, Maitland Chase The Sun Lizotte’s, Kincumber Floyd Vincent and the Child Brides Lizotte’s, Lambton The Flood Wickham Park Hotel Milestones + Ngariki

or visit lizottes.com.au

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r e d rid e rs

“When I wrote [the lyrics] for Replica Replica, I was going out to all those indie dance nights…

It felt like I was a part of that world and that was the zeitgeist.”

Songs From The City The timeless sound of Red Riders’ second album, Drowned In Colour, could prove it to be the Australian release of the year. Before the Sydney band’s fast-approaching performance at Reverb’s Xmas Party, Nick Milligan caught up with vocalist Alex Griggs.

When Red Riders emerged from Sydney’s indie club culture in 2006, they represented the fervent lust for life that had been bubbling in the city’s suburbs for some time. A love of shoegaze and 80s punk was also evident in some of their associates, like Faker and Expatriate.

When Red Riders’ anthem ‘Slide In Next To Me’ exploded on Triple J, it was clear that the youth of Sydney’s fast-living, hard-partying lifestyle had spilled into the mainstream.

The children of the night had come out to play.

Three years later Red Riders returned, bringing with them a member of The Vines, and delivered an album that seemed to stand firmly in the daylight, fresh from [at least] a few hours sleep. Radiant guitar parts and Alex Grigg’s dynamic, brooding vocal approach signified Red Riders’ growing maturity. Taking queues from Australia’s masters of the timeless pop-ballad [The Church, The Triffids, The Go-Betweens et al], Drowned In Colour is a startlingly encapsulating listen, and is likely to remain so as decades pass.

“It’s so hard to know if I’m older and out of touch, of whether [the scene] is different,” explains Griggs, wistfully. “When we started there was so, so little going on. It was early 2000s. It was just post the whole ‘dance thing’. People were slowly getting back into live music. The Strokes had happened and The

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Vines had just happened. [In Sydney] it felt like all the bands, no matter what style, were all playing together in the one scene. It was such a little scene. We’d play shows with Kiosk, The Scare, Faker, Expatriate, Dappled [Cities] and all of these bands that have ended up going off into their own little niches. Now things are way more fractured. There’s a lot of different scenes. There’s the indie scene, the underground garage scene and the more mainstream scene.

It’s gotten bigger and in a way, it’s lost some of its original camaraderie — that small community feeling. Because it’s more fractured, it’s harder to make an impact. The audience is spread across a lot of genres. But there’s still really good stuff happening. There’s good local bands like Circle Pit, Royal Headache, Bearhug and Canvas Kites. But now I think it might be harder for bands to take that next step.”

Red Riders’ core group of Griggs on vocals, bassist Mathew Chapman and drummer Thomas Wallace remain, but after the departure of guitarist Adrian Deutsch, who left to pursue solo work, an opportunity for Vines bassist Brad Heald opened up. Switching to the role of guitarist in Red Riders has proven to be a genius move, with Heald’s shimmering, concise parts taking the band’s sound by the throat and leaving an indelible mark.

The groups that inspired the sound of

Drowned In Colour all share an inexplicable sense of Australian identity. This more considered approach to songwriting — the creation of spacious atmosphere, rather than the hurried, claustrophobic production of previous Red Riders songs, like ‘A.S.P.I.R.I.N’, seems to convey the band’s more settled lifestyle.

“The world is so connected now and it’s so international, that I don’t think things happen necessarily in really localised ways,” says Griggs. “But with Drowned In Colour, I wanted to capture some of that quintessential Australian-ness of some of those late 80s bands like The Go-Betweens and The Church.

The bands that tapped into something that feels Australian in an indescribable, ephemeral sort of way. But so much of the lyrics of this album, and what it’s concerned with, are about being in your mid-20s and living in a city like Sydney, playing in a band and the pointlessness of going out all the time. Questioning the whole point of this ‘thing’. There’s something very urban about the music and the lyrics.

A friend of mine said that Drowned In Colour reminded him of early You Am I records, not so much in sound, but in the way that those albums were full of [themes] of being in a band, being broke and living in a city’s suburbs.”

The cohesive and considered approach to Drowned In Colour can be attributed to Griggs

feeling more comfortable and confident in his own skin. “I felt a lot more relaxed this time around being myself. When I wrote [the lyrics] for Replica Replica, I was going out to all those indie dance nights and going out all the time.

It felt like I was a part of that world and that was the zeitgeist. This time I didn’t feel bound to any ideas. I felt a lot more freedom to be ourselves. The lyrics are more personal, I guess,” says Griggs.

Drowned In Colour’s haunting final track, ‘Farewell Cruel City’, acts as the record’s dark summary. “When we were writing the album, I wrote so many songs. There were some songs, like ‘Ordinary’ and ‘Farewell Cruel City’, which we really liked, but we couldn’t understand how they could be a Red Riders song. How they were ‘us’. Once we started recording, some of these songs became our favourites. [‘Farewell Cruel City’] felt like a really nice way to end the album. There’s obvious reasons, but it’s a nice moment to wind down the album. It just felt like a way to close. It’s about somebody leaving to bigger things and somebody being left behind.

A small town that keeps getting smaller.”

Red Riders perform at the Reverb Xmas Party on Saturday December 12, 2009. Tickets selling fast on Moshtix. Drowned In Colour is out now through Ivy League.

th e pictur e s

Back In The Picture While You Am I may take up most of his time these days, Davey Lane is about to hit the road again with his other band, The Pictures. Stephen Bisset speaks with Lane about indie-rock obscurity and British comedy.

Starting with the obvious, where are you and what were you doing before I rudely interrupted?

Well I’m just at home right now. I’m in the middle of a You Am I tour and we’ve got a couple of days at home and I’m trying to get as much home recording time in as I can, just banging away in the home studio

reception [laughs]. I don’t know, I guess it was a very low-key release, but you’ve gotta roll with the punches, as Diamond David Lee Roth said. For us, to have a record out kind of facilitates us touring and we’re really proud of the record and if we sell out and maybe play to 20 people a night and turn on one or two people to our record, it’s been worth it.

And putting your feet up a little bit as well, I imagine?

A little bit, yeah. The first beer of the day has been cracked.

With the album, do you think you guys have captured the energy you have on-stage and if so, how important is that to The Pictures?

Well I think that this record, because it was just myself and Luke for the most part, seems to be more of a studio project than trying to capture any particular live energy. On the album we had a couple of friends play drums and I played drums on a couple of tunes too, so the album was very much born in the studio. I think our next record, when that eventually happens sometime next year, we’ll probably just say ‘fuck it’ and it will be more about performances and keeping that live energy

So how does it feel to be getting busy again with The Pictures?

Well to me it’s kind of a huge weight off my shoulders because for most of last year I was wondering if we were ever going to get busy again. But yeah, I’m just really stoked that we’re able to get in the Tarago and travel around and play again, because these days it’s becoming a rarer and rarer a treat for us.

Are you happy with the reception the band has been getting for Kicking Indifference and [first single] ‘Give It Some’?

Well I’m not sure if they have been getting a

I’ve got to say I love the cover of ‘Isolation’, as The Mighty Boosh is possibly the best show on television. Are there any plans to

songs and he goes, ‘ Oh, that would be fantastic.’ So I got home and thought ‘yeah, fuck it, I’m going to do it’ and I recorded it and sent it off to him and I got a lovely email back from him telling me he loved it, which was great. But yeah, comedy is as much an influence on me as music. I guess next time around we’ll probably cover the Faulty Towers theme tune or something.

I wanted to finish with the obligatory putyou on the spot question. What’s the one thing you’ve never been asked in an interview that you wish someone would?

I don’t know. I’ve never been asked any specific questions about lyrics that I’ve written so I guess that would be something new and exciting for me. include any more Boosh songs in the set?

Maybe some crimping? [laughs] No, I think we’ll be steering clear of the crimping. But [the song] came about just by chance as they [The Mighty Boosh’s Noel Fielding and Julian Barratt] came to a You Am I show and we had the chance to meet those guys and I told Julian who plays Howard Moon that I was thinking of covering one of his

Alright, so where do you get your inspiration from lyrically?

I’m not going to tell you [laughs]. See I always write music first and the lyrics come later and they can either be a joy to write or like pulling teeth, but they’re usually pretty abstract.

The Pictures perform at The Cambridge Hotel on Thursday December 17, 2009.

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D e ad l e tt e r circus — wa n d e ri n g b e ar — talki n g shop

Profiling music industry professionals with Jess henderson

Talking shop This month we talk to Damian Cunningham, the man behind the great musical acts that appear at the Peats Ridge Festival.

Who do you work for?

Independent contractor working mainly in the music festival industry.

Current position title?

Music Manager for Peats Ridge Festival How long have you been in this position?

I have been with Peats Ridge for six years, since the start of the festival.

What are the main responsibilities of your position?

Booking, programming and managing the artist services for all the musical acts that appear at the festival.

How did you get involved in the music industry?

Like most people in the music industry through an unexplainable fascination and love of music. I was involved with bands and events from an early age at school and then at university in the UK. which progressed into what I do now. I have had some lucky breaks along the way.

Proudest moment?

A tough [question] as there have been so many, but a real highlight was the 2008 Peats Ridge Festival after the cancellation of the 2007 Festival. To get the festival back and to be an amazing success was a proud moment.

Is there anyone you would really like to meet [living or dead]?

Dinner on King Street with Nick Drake, John Lennon, Stephen Fry and Jools Holland.

Best live show you’ve been to?

This year would have to be Passenger at the Oxford Arts Factory.

Favourite venue?

The Fridge in Brixton.

Favourite musical instrument?

Computer… yes, a sign of the times I know!

Free plug — who should we be listening to?

Peret Mako.

What would be on your ultimate rider?

Coopers Green...the simple things in life are good.

Best way to spend a Sunday morning?

Playing/listening to and writing electronic music.

Any advice for people trying to break into the industry?

Volunteer and get as much experience as possible...work hard then work harder! Get noticed for what work you do and not for the work you want to do. People around you will take notice if you do well and want you back and that’s where the breaks come.

The Peats Ridge Festival happens from December 29-January 1 at Glenworth Valley.

Check out the great acts appearing at: www. peatsridgefestival.com.au 32

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the dead rise Dead Letter Circus are locked away in a studio working on their debut album, but will take a break to perform on New Year’s Eve at the Queen’s Wharf Brewery in Newcastle. Nick Milligan catches up with singer Kim Benzie.

You’re working on your debut album — are you writing with the stage in mind or are you happy to create a studio record?

After we get back from a tour I always find that I’m more inclined to lean towards the more ‘pumpy’ ones and the less atmospheric.

I would like to write a more atmospheric track, but right now, I’m just picturing the mosh-pit vibe.

Are you going to push yourself vocally on this album?

A few times I’ve set the bar too high and everything can feel a little too far out of my natural vocal range. There was a time when I

thought maybe I should tone it down and make it easier for myself live. But now I think fuck it, a song’s a song. You’ve just gotta go for it. You get a lot of intensity out of the rougher register, when you’re straining to tell the intense story. But I’ve got a broader scope too — I’d never really worked on the bottom end of my range. [My voice] was getting higher and higher and reaching for other things, but I’ve developed a rounder scope of what I can do now.

2009 has been what sort of year for you guys?

It was the year we realised that [music] is going to be our life. It’s there for the taking if we want to do it. We’ll have the chance to be one of the few professional bands getting around Australia. We went to America and everyone peaked out over the sound — there’s nothing like it over there.

We’ll probably be heading back over there in March. But we got a real thumbs up from Australia. Everyone loves the band. Our last

tour we did, it reminded me of when we toured with Karnivool and I saw the way that the fans were loving the band — more the songs than the band. But [we’ve] really gone to new levels. I thought people would have gotten sick of us, but they seem really hungry for more.

You played some showcase shows in America?

Yeah, we actually played a song for P Diddy.

That was pretty surreal. He’s not really a big dude, he’s quite a little Diddy. In America they’ve got these giant ten storey billboards — the whole of the building is one billboard — and every day we’d been driving past this massive P Diddy and saying, ‘That is a big fuckin’ Diddy.’ Then the real Diddy was in front of us and he looked like this nerdy little guy in golfer clothes.

Dead Letter Circus perform at the Queen’s Wharf Brewery on New Year’s Eve with The Living End, Children Collide and Benjalu.

BEARING ALL Instantly wowing audiences with their off-kilter pop arrangements and innate sense of musical innovation, Wandering Bear are a band you need to discover. Quickly.

Nick Milligan chats with drummer Sean Cook and guitarist and covocalist Chris Lawrence.

How do you describe your sound to folks who haven’t heard you before?

Sean I usually find it fairly hard describing our sound. Our music is kind of split into different elements that all have an equal part.

Saying we are indie/pop won’t really cater for everything we stand for because we use a lot of experimental ideas and like to mess around with structures a fair bit. I usually just joke around and say we are heaps metal or something, then if they don’t laugh I’ll try to explain what we’re all about.

Tell us about your musical influences and which bands inspire you.

Sean I think we are influenced by bands that can be experimental with their music but still end up being fairly pop. Bands like Animal Collective, Maps and Atlases and Foals are pretty good examples of what we try to achieve, but we also like some crazier stuff like Don Caballero, Hella and Battles. Like most Newcastle bands, we also grew up listening to metal and I think that definitely

has an influence on our song structure.

What are some of the subjects that Wandering Bear cover in their lyrics?

Chris We like to keep our lyrics fairly vague.

We’re not the band who can say directly what their songs are about, but we do have themes that run through our songs. We are pretty optimistic people and I think that comes through in our lyrics a little bit.

How did the band come together?

Chris I met Sean and Andy [Woodward, guitars, lead vocals] when we played in a high school metal cover band in 2004. After their band split in 2007 we decided to get together again and make something new with Mitch [Elliott, bass].

When you guys formed, did you have a clear idea of how you wanted to sound?

Chris We had some elements of our songwriting that we started with and still use today, but our sound actually took a long time

to develop. We knew we didn’t want to write straight pop songs, but it took us a long time to write songs that we were really happy with and that came naturally. There’s probably thirty or forty songs that we wrote and don’t play anymore.

What’s the songwriting process in the band?

Sean Our songwriting is almost always done over the internet. Sometimes we will come up with ideas at practices but the songs are written on our computers. I do the bulk of the music and Chris tends to focus on vocals, but it’s a pretty collaborative process.

Have you guys set yourselves goals for 2010?

Chris: We definitely want to record more music in 2010. Apart from that we will just be playing gigs in new places, writing new songs and generally working on becoming a better band.

Head to myspace.com/bearwandering to hear some tunes.

philad e lphia gra n d jur y — urthbo y

THE JURY IS IN

So what are you up to at the moment?

Well, we’re currently driving a 12-seater bus full of all of our gear and we’re gonna drive this thing all the way to Sydney.

So you’re essentially halfway through the album tour now, how’s it all going? Are you happy with the response you’ve been getting from punters?

Yeah, we just completed Queensland and it was all sold out apart from the Gold Coast, which is always tough on a Sunday night, so yeah it’s been really good. When we started off the tour we didn’t really have enough money to do the tour, because obviously you have to put up a lot of money at the front, so we weren’t really sure how it was going to go.

But so far everything has been really great.

The crowds have been awesome.

And it seems the album has been creating a little bit of a buzz as well.

Yeah, it’s been really good. I mean obviously

Philadelphia Grand Jury are riding high. With their song ‘Going to the Casino’ providing the sonic backdrop to the recent Underbelly sequel and the debut album Hope Is For Hopers causing pundits to scratch their heads in wonderment, things couldn’t be much better.

Stephen Bisset catches up with Berkfinger [aka Simon Berckelman] somewhere on the New England Highway. we’ve never done a real release before and so we had to see what the reviews were and while I don’t really pay too much attention to reviews, from what I’ve heard most people seem to like it. No one has seemed to diss us too hard, so that’s good. Also it’s really cool to go to venues on the other side of the country and have people singing the lyrics to your songs.

You guys are getting a bit of a reputation for your live shows. With the album did you want to hold some of that energy back to kind of surprise people when they saw you on stage?

Yeah it’s kind of a separate entity, because out live show is usually pretty insane and I don’t think you could capture the madness.

The technology doesn’t exist yet?

No, definitely not. You have to see us sweating and jumping around and stuff; I just don’t have the microphones that could record that.

Maybe if we released a live DVD or something.

REVOKING THE PAROCHIAL Tim Levinson must be ruing his luck. He has just completed the 27-date national Spitshine tour after being forced to complete the last three shows on crutches. He suffered a mishap with his ankle towards the beginning of the tour, and now the same injury on the other one at its conclusion. The irony is rife, and Levinson has sagely realised the virtues of taking care of one’s self on the road. “On one level it’s been raucous but on another it’s been mad disciplined and focused,” says the MC. As Levinson explains, the somewhat more sensible approach has additional benefits.

“These days we’re making a big effort to hang around at venues during the night, not just hang backstage, do our show and clear off.

We’re working on the merch desk and talking to people. It can be kind of exhausting but if you’re not hung over every night, you generally have a bit more tolerance for it.

Those are the most rewarding parts of the night in a lot of ways.”

The inadvertent motivation behind the focus on interaction with punters is obviously the uproar surrounding The Herd’s withdrawal from Mackay’s Coal To Coast festival in September.

The group was roundly castigated, with some of

the harshest criticism coming from their own fans.

Levinson breaks down the myths surrounding the controversy. “It’s very illuminating — the way that the green groups attacked us was by circulating mass emails. The language used was very emotional, along the lines of ‘traitors’.

I found it interesting that people who call themselves our fans would respond in such a way without knowing the details. In another way the feedback was good because it did point out a few things about the show that we weren’t privy to.”

The show in Mackay, as part of his solo Spitshine tour, also presented Levinson with an infrequent sensation. The esteemed MC was apprehensive about hitting the town which had just recently been the centre of the animosity directed The Herd’s way. “It’s something I wouldn’t really volunteer for, to go to a town where we had some controversy weeks before, but I find it was a really good opportunity to go and ‘face the music’ so to speak.”

Playing regional shows around Australia is but a single testament to the ever-increasing popularity of hip-hop music and culture locally. When reflecting on the direction thus far and hypothesising about future developments of the hip-hop juggernaut,

But yeah, we decided we had to go somewhere different with the album and give a little bit more depth to the sound and hopefully we’ve done that.

How much of an impact do you see things like being Unearthed by Triple J and getting songs featured on Underbelly having on your exposure?

Well it all must’ve helped in some way. I guess it’s kind of a foot-in-the-door kind of thing.

Getting anything on Triple J always helps getting your name out there and their support has been great. The Underbelly thing was particularly good for the families because at Christmas and stuff when relatives say, “Oh, you’re in a band” kind of sarcastically, and you say, “Yeah we had a song on that Underbelly show”, they’re like “Oh cool, I know that show”, so it kind of legitimises the whole enterprise [laughing].

Since the band has taken off, have you

found that your skills as an engineer are now in more demand?

Yeah, definitely. Although now, ironically, my availability as a producer has become less and less because I’m always on the road with the band. But it’s good because now I’m able to say no to people I can focus on projects that I want to do, whereas in the past I just had to take everything that came my way.

So what’s next for Philadelphia Grand Jury?

Any tasty tidbits or scoops to divulge?

It’s funny because I keep forgetting what we’re actually allowed to divulge [laughs]. But at this stage we’re looking at going over to either England or America sometime next year. So right now we’re just trying to get some money together to go somewhere. I’ve already been to America on holiday though; I really want to go to England.

Philadelphia Grand Jury play Festival of the Sun, Port Macquarie, December 11-12, 2009.

Urthboy — Tim Levinson to his mum — is an anomaly amongst a culture against which accusations of vapidity are often levelled. This critically- acclaimed Sydney MC is frequently touted as an unofficial social commentator.

Cameron Clarke recently caught up with Levinson, discussing the escapades and insights of a national tour.

Levinson prefers objectivity. “Rather than have some sort of theory, I would just point to all the facts about the different headlining groups now and the acts whose records are charting.

Not least of which, playing a lot more regional areas, 1000 kilometres out of major cities.

Kids there are just finding hip-hop now and that is a massive shift.”

Though this is undoubtedly a positive development for the culture in Australia. It also brings about some intriguing deviations and alternately radical schools of thought.

Increasingly, tracks are being founded upon a rejection of hip-hop from the United States and an undercurrent of patriotic fervour.

Levinson discusses the phenomenon with perspective. “I’m hearing words like ‘aussie pride’ used in more and more songs. Young artists get out there and think that’s a good way of appealing to a demographic. ‘Aussie pride’ is a catch-cry for racist groups, make no mistakes, that’s just a fact. Artists need to understand that they have a position of responsibility.”

Urthboy performs at the Festival Of The Sun, Port Macquarie, on December 11 and 12, 2009.

Spitshine is out now through Elefant Traks. r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

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titl e ru fashio nn s—h photograph ere y by rya n n i x

Ocean Song Natalie wears 2K ‘Wedding Album’ tee $70, Levis 501 denim shorts $99. Dylan wears Vanishing Elephant ‘Bow Pocket’ tee $70, Dr Denim ‘Snap’ Jeans $125.

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fashio n — photograph titl y eb yru rn y as nh n e ri x e

above Demonia FU Handbag $59.95. Demonia Wave-302 platform boots $169.95.

Dylan/Malmo Check Shirt $110, Dr Denim ‘Sam’ Shorts $105, Libertine Belt $49. Natalie/ Wish ‘Monet’ Dress $110, Talulah ‘Runaway’ Belt $110 & Talulah Cuff $79

right Lace up Fairy top $44.95. Mortisha stretch skirt $49.95 (both items available up to size 24).

Pewter spider necklace $29.95

right Corset-lacing velvet jacket $89.95.

Backless Victorian bustle dress $89.95. Demonia Charade shoes $119.95.

above Skitta Designs “Cat’s Revenge” tee $39.95. Custom Bondage miniskirt prices from $79.95. Custom dread falls priced from $79.95. Australian-made leather cuffs, collar and belt by Libertine Leather. Collar $49.95. Cuffs from $39.95. 2-Row Pyramid Belt $59.95.

Natalie/Minkpink Tank $29, Staple Pant $79, Condura Hat $30, Disney Couture ‘Magic Castle’ Necklace $130 +‘Pixie Hollow Acorn’ Necklace $95, House Of Harlow Cuff $110 + Aztec Bangle $129. Dylan/Flux ‘Black Heart’ Tee $80, Cheap Monday ‘Slim Chino’ $90, Vanishing Elephant ‘Felix’ Leather Shoes $220, Toby Jones Necklace $110

Photography by Ryan Nix. Hair by Wade Ambler. Make-up by Jes O’Brien. Styling by Abicus. Modelling by Natalie Jayne and Dylan Oakes.

All clothes available at Abicus Fashion + Music, 124 Darby Street, Cooks Hill, NSW. Phone 0249297278. r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

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g e n e ral motori n g

reviewed Golf GTi reviewed by Peter Douglas

No Handicap Volksie has been cranking away at the Golf GTi for over 30 years, starting with humble beginnings back in the 1970s and moving through a succession of rather boring GTis until the fifth generation came along a few years back with more (turbo) power. It was a corker and set the groundwork for generation six, that’s just come out at roughly the same price — starting at $38,990 for the three door manual variant. The sharp pricing regime is partly due to a reduction in our tariff schedule that comes down five per cent for passenger cars on January 1, 2010. Lessons learned with gen’ five GTi have carried through to the new model, which has more of everything we have come to love about the compact German hot hatch.

Power is up from 149kW to 155kW and there’s a tricky locker diff’ for improved cornering grip and drive out of corners. The brakes are bigger and better, the chassis is stronger and there are more tricky options, like dynamic chassis control that offers a number of ride alternatives including sport (hard), sharper steering and quicker throttle action — for when you are hyped and in a hurry.

But the essentials that made the previous model such a success remain — it’s a civilised hot hatch that can’t match the turbo rice

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burners for outright grunt, but is a much more rewarding drive and a car that can easily be used every day and then trotted out for some fun at a track day.

Golf GTi has proven that you simply don’t need all wheel drive and 200 plus kilowatts to go fast safely. Three door and five door models are available and there’s a choice of six-speed manual or optional six-speed Direct Shift Gearbox (DSG) — manu-matic as we like to call it. VW has access to a seven-speed DSG but held back in the new GTi. DSG costs an extra $2500 and we would recommend you tick that particular box if you can run to the extra dosh. It absolutely, positively makes the car sing and there’s a real cool exhaust pop on the upchange like a WRC car, just to heighten your experience behind the wheel.

It has 17s as standard and they are fine, but if you must have 18s it costs extra and you lose some ride comfort while gaining a bee’s dick in steering sharpness and cornering speed.

Spend more money for leather, xenons, rear view camera, audio upgrade, satnav and the price will quickly escalate to around sixty grand.

But apart from the DSG, you don’t really

need all the optional goodies because the car in standard form is impressive enough. Let’s just add that the three-mode adaptive chassis control is worthwhile too.

VW could have gone all out and cranked the new direct injection GTi up to 200kW, but they kept a lid on it to improve fuel economy, reduce emissions and boost driveability. Torque output remains the same as the previous model at 280Nm delivered at low engine revs.

Another reason for keeping a lid on GTi’s power is that the new R32 Golf ain’t a V6, it’s a 200kW four pot with all wheel drive and probably the seven-speed DSG. Arrival time is some time in the new year.

No price details yet.

We had a good old crack at the five door GTi with DSG and dynamic chassis control last week down through the Royal National Park south of Sydney, up Macquarie Pass west of Wollongong , stopped for a “dogs eye” at Robertson Pie Shop, then drove down Jamberoo Pass and back up the freeway. We couldn’t resist a final blast up the Old Pacific on the way back to Newie. But watch out for the rozzers. The five hour run is a drive definitely worth making if you jag it traffic free.

It was GTi territory and the car proved fault­less even in the tight hair-pins and long

bumpy sweepers on the drive loop.We dialled up Sport for the quick, tight stuff then stepped it back to Comfort for the transport sections on the freeway. It has heaps of grunt from idle right through to the 6500rpm redline and turbo lag is pretty much non-existent.

The paddle shift provides rapid-fire changes up and down the range without taking your hands off the wheel. Heavy braking in sequence doesn’t cause brake fade.

From a creature comfort perspective, the audio system is ballsy, the controls easy to use and the seats have large side bolsters to hold you in place.

GTi scores a five star crash rating and has seven air bags and ESP [stability control] — that isn’t too pessimistic like some.

Adequate room for four adults is provided inside and the boot is a good size.

We really like GTi’s look — it says “piss off” when you see the grille in your rear view mirror and though a rather boxy hatch, it’s been sexed-up with a mild aero kit, the cool wheels, lower ride height and red pinstriping.

Adding further to GTi’s desirability is a raft of handy goodies like rain sensing wipers, auto on headlights and auto dim rear view mirror.

Would have one in a blink…

tim mi n ch I n — kitch e n complai n t

Tickling the Ivories Perth-born and London-based, Tim Minchin is a man of comedy, music and movement. His stage show is a quirky, passionate and philosophical journey through the ether regions of his creative consciousness and his musical ability is not only hilarious, but also extremely intelligent. Minchin talks about his rise to comedic glory with Jess Henderson.

“The revelation that my music might be more suited to the comedy world came when I did a show at the Melbourne Fringe Festival in 2003...it’s just the coming together of my years of performing, song-writing, gigging and theatre making,” explains Tim Minchin.

Prior to this, the wild-haired comedian was growing up in Perth, playing in cover bands and exploring his artistic endeavours whilst completing a Bachelor of Arts, majoring in English [Creative Writing] and Theatre.

“My family are pretty funny. Mum’s side are pretty loose and certainly think they’re funny.

Dad’s side don’t think they’re funny particularly, which shows great insight…although Dad makes me laugh! My siblings and I giggle like school children when we’re all together — I rarely laugh like a laugh with them!”

Minchin’s unique combination of physical theatre, comedy and music has been winning him accolades worldwide. The last five years have seen him grow from Melbourne’s 40 seat Butterfly Club, to playing the stages of the world — including critically acclaimed performances at the Edinburgh Fringe where he also took out the Perrier Award for Best Newcomer.

“There’s been a lot of memorable shows, as each time you take a step up — in terms of venue size and cred — it’s pretty exhilarating.

My recent shows at the Hammersmith Apollo in London were pretty mind blowing. It seats 3,500 people, but feels strangely intimate. It was a huge thrill to play on a stage which so many amazing acts have played,” says Minchin. “[Although] the more I do [perform live], the less high I am after a show...which isn’t to say the thrill has gone — far from it… but as I get more experienced, I’m less inclined to be bouncing off the walls after each show. I do tend to have a wine in my dressing room while I pack up my make-up, and then I often have 30 or 40 minutes of signing at stage door… I generally don’t get to sleep until three or four hours after curtain.”

Minchin’s journey from cover band crooner to musical comedy genius was the subject of the recently released documentary, Rock & Roll Nerd. “Rock & Roll Nerd was made by one of my best friends [Rhian]. We used to see each other most days when she lived around the corner from me in North Melbourne.

When I started doing solo shows, she thought it might be interesting to see where it took me, so she started bringing a camera when we hung out. It was amazingly low impact,” Minchin explains. “Rhian has good instincts.

She knew when to be around and when to turn the camera on. The doco was made from much less footage than you might expect.

And she was only around for a total of, say, three months in that entire time. But they were the right months. And as we are friends, I wanted to make sure she got the stuff she wanted, so I’d call her up and tell her what was going on. I never thought I’d have a public profile by the time it came out. Naïve of me, perhaps, but there ya go!”

For those not familiar with Minchin’s quirky take on musical comedy, his latest stage show, Ready For This?, explores such themes as the

special bond between redheads, or the ‘goodness’ of the good book. There’s a nineminute beat poem about a hippie named Storm and some seriously warped love songs.

Minchin delivers his idiosyncratic ravings clad in black clothing, bare feett and complete with dark eyeliner and some seriously teased hair. He looks more like a slightly disturbed rock and roll outcast than a performer of the world’s stages, but it’s all part of the act. “I bought the new Roland ax-synth about a week into my last tour and have been playing it in the show ever since. It’ll be in Newcastle,” says Minchin excitedly.

Primarily a musician, Minchin’s talents also extend to theatre, writing and composing. “At the moment, my career is composing again, as I am concentrating on writing songs for a stage version of Roald Dahl’s Matilda for the Royal Shakespeare Company.” On his upcoming trip to Australia, Minchin will also be appearing in the Perth Theatre Company’s Production of An Oak Tree by Tim Crouch. It’s a stage he is not shy of, having played the title roles in Hamlet and Amadeus with the same theatre company many years ago.

Residing in London for the past few years with his wife and two young children, a return home is always an exciting prospect for the Minchin clan. “London is definitely our home, but we manage to get back to Australia several months of each year since we moved.

We’re very lucky… but it’s fucking hard work.”

Tim Minchin plays Newcastle Civic Theatre on Friday February 26, 2010.

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Live reviews Wu Tang Clan Enmore Theatre, Sydney Thursday, October 29

Wu Tang Clan ©Kevin Bull

In what may have been the most anticipated show of the year, legendary hip-hopsters The Wu tang Clan hit Sydney for the first time.

Given that getting the Clan together onstage can be about as difficult as finding a piece of hay in a stack full of needles, the crowd was abuzz with chatter about how much or little Sydney was going to get of the mighty Wu. It was clear from the get go that the crowd was there for Wu Tang and Wu Tang only, with the self-styled ‘King of Crunk’ Lil’ John’s rather enjoyable set met with derisive calls of ‘you’re not real hip-hop’.

Tough crowd.

Finally all myths and rumours were dispelled as the Clan literally burst onto the stage minus Old Dirty Bastard (obviously), Method Man and Cappadonna, but as they ripped into the classic ‘Wu Tang Clan Ain’t Nothin’ To Fuck With’, it seemed that the awesome delivery and presence of the RZA, GZA, Raekwon et al, was enough to carry the absences.

The crowd lapped up the ensuing songs, in particular classic cuts ‘Shame On A Nigga’, and ‘Clan In Da Front’ from their debut Enter The Wu Tang. Throughout the set the Clan paid homage to the departed ODB and performances of the crowd favorite ‘I’ve Got Your Money’ and Wu track ‘Shimmy Shimmy Ya’ had the punters holding up their lighters and chanting ‘ODB’ with gusto.

While they may have started off with a kinetic energy not seen on the Enmore stage in some time, the show quickly descended into a confusing mish mash of Wu cuts and solo efforts by lesser known members, such as U-God, that had some in the crowd looking at their watches. Thankfully, the RZA managed to hold proceedings together, prowling the stage as the adroit hype man proved time and time again that he has more flow than Niagara Falls.

Despite this somewhat anti-climactic ending, The Wu delivered a truly memorable hip-hop show that will surely be talked about for years to come. ~Stephen Bisset

Midnight Juggernauts Cambridge Hotel, Newcastle Thursday, November 5

Midnight Juggernauts ©Mick Mayer

You want hard rocking electronica? You got it.

You want something to dance to? You got it.

That was Midnight Juggernauts this evening, providing nothing but the absolute best in psychedelic rock mixed with friendly 38 r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

electronica, or was it psychedelic electronica mixed with friendly rock? Who cares? The punters absolutely didn’t.

The trio started by ripping out chart favourites from Dystopia that made the walls of the Cambridge heave. Then it was a random dive into a few tracks from their limited release B-side vinyl album. As it got further and further into their set you couldn’t help but get your dancing shoes on, especially when ‘Shadows’ came ripping through the PA with that simple yet so groovy bass line that we all know and love.

Definitely a tech-heads dream — there seemed to be more effects on the stage then there were people in the audience, all used to full effect. Two thirds of the way through the set I had to ask myself, “would it hurt the singer to say hello to the audience?” No matter. Where they lack in crowd interaction they definitely make up for in crowd participation. If that’s all you’re after, then Midnight Juggernauts are not going to disappoint. ~ anthony pollock

Ladyhawke Newcastle Panthers Friday, November 6

Ladyhawke ©Robyn Moore

Don’t believe the hype. This is the advice I’d give to anyone about to encounter Ladyhawke live. Her recorded tracks are undeniably pop.

Sure, they’ve got a nice little vintage twist, but I can’t help but cringe every time those fateful Frenchy lyrics [‘Paris is Burning’ if you’ve been living under a rock] creep through the radio waves – placing us feeble-minded listeners into a seemingly perpetual Ladyhawke haze. Live, however, something much stranger occurs.

Ladyhawke, the pop star, is transformed into Pip Brown, the grungy, tattooed rock ‘n’ roller.

After just minutes of a gig, this unlikely artist commands your respect.

From the night’s spaced-out opening act [The Swiss] to the strategic sipping of beer between songs, Ladyhawke took every measure to assure the crowd that she is a genuine alternative artist. And her efforts were not in vain. With strong, deep vocals, and a slight nervousness to her demeanour, Ladyhawke was chilled and down-to-earth.

She sounded a tad like Gwen Stefani during her No Doubt days, but with a string of impressive covers under her belt including Patti Smith’s ‘Free Money’, she is clearly more deserving of street cred. But this laidback vibe did not descend upon the audience who instead took advantage of Ladyhawke’s more catchy tunes, particularly ‘Back of the Van’ and ‘My Delirium’, to engage in some rather energetic dancing. To this, the venue was perfectly suited. The spacious d-floor and neon lights ensured that the energy was nothing short of electric.

Although, not delivering the squeaky clean pop performance I’d come to expect, Ladyhawke’s set of dirty rock ‘n’ roll exceeded all expectations. ~Lee Tobin

Bitter and Twisted Festival Maitland Gaol Saturday, Nov 7 + Sunday Nov 8

Jack Ladder ©Robyn Moore

Melbourne based VulgarGrad were certainly the most apt band to be playing at a gaol — with their tales of criminal activities, prostitutes and booze. They are all brilliant musicians who play traditional Russian tunes fused with gypsy, punk and ska. Vocalist Jacek Koman has great charisma and a gravel toned voice that perfectly suited his tales of the Russian underworld.

Next up was the ever reliable Afro Moses who never seems to fail to get a crowd up on their feet and dancing. It was a fairly stripped back version of his band that played but they still delivered a full sound and the set focused mostly on his reggae inspired originals as well as some Bob Marley classics.

Headlining the Saturday was Ash Grunwald who had an eager crowd gathered well before he got on stage. For his latest tour he is joined by an MC on electro beats/ bongos and a percussionist who filled out his already rhythmic sound as well as giving it a modern edge. Today he had the audience absolutely going off, especially during crowd faves like ‘Skywriter’ and ‘The Devil Called me a Liar’. ~Mark Snelson & Lee Tobin

Nickelback Acer Arena, Sydney Friday, November 13

Nickelback ©Kevin Bull

Whatever you might say about Nickelback’s originality, two sold out Acer Arenas tell you that there are plenty of true fans out there willing to shell out $100+ to be here. And luckily I am not here to dwell on their songwriting, but rather the performance they delivered this November night.

With a thrust stage that greatly reduced the on-floor capacity, it was clear we were going to get some in-the-round acoustic set midway through the evening. The stage itself is something to behold with nice runways up the sides so Chad can get sweaty with those in the stands, an ‘industrial’ feel with steel piping that are used with the pyro, and a lighting rig made up of separate circular segments that could be lowered and raised.

With a flash of pyro, ‘Something In Your Mouth’ begins a night that is high on the “Wow” factor, and would have given anyone in the Acer a night to talk about. Firstly, Nickelback are big on the pyrotechnics, to the point where it could be said that it was overused. There were flames and fireworks in

nearly every second song. There was a nice nod towards “…the best band in the world…”, AC/DC, the shooting of t-shirts into the crowd using pressurised guns, and a drum kit that moved forward during his solo, rose on a hydraulic riser and spun around. And the crowd reaction to the big hits like ‘Photograph’, ‘How You Remind Me’ and ‘Too Bad’ was deafening.

As a rock concert, you couldn’t have wished for much more. Personally, I would have liked to have seen the thrust stage used more often. Plus, with a lighting rig that could do so much, it was terribly underutilised. Even though Nickelback might write some of the safest rock music going, they definitely know how to present it live. ~Kevin Bull

Kate Miller-Heidke Civic Theatre, Newcastle Sunday, November 15

Kate Miller-Heidke ©Courtney Fitzsimmons

Kate Miller-Heidke’s Novocastrian fan base were every bit as exuberant as the woman herself during her performance at the Civic Theatre, the fifth concert in her Last Day on Earth Tour. She was preceded by two supporting acts, Sydney duo Georgia Fair and Melbourne-based singer/songwriter Megan Washington, who performed with her eponymously-titled band (Kate had obvious admiration for Megan in particular, inviting her back on stage to perform as part of her encore ‘Caveman Days’).

The majority of the audience’s hysteria, however, was reserved for Kate, who took the stage in a suitably eccentric corset and ruffled skirt – she moved seamlessly from quiet and emotionally charged numbers such as ‘Space They Cannot Touch’ (as well as an incredibly brooding minimalist cover of Empire of the Sun’s ‘Walking on a Dream’) to enormous renditions of crowd favourites like ‘Dreams’ and ‘The One Thing I Know’ (accompanied by a box of matches). With the addition of Kate’s humour and spontaneity, hers was an incredible live performance. ~Hugh milligan

Tori Amos Sydney Opera House Monday, November 16

Tori Amos ©David Youdell

Greeted by a loud reception, Tori Amos positioned herself centre stage and gave an elegant bow, and a gesture of ‘giving’ to the audience. Tonight it was just her on piano plus keyboard and organ, and Amos gave a seamlessly perfect performance.

Amos’ music is an emotionally–charged affair. You are there to make the

Live reviews connection, to witness the baring of the soul, to be thought-provoked and be stirred emotionally. A pretty heavy ask, but one that has earned Amos a great number of devoted fans. They feel there is a line of truth within her songs.

Tonight her music is textual, dynamic, melodic. It soars, it breathes, it’s impassioned, carrying her audience away with her majestic playing and singing. After each song the applause is virtually a roar.

The song list covered all periods of her career, with early songs featuring prominently. Some stand-out tracks for me were ‘Blood Roses’,’ Gold Dust’ and ‘Star Of Wonder’, the only song played from her new CD Midwinter Graces.

Stage lighting was used to good effect. It was simply done, using just a handful of colour schemes and a backdrop of fairy lights.

Amos’ emotional music and the lighting were nicely coordinated.

Leaving the concert felt a little like leaving a high class restaurant. The surroundings, the cuisine were exquisite. Not over-fed, not overstimulated — just the comfortable, physically satisfying feeling of partaking in something special. ~Ian Bull

The Buzzcocks The Forum, Sydney Friday, November 20

The Buzzcocks ©Dane Geercke

Owing to a shocking storm and a rather annoying break down on the freeway, I arrived just minutes before The Buzzcocks ripped into their set which consisted of their first two albums Another Music From A Different Kitchen and Love Bites back to back. If the Sex Pistols were the band that made the world stand up and take notice of punk’s shocking fashions and snotty attitude, it was bands like the Buzzcocks and The Clash who backed up these assertions musically.

While age may have wearied them somewhat (especially singer Pete Shelley who looked more Terry Jones than Johnny Rotten) it was clear from the get go that these guys have the pissed off pop thing down to a fine art, and tonight they were in top form. The energy still emanated from classic tunes such as ‘Orgasm Addict’, ‘What Do I Get’ and ‘Ever Fallen In Love’ and spilled out into a mosh that was awash with an almost angry air that recalled some legendary hardcore/punk shows at The Iron Duke some years back Sure, Pete Shelly’s singing might not have been what it once was, his and Steve Diggle’s guitar’s may have slipped out of tune from time to time, but when you go to a punk rock show you want it raw (or at least I do) and The Buzzcocks were about as raw as a freshly grazed knee.

For people who went along expecting to get a nice slice of old school pop punk would’ve left a little shocked as The Buzzcocks proved that they can still do the angry pissed off thing better than most bands half their age. This was a truly great punk rock show. ~Stephen Bisset

The Seabellies + Eulogies Newcastle Leagues Club Friday, November 20

The Seabellies ©Robyn Moore

With candles and fairy lights providing the only source of light as the band members walked casually around the venue, this gig demonstrated just how music should be. The night was absolutely devoid of pretention and gave a refreshing glimpse at how musicians can avoid the untouchable ‘rock star’ trap.

This perhaps explains why the crowd was so sparse. However, I felt that this simply added to the intimacy of the gig and enabled the acts to showcase their unique sounds without interruption. Well, almost. I don’t know what it is about the Seabellies but masses of overexcited, burly, baggy jean-wearing blokes just flock to them. “Are you guys fucking professional hecklers? I swear you’re at every gig,” lead singer Trent Grenell playfully commented. But with a string of ridiculously toe-tapping, dance-inducing tunes under their belt, an obnoxious crowd is to be expected, and these guys seem to thrive off it. Songs such as ‘Orange X’ and ‘Heart Heart Heart Out’ were performed with commendable amounts of energy – and with a sweet, melodic touch, they provide a rare example of how ‘good music’ and ‘pop music’ can co-exist.

Special guests Eulogies were not so successful in drawing people to the dance floor. The crowd just didn’t seem ready to appreciate Eulogies’ chilled, indie beats but I, for one, was completely enthralled. Each song – from the heavily-rotated ‘Two Can Play’ to the perfectly bittersweet ‘Eyes On The Prize’ – merged effortlessly into one big indie anthem.

Although the bass was a little too heavy for Peter Walker’s subtle voice, they, like the Seabellies, appeared to be completely in love with their music and that’s what made the night so special. ~Lee Tobin

B52s + The Proclaimers Hope Estate, Hunter Valley Friday, November 20

B52s ©Johnny Au

In what may seem strange for a B52s gig, wine, cheese and picnic chairs were the order of the day today, with the capacity crowd undeterred by the sweltering heat.

Aussie stalwarts Mental As Anything were first up and unfortunately, thanks to a seemingly inept soundman, they sounded like they were playing from inside their Tarago.

When the sound did improve the band didn’t fare much better as they lazily plodded through a set of their classic hits and memories that at best got a couple of heads nodding.

The big surprise of the day however came in the form of Celtic soul brothers The

Gig of the month

Proclaimers who proceeded to blow the Mentals off the stage with their emotionally charged folk pop numbers. Thankfully by now the PA had been sorted out and the obvious hits ‘500 Miles’ and ‘I’m On My Way’ got the crowd to their feet and quite rightly so. But it was the more subtle moments such as ‘Cap In Hand’ and the glorious ‘Sunshine On Leith’ that truly shone and threatened to have more than a few people crying into their chardonnay. The affable twins even found time after their triumphant set to meet and greet fans at the merch tent. Aww. As the sun set over the valley and the wind turned southerly, The B52s hit the stage amid much whooping and hollering. Having been a fan of the band for longer than I care to remember, seeing Fred Schneider, Cindy Wilson, Kate Pierson and Keith Strickland do their thing has long been on my things to do list.

And right from the outset they didn’t disappoint, playing a set that spanned their entire career with standouts being ‘52 Girls’, ‘Rock Lobster’, ‘Quiche Lorraine’ and ‘Give Me Back My Man’, along with the obvious crowd pleasers like ‘Love Shack’ and ‘Roam’. For a band that has been doing its thing for 33 years, The B52s were in scarily fine form, especially Wilson and Pierson whose harmonies were sublime.

Unfortunately, those wanting to get down the front to shake their Cosmic Thing were left disappointed as the area was reserved for premium ticket holders.

Despite minor setbacks and the pedestrian performance by The Mentals, this “seniors’ Big Day Out” was a great day and both bands were definitely worth the wait. ~Stephen Bisset

Pearl jam Hope Estate, Hunter Valley Sunday, November 22

It’s tough when one of your favourite acts is a ‘stadium band’. It means they have to play in stadia. For the 5,000 or so people down the front of this show, which happened to land on one of the hottest days in recent memory, this would have been another PJ concert to remember. But for the other 30,000 ticket holders, Pearl Jam were just specks on the horizon. When hot gusts of wind swept throughout the venue, the sound was lost momentarily. But let the disappoint­ ments of the location not take anything away from the Seattle legends, who remain one of the greatest live acts of all time.

Modest fans would have been disappointed with the set, as big hits like ‘Betterman’, ‘Alive’, ‘Daughter’ and ‘Black’ were all omitted. But for the hardcore fans, all the favourites were there: ‘Corduroy’, ‘Hail, Hail’, ‘Porch’, ‘Last Exit’, ‘Do The Evolution’, ‘Elderly Woman’, ‘MFC’, ‘Given To Fly’, ‘Dissident’ etc. There was also new tunes like ‘The Fixer’ and ‘Unthought Known’.

Ben Harper, the main support act, joined PJ on stage to perform lap steel guitar on ‘Red Mosquito’ and vocals on ‘Indifference’ (which can also be witnessed on the band’s Live At The Garden DVD). Liam Finn — the opening act — joined Eddie Vedder on stage for a raw cover of ‘Throw Your Arms Around Me’. Another surprise inclusion was the Stone Gossard-penned and performed track ‘Mankind’ from No Code.

Vedder apologised for his vocals — he had apparently picked up the flu during the Melbourne leg of the tour. But he still sounded awesome, and the crowd helped him during every note.

While this concert didn’t have the magic of their Newcastle Entertainment Centre show from their previous Australian tour, they’re still an awe-inspiring live group. With ‘Rockin’ In The Free World’ as their finale, there was little doubting that everyone would be back to see them next time. ~Nick Milligan

Karnivool ©Kevin Bull

Karnivool Bar On The Hill, Newcastle University Sunday, November 22

The crowd needed no warming up tonight as Newcastle was in the middle of a heatwave and many fans chose to stay outside and drink a few cold beers rather than endure the stiffling heat indoors watching the support acts.

When Karnivool hit the stage, the capacity crowd exploded into a frenzy.

The band opened with ‘Simple Boy’, the first track off their new album Sound Awake. Vocalist Ian Kenny welcomed us all and said it was great to be back in Newcastle. His trademark dancing, which could best be described as some kind of Supermarionation, is a sight to behold.

Despite the heat, the band were clearly enjoying playing to fans who really appreciate their musical prowess. The PA was turned up to 11, but you could still hear the audience singing every word. Halfway through the night Kenny stripped to the waist as the band blasted through classics like ‘Set Fire to the Hive’ and ‘Themata’. Kudos must go to management for passing out so many free bottles of water to the thirsty masses. One fan took the opportunity to cool off bass player Jon Stockman with a squirt from his water bottle.

Stockman grinned, shook his head and pointed to the expensive effect pedals at his feet that were also getting a good drenching.

The last song of the night was the beautifully poetic ‘Change’. The words are still burning in my head. “When we collide, some say goodbye, some save their words, leaving no resolve.

There’s a break in the wall, you can feel it, it’s letting us all escape, some people tell me you need, the waking day, to fall asleep…”

In an age where sequenced backing tracks and mimed performances are the norm, Karnivool are a must see live act. They bled for us tonight and we appreciated every drop. ~Torin King

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phil jami e so n

GRINNERS ARE WINNERS With their recent appearance at Fat As Butter and a hot new record, Grinspoon have reminded Newcastle fans of why we love them so darn much. Nick Milligan sat down with singer Phil Jamieson to chat about Beatles tattoos, old Newcastle gigs and why there won’t be another Lost Gospel album.

What goes through your mind when you’re on stage playing to a massive audience?

I’m trying not to make any mistakes. We don’t play that often — we don’t rehearse. I try to think about what I have to say, but then I never say anything. I’m not one of those talkie people.

How are your new songs slotting in to your live show?

Really, really well. ‘Takes One’ is fantastic. ‘Run’ is fantastic. ‘Dogs’ is fantastic. ‘Premonitions’ is fantastic. ‘Comeback’ is difficult because it’s a pop song and we don’t do pop, but we manage to get it right. We’re about to put ‘Summer’ into the set, which will be a challenge because it’s got a melotron, but they’re all fitting really well.

From a lyrical perspective, do you approach the writing of your lyrics very differently now compared to when you started out?

The lyrics on this album are a real mixed bag.

Joe [Hansen, bass] wrote some, Pat [Davern, guitar] wrote some. I just try to be as honest as I possibly can and hope that it makes sense.

I think in the past I was more non sequitur — nothing would make sense, and it was just words put together. I think I’m more literary now because the words make more sense. I don’t know if that’s a good or a bad thing — I’m not the one to judge that.

Is there any particular gig from Newcastle that stands out the most?

The first time we played the Cambridge was only two years ago and it was this Myspace show.

That was very strange. We played all of Alibis [and Other Lies] and all the crowd wanted to hear was ‘Champion’. Obviously the early days of the Hunter on Hunter and the Palais were great. We did an all-ages [at the Palais] and that was a really memorable gig. They were good times and I spent a lot of time here hanging out with friends of the same age. It was a good scene back then.

Some bands have songs that drop off their set lists for a long time — it seems that acts have a love-hate relationship with some of their big hits. Do you find that with Grinspoon’s material?

It’s really difficult. We’re opening our shows with ‘Hard Act To Follow’ — when we released that we never realised it would be such a staple, but it is. Then you’ve got ‘More Than You Are’ and ‘Champion’ which I don’t think we’ve ever not played. People want to hear ‘Just Ace’, but we don’t really like playing that. Silverchair don’t want to play ‘Tomorrow’ either. I’m not saying they’re the same song or we’re the same band — god help me. Especially in Newcastle, fuck! But [Grinspoon] really want to know what their set [list] is a week before a show — we don’t rehearse because we don’t live anywhere near each other. Chris’s [Chris Hopes, drummer] rules are set with an iron fist. I wanted to start playing ‘Tang’ from Easy,

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we’re not uncool either. Nobody else is doing hard rock. It’s either hard rock with a prog rock edge or hard rock with a retro edge. I think we’ve found a little niche so it’s a good time for us to go forward.

Will we hear any more music from The Lost Gospel?

It’s nice of you to ask, but… there was a lot of drugs in that band [laughs]. Pretty hazy times for me. I’ve had some fallings out with some members — it’s really unfortunate. I don’t think there will be another Lost Gospel record. I would like to do a duets record with a female and I’m thinking of working on some solo stuff. But I want to do back-to-back Grinspoon records.

but he refused. He wouldn’t let me play that.

Goals for 2010?

We’re playing the Big Day Out tour, obviously.

Then I want to demo in February [2010]. I’d like to put out a [Grinspoon] record in 2011.

In March and April I’d like to do an album tour which properly incorporates everywhere. I’m going to go to Pat’s this month and write. We’re on an independent label now so we don’t have as many constraints. Six To Midnight was made cheaply, so we don’t have much to pay back.

I think it’s a good time for us. We got through all the bad shit. We’re not necessarily cool, but

What did you take away from your experience of performing in The White Album concerts with Tim Rogers, Chris Cheney and Josh Pyke?

I’ll show you what I took away from it! It’s fucking ridiculous [pulls up sleeve to reveal upper arm]. I took away a stupid blackbird tattoo, which we all got. I don’t even have a tattoo. It really hurt. But to be perfectly honest and not to sound like a wanker, I took away a lot of confidence. I really didn’t think I could do it.

Tim and Chris are really close friends of mine and I loved being on the road with three other singers. I realised I wasn’t the vainest singer in Australia. Josh Pyke really loves his hair. But [The White Album] show was a caberet show — I’m not going to lie to you. But because of the way we all approach songs, it worked. I had a ball, man.

Six To Midnight is out now.

game reviews

Trivial Pursuits

when duty calls First, a confession: I’m a Call of Duty virgin.

Actually, no. That’s a bad choice of words. How about this — if the Call of Duty series was the zombie apocalypse, and its fans were a sea of the insatiable undead shambling through the streets of my neighbourhood, I’d be one of few survivors still boarded up inside my house poking the barrel of a shotgun through the curtains. But that’s no good either, if I’m trying to describe my resistance to a first-person shooter.

I’m new to the series, okay? Don’t judge me.

While such blasphemy would, in some gaming communities, lead to my being horsewhipped with strips of wet bamboo, Modern Warfare 2 does not punish those infidels new to the series. Its narrative picks up five years after the events of the first Modern Warfare, as a terrorist cell executes a gruesome airport massacre in order to incite war between America and Russia. This basic premise is teased out into a convoluted tangle of storylines following four major characters in different regions of the globe; like a big-budget action film, it’s best not to concern yourself with all the poorly connected plot points and just enjoy the ride. And what a ride — the campaign spans locales as diverse as the slums and marketplaces of Rio de Janeiro, snowy Russian mountain ranges, American suburbia, an oilrig in the Pacific and even an old Russian castle repurposed as a prison. It’s contrived at every turn to be as intense and climactic as possible, but it works — it feels cinematic.

While the campaign is a single-player only affair, two players can still jump into the new

reviewed Call of Duty: Modern Warfare 2 [Xbox 360/PS3/PC] reviewed by Hugh Milligan rated 9.5/10 Special Ops mode, a collection of bite-size missions primarily designed to be played cooperatively [although you can also play them solo, with some exceptions]. The tasks are drawn from some of the more thrilling moments of the campaign; “Big Brother”, for example, requires one player to fight their way through suburban streets while the other, riding an assault helicopter, lays down cover fire from above. All pretence of plot is dropped here — the missions are short, sweet and highly repeatable. Earning all three stars on each is difficult to say the least, and should keep you busy for quite some time.

Any CoD veteran knows, however, that the real meat and potatoes of MW2 is in its absolutely inexhaustible multiplayer component. When the campaign and Special Ops are done and dusted, this is where you’ll spend your every waking hour. Every aspect of your loadout is highly customisable, and you’ll experiment constantly to find your preferred play style. If, for example, you favour an assault rifle as your weapon of choice, you may then select from a dozen attachments [such as a silencer, heartbeat sensor or thermal scope]

that radically alter its functionality. Then there are “perks”, special bonuses such as increased reload speed or melee range, to give you an individualised edge in combat. Finally, “killstreaks” are game-changing benefits earned by killing several players without dying; these range from radar sweeps and sentry turrets to air strikes, Harrier jets and EMPs. So that new players are not overwhelmed by all these options, they are introduced gradually through an intelligent levelling system; your achievements in game are rewarded with experience points and new ranks that slowly unlock new weapons, devices, emblems and custom titles. Earning every reward and playing around with different configurations is intoxicating — this really is one of the most extensive FPS multiplayer exper­iences out there.

Those familiar with past titles will find most of the core mechanics unchanged [there is, for example, still no system for using cover], but will see improvements to several features, as well as the new Special Ops mode. MW2 is not a game that seeks to reinvent the wheel — with the series’ enormous popularity, there’s very little impetus to do so. Rather, it consoli­ dates and builds upon its strengths, with an incredibly intense campaign and an utterly unrivalled online multiplayer component, all polished to an impressive sheen. In the end, however, veterans and newcomers alike will lose themselves deliriously in the depths of online multiplayer. CoD virgins [sigh] beware — this game will make you its bitch. Or a zombie.

I never quite made a decision there.

reviewed Scene It? Bright Lights!

Big Screen!

[Xbox 360/PS3/Wii] reviewed by Hugh Milligan rated 6/10 Screenlife’s series of DVD movie trivia party games has branched out onto consoles in recent years — while this is its third instalment on Xbox 360, it’s the first for Wii and Playstation 3. It’s an inevitable transition, and one that works well to boost the speed and interactivity of the game. The interface is accessible and the questions flow relatively smoothly, structured around various ‘puzzles’ that require you to answer questions from a movie clip, use clues to identify an actor, place films in order of their release, and so on. It’s quite current, including 2009 films as recent as 2012 and Year One, and while you’ll invariably begin to encounter questions you’ve already answered [even from a pool of around 2800], there appears to be downloadable content in the pipeline to add new films to the mix and keep the game fresh.

While Scene It? Bright Lights! Big Screen! is enjoyable as a multiplayer game, it’s extremely limited otherwise. Fast Fire mode, a race against the clock, is included for the benefit of solo play but it gets old quickly, and playing the party mode alone may just be the saddest thing a human being can engage in.

Instead, it is unashamedly what it is — the perfect complement to a movie night with friends, and the foundation for a drinking game or bet between movie trivia freaks who want to put their money where their mouth is. r e v e r b m a g a z i n e i s s u e # 0 4 1 — d e c e m b e r 2 0 0 9

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FILM reviews

The rising moon In an effort to provide full-disclosure here at Reverb, it must be stated that this reviewer is a full-blown ‘twi-hard’. Have I read all the books? Yes. Have I seen the first movie? An embarrassing number of times. Do I sleep with a lock of Robert Pattinson’s hair under my pillow and a voodoo doll of Kristin Stewart in my wardrobe? Let’s not go that far. But, I have seen New Moon and I do think I’m qualified to conduct an accurate review [however biased it may be].

The latest instalment in the Twilight franchise begins again in the ever-rainy fictional small town of Forks, where mortal Bella Swan [Kristen Stewart] and her vampire boyfried Edward Cullen [Robert Pattinson] have begun their senior year of high school. After Edward’s

reviewed The Twilight Saga: New Moon reviewed by Amanda Bevan rated 4/5

brother Jasper is unable to control his bloodlust and attempts to attack Bella at her birthday, Edward feels he has no choice but to break-up with her — thereby protecting her from what he believes to be an ill-fated future.

New Moon makes more than a few subtle comparisons to Romeo and Juliet [author Stephanie Meyer has suggested that each novel in the saga is inspired by, and loosely based-on, a different literary classic]. Indeed, the very notion of tragic romance and doomed, young love [as portrayed in New Moon] is the obvious essence of the Bard’s famed play. The fueding vampires and werewolves can also be seen as blatant metaphors for the warring Montague and Capulet families.

reviewed A Serious Man reviewed by Mark Snelson rated 3/5

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this Twilight sequel, is quite remarkable.

Spending most of the film half-naked [and sometimes dripping with rain], he’s convincing as a potential love interest for Bella — no mean feat when you consider that Pattinson is her other option.

While the soundtrack of the first film went for indie rock cred, the second isn’t afraid to step into more sombre territory, utilising the haunting soundscapes of Lykke Li, Thom Yorke, Grizzly Bear and Bon Iver. It embibes the material with a valid sense of emotion and brooding intensity and adds sizzling magic to some of New Moon’s more epic sequences.

The film’s climax is rather abrupt, but it does hit a suspenseful high note — an intriguing prelude to the third instalment.

In the flesh

On the Job

A Serious Man is the latest offering from the highly prolific Coen brothers. It is full of their trademark dark and quirky humour, oddball characters and an ending that raises as many questions as it does answers. It is also their most personal work to date, being set in American Jewish suburbia in the sixties and is inspired by The Book of Job [from the Hebrew Bible].

The film follows the life and times of physics professor Larry Gopnick [Michael Stuhlbarg], a man who is having such a run of bad luck that he has reached a crisis point. His wife announces she wants to leave him for another man, his chances of tenure are threatened by anonymous letters arriving at the college he works for, his son has his bar mitzvah coming up but is more interested in smoking pot than studying the Torah, and a student wants to sue him for defamation.

Baffled by how so much misfortune can land

As in most cases, readers of the book will fair better than others as there are few flashbacks and catch-up sequences. Although it must be noted, even in book-form, this is the least exciting story-line of the series and readers and viewers alike will spend most of the time waiting for Edward’s return.

Almost as much has been written about the shirtless male leads, as the actual film itself.

But Kristen Stewart should be commended for her portrayal of Bella’s darker moments. Her performance essentially carries the film during Pattinson’s lengthy absence.

Despite his lupine transformations onscreen, the muscular offscreen transformation that actor Taylor Lautner underwent to reprise his role as Jacob Black in

on one person, Larry seeks spiritual and emotional guidance through meetings with his local Rabbis, but each encounter tends to leave him none the wiser and still a victim.

A Serious Man lacks the star power of recent Coen brother films, but it does not suffer for it; the acting is superb by all players, especially from Michael Stuhlbarg in the lead role. The recreation of sixties suburbia has been done brilliantly and it is beautifully shot by long time collaborator Roger Deakins. The dialogue is sharp and witty, but overall the story lacks a genuine connection with the audience. It is also relentless in its cruelty to Larry.

If you have never liked the Coen brothers’ movies then this is certainly not going to win you over, as it is one of their more inaccessible outings and many simply won’t get the ending. Fans of their work will be rewarded with plenty of familiar content, but it is far from their finest hour.

It would be easy to assume that Jennifer’s Body is a transparent excuse to perv on Megan Fox for 100 minutes. And sure, that’s certainly a draw card. But beneath the teen angst, cliched romance and schlock horror is some intelligence. This is thanks to a witty screenplay by Academy Award winning writer Diablo Cody [ Juno].

Needy [Big Big Love’s Amanda Seyfried] and Jennifer [Megan Fox] are life long friends.

They’ve remained buddies through out high school, despite Jennifer growing into an ultra babe and Needy falling into the ‘uncool’ category. When they go to see a touring band that’s passing through their little town of Devil’s Kettle, a simple night out turns into a sordid disaster. Jennifer leaves Needy to party with the band. When Jennifer turns up at Needy’s house later that night, dripping with blood, it’s evident that some crazy shit has gone down - and then the body count goes up.

Taking on a twisted comic tone that is reminiscent of the Kevin Williamson-scripted

reviewed Jennifer’s Body reviewed by Nick Milligan rated 3.5/5 The Faculty, the film doesn’t take itself seriously and goes in some unpredictable directions. There’s a creepy performance from Adam Brody, as you have never seen him before. But most interestingly, there’s a deeply tragic element at the heart of the script, which Megan Fox, despite her obvious talents, manages to deliver. She makes you feel sympathy for Jennifer, despite her insecurities and narcissism. She’s balanced by a fine lead performance from Seyfried.

But ultimately, Jennifer’s Body asks a difficult question. Would you still pash Megan Fox if you knew she was going to rip you apart and eat your flesh? Umm… I’m thinking…

DVD reviews

Kings for a night Around 2007, when Kings Of Leon were in Sydney promoting their soon-to-be-released record, Because Of The Times, they mentioned to me that they had aspirations of being a stadium act. It seemed like a tall order for a band whose charm lied heavily in their shambolic swagger. Those shaggy garage rockers were more of an uber-cool, underground thing. But low and behold, two years later the three brothers and one cousin combo have become the biggest stadium rock band in the world.

This is best exemplified by their new DVD release, which captures the band on June 30, 2009, performing to a sold-out O2 (exWembley) arena. It’s a 22-track performance that spans all four of their diverse, but equally masterful records.

This generation’s answer to John Fogerty, singer Caleb Followill doesn’t really behave like the front man of a stadium band. There’s no star jumps or air swings. Compared to the likes of Dave Grohl, he looks like a fuzzy wax statue. For this reason, in front of the gargantuan expanse of Wembley arena, Kings Of Leon seem a little dwarfed.

So what makes this such a killer live concert? Kings Of Leon have figured out that they don’t have to talk the talk, when they have always walked the walk. Caleb doesn’t have to leap into the crowd to impress them.

Nor does he have to tell jokes. His soulful, often primal voice, coupled with his slow-

reviewed Kings Of Leon: Live at the O2 reviewed by Nick Milligan rated 4/5 burning sexuality, are potent enough to transfix a mammoth audience. It might not happen as soon as they arrive on stage, but by the time songs like ‘Milk’ and ‘Closer’ emerge from the banks of speakers, it’s evident that Kings Of Leon really are the masters of their domain. Caleb’s sincerity as a performer is hard to miss.

In the beginning, many journalists blanketed them under the ‘rock revival’ banner, and yes, it was clear that their roots lay in the annals of southern rock. But like any true-spirited group of musicians, they’ve evolved. Rather than sounding like a group of tearaways who are picking up their instruments for the very first time and belting out some swampy blues, the foursome sound like a group of tearaways who know how to write blues-rock anthems.

This is a massive production, with numerous cameras floating across the audience and from the roof. The set list features the big hits and the fan favourites, like ‘Knocked Up’, ‘Four Kicks’, ‘Taper Jean Girl’ and ‘Red Morning Light’.

Disappointingly, there are absolutely no special features. Nevertheless, for everyone that did - and didn’t - get the chance to see Kings Of Leon on their monumental world tour throughout 2009, this is will prove a lasting document.

A lighthouse over yonder reviewed Josh Pyke: The Lighthouse reviewed by Noah Cross rated 3.5/5

Burn after Reading Once a favourite amongst bootleggers worldwide, Nirvana’s 1992 Reading Festival appearance is now available to the masses.

The set from Reading is here in its entirety, all 25 tracks of it. The set list covers their entire career, reaching back to their 1989 debut Bleach, looking forward to the yet-to-be released In Utero, as well as nearly the entirety of Nevermind. Audio was sourced from the original multi-track masters ensuring that sound quality is top class, and in 5.1 surround sound.

The best way to describe the visuals is dark and dirty. The fact that the concert was being recorded appears to have been of little importance to the lighting design. It probably looked fantastic live, but on DVD there is a grittiness that I found quite appealing. The quality of the visual recording is wonderful, but don’t expect any slickness to the camera angles. There are no camera sweeps across the crowd or tiny cameras attached to the mic stand. In return you get an experience that is quite tactile — you feel quite close to the performance and, dare I say, it’s like being there.

There are a number of quite comical and touching moments during the concert; Cobain’s now legendary wheel-chair stage entrance, the ‘More Than A Feeling’ [Boston] intro to ‘Smells Like Teen Spirit’, and Cobain’s dedication to his wife, Courtney Love, and their twelve day-old child, prior to ‘All Apologies’.

Live At Reading is an important document that captures a band that were, 12 short months earlier, virtually unknown. They were playing the biggest stage in the world, delivering quite possibly their finest live moment.

A dream package for Josh Pyke’s vast and diverse fan base, this three-pronged DVD features an intimate documentary, a live concert from Sydney’s Metro Theatre and his twelve music videos.

The documentary opens with Pyke singing beside Byron Bay’s iconic lighthouse, performing the first ever song he wrote as a solo artist. Shifting between interviews and performances, the doco certainly gives you an appreciation for Pyke’s craft. The songwriter plays some of his favourite tunes in shifting,

reviewed Nirvana: Live At Reading reviewed by Kevin Bull rated 4/5

picturesque locations, and introduces some of his biggest hits [‘Middle Of The Hill’, ‘Lines On Palms’, etc.] with their back story. This is essential viewing for true Josh Pyke fans.

The Metro Theatre concert is nicely recorded.

It doesn’t feel like a massive production, but it’s more than adequate to capture the peaceful energy — and all the young, screaming girls — of a Pyke show. With a band that features Firekites’ Justin Tampake, this sold-out gig demonstrates the reasons why Pyke has become such an endearing artist.

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