Brag#421

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rock music news

welcome to the frontline: what’s goin’ on around town... with Nathan Jolly and Steph Harmon

He Said She Said WITH

AZARIA FROM THE ART

M

y parents weren’t musical or around much as a kid. My granddad was the only one in my family that was creative; he was a painter and taught me how to paint. He inspired me in many ways before he passed away when I was 10. I spent a lot of my childhood communicating through art and teaching myself how to play every instrument to do with rock music, as I was drawn towards the impact of sonics and words more than anything else. And I still am.

the touring we had done, we were said to be as solid as a rock, but like any good producer, Frencie drew blood out of a stone and pushes us beyond what we imagined. After the labor, we gave birth to The Art’s first album, Here Comes The War, which was released it in Australia in February. Every song on the album exists within its own reality; it’s a dichotomy of a record which visits disparate places, from vulnerability to abrasive directness.

Over time, substance runs thin. Any group of people can sit around a computer these days and create something in their bedroom, but I personally idealise rock music and its processes in the same way as impressionist painting, before Dadaism came along. Who knows, maybe the modern day “rockstar” holds a laptop or a keyboard – but it sure feels better to me to hold a guitar and scream something.

The Pixies are one of my all time favourite bands. My best friend introduced me to them; Doolittle was the first of their albums that I heard. I fell in love and it changed my life. Ironically, my band got to tour with The Pixies in Australia and NZ last year, on their Doolittle tour. This band is magic and everything works. Unlike most popular rock bands today that play with backing tracks, I get off on the push-and-pull of tempos and human error; it’s what makes it live. There is something powerful, primal and romantic about live guitars, bass, vocals, drums and no bullshit!

We’re just four kids on a journey together, investigating the perimeters of a dynamic rock band. Having a good time with my family

(band) on the road and tearing holes through reality in some steps that we take. I feel really lucky to be a part of this gang, and to have experienced what we have.

We recorded live to tape after our last 30-date tour of America, in late 2009. We recorded with Producer Chris ‘Frencie’ Smith in Austin Texas at the Bubble Studios. From all

With: Doubleblack, The Ramshackle Army, Generation Swine; DJs Simon Day (Ratcat), Goldfoot, Rockabilly Rhino vs Wolfman Dan; Burlesque by Kira Hu-La-La, Vesper White, Foxtrot India, Betty Grumble – plus loads more happening on the night.

Where: Black Cherry @ The Factory Theatre When: Saturday July 23

September 10 (ace Sydney band who have a 2CD compilation out now through Sub Pop), Sydney indie heroes Hummingbirds will play Manning Bar on September 17, and The Moffs (fucking ace psych-pop; YouTube it!) play the Sandringham, September 23. Go to all of these!

PUBLISHERS: Adam Zammit & Rob Furst EDITOR IN CHIEF: Adam Zammit 9552 6333 adam@peergroupmedia.com

PAUL AND PAUL AT THE OPERA PAUL HOUSE

EDITOR: Steph Harmon steph@thebrag.com 9552 6333 ARTS EDITOR & ASSOCIATE: Dee Jefferson dee@thebrag.com 9552 6333 STAFF WRITERS: Jonno Seidler, Caitlin Welsh NEWS: Nathan Jolly, Chris Honnery

Sunday July 24 will see Paul Kelly forget about his usual suburban tales and pluck out some of his more spiritual tunes to play alongside internationally renowned jazz muso Paul Grabowsky, for a special show at the Sydney Opera House (the pointy one). Vika and Linda Bull will be there, too - the two Black Sorrows ladies whose cover of Paul Kelly’s ‘We Started A Fire’ soundtracked many an emotional Home and Away story arc...

ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Daniel Campbell Williams, Katrina Clarke, Cai Griffin, Ashley Mar, Daniel Munns, Vicky Nguyen, Thomas Peachy, Imogen Prado, Patrick Stevenson COVER DESIGN: Sarah Bryant

Andy Bull

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Naughty By Nature

FAT AS BUTTER LINEUP

Put a huge cigarette burn through October 22 on your calendar, because you’re coming with us to Newcastle. No, we aren’t going to steal Matthew Johns’ garden gnome and put it in Daniel Johns’ garden again; we’re going to Fat As Butter, that amazing music festival they have on the foreshore. For sure. The lineup includes Naughty By Nature, the only crew that’s gangsta enough to refer to themselves as naughty, and The Living End (Sehhh-cond. Solution. Sehhh-cond. Solution. Sehhh-cond. Solution.), who have a new album out July 22. Full lineup announcement happens on July 25, and tickets go on sale August 3; let’s lock in the gnome thing for mid-September, yeah?

THIS MUCH IS TREW

You know those bands that had one killer song on a Party Of Five soundtrack and you never really heard anything else from them, but you can namedrop that one song at a party and the cute girl with the fringe will know who you mean, and love that song too? The Trews have a bunch of songs that sound like that song; they’re a power pop/kinda-radio-rock group from Canada, and want you to come ‘oot’ to their show, which is on September 17 at Notes (as part of the Sydney Fringe). We know it’s a while away, but they are Canadian, and Canadians like to plan ahead [citation needed].

THEY WILL HAVE THEIR WAY AGAIN

Yeah, you all act cool as shit – “Sure, if I get tickets I’ll rock up… probably…” – but the truth of the matter is that all of you rushed out and

bought tickets for They Will Have Their Way (the Finn brothers’ tunes done live by your Paul Dempseys and your Seeker Lover Keepers and your Oh Mercys and Lior and even cuteface Clare Bowditch), and now they’ve announced an extra Sydney show, because you went and sold the first one out. November 16 at The Opera House. Calm down, you guys.

HANGING OUT, ON THE STREET

Holy shit – remember how last night you left the ‘Don’t Go Now’ video clip from Ratcat playing while you slept? Well, it snuck out and gathered all its late ‘80s, early ‘90s inner-city contemporaries, and they’re putting on a bunch of shows through September under the banner ‘On The Street’. Brisbane’s jangle-poppers Ups and Downs play the Sandringham on September 9, feedtime play Annandale on

LOAD OF OLD BULL

Andy Bull’s Phantom Pains EP has been out for over a year, but he is only juuust getting around to properly touring off the back of it now. Which is either very rock‘n’roll, or criminally lazy and unthoughtful of him. We’ll let you decide when he plays GoodGod Small Club on August 26, with Pluto Jonze opening for him.

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rock music news

free stuff

welcome to the frontline: what’s goin’ on around town... with Nathan Jolly and Steph Harmon

five things WITH

ISOBEL CAMPBELL & MARK LANEGAN

DAVE BAXTER FROM AVALANCHE CITY [NZ] Other times I get pictures in my mind that inspire me to try to describe them.

Your Crew I have some tight friends that I always 3. play demos and new songs to first. I have a producer friend, Nic Manders, who I’ve worked with on other peoples’ stuff, but never on my own. One day I’ll get a chance to...

The Music You Make I did the Avalanche City album by myself 4. in a hall in the New Zealand countryside. It was something I’ve wanted to do for a long time. I started teaching myself how to sing about two years ago - and it was a bit of a progression to get to here. To play the album live, I have five friends who have now become the Avalanche City band. Playing this live is exciting; it’s the best part of being a musician.

Music, Right Here, Right Now The biggest obstacle to musicians is 5. disorganisation. There are a lot of great

Growing Up Inspirations My parents aren’t really musical. The best My favourite musicians are my friends: 1.

2. and first music memory I have was when we Luke Thompson, Stu Larsen, The Paper played ‘Wipe Out’ in the school band in front of my school. I was 11 or 12.

Kites, Alaska. A lot of the time I get inspiration from hearing a particular word in a song or sentence that kind of sparks my imagination.

FREESTUFF@THEBRAG.COM

musicians that get nowhere, and a lot of less talented ones that make it because they have more drive, they show up to things on time, and they can organise themselves.

There are some partnerships that you just know will yield amazing offspring; Brad and Angelina, red wine and chocolate, scarves and beards… you get the picture. Isobel Campbell and Mark Lanegan are one such partnership, whose latest collaborative offspring – album Hawk – is more than the sum of its Belle & Sebastian / Screaming Trees / Queens Of The Stone Age parts. The duo will be at The Factory Theatre on Friday July 29, and we’ve got two double passes to give away. Just tell us at which major festival they’re here for...

DANANANANAYKROYD

Last time fight poppers Dananananaykroyd took the stage of The Annandale, singer/ drummer John Baillie Junior jumped into the crowd and crushed his arm to smithereens (both bones were snapped, emergency surgery required, and the screws will be holding him together forever). This didn’t stop the indefatigable man; his band are bravely facing their demons, to give the iconic Sydney venue the whatfor. Ruckus will undeniably ensue – and if you’d like to get amongst it on Friday July 29, when they’ll be supported by DZ Deathrays and The Growl, email us your worst concert crowd-induced injury.

What: Our New Life Above The Ground is out through Warner Where: 34B @ QBar, Oxford Street When: Saturday July 23

December 29 in Marion Bay, Tasmania, and over four days from December 28 in Lorne, Victoria.

ON THE WAGON, SOLO

Henry Wagons is hitting the road without the rest of his alt-country troupe for the ‘Rumbling, Shaking and Tumbling Solo’ tour, where he’ll be showing off Wagons’ latest album in a string of deliciously intimate shows. Live, he’s a charismatic story-teller, and he’s got lots of tales to tell – he’ll have even more in a couple of months after they go overseas again, to support the USA release of Rumble, Shake And Tumble. Before then, he’ll be hitting The Vanguard on Thursday August 25 with the support of the lovely Gossling; tickets are available from Monday July 18.

MELBOURNE HAS A FESTIVAL, AND SYDNEY WANTS ITS SIDESHOWS...

Excuse us this brief excursion south, but Melbourne Festival is all set for this October, and they’ve just announced their lineup.

Japanese post-rock legends MONO will be recreating the legendary ‘MONO and The Holy Ground Orchestra’ with a 23 piece orchestra exclusively for Melbourne; but they’re not brushing us off altogether – they’ll be flying to Sydney to play Manning Bar on Saturday October 8. The rest of the lineup is yet to announce Sydney shows, but it includes Okkervil River, Black Dice, Lucky Dragons, Aesop Rock & Kimya Dawson, The Narcicyst, and a Jello Biafra solo show.

Fingers crossed we get some of that action...

We The Kings

Tiny Ruins

TINY RUINS

Tiny Ruins (AKA Kiwi songwriter Hollie Fullbrook) is currently on tour with Seeker Lover Keeper, which makes a whole mess of sense when you hear her wistful debut record, Some Were Meant For Sea (no word yet on what the rest are supposed to do with themselves…). Hollie is playing her own show at Notes this Thursday July 21, and we urge you all to attend, and to not talk through the set like you did last time we went to a gig.

JORDIE LANE

When we read an email from Jordie Lane announcing that he had Blood Thinner available from this Friday (which is now ‘last Friday,’ July 15), our first reaction was “Jordie, not to our work email!” We soon realised this is just the title of his wonderful debut record, which he’s launching on Friday July 29 at the Vanguard, with Mike Noga (Drones drummer gone solo!) in support.

ASHES TO ASHES

You know how surfers like to establish their turf? Well, Bondi-coastal-chill-blues-acousticfolk-vibe-buskcore artists also get territorial, in a totally chilled biodegradable way of course.

Which is why Ash Grunwald has a new single called ‘Tear The Roof Off’, which is the ‘Hit ‘Em Up’ of the Bondi-coastal-chill-blues-acousticfolk-vibe-buskcore scene. He’ll be playing it on Friday August 12 at the Oxford Art Factory, the Sydney leg of his Road Dog Diaries tour.

HOW DO MAGNETS WORK?

Magnetic Heads were the backing band for Sydney singer-songwriter Des Miller, until they kinda became his main project and swallowed Des Miller whole. They spat out a new EP – the impressive, sun-shinin’ Wild Eyes – and will launch it on Wednesday July 27 at GoodGod, with World Champion in support .

FALLS FESTIVAL MK II

The Falls Festival have made a second update to their New Years Eve lineup, and we hope you like electro-rave, Dinosaur Jr, sweet folk, indie rock, DJs and experimental blog-pop: Crystal Castles, J Mascis, Josh Pyke, Papa vs Pretty, DJ Yoda (with an audiovisual extravaganza) and Unknown Mortal Orchestra will be joining a festival that already boasted Arctic Monkeys, Arj Barker, Easy Star All Stars, Fleet Foxes, The Jezabels and Tim Finn. Got breadth?

Falls Festival happens over three days from

WHO THE KINGS?

We The Kings sound like a mad hip hop crew, and Sunshine State Of Mind sounds like the best circa-’66 psych-pop album ever. But neither one of those is true. We The Kings are an American pop-rock-for-soundtracking-coming-of-age-roadtrips type outfit, and they’re touring with You Me At Six (another American pop rock outfit - it’s kind of a thing now) this August.

They’ll be at the UNSW Roundhouse on August 28, and we’ll be right up the front.

“Are you experienced? Have you ever been experienced? Not necessarily stoned, but beautiful...” - JIMI HENDRIX 16 :: BRAG :: 421 :: 18:07:11

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The Music Network

themusicnetwork.com

Industry Music News with Christie Eleizer

THINGS WE HEAR

Prince

* As part of its late 2012 relaunch, is Star City talking to Prince to headline? * Frustrated that Van Halen’s website has still, after two months, not posted the headlining dates for Soundwave (despite daily promises to do so), promoter AJ Maddah twittered, “I must say, for one of the world’s biggest bands, Van Halen are surrounded by idiots.” * Nick Oliveri, of Queens of the Stone Age fame, was involved in a stand-off with a S.W.A.T. team at his L.A. home, after they found a high powered loaded gun. According to Oliveri’s girlfriend, he struck her during an argument. When she returned the next day to move out, he locked them both inside. * Dizzee Rascal faces a lifetime ban from British Airways, after being kicked off a flight in London for abusing a stewardess when it was delayed three hours. * The Seven Network has scoffed off speculation that it plans to add to its roster of WA regional radio stations by

FESTIVAL FLUKIES: T.I.N.A, GOOD VIBES, GLASTONBURY AND PLAYGROUND

It could be time to farewell Newcastle’s This Is Not Art (TINA) festival. After 13 years, the Newcastle council cut its $18,000 funding. The five day event drew 5,000 people over five days of 250 free events, including sub-festivals Sound Summit and Electrofringe, and pumped $1.5 million into the local economy. So what’s with council’s axing? It says that it received 77 applications, up from 51 last year, wanting a total of $1.24 million from a kitty that only had $280,000. Simply, it says, some of the other applications were better TINA’s. We’ll know the fate of This Is Not Art this Tuesday July 19, but Sound Summit has already announced it will be ceasing its formal partnership with TINA. Are there too many festivals? Good Vibrations’ boss Justin Hemmes thinks so. Spirited bidding has been pushing fees of acts up, while consumer demand is down. After less than impressive sales this February, Hemmes told InTheMix that the next Good Vibes has been pushed back to December 2012. Meanwhile, Michael Eavis – Glastonbury founder– reckons that UK summer festivals are struggling, and that some of their major events will fall by the wayside. “We’ve probably got another three or four years,” he said. “It is a very scary business.

Womad and Latitude are not selling out. Partly it’s economics, but there is a feeling that people have seen it all before.”

Playground Weekender is about to get new financial backers, promoter Andy Rigby revealed. Last week, Architecture In Helsinki sued the festival in the Federal Court, saying they are still owed $24,200 from playing there this year. Rigby said they’d be paid within a fortnight.

‘Sweet Emmylou’, and third was Goyte’s ‘Somebody That I Used To Know’ (which features Kimbra). The winners were chosen by an 18-person judging panel, and it was all organised by APRA|AMCOS. The competition drew over 4000 entries and raised $200,000 for Nordoff-Robbins Music Therapy Australia.

RED SKY ENTERTAINMENT

The launch at the Arthouse last week by iStreamTV and FibreDyne, of Australia’s first low bandwidth HD 1080p solution, has been a boon for companies like 24-hour music channel Red Sky Entertainment. Its managing director Steve Aarons told us that one of the benefits, for instance, is that in a first for Australia, viewers can buy the track they are watching. Red Sky, which has genre-specific shows like ‘rock’ and ‘metal’ covering independent and mainstream acts, has a reality TV show coming next year.

AIR SURVEY: FOUR TIMES MORE MALES THAN FEMALES ON THE RADIO

A survey of the 2,000 most played songs on Australian radio in June by independent record label association AIR has revealed that 81.7% of them featured male voices.

AIR based its survey on ‘spin’ reports from all the commercial networks, high profile community and regional stations, triple j, ABC local radio and Radio National. So why the discrepancy? More males signed to labels? Does it come down to listener preferences? Or is it indicative of an ingrained bias held by the stations’ decision makers?

CMAA FINISHES INVESTIGATION

KIMBRA WINS VANDA & YOUNG COMP

One of the biggest Aussie buzz acts of the year, NZ-born Melbourne-based Kimbra, won the Vanda and Young Songwriting Competition with ‘Cameo Lover’. The song is the second single from her debut album Vows (out this September); it calls on someone who’s becoming isolated to embrace love again.

The runner up was Catherine Britt’s

18 :: BRAG :: 421 :: 18:07:11

There was a mix-up at the Golden Guitars country music awards in January. Lee Kernaghan got the Best Album trophy instead of the intended recipient, Graeme Connors. The mistake was rectified by the next day, but organisers – the Country Music Association of Australia – insisted an investigation be held to keep things “transparent”, and trotted out a former cop to investigate. Now it’s completed, parties have alluded to “human error” – but the CMAA will not be making the findings public, and neither will the two artists.

CMAA General Manager Cheryl Hayes, who did not cooperate with the investigation, has since resigned.

NEW SIGNNGS #1: FUSE ADDS BACKSLIDERS, WALKER

Kimbra

Fuse Music has signed two roots acts. The first is Sydney’s The Backsliders,

merging or buying out Macquarie Radio Network. * Due to the feud between promoter Kevin Jacobsen and his former business partner, brother Col Joye, Jacobsen has had to declare bankruptcy. His wife is negotiating with creditors so that she doesn’t end up with the same fate. * Iron Maiden’s Bruce Dickinson turned down being a judge in the UK version of The Voice. And he didn't hold back about it, either. "That show sounds so crap and demeaning to everyone involved, I took great delight in turning the BBC down,” he said. “The X Factor is appalling enough.” * At the packed funeral for Sony A&R Jay Dee Springbett, Jessica Mauboy and Stan Walker sang the duet ‘Nu Flow’, Mauboy did ‘Gone Too Soon’ and Sony chief Denis Handlin gave him a tequila toast as part of his eulogy. * Is the state government planning to close down either the Trademark Hotel or Tunnel nightclub for breaches of rules, asks the Daily Telegraph?

whose deal includes their new album Starvation Box, their back catalogue, and various solo projects by the band’s slide-player Dom Turner and drummer Rob Hirst. The deal with Tasmanian-born, Melbourne-based singer-songwriter Van Walker includes the release of new album Underneath The Radar and the reissue of his handful of solo albums, which first came out through Croxton Records.

NEW SIGNINGS #2: NEW NAVY WITH FUTURE CLASSIC

Future Classic has signed a recording, publishing and booking deal with Sydney band New Navy. The first cab off the rank under the new deal is the worldwide release of a 10” vinyl version of their debut EP, Uluwatu.

DID LEGEND NICK SONG?

New York singer songwriter Anthony Stokes has filed a copyright infringement lawsuit against John Legend. He claims that in 2004, after a show, he spoke to Legend and asked him to listen to his song ‘Where Are You Now’. Two years later, he heard ‘Maxine’s Interlude’ from Legend’s album Once Again, and recognised many elements of his song.

Lifelines Born: son for Matt Bellamy of Muse and actress Kate Hudson.

They’re in the process of buying a US$5.2 million mansion in Malibu.

Born: son Alexander Lucio to Brisbane radio 4BC/4BH Creative Director Greg Messenger and wife Silvia.

Born: son, Julian Roger, to Duran Duran’s Roger Taylor, his first with current partner Gisella. He has three grown-up kids from a previous marriage.

Injured: rapper Nicki Minaj was struck in the face during a screaming row at a Dallas hotel, with a man who was staying with her but was not her boyfriend.

Injured: Morrissey fractured the tip of his index finger when he was attacked by a dog during an English tour. Meat is murder?

Arrested: Coheed and Cambria bassist Michael Todd, for attempted armed robbery of a pharmacy with a fake bomb.

Threatening: John Lennon’s widow Yoko Ono has told the owner of ‘Lennon’s’, a Beatlesthemed venue in Dundee, Scotland, to drop the name or else.

In Court: a US judge dismisses charges that rapper Foxy Brown violated a court order by exposing her ass to a neighbour.

EMI SOLD IN TWO MONTHS?

Despite what Citigroup is spinning about looking at “various options” for British company EMI, it looks as though ‘selling the bloody thing — and soon’ is at the top of the list. As in, in two months. It seems there’ll be a mighty battle between two bidders: very-rich-person Len Blavatnik (who bought Warner Music for US$1.3 billion), and private-equity investor Alec Gores, who’s still smarting after just missing out on getting his mitts on Warner. Selling to Gores would be easier if truth be known, as Blavatnik comes with a whole mess o’ regulatory baggage. Also bidding: Sony, BMG Rights Management, Universal.

CHANNEL [V]: 100,000 FANS ON FACEBOOK

Channel [V] Australia is about to nail its 100,000th fan on Facebook, so it’s giving one viewer the chance to win 100,000 seconds of live music experiences. From this week until Sunday July 31, music fans can go to vmusic.com.au to score chances to attend gigs and festivals.

ISC OPENS FOR ENTRIES

The International Songwriting Competition is open for entries, offering US$25,000 cash, and $20,000 in equipment. Deadline is September 21; see songwritingcompetition.com

AFACT WRITES TO ISPS

The Australian Federation Against Copyright Theft (AFACT) has written to internet service providers (ISPs), inviting them to start discussions on what to do with customers who infringe copyright laws. The letter pointed out that in a recent Federal Court case involving Perth’s iiNet, one of the judges said that ISPs had “a role” in preventing copyright theft and taking steps when a customer is infringing. AFACT gave the ISPs seven days to respond to their letter, the failure of which would lead to “unspecified action”. One of the prickly points to negotiate is how much, if anything, an ISP should pay for the cost of investigating a customer’s infringing. New Zealand has put forward the price tag of NZ$25. AFACT is representing 34 movie/ TV copyright holders who are all trying to sue iiNet for copyright, and the appeal case is due to be heard in August or September.

The ISPs are working on a code, which would define their legal obligations in future.

Most likely, nothing will happen until the iiNet appeal.

More Jail: DMX, due to be released from jail last Wednesday, had his sentence extended by a week after authorities found drugs in his cell.

Died: Motörhead guitarist Würzel (born Michael Burston), 61, from heart failure. Motörhead announced that he was pouring a Guinness and cracking a joke when he died: “At least we know he went with a smile.”

Died: Much admired Latin American political folk singer Facundo Cabral, during an ambush in a car he was riding in, which was targeting his concert promoter, Henry Farinas, who was wounded.

Died: Def Leppard singer Joe Elliott’s father, Joe Sr, who encouraged the band in their early days. He succumbed to a series of heart attacks.

Died: renowned US producer and songwriter Alphonso “Fonce” Mizell, 68. He was a member of Motown hit-makers The Corporation, who wrote and produced Jackson 5’s ‘I Want You Back’ and ‘ABC’. After leaving Motown, they worked with Donald Byrd, Bobbi Humphrey and A Taste Of Honey.

Died: Rob Grill, 67, singer, bassist and songwriter of The Grass Roots (‘Midnight Confession’), after strokes following a fall at home.

BRAG :: 421 :: 18:07:11 :: 19

The Great Escape

By Alasdair Duncan

FUNERAL PARTY

ots of people go to Los Angeles to make it big, but it’s rare to hear of someone who was actually born there. Off the top of my head, I can name professional famous person Kim Kardashian – but from there, it starts to get a little trickier.

A rock band who actually hail from the City of Angels, Funeral Party are rare beasts – although as singer Chad Elliot is quick to point out, they have always felt somewhat like misfits in their home town. “When we first played shows on the Sunset Strip, we didn’t feel right there at all,” Elliot tells me. “We’re not some L.A. rock band – it’s a different persona, that guyliner rock band bullshit.

It’s so fake and manufactured, it’s the rock version of seeing Paris Hilton on the street.

We had to make up whatever we did, and it all comes from us.”

L

Funeral Party come from Whittier, a suburb of the city that’s reasonably far removed from the glamour and excess of the Strip.

“People say that we’re an L.A. band, but we don’t really feel that way,” Elliot says. “I mean, the suburb we come from is a very sleepy, boring part of town – it was planned as a retirement community, so there were never really meant to be a lot of children there.”

His love of music, then, was borne of the

kind of desperation that comes from being completely and utterly bored. “I had to be friends with myself because there were no other kids on the block!” he laughs. “When I met the band, that was kind of our ticket to get out of our parents nagging us, our school nagging us, or whatever was bugging us. The band was our escape, and when we started experiencing a bit of success, and realised we were able to make money – or beer money, at least – out of it, we started to see it a bit more as our ticket out of Whittier.

Escape has a lot to do with it.”

Named after a song by The Cure, Funeral Party make spiky, rhythm-intensive music that harks back to English bands of a few decades ago. “At the time of starting the band, it was a lot of post-punk,” Elliot says of his musical influences. “A lot of Gang Of Four, a lot of The Pop Group, and then a lot of different obscure post-punk, bands who only made one song. There was also a lot of funk music from our parents’ collections – Stevie Wonder and Diana Ross albums – and we drew on a lot of that for the record, too.”

When it came to recording their debut, The Golden Age Of Knowhere, the band’s biggest influence was a more contemporary one – LCD Soundsystem. “We were really inspired by the way they put their music together, the way they work the rhythms, and we wanted to try doing that too.”

The Golden Age Of Knowhere was produced

by Lars Stalfors of The Mars Volta. A fan of Funeral Party’s since their early days playing

“I got pulled into the crowd - someone was ripping my necklace off, someone was kissing me, another person was ripping my hair. I guess if people really want to pull you apart that much, you’re doing something right.”

anarchic backyard gigs around L.A., his aim was to bring the energy of the band’s live shows into the studio. “Lars knows us from years ago,” Elliot says, “and recording the album, he wanted to capture the spirit of those backyard party days.” The band recorded all their parts in isolation, at their producer’s insistence. “Lars loves us, but he knows that when we work together, we bump beads too much, so instead of keeping us together and having us argue, he separated us.”

You might assume that this particular working method might inspire competitiveness, with each member hearing what the others had accomplished and vowing to do better.

Looking back, though, Elliot doesn’t remember the experience as being like that at all. “As the singer, when I got the drafts they were still very rough,” he says. “I didn’t get the final draft to sing over, I had to sing over something fairly rudimentary-sounding – and since I didn’t know how it was going to turn out, I just had to give it my all either way. Lars is very... he’ll surprise you. He’ll record and you’ll think ‘that was crap’ but he’ll say, ‘No, we got it!’, and then he’ll come back with something amazing.

I’d think that I’d sung something that sounded like shit and Lars would bring back something incredible. He can work magic in the studio.”

Another hallmark of The Golden Age Of Knowhere is the presence of the cowbell – the single ‘New York City Moves To The Sound Of L.A.’ is drenched in it, but it shows up on just about all the songs. I haven’t heard the instrument used this freely since The Rapture were ruling the indie rock roost.

“We had the pleasure of having Alfredo Ortiz, the Beastie Boys’ percussionist, on our album,” Elliot explains. “He also plays the drums on a couple of tracks, and he’s a great percussionist. We always wanted to have cowbell, we were right on top of it, and that guy can play one mean-arse motherfucking

cowbell. We were like, ‘The more the better, this is awesome – let’s put it on every track!’”

In their relatively short career, Funeral Party have played a lot of shows, from those anything-goes backyard gigs through to international slots in the U.K. I ask Elliot if, of all of these, there’s one that sticks out as the most fun or memorable, and he pauses for a second. “From then until now?” he says. “There have been so many shows, it’s hard to pinpoint; I have a really bad longterm memory! The most recent one that was really fun, or that really sticks out, is a show that we played over in Manchester. It was insane, people were going crazy. I was wearing a necklace and I got pulled into the crowd – someone was ripping my necklace off, someone was kissing me, another person was ripping my hair. The fans in the crowd were going crazy. I guess if people really want to pull you apart that much, you’re doing something right.”

Returning to that narrative of escape, I ask Elliot where Funeral Party are going from here – are they planning on relocating to New York or even to the U.K., which feels a lot more like the spiritual home of the music that they make? “Sadly, the story hasn’t changed much for us!” Elliot laughs. “We’re still living in Whittier. We travel so much that it would be silly for us to move out. I mean, we have the means to, but we choose not to. It’s nice enjoying the comforts of home on our time off.”

So it’s sex, drugs and rock and roll, plus clean sheets and free food, then. It kinda feels like the best of both worlds.

What: The Golden Age Of Knowhere is out now through RCA/Sony Music Australia Where: The Metro Theatre When: Friday August 5

“A broom is drearily sweeping up the broken pieces of yesterdays life” - JIMI HENDRIX 20 :: BRAG :: 421 :: 18:07:11

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Fitz And The Tantrums Heartbroken Enough By Bridie Connellan

M

otown founder Berry Gordy Jr’s dining room table served as the company’s “shipping department” in early days, and the label’s first white group The Messengers recorded Midnight Hour in their Milwaukee living room. Sure it’s the 21st century, but for LA-based six-piece Fitz And The Tantrums, DIY has never looked more soulful. “I’ve always been a studio nerd, so I’ve always taken one of the rooms in my home and made it into a recording space,” says frontman Michael Fitzpatrick. Recording debut album Pickin’ Up the Pieces in the lounge of his LA dwelling, Fitz & Co sought to capture a DIY ethos – that kind of chain-bashing tambourine-wielding that was standard fare in Motown circa 1963. “When we started out we didn’t have any money or funds to make a record so we just used this one old crappy mic we had, and turned negatives into positives,” he says down the line on a warm Thursday evening. “We lit up the room.”

As the sad story goes, Fitz bought The Organ That Started It All from his ex-girlfriend before busting out his first tune within 24 hours.

‘Breaking The Chains Of Love’ evolved into an oddly upbeat blast of he-said she-said cheating and lying, a get-yo-sorry-ass-off-my-porch-butI-still-want-you blend of poppy deep soul, toting lyrics like ‘I’ve been dying to forget you / but the pictures they don’t fade’. Although he’s dabbling in a genre that could easily fall into glossy lovepop, Fitz is a firm believer in using the medium of song to tell someone where to go. “Music at

every lowest point in my life always comes in and truly saves me. I’ve never found more creativity and inspiration than in moments of sheer and utter pain,” he sighs. “I was heartbroken enough, inspired and losing my mind. I truly just started writing songs out of that need to heal.”

Fitz could have taken a vastly different path from the soulful tunes that he and his band revel in. “My father was a classical music fanatic. My one concession was that on the way to school in the mornings I could turn on the oldies station.” Gravitating towards the late ‘50s, early ‘60s Holland-Dozier-Holland flair of artists like Del Shannon, Smokey Robinson and Norman Whitfield, Fitz saw a light beyond Mozart and Janácek. His band The Tantrums – Joseph Karnes, James King, Jeremy Ruzumna and John Wicks – is whipped into shape by femme fatale Noelle Scaggs, and with more sexual tension than Fleetwood Mac, the two vocalists manage to cultivate the perfect stage dichotomy until audience members are compelled to scream, ‘JEEZ, MAKE OUT ALREADY!’ “We built a battle of the sexes played out on stage, masculine and feminine, and we really inspire each other and feel each other as performers,” Fitz explains. Read that back, the word was ‘feel’. Out of context insinuation accepted.

Of course, like any throwback a la Sharon Jones & The Dap Kings, The Bamboos or Jenny Dee & The Deelinquents, accusations of

Damn Dogs Doom Disco Gets Born By Hugh Robertson

‘retro’ are often tossed at Fitz, but the difference with this LA-based crew is their adamant exclusion of guitar. Fitz And The Tantrums found themselves in Motor City recently, jamming with original Motown Funk Brother and session musician Dennis Coffey. “He was a sweet guy!

But the whole way that [session] was built and structured produced this element that we’ve just developed so much as a band without,” he says. “Still, it was a great honour to be graced with original members of that period.” When I interview Coffey a few days later, I ask him about the session with Fitz – and he can only sing the band’s praises. “It was great. They

A

Ah yes. JET. Cester was the drummer for those polarising Melburnians, and with bassist and fellow Damn Dog Mark Wilson, he has spent the last ten years travelling the world, supporting the likes of the ‘Stones and selling 6.5 million albums in the process. It must be tempting for Cester and Wilson to stick to Jet’s winning formula, but Damn Dogs offer quite a different sound - something they are calling “doom disco”, which Cester tells me is “a party that not everyone is invited to, at the end of the world.” Make of that what you will.

One review asks you to ‘think Gorillaz procreating with Public Image Limited’, but my ears hear bits of The Rapture’s dance-punk on one song and a slower, groovier Strokes on the other. “[That’s the] first time I’ve heard either of those references, which is nice,” begins Cester, before diving down the rabbit hole of comparison. “I’ve heard everything from PiL and Happy Mondays to UNKLE and even INXS. Someone said of our live show that it was like ‘Beastie Boys on speed’, but thankfully none of that is close to what we sound like in my opinion. We didn’t talk about influences when we made this record. We just let go of the rope.” Cester declines to make his own comparisons, or even to tell me what the rest of the material sounds like, except to say that the first two tracks released are not really an

Cester is happy to talk about his own influences as a singer, though. He’s not at all fazed by the stigma of a drummer taking the mic. “I know what it’s like out front...” he writes, doing his best to set up the punchline in print: “It’s a few feet forward from where I’ve been every other night of my life for eight years!” As far as influences go, he continues, “Richard Ashcroft stands out as a unique voice of my time. The delivery is quite dramatic. Harry Nilsson is another singer I love - anyone who can find interesting ways to sing what everyone else would do commonly.” But don’t take this as an indication that the vocals are all velvety crooning. In fact, a lot of Cester’s lyrics have a chanty, almost rap-style to them. “I didn’t think of any singers while I was working,” he writes. “I really just let it all go.”

But he’s listening to “singers with great diction at the moment. [The rap influence is] more about the way the words were spat out, rather than being in tune and pretty.”

With: Lanie Lane Where: The Basement When: Wednesday July 27 More: Also playing at Splendour In The Grass, held on July 29 – 31 at Woodfordia, Queensland

Growing Up By Birdie

I

indicator of the rest. “I’d try and describe the differences between those and newer material, but that would bore the shit out of me, frankly...”

What: Pickin’ Up The Pieces out on Dew Process

Young The Giant t’s a well-suited name that indie-rockers Young The Giant picked for themselves. Despite their oldest member being just 23 years old, the Southern California five-piece have built up an enormous following in the United States, with Europe and Australia next on their hit-list. With their self-titled debut album about to land in our parts, drummer/vocalist Francois Comtois reckons his band’s been through a hell of a long introduction process so far.

ny superhero knows that it’s important to have an origin story, and Damn Dogs have a good one. “After Jet played a show in London supporting the Rolling Stones, we had some time off,” Chris Cester tells me via email, “so I met my cousin Mitch in Marrakesh. There was lots of hash, and lots of wine, [and] pretty much the only thing I remember is that we started a band and called it Damn Dogs. It was an ode to the starving, un-domesticated dogs in the general area.”

know their music history, you know? They’re working hard to become successful artists and they’re doing a good job of it.” Standing in the shadows of Motown? Hardly.

“We wrote some of those songs a really long time ago, so that’s made it seem even longer,” Comtois laughs. “The album got released in the ‘States last January, then there was a release in Europe, and now it’s picking up in Australia – so it’s been a really prolonged introduction as far as we’re concerned! It’s been great, though, because people have been awesome and very receptive to [the record], so it’s not uncomfortable or unpleasant. At the same time, we feel that from the process of writing the record up until now and people hearing it for the first time, a lot of things have happened to us. And we’ve changed quite a bit.”

They’ve mostly changed in terms of their outlook, Comtois adds; Young The Giant have toured with the likes of Kings Of Leon and Minus The Bear in recent times, but this hasn’t necessarily affected them musically. The concept of the endless summer and the sweet, youthful tones of their sound are still something the band are keen to continue on their next release. “The sound was pretty accidental,” says Comtois. “I guess it was almost pre-determined for us in many ways, because when we started writing together, we were really young. Some of the songs on this album were written when we were, like, 18 years old! So we didn’t really have

a choice; being that age is going to give you a youthful sound.

“I’m actually the oldest guy in the band and I just turned 23, so it’s all very natural sounding for us and for our age,” he continues. “But I think we’ve grown up at least a little bit since we started writing the album, because we’ve had a lot of great opportunities come our way.

If we could someday play at the Kings Of Leon level that would be super-awesome – that was a highlight gig for us. Our time with them was super-limited, but at least we got to see them play live in front of us. With Minus The Bear, we played six weeks with them, and they’re supersweet guys who love to have a good time. For the most part, they’re low-key dudes and just good musicians who have paid their dues – but man, they can polish bottles of Jack Daniels like nobody else I’ve ever seen!”

Having ticked Kings Of Leon and Minus The Bear off their wishlist of bands to tour with, Comtois tells me that following their Australian tour supporting Grouplove, Young The Giant will take off on another American jaunt of massive proportions. “We’ve got music festivals across Europe first, but right after that we’re starting a tour with Incubus!” enthuses Comtois. “In just April, we’d done about 90,000 miles living like bums in a van and it’s been very tedious. This time, we’re actually getting a proper bus – which is a whole new level for us!”

With: Grouplove Where: Oxford Art Factory When: Wednesday August 3 More: Also playing at Splendour In The Grass, which is held from July 29 – 31 at Woodfordia, Queensland

I ask if there was anything he experienced with Jet that he was anxious to avoid with his brand new band, and although he doesn’t answer the question directly he does get there eventually – albeit in a zen, roundabout kind of way. “I’ll say this,” he begins. “I’ll try and take the good memories along for this ride...

I’ve got no use for the bad ones.” Whatever happens from here, it seems like Damn Dogs are revelling in their second chance at a first impression.

With: Wolf & Club, Millions Where: Oxford Art Factory When: Thursday July 21

“Purple haze all in my brain. Lately, things don’t seem the same. Actin’ funny but I don’t know why. ‘Scuse me while I kiss the sky” - JIMI HENDRIX 22 :: BRAG :: 421 :: 18:07:11

- Wed 20th -

Gallery Burlesque One More Down - Thurs 21st -

Sleep Makes Waves Album launch supported by, Beaufields, Karoshi, These Hands Could Separate The Sky - Fri 22nd -

We Got Soul Soulful House with Phil Hudson, Agey, Paul Hatz and Dave 54.

- Sat 23rd -

Slow Down Honey, Only The Sea Slugs and the Villianaires - Sun 24th -

Simo Soo, Sweet Teeth, Scissor Lock and Disco Club

BRAG :: 421 :: 18:07:11 :: 23

Qua Anything Should Happen By Richard Longwood

C

ornel Wilzcek, aka Qua, could be one of the most interesting, influential and prolific contemporary Aussie artists around at the moment. His own music played an important role in the foundation of Australia’s currently blooming electronica scene, paving the way for more experimental bands like Seekae and Collarbones, even if not directly influencing their music. And working as a producer for a diverse range of local acts, from hip hop group Curse Ov Dialect to Melbourne’s favourite country troupe Wagons, while running his own studio, Electric Dreams, in South Melbourne, Qua’s involvement in the local music scene knows only the bounds of his interests.

But despite his significance, he’s easily overlooked - mainly due to an inherent reluctance to self-promote. “I don’t have that kind of drive to make a name for Qua and travel the world doing stuff, pushing the music,” he explains. He prefers instead to follow his own wandering path. He played in a number of bands in his hometown of Adelaide before moving to Melbourne to study Media Arts, where the real story of Qua began; inspired by the focused approach to music taught as part of the course,

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he began putting together his first work as a solo artist. “The course really got me asking a lot of questions, and thinking about what I was doing before I did anything, and I think every decision made from that point was really concise and well thought out. That offered a lot of direction as to what I wanted to do from there, and in 2002 I released the first Qua album. That was a great turning point in my life where everything started to click, and where what I had done with all the bands I’d played in and all the music I’d been involved with over the years sort of came together and started to make sense.”

Following up 2002’s forgetabout with 2004’s Painting Monsters On Clouds, before touring internationally for the first time and getting the album picked up in Japan, Cornel chose to explore new possibilities presented by soundtrack and production work – and Qua took somewhat of a backseat. “It all opened up from there, you know? I got my first professional soundtrack offer, and from then on soundtrack work became my main source of income, and I started working full time on sound production.

I guess I’ve missed certain opportunities because of that – like I’ve had labels ask me to do albums for them and stuff – but then I get other opportunities...” Rather than think of it as a distraction from his music, Cornel recognises his soundtrack work as a way to broaden his sphere of reference. “It’s given me an opportunity to work in the areas and genres that I really want to work in at any one given time. I feel like I’ve armed myself with a bunch of new ideas and techniques, and bringing them back into my own stuff is just really powerful and really special.”

“I’ve worked with some bands who are like, ‘If we don’t get this festival slot, or this album deal, it’ll be the end of us’. It’s really fucked up, and puts so much weight on all the wrong parts of the music...”

ALLEN TOUSSAINT, THE DIRTY DOZEN BRASS BAND, JON CLEARY & MORE

Exposing himself to new musical experiences, and staying open to new collaborations, is an important part of Qua’s long term goal. His is a philosophy of patience, of recognising that there is always time to try new ideas or to further advance a project – while knowing that certain opportunities only present themselves once. He’s got his route mapped out but is in no rush to get there, and doesn’t mind taking a few detours along the way. “I’ve had a bit more of a long term agenda than some other people I know, but I’m still happy with anything happening. I’ve worked with some younger bands recently who are just like, ‘If we don’t get this festival slot, if we don’t get this album deal, it’ll be the end of us and it will ruin our friendship and we’ll part ways’, which is just crazy bullshit. It’s really fucked up, and puts so much weight on all the wrong parts of the music. Even though I’ve got a plan, anything could happen - and anything should happen.”

It’s an approach which bleeds right through to his music, with a love of improvisation and collaboration forming a key element of Wilzcek’s live shows. This Thursday, for instance, Qua will be at the final SIAMESE night at GoodGod Small Club, playing with Domeyko/Gonzales in a one-off collaborative performance. “I enjoy improvising around pre-written songs,” he tells me. “There are a lot of pre-planned elements, and there are some pre-programmed elements in parts, but I’ve set it up so that it can go in any direction and change shape really quickly if needs be. It’s feeling really good, but it can go from really ambient stuff to almost techno.”

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While a wanderer he may be, Qua sees his many convergent paths through music as all leading to a final destination, with all of that collaboration feeding his own personal creativity. Telling me he’s “looking forward to not collaborating now, to not being so diverse, and going back to hone in on some ideas I left back in 2005, 2006,” Wilzcek is still focused on that end goal. “Working and collaborating with other people and not restricting yourself can really help you create something a bit more than what you can do by yourself. It’s the best way to grow as a musician, and that’s what I’m really interested in.”

With: Domeyko/Gonzales, Dead China Doll, Jon Hunter (The Holy Soul) and Forces Where: SIAMESE @ GoodGod Small Club When: Thursday July 21

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Tiny Ruins Meant For Sea By Caitlin Welsh

H

ollie Fullbrook is wandering around Auckland trying to find a quiet spot to talk.

Everywhere she goes, there are trucks roaring past, or dense traffic – and then the noise drops away. “Oh! This is a nice quiet spot,” she chirps down the line. “I’ve found myself in the graveyard of a church. I might stay here for a bit.” Fullbrook’s recorded output as Tiny Ruins might be gentle, low-key folk, but she’s neither meek nor easily spooked. “I do like graveyards, I have to say. It’s like that song, ‘Sukie In The Graveyard’, by Belle and Sebastian. She’s a good character – hanging out in a graveyard and being a bad art school student.”

The first Tiny Ruins full-length, Some Were Meant For Sea, was released this month in Australia, before Fullbrook headed out on the road with the support slot of Seeker Lover Keeper’s national tour. A New Zealand native, Fullbrook is no stranger to our shores, having recorded the album in the wilds of Gippsland with Aussie institution Greg J Walker. She tells me that any nerves she’s felt about her debut were more related to its slightly earlier NZ release. “Now that it’s out here, I’m relieved that it’s taking on its own life,” she says. “It’s out there,

and there’s nothing I can do about it anymore...

The more you play to people, and the more [the songs] are released, the less they are yours; they become other peoples’ as well.”

Existing somewhere on the spectrum between Holly Throsby’s papery confessionals and the self-effacing whimsy of Joanna Newsom, Some Were Meant For Sea is a genuinely captivating listen, as much a collection of short stories as it is a showcase for Fullbrook’s musk-sweet voice and curly little melodies. Producer J Walker (C.W. Stoneking, Clare Bowditch, The Whitlams) added minor instrumental flourishes here and there, but at the centre there is always simply Fullbrook’s songwriting, which is evocative and deeply literate.

She tells me that these days she doesn’t read as much as she used to, but her influences still rear their heads through her lyrics. Sparsely-worded American classics like Cannery Row linger in her mind, as well as the obligatory adolescent attachment to Salinger held over into adulthood.

British poet Stevie Smith is another favourite: “Her poems strike me quite strongly; they are kind of about sunny subjects, and they’re often short,” says Fullbrook with a laugh. “Not so much romantic poetry – it’s more everyday stuff – but I like her way of seeing the world.” She studied theatre and English lit at uni, while writing music for theatre, and she’s ready to acknowledge her debt to spoken performance. “A lot of plays appeal to me, and that’s kind of what triggered my songwriting: theatrical works and similar conversations, that kind of thing.”

“You have to be quite strict with yourself and ask, ‘Is this original enough? Are these lyrics the highest standard that I can get them?

Focusing on her lyrics is a priority for Fullbrook – as a singer-songwriter, she puts pressure on herself to make her songs stand out in a crowded field of girls with pretty voices and guitars. “I think it’s something that every girl playing music is faced with – something everyone who plays the guitar is faced with,” she admits. “[But] that’s something that I feel becomes an issue after you’ve written the songs.

Then you have to be quite strict with yourself and ask, ‘Is this original enough? Are these lyrics the highest standard that I can get them?’

“I do have a whole bunch of songs that, for me, don’t make the cut,” she continues, acknowledging how limiting her favoured stripped-back style can be. “But I feel like the way to counteract that is to write songs with interesting lyrics, or choose songs that contrast in their subject matter – don’t make all the songs about relationships!”

Fullbrook is also effusive about the affinity between her vision for the album and J Walker’s production style. “I feel like it was a really fortuitous recording session, because a few things happened that really made a difference to the album,” she says of the process, most of which was completed in an old school hall with birds nesting in the rafters. “The spaces that we recorded in – and he managed to capture a few things that are really special, that perhaps wouldn’t have been there with any other producer.

“The kind of thing I was going for was something quite spontaneous,” she goes on. “But we did have a timeframe that we needed to do it in, so it needed to be quite simple. I had a listen to some of his other work and heard that he lived out in the wilderness and had a lot of interesting instruments. So that convinced me that [working with Walker] would be good.” There was an unhurried atmosphere to the recording process too, which certainly shows in the finished product.

“It was very easy, actually,” Fullbrook laughs. “We had the base tracks laid down, and then we’d try different things throughout the course of the day. Maybe add different instruments to three or four songs, and then discuss whether they were working and whether we needed to add anything else. It was basically a matter of feeling it out.

And it wasn’t too labour-intensive – we had time to check out the local garage sales, and Greg fit in a few surfs!”

What: Some Were Meant For Sea is out now through Spunk Records With: Grand Salvo and Sam Shinazzi Where: Notes, Newtown When: Thursday July 21 26 :: BRAG :: 421 :: 18:07:11

Bodyjar Not The Same. Still As Good. By Tom Hoare ony Hawk’s Pro Skater 3 was released in 2002, and it held a special significance for the gaming world: it was the last game released on the N64 in North America. But while it heralded the North American demise of one timeless ‘90s cultural artefact, it signalled the dawn of another: Bodyjar. Previously unheard of in the States, Bodyjar were fast-tracked to new levels of global recognition after being included on the game’s soundtrack (which was incidentally as awesome a soundtrack as any game has ever had; The Nextmen, Rollins Band and Del the Funky Homosapien all made appearances, too.)

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– but he confesses to no longer being much of an authority on the subject. “I think it’s in a pretty good state – I heard Homebake are doing a kind of ‘classic edition’ thing this year … [But] the older you get the more you start listening to old shit. These days I probably buy one or two new albums every few months.” Still, Baines acknowledges the influence Bodyjar have had on the newer generation of pop-punk outfits. “A few American bands, bands like Good Charlotte, definitely have little bits of Bodyjar in there, and I hear it in Kisschasy as well. It’s rad; it’s the highest form of flattery.”

In Australia of course, Bodyjar were already widely-revered punk legends. How It Works, the commercial peak of the band’s career which featured Pro Skater 3’s chosen single ‘Not The Same’, had already been out for two years – and although this was the effort which brought the band into the top 20 of the ARIA album charts, devoted punk fans had been aware of the ‘Jar since their ’94 debut proper, Take A Look Inside. These days, the boys live on the fringe of people’s cultural consciousness; far from being some forgotten relic of a decade gone by, but still a scarcely mentioned piece of Australian cultural lore.

Although their recording days may be behind them, Bodyjar’s sporadic live appearances (though likely to be few and far between) should still draw a big fuss from old-school punk fans. And if not from them, I’m sure there are some Tony Hawk diehards who’d be more than up for a blast from the past.

With: Skyway and One Vital Word Where: Nowhere @ The Gaelic Theatre When: Saturday July 23

Since their farewell tour in 2009, Bodyjar have snuck under the radar, content to spend time with their wives, their children and their side projects. But following a one-off impromptu gig at the farewell to Melbourne punk mecca The Arthouse, the band are reuniting once again to play a show at The Gaelic Theatre this Saturday night. Calling me from his pad in Melbourne, lead vocalist Cameron Baines jovially explains the band’s decision to play the gig: “We just got an offer to do it, and it sounded like a bit of fun.

I rang up all the other guys to see if they were free, and luckily they were. We’re just gonna play what people wanna hear.”

“We’ll probably just do the odd show here and there, and I think that’s better - just coming together and playing what people want to hear instead of trying to remake what we had.”

When I mention Tony Hawk, Baines gushes about the heightened recognition the game brought his band. “That was pretty much the only way people knew who we were in America. We didn’t get any radio play there, so that was pretty much the only exposure we got. That’s how we got signed to Nitro in America, and how we ended up doing the Warped Tour in the States – we got heaps of emails about it, referencing the game, it helped a lot. We got paid bugger all for it, but the exposure we got was awesome.”

People forget these days just how big Bodyjar were at their peak; through the late ‘90s and early ‘00s the band toured with Blink 182, Pennywise, The Offspring, Korn and Marilyn Manson. Surely there are some mental stories from the band’s time as the Australian reps to the global punk scene? “Blink 182 were pretty mental when we first toured with them in Australia, and any time we’ve been to Japan it’s always gotten pretty mental. You do your gig so early there, and then when you’re finished you go out, and shit gets out of hand... We were out in Japan with some Canadian band once,” Baines relates, strategically neglecting the specifics, “and we went to this place called The Rock Rock in Osaka, which is like this legendary rock bar – they’ve had people like Freddie Mercury and all the Metallica boys in there. We were smashed and these guys tried to kick off with us; it ended up with one of the guys from the Canadian band shitting his pants at the bar.”

But Cam insists those days are over now. “I think of that as a chapter in my life that’s closed. We’ll probably just do the odd show here and there every now and again, and I think that’s better just coming together and playing what people want to hear instead of trying to remake what we had. If we tried to come up with a new album now… I mean, we just don’t have the time to put into writing the songs.” So no chance whatsoever of Bodyjar ever putting out another album?

“Probably not. I won’t say never ever, but I can’t see it happening.”

As one of Aussie music’s Old Guard, who played at some of the classic Big Day Outs around the turn of the millennium, I ask for Baines’ opinion on the state of Australian music festivals today BRAG :: 421 :: 18:07:11 :: 27

arts frontline

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arts, theatre and film news... what's goin' on around town and more...

five minutes WITH

ANDREW CLIFFE (THEWORLDISROUND.COM.AU) on contemporarily classic and atmospheric theatrical design. We create unique residential environments for living, embodying plush and relaxed solutions extracted from the client’s personality. We approach the creation of space with the pure objective to surround and embrace its soul. Simply, above all, the result must be creatively practical, enduring and beneficial for the client.

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MI Australia have used their recent move to spankin' new Surry Hills offices as an excuse to get arty, with the creation of the EMI Art Project. Geared at supporting local artists and providing eye candy to passersby, the two Flinders Street-facing windows of their new building are now a display gallery for shifting lineup of art. Their inaugural display features a massive 3D wall-piece by Brad Eastman (aka Beastman), and Stuart Hall’s portrait of Paul Dempsey, which was a contender for the Archibald Prize earlier this year. One of the fellas behind this arty inspiration is Andrew Cliffe, the owner and CEO of ‘interior architecture’ firm the world is round.

What does TWIR do? We deliver creative and efficient solutions for clients requiring commercial, exhibition, retail, hospitality and residential architectural design. We believe retail space must harmonise with the merchandise that lives in it, with the customer who purchases from it and the staff who work in it. We invent distinctive hospitality environments based

DESIGN4CHANGE

You might have seen the ads plastered across town for the hip hop shows in support of Oxfam Australia’s 3things initiative, but there’s more to the program than gigs. Oxfam also runs a project called Design4Change, where design students collaborate on awareness campaigns for causes from climate change to clean water access in developing nations. This year, the focus was on Labour Rights, a concern of Oxfam’s involving both supporting workers in developing countries and influencing companies to respect the rights of their poorest employees. The resulting images will be part of the Design4Change exhibition, held at Vibewire Enterprise Hub in Ultimo from July 21-28. For more info visit 3things.org.au

POSSIBLE WORLDS

Sydney’s Canadian Film Festival – aka Possible Worlds – brought us the films of Denis Villeneuve (Polytechnique; Incendies) and Xavier Dolan (Heartbeats) before they became super hip; this year they’re back with a brandnew sponsor – Blackberry – and a lineup of 20

What is your own training/background?

I have a diploma in Interior Design from the Enmore Design Centre, and my past experience includes working with large design houses Design Inc, Group GSA and Geyer – as well as boutique firms Atelier One and Architects Johanssen. The world is round Pty Ltd has been operating for 7 years.

What brief were you given by EMI? Mark really wanted to create a workplace that formed a sense of trust in EMI and in music, as well as a space that exuded creativity and imagination – all married back to music and to art. A big part of his brief was bringing all of that together into an office that he felt really represented EMI Australia. I remember that as soon as he walked into the new office last year – he knew it was the one.

Mark feels very strongly about artists ruling the world and had a clear vision about showcasing (and encouraging) creativity as much as possible. This manifested itself everywhere from the two EMI Art Project windows, to the

canuck delights, across three venues: Dendy Opera Quays, The Factory Theatre (Marrickville) and the Australian Museum. They kick off on August 8 with a feelgood tribute to the quintessential Canadian sport, Score: A Hockey Musical. Other highlights include a retrospective of Bruce McDonald’s work (Pontypool; The Tracey Fragments; Hard Core Logo) and a special focus on new auteurs from Quebec.

Most importantly, the Festivalists (who run KINO Sydney, Jurassic Lounge and Possible Worlds) know how to throw a good party. For the full lineup, see possibleworlds.net.au

QUEEN STREET OPEN DAY

One of Frasers Property's ace ideas for their Broadway/Chippendale space, the wonderful Queen Street Studio project is not long for this world – so you should totally head along to their Open Day on Sunday July 31. There’s an amazing roster of artists currently in house, and this is a chance to see them in their natural habitat – including QSS residents Team MESS (six month residents), Sarah Breen Lovett,

Image from Hiromi Tango's Insanity Magnet (2009)

use of iconic album covers on Flinders Street (Mark wanted to remind people of how art complements music) and via two huge painted wall murals by local artists Dave Homer and Darko. Part of the brief and the vision is that these will be re-invented and refreshed regularly – which keeps an integrity and a vibrancy to the workplace. I think Mark understands that creativity breeds creativity, and that’s why EMI has been so consistently successful with its local artists.

What were the biggest challenges of fulfilling this brief? The base building is raw concrete.

Whilst this gives the space a great raw honesty it was important to ensure it didn’t feel cold and stark…(not very communal). Hence a constant need to introduce warmth in material and palette… Copper, teak, art and the gentle use of red…

How did you pick the first two window pieces – by Beastman and Stuart Hall? The two pieces are intentionally very different. Dempsey is sophisticated, refined and classic; Beastman is exploratory, explosive and pioneering.

What: EMI Art Project When: walk by any time at all…

Where: 18 Hutchinson Street, Surry Hills More: If you’re a local artist and you fancy seeing your work in EMI’s window, email emiartproject@emimusic.com.au

BALLET REVOLUCIÓN! Straight from the home of dance and revolution, Ballet Revolución is ballet with attitude and serious street skills. Mixing-up ballet with contemporary dance and hip hop, it’s about as far from the Nutcracker as chardonnay is from a mojito. Heading up the choreographic talent are young Cuban trailblazer Roclan Gonzalez Chavez, and Brisbane-born Adam Cash (an original Tap Dog who went on to dance with Twyla Tharp and Mikhail Baryshnikov), and top dancers from Cuba’s premiere companies.

Revolution never looked so good (or so coordinated).

Ballet Revolución premieres its world tour in Australia this month, hitting Sydney’s State Theatre from July 19 – 24. We have three double passes up for grabs to the opening night, on Tuesday July 19. To get your hands on one, tell us the name one Cuban revolutionary… balletrevolucion.com.au

Sophie Cape and Sophia Egarchos. There will be an open studio from 1-5pm, and artists talks from the residents; and in the Studio 12 gallery space, an exhibition of works from a lineup that includes JD Reforma, Cara McLeod, Jai McKenzie, Todd Fuller, and Sebastian Goldspink. As if that weren’t enough, there’s a sausage sizzle, a bar, and DJ chunez for your ears. 10-14 Kensington Street, Chippendale. queenstreetstudio.com

TV Boy (2011)

SUSTAINABLE DESIGN

Sitting neatly at the intersection between science fiction and reality, the SRD Change 11 exhibition is a snapshot of the future – and an optimistic one, thank lord. Taking place as part of the larger Sydney Design festival, and presented by the Powerhouse Museum, SRD Change 11 is a convergence of 25 exhibits by graduates of the Society for Responsible Design – all of which fly in the face of the status quo to present fresh new design solutions for the world’s social and environmental problems. The projects range from the simple (12volt LED surgical lamps geared for third world conditions) to the immensely complex (one designer proposes a solution to the realworld slum crisis in Dharavi). The SRD Change 11 exhibition runs from August 1-12 at the six-greenstar design Coca-Cola Place, 40 Mount St, North Sydney. srdchange.org

MORGAN SPURLOCK

Described as an ‘antidote to the restrictions of glass’, New Glass Effigy is the latest body of work by glass sculptor (and ESP Gallery instigator) Mark Wotherspoon, who tends to do curious things with glass and TV… He’s taking over Kaleidoscope’s new Dank Street space with an army of raw and polished glass and crystal sculptures that may make you think about “loneliness, mass consumption, idolization and personal choice”. They might also just make you want to take one home, and give it a hug. The little figures are made from coloured lead crystal and the melted screens of discarded television sets, and may or may not enjoy Masterchef. New Glass Effigy opens July 28 from 6pm @ 3-4 Dank Street, Waterloo. kaleidoscopegallery.com

12X12 PRIMAVERA 2011

Primavera, the MCA’s annual showcase for young Australian artists, rolls around again from September 8 – November 13. They’ve just announced their lineup, and it’s colourful, glitter-spangled, unpredictable and delightful: Perth-born artist (and SOYA 2009 winner) Rebecca Baumann; Eric Bridgeman (QLD); Tom O’Hearn (TAS); Hiromi Tango (QLD); and from the local hood, performance duo Parachutes For Ladies, Keg de Souza, Tessa Zettel & Karl Khoe of Makeshift, and experimental performance collective (and all-round sassy ladies) Brown Council. What do all these artists have in common? The tendency to bust out of gallery spaces into the real world, interacting with punters and the natural environment. Accordingly, this year’s primavera will take the art outdoors, displaying a range of sculptures, drawings, photography, performances, installations and video works in unusual locations around The Rocks… Could be fun, no? mca.com.au

28 :: BRAG :: 421 :: 18:07:11

aMBUSH gallery and We Are The Image Makers’ annual 12X12 exhibition brings together 12 Australian artists to display 12 artworks, each on 12x12 inch canvases – a format that’s just small enough to fit on the loo wall, but large enough to impress your friends. This year’s edition features a mix of fresh and familiar faces: Daek, Drewfunk, Ears, Edward Woodley, Gary Seaman, Gimiks Born, Mark Alsweiler, Rone, Sean Morris, Shannon Crees, Shida and Troy Arche. 12X12 opens this Friday July 22 at aMBUSH (4a James St, Waterloo) and the works will also be available to purchase from an online catalogue launching midday Saturday July 23 at watim.com/12x12

HARRY POTTER

If there’s a hole in your soul the size of a Quidditch pitch after all the excitement of the final Harry Potter film, prepare to gorge yourself on behind-the-scenes peeks, film props and costumes, and immersive settings like the Gryffindor Common Room and Hagrid’s hut. Harry Potter: The Exhibition arrives in Sydney for its only Australian stop in November this year, and tickets are already on sale, so you’d best hurry. The exhibition runs at the Powerhouse from November 19 – March 18 2012. More info can be found at powerhousemuseum.com/harrypotter

Hiromi Tango Insanity Magnet – performance during dust storm, New Farm Park, Brisbane, 2009

Yet another dose of awesomesauce from Dendy Newtown, hot on the heels of their Taxi Driver season, and sitting right alongside their Mike Mills/Beginners event… Troublemaking documentarian Morgan Spurlock (Super Size Me) will be hitting Dendy Newtown on Tuesday August 2 for a preview screening of his new film POM Wonderful: The Greatest Movie Ever Sold, followed by a Q&A session. His latest adventure sees Spurlock exploring the murky waters of corporate sponsorship, product placement and co-promotional shenanigans, in a quest to discover whether he could turn a humble documentary into a blockbuster behemoth – with a little help from his friends (Noam Chomsky, Ralph Nader, Brett Ratner...) You can bet your dollars this one’s going to be entertaining as all hell. Book your tickets at dendy.com.au

NEW GLASS EFFIGY

The Amazing Andy Hyman And No More Shall We Part rehearsal photo by Brett Boardman

[THEATRE] LA wunderkind brings a double bill to Darlinghurst. By Simon Binns

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he three-month summer break that American students get each year has been long mythologised in films and songs. From what I understand (from aforementioned films and songs) the youth of America generally spend their summers on camps where hilarious mishaps, hormonal relationships and various other kinds of intrigue take place. I think it’s fair to say that “summer camp” is a tradition that’s as American as a McDonald’s apple pie wrapped in the StarSpangled Banner.

However on occasion, students have been known to do something different. One of those students was LA born, wunderkind playwright Andy Hyman. On a slightly dodgy international line from his hometown, Hyman recalls putting the following proposition to his parents: “I said instead of sending me to camp, why don’t you just give me that money instead and I’ll produce a play with it.”

He was just 16 years old at the time. Remarkably, his parents said yes and handed over $2000.

“There’s a little theatre in the neighbourhood I grew up in and I just walked over to it and asked them ‘what can I do to put on a play here?’ they said ‘that’ll be $2000 and you can get it for four weekends.’” More remarkably still, the play was a success and he was able to pay his parents back out of ticket sales.

The same thing happened the following year – and it became apparent that playwriting might end up being more than just a holiday project for the teenaged Andy. When he was eighteen, his one-man play Sanguine was accepted into a young playwright’s festival, where it was given a couple of workshop performances with the actor Jeremy Sisto (of Law & Order and Clueless fame). When Sisto had some downtime a couple of years later, he remembered the play,

called up the theatre and said, “Let’s do a full run of it.” The show was a success, getting extended in its LA season and later that year the show was done off-Broadway. From that point on, Hyman was a professional playwright.

This extraordinary journey now brings him to Sydney for his first Australian production, a double-bill of comedies at the Darlinghurst Theatre: Drake The Amazing and La Dispute.

A hit at the 2009 Edinburgh Fringe, La Dispute is an adaptation of Pierre de Marivaux’s 1744 play of the same name. “The original script has a great premise, but after 30 pages it just kind of ended,” explains Hyman. The story of a wealthy aristocrat who designs an experiment to find out which sex is less faithful, man or woman, Hyman felt the script set it itself up for hilarity, but then never followed through.

“It feels like Marivaux had this cool idea and just then got bored with it and moved onto another idea,” Hyman continues. “I felt really lucky because all the groundwork was done and I just got to come in and write the fun parts.”

The other play in the double-bill, Drake The Amazing, is a “love-in-the-wings” story of an unremarkable vaudeville actor who finds his muse in the feisty Claudette. This production is a rare opportunity for Sydneysiders – a world premiere of an American playwright, with Hyman writing the play specifically for the Darlo season.

They say it’s a lucky man whose hobby becomes his profession, so it must be an even luckier men whose profession then takes him halfway across the world. “I’m thrilled,” says Hyman. “It’s my first trip to Australia and every day I think ‘I wish I could get on the plane today!’”

A way with words [THEATRE] Sam Strong presents Tom Holloway’s latest play at Griffin By Dee Jefferson

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riffin Theatre has always made new Australian writing its special purview, and this year’s program – the first for Artistic Director Sam Strong – is no exception. Strong’s debut season kicked off with his own production of Andrew Bovell’s Speaking In Tongues (which premiered at Griffin in 1996 and was subsequently adapted for screen as Lantana), followed by the world premiere of Lachlan Philpott’s Silent Disco – and next arrives at the Sydney premiere of And No More Shall We Part, by Tasmanian playwright Tom Holloway (Don’t Say The Words – Griffin 2008).

Like Speaking in Tongues in its day, And No More Shall We Part is a recipient of the Australian Writer’s Guild’s prestigious AWGIE Award for Best Play. “It reminds me a little of what Andrew Bovell did in Speaking With Tongues,” Strong muses. “Tom writes a very detailed blueprint – that while we’ve got complete freedom to realise, it’s wonderful to work on writing that is so precise.”

While Holloway has made his name with rhythmically precise and almost symphonic scripts, And No More Shall We Part adopts a simpler style and structure, and applies it to a far more conventional subject. “In some ways it’s a very difficult play to describe without spoiling or in some way compromising an audience’s experience of it,” Strong says cautiously. “It’s about the impossibility of saying goodbye; a portrait of a very long term partnership – and how those two people deal with that ending.”

Strong programmed the work after seeing its debut production at the Melbourne Fringe Festival in 2009 – but was already a fan of Holloway, having acted as dramaturg on Red Sky Morning, for Melbourne’s trailblazing Red Stitch Actors Theatre. He was also Literary Associate at Company B when they programmed Love Me Tender (Belvoir, 2010). “It’s great coming back to working on Tom’s writing again – on a writer’s work who has such a wonderful ear for the music of language. And particularly an ear for rhythm.”

What: Drake The Amazing + La Dispute: a double bill by Andy Hyman

Holloway’s writing requires very specific casting: “There’s a dual challenge," Strong tells me – "[firstly] a technical challenge, because Tom’s writing is so precise, and in some ways incredibly difficult to learn

When: July 20 – August 14 Where: Darlinghurst Theatre / 19 Greenknowe Ave, Potts Point

Linda Cropper and Russell Kiefel in rehearsal

because of the way he makes poetry out of everyday speech – you can’t paraphrase!

Secondly, there’s an authenticity challenge: you need to really embody these beautifully fleshed-out characters, for the piece to have its full emotional effect.”

Bearing this in mind, Strong cast Russell Kiefel (with whom he had worked on his Belvoir production of David Hare’s The Power Of Yes) and veteran stage and screen actress Linda Cropper (who is currently playing Geraldine Proudman in Channel Ten’s Offspring).

“One of the things that I’m enjoying with this piece is the fact that it’s a characterdriven, well-told story,” Strong explains. “For me, And No More Shall We Part absolutely plugs into that sense of drama, and 'theatre as voyeurism'. That’s something that we’ve emphasised and amplified in the design: Victoria Lamb has created a design in which we’re literally coming into the home of these two characters.

“There’s a few little tricks that I can’t give away now,” he smiles slyly, “but we’re really working to create an experience that’s as intimate as possible. And what I think Tom has done is take us into an extreme, intense situation that is in some ways beyond what we can imagine – but that’s why it’s so powerful, and particularly powerful to experience in the theatre.”

What: And No More Shall We Part by Tom Holloway; Dir. Sam Strong When: July 29 – September 3 Where: SBW Stables Theatre (Griffin Theatre Company) / 10 Nimrod St, Kings Cross More: griffintheatre.com.au

Belong

[DANCE] Deadly Award-winning dancer and choreographer Elma Kris talks about Bangarra’s new double-bill. By Zenobia Frost – alongside Artistic Director Stephen Page’s Id.

and the skies through the body of the dancers.”

“[About] is all about looking at the elements of the Torres Strait, where I grew up.” Kris wanted to imbue her work with the language of the elements: “Naigai, Zei and Kuki, and how they merge in a climate way, in a weather way. But more than that,” she says, “I was looking at structure and how the characters work.”

Belong premiered in Brisbane earlier this month, with Sydney the second stop in a national tour – and Kris is excited to be sharing her stories. “I hope it does reach out to others, especially the Torres Strait people.” She is especially interested in how her own people will feel seeing how their totems work “in something different and abstract” – and she hopes it inspires others, both Torres Strait Islanders and Australians.

Belong photo by Jeff Busby

Kris also wanted About to speak of the way we live on the earth surrounded by nature – to show what nature is showing us. “The wind travels like a spirit,” she says, “but you can’t see it – you can only feel the breeze touch you. You can see the rain drops and the thunder and lightning strikes, and then when it comes to the calmness and stillness you see everything – the mirage of the isles.”

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or award-winning dancer and choreographer Elma Kris, working on Bangarra's newest show has been an opportunity to return to her roots, find the meaning of belonging, and weave together history and experience to recreate – and reinvent – home. It’s also a chance to develop her experiences and skills.

Kris has worked with Bangarra Dance Theatre for over a decade (although she confides that, “the more we work in Bangarra, the more shows we do, you can’t really tell how long – it’s one big journey”). Her choreographic debut, Emeret Lu, toured internationally after national acclaim. Her new work, About, premieres this month as part of Bangarra’s double bill, Belong

About is a way for Kris to communicate the language of her homeland. “In a white man’s world, you gotta use the compass,” she says, “but we have a language and a totem for it.” She describes to me Zei, the cold breeze, and Kuki, the cyclone wind, and Naigai, the calmness “where the water goes still but you still have the glittering and shimmering on the water.”

Performing in her own work, Kris says she wants to “see and feel how a woman would take her journey through these elements, but looking at them in a contemporary and abstract way, describing the wind and the sea and the land

So where does Kris feel as if she most belongs?

“Well,” she says definitively, “Sydney is not a home for me – more a base where I build my experience. Home for me is back home [in Torres Strait].” She confesses that her Deadly Award win – Dancer of the Year in 2007 – had her family and friends “expecting a celebrity,” but her homecoming proved that wrong. “I know where I was born and raised,” she says.

“I remember my mum used to make me walk to the shop; I remembered the roads. When I’m home, I’m in my environment. There’s so much to learn back at home.”

What: Belong – a double bill from Bangarra Dance Theatre When: July 19 – August 20 Where: Drama Theatre, Sydney Opera House More: sydneyoperahouse.com

BRAG :: 421:: 18:07:11 :: 29

Arts Snap

Film & Theatre Reviews

At the heart of the arts Where you went last week.

Hits and misses on the silver screen and the bareboards around town.

Daniel Radcliffe as Harry Potter and Ralph Fiennes as Lord Voldemort

■ Film

HARRY POTTER AND THE DEATHLY HALLOWS: PART 2

nothing is true, everything is permitted

PICS :: TL

Released July 13

07:07:11 :: Chalk Horse :: 8 Lacey Street Surry Hills 9211 8999

Pottermania, in its scope and ubiquity, is comparable only to the elite fandoms: Star Wars, Star Trek, Lord of the Rings.

Like LotR there was rich, complex source material that was well-beloved before celluloid brought it to a wider audience; like Star Wars, each new instalment became a social and cultural event experienced on a global scale. But the span of eight films over ten years has created an attachment not only to the 20-odd hours of film, but also the young actors we’ve watched grow from beaming, soft-cheeked children who looked the part to nuanced, mature performers who are and will always be the part.

It’s been noted repeatedly that this is the second half of a long film, not a film in itself, and it’s hard to fault the filmmakers’ decision to split Deathly Hallows in two. It’s the fiery, brutal flip side to the first half’s measured kids-on-the-lam bleakness, and taken together, they make one hell of a war film.

The opening scenes feel tacked-on at first, like the leftovers from Part 1 that they are.

But the crucial characters in them – savant wandmaker Ollivander (John Hurt), and Gringotts bank goblin Griphook – hark back to little Harry’s wide-eyed initiation into the wizarding world in Diagon Alley, in a subtle nod to fans that acknowledges the bloody, headlong rush towards the endpoint that makes up the bulk of the film.

pretty ugly

PICS :: TL

The battle scenes at Hogwarts are, crucially, frenetic and messy: there are corpses, and gore, and rubble and fire. The warzone visuals are spot-on, even with the magical sparkles, although too many of the characters’ emotional peaks, troughs and achievements during the fighting are glossed over.

07:07:11 :: Lo-Fi Collective ::Floor 3, 383 Bourke St Surry Hills

Arts Exposed

But, aside from the plausible magic of the production design, the cast has always been the best thing about these films.

The special club of British character actors that make up the magnificent adult cast continue to give total commitment and weight to a war between people brandishing magic wands at each other.

And the younger cast are uniformly wonderful, with special praise for duffermade-good Neville (Matt Lewis) and Daniel Radcliffe, whose bland everyboy Harry has grown into a completely engrossing, subtle and deeply-felt performance.

BLACK CHERRY

The less said about the ever-divisive epilogue the better; it will work for you, or it won’t. But if you have invested anything of yourself in this world since 1997, I dare you to be disappointed by this film.

Saturday July 23, doors open 8pm The Factory Theatre, Enmore

Caitlin Welsh

What's on our calendar...

Black Cherry is back this weekend, with three rooms of burlesque bombshells, bands, and beats, serving up everything from punk to soul, ska, alt-country, blues, swamp, glam and alternative – including Aussie expat glam-rockers The Art (faves of Sonic Youth and The Pixies), and sizzling psychobilly from Melbourne’s Doubleback. If you have your own dreams of rock’n’roll glory, the fellas from Jungle Rump are doing their karaoke thang, with a live back-up band featuring members of Torch Le Monde… On the performance front, ‘Burlesque Knockout Comp’ winner Betty Grumble will be showing us why child beauty pageants are a bit f*&ked up, and Melbourne stunners Vesper White and Foxtrot India will be working their ‘Bettie Page vs Tempest Storm’ duet, and Kira Carden from the Hu-La-La troupe will but the hoop in hoopla. See you there! facebook.com/blackcherryclub / factorytheatre.com.au 30 :: BRAG :: 421 :: 18:07:11

■ Theatre

K.I.J.E. Until July 30 / Old Fitzroy Theatre The narrative of Yury Tynyanov’s satirical novella Kije, which Joanna Erskine’s new play is loosely based on, is familiar to us, though perhaps not in that form. The story of a group of young soldiers who are caught committing a crime and blame it on a fictional soldier reeks of Tyler Durdentesque vicarious living and I’m pretty sure there’s a M.A.S.H. episode with the same premise.

Erskine is interested in how young soldiers might use such a fiction to allow themselves to commit horrible crimes in extreme situations and thus we watch as four young men are corrupted as one lie snowballs into another.

The idea is strong, and the scenes, particularly those between the four main boys, are all well written, generating a lot of laughter from the audience, particularly as we wait for the fictional K.I.J.E. to arrive at his own wedding (the bride is also absent).

However, the play only seems to scratch the surface of what is being explored.

The boys’ downward spiral into violence is too short, particularly as the rest of the show has mostly played the concept of the mythical soldier for laughs.

Nevertheless, Sarah Giles has directed a crisp production with imaginative staging, using powerful backlight to close in the Fitz’s intimate space to create an even more claustrophobic atmosphere. The whole production is quite dark and the sense of fear is often heightened by the use of torchlight. Caitlin Porter’s rumbling sound design works in tandem with Verity Hampson’s deft lighting design to create the unsettling ambience of a warzone.

Wade Briggs and TJ Power were the standouts among the boys, with Briggs finding reality in the situation and Power drawing you in constantly with his energetic storytelling.

Henry Florence ■ Film

BEAUTIFUL LIES Released July 21 Pierre Salvadori and Audrey Tatou last teamed up for the romantic farce Priceless.

This month they return to the genre with Beautiful Lies, in which Tautou stars as Émilie, a hairdresser living in the kind of small French town most commonly seen in Country Style magazine. As with Priceless, the plot revolves around mistaken identities and misdirected affections: when Émilie receives an anonymous love letter she forwards it on to her mother Maddy (Nathalie Baye) who, still heartbroken four years after the end of her marriage, needs a little romance in her life.

Inevitably, the success of Émilie’s ostensibly simple plan is also its downfall: Maddy craves more letters, and Émilie’s pen is quickly deemed more lack-lustre than kneeweakening, forcing her to enlist outside help – in the form of the unexpectedly erudite but shy Jean (Sami Bouajila), who is the handyman at the salon (and – unbeknownst to Émilie – the author of the original letter).

Whereas Priceless felt mean-spirited, Beautiful Lies is lifted by strong performances, laugh-out-loud dialogue, and moments of genuine drama and emotion.

While some of the character motivations careen into wildly improbable territory, at least here you can imagine these fullyrealised characters living on outside the frame. Émilie makes terrible mistakes, but unlike the vacuous Írene in Priceless, she has an enormous heart and only wants the best for those she loves. As with Priceless, the poised, sincere, and technically brilliant Tautou is this film’s strongest asset, transforming what might have been a tedious plot into a light-hearted, charming escape.

Katia Nizic

See www.thebrag.com for more arts reviews

DVD Reviews Two rom-com veterans try their hand at the modern romantic comedy...

NO STRINGS ATTACHED

HOW DO YOU KNOW

Paramount Home Ent Released June 8 Thirty years after Harry Met Sally, and tried to work out if men and women could be friends without sex getting in the way, romcom veteran Ivan Reitman (Ghostbusters) turns the tables: can men and women have purely sexual relationships, without love getting in the way?

Emma (Natalie Portman) and Adam (Ashton Kutcher) are two attractive, intelligent twentysomething professionals who reunite 20 years after a teenaged camp experience, and become fuck buddies. Despite a disastrous recent breakup involving his girlfriend and his father, Adam immediately falls for Emma; she, on the other hand, has serious intimacy issues, and insists that the relationship be purely sexual.

It doesn’t matter that you know exactly where this is going – the route it takes is just offbeat enough, with an engaging terrain of supporting actors fleshing out three-dimensional friends and family members (Kevin Kline is effortless, while Greta Garwig is a comedienne waiting for a leading role), that you constantly feel surprised. The dialogue is unexpected and smart, the leads have wonderful chemistry, and great comic timing (is there anything Portman can’t do?). The real surprise, however, is Kutcher: much as you want to dismiss him, he keeps proving his chops as a leading man (of screwball comedies). He is thoroughly endearing here, as the nice jock with a brain.

Sony Pictures Home Ent Released June 8 James L. Brooks’ reputation for comedy – and particularly romantic comedy – precedes him, making it very hard to dismiss his latest work. This is the writer-director behind quirky rom-coms like Broadcast News, and more recently As Good As It Gets; the threetime Academy Award-winner behind Terms of Endearment – and one of the key instigators behind The Simpsons. But even great directors make average films – and this one’s average.

Besides his own talent for character and dialogue, Brooks has great ingredients at his disposal– not least of which is a core of four great leads: Jack Nicholson as a self-centred, affable and corrupt CEO; Paul Rudd as his beleaguered nice-guy son; Reese Witherspoon as the perky over-achiever he falls for; and Owen Wilson as the fun-seeking jock she falls for. It’s also nice to see a screen love triangle in which each side is essentially a ‘good guy’: Lisa’s fault is trying too hard, George’s is being a pushover, and Matty’s is the single-minded pursuit of fun. In the interests of presenting Lisa (and his audience) with a genuine choice, Brooks gives equal time to her two suitors, and fleshes out both characters. Even so, it takes a gargantuan effort to suspend your disbelief that a strong, sexy and competent woman like Lisa would suddenly become so hopelessly indecisive about a self-obsessed jock who sleeps around. Even if you can believe it, it makes her more irritating than sympathetic.

Reitman manages to keep it just offbeat enough that you almost forget you’re watching a fairly conventional rom-com in which two irritatingly desirable people have amazing sex, pretend to play hard to get, and end up together… The lingering mystery is: why hasn’t Reitman done more of this work? There’s been more misses than hits since his ‘80s heyday – was he just applying himself to the wrong material?

It’s just one of many problems: exaggerated performances (particularly Witherspoon, whose cartoonish shtick made me feel like I was in a Disney ad for Prozac), an absence of romantic chemistry, and heavy handed scripting that has subtext megaphoned from the mouths of supporting cast... Maybe rent Broadcast News instead?

Dee Jefferson

Dee Jefferson

Street Level With photographer Natalie Connolly (madeitmovestill.com) potentially warp what comes naturally to a person. Especially given that photography is so subjective in nature.

When did you first become passionate about photography? Photography, along with design, has always been an interest of mine. I have memories of taking a disposable camera to school excursions and being so excited to have 27 exposures all to myself. These days, I find I’m just as passionate about the post processing as I am about getting the shot itself.

C

oming up at World Bar’s weekly arts shindig, The Wall, is an exhibition of large-scale prints by local photographer Natalie Connolly. A graphic and digital designer by day, Nat was moonlighting as a social snapper when Wall curator Matt Roden first saw her work: “She did a really great spin on the average party snap you see – hers always had a little more thought and personality behind them, not to mention skill. Nat’s work always looked like the inside liner shots of your favourite band’s last album. We were lucky enough to have some of her work in our last social photography group show – Shutterbuggin’ – and when Nat said she might want to do a show of her newer, nonsocial work, we leapt at the chance.” We imposed on Nat for more info...

What are you showing for Threadbare?

It’s basically a backlog of work from 2010...

The photos really were just exploring my life long interest in run-down locations, and how they are affected or not affected by their surroundings over time. I also enjoy that these locations need to be hunted for, and are not always right in front of your eyes, or may be challenging or dangerous to access...

What is your background/training as a photographer? On the technical side, I’m self-taught. In my mind that’s all you need.

I believe that education, specifically on the subject of photography/art/design can

What or who most interest you in terms of subjects? People can sometimes be disappointing in their reactions to a camera, which tends to frustrate me. I think the perfect image is grabbing someone in a totally natural moment, and that always inspires me. I find that I am always searching for symmetry. I find it very hard to let loose with composition and create ‘sloppy’ or abstract images. I’ve been told it’s the Virgo in me.

What’s your current camera/lens of choice? I wouldn’t call it my camera of choice, but I use a Canon 50d, with 50mm 1.4 and 35mm 2.0. The 50mm is my favourite – I like the restrictions you get with a fixed lens, the fact that you need to physically move to get the shot. A 24mm mk2 is definitely next on my list, gear-wise.

How does your photography intersect with your day job? I work full time as a graphic/digital designer. There is a slightly damaging element to working in the advertising industry, so I like to keep my photography separate from that world.

What: Threadbare by Natalie Connolly When: Wednesday July 27 from 7.30pm Where: The Wall, World Bar More: Nat and DJ Skarlett will be raising funds on the night for Less Than Strength, a non-profit suicide and depression awareness charity. More info at lessthanstrength.com

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BRAG EATS

News Bites ABERCROMBIE COMES BACK

The Abercrombie re-opens this week – Friday July 22 – in an almost unrecognisable form: as a late-night disco diner. There must be something in the water at The Flinders, because that crew is churning out hip nosh joints like nobody’s business, with The Carrington on Bourke Street, Surry Hills opening last Friday, and adding to a slate that includes The Norfolk, Duke Bistro and, yes, The Flinders.

As per those others, The Abercrombie will be kitted out

by Michael Delaney, and will feature a concise menu that cross-pollinates Scottish diner food with Mexican cantina and old school Aussie pub grub – with a cool little cocktail list, natch.

To be first in line, facebook 'abercrombiehotel' – or just wait patiently at the corner of Broadway and Abercrombie St after work on Friday...

HOSPO HOPEFULS The national finalists for 2011’s Electrolux Appetite for Excellence Awards for young chefs and waiters have been announced, with Sydney’s talented young hospo crowd getting a big look in for the finals.

In the chef rounds, we have Richard Ousby from Quay and Victor Liong from Marque. Sydney’s best young waiters are Anthony Moore of Bentley Restaurant and Bar, Ellen

BRAG'S WEEKLY GUIDE TO FOOD

space of neighbouring Pizza Picasso into a classy wine bar which receives food through a hole in the wall from the Pizza restaurant, and serves a wide variety of wine, cocktails and food.

The bench after which it was named runs down the middle of the bar, and encourages a very social drinking and dining experience. 511 King St, Newtown, open Wednesday – Sunday, from 4/5pm til late

CARRIAGEWORKS' NEW EATS Electrolux Appetite for Excellence 2011

Fletcher of glass brasserie and James Sexton from Sepia Restaurant. The program aims to ensure the future success of the hospitality industry by providing “education, inspiration and networking opportunities to the next generation”. The winners will be announced on August 8.

THE BENCH

King Street’s newest bar is neither ‘retro chic’ nor 'charmingly run down’. It's as sharp and as pretty as you.

For those who have tired of ‘new’ cafes and bars looking 40 years old on opening night, The Bench was described by creator Robyn Thomas as “industrial chic”; she’s converted the dining

Providing Sydney and Newcastle with Organic Produce

There’s a new eatery at CarriageWorks: the JOHNANDPETER pop-up canteen. Veteran caterers extraordinaire, J & P aim to remind you of what you've been missing in food lately without even knowing, with plenty of fresh produce, "no frou frou", and an Italian twist to the menu. They're open Monday to Saturday from 8am for Allpress coffee and brekkie, from midday for lunch and, as of August 1, from 6pm for dinner.

And if you're into food AND CarriageWorks, the Eveleigh Farmers’ Markets are still happening there every Saturday, from 8am - 1pm.

Check out JOHNANDPETER first though; never go food shopping on an empty stomach, or you'll be lugging unidentified but delicioussmelling food home with no idea how to cook it... Head to 245 Wilson St, Eveleigh, or johnandpeter.com

SYDNEY’S PREMIER CERTIFIED ORGANIC CAFÉ & CATERER

32 :: BRAG :: 421 :: 18:07:11

9999 2226

www.organicfoodmarkets.com.au

Find the ORGANIC FOOD MARKET in a suburb near you at:

Wholesome and delicious food, using local organic produce.

Exciting and nourishing meals influenced by Mediterranean, Middle East and Thailand flavours.

AT O ORGANIC PRODUCE, OUR NUMBER ONE INGREDIENT IS OUR INTEGRITY.

487 Crown Street Surry Hills 02 9319 4009 www.organicproduce.com.au

Porteño gets its meat on

GOT BBQ? All Up In Your Grill By Dan Patrick

T

he humble backyard barbecue – or just 'The Q' if your blue is truer than most – is about as iconic as one can get when talking about Aussie food; so much so that it’s become part of the international comedic lexicon, via Paul Hogan/Jim Carey’s “Another Shrimp On The Barbie” line, and of course that Simpsons episode. But however broad the stereotype is, it does have some currency: who doesn’t salivate when they imagine a rosy, flame-licked slab of steak on their plastic plate with tossed salad and a buttery cob of corn on the side? (Well, besides vegetarians).

in The Rocks. Forget all that fancy stuff; this gorgeous sandstone pub boasts a full salad bar and a couple of BBQs for patrons to grill prime cuts from the menu. It’s definitely one for the Sunday arvo, and doesn’t pull any punches – grab some mates, a beer and a beautiful steak to cook to your taste. Because that’s what it’s all about, isn’t it? No matter where you’re from or how you like it, you can never have too many friends or too many grills in one city. Gather round one, warm up and get creative.

So what’s new? Well, while we are, as a nation, well versed in the finer arts of chops and tongs, we sometimes forget the meaty delights beyond our own backyard... Sydney is teeming with various cultural inflections of the fire and meat combo that are definitely worth wrapping your face around. Here’s a quick burn through just a few of them.

Sitting up against the Italian forum in Leichardt, and just a short walk from The Annandale Hotel, is Braza Churrascario. Churrascario essentially means “Brazilian speed dating with meat” – which gives you a sense of the gastronomic intensity of this dining experience. Upon sitting down, you’re given a small, salt-shaker-sized wooden totem that sits on your table’s edge: one side is green for “go”, and the other red for “stop”, and sitting it sideways means you’re taking five to rally for the next wave. Meanwhile, waitstaff do rounds with enormous skewers of sizzling beef, lamb, chicken and pork that are carved directly onto your plate. But don’t get so distracted by the meat-on-meat action that you forget to try a chunk of their incredible rotisseried pineapple...

Porteño in Surry Hills ventures further south to the Argentines; it’s a spin-off of Bodega Tapas down the street, but with a focus on all things ‘Asado’ and ‘Parilla’; traditional styles of cooking that involve open fire pits, over which whole pigs, lamb and other delicacies are roasted for the viewing pleasure of the diners. Other edible highlights include deep-fried Brussels sprouts and their South American Pavlova, topped with pears, peanuts and cream. In terms of atmosphere, Porteño turns the dial up to 11: the chefs are inked and bryl-creemed, the bar upstairs is going off, and it even rocks an antique foosball table. This joint is about the most fun you can have with a BBQ – so make sure you make a group booking.

Cross the city to Chinatown, and you’re in the home of Sydney’s flourishing Korean BBQ scene. Nagoya Yakiniku is a no-frills summation of the Korean BBQ experience or, as it’s formally known, ‘Yakiniku’: a sociable cooking style that's been taken up by the Japanese. Each table is fitted with a circular pit in the centre filled with burning hot coals.

Drop a metal grill on top and Oishi! We have BBQ. The rest is simple – choose your feed from an array of meat, seafood and vegetables displayed in the picture menu, and it’s plattered for you in bite size pieces. Stick it on your very own grill and take turns getting your flame on.

Try the Wagyu pizza and the octopus pancakes if you want something a little different. Best of all, Nagoya do it cheaply enough that you can squeeze in both lunch and dinner.

And if you’re yearning for a homier experience, there’s always Phillips Foote Restaurant

Sydney's Best BBQs BRAZA CHURRASCARIA Speciality: Churrasco – traditional Brazilian barbeque with roaming passadores (meat carvers); at Saturday lunch, traditional dish 'feijoada' is served.

Address: 13 Norton St, Leichhardt Web: braza.com.au/Braza-Leichhardt Bookings: 9572 7921 / leichhardt@braza. com.au

PORTEÑO Speciality: Argentinian wood and coal barbeque, with slow-cooked meats and fish, plus suckling pig and lamb barbequed over embers daily.

Address: 358 Cleveland St, Surry Hills Web: porteno.com.au Bookings: 8399 1440 / enquiries@ porteno.com.au – for groups between 5-12 people only

MUMU GRILL Speciality: Sydney’s only sustainable steakhouse and its first jamon (Spanish dry-cured ham) bar, using 100% grass-fed beef and organic/sustainable ingredients.

Address: 70 Alexander St, Crows Nest Web: mumugrill.com.au Bookings: 9460 6877

NAGOYA YAKINUKU Speciality: Bountiful Japanese barbeque, with tabletop grills. Familiar and speciality Japanese dishes are offered with a range of buffet options.

Address: Shop 3, 76-86 Harbour St, Chinatown.

Contact: 9212 0007

PHILLIP’S FOOTE Speciality: A classic range of grill-yourown cuts of meat, with beef, chicken, fish, pies, carvery options and a salad bar, in a beautiful and historic building.

Address: 101 George St, The Rocks Web: phillipsfoote.com.au Contact: 9241 1485 / info@phillipsfoote. com.au

BRAG EATS free stuff

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food review

Shenkin Café [ERSKINEVILLE]

ROBOCOG CAFÉ This cute little café is filled with toy robots and bikes (the name is apt, apparently), but you might want to drop by for some of the food they serve too... If nothing hits your spot quite like a breakfast burrito, if you’re into good coffee and outdoor seating, or if you want to support a couple of bike fanatics (the café’s owners run a bike maintenance community workshop down the road), then Robocog on Riley St in Surry Hills is right where you need to be.

Carrying a day-old hunger down Erskineville Road, you could do a lot worse than stumble into Shenkin Café. With a menu as enormous as their servings, Shenkin specialises in Israeli cuisine while making all the necessary nods to the foodie needs of the Inner West.

The café is only four years old, but some of their recipes are pushing 40. They come straight from the café’s owner, Erik Haikian, and I mean that quite literally – I wanted to chat with him about the heritage of my order, but he was too busy in the kitchen cooking it himself. His son, Bar, tells me Shenkin is a small family business, an offshoot of a thousand-seat function centre in the middle of the forest back home. In Erskineville, though, Shenkin is intimate and charming, all wood and rustic décor, with pots hanging from the ceiling, art hanging on the walls, and big back rooms with long trestle tables, to accommodate the masses that one can only assume pile in with full force (and full hangover) each Saturday.

Shenkin’s breakfast menu is colossal, with pancakes, fruit, frappés and waffles sharing

They’re offering a $50 café voucher for two. You want?

Tell us who your favourite robot is, and why.

space with all the savoury classics (big breakfast for $17.50, omelettes for under $15, eggs Benedict for $10, and a build-your-own option). We were there for lunch, so I went for Shenkin’s specialty, the Shakshuka ($14.50) – a traditional Israeli soup-like dish served in a clay pot, with two poached eggs swimming in the most delicious thing that’s happened to tomato, onion, spinach and capsicum since someone invented basil. (NB: it comes with basil.) Served with two rolls of warm bread, the rich, sweet tomato stew was perfectly offset by my side of Labbane sauce ($2.50) – a thick Middle Eastern yoghurt lifted with chilli, coriander seeds, parsley, cherry tomatoes and ‘za’atar’ (which a quick Wiki tells me is a traditional condiment featuring all of your favourite dried herbs and spices at once).

Shenkin are also known for their wraps, enveloped in fresh pita, that Bar assures us came out of the oven 40 seconds before

Find Robocog Café at 249 Riley Street, Surry Hills.

Shenkin

Had I not eaten far more of the Shakshuka than I could ethically recommend, I’d have finished off with one of the cakes, pastries and macaroons on display. I’ll have to bring my sweet tooth next time. – Steph Harmon Where: 53 Erskineville Road, Erskineville Hours: 6:30am – 5pm, seven days a week Contact: 9550 5511

Brand new menu and experienced chef.

Café

MODERN MIDDLE EASTERN CUISINE

579 Crown Street Surry Hills

53 Erskineville Road Erskineville NSW 2043 (02) 9550 5511

Monday 7am - 3pm Tuesday to Saturday 7am – 3pm 6pm - 10pm

One of Sydney’s only Israeli cafés offering up traditional and contemporary breakfast, lunch, drinks and desserts.

Sunday 9am - 3pm

Relax outside with our al fresco dining, or stay warm.

02 9319 0848

being served. With patties so chocked full of tastes and textures that we couldn’t distinguish one from the other (Is that garlic? Coriander?

Some sort of delicious nut?), the roast beef wrap ($13.90) with tahini and mustard is so juicy and huge you should roll your sleeves up first. There’s a kebab and a chicken schnitzel option too, or – for the vegetarians – the Shenkin Wrap with falafel, or the Vegetarian Wrap with grilled eggplant, tahini, hummus and a boiled egg.

cafemint.com.au

Family owned and open 7 days a week from 6am-5pm.

Offering up pub favourites as well as traditional Thai food.

Live music, Beer Garden, Sports Room and Gaming Room Come get warm this winter in this cosy cottage style pub.

Tudor Hall Hotel (02) 9310 4314 90 PITT ST REDFERN

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Album Reviews What's been crossing our ears this week...

ALBUM OF THE WEEK THE HORRORS Skying XL/Remote Control

Thousands of carefully-coiffed bands are trying to make exactly this music. The Horrors get it right, with skill and with substance.

Upon the release of their debut Strange House, 'The Horrors' was a creakingly obvious name for a Cramps-loving bunch of drainpiped Londoners with Robert Smith headsuits and a gimmicky (though endearingly dedicated) approach to rock’n’roll that was part scuzzy garage and part Goth dinner theatre. It was a slightly better name for the shoegazey, Geoff Barrow-produced act that turned up on their underrated second record, Primary Colours. And it’s about as apt a bandname as ‘The Killers’ would be on their third album, which sees them flip the script again. Skying is a refreshingly underplayed, airy synth-pop record with just enough fuzz and momentum to keep it grounded.

LEADER CHEETAH Lotus Skies Spunk Records / EMI Leader Cheetah’s formula is nothing new. Neil Young laid its bones out nearly 40 years ago, and countless acts have used it since as a skin for lesser songs than his. Dan Crannitch’s voice does sound a little like Young’s initially, but close inspection betrays a gravity and empathy that’s all his own. It’s his remarkable vocal presence, matched with the band’s unsettling talent for tidy, compelling pop songs, that makes Leader Cheetah such an alluring proposition.

This is their second album, and the startling clarity with which it was laid to tape implies the jaundiced glare of their major label supervisors.

This newfound sonic detail may be a calculated move on EMI’s part to groom the Adelaide band as the next antipodean list-topping classic rock emulation, but really, it’s a logical progression from the group’s delightfully rangy debut.

What stops Lotus Skies from standing as the stellar sophomore it aspires to be is the transparency of its generic references. Some of these ideas transcend their stylistic appropriations; others don’t.

Opener ‘Midnight Headlights’ is stunning, in spite of its allusions. Lilting strings usher in a deliciously mellow stop/start verse, before a disarmingly beautiful chorus. First single ‘Crawling Up A Landslide’ is a sublime piece of songwriting that is unlikely to leave your head for weeks. On title track ‘Lotus Skies’, however, the band ditch Crazy Horse for Calexico; a trilling trumpet report leads into tepid indieflamenco. Elsewhere, ‘Our Love’ aims for an anthemic rock rollick, but falls short of making us feel the lyric, “Our love is a light that’s just begun”.

There were so many opportunities for things to go awry on Skying – one bombastic synth or overreaching vocal, and you’re stuck on Post-2000 U2 Street with nowhere to go but Killers Close (a garish cul-de-sac from which there is no return…).

But the sounds are balanced incredibly well – the flip, poppy numbers that dominate the front end are later counterweighted with tracks like the eightminute ‘Moving Further Away’, a sort of krautrockby-way-of-The-Cure epic that travels through Cut Copy and MBV with sparkling synths and distantlygrinding guitars, and the bent reverb of ‘Monica Gems’, which sounds like Joy Division with Oasis’s budget and backing vocals.

Perhaps what’s most impressive is the apparent insouciance of the band in their album-to-album genre slides. Rarely do they hint at any inclinations to pay lip service to the earlier material for the sake of long-term fans; instead, they unapologetically and

JOHN MAUS

LIMP BIZKIT

We Must Become The Pitiless Censors Of Ourselves Inertia

Gold Cobra Interscope/Universal

It comes as no surprise that John Maus has collaborated with Ariel Pink. Both play music devoted to the halcyon precepts of records carefully selected from the bargain crates of late ‘70s and ‘80s pop. And instead of adorning his music with aural trinkets that act as flippant signifiers of fashions past, Maus, like Pink, wears a passion for his influences boldly on his sleeve. He jumps straight to the core of the music of his adolescence, choosing to fully inhabit the aesthetic worlds set out by the likes of New Order or The Cure, instead of just mimicking them.

“Someone is telling the truth” Maus rhapsodises on ‘…And The Rain’, and in a way this statement rings through his overbearing sonic references. We Must Become… may be full of cheesy drum machines, gauzy synths, gauche bass and absurd tape compression, but it’s all bound together with near peerless care and conviction.

From the loping gothic waltz of ‘Cop Killer’, to the curiously tender synthballadry of ‘Hey Moon’, the record is uniformly infectious. The first line of the gloomily-realised ‘Quantum Leap’ is nearly indecipherable, the lyrics concealed by halls of reverb and Ian Curtis-isms, but the way the boom of the final syllable is prolonged with a stuttering delay is both hilarious and menacing. ‘Head For The Country’ feels like straight-up Italo-disco until Maus’s flamboyant mumbling informs us that “This is where a human being finds itself a lover”. ‘Streetlight’ is simply rapturous, riven with bristling neon arpeggiators, drenched in reverb and driven by an irritatingly danceable kick/snare stomp.

A good album by a superb band, from whom we can still expect great things.

If Ariel Pink’s Before Today was one of your favourites from last year, you’ll enjoy brooding/boogying to this.

Luke Telford

Luke Telford

When the original Limp Bizkit lineup announced their reunion in early 2009, Fred Durst and Wes Borland issued a joint statement declaring, “We recognise there is a powerful and unique energy with this particular group of people we have not found anywhere else.” And they couldn’t be more right.

Borland’s absence was keenly felt on 2003’s Results May Vary, and his triumphant return here adds some real substance to the guitars. But with his re-emergence, it is Durst who seems a shadow of his former self. His lyrics haven’t changed, still charged with adolescent rage and generic, ‘nobody understands my pain’ fuck-yous to just about everyone; tracks like ‘Shotgun’ and ‘Gold Cobra’ will instantly remind you why you loved/hated them in the first place. But there’s something about his delivery that makes it seem like he may have lost his appetite.

The rage is still there, but too often it seems like he’s approximating a younger version of himself, rather than genuinely committing to 2011 Limp Bizkit.

So how to judge Gold Cobra? Their template has always been a basic one, aimed at the hormonal teenage boy in all of us – and for the most part, they nail it. It’s a triumphant return from a band long since assumed dead, and they are still the best at what they do. It might not have a great deal of “artistic merit” (whatever that is), but I don’t see how that makes it any different from nearly every AC/DC album...

Keep Calm, Carry The Monkey Popboomerang/MGM ‘Chase The Sun’, the opening song on Skipping Girl Vinegar’s sophomore album, is a phrase that aligns well with the record’s sentiment. Lined in glistening melodies and choral harmonies, the song is as blissfully evocative as it is openly expressive. SKV write affecting, hopeful tales that are inspired by the beauty of our local landscapes and the longing that pervades everyday life.

Whether it’s the poignancy of everyday moments or the seeking of freedom/

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Caitlin Welsh

PAUL KALKBRENNER Icke Wieder I Like The Noise It Makes With his starring role in the hugely popular club documentary Berlin Calling, Paul Kalkbrenner attained a level of exposure that risked him being dismissed as something of a DJ caricature for techno poseurs. That this didn't happen was thanks to the soundtrack, which was comprised of Kalkbrenner’s original material - and was his finest hour as a producer.

The follow-up LP, Icke Wieder, begins where Berlin Calling left off, and for the most part it’s vintage Kalkbrenner.

Icke Wieder showcases all of PK’s sonic hallmarks, from poppy flourishes to booming club numbers, and even manages to get away with a nottoo-subtle wink at the oft-denigrated trance genre on ‘Gutes Nitzwerk’, as only Kalkbrenner can. The euphoric melodies, the chugging basslines and the big and brash sound is as apparent as ever, with cuts like ‘Kleines Bubu’ oozing an infectious panache that is terminally absent from the anaemic deep house tracks flooding the club market at present.

The initial luster does fade somewhat as Icke Wieder progresses; when listening to the album in a single block, the impetus seems to wane, with PK retreading terrain he has already covered plenty of times before in meandering tracks such as ‘Des Stabes Reuse’. But being the unashamed showman that he is, it's fitting that Kalkbrenner rediscovers his mojo on album closer ‘Der Breuzen’, a bouncy jazz-infused track that arrests the slide of the LP’s latter half.

Calling it ‘good’ might be a bridge too far, but the 15 year old you will love Gold Cobra. Your older and wiser self won’t, which is sad because we all need something to break.

Although he seems to lack the creative dexterity to sustain the high quality of Icke Wieder’s first few cuts, Kalkbrenner's latest release offers some gems that sit comfortably alongside his best productions.

Hugh Robertson

Chris Honnery

INDIE ALBUM OF THE WEEK SKIPPING GIRL VINEGAR

skilfully embrace their new territory every time while persuading us, more subtly than Madonna or Kylie ever have, that the reinvention was a great move.

redemption in isolated towns and swamplands, SKV narrate unique tales through evocative instrumentation. The Melbourne quintet’s second album enters more explorative stylistic territory than their debut, 2008’s Sift The Noise. But despite their frequent shifts between choral/chamber pop (‘Chase The Son), folk, rock and alt-country (‘Hand To Hold’), its diversity is more emblematic of impassioned playfulness than it is experimental revelation.

An album standout is its piano/banjo/ string-laden closer ‘Heart Does Ache’; a graceful and emotive ballad in which the quintet are joined by legendary Canadian singer-songwriter, Ron Sexsmith.

Produced by frontman Mark Lang, Nick Huggins (Seagull, Kid Sam), Caleb

James (Yves Klein Blue) and Greg Arnold (Georgia Fields, Stonefield) – and mixed

by Brad Jones in Nashville – Keep Calm, Carry The Monkey is complimented by additional string and horn players (The Ramblin’ Hobos) as well as an extensive choir (Ramblin’ Hobo Choir). It’s an interesting and singular offering, too; not only was it funded by their loyal fanbase through the Hobo Philanthropy initiative, but the meticulously-crafted album packaging features creative cut-outs, embossed files and storyboard images.

Keep Calm, Carry The Monkey is an endearing record that highlights the art of nursing heartache with a gallant hopefulness.

Christine Lan

SINGLE TWIN Marcus Teague Remote Control As frontman of Melbourne’s Deloris, Marcus Teague earned himself a quiet reputation as something of an underground poet, scoring their indie-rock arrangements with unique poignancy and eloquence. With that band’s demise, Teague has thrown himself into his long-time solo moniker, Single Twin, releasing a debut record that undoubtedly marks one of his greatest moments.

As Single Twin, the Deloris frontman is given the freedom to venture into something humbly sparse. There’s no need to get the band to fill in the spaces; on Marcus Teague, Teague embraces the emptiness. Moments like the chatter on ‘Came Home Dead’ or the ambience on ‘Fish In New Leaves’ interject through the background before being promptly shut off, fleetingly appearing like a stolen secret. The space remaining allows the focus to fall on his softlyspoken poetry, crooning through imagined places, lost feelings and suggested philosophies with grace.

The entire record is an incredibly lyrical tapestry; ‘The Blow’ opens with an instant grip as Teague murmurs, “she fell out the window / and to your surprise / she went careful and gentle / as if feather-light,” while ‘Wandering’ ends with a near-perfect coda to its fantasies: “a year ago today / I sat on this very ledge / 13 floors above a car park / sitting on the end of our bed / wondering.”

Meanwhile, ‘Goodnight’ reads like a bullet point advisory, messages to a former lover or a nostalgic reflection on a younger self: “have big plans / think of them / and still be strong / when they’re gone.”

Marcus Teague is a record of sparse, carefully tailored beauty; a gorgeous opus that will leave you stunned in its headlights many times over.

Max Easton

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week...

BODYJAR - How It Works PHAROAHE MONCH - Desire THE JAYHAWKS - Tomorrow The Green Grass

SBTRKT - S/T WARPAINT - The Fool

BRAG :: 421 :: 18:07:11 :: 35

Remedy

More than The Cure since 1989 with Murray Engleheart

RIP WURZEL (THE BASTARD)

After a long battle with a heart condition, former Motörhead guitarist, Michael ‘Wurzel’ Burston has died. For a period, he made the band an interesting four-piece, and had a business card that read: “No phone, no money, no class, no remorse,” with the title “Wurzel the bastard… so fuck off” – all of which was totally tongue-in-cheek, from a reportedly very sweet man. He was, surprisingly, 61. Meanwhile, Lemmy’s health continues to not skip a Jack & Coke beat.

The great man had this to say about the loss of his one time bandmate: “Wurzel was my friend and my brother. He’s never going to laugh with me again or bitch me out – or do anything. And that truly and cosmically sucks.

RIP Wurzel. Godspeed. Good man.”

EAGLES VS ALBERT

This is perfect: The Eagles – who along with Fleetwood Mac represented all things that were so so wrong about US rock in the pre-punk ‘70s – performed a special show as part of the celebrations for that ridiculously lucky Prince Albert II of Monaco dude, who married that just as ridiculously attractive poor blonde woman. Maybe if they’d substituted The Outlaws for The Eagles – if we have to do a country rock type thang – or maybe High On Fire, and some decent beer for the oceans of champers, we’d have bothered to RSVP.

ZZZZZZ TOP

ZZ Top (whose recording schedule of late could well see them renamed ZZZZZZZZ Top) are working with Rick Rubin on that next album.

But in the meantime, they have a new tune not out in cyberspace but space itself, which ties in with Billy Gibbons’ love of all things cosmic. An astronaut buddy of the band, who is currently on one hell of a long commute to the International Space Station (and we thought that stuff was still a concept from Star Trek and or The Big Bang Theory), has taken a recording of a new ZZ choon called ‘Flyin’ High’ along for the ride.

DAVE GROHL’S THING

We’re not over the moon about his band, but we like Dave Grohl a lot. We like his thing and the place he comes from. We like his humility. We like the fact that (as he said recently) he’s still amazed by The Foo Fighters’ success, and continues to feel like they’re nothing more than the lucky guys who won the ultimate prize that somehow just keeps on giving. And like Grohl, we’re almost as stunned that they’re soon to be playing stadiums in this country à la AC/DC, The Stones and U2 – 'cos as the man himself said, they’re just the lucky guys who won the ultimate prize etc…

SLY STONE: BACK

Just when you think that important folks have stopped pissing on their legend comes word that Sly Stone will have a new album out in August titled I’m Back: Family And Friends. And the name says it all. This ‘past hits’-styled effort includes WTF-type guests like The Doors’ Ray Manzarek and Heart’s Ann Wilson, along with more Remedy-flavoured (but still kinda curious) appearances by the likes of Johnny Winter and Jeff Beck. Only Bootsy Collins’ guesting really makes sense.

ZZ Top

ON THE TURNTABLE On the Remedy turntable is Hawkwind’s In Search of Space, which kinda breaks our usual nothing pre- or post-Lemmy fixation with these guys. But this has always been something special. All their future concept, galaxy trippingness and the droning hypnosis is in place, and smothers almost all of the lingering acoustic hippyness from their debut.

Speaking of out-there-ness, Miles Davis’ live set, Black Beauty - At The Fillmore West sure qualifies. Recorded in April 1970, the man (who, we were flatly informed when he was here in the late ‘80s, didn’t do interviews with folks who weren’t Afro-American) really conjures up some serious astral travelling, over the course of two discs and just one song – ‘Black Beauty Parts 1 To 4' – which clocks in at a mighty and continuous 80 minutes.

TOUR AND INDUSTRY NEWS While all of those On The Street shows that Feel Presents are doing in September are fine things, the kinghit for us is the September 16 appearance at the Sandringham of the original lineup of mighty rumble merchants feedtime, along with Useless Children and Three Toed Sloth. “This is a big deal for us,” said Rick feedtime. “It’s been 22 years since the three of us played together, but it’s still all down to the most base of instincts; hitting it hard and hitting it right. And that takes a lot out of you. I’m told that Muddy Waters used to have to sit in a darkened room with ice on his head after a gig to recover.

Sometimes it gets like that.”

Alice Cooper returns on September 26 at the Enmore, with special guests Syndicate.

The Screaming Tribesmen bring their Return To Transylvania tour to the Sando on September 24.

The Hitmen are back, and they’re also at the Sando on September 30.

Bastardfest is on September 10 at the

Sandringham, with Psycroptic, I Exist, Pod People, Bane of Isildur, Ouroboros, Chaos Divine, Blood Duster, The Dream Killers, Claim The Throne, Dawn Heist and Anno Domini, Extortion, Ruins, Daemon Foetal Harvest, Enforce and Ignite the Ibex; bastardfest.com.

Black Label, T.H.U.G. and Lucy DeSoto and the Handsome Devils bring some classic Oz rock to the Basement July 30.

White-hot young things from The Gold Coast, Skinwalkers, are already causing a sensation – they've just released their second EP, Fall Or Resist, and are in the midst of their first national tour. Local dates are July 29 at Hamilton Station Hotel, Newcastle with One Vital Word, Time Has Come and Local Resident Failure; and July 30 at SFX St James Hotel, 114 Castlereagh Street, Sydney with One Vital Word, Time Has Come and Between The Devil & The Deep. The first 20 people at every show receive a free copy of the Fall Or Resist EP. The EP will be available at the shows as well as digitally at iTunes, and through MGM Distribution. www.facebook.com/skinwalkersmusic

Send stuff to remedy@ozemail.com.au by 6pm Wednesdays.

Pics to art@thebrag.com www.facebook.com/remedy4rock 36 :: BRAG :: 421 :: 18:07:11

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live reviews What we've been to see...

THE LAURELS, SOUNDS LIKE SUNSET, KILL CITY CREEPS, GHASTLY SPATS The Lansdowne Hotel Friday July 8

On an exacerbatingly chilly night, a steady stream of people made their way inside The Lansdowne early to see Ghastly Spats.

Their tunes were droney and pulsating with a steady, driving rhythm; they could be one of the great up-and-comers – it’d be good to hear some more from them. They were followed by Kill City Creeps, who've become a bit of an ubiquitous presence of late, which is by no means a bad thing; their steady stream of shows has turned them into an amazingly tight and tough garage outfit. The great thing about their songs is that they only go on for as long as they need to; there’s no excess, no long jams that don’t really go anywhere. Particular highlights included ‘Mustang Mama’ and ‘I Got A Letter’.

It’s quite appropriate that Sounds Like Sunset played the role of main supports tonight. In some ways, they should be considered the forerunners to the shoegazeinspired scene that's developed in Sydney over the last five or six years. They were

LADY GAGA

Sydney Monster Hall Wednesday July 13 Tonight began with a pageant of the peculiar; more papier-mâché, leotards and haute hair accessorising than you could wave an overcostumed and underdressed teenage oddball at. The media – neither VIPs nor competition winners – were the lowest rung, standing in the freezing cold to point at our favourite outfits from behind a barrier, as the 800 winners of Lady Gaga’s exclusive, intimate, one-off show paraded down the red carpet like a miniature Mardi Gras; the first group were apparently ushered into Sydney’s Town Hall by Mother Monster herself.

The show reportedly cost $1 million, with a custom-built set that was all towers, bridges, poles, stairs and scaffolding, accentuated by the grandiose stateliness of the hall itself.

The VIPs (a motley crew that included Brian McFadden, Richard Wilkins, Barry O’Farrell and Megan Washington – who admitted that her label had flown her down for the night, but she didn’t know a Gaga from a Google) lined the mezzanine above the stage, while the jittery audience tittered below, as Austereo, Channel V and Go! presenters pre-recorded their pieces-to-camera, and the fourth wall came tumbling down… After the crowd spent another half-hour arranging the fascinators, cones, duct tape, tutus and hair cans that they’d hoped would distinguish them from the rest, the lights dimmed – and the roar began.

Lady Gaga’s entrance was predictably understated: an epic, thumping, bassheavy on-stage sex-rave, with ten-orso scantily clad dancers drawing attention from the woman herself, who was mid-climb at the top of a tower rig, in a light teal wig and a sparkling Versace leotard (the first of three outfits; prior to the show, we’d been asked by Kyle and Jackie O to keep the energy up for the cameras during the lengthy costume changes).

She opened with ‘Born This Way’, the huge title track from her latest album, and the self-affirming mantra of all her monster misfits (one of which – a flamboyant manboy standing close to me, with half a face hung in heavy glitter – had flown out from Melbourne, and kept his paws up all night.)

Regardless of how much of tonight’s show she was actually singing (some, but not most), Lady Gaga is an incredible performer; you try climbing up a tower to grind into a dancer while being lifted by another, and dragged by three more

38 :: BRAG :: 421 :: 18:07:11

doing it back when most of these bands were learning how to use a tremolo pedal...

It’s been a long time coming, but The Laurels finally have an EP out. Mesozoic is their second release – following the 'Art School Girl'/'Wandering Star' 7-inch in 2009 – and the first to receive widespread distribution. What better reason to celebrate?

The Lansdowne was well and truly packed even before the band started – some people still insisted on trying to play pool, while others were left out in the cold as they waited for room inside. The band’s set saw tracks from Mesozoic, as well as the debut of four new songs which may end up on their first full-length album (penciled-in for early next year). The entire set was a relentless wave of pounding drums, throbbing bass and interweaving, feedback-drenched guitars; of the tracks from the EP, the live standouts were ‘Black Cathedral’ and set-opener ‘What She Does to Me’.

But it was the final song, ‘A Rival’, that sealed the triumphant show, with the prophetic line, “Guess we took our time / But now we’ve arrived.”

Michael Hartt

SIAMESE: LAURENZ PIKE, KIRIN J. CALLINAN, DONNY BENÉT GoodGod Small Club Thursday July 7

Sometimes even the most well-intentioned music fan can get bored watching a dude tap and bash away on drums. Luckily PVT’s Laurenz Pike is not just any dude - he is a percussive force of epic proportions. Quietly beginning his performance in the middle of the dance floor, Pike is hastily encircled by a gathering which threatens to collapse under the strain of beards leaning in from the back, as we tried to catch a glimpse at the man behind the noise.

Prior to Kirin J. Callinan’s performance, a trusted colleague described the man as having the style and nous of a demi-god. His vocal control, lashed with guitar manipulation that can be alternatively described as freakishly slicing or nullifyingly soft, catches many in the room off-guard. Following one particularly startling moment of noise, as the room slowly slides back together, silence abounds and rings with shock in our ears – until a cry of “Whoa!” filters through from up the back.

Callinan breaks a wicked grin, and the ride begins anew.

In the SPOD-directed clip for Donny Benét’s new single ‘Don’t Hold Back’, the man in front of the blue screen looks pudgy and awkward, with none of the sneaking sexiness that flashes about in his live performance. MOOG synthesiser solos (at the end of almost every song) send the girls and boys into giddy whirls of dancing; watching a hairy bald man wholeheartedly occupy the role of ‘Sophisticated Lover’ (one of his song titles, no shit) is as confusing as it is enrapturing...

There is certainly no denying that Benét’s songs are incredibly fun live, with the clever yet childish lyrics eliciting bouts of giggling, mostly coming from the men that cautiously groove through the room. But the distinct impression left by Benét, the son of a famous (but curiously unGoogle-able) Italian disco accordionist, is not so much one of crude sexuality as it is the suggestion of freakier things. While his particular brand of disco may have confounded many, it’s irrepressible – and undeniable.

Benjamin Cooper

to be pinned by the wrists against scaffolding, writhing in time to the beatsy chant that closes 'Telephone’. The audience lapped her up – “I’d come to Australia before any place else in the world,” she proclaimed, thanking us for being the first to believe in her – and the clothes and props thrown at her were donned and discussed in good grace, as she stormed through hit (‘Just Dance’) after hit (‘Poker Face’) after hit (‘Alejandro’, ‘Bad Romance’, and encore ‘Judas’).

Watch her sparkly clips and stadium shows from the safety of YouTube, with the clean edits, camera angles and highest resolution, and it’s easy to imagine Lady Gaga was born that way; superhuman, towering, multi-faced and mythical, the embodiment of all that her self-fulfilling fame entails. Seen up close though, in a crowd almost smaller than the stage that held her, Gaga is a young, tiny and talented lady who’s working very, very hard; keeping the Euro-rave energy up and the choreography intact, and nailing every second of it. “You’re so cute when you’re on Twitter!” she cooed as she caught her breath after the evening’s highlight ‘You Am I’, which she sung from a wheelchair as Yuyi the Mermaid, a fish-tailed, black-veiled alter ego.

“I wrote this about something very deep to me, something very important to who I am,” she drawled, dry as fuck, before launching into ‘Hair’ on the keys. And before the night’s closer, ‘The Edge Of Glory’, it was a simple promise which elicited the biggest bout of thundering from her fanatic crowd: never to spend so long away from them again.

Steph Harmon

lady gaga 13:07:11

:: Sydney Town Hall :: George St Sydney

RES EATEST PLEASU O OF LIFE’S GR MARRYING TW

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Calling ts all artisand e iv L r fo Locals!

Contact: es. ott events@liz com.au

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WWW. L I ZOT T E S.COM.AU BRAG :: 421 :: 18:07:11 :: 39

snap sn ap up all night out all week . . .

bodyjar @ nowhere

siamese

It sounds like: You shat your pants, in a good way.

Who’s playing? Bodyjar, Skyway, One Vital Word, Hot Damn DJs til 4am Sell it to us: House party madness with a sellout gig shoved in the lounge room. Oh yeah, and seeing Bodyjar reunited in their only Sydney show.

The bit we’ll remember in the AM: Getting matching tatts with our midnight make-out and still having money in our wallets for breakfast cos the drinks were so cheap.

Crowd specs: Peroxide and sex, die-hard mosh-pit junkies and yo mama.

Wallet damage: $20/$15 after 11pm Where: The Gaelic Theatre / 64 Devonshire St, Surry Hills When: Saturday July 23

PICS :: TL

party profile

It’s called: NOWHERE

seeker lover keeper

PICS :: AM

steve kilbey

PICS :: CG

07:07:11 :: Goodgod Small Club :: 53-55 Liverpool Street Sydney 9267 3787

06:07:11 :: Beach Road Hotel :: 71 Beach Road Bondi 91307247

08:07:11 :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711 ::KATRINA CLARKE :: S : TIM LEVY (HEAD HONCHO) :: PATRICK STEVENSON :: OUR LOVELY PHOTOGRAPHER DO PRA EN IMOG :: DANIEL MUNNS CAI GRIFFIN :: ASHLEY MAR ::

40 :: BRAG :: 421: 18:07:11

art vs science

PICS :: IP

the panics

PICS :: TL

09:07:11 :: The Factory :: 105 Victoria Road Enmore 95503666

08:07:11 :: Enmore Theatre :: 118-132 Enmore Road, Newtown 9550 3666

snap sn ap

tone

PICS :: KC

up all night out all week . . .

mum

PICS :: TP

09:07:11 :: Tone ::16 Wentworth Ave Surry Hills 02 9267 6440

08:07:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

party profile

last night It’s called: Last Night It sounds like: Slapping bitches off their high horses.

Who’s playing? Glass Towers, We Are Grace, Reckless Vagina.

Sell it to us: We’ve got Byron boy wonders and dangerous genitals – what else is there?

The bit we’ll remember in the AM: Making out with someone in front of the smoke machine whose face you never actually saw.

Crowd specs: Winter beards and that girl you crushed on in high school.

Wallet damage: $15 on the door.

Where: The Gaelic Theatre / 64 Devonshire St, Surry Hills When: Friday July 22, 8pm

::KATRINA CLARKE :: S : TIM LEVY (HEAD HONCHO) :: PATRICK STEVENSON :: OUR LOVELY PHOTOGRAPHER DO PRA EN IMOG :: DANIEL MUNNS CAI GRIFFIN :: ASHLEY MAR ::

BRAG :: 421 :: 18:07:11 :: 41

g g guide gig g

send your listings to : gigguide@thebrag.com

pick of the week Qua

MONDAY JULY 18 ROCK & POP

Bernie The Observer Hotel, The Rocks free 8:30pm O’Malley’s Got Talent O’Malley’s Hotel, Darlinghurst free 8pm Steve Tonge Coogee Bay Hotel, Beach Bar free 9pm The Thinos Downstairs, Sandringham Hotel, Newtown free 8pm

JAZZ

Andy Fiddes Livewire, Aaron Flower 505 Club, Surry Hills $10 8:30pm Jim Gannon Dee Why RSL Club free 6:30pm

ACOUSTIC/FOLK

Alex Hughes, Gene Fehlberg, Edward Kent, Zelda Smyth, Monii, John Tennyson, Russell Neal Kellys On King 7pm

TUESDAY JULY 19 ROCK & POP

THURSDAY JULY 21

GoodGod Small Club, Sydney

SIAMESE:

Qua, Domeyko/ Gonzalez, Dead China Doll, Forces, Jon Hunter $10 8pm

3 Way Split Scruffy Murphy’s Hotel, Sydney free 10pm Adam Pringle Downstairs, Sandringham Hotel, Newtown free 8pm Dr Goodvibe, Jo Fabro, Keren Minshull, Leanne Paris, Gail Page, Rebekah Jensen, Dee Lavell The Basement, Circular Quay $15 (+ bf)–$20 (at door) 9pm Embrace Tokio Hotel, Darling Harbour free 8:30pm Steve Tonge The Observer Hotel, The Rocks free 8:30pm Steve Tonge O’Malley’s Hotel, Darlinghurst free 9:30pm The Listening Room The Vault, Windsor free 7pm They Call Me Bruce Maloney’s Hotel, Sydney free 9:30pm

Young Revelry Elixir ft. Katie Noonan Camelot, Marrickville $25–$30 7pm Embrace Tokio Hotel, Darling Harbour free 8:30pm Hk 47 O’Malley’s Hotel, Darlinghurst free 9:30pm Hue Williams Jack’s Bar & Grill, Erina free 6:30pm Jager Uprising Annandale Hotel $8 7:30pm Luke Dixon Summer Hill Hotel free 7:30pm Matt Jones Scruffy Murphy’s Hotel, Sydney free 11pm Mike Bennett The Observer Hotel, The Rocks free 9:30pm Musos Jam Night Live at the Wall, Leichhardt free 6pm Sea Legs Lizotte’s Restaurant, Dee Why $20 6pm The Trip Beach Road Hotel, Bondi Beach 8pm Young Revelry, Chicks Who Love Guns Kings Cross Hotel, Darlinghurst $10 (+ bf)–$15 (at door) 8pm Zoltan Mean Mean Fiddler, Rouse Hill free 6pm

JAZZ

Bobby Gebert Trio, Manell, Clarke, Warwick Alder

505 Club, Surry Hills $10–$15 8:30pm Evan Lohning Jazushi, Surry Hills free 7pm James Valentine, Mr Percival The Basement, Circular Quay $25 (+ bf)–$73.80 (dinner & show) 9pm

THURSDAY JULY 21 ROCK & POP

Anthems Of Oz The Orient Hotel, The Rocks free 9pm Ashleigh Grace Lizotte’s Restaurant, Dee Why $20 8pm Bright Young Things, Come Back to Earth Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Damndogs, Wolf & Cub, Millions Oxford Art Factory, Darlinghurst $12 (+ bf) 8pm Siamese: Dead China Doll, Domeyko/Gonzalez, Forces, Jon Hunter, Qua Goodgod Small Club, Sydney $10 8pm Dragon The Basement, Circular Quay $30 (+ bf)–$78.80 (dinner & show) 9pm In Hearts Wake, Feed Her To The Sharks, The Saviour, Inhale the Sea Spectrum, Darlinghurst $12 (guestlist)–$15 8pm

JAZZ

Alison Penney Dee Why RSL Club free 6:30pm Club Jazz The Manhattan Lounge, Sydney free 6:30pm John Harkins Jazushi, Surry Hills free 7pm The Tim Bruer Quartet, The Vampires 505 Club, Surry Hills $8 (member)–$10 8:30pm

WEDNESDAY JULY 20 ROCK & POP

Andy Mammers Duo Maloney’s Hotel, Sydney free 9:30pm Ashleigh Mannix, Cats Are Black, Hayley Legg, Fernando Gaelic Theatre, Surry Hills free 7pm Bernie Hayes Downstairs, Sandringham Hotel, Newtown free 8pm Brad Johns Dee Why RSL Club free 6:30pm

Wolf & Cub

“Manic depression is touching my soul. I know what I want but I just don’t know” - JIMI HENDRIX 42 :: BRAG :: 421 : 18:07:11

g g guide gig g

send your listings to : gigguide@thebrag.com (show only)–$42.35 (dinner & show) 7pm Tony Mazell & The Four Tunes, Rosemary O’Hara, Roland Storm South Sydney Juniors, Kingsford free 8pm

Slug Guts

JAZZ

Alison Penney Dee Why RSL Club free 6:30pm Andy Glitre The Basement, Circular Quay free 5pm Mace Francis Orhcestra 505 Club, Surry Hills $15–$20 8:30pm Ted Sly’s Band Jazushi, Surry Hills free 7pm

ACOUSTIC/FOLK

Jager Uprising Final Annandale Hotel $8 7pm Johnathon Devoy Downstairs, Sandringham Hotel, Newtown free 8pm Matt Toms Marlborough Hotel, Newtown free 8:30pm Mojo Juju The Vanguard, Newtown $12 (+ bf)–$47 (dinner & show) 6:30pm Musos club jam night Carousel Hotel, Rooty Hill free 8pm Night Hag, Serious Beak, Fat Guy Wears Mystic Wolf Shirt, At Dark, Defektro Sandringham Hotel, Newtown $10 8pm Our Monk, The Pennys Lansdowne Hotel, Chippendale free 8pm

Palms, Melody Nelson, The Desks Kings Cross Hotel, Darlinghurst $12 (+ bf) 8pm Phil Simmons Guildford Leagues Club free 10pm Rockit To Mars Scruffy Murphy’s Hotel, Sydney free 10pm Sammy Baker Toxteth Hotel, Glebe free 8pm Shinola Macquarie Hotel, Sydney free 8pm Soul Nights Tokio Hotel, Darling Harbour free 9pm The Tillegra Damned Valve Bar 7pm Tiny Ruins (NZ), Grand Salvo, Sam Shinazzi Notes Live, Enmore $17.85

Sanity’s Collision, Dan Usher, Anna Forbes, Nathan McKenna, Daniel Hopkins Lone Pine Hotel free 7pm

FRIDAY JULY 22 ROCK & POP

031 Rockshow Cock ‘n’ Bull Tavern, Bondi Junction free 8:30pm 2 Day Hits Scruffy Murphy’s Hotel, Sydney free 10:30pm Andy Barnes, Simon Bruce, Greg Cade, Kristian Jackson, James Nicol, Nathan Cole, Jeremy Harrison, Matt Heath, Daniel O’Brien, End Over End, James Raxworthy, Acoustic Sugar, Daniel Hopkins The El-Rocco Room $10 8pm

Backsliders The Vanguard, Newtown $20 (+ bf)–$55 (dinner & show) 6:30pm Black Label, T.H.U.G Penrith Hotel free 8pm Brian Gillette Guildford Leagues Club free 10pm Dave Cooke RG McGees Hotel, Richmond free 9pm delSanto, Ruin Gloria, Chasing Chesterfield Caringbah Bizzo’s 8pm Die! Die! Die! GoodGod Small Club $15 9pm Dusker, Mushu, Jimi Linton Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Elevation U2 Show Wentworthville Leagues Club free 10pm Endless Summer Beach Party Richmond Club free 8pm Glass Towers, We Are Grace, Reckless Vagina, Nice & Ego Gaelic Theatre, Surry Hills $10 (guestlist)–$15 (at door) 8pm GTS Club Rivers, Riverwood free 8:30pm Hit Machine Rooty Hill RSL Club free 8pm James Cruickshank, Matt Walker, El Duende Camelot, Marrickville 8pm Liberty County, Winter People, Big Smoky Annandale Hotel $8 (at door) 7:30pm Lisa Rose, Funkesentials Mars Hill Cafe, Parramatta free 8:30pm MUM: Lunch Tapes, Nantes, Dead Beat Band, Our Monk, The Wireflys, Strangers V Strangers, Day Ravies,

wed

20 July

thu

45%

5 * .%

(9:00PM - 12:00AM)

fri

22 July

(5:00PM - 8:00PM)

(9:15PM - 1:00AM)

SUNDAY AFTERNOON

SATURDAY AFTERNOON

(4:30PM - 7:30PM)

(4:30PM - 7:30PM)

sat

23 July

sun

SATURDAY NIGHT

(9:00PM - 12:00AM)

24

Sounds like Sunset The World Bar, Kings Cross $10 (guestlist)–$15 (at door) 9pm Mad Cow Club Cronulla free 8:30pm Mark Corey Club Merrylands free 8:30pm Mary Kiani, Arianna Starr Slide, Darlinghurst $15–$20 8pm Mental Elf The Hero of Waterloo Hotel, Millers Point free 7pm

Mike Mathieson Duo, Chris Alexander St Marys Band Club free 9pm Night Owl Down Under Bar & Bistro, Kings Cross free 8pm Nova & The Experience Live at the Wall, Leichhardt $10 (at door) 8pm Parades The Wharf Theatre, Walsh Bay free 10pm Red Hot Numbers Engadine RSL & Citizens Club free 8pm

Wednesdays Riot House Comedy

(9:00PM - 12:00AM)

21 July

Parades

SUNDAY NIGHT

July

7%$

*5.%

4(5

*5,9 &2)

*5,9

(8:30PM - 12:00AM)

3!4

9 *5,

ROCK-STEIN TRIVIA MOVIE & MUSIC TRIVIA THIS WEEK’S HOST LUSIOUS LYSSA

STRIP TUESDAY’S STUDENT/BACKPACKER NIGHT CHEAP DRINKS, CHEAP WOMEN

&2%%9 %.42 &2%%9 %.42

THE STUDY PRESENT

ASHEY MANNIX

CATS ARE BLACK + HAYLEY LEGG + FERNANDO ARAGONES

CROSSROADS

$5 JIM BEAM $8 JIM BEAM BLACK RTD HOSTED BY RONNIE ROCKER FROM L.U.S.T PURPLE SNEAKERS PRESENT LAST NIGHT

GLASS TOWERS EP LAUNCH + NICE & EGO(4 DECKSET) WE ARE GRACE + RECKLESS VAGINA + MIKE WHO(FBI)

NOWHERE

LIVE: BODYJAR + SKYWAY + ONE VITAL WORD

26/07 ROCKSTEIN TRIVIA/STRIP TUESDAY’S 27/07 THE STUDY + RIOT HOUSE 28/07 FOSTER THE PEOPLE 29/07 LAST NIGHT 30/07 VTRIBE + BUD SPELLS 31/07 LOS SKELETONE BLUES 04/08 CROSSROADS 06/08 ABSOLUTE POWER/SRDL AFTERPARTY

COMING SOON BRAG :: 421 :: 18:07:11 :: 43

g g guide gig g

send your listings to : gigguide@thebrag.com Reno Nevada Rose of Australia Hotel, Erskineville 9pm Scott Hawkesbury Hotel, Windsor free 7:45pm Slow Down Honey, Dali’s Angels, Young Romantics Lansdowne Hotel, Chippendale free 8pm Slug Guts, Whores, Low Life, Ruined Fortune Black Wire Records $10 8pm Soul Nights, Radio City Cats, Mr Fabulous Tokio Hotel, Darling Harbour free 8pm Stellar Green Valve Bar 7pm Strange Talk, Cassian, Hobophonics Upstairs @ Beresford, Surry Hills $15 6pm Swinging Sixties Unity Hall Hotel, Balmain free 9:30pm Talk It Up Marlborough Hotel, Newtown free 10:30pm The Boogie Boys Richmond Inn free 8pm The Capitols Club Five Dock, Five Dock RSL free 8pm The Choirboys Taren Point Hotel-Motel $20 (member)–$25 8pm The Led Zeppelin Show Engadine Tavern free 9:30pm The Mick Hart Experience The Basement, Circular Quay $20 (+ bf)–$68.80 (dinner & show) 9pm The Peej, Mish The Tea Gardens Hotel, Bondi Junction free 6pm The Strides, Uncle Jed Notes Live, Enmore $19.90– $44.40 (dinner & show) 7pm The Survival Reggae Band Brass Monkey, Cronulla $18.90 (presale) 7pm

Tom T Customs House Bar, Sydney free 7pm Tongue & Groove South Sydney Juniors, Kingsford free 8:30pm Toucan Mosman RSL Club free 7pm

JAZZ

Freefall Duo Jazushi, Surry Hills free 7pm Matt Keegan Trio, Dave Ades Group 505 Club, Surry Hills $15–$20 8:30pm Ten Part Invention The Sound Lounge, Seymour Centre, Chippendale $20 (member)–$25 8:30pm

ACOUSTIC/FOLK

Fred Smith Gallery 9, Darlinghurst $12– $15 7pm

SATURDAY JULY 23 ROCK & POP

2 Of Hearts Engadine RSL & Citizens Club free 8pm Abby Dobson Camelot Lounge, Marrickville $25 7:30pm Angela’s Dish Woolloomooloo Bay Hotel $25 7pm

Pluto Jonze

Bno Rockshow RG McGees Hotel, Richmond free 9:30pm Bodyjar Gaelic Theatre, Surry Hills $15 (guestlist)–$20 8pm Busby Marou, Avalanche City, Jackson McLaren Spectrum, Darlinghurst $12 (+ bf)–$15 (at door) 8pm Chartbusters The Three Wise Monkeys, Sydney free 10:30pm Creedence & Beyond Penrith Panthers free 9.30pm Dan Hopkins & The Genrous Few, Carl Stewart Band, Matt Rainshadow The Empire Hotel $10 8pm Darker Half Valve Bar 4pm Doomriders, I Exist Annandale Hotel $25 8pm Eagle & The Worm, Pluto Jonze, The Rubens Kings Cross Hotel, Darlinghurst $10 (at door) 11pm Emma Hamilton 505 Club, Surry Hills $15–$20 8:30pm Enrique Iglesias (USA), Pitbull (USA) Sydney Acer Arena, Sydney Olympic Park $99.90 (B Res)– $199.90 (gold) 8pm Finn Teagardens Hotel Motel free 8:30pm Freshmix Campbelltown RSL free 8.30pm Girls Talk Club Five Dock, Five Dock RSL free 8pm Granite Revolution Oatley Hotel free 8:30pm Jenny Marie Lang Guildford Leagues Club free Kissteria Celebrity Room, Blacktown RSL Club free 10pm

Bodyjar

Kunvuk, Traitor, Smokin’ Mirrors, Seraphyx Agincourt Hotel, Ultimo $12 9pm Macson Duo Richmond Club free 8pm Made In Japan, Boats Of Berlin, We Are Grace Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Masterpiece Cronulla RSL free 7pm Mick On Wheels Bald Rock Hotel, Rozelle free 7:30pm Millennium Bug Macarthur Tavern, Campbelltown free 9pm Nikko, Solkyri, Strangers Vs Strangers Lansdowne Hotel, Chippendale free 8pm Paddy McHugh & The Goldminers, Billy Goat & the Mongrels, The Handsome Young Strangers, Little Chris Sandringham Hotel, Newtown $12 (+ bf)–$15 8pm Reverend Beat-Man (Switzerland), Delaney Davidson, La Mancha Negra

The Vanguard, Newtown $15 (+ bf)–$18 (at door) 6:30pm Royal Chant, The Lockhearts Caringbah Bizzo’s 8pm Shane O’Leary Duo Club Cronulla free 8:30pm Sirenics Club Rivers, Riverwood $35 6:30pm Sons of Mercury Scruffy Murphy’s Hotel, Sydney free 10:30pm Mal Eastick, The Matt Roberts Trio Brass Monkey, Cronulla $23.50 (presale) 7pm Stormcellar The Royal Hotel, Bondi 8:30pm Black Cherry: The Art, Doubleblack, The Ramshackle Army, Generation Swine, Simon Day, Goldfoot, Rockabilly Rhino, Wolfman Dan & the Rockabilly Rhino, Nathan Dee, CeeCee, Ruby Riot The Factory Theatre, Enmore $16 (+ bf)–$20 (at door) 8pm

TUESDAY 19TH JULY

THURSDAY JULY 21ST

Sat 30/07

Sarah McLeod

Mon 1/08

Bands For Bears

Thurs 4/08

FRIDAY JULY 22ND

Wouter Kellerman (South Africa)

Fri 5/08

Alfredo Malabello (Album Launch)

Sat 8/08

Café Of The Gate Of Salvation With guest Paul Capsis

SATURDAY JULY 23RD

Fri 12/08 –

The Conscious Pilots + The Soul Predators + Uncle Jed

Tue 16/08

Kevin ‘Bloody’ Wilson

Fri 19/08

Songlines

THURSDAY JULY 21ST

Thur 25/08

After The Goldrush – Neil Young Tribute

Fri 26/08

Jeff Martin & Terapai Richmond

Wed 31/08

The Amazing Rhythm Aces (US)

FRIDAY JULY 22ND

Thur 1/9

The Lucky Wonders CD launch

Fri 2/09

Fred Smith Album launch

Sat 3/9

Girlaxy presents – Coyote Ugly

Fri 9/09

Otis Redding 70th Birthday Celebration w/ Johnny G & The E Types

44 :: BRAG :: 421 : 18:07:11

LITTLE JOHNNY THE MOVIE

Feature length animation based on Little Johnny jokes FRIDAY 22ND JULY

BOB MARLEY TRIBUTE: featuring Survival Reggae

SATURDAY 23RD JULY

STEVIE RAY VAUGHAN CELEBRATION FEATURING: Mal Eastick + Matt Roberts Trio

SUNDAY 24TH JULY

BONES ATLAS + Evan & the Brave + Dane Alderson

TUESDAY 26TH JULY Quarterpipe Records Presents

NINTH PILLAR

+ Alex Kuusik & Carlos Bova (ACOUSTIC SET) + Rachael & Derek + Gabby Dever THURSDAY 28TH JULY

SARAH MCLEOD + Dean Michael Smith + Sean Millar

Friday 29th July Bachelor Girl Saturday 30 July The Last Waltz Revival Sunday 31 July Bones Atlas Wednesday 3 August Futures in Black and White Thursday 4 August Diesel Friday 5 August Kira Puru Saturday 6 August Mr Percival Sunday 7 August Bones Atlas Wednesday 10 August Panda Band Thursday 11 August Matt Corby Friday 12 August Ray Beadle Saturday 13 August James Taylor Tribute Sunday 14 August The Louds Tuesday 16 August Boats Of Berlin Wednesday 17 August Bob Log III Thursday 18 August Wendy Matthews Friday 19 August Rock Box Saturday 20 August FisherKing Sunday 21 August Jace Everett Wednesday 24 August Alvin Youngblood Hart Thursday 25 August Craig Woodward Friday 26 August King Tide Saturday 27 August Andy Bull Wednesday 31 August Jeff Martin Thursday 1 September Jeff Martin Friday 2 September Owl Eyes Saturday 3 September A Tribute to Bob Dylan Sunday 4 September Bonjah Friday 9 September Ian Moss Saturday 10 September Ian Moss Sunday 11 September Max Wednesday 14 September Alloway Thursday 15 September The Trews Friday 16 September The Flood Saturday 17 September Johnny G & The E Types Saturday 24 September Spy Vs Spy Thursday 29 September Glenn Richards Friday 30 September Classic Rock Show Saturday 1 October The Trews

g g guide gig g

send your listings to : gigguide@thebrag.com The Australian Rolling Stones Show Unity Hall Hotel, Balmain free 9:30pm The Jacksons Experience The Basement, Circular Quay $25 (+ bf)–$34 (at door) 9:30pm The Nevilles Marlborough Hotel, Newtown free 10:30pm The Road Crew Peachtree Hotel, Penrith free 9:30pm The Robertson Brothers South Sydney Juniors, Kingsford free 8pm The Sins, The Glamma Rays, The Pork Collective Notes Live, Enmore $16.35 (show only)– $40.80 (dinner & show) 8pm The Zips Workers Blacktown $7.50 (member)–$10.50 8pm Tice & Evans, Kaki Downstairs, Sandringham Hotel, Newtown free 4pm Van She, Starjumps, Magic Happens Upstairs Beresford, Surry Hills $15 6pm Wilson Saoko Metro Theatre, Sydney $40 (+ bf) 9pm Xtra Hot Brighton RSL Club, Brighton-Le-Sands 8pm

JAZZ

Bloodlines The Sound Lounge, Seymour Centre, Chippendale $20 (member)–$25 8:30pm Blue Mood Quartet Supper Club Fairfield RSL Club 7pm

Old Time Band The Hero of Waterloo Hotel, Millers Point free 2pm Susan Gai Dowling Jazushi, Surry Hills free 7pm

ACOUSTIC/FOLK

Dr Lakshminarayan Subramaniam (India), Ambi Subramaniam (India), Kalapini Komkali Everest Theatre, Seymour Centre, Chippendale $25 (child)–$50 (adult) 7:30pm

COUNTRY

Lee Kernaghan North Sydney Leagues Club, Cammeray $28 (child)–$48 (adult) 7:30pm

SUNDAY JULY 24 ROCK & POP

Ace Brighton RSL Club, Brighton-Le-Sands free 7pm Alter Ego Macquarie Arms Hotel, Windsor free 12pm American Graffiti Campbelltown RSL free 5pm Bones Atlas Brass Monkey, Cronulla $14.30 7pm Cardboard Cutouts Club Five Dock, Five Dock RSL free 4pm Cindy Walkerthon Marrickville Bowling and Recreation Club 4.30pm

Craig Thommo Richmond Club free 4pm Genevieve Chadwick Fitzroy Hotel, Windsor free 5pm Glasvegas (Scotland), The Dark Shadows Metro Theatre, Sydney $55 (+ bf) 8pm iOTA, Matanza, Lily Dior, Temple of Groove, Merenia, Mitch Anderson, Rebeka Jensen, Paula Baxter, Party People Collective The Basement, Circular Quay $25 (+ bf)–$30 (at door) 8pm Kevin Bloody Wilson Richmond Club $49 8pm Mad Cowboy Disease Valve Bar 2pm Paul Kelly, Paul Grabowsky, Vika & Linda Bull, Australian Art Orchestra, Choir With No Name Concert Hall, Sydney Opera House $129–$149 7pm

Mr Percival, James Valentine Lizotte’s Restaurant, Dee Why $25 (at door) 8pm Peter Northcote, Andre Kaman Bridge Hotel, Rozelle $10 3pm Simo Soo, Sweet Teeth, Scissor Lock, Disco Club Tone 8pm Strange Horizon, Forests, Danger!Bus, Baby X Annandale Hotel $5 3pm The Baddies Downstairs, Sandringham Hotel, Newtown free 4pm Triple Imagen South Sydney Juniors, Kingsford free 8pm

Django 101 Camelot Lounge, Marrickville $20 6:30pm Don Hopkins Dee Why RSL Club free 6:30pm Monique Lysiak Jazushi, Surry Hills free 7pm Old Time Band The Hero of Waterloo Hotel, Millers Point free 2pm San Francisco Cronulla RSL free 12:30pm Sean Coffin Quartet Cafe Sydney free 12pm Unity Hall Jazz Band Unity Hall Hotel, Balmain free 4pm

ACOUSTIC/FOLK

JAZZ

Ali Penney & The Money Makers Bald Rock Hotel, Rozelle free 6pm Paul Kelly

Bob Louis Duo Oatley Hote free 2pm Dr Lakshminarayan Subramaniam (India), Ambi Subramaniam (India), Kalapini Komkali Everest Theatre, Seymour Centre, Chippendale $25 (child)–$50 (adult) 7:30pm Green Jam The Hero of Waterloo Hotel, Millers Point free 7pm

COUNTRY

Christian Power, Lonesome Train The Vault, Windsor free 2:30pm

HIP HOP

Del The Funky Homosapien Oxford Art Factory 8pm

25 years experience in the industry working with Australia’s premier musicians.

‘our recordings cut through the noise’ Offering: • In-house mastering suite including analog chain • CD Manufacturing & Duplication • Analog to digital transfers & remasters • Record, Mix, Master Package deals • State of the art analog & digital including 2˝ tape & pro tools • Highly experienced in-house engineers

02 9331 0666 bookings@damiengerard.net www.damiengerard.net STUDIO:

174 Mullens St Balmain OFFICE:

230 Crown St Darlinghurst BRAG :: 421 :: 18:07:11 :: 45

gig picks

up all night out all week...

(USA) + JACK LADDER + DONNY BENET Tiny Ruins

SATURDAY JULY 23

Die! Die! Die!

(US (USA)

Bodyjar, Skyway, One Vital Word Gaelic Theatre, Surry Hills $15 (guestlist)–$20 8pm Busby Marou, Avalanche City, Jackson McLaren Spectrum, Darlinghurst $12 (+ bf)–$15 (at door) 8pm Eagle & The Worm, Pluto Jonze, The Rubens FBi Social @ Kings Cross Hotel, Darlinghurst $10 (at door) 8:30pm

WEDNESDAY JULY 20 Elixir ft. Katie Noonan Camelot, Marrickville $25–$30 7pm Young Revelry, Chicks Who Love Guns Kings Cross Hotel, Darlinghurst $10 (+ bf)– $15 (at door) 8pm

THURSDAY JULY 21 Damn Dogs, Wolf & Cub, Millions Oxford Art Factory, Darlinghurst $12 (+ bf) 8pm

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46 :: BRAG :: 421 : 18:07:11

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Damn Dogs

Tiny Ruins (NZ), Grand Salvo, Sam Shinazzi Notes Live, Enmore $17.85–$42.35 (dinner & show) 7pm

FRIDAY JULY 22 Die! Die! Die! GoodGod Small Club $15 8pm Parades The Wharf Theatre, Walsh Bay free 10pm Slug Guts, Whores, Low Life, Ruined Fortune Black Wire Records $10 8pm Strange Talk, Cassian, Hobophonics Upstairs @ Beresford, Surry Hills $15 6pm

Black Cherry: The Art, Doubleblack, The Ramshackle Army, Generation Swine, Simon Day, Goldfoot, Rockabilly Rhino, Wolfman Dan & the Rockabilly Rhino, Nathan Dee, CeeCee, Ruby Riot The Factory Theatre, Enmore $16 (+ bf)–$20 (at door) 8pm

SUNDAY JULY 24 Glasvegas (Scotland), The Dark Shadows Metro Theatre, Sydney $55 (+ bf) 7:30pm Paul Kelly, Paul Grabowsky, Vika & Linda Bull, Australian Art Orchestra, Choir With No Name Concert Hall, Sydney Opera House $129–$149 7pm

BRAG’s guide to dance, hip hop and club culture

brag beats

dance music news

Sosueme DJs

The Coffee Boy Chronicles: A New Beginning. With Chris Honnery

five things WITH

MATT & KERRY

SOSUEME DJS

The Sosueme DJs have announced their This Is How We Do It headline tour, which kicks off with their third consecutive appearance at Splendour In The Grass. A collective comprised of Wonderland, Hansom and Hobo, the Sosueme trio will also play their own headline set at Oxford Art Factory on Friday August 19. Rather than recycle superlatives from the press release – “original stylings and infectious energy” anyone? – I’d advise you to download their latest mix through the Falcona website, which gives you an accurate representation of where the Sosueme DJs are at.

HENRY SAIZ TOUR

Growing Up [Matt]: I grew up on the beaches of 1.

Sydney’s east, surfing and involved in

The Music You Make [Kerry]: When it comes to the music that 4. makes our party rock, it’s generally based

anything that revolved around being at the beach. My musical background is pretty much a varied dose of punk rock and rap, and eventually house music when I was old enough to go to clubs.

[Kerry]: I grew up in Sydney’s Hills District (don’t hold that against me). It was all about hip hop, back in the day when I’d DJ at my school’s parties.

around quality house music with a direction towards all things deep. Both of us are on the same page as far as what we individually play, the labels we like and the artists we dig. It’s all about rolling basslines and anything with a solid groove.

[Matt]: I’ve been collaborating with two of my good mates, YokoO and Pete Nouveau, both on separate projects. I’ve got releases out now on Affin and Elektro System Records, with more coming out this year on Taste Buds Digital, Elektro Tribe and Sydney’s very own Reckless Republic Records.

2.

Inspirations [Matt]: For me it was going to places like Globe and YU that infected me with a love of house music. Week in and week out they were rammed to the brim with some of the coolest times I still think I’ve ever had.

[Kerry]: The tables turned for me with the Defected parties at Tank; Simon Dunmore showing me the art of seamlessly mixing, and letting the track do the work.

Your Crew With S.A.S.H, like any other successful 3. party, it always begins with a tight network of friends who support and love the music we promote and play. The DJs that come down are all likeminded in terms of what they play, and selected based on their music preferences.

Music, Right Here, Right Now The Sydney scene right now is pretty good; 5. there seems to be a pretty diverse array of acts making their way to our shores, and even the local parties are doing well. We’ve got a few things in the pipeline too at the moment, one being the series of White Label S.A.S.H parties, and another project which will come to light later this year, called ‘Paved Way’. Keep your ears to the ground for that one...

What: S.A.S.H Sundays Where: The White Horse, Crown St, Surry hills When: Held on the second and fourth Sunday of every month, from midday - 9pm

Spanish DJ and producer Henry Saiz will take to the decks at Chinese Laundry this Saturday July 23, for a three hour set in support of his recent Balance 19 compilation – which is out now through local distributor I Like The Noise It Makes.

Saiz’s addition to the Balance canon comprises two contrasting discs; the first is seemingly all about lo-fi, for which he used analogue formats only, while the second disc appears more dance floor orientated, traversing tracks from Border Community’s Ricardo Tobar, Eelke Kleijn, Simon Garcia and Okain. The mix offers an array of new and exclusive cuts, with Saiz collaborating with Marc Marzenit, Dosem and Pional for tracks that were produced exclusively for the compilation.

Along with Saiz, the likes of Kid Kenobi and Matt Nugent will be spinning in the other room of Laundry this weekend.

SHADOW’S SPLENDOUR SIDESHOW

A reminder that the revered producer Josh Davis, aka DJ Shadow, will play an all ages show at the Hordern Pavilion on Saturday July 30 in addition to his appearance at Splendour In The Grass. Shadow probably remains best known for his acclaimed 1996 debut album Entroducing…, which has been followed by subsequent releases Pre-emptive Strike, The Private Press, The Outsider and the Bay Area EP, as well as other production projects such as the James Lavelle collaboration that was UNKLE’s Psyence Fiction. Shadow’s forthcoming LP, The Less You Know The Better, is slotted for a September release, and has been preceded by the EP I Gotta Rok, which includes a remix of ‘Def’ by UK drum ‘n bass producer Rockwell, and is available digitally now. Shadow will be supported by the Midnight Juggernauts DJs and Ghoul, with tickets currently on sale.

Flight Facilities

FLIGHT FACILITIES EP

Future Classic will be releasing Flight Facilities’ second original single ‘Foreign Language’ on July 31 – like, next weekend. The Sydney duo’s debut solo track ‘Crave You’ featuring Giselle was something of a surprise package last year, receiving the remix treatment on local imprint Bang Gang 12 inches and becoming a party favourite pushed by the likes of McIness and Gillard, and hand-picked for compilations by Ministry of Sound, Kitsuné and Defected. Flight Facilities have since remixed Cut Copy and Holy Ghost! and squeezed into the top 20 of triple j’s Hottest 100 in 2010, and now they’re ready to unveil their sophomore effort. ‘Foreign Language’ combines the vocals of Jess Higgs with “smooth walking bass lines, classic house strings, loads of guitar noodling, and anthemic vocals” – in short, it’s one for summer.

BRAG :: 421 :: 18:07:11 :: 47

dance music news

free stuff

club, dance and hip hop in brief... with Chris Honnery

FREESTUFF@THEBRAG.COM

five things WITH

JOEY TUPAEA OF KONTRAST DJS Growing Up I come from a very strong musical 1. family; my mother was a singer when she was young, and my father’s been a musician for The Little River Band.

I started playing drums when I was eight, and towards high school I started to get into the guitar, and also played piano. Music is an important part of Maori culture, and was always going to play a big part of my life.

“God created us and we created music!”

2.

Inspirations When I was a kid, my parents were always playing Steve Wonder, Earth, Wind and Fire, and a lot of Motown music, which inspired me to become a musician and follow the footsteps of my family. When I started to grow up, I was able to appreciate all aspects of music, and once I started to develop a sense of what type of music I was interested in, I was hooked. The artists who inspire and influence me most would be Joris Voorn and Oliver Koletzki, just to name a few.

Crew I play alongside another artist/ 3.Your

Goldie

man Justin Hemmes has announced the festival will move from February to December in 2012. “We have more festivals here per capita than anywhere else in the world,” Hemmes stated last week. “It’ll be December, December next year… temperatures are warmer and it’s just a better time for us. It was just getting flooded around that time [February]… It’s just a flooded market – supply and demand: economics class one.”

The move to December will mean the Good Vibrations festival will no longer clash with the major music awards like the Grammy’s in the US and the BRIT Awards in London; headline acts Cee-Lo Green and Janelle Monáe withdrew from this year’s festival after they were invited to perform at the Grammy Awards. It also means the festival will occur at the beginning, rather than the end, of the Sydney summer, where people are more enthusiastic rather than burnt out, jaded and broke. Though admittedly, I’m like that all year round…

PUNKS JUMP UP

GOLDIE FABRIC TOUR

DnB proponent Goldie, responsible for the jungle / drum’n’bass classic LP Timeless, has mixed the latest instalment in the Fabriclive series which will be released July 29 through fabric/Balance Music. The leader of the iconic Metalheadz label, who is also something of an entrepreneur, having appeared in James Bond films along with Guy Ritchie’s Snatch, was typically forthright when discussing the release: “I’m not claiming to be the best technical DJ, I never have done,” hee says. “For me, I try to get the alchemy right, which I’ve done on this mix: each of these are standalone tunes… When I think of the DnB tunes on this mix, I think of them as spiritual euphoria, like I’ve been lifted out of something.” Goldie will be bringing the spiritual euphoria to Chinese Laundry on Saturday September 17.

London via Sweden duo Punks Jump Up make their Australian debut at Candy’s Apartment on Friday August 12. The pair dabble in electro and disco sounds, and have accumulated a solid sonic CV through their work on popular French label Kitsuné, through which they released their latest EP, Blockhead. The EP hit shelves at the beginning of this year, and its title track has attracted remixes from the likes of Zombie Nation and In Flagranti, and has received support from 2ManyDJs. Punks Jump Up have also built up an extensive remix catalogue, having reworked the likes of Lykke Li, Digitalism, Chromeo and Crystal Castles over the past few years.

BOOKER T. JONES

Booker T. Jones, the legendary figure behind soul and funk staples such as ‘Green Onions’, ‘Time Is Tight’ and ‘Melting Pot’, will perform at The Metro Theatre on Thursday October 6, courtesy of Niche Productions. Aside from the aforementioned hits, Jones’ career is punctuated by a surfeit of other highlights too; he co-wrote hits for Eddie Floyd and Otis Redding as well as the blues burner made popular by Cream, ‘Born Under A Bad Sign’.

More recently, he’s recorded with Elton John, Neil Young, Drive By Truckers and Rancid.

Jones won a Grammy Lifetime Achievement Award in 2007, but far from hanging it up just yet, he recruited The Roots to work on his new album, The Road From Memphis. Jones will be playing a range of classics and newer material on his Australia tour, where he’ll be accompanied by a full live band.

JOELISTICS TOUR GOOD VIBES HELD BACK

In the wake of what he admitted were disappointing sales for the Good Vibrations festival in 2011, Merivale and Jam Music main 48 :: BRAG :: 421 :: 18:07:11

HENRY SAIZ

Fresh from supporting the likes of The Herd and Lowrider, TZU frontman Joelistics will embark on his own headline tour in celebration of his solo debut album, Voyager, which was released on May 20 through Aussie hip hop emporium Elefant Traks. Self-

producer, Joey Kaz, as Kontrast DJs. We have a very similar music taste, and have been able to play around Sydney and in Newcastle. My main focus now is becoming a better artist by developing my skills, playing my own style, finding my groove, believing in my sound, focusing on my music production and doing some live shows too.

The Music You Make I am working on a few of my own 4. tracks, which I hope to send out towards the end of the year. I’m also working on a few EPs with some Australian and New Zealand artists.

Music, Right Here, Right Now Sydney has a very eclectic music 5. scene. Where Australia’s is based geographically, it’s quite hard for us to see the major big acts that are currently overseas – but Australia and New Zealand have a lot of local talent that are pushing the boundaries of music production.

With: Vincenco (Dessous / Poker Flat) Where: Kontrast Presents @ Kings Cross Hotel, Level 4 When: Saturday July 23, from 10pm

produced and written in France, Mongolia, China and Australia, the album explores themes of travel, modern world paranoia and growing older and, as Rave Magazine asserted, though it “may be clichéd to call an album a journey… it’s too blatantly true of Voyager to avoid”. Joelistics will be joined by special guests ISHU and Daily Meds when he plays the Sandringham Hotel in Newtown, on Saturday August 6.

CIRCO LOCO HALLOWEEN

Matthias Tanzmann and Dyed Soundorom (not a typo, believe it or not!) will headline the next Circo Loco bash at the Greenwood Hotel on Saturday October 29. Tanzmann runs the respected Moon Harbour label, and is part of the illustrious DJ trio ‘Better Lost Than Stupid’, alongside Davide Squillace and the aforementioned Martin Buttrich.

Tanzmann has been a Sydney favourite since he introduced himself to local clubbers in no uncertain terms at Lost Baggage many moons ago, and has an equally ardent following worldwide thanks to regular appearances at the notorious Ibiza day club DC10. He teamed up with Squillace to mix this year’s Circo Loco compilation DC10 Ibiza 2011 – The Next Level, which featured tracks by the likes of Audiofly Marcin Czubala and Nil By Mouth. Meanwhile Dyed Soundorom is a French producer who has remixed compatriot Losoul on the Freak n’Chic imprint, and has accumulated a discography that includes releases on Spectral Sound and Crosstown Rebels. As we’ve come to expect, the headliners will be flanked by an extensive lineup of locals including Matt Aubusson, Slow Blow and Defined By Rhythm among others.

Joe

Madrid-born producer and DJ extraordinaire Henry Saiz has put together the latest installment of the acclaimed compilation series, Balance. Balance 019 expands on Saiz’s experimental approach to production, using his brand of adventurous sampling and meticulous editing to fuse together exclusive tracks from the likes of Ricardo Tobar, Dosem and Pional – plus some new, unheard pieces from the man himself. Far from just a studio producer, Saiz is renowned for drawing huge club crowds, landing him slots at international festivals like Benicassim and Ministry of Sound. Lucky for us, he’s heading our way too, set to tear up Chinese Laundry this Saturday July 23. The BRAG have five sneaky double passes up for grabs - all you have to do is tell us the name of the first EP that Saiz released.

DEL THE FUNKY HOMOSAPIEN

Del the Funky Homosapien has a voice that is even more eminent than his name.

If you haven’t yet listened to a copy of the Californian’s 2011 epic triple disc, The Golden Era, you’d probably know Del best from his array of collaborations – particularly with Deltron 30 30 and Gorillaz, rapping the verses on ‘Clint Eastwood’. But apart from his illustrious collabs and side-projects, Del has been parading his smooth-flowing rhymes through countless solo albums since 1991 – and after 20 years away, he’s heading back to our shores. The gig goes down Sunday July 24 at Oxford Art Factory, and we’ve got a double pass for you. Just tell us the name of the seminal rapper who Del calls cousin.

SYL JOHNSON

Hailed by the LA Times as “a criminally unheralded stylist of urban funk and Southern soul,” Mississippi-born Syl Johnson is touring Australia in September with support from Australia’s own purveyors of funk and soul, The Bamboos. Well and truly a veteran of the music milieu, Johnson was associated with artists that were the pioneers of blues, like Magic Sam, Billy Boy Arnold, Junior Wells and Howlin’ Wolf, way back in the 1950s. Johnson’s career encompasses singles like 1969’s ‘Is It Because I’m Black’, and his biggest hit, ‘Take Me To The River,’ which reached #7 on the R&B charts in 1975. More recently, Wu-Tang Clan, Public Enemy, The Fresh Prince and MC Hammer all sampled Johnson’s song ‘Different Strokes’ in the early ‘90s, which prompted him to return to the scene, releasing the creatively-titled Back in the Game in 1994. Lately, he’s toured with Sharon Jones & The Dapkings. Syl Johnson will perform at The Basement on Saturday September 3.

AUGUST @ LAUNDRY

Chinese Laundry has released its August roster of international headliners. Trance icon John 00 Fleming throws down on Saturday August 6 ahead of Glaswegian Alex Smoke the following week – see this week’s excellent Deep Impressions column for more on that – before USA’s Oh Snap steps up on Saturday August 20, with Canadian prog favourite Luke Fair rounding out the month with an extended set in the dark confines of The Cave. The usual advice applies to all of these gigs – entry is cheaper before 10pm, and it’s also a good way of avoiding the queue, which wary punters have dubbed the ‘Sussex Street Anaconda’.

JOE TOUR

American R&B singer and producer Joe will perform at the Big Top at Luna Park on Saturday September 10. Joe has been a staple of the R&B scene for over fifteen years, releasing several LPs, including his breakthrough mid-90s effort All That I Am, which spawned the hits ‘All the Things Your Man Won’t Do’ and ‘Don’t Wanna Be A Player’ from the Booty Call Soundtrack – a film that catapulted Jamie Foxx to international stardom with an inspired take on relationship mores between young couples…

Since then, Joe has released six more albums and also collaborated with the likes of Mariah Carey, Keith Sweat, Nas and Fabolous. He’s also the guy behind ‘Stutter’. His new album, The Good, The Bad, The Sexy, will be available August 31.

Del The Funky Homosapien The Golden Era By Hugh Robertson

A

lthough most genres place a premium on authenticity, none is more concerned with the idea of “keeping it real” than hip hop. ‘Hip Hop Heads’, as the self-appointed keepers of the faith are known, are fiercely protective of their music, and they’ve always been ready to declare that rap has lost its way and become commercialised beyond the point of no return – essentially, that hip hop is dead.

Del The Funky Homosapien has been one of hip hop’s most beloved MCs for nigh on twenty years, and although he has stepped outside his typical sound on occasion, a new Del record has always meant a trip back to the Golden Era, which even the ‘Heads agree was an exciting time for hip hop.

So it’s surprising to hear Del say that he has only stuck to his sound because he’s worried about the backlash he’d be subjected to if he tried something different. “The genre that I’m in is so fickle that I don’t want to try too much, because I don’t want to alienate my audience,” he tells me, sounding weary at the thought.

“At my house I’ve got ... thousands of pieces of music that people ain’t even heard. But I don’t want to put none of that out as ‘Del The Funky Homosapien’, because you don’t know how people are going to

take it. You see what happens with other stuff: as soon as anyone does something different, they ‘sold out.’”

In conversation, Del is a lot like he is on record.

Fiercely intelligent, eloquent and wry, and possessing the intensity of a smart person putting all of his energies into one field. He’s frustrated with the limits of hip hop and hip hop audiences, but he understands that there are bigger things to worry about. “[The puritans] would make a big deal out of it if I ‘switched sides’, as though life is based on whether you are a real Head or not,” he says. “But it’s just music. You can survive without music, you can survive without Del. It’s really not such a big ass deal. And the average person don’t care about [an artist switching sides] – if it sounds cool, they like it. They don’t care about what genre it is, and they’re not cheerleading for anybody. They aren’t biased. And that’s who I make music for: people who love music. And I don’t care who you are. My background is in hip hop, but I mix it up.”

Del is currently trying to construct a live show built around samplers like Serrato, Ableton and Elecktron’s new Octotrack. It’s a progression that’s been stymied by the hip hop scene’s deep-seated suspicion of anything that’s not pressed onto wax – so he’s been finding himself working through the DJ/dance club circuit instead, filled with people who aren’t really interested in his music. “I like just playing with sound,” he explains. “Some people might not see it as musical, but electronic music is way more accepted now – you can’t even get a record played on the radio now without some little electronic bleeps or futuristic tinge to your music. But, that’s good ... because it opens people’s ears in acceptance of new sounds. And I’ve been waiting for that, because I’ve been on that for years.”

For now, though, Del’s gigs remain a hip hop head’s dream. “We try to cover all the bases, as far as my albums are concerned,” he tells me. “But we also mix it up a little and do some freestyle in the show as well, just to show what it is that it’s about. Give them that rawness, so that when they go home they can say, ‘Yeah, you weren’t at that show. That was The One.’” What: Golden Era is out through Other Tongues With: Miracle, Mike Who Where: Oxford Art Factory When: Saturday July 24

Kele

Travelling Man By Alasdair Duncan

T

he last time I interviewed Kele Okereke was around the time of the last Bloc Party album – he told me that rock music was not particularly exciting to him, and he was keen to branch out into something different. Since then, he’s made a cluboriented solo album, The Boxer, and toured the world behind it - but now, his creative urges are taking him in a different direction again. From now until the end of the year, he’ll be holed up in a New York apartment, putting the finishing touches on what he hopes will become his first book. Clearly, there is very little this man can’t do.

“I made up this lie about it being an erotic memoir,” Kele says with a nervous laugh, when I ask what shape the book is taking.

“People thought that I was serious, but it’s not anything like that at all. I wish! It’s just a collection of stories I’ve been writing for the last few years. I wanted to go to a different part of the world and finish them off.” Hanif Kureishi’s stories of secondgeneration immigrant life are an inspiration for Kele, who also loves Houellebecq and Baldwin. The stories themselves are about the micro, he says; small situations explored with great focus. “As a writer, and even as a lyricist, I’ve always been fascinated by those moments where things break down, those moments of crisis – and how they can go on to have an impact on someone’s life.”

Kele has yet to find a publisher for the collection, but before finishing it, he will return to Australia to bring his solo show to Splendour In The Grass. Many musicians say that they love coming here, but you get the sense that Kele isn’t kidding. “I’m always excited to come back to Australia. At one point, I was seriously contemplating whether to come to Sydney instead of New York to finish the book. I only really decided New York at the last minute, but I do often wonder what it would be like to be living in Sydney right now. I’d probably be a bit healthier and sleeping a bit better! It feels like a very healthy place...”

Bringing the interview back to music, I ask Kele what direction his next songwriting project might take, and if it will bear any resemblance to the dance floor-friendly Boxer.

“That was a document of what I was feeling at the time,” he says of the album, “but like any project, you start to view it differently once it’s done. Right now, I’m in the position where I’m craving the sound of organic instruments.

Making The Boxer was something I did on my own with a producer, staring at a computer

screen for half a year, and although it was a fantastic experience, I’m ready now to try the opposite – to try getting in a room again with people and making music that way. I haven’t done that for a long time, and I’m missing it now.”

Is he referring to another solo album, I ask, or is a new Bloc Party record perhaps on the cards? “Well, probably both, and possibly some other situations, too,” he says. “It’s been interesting playing with the band that I have on the road at the moment, who are all good friends of mine; I feel like I’d like to write some music with them at some point. The drummer from Bloc Party, Matt, lives in New York,” he continues, tentatively, “so I’ve been reconnecting with him, spending some time with him, which is nice...” The world is clearly at Kele’s feet – and whatever he chooses to do next, it will be worth waiting for.

With: Strange Talk Where: The Metro Theatre When: Wednesday August 3 More: Also playing Splendour In The Grass, held between July 29 – 31at Woodfordia, Queensland

Henry Saiz A Perfect Balance By Simon Hampson

L

Engaging with his audience in new, innovative ways is clearly important to Saiz, and he agrees that his online mix series The Labyrinth – which has featured high profile guests like Hernan Cattaneo, Guy J and Cora Nova – has been the perfect outlet. “Yeah, that’s basically the reason why I started the show. Also, I don’t like feeling trapped to one particular musical style, so The Labyrinth is a showcase of all the music I dig and all the styles I like to play in my sets. It’s a great platform to show that my sound is not restricted to one particular genre, sound or label. So far, the show has had a solid fan base – the reaction has been way better than I expected it to be, so I’m definitely going to keep working on it,” he laughs.

istening to a Henry Saiz tune is always a unique journey. Held in high regard around the world, the Spanish producer’s latest mix for the Balance series spans electronica, disco, house and techno, swirling in a stadium-sized atmospheric quality that comes from his work as a film and TV sound designer. His music tells a story, and takes you to another place.

Saiz is heading to Australia this month to support the new release; it’s the 19th instalment in the Balance series, and he’s pleased to be part of the family. “I’m very honoured as I’ve always been a massive fan of the series; this is definitely something special for me,” he says, when I call him on the eve of his tour. He believes that one of the most important aspects of the Balance mixes has been how each producer has been encouraged to make a compilation that’s entirely their own. “The best thing about Balance is definitely the freedom they give to the artist. I didn’t get a single guideline from them on the direction that they wanted me to go in. That amount of trust they give you really makes you want to deliver something amazing, to repay their faith in you,” he says.

“They always choose very unique artists for each edition as well which, coupled with the artistic freedom, really gives each compiler the chance to flourish.”

The first half of Balance 019 is quite subdued, with old vinyl and cassettes used to create a more nostalgic feel; it’s the second disc that gets into tech house and more beats-based territory. “My approach was a bit different from the way you would approach a standard compilation. It was

more like a collaborative artist album that was modelled on a DJ set structure,” he explains. Made up exclusively of unreleased tracks, the record also features solo output and collaborations from the man himself, including the first release under Henry’s new disco-house moniker, the DFW-inspired Hal Incandenza. “[The compilation] took

me around six months,” Saiz says. “It was definitely a project of epic proportions. For me though, it was definitely worth the effort and I’m very proud of the final product.

Hopefully everyone at Balance and the people who purchase this are as pleased with it as I am.” Later, Haiz tells me it has been the greatest challenge of his career.

Chatting with him, one gets the impression that Henry Saiz’ drive comes from a true love of music – but it’s the details in his music that really express his personality. “I’m very happy with the way this Balance mix turned out and my label, Natura Sonoris, is something I feel very proud of [too],” Saiz says. He’s looking forward to releasing the first Sistema LP, as well as a new one from Ricardo Tobar. “I’m always looking forward to the next challenge and pushing myself even further; I’m always thinking that my biggest success will be the next project. And I really can’t wait to go down under - it really is one of my favourite places in the world.”

What: Balance 019: Henry Saiz is out now on Balance Music, through EMI Where: Chinese Laundry When: Saturday July 23

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Deep Impressions Underground Dance And Electronica with Chris Honnery

Soul Sedation

Soul, Dub, Hip Hop & Bottom-heavy Beats with Tony Edwards Soul Sedation goes live every Wednesday night on Bondi FM (88.0 or bondifm.com.au). Tune in 10pm 'til midnight to hear a deep and soulful selection of the tunes covered here, and plenty more that I don't have room for.

ON THE ROAD Wu-Tang Clan

S

Alex Smoke

G

laswegian proponent of dark and druggy minimal and experimental electronica, Alex Smoke, returns to Sydney to play Chinese Laundry on Saturday August 13. Smoke, whose real name is Alex Menzies, has released a number of critically acclaimed artist albums on the canonical Soma imprint, namely Incommunicado and Paradolia, to go with a varied collection of remixes for outfits like Depeche Mode, Junior Boys, Mylo and Andre Kraml. The classically trained musician released his debut mix compilation back in 2006, Sci.Fi.Hi.Fi Vol. 3, following on from the efforts of Ewan Pearson and Luciano with a brooding voyage through dub techno, classic Detroit and new-wave minimalism that remains a personal favourite of mine. His most recent album, Lux, was released last year and is also well worth a listen, offering another accomplished assortment of experimental ‘wonky’ techno to his celebrated back-catalogue.

Australia-bound Jamie Jones, who is playing Pulse Radio’s forthcoming AGWA cruise in November, has compiled the next Fabric instalment, Fabric 59, which is due out in September. The early word is that the mix is “considerably poppier than previous instalments in the Fabric series”, a description that seems justified considering the tracklist comprises Felix Da Housecat’s classic cut ‘Madame Hollywood’ and Cajmere feat. Jamie Principle '10’s ‘God Sent’. Unsurprisingly, Jones’ Fabric mix contains a healthy sprinkling of tracks from the Hot Creations label he runs with Lee Foss, as well as from the Crosstown Rebels and Visionquest imprints with whom he enjoys close ties. Amidst all this there are a couple of curveball inclusions, such as the Holy Ghost remix of Panthers – and perhaps most intriguingly, some classic UK cold wave from Veronica Vasicka’s Minimal Wave label. In a recent interview, Jones offered, “Someone said to me recently the good thing about mine, and the whole Hot Natured style, is it appeals to a wide age range, because the music is never too hard.

It’s about having fun with music and never being serious.” Indeed Jamie has managed to walk the tightrope between accessibility and credibility with considerable success in his career, and his fusion of disco, pop, house and techno certainly has its place in the club sphere. Tickets for the Boat Party ft Jamie Jones are available online.

On high rotation within the grimy confines of Deep Impressions HQ is Sebastian Mullaert’s benefit mix for Japan, Move The Wave To Your Heart, which is currently available through Tokyo’s highly respected Mule label. Mullaert is renowned for his Sebastian Mullaert

LOOKING DEEPER SATURDAY JULY 23 Henry Saiz Chinese Laundry

SATURDAY JULY 30 Picnic ft Simon Caldwell Warehouse Venue TBC

SATURDAY AUGUST 13 Alex Smoke Chinese Laundry

SATURDAY SEPTEMBER 10 Disconnected ft Lucy Civic Underground

SATURDAY OCTOBER 29

Circo Loco ft Matthias Tanzmann Greenwood Hotel work as part of acclaimed Swedish outfit Minilogue, and it is no surprise that the tracklist draws heavily from Minilogue’s own productions, including a remix of Koss’s ‘Ocean Wave’, along with Mullaert’s excellent new track ‘Älva’. While the mix takes a while to warm up, beginning with interesting but not overly compelling tracks from South African artists De Capo and Moodswing, it slips into overdrive in its second half when Mullaert begins mixing in his own productions. The compilation reminded me of the quality of Minilogue’s productions, and how they deservedly belong in the techno echelon. Given the popularity of dub techno of late, anyone into dubbier and more atmospheric dancefloor sounds who hasn’t yet heard Minilogue really ought to acquire this release, and it’s also a must for fans of the Wagon Repair label. And as an extra philanthropic incentive, all of the proceeds from the mix will go to the Japan Red Cross Society’s earthquake relief fund.

While on Mule: it is through that label that Jus-Ed, who played in Sydney at Mad Racket last year, will release his new album next month. Entitled Vision Dance, it will be the first LP that the Underground Quality label boss has released on a label outside of his own. The album will collect material created between 2006-2011, with ‘This Shit Is Hot Re-Scrub’ being the earliest.

All ten cuts on the album are unreleased, and thankfully sans Ed’s trademark vocal interludes on the mic (anyone who has listened to his otherwise serene mix for Berlin’s Tape nightclub will know what I’m lamenting!). Any neophytes after a proper fix of quality deep house are advised to seek this album out when it drops; given the proliferation of disposable deep duds populating the market at present, I’m backing Jus-Ed to offer a stirring counterpoint. If past form is anything to go by, it’s a pretty safe bet he will. Vision Dance is slotted for an August 15 release.

Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com.

50 :: BRAG :: 421 :: 18:07:11

hout out to everyone who made the Alphamama EP launch at Tone last week. If you weren’t there, you seriously missed out. For those who don’t stop in to the Mac from time to time, where a new generation of Sydney musicians are bubbling away quietly, working on their own music and collaborating with each other, it might just be time to drop in. Next time you see any of these names, take an interest: The Leisure Bandits, Billie McCarthy, Danny G Felix – and of course Alphamama herself. And while we’re on the topic of the Mac, fans of traditional African music (especially percussion) need to pop in on a Wednesday night to catch recently formed outfit Afro Nomad as well.

This column has developed a healthy obsession with one track in particular from the new self-titled debut from SBTRKT. ‘Right Thing To Do ft Jessie Ware’ is an absolute monster! It’s a little deeper than some of the pop-esque, radio-friendly tracks that are stealing the show for the London producer right now. Vocalist Ware has also recorded with Joker on the track ‘Vision’, though to less devastating effect I must admit. The UK garage bass on ‘Right Thing To Do’ is just perfect, so turn up the low end before you hit the play button. Which brings me to my next question – who’s bringing SBTRKT to Australia? InTheMix have reported he’ll be joining us in October, though it’s rumoured for a DJ set only.

This column is pumped at the prospect of Melbourne’s Cumbia Cosmonauts joining us in Sydney for the first time. Anyone who’s got their head around the work of Douster, El Remolon and Tremor by now will want to know about this gig. Pushing the sounds of digital cumbia (popularised largely by the ZZK record label out of Buenos Aries), the style is a fresh, electronic update of the traditional Latin cumbia rhythm. Local supports James Locksmith and Hezekiah will be paving the way for the Cosmonauts at The Mac on Saturday July 30.

Local disco pushers Future Classic have signed up another Sydney based act, the four-piece New Navy. From the way they carry their moustaches and synthesisers, this column feels they’ll fit perfectly into the Future Classic roster; keep your ears peeled for their Ulawatu EP coming out on the black wax very soon. Meanwhile, the FC licensing division has been achieving some success for its artists lately, with this column hearing Brisbane band Mitzi’s tune ‘All I Heard’ coming through the TV this week.

And on a very similar, top-shelf tip: everyone’s favourite nu disco captain Jacques Renault is headed back to Australia next month. Soul Sedation can still hear his ‘Beam Me Up’ remix sending the long weekend crowd into the heavens at the Classixx party a few weeks back. He’ll be back at The Civic for Future Classic on August 27, with supports from Shunji and Steele Bonus.

Sixties and seventies Funk heads will be stoked to learn that Booker T. Jones, king of the Hammond and frontman of Booker T & The MGs, is coming out for a run of Australian dates. The child prodigy mastered the oboe, saxophone, trombone, piano all before he left school. How many instruments can you play, huh? No, CDJs don’t count...

Booker T has written and recorded with Bill Withers and Willie Nelson no less, and as the promoters, Niche, point out, he’s coming armed with a back catalogue of over 50 years of material. Bringing real music to the Metro Theatre, Thursday October 6.

Jazz heads will be excited at the prospect of Dutch DJ Maestro, compiler of no less than nine Blue Note Trip mixes for the legendary Blue Note Label (compilations that delve into the archives of the legendary jazz label), helming the PA at The Basement on Friday August 12. 2SER’s Trevor Parkee and the Omegaman Sound System will both be supporting on the night.

FRIDAY JULY 22 Tokimonsta, Nosaj Thing Oxford Art Factory

SUNDAY JULY 24 Del The Funky Homosapien Oxford Art Factory

SATURDAY JULY 30 James Blake Factory Theatre

FRIDAY JULY 29 Opiou, JPS Oxford Art Factory

SATURDAY JULY 30 DJ Shadow Hordern Pavilion

Cumbia Cosmonauts The Macquarie Hotel

AUGUST 4 & 5 Wu-Tang Clan Enmore Theatre

SATURDAY AUGUST 27 Big Boi Enmore Theatre

SATURDAY SEPTEMBER 17 The Herd, Sietta Metro Theatre

Another man who knows his way around a dusty old crate of jazz or two: Mr Gian Arpino and friends spin the rarities of deep funk, original R&B, disco, boogie and jazzfunk at Tan Crackers Soul Club at Tonic on Saturday July 30. No need to get your blackface on to show support; just go down and dance to the good music.

DnB hero Marcus Intalex is in town this week, helming the decks at the Chinese Laundry with Linken & Vertigo and Gee Flukz on support. Check out the man’s long-awaited solo album 21 (out through Soul:R Records) and his wicked Fabriclive 35, which still gets a regular spin in the Soul Sedation player with its deep, rolling, intelligent style. And in further DnB news: Goldie is playing Chinese Laundry on September 17, and his Fabriclive 58 has hit the Soul Sedation desk. Drop back next week and I’ll let you know if you should bother picking it up...

This Friday July 22, Oxford Art Factory may well be the place to be if you’ve got a little bit of a thing for all this new electronica going round; two of LA's leading proponents of all things future beat join us for some sub bass hecticness. As an alternative to ridiculously heavy wobblebass/brostep on repeat, both Tokimonsta and Nosaj Thing are more likely to push delicate, detailed and intelligent compositions through the speakers, with the odd section of slamming fatness of course. They’re joined by IG Culture, a British producer from the nu-jazz, broken beat world, who’s produced work with Monday Michiru, Roots Manuva, and French vocalists Les Nubians.

Send stuff for this column to tonyedwards001@gmail.com by 6pm Wednesdays. All pics to art@thebrag.com

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club guide send your listings to : clubguide@thebrag.com

club pick of the week TOKIMONSTA

FRIDAY JULY 22

Oxford Art Factory, Darlinghurst

TOKiMONSTA (Japan), Nosaj Thing (USA), IG Culture (UK) $40 (+ bf) 8pm MONDAY JULY 18 Club 77, Kings Cross Sideways Fridays 10pm World Bar, Kings Cross Mondays at World Bar 16 Tacos, Pipemix free 8pm

TUESDAY JULY 19 Big Top Luna Park ID Under 18’s Festival 6pm The Gaff, Darlinghurst Coyote Tuesday Kid Finley, Johnny B free 9pm The Valve, Tempe Underground Tables Myme, Ato, Gee Wiz, Benji, BC, One Am, Allstars 6pm World Bar, Kings Cross Pop Panic free 8pm

WEDNESDAY JULY 20 Bank Hotel, Newtown Girl’s Night Sandi Hotrod free 9pm GoodGod SmallClub Hip Hop Karaoke: Wu-Tang Special DJ Burn with Host Ran Dee and Spook $5 8pm

52 :: BRAG :: 421 :: 18:07:11

Marlborough Hotel, Newtown DJ Moussa 11pm The Hive Bar, Erskineville Vinyl Club 8pm Unity Hall Hotel, Balmain Swing Patrol $14 7pm The Ranch, Macquarie Hump Wednsdays Free Party Valve Bar Kingston Flavour 7pm World Bar, Kings Cross The Wall free 8pm

THURSDAY JULY 21 Darlie Laundromatic, Surry Hills D & D’s Beat Kitchen Front Bar, Goodgod Small Club, Sydney Club Al Levins, McInnes, Joe Gadget free 8pm Home The Venue, Sydney I Love Unipackers Steve Frank, John Young $5 8pm Jacksons On George Ultimate Party Venue Resident DJ’s free Hugo’s, Kings Cross La Fiesta Sound System The Gaff, Darlinghurst The College Party 9pm The White Horse, Surry Hills Let Loose 7pm The World Bar, Kings Cross Propaganda Propaganda DJs free (student)–$5 9pm

FRIDAY JULY 22 Arthouse Hotel RNB Superclub Aurora Bar and Lounge Aurora Mexican Fiesta Party free Bank Hotel, Newtown Friendly Fridays Beth Yen & Jeremy Kirschner free 9pm Beach Road Hotel, Bondi Movement Kato, Victim, DJ Huwston, Mason & Bennett, Preacha 8pm Blue Hotel, Woolloomooloo Friday Shines Sarah J Hyland free 6pm Candy’s Apartment Liquid Sky 8pm Chinese Laundry, Sydney Marcus Intalex (UK) , Linken & Vertigo , Geefluxz , Hydraulix , Typhonic , Yayogi , Blog Wars $15/25 10pm Club 77, Kings Cross We.MONSTA, Jitter & Dither, Scoops, Rubio $15/20 10pm Cohi Bar DJ Jeddy Rowland & DJ Mike Silver free Cronulla RSL DJ Michael Stewart DJ Michael Stewart free 8pm Front Bar, Goodgod Small Club, Sydney Yo Gritto King Opp, Silky Doyle, Daniel Darling, Chimmy Sing free 9pm

Gaelic, Surry Hills Purple Sneakers Glass Towers, We Are Grace, Reckless Vagina, Nice &Ego 8pm Goldfish, Darlinghurst Funktank Mike OConnor, Fabz, Drop Dead Ed 9pm Gypsy Nightclub, Darlinghurst Genisis Alex Panik, VLN, Krish Titan, Taras, Huntley, Toby Matrix $22 9pm Home The Venue, Sydney Digital Therapy Adam Byrne, Big J, Likewise DJs $10 9pm Jackson on George Ultimate Party Venue DJ Michael Stewart free Kit & Kaboodle, Kings Cross Falcona Fridays Alison Wonderland, Disc Jockey Hansom, Devola, Hobophonics, Isbjorn $10 8pm Mean Fiddler, Rouse Hill inthemix awards DJ Tom Piper 8:30pm Oatley Hotel We Love Oatley Hotel Fridays DJ Tone free 9pm Oxford Art Factory, Darlinghurst TOKIMONSTA (Japan), Nosaj Thing (USA), I.G Culture $35 (+ bf)–$40 8pm Settlement Bar, Sydney Spoilt Alen Zenicanin free 6pm Shelbourne Hotel, Sydney MixTape 6pm Supper Club Fairfield RSL Club Intimate Lounge Music 7pm Tone, Surry Hills We Got Soul Phil Hudson, DJ Agey, Paul Hatz, Dave 54, Frankie Romano, Phil Toke, Yennor $10 (+ bf)–$15 9pm Watershed Hotel, Darling Harbour Bring on the Weekend! DJ Matty Roberts free 9pm

SATURDAY JULY 23 Bank Hotel, Newtown Jack McCord & Dale Stephen free 9pm Blue Hotel, Woolloomooloo Saturday Night Deluxe Scott Pullen free 8pm Cargo Bar, Darling Harbour The Institute of Music 9pm Central Coast Leagues Club, Gosford Red Nightclub free 9:30pm Chinese Laundry, Sydney Henry Saiz (SPA), Tones, Kid Kenobi, Ember, Matt Nugent, Kid Kenobi, Blaze Tripp.

Marky Mark, Mike Hyper, King Lee $15/25 8pm Coach and Horses Hotel, Randwick Retro Night free 8pm Cohi Bar DJ Anders Hitchcock & DJ Mike Silver free Dee Why Hotel Kiss & Fly Ben Morris, Kaiser, Olsen 8pm Empire Hotel, Darlinghurst Empire Saturdays Empire DJs free 9pm Forbes Hotel Cube Kerry Wallace, Edoardo Perlo, Tom Brereton, Amy Fairweather, Kimba $15 10pm GoodGod SmallClub Dynomite! Captain Franco, Count Doyle $10 10pm Hotel Chambers, Sydney Red Room Trey, Naiki, C-Major, Troy T 8pm Ivy, Sydney Pure Ivy Timmy Trumpet, Cadell, Ember, Beth Yen $20 6pm Jacksons On George, Sydney Resident DJ’s free 9pm Kings Cross Hotel Kontrast Vincenzo, Nick McMartin, Kontrast DJs, Pash Mann, Deefloy Boys $15 10pm

Kit & Kaboodle, Kings Cross Kitty Kitty Bang Bang Miss T, Gabby, Cassette (NZ), Alison Wonderland $10 8pm Oxford Art Factory, Darlinghurst Trashbags Trashbag DJs $25 (+ bf) 9pm Phoenix Bar, Exchange Hotel, Darlinghurst Phoenix Rising Dan Murphy, Johan Khoury, Mark Alsop $15 5am Sawtell RSL The Potbelleez 8pm Selina’s, Coogee Bay Hotel Festival of Fire Dance Floor Party free 8pm Space Night Club Roger Shah, VLN, Nick Arbor, Nathan Cryptic, Toby Matrix, Thomas Knight, Mark Onekid, Krish Titan, Astral, Steve Hill, Suae, Pulsar $2030 10pm The Gaff, Darlinghurst Johnny B free 9pm The Mansion, Darlinhurst Let Them Play Simon Bell, Sam Roberts, Skin, Paulo Marques, Tezzel, Felipe Cintra $10 9pm The Oxford Hotel, Darlinghurst Swagger $15 10pm The Polo Lounge and Supper Club, Darlinghurst Robopop $10 10pm The Roxy, Parramatta SASH, Alex K, Amber Savage, Rob Brizzie, Dj Danny P, Dj Manny P $28.40/$48.90 9pm The Loft, Cockle Bay Mike Who?, Disc Jockey Hansom + more The Station Resort Sam Lamore, Nick Thayer $33.60 9pm The Tea Gardens Hotel, Bondi Junction Tim Whitney free 9pm The World Bar, Kings Cross Wham! James Taylor, Kato, Ben Morris, Illya, Telefunken, Ro Sham Bo, Discopunx, Ben Korbel, Adam Bozzetto, Pablo Calamari, foundation, Boonie, Andy Webb $15/20 9pm

Henry Saiz

Watershed Hoted The Watershed Presents...

Skybar

SUNDAY JULY 24 Alexandria Hotel Sunhaze Future Classic DJs free 2pm Bank Hotel, Newtown Glitter Sundays DJ Kitty Glitter free 4pm Beach Road Hotel, Bondi Picnic Sundays Mirror Mirror, Kali 6pm Eleven Club, Paddington 11Eleven Martin Sharp, Reg Mombassa, Kathy Leung, Nathaniel Eckstrom, Kate Rohde, Jessica Bellman, Anna Fraser, Julia DeVille $25 7pm Fake Club, Kings Cross Spice Matt Weir, Mitch Crosher, Nic Scali $20 4am Jacksons on George Aphrodisiac Industry Night free 8pm Oatley Hotel Sunday Session DJ Tone free 7pm Oxford Art Factory, Darlinghurst Del The Funky Homosapien (USA), Bukue One (USA), Miracle, Mike Who Del The Funky Homosapien (USA), Bukue One (USA), Miracle, Mike Who $52 (+ bf) 8pm Sweeney’s Rooftop Sundaes Hanna Gibb, Ty $10 12pm The Hive Bar, Erskineville Revolve Records DJs free 5pm The Tea Gardens Hotel, Bondi Junction Anthony K, Demolition, Gee, Gary Honor Anthony K, Demolition, Gee, Gary Honor free 4pm Watershed Hotel, Darling Harbour DJ Matty Roberts free White Horse Hotel, Surry Hills SASH Sunday’s feat. Pocket World Bar, Kings Cross Disco Punx free 6pm

club picks up all night out all week...

WEDNESDAY JULY 20 GoodGod Small Club Hip Hop Karaoke: WuTang Edition DJ Burn with Host Ran Dee and Spook $5 8pm

THURSDAY JULY 21 Darlie Laundromatic, Surry Hills D & D’s Beat Kitchen 6pm The White Horse, Surry Hills Let Loose 7pm

FRIDAY JULY 22

Del The Funky Homosapien

Arthouse Hotel, CBD RnB Superclub 10pm Tone, Surry Hills We Got Soul Phil Hudson, DJ Agey, Paul Hatz, Dave 54, Frankie Romano, Phil Toke, Yennor $10 (+ bf)–$15 9pm

SATURDAY JULY 23 Chinese Laundry, Sydney Henry Saiz (SPA), Tones, Kid Kenobi, Ember, Matt Nugent, Kid Kenobi, Blaze

Tripp, Marky Mark, Mike Hyper, King Lee $15/25 8pm

SUNDAY JULY 24

Kings Cross Hotel Kontrast Vincenzo, Nick McMartin, Kontrast DJs, Pash Mann, Deefloy Boys $15 10pm

Beach Road Hotel, Bondi Picnic Sundays Mirror Mirror, Kali 6pm

Forbes Hotel Cube Kerry Wallace, Edoardo Perlo, Tom Brereton, Amy Fairweather, Kimba $15 10pm The Loft, Cockle Bay Mike Who?, Disc Jockey Hansom + more

Oxford Art Factory, Darlinghurst Del The Funky Homosapien (USA), Bukue One (USA), Miracle, Mike Who $52 (+ bf) 8pm White Horse Hotel, Surry Hills SASH Sunday’s feat.

Pocket

We has internets!

Extra bits and moving bits without the inky fingers.

www.thebrag.com BRAG :: 421 :: 18:07:11 :: 53

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infusion

PICS :: TL

up all night out all week . . .

08:07:11 :: The Beresford :: 354 Bourke St Surry Hills 9357 1111

high tea @ mum

PICS :: DM

propaganda

party profile

04:02:11 07:07:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

It’s called: MUM and Felix Lloyd Present: High Tea It sounds like: Ron Burgundy, Macaulay Culkin and Dennis Rodman got together to throw a banging house party.

DJs: Felix Lloyd, McInnes, Frames, Hentai, Manjazz, Adrian Gidaro, The Admiral and Thadius Hunter – alongside zillions of other pals and guests.

Three records you’ll hear on the night: Isley Brothers – ‘Shout’; Laid Back – ‘Bakerman (Soulclap remix)’; Dam Funk – ‘Hood Pass Intact.’

Sell it to us: There are more surprises than a Kinder egg! Expect everything from slo-mo to G funk, classic rock, house party jams, disco, jazz and tropical techno.

The bit we’ll remember in the AM: Smoke and lasers, human towers, babes getting half (or mostly) naked - and TEAPOTS! Crowd specs: Mostly homosapiens, severa l genders, a vast selection of ages, no one on steroids.

Wallet damage: 15 clams Where: The Tea Room at The World Bar / 24 Bayswater Rd, Kings Cross

hot damn

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When: Friday July 22 (every second Friday ), from 11pm facebook.com/highteaparty

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balls @ exchange

falcona fridays 1st birthday

08:07:11 :: The Exchange Hotel :: 34 Oxford Street, Darlinghurst 9360 1375 54 :: BRAG :: 421: 18:07:11

08:07:11 :: Kit & Kaboodle:: 33/37 Darlinghurst Road Kings Cross 9368 0300

::KATRINA CLARKE :: S : TIM LEVY (HEAD HONCHO) :: PATRICK STEVENSON :: OUR LOVELY PHOTOGRAPHER DO PRA EN IMOG :: NS DANIEL MUN CAI GRIFFIN :: ASHLEY MAR ::

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07:06:11 :: Spectrum :: 34 Oxford St Darlinghurst 93316245

BRAG :: 421 :: 18:07:11 :: 55

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tevo howard

09:07:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

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wham!

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upall allnight nightout outall allweek week...... up

09:07:11 :: The Civic Underground :: 388 Pitt St, Sydney 80807000

party profile

hump wednesdays

The bit we’ll remember in the AM: None of it. It’s a f*cking student party.

Crowd specs: People who want to get loose, rock out and have some killer fun.

Wallet damage: FREE, plus kickarse drink specials: $4 spirits and $6 Vodka Mother from 9pm – 11pm / $4.50 schoo ners, $5 Sol, $5 cocktails and $10 VB jugs ALL NIGHT. Where: HUMP @ The Ranch Hotel / Cnr of Epping & Herring Rds, Eastwood

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last night

It’s called: HUMP Wednesdays It sounds like: Electro, house, hip hop, a bit of dub and non-stop rockthe-house party jams.

Who’s spinning? Live acts, and headliners ranging from Hook N Sling (Ministry Of Sound) to DJ Nino Brown (Chief Rockers crew), plus residents Troy T (Superfest) and Joey Kaz. Sell it to us: HUMP Wednesdays is the weekl y event for anyone that wants trash-the-room, balls-to-the-walls, dance -till-their-feet-bleed and shout-at-the-top-of-their-lungs partying.

Three records that’ll rock the floor: LMFA O ft. Lil Jon – ‘Shots (Skeet Skeet’s Ignorant Dance Music Mix)’; Ou Est Le Swimming Pool – ‘Jacksons Last Stand (Hook N Sling Mix)’; Klaxo ns – ‘Gravity’s Rainbow (Kavinsky Remix)’

When: Every Wednesday, from 9pm

08:07:11 :: The Gaelic Theatre :: 64 Devonshire St Surry Hills 92111687

PICS :: KC

party and bullshit

strike bowling

01:07:11 :: FBi Party :: Kings Cross Hotel :: 248 William St Darlinghurst 2010 9331 9900 56 :: BRAG :: 421: 18:07:11

09:06:11 :: Strike Bowling :: 122 Lang Road Moore Park 1300 787 453

::KATRINA CLARKE :: S : TIM LEVY (HEAD HONCHO) :: PATRICK STEVENSON :: OUR LOVELY PHOTOGRAPHER DO PRA EN IMOG :: NS DANIEL MUN CAI GRIFFIN :: ASHLEY MAR ::

BUY A DRINK… BOWL FOR FREE $6 MINIMUM SPEND. CONDITIONS APPLY. PLEASE SEE WEBSITE FOR DETAILS.

ALL DAY SUNDAYS AT STRIKE KING STREET WHARF, DARLING HARBOUR MONDAYS FROM 5PM AT STRIKE CHATSWOOD MONDAYS FROM 5PM AT STRIKE ENTERTAINMENT QUARTER, MOORE PARK FIND US ON

BRAG :: 421 :: 18:07:11 :: 57

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02:07:11 :: Bungalow 8 :: 8 The Promenade King Street Wharf 92994440

rnb superclub

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mobin masters

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upall allnight nightout outall allweek week...... up

08:07:11 :: The Arthouse Hotel :: 275 Pitt Street, Sydney 9284 1200

chinese laundry

It’s called: D&D’s Beat Kitchen It sounds like: HAHA’S finest

Who’s spinning? Dean Dixon & Dave Ferna ndes (HAHA) Three records you’ll hear on the night: The Coasters – ‘Down in Mexico’; Lee Hazlewood & Nancy Sinatra – ‘Some Velvet Morning’; Half Man Half Machine – ‘Machine’ And one you definitely won’t: Don Henley – ‘Dirty Laundry’; it’s been played two weeks in a row – three strikes and it’d be out for good, and we don’t want that now do we?

Sell it to us: It’s an easy sell: a warm, home ly vibe, with friendly faces, tasty bits and bites on the menu, a wide variet y of sounds and cheap cans of Tsing Tao. Sold?

The bit we’ll remember in the AM: Rememberi ng jacket hung up on the taps again. Damn… every you left your bloody single time.

Crowd specs: All the folk needing an early rinse out of their work week.

Wallet damage: Free entry.

Where: Darlie Laundromatic / 304 Palmer St, Darlinghurst When: Every Thursday from 6-11pm

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party profile

d&d's beat kitchen

katalyst

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tone 09:07:11 :: The Beresford :: 354 Bourke St Surry Hills 9357 1111 58 :: BRAG :: 421: 18:07:11

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09:07:11 :: Chinese Laundry :: 111 Sussex Street Sydney 82959958

06:07:11 :: Tone ::16 Wentworth Ave Surry Hills 02 9267 6440 ::KATRINA CLARKE :: S : TIM LEVY (HEAD HONCHO) :: PATRICK STEVENSON :: OUR LOVELY PHOTOGRAPHER DO PRA EN IMOG :: DANIEL MUNNS CAI GRIFFIN :: ASHLEY MAR ::

MINISTRY OF SOUND, GLOBAL GATHERING & FUTURE MUSIC

BEST DRESSED TO WIN A MAC BOOK PRO

FRI 29TH JULY SPECIAL GUESTS

112

5 DRI $

275 PITT ST SYDNEY

NKS 1

9:30-

1PM

BE THERE TO WIN TICKETS

‘MADE IN THE 90’S’ SAT 30TH JULY AT BIG TOP LUNA PARK

TICKETS AVAILABLE AT MOSHTIX MEDIA PARTNER

www.platinum1.com.au // facebook: rnb superclub // infoline: 0415 50 50 77 Management reserves all rights. Strict dress regulations & door policy applies. Photo ID required. Be early full capacity event.