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dec 29 2013

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rock music news welcome to the frontline: what’s goin’ on around town...with Nick Timms, Helen Vienne and Laura-Mae Williams

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DREW SUHR FROM THE DEEP END The Last Record I Bought My most recent purchase was Black 2. Sabbath’s latest, 13. I don’t think I have to give much of a background about Sabbath apart from the fact they are the gods of heavy metal. I bought the album because I’m a long-time fan of the band and the fact that they’re still releasing new material even today is awesome.


The First Thing I Recorded I got my first guitar when I was about 15 for Christmas – it was a piece of crap, but man did I love to play that thing. I’m self-taught so starting [out] I just learnt the tabs to my favourite bands like Van Halen, Iron Maiden, AC/DC, et cetera. The first real recording I did was an EP with my first band – when I look back on it, the songs weren’t bad and it was a lot of fun. The Last Thing I Recorded That would have be the debut album I did 4. earlier this year with The Deep End, entitled

The First Record I Bought The first piece of music I got my hands on 1. was Led Zeppelin IV. I bought it because my parents were big fans of ’70s rock music and I

was always fascinated with the artwork of that era. I cherish that album then and now and it was one of the main reasons I picked up the guitar in the first place.

Cop This. We recorded at Basin Studios with our good mate Matt D’Arcy. He really understands what we’re about. The album features yours truly on lead guitar, Dale Schober on vocals, Jarrad Morrice on rhythm guitar, Matt Berg on bass and our previous drummer Jarrod Medwin on drums, but our current drummer is Nick Trajanovski. The

album has been really well-received all around the world, allowing us to embark on two massive Aussie and NZ tours this year and an upcoming headlining tour of Europe in 2014. Our CD reeks of the energy that we display onstage but if you want the real deal live and in your face, you’ve gotta come to a show! The Record That Changed My Life The first [self-titled] Van Halen album would 5. be that one album for me. It has everything. It took a while to grow on me but once I caught the bug I was hooked. Eddie Van Halen is like a god to me and I admire the band for their great music, amazing live shows, and simplicity yet at the same time technicality of their style. Every track off the album is a gem but songs like ‘Runnin’ With The Devil’, ‘Ain’t Talkin’ ’Bout Love’ and the epic guitar solo ‘Eruption’ are timeless. I play through the entire album note-for-note at least once a week just to keep motivated and just to play those bitchin’ guitar solos! Where: Frankie’s Pizza / Spectrum / The Square When: Thursday October 17 / Friday October 18 / Saturday October 19 And: Cop This out now through Bandcamp


If you don’t want to spend the first week of the New Year hearing ‘Auld Lang Syne’ over and over, perhaps you might be more interested in seeing something with a bit more edge. Determined to leave the cruel Welsh winter behind them, Future of the Left will be coming to Australia for a tour in the first week of January 2014. The four-piece rockers have announced a run of dates in support of the Friday October 25 release of their new album, How To Stop Your Brain In An Accident. The album, which had funds raised for it through a pledge drive that achieved its goal in a mere five hours, shows off the comedic side of the band. Songs like ‘I Don’t Know What You Ketamine’ and ‘Things To Say To Friendly Policemen’ showcase some of the band’s cheeky lyricism. Future Of The Left will be playing at the Annandale Hotel on Friday January 3.

James Vincent McMorrow

EDITOR: Chris Martin 02 9212 4322 ARTS EDITOR: Lisa Omagari 02 9212 4322 STAFF WRITERS: Alasdair Duncan, Jody Macgregor, Krissi Weiss NEWS: Chris Honnery, Nick Timms, Helen Vienne, Laura-Mae Williams, Mina Kitsos ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Karl Braasch, Katrina Clarke, Ashley Mar, David Rouse ADVERTISING: Bianca Lockley - 0412 581 669 / (02) 9212 4322 ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 PUBLISHER: Rob Furst MANAGING DIRECTOR, FURST MEDIA: Patrick Carr, (03) 9428 3600, 0402 821 122 DIGITAL DIRECTOR/ADVERTISING: Kris Furst (03) 9428 3600 GIG & CLUB GUIDE CO-ORDINATORS: Olivia Kadir, Rebecca Whitman, Mina Kitsos, Laura-Mae Williams - (rock); clubguide@ (dance, hip hop & parties) AWESOME INTERNS: Mina Kitsos, Rachel Eddie, Olivia Kadir, James Dunlop, Nick Timms, Helen Vienne, Lucy Smith, Rebecca Whitman, Laura-Mae Williams REGULAR CONTRIBUTORS: Nat Amat, Marissa Demetriou, Rachel Eddie, Christie Eliezer, Chris Honnery, Lachlan Kanoniuk, Jody Macgregor, Alicia Malone, Daniel Prior, Amy Theodore, Raf Seneviratne, Rick Warner, Krissi Weiss, Augustus Welby, David Wild, David James Young Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 fax - (02) 9319 2227 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of The BRAG. ACCOUNTS RECEIVABLE: Luke Forrester: ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121 DEADLINES: Editorial: Wednesday 12pm (no extensions) Artwork/ad bookings: Thursday 12pm (no extensions). Ad cancellations: Tuesday 4pm Published by Furst Media P/L ACN 1112480045. All content copyrighted to Cartrage P/L/ Furst Media P/L 2003-2013 DISTRIBUTION: Wanna get The BRAG? Email distribution@ or phone 03 9428 3600. PRINTED BY SPOTPRESS: 24 – 26 Lilian Fowler Place, Marrickville NSW 2204

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Singer-songwriter James Vincent McMorrow will return to Sydney this January for a highly anticipated Falls sideshow. Last time the Irishman came to Australia, he was forced to add on additional shows and upgrade venues to keep up with the demands of his devoted fans. This time, McMorrow will treat audiences to material from his forthcoming new album, as well as songs from his gold-certified debut LP, Early in the Morning. Catch him at the Metro Theatre on Thursday January 9.

After a very successful first year, the Deni Blues & Roots Festival is confirmed to return over the Easter weekend of 2014 – Saturday April 19 and Sunday April 20 – in Deniliquin in southern NSW. The lineup for 2014 includes John Mayer, Dr John & The Night Trippers, The Doobie Brothers, Edward Sharpe & The Magnetic Zeros, Gary Clark, Jr., Russell Morris, Jasmine Rae, Cash Savage & The Last Drinks and more. Early bird tickets go on sale this Wednesday October 16.


He’s kept us waiting, but Alex Lloyd is back with his new record, Urban Wilderness, out this Friday October 18, and a fresh set of tour dates to boot. On Thursday November 21 he’ll play The Studio at the Sydney Opera House; on Friday November 22 it’s the Revesby Workers’ Club; Saturday November 23 at Newcastle’s Small Ballroom; and Sunday November 24 at Hornsby RSL.



Twin Lakes have spent the last year permeating the Sydney music scene with their layered folk rock. The Newcastle folksters’ songs are described as having “ absorbing volume of emotional depth. Each melody is a pool to drift and drown.” So we recommend staying in the shallow end at their upcoming gigs at The Standard on Thursday October 17 and at the Lass O’Gowrie Hotel in Newcastle on Friday October 25. Either that or bring floaties.


Don’t waste your time trick-or-treating on Thursday October 31. Get a pizza the action at Frankie’s High Carb Halloween. This is a spooky party of monstrous proportions. And yes. There will be bands. And DJs. And pizza. Artists playing at the event include Massive, Twin Beasts, Frankie’s World Famous House Band (with severed guests, apparently), and Dedderz DJs. Pizza sauce will be flowing like blood as these guys rock you all the way through the witching hour. The dress code, you ask? Bloody, of course. Come as a ghoul, zombie, mummy, vampire, werewolf, or monster. The night is free, goes from 4pm to 4am, and has pizza til close. The bands kick off at 9.


Think Sara Bareilles crossed with Missy Higgins and you have 20-year-old Gordi. Growing up in rural New South Wales, Gordi has crafted an image inspired by pop, folk, blues and country traditions. Be sure to go see the brown-eyed beauty live and be whisked away by her breathtaking talent. To introduce her debut EP and its single ‘Away’, Gordi will be performing at Brighton Up Bar this Thursday October 17, and The Vanguard on Wednesday October 30.

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rock music news

free stuff

welcome to the frontline: what’s goin’ on around town...with Nick Timms, Helen Vienne, Laura-Mae Williams


speed date WITH

SASHA L SMITH FROM THE GRAND RAPIDS drummer had a bender and went AWOL before a gig recently. These rad young dudes called The Fuzzbirds were supporting us and their drummer jumped on board, and we just jammed out five or six soundtracks in D for 40 minutes and even pulled an encore as it went down so well. [It was] nerve-wracking jumping into the abyss of the unknown but ultimately a fantastic voyage. Current Playlist Digital radio at work. There are so many 4. psych shows out there! Vibravoid, The Seeds, The Brian Jonestown Massacre’s Aufheben, Dead Can Dance’s Aion, The Cosmic Dead, The Citradels’ newie Our Lord’s Secret Service, Big Jim Sullivan’s Sitar Beat and Kaleidoscope’s Faintly Blowing.  


What Do You Look For In A Band? I’m kind of from the school of; bad tunes delivered well are better than good tunes delivered poorly. I nearly fell asleep at an Interpol gig once. Obviously, good tunes delivered well is ideal but a punter needs to be engaged by the performance otherwise you would just be at home listening to the CD/ record/MP3/cassette/4-track/gramophone.

and we are very happy to be a part of it. The album has been three years in the making, so it will be good to get it over with and start the next one.

Keeping Busy We bought a HK Monaro and took a 2. drive to Geelong. It was a nice drive. We’ve

We made a video for the title track without having a clue what we were doing, and it’s turned out quite nicely so we are chuffed! We hooked up a couple of shows in Sydney and Brisbane with some pretty rad psych bands from up there, so we are looking forward to jumping on a plane and hopefully half the band doesn’t miss it like last time.

also been busy organising the release of our debut album, Great Shakes, which is coming out on local label Psyche Ward. It’s a new label dedicated to local psychedelic flavours

Best Gig Ever Not sure if it was the best, but certainly 3. the most interesting and stressful. Our

Your Ultimate Rider I would like a nice new pair of black 5. suede winklepickers for every show I played, upon which I could spill the measly two pots of beer that most joints cough up for a rider these days. We played a show recently and got three slabs between three bands. That was rather a nice surprise. An art decothemed green room with martinis on tap would be pressing the right buttons for me. Always drink reasonably responsibly, however! With: Burn Antares, Dead Radio Where: Brighton Up Bar When: Friday October 18 And: Great Shakes out now through Psyche Ward

Gym Class Heroes


Gym Class Heroes featuring Travie McCoy are performing an exclusive live show at The Star on Wednesday October 23. The New York rap-rockers return after a year since their last performance in Australia, when they launched ‘Ass Back Home’. And now that dem asses are back home indeed – or at least back to a home away from home – they’ll hit up The Star’s new-look Events Centre, with its stunning views over the city skyline. The BRAG has three double passes to see Gym Class Heroes in these snazzy surrounds. To be in the running, email freestuff@thebrag. com and tell us the name of Gym Class Heroes’ debut album. If you miss out, tickets are on sale through Ticketek.


The ever-groovy Sydney Blues & Roots Festival is back for its fifth year running. With a lineup led by local legends including bluesman Chris Wilson, ARIA Awardwinning Diesel, ARIA Hall of Fame singersongwriter Russell Morris, the soulful Ash Grunwald and many more, the weekend out at Windsor will be a spectacular one, whether you spend it under the trees or in intimate local venues around town. We have two giveaway packs up for grabs – each includes a double weekend pass for Saturday October 26 and Sunday October 27, plus a CD bundle containing some of the festival’s best artists and their biggest hits. Email us at and tell us your ideal destination for a weekend away.


Psychedelic quartet Cave will be returning to Australia this December in promotion of their fourth LP, Threace. Formed in 2006, Cave have established themselves as masters of slowburning, instrumental grooves that build towards a climax of euphoric hypnotic rhythms. Fuzzy, electric and entrancing, Threace will be a purely instrumental record that meditates between jazz-infected tunes and exotic psychedelic crescendos. Catch Cave at the Annandale Hotel on Thursday December 5.


We might be a little too far south for Aurora Borealis. And a little too far north for Aurora Australis. But we are in just the right place to catch the psychedelic soundwaves of Aurora Jane. The band is releasing their fourth album, Holding Pattern, on Friday November 1. It combines psychedelic ’70s analogue, funk, and rock to produce a unique sounding record. Along with their new album, they will be launching a creative lifestyle website called ‘Mojo Junction. Aurora Jane will be celebrating the release of Holding Pattern all around the country in November, and Sydney will of course be getting a slice of the action. They reach the Red Rattler on Wednesday November 20.

Aurora Jane


What will we be listening to in December? Christmas carols? I don’t think so. Why listen to how somebody’s true love gave them a partridge when you could stuff your stocking with the crust sludge metal sounds of Kylesa? That’s right – the Georgia-bred metal outfit will be coming to Australia for the first time in their career for a headline tour. Fronted by the founders, guitarists and vocalists Laura Pleasants and Phillip Cope, and joined by drummer Carl McGinley, the band is looking forward to bringing some of the new sounds they have been experimenting with Down Under. Kylesa will play at The Hi-Fi on Thursday November 12.


Ian Ball, the singer/guitarist of the critically acclaimed UK outfit Gomez, has announced the details of his new solo album alongside an Australian tour. Ball’s sophomore record will

come as the sequel to 2007’s Who Goes There. Entitled Unfold Yourself, it will be released locally through Stop Start on Friday November 15, featuring eight instrumental tracks exclusive to Australia. Catch Ball at the Annandale Hotel on Thursday November 28.

THE SIREN TOWER Elizabeth Rose


There’s not a thorn in sight as Sydney artist Elizabeth Rose prepares to go on her first overseas tour and a follow-up Australian tour to support her new single, ‘The Good Life’. Rose will be heading to New York this month to perform a string of showcases at the CMJ Music Marathon, and will then be coming back to Australia in November to tour the capital cities. Her shows will debut a variety of new material, including her new single, for her upcoming 2014 EP. Rose’s new track, which has recently become the most played song on triple j, also has a music video that was released today. It was directed by Liam Connor, a Tropfest 2013 finalist. Rose will be performing at Goodgod Small Club on Friday November 8.

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Even though their new single is about seeking refuge in familiar places, The Siren Tower will be leaving their hometown of Perth and hitting the road for the next couple of months to journey far and wide around Australia. ‘King River’ is the latest single from The Siren Tower’s 2012 debut album A History Of Houses, and to launch it they’ll be going on a national tour. Starting in October and continuing on to early November, the tour will bring the re-imagined Oz rock sound from their debut around the country. The new single is accompanied by a music video that was edited by Grant McCulloch, the frontman of the band. The Siren Tower will be at The Beresford on Friday November 1.


Brisvegas duo Barefoot Alley will celebrate the release of their debut album 24 Hours with a national tour. Siblings Hayden and Sophie create energetic, grungy rock that has captured raw music fanatics. Gaining impressive reviews already for their output, Barefoot Alley’s tour is going to be a blast. On Saturday October 26 they’ll play Spectrum, before Sunday October 27 at Frankie’s.

Nine Inch Nails


The rumours are true: Josh Homme and Trent Reznor are bringing their juggernaut Down Under. Together. Alt-rock giants Queens of the Stone Age and Nine Inch Nails are joining forces for a co-headline tour in March 2014. Reznor is fresh from releasing one of the best albums of the year so far in Hesitation Marks, and NIN’s live shows are receiving immense reviews globally. Homme, meanwhile, might be the busiest man in rock – but the wife evidently doesn’t mind him being away from home again, because she’s along for the ride: Australianborn Brody Dalle will play the support slots for hubby’s and Reznor’s mammoth sets. QOTSA and NIN play the Sydney Entertainment Centre on Thursday March 6.











TICKETS ON SALE NOW BRAG :: 534 :: 14:10:13 :: 9

Industrial Strength Music Industry News with Christie Eliezer


* At the Australian Independent Music Awards, rapper Seth Sentry collected his trophy for Best Hip Hop Album, thanking “ex-girlfriends who put up with me when I was a scumbag wannabe rapper and paid my rent.� * KISS are headed back for a stadium tour this time next year. Miley Cyrus is also said to be heading our way next year through Live Nation. At this point we can safely rule out a co-headliner with Sinead O’Connor. * As the pollies’ expense scandal grows, we ask: is it possible to spend $9,347 in a day at Tamworth Country Music Festival? That’s what PM Tony Abbott claimed in expenses when he visited the festival in 2012, spent some hours making sure he was seen, then scooted off without even staying the night. The parliamentary entitlements register showed it cost $8,800 for a private return charter flight for Abbott from Sydney to Tamworth on January 25, 2012.

* Tickets to the Glastonbury Festival in the UK cost ÂŁ210. But that didn’t stop its 120,000 tickets from selling out in 87 minutes. One million people registered for the tickets. Fleetwood Mac are hotly tipped to headline. * Here’s a Rihanna story that doesn’t have the word “lateâ€? in it. The singer had exchanged regular tweets with 15-yearold Auckland high school girl Shannon Roberts, who volunteers in a not-for-profit youth organisation. When RiRi arrived in NZ, she got her bodyguard to track Roberts down, then sent him to hand-deliver premium concert tickets and escort Roberts and her friend backstage for a private audience. There they took selfies, ate ice cream and Rihanna got her chauffeur to drive them home, 30 kilometres away. During her NZ visit, the singer got a Maori symbol tattooed on her finger. * Speaking of which, when Boyzone hit Sydney, they headed off to Bondi Ink to get new tatts. Keith Duffy got rosary beads around a finger, while Shane Lynch now has a skull on his shoulder. * Australia will be one of the first countries outside America


You know those misheard lyrics, of course. “Might as well face it, you’re a dick with a glove� (Robert Palmer, ‘Addicted To Love’), “Text the ladies extra longer� (Black Eyed Peas, ‘Boom Boom Pow’), “Ohh, ho, dyslexics on fire� (Kings Of Leon, ‘Sex On Fire’), “You’re gonna be the one at Sainsbury’s� (Oasis, ‘Wonderwall’), “Like a virgin touched for the thirty-first time� (Madonna, ‘Like A Virgin’), “’Scuse me, while I kiss this guy� (Jimi Hendrix, ‘Purple Haze’) and best of all,

to get iTunes Radio as Apple wants to compete with Pandora. The Pandora people say they’re not worried, that they welcome any competition, and besides, they expect to hit one million registered users in Australia and NZ by next month, so there. Meantime the head office of Twitter has said that Australia is one of the places it plans to work the market in (Twitter has 3 million accounts in Oz). * Former Sydney radio presenter Guy Perryman (2SER, triple j), who now lives in Tokyo, joined the mile high club. Not THAT one, pervert. On a Virgin Atlantic flight from Tokyo to London, he presented a program which will be played on all in-flight entertainment systems on all the airline’s flights. * On the eve of their comeback US tour and a new album (we’re talking two days beforehand), the Jonas Brothers had a furious argument over their music and pulled the plug on both. Boy, that Christmas lunch looks like it’s going to be a doozy. * Surfer boy Mark Richards ended up doing an exclusive interview with Pearl Jam to coincide with the release of their new album. Apart from being a

“The ants are my friends, they’re blowin’ in the windâ€? (Bob Dylan, ‘Blowin’ In The Wind’). Now the Wellcome Trust in England has given ÂŁ60,000 (A$100,000) to a choral ensemble to investigate the science of why the great unwashed can understand some song lyrics but not others. The ensemble, The Clerks, will sing different lines to members of the public at the same time, and use an electronic handset to record which words they can and can’t hear. The project, ‘Tales From Babel: Musical Adventures In The Science Of Hearing’, is not frivolous. The research aims to aid the Trust’s

Build Your Music Empire Today E HIFI 1300 THO M.AU THEHIFI.C

Just Announced

Kylesa (USA) Thu 12 Dec

Info here:      

This Week

Waka Flocka Flame (USA)


Fri 18 Oct


Fri 20 Dec

Dj Quik & Kurupt (USA) Sat 19 Oct

Fri 25 Oct

understanding of music perception among the hearing-impaired.

NEW WEBSITE FOR MOSHCAM, creators of the world’s largest online catalogue of originallyproduced live music videos (1300 in all), have launched a new website to make it easier to navigate, create video playlists on the fly and share them, and get the latest news. Next month the site will be fully optimised for mobile, meaning videos can be viewed wherever users are and whatever device they are using. “Our main focus is giving fans complete control over how they watch and listen to the music they love,� said Paul Hannigan, its Chief of Product. The latest addition to the collection is London indie-folk trio Daughter’s highly acclaimed Sydney concert. Nielsen Market Intelligence reported that Moshcam was consistently in the Top 5 Australian Music Sites this year.


The Budweiser People’s Choice Award aims to find the country’s best rising EDM producer. Producers have until Sunday October 27 to create a Soundcloud profile and submit their tracks of any dance style for free to Voters then choose four finalists, who will be flown to the Australian Independent Music Awards in Sydney on Thursday November 7 where the Budweiser People’s Choice 2013 winner will be announced. Voters are in the running to attend the awards with three mates, including a stay in a five-star hotel and an invite to hang out at the afterparty at Marquee.


Coming Soon

Stratovarius (FIN)

PJ fan, Richards remembers in the early 1980s when he was a world champ, and sitting next to him, star-struck, was a teenager who shyly told him his name was Eddie Vedder and that he loved to surf. * Cobar rapper Luke ‘Babyhed’ Griffiths is compiling a CD of local musos to raise money for the family of a two-year-old girl who died in a house fire. * US punk band Get Shot! took revenge on the anti-punk Westboro Baptist Church: they shot a porn film on its lawn, including a scene of bassist Laura Lush masturbating. There’s never a lightning strike when you want one. * Bluesfest promoter Peter Noble says the Boomerang festival will return next year. It only drew 5,000 over the three days but he said the experience was so beautiful that it will grow. Meantime, The Great Southern Blues Festival promoter Neil Mumme told us the event’s return to Narooma was permanent after 4,500 attended. * INXS has signed a worldwide deal with Universal Music Publishing Group, marking the first time that all their publishing is under one roof.

Kid Ink (USA)


Spit Syndicate

Sat 26 Oct: All Ages

Fri 1 Nov

Sat 2 Nov: All Ages

Sydney’s New World Artists has taken over live representation of Queensland singer songwriter Alys, after head booker Owen Orford saw her showcasing at Brisbane’s Bigsound. “Alys is clearly talented beyond her years,� says Orford, who will work closely with manager Steve James to lift her profile. She’s just returned from a US tour and is working on her debut album.


Deerhunter (USA) Tue 10 Dec

Black Rebel Motor Cycle Club (USA) Sat 16 Nov: All Ages

Hits & Pits 2.0 feat Black Flag (USA )

Looptroop Rockers (SWE) & Sage Francis (USA)

Melvins (USA) & Helmet (USA)

The Brian Jonestown Massacre (USA) Thu 19 Dec


Dark Tranquillity (SWE)

Sun 17 Nov

Sun 15 Dec

Insane Clown Posse (USA)

Sat 7 Dec: All Ages

Fri 13 Dec

Crystal Fighters (UK) Rotting Christ (GRE) Thu 9 Jan

Fri 17 Jan

Sat 8 Feb: All Ages

Sat 29 Mar

EDM performer and label executive Klaus Hill has taken over the booking of Sydney nightclub Chinese Laundry to “complement the club’s ability to unearth emerging artists and support new sounds.�


It looks like the end for Wollongong’s major inner-city gay and lesbian nightclub Unity after 18 months of operation. Metro Entertainment ran the Friday and Saturday club, at the Sydney Junction Hotel, as a safe place for the LGBT community. It drew up to 500 clubbers, said Metro’s Ashley Doran. But the new manager of the hotel wants to take it in a different direction.


The buy-out of Australian dance promoter Totem Onelove Group – the ones behind the highly successful national Stereosonic festival which drew 60,000 to the 2011 Sydney show – by New York-based global EDM live company SFX Entertainment is now set to be competed. In June, SFX Entertainment announced it was buying the Melbournebased promoter for $75 million as part of a buying spree of a number of EDM festivals in America and Europe as well as EDM online music store Beatport. The idea was to take on Live Nation, the mega-successful global concert promoter which has also acquired a number of EDM festivals in the past 12 months. SFX Entertainment gave Totem Onelove Group a down payment of $25 million, which has allowed the festival to expand to a two-day format this year. Last week, the American company raised US$260 million in its first public offering, cashing it up to finish off its acquisition. Totem’s Richie McNeill has said they agreed to the SFX deal because the Australians remain as creative forces in the festival.


Not everyone agrees that piracy is good for artist revenue. In one week in September, Google had to remove a record-breaking 5.3 million allegedly infringing links from its search engine after complaints from copyright holders. That’s over eight links a second. The takedowns have been rising, from 3.8 million a week in February to 4.47 million at the end of March.


Hardcore label UNFD signed West Australian six-piece Make Believe Me, who came together in November 2011. They hail from the south west, more than two hours from the nearest city.

Lifelines Married: Pharrell Williams and Helen Lasichanh in Miami on the weekend, throwing a huge bash at the National Tropical Botanical Garden with all guests – including Robin Thicke, Jay-Z, Justin Timberlake, David Guetta and Gwen Stefani – told to wear garden party attire. The two, who have a son Rocket Man (true!) married in secret in France but did it again on US soil. Marrying: Adam Levine of Maroon 5 and Victoria’s Secret model Behati Prinsloo, are tying the knot with two ceremonies next year. One in LA where they live; the other in Namibia, Africa, where her folks are. Dating: Miley Cyrus, 20, and Rolling Stone magazine founder Jann Wenner’s photographer son Theo, 26, who was last chilling with Liv Tyler. Ill: Bluesman Walter Trout has been diagnosed with liver damage. Ill: UK prog rockers Hawkwind were forced to delay a US tour after mainman Dave Brock was diagnosed with stress as a result of Nik Turner’s attempts to register the band name. Recovered: US singer Sharon Jones, who had cancer surgery this year, is back making music with her band The Dap-Kings, with a new album and plans to tour. In Court: Matthew Cox, the 26-year-old accused of killing Gold Coast R&B singer Tony Williams at his home in December 2011, had been told by a woman she had been subjected to a degrading sexual offence by Williams, the Southport Magistrates Court was told at a committal hearing. Died: Pogues guitarist Phil Chevron, 56, after treatment for head and neck cancer. He wrote several well-known Pogues songs, including the Irish emigration ballad ‘Thousands Are Sailing’.


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t’s safe to say the Australian musical landscape has finally come to terms with the fact Stonefield are the real deal. It was hard at first, as the four sisters from the regional Victorian town of Darraweit Guim seemed unreal – unreal in the sense of ‘too good to be true’. Questions came thick and fast when they arrived on the scene as triple j Unearthed High winners, Iotah. Surely they can’t play as well as they do? Surely they can’t embody the spirit and heart of the ’70s so freaking well when that time and place is so far from what they should know? Surely someone has built them from snow and is operating them from label headquarters like droid rock maestros? But it’s all true. Amy, Hannah, Sarah and Holly Findlay have proved themselves many times over, as awesome musicians in the studio and a captivating live act onstage, but despite all of that, the most impressive thing has got to be their warm, down-to-earth and stoic attitude. They could’ve given in and taken the easy road at any point; they could’ve allowed themselves to be shaped into some stylised and sexualised manufactured band, but they’ve stayed true to themselves and will forever reap the rewards. Hannah Findlay is with her sisters signing albums at label HQ. Their self-titled debut album is almost released (it’s easy to forget they only have two EPs to their name), and Findlay starts off by confirming what her sister Amy said last year would be the plan: the album was done completely their way. “I think we’re just really, really lucky that our whole team is just really supportive of what we want to do and they nurture the way that we want to do it,” Findlay explains.

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Findlay says. “I think we were growing as writers and so we learned a lot of new skills and that means you’re not just copying other people’s ways. I think we also went a lot deeper with this album and we just put a lot more thought into what we did.” When former Band Of Skulls producer Ian Davenport was enlisted as producer for the album, Stonefield were more than ready. Their year-long preparation made for an efficient recording process. “Once we knew what songs we wanted to do – I think we had it down to about 20 – we tried to put as many finishing touches on them before we went into preproduction with our producer, so once we were there it was just a case of doing lastminute kinda tinkering. Once we got in there it was just about getting the best performance. [The recording] wasn’t as full-on as past experiences we’ve had; it was less hands-on and more about just helping us to get the vibe of each song in each take and just adding subtle things. In past experiences it was like they were adding heaps of extra parts to everything, but this time we wanted to make it really raw and to make it about the energy and vibe of the music.”

There are definitely a lot more layers to the tracks on the new album, but that came about through the writing process and not overproduction. “I think it’s just our songwriting developing … we just started naturally doing a lot more with each song and experimenting. We also had a lot more time, so we were able to put ourselves in the shed and try so many more things.” Stonefield’s mix of innocent charm and don’tfuck-with-me strength makes for an admirable combination. The best part is that you get the sense they have no idea how impressive they are. “I just feel like we’ve always [had strength] as people,” Findlay says. “Also, our uncles were always into bands and they were always like, ‘Watch out, you can’t trust everybody’. There are a lot of good people but I think we’ve always kept ourselves aware of the reality and thankfully we haven’t had too many bad experiences at all. We’ve been really lucky.” There was a time when the girls couldn’t help but feel they needed to prove themselves. After all, it’s pretty intimidating walking into a rural pub rock gig as four young women, knowing the sound guy (and probably half the pub) is


She adds, “I think that has all finally gone away because we’ve actually stuck around. We’re bringing out this album and we’ve toured a lot so I think people are realising that we’re in this for good … Once people had seen us live they realised we were actually playing the music and we weren’t just going into the studio and doing these tricks to pretend we can play.” Aside from their album tour, Stonefield have the inconceivably massive honour of playing with Fleetwood Mac on upcoming dates – and while the sisters remain cool, calm and collected, Findlay admits that even she can turn into a fan girl on the odd occasion. “We grew up listening to Fleetwood Mac and they’re our idols; I actually cannot believe that we’re playing with them. I feel like in the end everybody is just human so I don’t really get nervous. Oh, but [supporting] Foo Fighters – I unfortunately didn’t get to meet Dave Grohl, but I was like, ‘Whoa, oh my God. What if I get to meet them?’ I was pretty excited.” The attention around Stonefield has already been (almost) overwhelming after their two massively successful EPs, and the pressure of a debut album following that volume of hype would be enough to break a lot of artists. Not the sisters from Darraweit Guim, though. “We really are pretty relaxed and excited,” concludes Findlay. “We had a lot of time between the last EP and this album to do a lot of things and to think about everything we’ve done. All of that has sunken in, so we’re ready to go out there and enjoy all of this.” What: Stonefield out now through Wunderkind/Illusive Where: Annandale Hotel When: Friday November 15 And: Stonefield supporting Fleetwood Mac, Hope Estate, Saturday November 16 xxx

While the record is immediately recognisable as a Stonefield album, the band has definitely progressed. It’s more nuanced – their sound has evolved beyond being based simply on riff after riff, and their harmonic depth is almost transcendental. While they claim Creedence Clearwater Revival were a big influence during the writing of this album, influences nudge in from bands as diverse as Procol Harum and Pink Floyd. The key to this record is you can tell none of that was planned. As a listener you can’t help but go searching for the familiar, but the band is at all times just being Stonefield. “I think it all kind of happened quite naturally,”


thinking you’re a novelty act. Elder sister Amy once said they used to play the best sound checks possible just to show they were for real. “Oh, there was definitely a lot of that,” laughs Hannah. “Now I think we’re not only a lot more professional when we go in there, I also think we’re also just trying to play the absolute best set we can play. But no, I don’t think we feel we have to prove ourselves in sound check anymore.”

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Megadeth x By An Unstoppable x Force By Lachlan Kanoniuk here’s an air of tranquillity emanating down the phone line as the iconic and often controversial Megadeth figurehead Dave Mustaine speaks from his San Diego property. I catch him as he’s tending to his horses, strolling across hillsides throughout our interview. It’s a stark contrast to both his band’s hard-hitting canon and their hedonistic tales of yore, but it’s an indication of Mustaine’s recent renouncement of his party-hard ways. As such, the present day Megadeth’s live performance is a far more stable one than you might have expected in the heady years past.


The band is at a point in time where its landmark albums are clocking up their respective 20th birthdays – most recently Countdown To Extinction, which saw a commemorative tour last year and live album package this year. As for celebrating the milestones in the future, Mustaine hasn’t quite figured out concrete plans for Youthanasia’s impending 20th anniversary. “It’s kind of hard to say. We’ll definitely do something around the anniversary point. Is there going to be a release around it? I don’t know. That’s up to the label and how things are at the time. We still don’t know what the condition of the industry is going to be like in two years from now. Who knows what’s going to happen?”

“Before, when we were playing, live performances were a crapshoot,” Mustaine says. “Playing live could have ended up like anything, the way that we played, the way that we partied, the way that we approached our job. Now everyday when we go to play it’s so much more different because we’re so much more serious about what we’re doing as a band. The whole game of playing, and why you do it and how you do it, is so much more serious now. I think that our shows have really stepped up in quality a lot.”

“It’s kind of a bummer, my personal life has been made so public that I don’t really have a lot of privacy in what I do. But a lot of the things that motivate you to make records are the things that happen in private.” Ever since Mustaine started Megadeth after being fired from Metallica in the early ’80s, he has maintained a fiercely competitive mindset when it comes to performing music. While not quite as volatile as it once was, the thirst for competition remains strong. “Especially with some of the stuff that’s happened in my personal life,” he says. “It’s kind of a bummer, my personal life has been made so public that I don’t really have a lot of privacy in what I do. But a lot of the things that motivate you to make records are the things that happen in private. I think a lot of people, when they write, they tell the same story over and over again. There are reasons that we do what we do – people think you might be too old and you don’t have the fire anymore. I remember hearing stuff like that about many of the bands I looked up to, thinking that’s such a horrible thing to say about somebody. They say it about everybody. They say it about me now, about Van Halen, about the Stones. It’s a privilege to be successful enough to hear that. Most of the bands are here today, gone later today. Especially with the hundreds of thousands of bands there are on these social websites.” Maintaining mental and physical fitness has become a priority for Mustaine, and for Megadeth’s survival. “I try and read a lot, I try to eat healthy. When you’re in a band you need to get rest when you can, you don’t know when you’re going to be travelling across time zones. You’ve got to be able to travel at the drop of a hat. A lot of times for us there has been a show that’s popped up on the other side of the world and it’s hard to keep your eyes open. That’s where it gets tough, the travelling part.” As a guitarist, Mustaine is still exploring the possibilities of the instrument, which will see him enjoy some extracurricular, orchestral activity next year. “Last year we were speaking to someone from the San Diego Opera. I was speaking [about] music with a friend of mine, who’s a UFC fighter, and his mum ran the opera and his dad ran the orchestra. So I said I always wanted to do something like ‘Dave Mustaine does the classics’, like ‘Ride Of The Valkyries’, just lots of badass stuff. So he arranged a meeting, and now I’m in. So April next year I’m doing a thing called Symphony Interrupted, where it’s me and the San Diego Symphony jamming some songs together. I’ve always said that Megadeth were hugely influenced by classical music, as well as punk and jazz.” This year’s Soundwave saw Metallica, Slayer and Anthrax grace the bill, with Megadeth hitting Australia in 2014 for the festival. While we missed out by 12 months on experiencing metal’s Big Four in one sitting, Mustaine isn’t entirely averse to the prospect. “I don’t know of any talk about the Big Four down in Australia. It would be cool; I think Australia deserves the same kind of concerts that anywhere in the world does. I say Australia, the Big Four, why not?”

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What: Soundwave Festival 2014 With: Green Day, Avenged Sevenfold, Alice In Chains, Placebo, AFI, Korn, Newsted and more Where: Sydney Olympic Park When: Sunday February 23 And: Super Collider out now through Tradecraft/Universal

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Limp Bizkit Prodigal Sons By Peter Hodgson


imp Bizkit are stayers. They’ve had their ups and downs, their band member comings and goings, and they’ve ridden out a particularly intense backlash against the genre they helped to define, maintaining their attitude and sense of humour along the way. A triumphant Australian return at Soundwave 2012 helped solidify the rap-rockers’ place within the current metal landscape, and they’re back to do it again this month with a series of headline shows. “It was redeeming,” guitarist Wes Borland says of the band’s last Australian visit. “And it kind of felt like us resurrecting ourselves, in a way, with what had happened at the Big Day Out with the young girl’s death, as well as Australia and us.” The sense of sadness in Borland’s voice as he speaks of the tragic 2001 death of Jessica Michalik is palpable. “When I think about the two combined, Australia has always been tied to grief in the past, and it was nice to kind of obliterate that and meet Jessica’s family, meet the friends that had been there at the show with her when she died, and in some ways the whole thing has come full circle for us to forgive ourselves and make new memories and have the air cleared. And now this’ll be our first headlining tour of Australia that is not linked to a festival, so it’s nice to kind of hit the reset button, in a way.” When Limp Bizkit hits Australian stages this month, there’s a chance audiences will hear some new material to go along with the classics. “The album’s not out yet, but we’ve released one single and we may be releasing another single,” Borland says. “We’re working very hard on it every day. Fred [Durst] has a home studio and I have a home studio that are very well-equipped, and we’re deep into a post-production area of the album, working on the icing on the cake right now.” Following the departure of DJ Lethal, that particular area of sonic real estate has been commandeered by Borland, although the change hasn’t particularly shifted the dynamic of the writing process. “We’ve always written as a four-piece, or drums, bass and guitar with Fred conducting or producing, and

Lethal always came in after the fact, after almost everything was finished, so it’s not a big difference to how we wrote before.” A fiercely individual guitarist, Borland was one of the first wave of groove-and-texture-oriented metal guitarists to embrace the seven-string guitar, and yet he was also one of the first to abandon the seven in favour of six or even four strings. And he has no intention of dipping into the current trend of ultra-low-tuned eight-string guitars, Meshuggah-style. “I like less strings. I even play four-string guitars, and I’ve found that once you get into guitars that move away from what’s generally accepted and what the generally standard model of the guitar is, you lose out on all this shared technology. You isolate yourself. People are like, ‘Oh, this is an eight-string, it sounds so heavy,’ but dude, you can put one extra heavy string on a one-string guitar and it’ll sound the same. There’s all sorts of things that you miss when you limit yourself to something that’s that specific. So that’s why I got away from using guitars like that. It was just too much. I just didn’t need all of that, and I just found I got over that, ‘I’m jacking off ten times a day, I’m 18 years old and full of testosterone’ part of my life. It’s not about how big the tyres on my truck are. I just started looking at it in more of an adult way, I guess, as far as guitar playing goes – says the guy who still dresses like a moron in costumes onstage!” Where: Sydney Entertainment Centre When: Saturday October 26

Every Time I Die Chaos Theory By Tom Valcanis


very Time I Die frontman Keith Buckley once felt he was paying for mistakes made in past lives. Bolting over personal hurdles, Buckley and his merchants of metalcore masala will blow the minds of us antipodean types, appearing on Aussie soil for the second time this year. The screamer from Buffalo, New York feels optimistic. Buoyant, even. It’s a complete 180 from last year. Personal obstacles and social media distractions felt like blows to his vital spirit. Daily life was layered over with the desire to curl into a ball and fade away. “At that period, I felt confronted by this thick wall. I was stuck,” Buckley opens up. “I dealt with it very poorly back then. There was a lot of alcohol. There was a lot of self-deprecation. Complete fucking pessimism.” Buckley eventually carried torches into the darkness of his soul. He just can’t remember when, how or what brightened his world. “I’ve tried to figure it out. I’ve tried to go back and think, ‘What was it?’ I don’t know. It happened in my sleep one day. It was like, ‘Today I’m gonna start differently.’ I was just saying to myself, ‘I’m just gonna try to be in a good mood.’ I tried it, it was fun. I guess you just gotta keep your head up. The only thing to do is not get caught up in all of it.” His renewed positivity steels him for this year’s second long haul flight to Australia. “Oh yeah, we love it,” Buckley confirms. “The last thing we want to do is over-saturate it and ruin a good thing. But we have a good relationship and I really hope you want to see us.” Buckley figures Australia is like one of his night-time friends. One of his really longdistance night-time friends. “You have daytime friends and you have night-time friends. Some friends you don’t get along with during the day, but at night they’re perfect. They’re the ones you hang out with when the sun comes down.”

Who do you call when you’re eager for brunch? “You call the guys in Blink-182 for that,” he deadpans, before cracking up laughing. “They seem like brunch people to me.” Back in Buckley’s home country, a liquid brunch before football games or music festivals apes the night-time spirit. Fans indulge in a ye olde American tradition of tailgating – camping in a stadium carpark and drinking until the event begins. “Some fans tailgate all morning. They’re up at eight o’clock in the morning, drinking. Some people won’t even go inside the venue.” Meanwhile, those who managed to stagger into this year’s Big Day Out saw Buckley earnestly comforting the non-metalheads who were jostled and lost amongst veteran headbangers. He screamed, “If you don’t know what a moshpit is, I don’t have time to explain the formula.” So, Keith, what is the formula? “Chaos. Complete chaos is the formula,” he chuckles. “I don’t think anyone who is gonna come to our shows will not know what it is. I’m sure that people are enlightened enough to know what to expect now.” Not that it matters to some audiences these days, treating music like an open tab on their web browser. “I really just hope when people come out they’re going to be involved. My dream now is to play a club where nobody has a camera phone. I just want them to be there, to be present, to enjoy themselves. I don’t think it’s too much to ask. Hopefully it will happen.” With: I Exist, Hellions Where: Manning Bar, Sydney University When: Saturday October 19

The Amity Affliction Final Destination By Jody Macgregor


he Amity Affliction have had a big year. They played the Soundwave Festival around Australia, then fl ew to US to join the lineup of Warped Tour, and only recently fi nished a European tour before returning home again for even more shows. “It was quite big, yeah,” says bassist Ahren Stringer modestly. Or perhaps he’s reluctant to talk about it – that American tour as part of the Warped bill was notable for the string of disasters the band suffered. Three of the group wound up hospitalised in three separate incidents. The disasters began at the second show, when drummer Ryan Burt had one of his drumsticks snap, “and the sharp bit lacerated his eyeball. His actual eyeball, where the pupil is. To put it in simple terms, the ink has leaked into the green part of his eye, so it looks a bit strange.” Burt had to be replaced by their drum technician for the rest of the shows. Frontman Joel Birch was next, taken to hospital after suffering from a seizure due to alcohol withdrawal. Then, “a few days later, Dan [Brown], our new guitarist, he got strep throat and also was severely dehydrated and went to hospital as well. It was a bit like – what’s the movie? Final Destination.” 16 :: BRAG :: 534 :: 14:10:13

Stringer managed to make it through the tour without a trip to the hospital, and was feeling like he dodged a bullet. Possibly several bullets. But there was one band on tour that made Amity seem like they were playing it safe: LA’s infamous letlive. “They’re pretty amazing,” Stringer says. “Jason [Aalon Butler], the lead singer, steals the show. He does crazy things. Every show he would do something so crazy I would call it a stunt … Something mental, like run out into the crowd and knock something over or climb a tree and jump into the crowd or jump into the river. They’re a pretty intense band to watch; like, he doesn’t sing many of the words, but it’s still visually pleasing.” Though Stringer’s group enjoyed the antics, don’t expect anything similar at any of their own shows. “That’s not really The Amity Affliction. I think we’ll leave the stunts. I can’t see Joel cutting himself up onstage and climbing a tree or anything.” On the subject of cutting, one more unusual thing happened while Amity were playing at Warped. While Stringer says it’s not unusual for the band to receive letters from their fans, in America they started going further. “We get lots of letters from fans telling us how much we’ve helped them through depression and stuff with our music and lyrics, which is really

nice. Very rewarding. On Warped lots of kids were giving us razor blades – which was a bit weird – with a letter saying, ‘I don’t need this anymore, I’m giving it to you to throw away,’ which I guess is kind of a nice gesture.” Fans will appreciate hearing that in spite of their busy year, Amity have already found time to begin work on the follow-up to their number one album of last year, Chasing Ghosts. “Dan’s actually helping write the new record whereas the last one was only me and Troy [Brady, guitar] who wrote songs, so now we’ve got an

extra songwriter, so he’s bringing something fresh to the table. We’ve got about five songs already in the works. I think it’s just gonna be a better version of the last CD which is what we always aim to do – not try and go too far out of our comfort zone, and stay true to the fans.” With: Chelsea Grin, Stick To Your Guns, In Hearts Wake Where: Big Top, Luna Park When: Sunday October 20












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Guineafowl From Sydney With Love By Krissi Weiss


am Yeldham, having performed his indie-pop under the moniker of Guineafowl for a number of years now, is armed with a new EP, I Hope My City Loves Me Still. The introspective and contemplative four-track EP was born out of his strange late-night pilgrimages through the streets of Sydney. Dressed up with no destination, Yeldham would start walking when the moon and the crazies came out, and over kilometres the songs appeared. It seems somehow wrong to know this, though, after a chat with Yeldham. A selfconfessed “control freak” who values his privacy more than most, revealing his creative process seems counterintuitive. “Often when I’ve had conversations about songs meanings and things like that, I struggle to really have a clear and concise way of defi ning it all,” says Yeldham. “I’m getting better at it, and I think you have to let go of music, in a way, once you’ve released it. That’s really difficult for me to do because these stories are so personal, and I guess it must be the case for so many other artists. Once your little baby gets out there, you have to detach yourself from it and then you have to somehow reconnect with it again every night when you play. The relationship between creation and the

mechanism by which it gets disseminated is a weird relationship.” However, Yeldham accepts that in order to be heard he must play the game. “I do read every press release before it gets out, and it’s yet another interesting and weird process. You have to go, ‘OK, I’m willing to break this little piece off myself and put it out there in order to make things clear.’ Marketing yourself as an artist is concise – it’s not elaborate and shouldn’t require an explanation – and to sum up something that is so personal and complicated and complex in a few words is surreal and hard.” Yeldham composes the music of Guineafowl almost entirely himself, and in line with his private and introspective nature, he can’t imagine doing it any other way. “It’s impractical for me also, with the way I make music, to make it with other people. It’s OK to do it for short periods of time and I’m slowly able to do it – I wrote a song for this EP with Paul Mac – but I’m a pretty private person; I can’t do it on the spot and I can’t do it in front of anyone. I’m often fairly bossy as well. I think there are just too many personality traits that are too negative with regard to creating with other people.”

Bringing things to life onstage is a different scenario altogether – and for that, Yeldham is more than happy to enlist support. For his latest tour he is launching a new live band and bringing an engineer on the road. “I’ve got a few new players, which is exciting; there’s only going to be four of us onstage, which is probably the smallest number of players I’ve ever had onstage since I’ve started. I started at seven and six, trying to get this huge sound but I discovered that the cliché of ‘less is more’ really is true. I’m also working with a sound engineer who’s come on early with this show who’ll be coming around with us. I’ve defi nitely moved on from the raucousy, ragtag shows that I started off with.” What: I Hope My City Loves Me Still out now through Dew Process/Universal

The Cribs Ten Years And Counting By Jody Macgregor


nybody who was worried that when iconic ex-Smiths guitarist Johnny Marr left The Cribs things might change for the worse had their fears assuaged by In The Belly Of The Brazen Bull. The band’s 2012 album featured a couple of their best songs, ‘Chi-Town’ and ‘Come On, Be A No-One’ (maybe the bestnamed of their songs, too). Recording as just the original lineup of the three Jarman brothers obviously worked, and after ten years together that’s how they’ll be carrying on – right now, they’re working on not one but two follow-up albums simultaneously. The plan is for one to showcase their grungy garage rock side, while the other will be more melodic and poppy. Singer and bass player Gary Jarman explains: “Our newer stuff’s always more harmonies and layers and stuff, and I think that rather than putting a record together that’s trying to balance between the two, I’d rather have one record wallow in its own filth and the other record try and make something a bit more pretty, maybe.” Prettiness sounds like getting back to what The Cribs were like in the pre-Marr era, especially on their self-titled first album. “The first record we did was really quite – I’m hesitant to say ‘twee’, but it was definitely more pop-oriented. We were really reacting against the idea of being in a rock’n’roll band at that point. There was a lot of new rock’n’roll bands coming through and although we’d come through ourselves as a garage band, we wanted to be more in the tradition of garage bands who were like teenagers who were trying to be like The Beatles, rather than a Stooges sort of garage rock.” The Jarman brothers were never quite comfortable being a part of the British music scene. Three brothers from west Yorkshire, they didn’t identify with the laddish Manchester of Oasis or the detached and hip London scene represented by Blur. “I was never a kid who grew up listening to Britpop or anything like that,” Jarman says. “I fuckin’ hated it, man. I

don’t want to be too vitriolic about it but to me it represented – like, I liked some of the precursors to Britpop, bands like Teenage Fanclub and The Pastels and some of those early Creation bands, but by the time Britpop was really big in the mid-’90s I was a 14-yearold kid who was into grunge, really, and the lessons that those bands would teach us, like, ‘You shouldn’t be co-opted by the mainstream,’ or whatever – it seemed like a lot of the Britpop bands were really complicit with that. So that’s what really turned me off, growing up.” Jarman lives in Portland now, much closer to his musical influences. Portland is where protogrunge band The Wipers came from, and was part of the Pacific Northwest flowering of ’90s alt-rock. “I’m so happy here,” he says. “I grew up as a kid in a small town in northern England and I was always really fixated on the Pacific Northwest, like a lot of my favourite bands are from Seattle or Olympia, and Portland too actually. The Pacific Northwest was a place that held a lot of romance for me, really, growing up. Growing up, I used to want to move to Olympia when I was a teenager and I think that it’s funny – now I’ve moved here it pretty much rings true, it’s exactly what I thought it was gonna be. It’s like a time capsule from 1994 in some ways.” The music of The Cribs isn’t stuck in the past, however, with Jarman suggesting some of their new songs will be more layered and complicated than what we’ve heard from them before. “I think it’s just a case of we’re better at it now. You get kind of bored with simplicity after a while.” With: The Guppies, The Owls / Glass Towers Where: The Small Ballroom, Newcastle / Upstairs Beresford, Surry Hills When: Wednesday October 23 / Thursday October 24

The Brian Jonestown Massacre Kill The Director By Lachlan Kanoniuk


nton Newcombe is speaking from his Berlin studio, having risen early to accommodate our time zone difference. There’s some faint hint of his current musical project in the background as he answers the phone – possibly the makings of a follow-up to last year’s well-received Aufheben. “I pretty much go to work every day, so I’m always working on stuff,” says Newcombe. “It’s not always necessarily about my band – soundtracks, collaborations. I should be working on the new Brian Jonestown Massacre album, but it’s going a little bit slower than it should. I think it’s because I can’t imagine what it is I’m looking for. If I had an idea, I’d find it. I made up some really good songs, but I can’t see in my mind how they would fit together as an album. Even though the album format might be extinct, I like to view the songs in bundles like that.”

The Brian Jonestown Massacre have been in existence for 25 years, with Newcombe’s enthusiasm for performing music now as strong as ever. “When I play live, it’s equally terrifying and exhilarating. You’re vulnerable. I was thinking yesterday about how many concerts I’ve done where people haven’t locked into it when something amazing is happening. I’m not being an egomaniac, just the concerts I’ve seen of other people and everybody’s feeling it. I’m not talking about rocking out, flipping your hair, I’m talking about when it clicks. I was thinking about it yesterday, and you can never bring any of that back. There were times when 18 :: BRAG :: 534 :: 14:10:13

And what of the scene back in Newcombe’s home country? “You look at a phenomenon like Lollapalooza was, and just thousands of people with braided hair and dreadlocks, people in purple hair jumping around to music. Every single one of those people would have been beat to death if they were a teenager in my hometown. “That whole thing became a commodity that was sold to you. Or whatever it is now, it’s disturbing. It reminds me of fascism. Bieber fans remind me of Hitler Youth – the hysteria, the fanaticism, it’s just over nothing. I know that it’s not impossible to be a part of beautiful things like youth culture; I experienced that, felt my kindred spirits. There’s a big tradition, even with Aussie bands, of people supporting each other. I just find that it’s the opposite when it folds into itself – ‘You’re supposed to like this because it was on TV, because Simon Cowell told you.’ It’s just that fanaticism that bothers me.” With: The KVB Where: The Hi-Fi When: Thursday December 19

Brian Jonestown Massacre photo by Sasha Eisenman

More so than pretty much any other artist on the planet, Newcombe is constantly exploring and experimenting with distribution methods, being a pioneer of sorts for online file sharing. “I’m interested in all forms of media. I’m about contact. I put all my stuff on the internet in the earlier days … I was aware of what a deadend record deals were to begin with.”

Matt Hollywood [guitar], back when he played bass, that he got so sick of the long repetitious stuff and just sat down his bass. Just walked offstage; ‘Fuck this, I’m not playing this riff one more time.’ It’s so bad, considering what we were playing was radical in its minimalism. Just not getting it. It leads back to the rehearsals, where so many people have not got what they’re being a part of. Now 20 years later I’m living in Berlin, and it’s still paying my rent. It’s paying for all my shit. They never got what practice was about. I’m going off on a tangent again – all I can say is that I enjoy searching for stuff. I feel that Western culture is geared towards the fame thing. This is a better place for me than LA. I just work on my music.”





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Rob Zombie x By x Immortality By Krissi Weiss


ongwriter, filmmaker, musician and allround gore-creator extraordinaire Rob Zombie is, frankly, a fucking legend (yes, he’s officially Robert Cummings but forget that – Zombie forever!). He needs no introduction, but if you haven’t heard of him, set aside at least an hour, go to Google and meet his daunting back catalogue of work. His latest film, The Lords Of Salem, was paired with the release of his fifth solo record, Venomous Rat Regeneration Vendor. It had been three years since Zombie last released an album, but filmmaking takes a damn long time. Some Zombie fans felt as though they’d lost him a little to the movie world, while others have loved the creative crossover. Either way, Zombie admits music has been more fulfilling for him over the past few years than it was before. “I think, musically, that everything has been going great for probably the past four years. The biggest problem I was having before was that the movies were taking me away from music for such long stretches of time. Even a long record – like six months, which hardly anyone does anymore – seems like a while but when you look at films, from

the time someone says they have an idea for a movie, to financing, to making it and then seeing it on the screen, it can be anywhere from two years to ten years.” The music industry and the film industry are two unique beasts – and beasts they truly are. They can literally make or break you (but when they break you they can also break your children and unborn grandchildren – bless ’em). “I need a break from both of them,” says Zombie when asked which industry he finds more draining. “I enjoy music and I enjoy movies but I can’t say that I enjoy the people. The bigger the business the more assholes involved. I used to think there were scumbags in the music business but until you get into the movie business you ain’t seen nothin’. The movie business can be despicable – and I don’t wanna name names, but there used to be directors that I loved as a kid that I got to know as friends, and I used to wonder why they didn’t seem to care anymore. Then I realised it’s just sucked the life out of them; you see really talented people treated like shit.” Zombie has sat in the director’s chair for half a dozen films, and while he doesn’t feel his films have informed his music in any specific way, he does reckon they helped rekindle the spark. “Films have definitely made me more appreciative of music and of touring and of that world. If you do one thing for so long you take it for granted and for me, by going into movies and into that world – which is a much more stressful world – it made me re-evaluate the music industry and it’s always a relief to come back to it.”

“Films have definitely made me more appreciative of music and of touring and of the world ... it made me re-evaluate the music industry...” For Zombie and his army of musicians, this latest album was recorded in a completely refreshing way. “There were just so few outside influences,” he says. “Usually every record that was ever made was made in California in a recording studio, with all the same people coming in and out and all this bullshit going on. We made this record at my house – I kinda live in the country so the band kinda sequestered themselves there – so for the first time ever we had no outside influences. What spurred that on was that we were watching the documentary on the Rolling Stones making Exile On Main St. and we realised that’s what we should do; we should get away from everybody and just make this record.” So is everyone on the album staying on as the touring lineup? “I say this all the time – and it never comes true – but this lineup has been together for a long time and I don’t see any reason why anyone would leave the band, but then again who knows?” he laughs. “I never see it coming when it happens; I’ve never fired anyone, they just find something else to do, or people can just get weird, you know?” With a massive catalogue of films and albums behind him, Zombie is nowhere near slowing down. “I have a million ideas and I feel like there’s just not enough time to do them. I mean, we’re already talking about recording the next record. It’s the same with movies but things just take a lot of time and that’s kind of a bummer. That’s why I’m always working, because I feel like I’ve just gotta get the next thing done. I feel like if I’m not creating something new then the day has been wasted.” For some artists, creation is all about the illusion of immortality – that their art will be their mark on the world – but for Zombie his motivation is simpler than that. “It’s just the act of creation for me,” he says. “The greatest feeling you can have is to have this weird idea and then however many years later you’re sitting in a theatre and it’s right there on the screen, or you’re with your band and someone plays a tiny riff and suddenly you jump ahead and you’re onstage and you’re playing this song that everyone knows. That’s the exciting part.”

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What: Soundwave Festival 2014 With: Green Day, Avenged Sevenfold, Alice In Chains, Placebo, AFI, Korn, Newsted and more Where: Sydney Olympic Park When: Sunday February 23 And: Venomous Rat Regeneration Vendor out now through Universal

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arts frontline

free stuff email:

arts news...what's goin' on around town...with Mina Kitsos, Lily White and Laura-Mae Williams

five minutes WITH TONY


caught five with the man responsible for bringing Jameson to life, Tony Sheldon, to get the lowdown on what to expect. Tell us about your background in musicals and what draws you to the medium. It’s the family business. My father Frank Sheldon was a dancer – one of the first to perform Bob Fosse choreography in Australia – and my mother Toni Lamond is one of our greatest musical theatre stars. I grew up surrounded by show music and my first show was Oliver! when I was ten.


wo con men, one French Riviera and a Broadway musical. Dirty Rotten Scoundrels tells the story of the suave, sophisticated Lawrence Jameson and small time crook Freddy Benson who are partners in crime. When Freddy threatens to expose Lawrence’s operation, the pair join forces and successfully work the Riviera until Freddy abandons the partnership to compete against his master. We


You lead the Dirty Rotten Scoundrels cast as protagonist Lawrence Jameson. How did you bring your character to life, how do you relate to him and what will audiences learn from him? Lawrence is so beautifully written he could be played a hundred different ways and every actor can bring their own personality to the role. I’m very comfortable with his dry sense of humour and perhaps audiences will learn what Lawrence has learned: if you can have charm, taste, imagination, confidence and good looks, no one will notice you have no talent. You perform alongside a slew of Aussie talent like Matt Hetherington and Amy Lehpamer. What do your fellow cast members contribute to the creative process and what’s it like to perform alongside them? Matt and Amy have played their roles before

during a brief Melbourne season in 2009, but they’ve been completely open to new ideas and I’m simply in awe of their talents. I’ve been a devoted fan of Matt’s work for years and Amy is going to be a huge star. You’re returning to our shores after a successful stint on the West End and Broadway in Priscilla Queen Of The Desert. What excites you about performing for Australian audiences and what has your international experience taught you about your craft? I just hope Aussie audiences remember me! I’m excited because I know how hilarious and brilliant Dirty Rotten Scoundrels is and I can’t wait for everyone to see it. And working overseas has taught me that we are absolutely the equal of West End and Broadway talent and what’s more, acknowledged as such.

Opening on Thursday October 24, Blancanieves is the new silent, black and white film from writerdirector Pablo Berger. Taking on the mantle of Snow White, protagonist Carmencita falls from grace at the hands of her cruel stepmother. She is rescued by a troupe of bullfighting dwarves, and discovers a new calling as Spain’s first female toreador (get ’em gurl). Berger’s film is a charming and entirely unique take on one of our most beloved stories. Want in on the action? We’ve got ten double passes to give away. For your chance to win just email freestuff@ and tell us who wrote the original Snow White.

Exciting future projects we should know about? I’ve done three workshops of a new musical based on the Drew Barrymore film, Ever After, which is hopefully Broadway bound. What: Dirty Rotten Scoundrels Where: Theatre Royal When: From October 17 More: /

There’s something enchanting about Memphis and its deeply ingrained history of rock’n’roll. Sons Of Sun – The Sam Phillips Story is a theatrical account of the artists that built their careers in the Deep South told through the eyes of its founder, Sam Phillips, his faithful assistant Marion Keisker, and the gifted musicians he worked with throughout his career. Soundscapes will be provided by a live three-piece, led by country chartmaster John Kennedy, who will perform classic favourites by Elvis, Johnny Cash, Carl Perkins, Jerry Lee Lewis, Roy Orbison among other rock’n’roll icons. With award-winning Melbourne playwright Kieran Carroll having penned the script and Neil Gooding having lent his directorial flair, you’ll want to jive into Rozelle’s Bridge Hotel for opening night on Saturday October 19. For further dates, visit



Sydney’s 17th Sculpture By The Sea exhibition is almost here. You know the deal – the iconic Bondi to Tamarama costal walk will come alive with public art installations by a crew of both local and international artists from Thursday October 24 through Sunday November 10. This year will see 40 first-time exhibitors from Australia and the world including Denmark, Japan and a signifi cant increase in New Zealand creatives. And a few more artists have been welcomed into the Decade Club – an honour given to artists who have exhibited for the tenth time in Sculpture By The Sea. Congrats to Robert Hague (Victoria), Keld Moseholm (Denmark) and Mitsuo Takeuchi (Japan). Head to for further information.

Good ol’ school camps – muddy shoes, grimy soup and innumerable puberty-stricken dramas all spring to mind. The Australian Theatre for Young People (atyp) have compressed these cringe-worthy moments in COMPASS, written by winner of the inaugural atyp Foundation Commission, Jessica Bellamy. Directed by Sarah Parsons, COMPASS is a treasure hunt that questions morals and challenges the audience into new discoveries through the trials and pressures facing each character. The youthful innocence and exuberance of the young cast, teamed with the sharp social commentary of the content, makes for an in-tents production, showcasing the best of local emerging talent. The season commences on Wednesday October 16 and runs until Saturday October 26. For more information and tickets, hit up


Raw Comedy jokesters Aamer Rahman and Nazeem Hussain are teaming up again to wow a Sydney Opera House audience on Saturday October 26 when they introduce their politically-fuelled, racially discriminative and unfiltered act Fear Of A Brown Planet. And the pair have some serious cred in the biz; Rahman had a sell-out debut solo show at this year’s Melbourne International Comedy Festival and Hussain’s spent the last six months filming his own TV show, Legally Brown. The duo’s comedic ruthlessness lies in their ability to make even the most racist material genuinely funny. Is the act confronting? Yes. Politically correct? Most definitely not. Your thing? You’ll have to decide yourself. Head to for more information.


Contemporary artist Paul White’s latest exhibition, Time Travels, opens at MiCK The Gallery on Tuesday October 29 and runs until Sunday November 24. The artist’s photorealistic works are drawn with pencil to create detailed images featuring rusty, wrecked cars, motorcycles and desert landscapes. Inspired by nostalgic family photographs, memories and his recent journey through the American Badlands, White’s artworks tell stories of personal experiences of time and place. Head to for more information.


All budding filmmakers at the ready, because Flickerfest 23rd International Short Film Festival has extended its deadline for entries to Friday October 18. That means you’ve got five days left to deliver the reel goods. Flickerfest is Australia’s only Academy Award-accredited and BAFTA-recognised short film festival. Screening for ten nights from January 10-19, it’s your chance to catch some innovative new silver screen action under Bondi Beach’s healthy summer haze. More details at 22 :: BRAG :: 534 :: 14:10:13


Sullivan+Strumpf have cemented their place at the vanguard of contemporary art with Hiromi Tango being added to the cast of local and international artists having their work represented. The signature organic aura of Tango’s work has been transfi gured through numerous public installations, each challenging the involvement of artist and audience. Tango’s unconventional artistic tendencies comprise familiar, everyday materials, donated stories and objects, and the occasional ritualistic performance. Her vibrant, memory-evoking palette has drawn interest from prestigious art galleries around the country, with her latest collection Traces – Blue exhibited at the Setouchi Triennale in Japan earlier this year. For further details, visit


Darlinghurst Theatre Company is set to kick off its inaugural season at Eternity Playhouse with shows such as Arthur Miller’s All My Sons, Tony award-winning musical Falsettos, witty satire The Gigli Concert, subversive comedy The Young Tycoons, new Australian play Every Second, Nick Payne’s West End hit Constellations, the popular The Motherf**ker With The Hat, and Nick Enright’s Daylight Saving all on the bill. Darlinghurst Theatre Company Director Glenn Terry says, “Every show in our inaugural season brings together a new team of outstanding artists, who will present their unique artistic vision and perspectives on theatre and life… From the grand to the intimate, from the tragic to the whimsical, and from the small to the infinite, we’ve got it all.” With the Eternity Playhouse’s spectacular architecture, the theatre will be a show in itself, creating a stunning venue for live theatre. Head to for further information and tickets.

Sculpture by the Sea photo by Marianna Massey

SONS OF SUN Ivana Kuzmanovska and Rachel Couper, Mirador, Sculpture By The Sea, Bondi 2012.

BODY TORQUE. TECHNIQUE A NEW MOVEMENT IN BALLET. 31.10.13-03.11.13 Six new ballets from the dance stars of today and the choreographic stars of tomorrow

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JUST FOR LAUGHS Brace yourselves folks, because the third incarnation of the world’s adored comedy festival, Just for Laughs, is touching down at the Sydney Opera House this week. A slew of local and international jokesters including Kathy Griffin, Rob Schneider, Colin Mochrie, Peter Helliar and Tommy Tiernan among others will bring the sideplitting LOLs.

Colin Mochrie Improvised And Dangerous By Tyson Wray


or well over a decade Colin Mochrie’s shiny bald head has been invading the lounge rooms of millions around the globe through his work on the both the UK and US versions of Whose Line Is It Anyway? Once a self-professed loner with ambitions to be a marine biologist, the Scottish-born Canadian’s razor-sharp wit has seen him adopt the status of one of the world’s most adored improvisational comedians. “I’m making a living doing a job that wasn’t around when I was born. That’s amazing to me. Y’know – that no one has caught on yet,” says Mochrie. Following the cancellation of Whose Line Is It Anyway? in 2003 by the ABC, The CW Television Network announced it would revive the show this year for its summer season. “It’s going really well. We actually just got picked up for another 24 episodes,” says Mochrie. “We were all a little nervous about trying to recapture something that had gone so well ten years ago. As soon as we walked back onto the set, and just seeing Ryan [Stiles] and Wayne [Brady] again, it just fell back into what we had before. It’s been a lot of fun and the audiences have been great.”

Rob Schneider All Grown Up By Tyson Wray


t’s easy to misjudge Rob Schneider. Best known for his vulgar and dim-witted characters in films such as Deuce Bigalow: Male Gigolo, The Hot Chick and Grown Ups, Schneider’s often met with preconceived notions of his intellect and temperament. “The characters that I play are always slightly less-than, which is not necessarily who I am,” he says. “People get stuck, they have to categorise you in some way. You get pigeonholed.” In 2005 Patrick Goldstein, a film critic for the Los Angeles Times, noted that Schneider was deservedly overlooked for an Academy Award for Deuce Bigalow because “nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic”. Two weeks later, Schneider took out two full-page ads in the Daily Variety and The Hollywood Reporter commenting, “Maybe you didn’t win a Pulitzer Prize because they haven’t invented a category for Best Third-Rate, Unfunny Pompous Reporter Who’s Never Been Acknowledged by His Peers.”

For the past few years, Mochrie and fellow Whose Line star Brad Sherwood have taken to the international stage with their own brand of interactive comedy show. “I think we’re a lot more relaxed than when we first started because we didn’t really know what the beast was,” says Mochrie. “It was the two of us, like a version of Whose Line without the tall guy or the black guy. There’ll be games that will be familiar to Whose Line fans and everything in the show starts with a suggestion from the audience. We have audience members onstage with us for about 80 per cent of the games. We think that the show works best when we’re totally out of our comfort zone. “We’re always thinking of new ways to get suggestions so that we get suggested things that we never have before. We’re always coming up with new kinds of games that we’re not quite sure about so that we can experiment in front of an audience. We do something called ‘The World’s Most Dangerous Improv Game’, where we’re barefoot and blindfolded and there are 100s of live mouse traps on stage. It’s as stupid as it sounds.” What about Mochrie’s career highlights thus far? “The beauty of improv is that nothing sticks with you,” he says. “For two hours you’re basically just going from one scene to another. You’re thinking about the suggestions, you’re thinking about the audience and you’re thinking about the person you’re working with. Once the scene is done it’s just gone – you’re onto the next one. Unless someone dies onstage or pulls a gun on us I will never remember a scene. That hasn’t happened yet.” Just for Laughs marks the comedian’s first ever visit Down Under and Mochrie’s not without reservations. “I just think of it as a large place with convicts,” he jokes. “I’m sure that was probably a long time ago, but we’ve been a little slow in getting history books to Canada.”

“I just did that because I thought it was funny!” Schneider laughs. “Just because I’m an actor doesn’t mean I have to sit back and take it. He critiqued a film of mine before it had even come out. I didn’t think that was a fair shot. I starred in a dramatic film called The Chosen One and people were just like ‘oh, we didn’t know you could do that.’ That’s their limitations, not mine. But I’ve stop worrying about what people think of me. If you’re going to allow yourself to be in and on billboards, you have to be aware that you’re going to be criticised. It’s just part of the game – you can’t be too thin-skinned about it.”

“I’m a jazz guy. I’m a huge fan of John Coltrane,” says Schneider as our conversation gears towards his musical tastes. “I don’t really keep up with current or popular music. I mean, if you had to tie me up and put in a room and make me listen to Katy Perry, I’d do it. But I’m going to be 50 later this month so it’s not my area of expertise.”

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“Hey A$AP Lachlan… do you know I roll deep with the A$AP Family?” The tweet that popped up in my notifications hours before my scheduled interview time with Kathy Griffin made it clear that I wasn’t the only one putting in research time. The inspiration behind my Twitter handle, A$AP Lachy, became the initial talking point of our rapid-fire chat. Turns out Kathy wasn’t lying about being tight with the A$AP crew. “The way I became aware of A$AP Rocky was through my talk show [The Kathy Show], where someone on my team found these two rappers talking about whether they would rather fuck me or Cher,” she says referring to A$AP Rocky and Danny Brown. “The tape is so funny, that I now play it before my shows. So I said that we need to track down A$AP Rocky and book him on the talk show, and at the same time, he just blew up and was touring like crazy with Danny Brown and Schoolboy Q – who is also in love with me – and then he was opening for Rihanna on her world tour, collaborating with Drake. So when he came on the show it was exciting, because he wasn’t doing a lot of talk shows at the time. And I just love those guys, they’re hilarious and no holds barred. He came over to my house and we became friends.” At age 52, Kathy is as busy as ever. Juggling a multitude of television commitments and a formidable touring schedule, Kathy owes her work ethos to the legends who have come before. “I’m friends with Joan Rivers and Don Rickles, and they told me this is how it’s done. I’m a workhorse. My 93-year-old alcoholic mother Maggie told me three days ago that if I’m not careful I could lose everything, live in my car and eat dog food the rest of my life. By the way, I have a very nice house and I pay for her condo,” she says. “It’s like when you hear about these Hollywood divorces and the bimbo wife wants half of everything, my mother is like my bimbo wife. She just wants me to sign a blank cheque so she can get her box wine. And I do it, I’m happy to do it.”

What: Colin Mochrie and Brad Sherwood for Just for Laughs Where: Sydney Opera House When: Thursday October 17 – Sunday October 20 More:

Using her own status as celebrity, Kathy lends her voice for the betterment of causes she holds dear. “If I’m doing something serious, I tend to stick to LGBT issues or womens issues. That’s my wheelhouse, that’s where I live, I’ve talked in front of Senate about the Don’t Ask, Don’t Tell policy in the military, marched for Prop 8 and marriage equality. Then as a woman in a largely male field, that’s something I can speak to – about the sexism in stand-up comedy and how to deal with it. That’s what gets me to the stage every night, that no matter what, you have to laugh.” What: Kathy Griffin for Just for Laughs Where: Sydney Opera House When: Friday October 18 More:

Kathy Griffin photo by Mike Ruiz

What: Rob Schneider for Just for Laughs Where: Sydney Opera House When: Saturday October 19 More:

Cult Of Celebrity By Lachlan Kanoniuk

The focal point of Kathy’s material tends to be the crazy world of celebrity, a realm she has been ensconced with since her emergence as a comedian in the mid-’80s. Since then, the world’s fascination with celebrity has intensified exponentially. “Now we’re saturated with it. When I started, my material was about my dating misadventures or my family or auditions. Then I started working in television more, so I incorporated all that ridiculousness of celebrity. I couldn’t believe it, my first few jobs on television, I just couldn’t believe how celebrities behaved. So my act has always been what I personally observed. Then I started working more, and getting Emmy awards and Grammy nominations, so I was attending these events and that’s where it all goes down. So when you come see me at the Opera House you know I’m going to give you the real behind the scenes on what really goes on, who’s naughty, who’s nice. Like my fight with Justin Timberlake that he doesn’t know about. What’s that bullshit with an ’N Sync reunion that was only 90 seconds? It was more lighting and smoke than singing,” she dismisses, focusing on one of the lesser talked about moments of this year’s VMAs. “We need to talk that out as a family.”

Following some light discussion on the state of contemporary American television and his thoughts of the Breaking Bad finale, Schneider professes his undying love for his old stomping ground Saturday Night Live. “It’s an American institution – it’s been around for 40 years. The best description I’ve ever heard of it was that it’s a good restaurant in an amazing location, and there’s no other food around it.

Schneider will be bringing his sharp wit and comedic antics to Australia for Just for Laughs, returning for the first time since his sold-out 2011 visit. “You have to have something interesting happening in your life,” he says on his secret to a solid standup comedy performance. “Things like the United States spying on the rest of the world, it makes for interesting material. We’re spying on Australia. That’s how paranoid our government is. I know you guys are going to go through a very conservative era over the next few years,” he says of Tony Abbott’s recent election. “Hopefully you’ll climb out of it.”

Kathy Griffin

Film Reviews Hits and misses on the silver screen and bareboards around town ■ Film


Denzel Washington and Mark Wahlberg in 2 Guns

In cinemas now

Naomi Watts in Diana ■ Film

DIANA In cinemas now Though the cinema presumptuously placed two packets of tissues beside every seat in the theatre, Diana isn’t exactly the tear-jerking journey that many expected. In fact, it’s quite bland. The Oliver Hirschbiegel-directed drama documents the last two years of Diana, Princess of Wales’ life, including her struggle after her divorce from Prince Charles and her whirlwind new relationship with heart surgeon Hasnat Khan. Diana and Khan’s relationship isn’t easy. Their life together, while blissful at times, is constantly marred by the intrusion of the media and the conflict between Khan’s love and his profession as a cardiologist. Sounds like all the necessary elements for a great romance story, right? Well yeah, if the story is handled well. Here, however, Hirschbiegel treats it with haste. Rather than taking time to build the relationship, the story races through it and expects us to believe that despite just being separated from Charles, Diana falls in love with Hasnat after one tour of his hospital and just one dinner. If only it were that easy. And because there’s no solid foundation for the relationship, the emotional intensity one would expect doesn’t impact the audience as much as it could.

Metallica Through The Never is a 3D motion picture delivering the band’s state of the art stage show and legendary performance. Coupled with a hallucinatory ride through Vancouver streets and a thumping soundtrack, this movie also soaks the audience in explosive sound and the violent end of a day’s imagery. A young roadie, Trip (Dane DeHaan), is given a mission to retrieve an unknown essential item from a truck in distress. What follows is the story of what unfolds around him. Rioters and police battle each other, all avoiding a henchman on horseback. Trip is left with only his wits to overcome a seemingly inevitable fate. DeHaan successfully delivers impressive expression and realistic emotion in this non-verbal role. Founded on an interesting concept, the film is split between the stunning pyrotechnic stage show Metallica delivers all too easily and Trip’s savagely surreal quest. Director Nimrod Antal clearly had a vision for Metallica Through The Never, exampled by effortlessly linking the band’s songs with the plot. And seeing the film in 3D elevates things to a new level by allowing the audience to be up close with the action whether it be onstage sharing a phenomenal backdrop or by accompanying Trip in his brutal scenes. Although doubtful the film will entice any new fans to the world of Metallica, diehard fans and metal fans in general will love it. While the story lacks a bit of weight, Metallica Through The Never holds you tight in its apocalyptic horror movie embrace.

■ Film

2 GUNS In cinemas now Guns. Girls. Explosions. Look, I like dumb action movies. I like not having to think about plot points. I like heroes who say clever stuff during car chases, and bad guys that randomly kill their own henchmen just to prove how evil they are. I like these things, but I just don’t like them enough. And neither, it seems does director Baltasar Kormakur. 2 Guns has plenty of the aforementioned fun, but feels too much like it’s coasting on the charisma of stars Denzel Washington doing his usual emotional tough guy thing and Mark Wahlberg as the hyper puppy dog man-boy we’ve seen him do since ‘Good Vibrations’ dropped. As two undercover cops who don’t know the other’s identity, the guys become friends, then enemies, then reluctant partners in bringing down some bad guys. Or something.

The two play a riff on the classic buddy cop formula of Lethal Weapon, Beverly Hills Cop and then some. Instead of the by the books one and the loose cannon, however, both Washington and Wahlberg’s cops are set as rogue trigger-happy oddballs. That part keeps some interest with its meta twist on the standard action fare in a “What if it was Riggs and Riggs?” kind of way, but even a dumb movie needs a plot, right? So what is the plot? I don’t know, man. Cops, bank robberies, explosions and a sex scene or two. There’s lots of double crossing. And Bill Paxton is pretty badass with a Southern accent. Look, who goes to action movies for the story anyway? The trailer shows Washington saying “Make it rain”, before blowing up a car filled with $43 million. That kind of sums up both the plot and what I imagine the production must have felt like. It’s fun, cool to look at, but ultimately a waste of money. Cameron James

Lisa Hamilton

Both Naveen Andrews (Hasnat) and Naomi Watts (Diana) deliver nuanced performances for the most part, but the believability factor is significantly lessened by their onscreen relationship that comes across as forced. This said, however, there are a few moments of genuine chemistry between the two – notably when Diana takes Hasnat to the ‘edge of the Kingdom’. But this, like other scenes, falls victim to Hirschbiegel lazily sidestepping a potentially poignant moment with a melodramatic montage.

Giveaway What's been on our TV screens this week email:


Diana, while being an interesting story, wasn’t nearly as emotionally powerful as it could have been. Nick Timms

Metallica's James Hetfield in Metallica Through The Never

See for more arts reviews

Arts Exposed What's in our diary...

Craig Ruddy Richard Martin Art 98 Holdsworth St, Woollahra Archibald prize-winning artist Craig Ruddy’s work is currently on display at Richard Martin Art in Woollahra. Catapulting onto the international contemporary art scene in 2004 after winning the country’s most prestigious portraiture prize for his depiction of David Gulpilil, Ruddy’s work is characterised by heavy-set line work and a dense palette. Of late, reclining female nudes have dominated Juxtapose,, Craig Ruddy Juxtapose the artist’s practice; charcoal and fluorescent bodies float in non-descript surrounds, ethereal in nature. Ruddy studied design and fashion illustration in the late ’80s before working as a landscape gardener, designer and commercial art director, indicative of the artists far-reaching creative talents. Head to for further details.

Aaron Pederson in Mystery Road



Director Ivan Sen’s Mystery Road follows a rookie cop, Jay Sawn (Aaron Pederson), who travels to his hometown in rural Australia to uncover the suspicious murder of a young indigenous girl. Swan stands alone, neglected by the majority of white cops, the town and his own teenage daughter. Opening this year’s Sydney Film Festival, Sen’s unapologetically Australian drama brings to the fore a dark underworld of violence and racial discrimination to expose the tortured personal histories of many living in outback communities.

Mystery Road opens in cinemas on Thursday October 17 and we’ve five double in-season passes to give away. For your chance to win, just email freestuff@ and tell us who Pederson stars alongside in the film.

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Food & Fashion News with Lily White and Lucy Smith


THE FUTURE OF FASHION While students at the University of Technology whine about its lack of architectural charm, its fashion faculty has spent the past 25 years aesthetically compensating for the travesty. The Future Of Fashion is set to raise a glass to this milestone, showcasing the crème-delacrème of emerging talent with two runway shows and a Fashion Space, AKA an oh-so-glam pop-up installation. With bigwig designers Magdalena Velveska, Bec & Bridge, LOVER and Ramon Martin of Tame among fresh alumni, and prestigious international fashion houses including Alexander McQueen, Helmut Lang and KENZO seeking out graduates, there’s sure to be some good material on offer. The action kicks off on Thursday 31 October. Tickets via

Cosy Oxford Street haunt, Name This Bar, is set to deliver the goods over the festive season with a new lineup of weekly music and arts events. There’s a new purpose-built stage, decks and a retro fitout to boot. Live bands will take to the stage on Tuesdays and Wednesdays, hip hop and art battles will bring down the house on Thursdays, Retrovesence Fridays will see punters reliving classic ’60s-’90s tracks, before Saturdays and Sundays wrap things up with spring beats and sexy jams. And if you want the place all to yourself (and your crew), the joint’s available for private hire on Fridays and Saturdays. Head to namethisbar. for more info.

Pit Stop where pedicurists will transform your feet in a matter of seconds. In celebration of Scholl’s latest product, the Velvet Smooth Express Pedi, a crew of Formula One-dressed pedicurists will join celebrity manicurist Zoe Vokis to service hundreds of shoppers for one day only. Pedicure Pit Stop runs from 12-6pm so speed on down. More information can be found at

BEER MIMICS FOOD 4 Pines Brewing Company is getting its experiment on. On Thursday October 24, the 4 Pines crew are launching their collaborative Beer Mimics Food creations with Single Origin

Roasters and the East Village Hotel in Balmain. What’s the deal? Espresso butter is being spread on banana bread. Then it’s being added to beer. Yeah, you heard right. The unique beer is a wheat-style brew, but instead of adding the usual grain recipe, head brewer Andrew Tweddell added 16kgs of crumbed banana bread and a smattering of Brazilian coffee beans. The result? The ultimate breakfast beer. Head down to either the East Village Hotel (82 Darling Street, Balmain) or the 4 Pines Pub (29/43-45 East Esplanade, Manly) for your chance to pour it in your mouth hole (responsibly).


Kirribilli gem, The Botanist, is launching its seasonal spring/summer menu under the direction of new head chef Mark Williamson. What’s on offer? Think crab hush puppies with Louie sauce, sashimi kingfish crudo with chives, avocado and jalapeno, haloumi with cauliflower tabouleh, ceviche, and the obligatory tacos, sliders and pizzas. Yeah, you get the idea – dishes to share with mates on a hot summer afternoon. And if you’re trying to picture what kind of surrounds the noms will be going down in, just imagine a botanical paradise inspired by Gerard Fothergill who was a pioneer in the study of the medicinal qualities of plants and spices. Yes, all of the exotic things. Visit thebotanist. for further details and bookings. Ceviche


What’s better than a free pedicure? A free pedicure that can be done in record time. Head down to Pitt St on Thursday October 24 for Scholl’s Pedicure



Who’s the cook/bartender? Chef Fulvio Lancione has created Hello Sailor’s Italian-style diner menu. The tipples? Award-winning bartender Luke Redington heads up the bar with all hands on deck. And this guy’s got some serious cred in the biz – he was shortlisted in the NSW state final of Angostura Global Cocktail Challenge 2013 and was a finalist in Sydney’s Best Bar Tender at the Sydney Bar Awards, 2012. The Basics: Conceptualised by Sydney bar owners, Marco Faraone and Mike Edkins who founded Cockatoo Island’s The Island Bar, Hello Sailor’s all about bringing the good tunes and good times. Master bartender Luke Redington of Eau De Vie fame will have you buckled down with tasty cocktails flowing late into the night. Trust us, you’re not going to want to jump ship.

Eye-candy: Hello Sailor offers two bars in one, with the relaxed Seafood Shack upstairs, and moody Sailor’s Den downstairs complete with a salvaged timber dinghy-cum-lounge! Mike Edkin’s wife Caleena is a talented artist who has designed the tattoo mural of Hello Sailor’s signature ‘winking lady’ at the entrance off Foley Street.

bar profile Something to start with: Share Hello Sailor’s signature Tuscan-style panigacci (bread cooked in terracotta over charcoal), which is served with fresh pesto, stracchino and prosciutto ($19). The main course: You can’t go past the $18 lobster burger from the Seafood Shack menu. Perfection. Care for a drink? Choose a cocktail from Redington’s rotating drinks list, inspired by different seaside ports. Relish Hello Sailor’s take on the Pina Colada comprising Sailor Jerry spiced rum, coconut, pineapple and glory served in a silver tankard. You’re welcome. Oh and all cocktails are $17. Room for dessert: Another cocktail! Perhaps a Whistling Willy this time. Think Absolut, pomegranate, mint and dry orange. More: Sundays at Hello Sailor feature a Surf and Turf combo for $25. No food item

is about that price! The joint’s also keeping the kitchen firing until 2am Tuesday through Thursday and Sundays, and until 3am on Fridays and Saturdays. Hello Sailor is offering complimentary aperitivo (tapas style crostini) with aperitif cocktails or a bottle of wine between 5-7pm.


mid November, is experimental artist and lighting designer, Duckpond, who’ll deliver performances set to take place between midnight and close – no set times, no theme and no rules. Think Japanese vending machines, pachinko parlours and game shows, New York speakeasies and rock’n’roll dive bars and you’ve got the right idea. Keen? Head down to Basement, 145 King Street, Newtown to check it out.

If you fancy a ’20s-style picnic in the sun, now’s your chance. Vaucluse House are hosting a lazy long spring picnic lunch on Sunday November 23. And this ain’t your ordinary Jatz and Black Swan shindig. There’s going to potting shed and bookbinding workshops, and various culinary adventures. You’ll also be free to roam around the gardens while listening to live music by local bands. With drinks, snacks, hot savouries and sweets available, we’re pretty sure they’ll have you covered. The luncheon runs from 1-6pm and will set you back $70 for an all-inclusive picnic lunch and yes, the all-important booze. Head to sydneylivingmuseums. for more info.


Newtown’s at it again. Newest kid on the small bar block, Tokyo Sing Song, launched on Thursday October 10. The joint’s an “upside-down, inside-out kind of bar located in a King Street basement,” and we’re hella keen to check out how it’ll go down with the local punters. Each month will see a new curator undergo a venue takeover to program a spectacle of entertainment. First up, from now through

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tHuRsDaY oCt 31

Frankie’s World Famous House Band MASSIVE Twin Beasts DEDDERZ DJs dress: whadda you think?

WE WANT BLOOD! too cool to dress up? stay home and wank!

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


Phoenix Elefant Traks/Inertia

Xxxx Jimblah is the voice of a new generation of MCs that, given the right audience, could genuinely make a difference.



The Ape Ape Records

Not Built To Last Vitamin Records

With a pedigree of bands like Magic Dirt, Dallas Crane and the similarly animalistic Beasts of Bourbon running through its veins, can you take a wild guess as to what you’re in store for with The Ape’s self-titled debut? That’d be a double shot of grizzled rock in a dirty glass, thanks. And don’t you dare put an umbrella in there. The guitar gnashes and barks out of the speakers, the bass thunders away, the drums are strictly stomping and shaking… and that’s just within the first minute of opener ‘Mission’. Once Tex Perkins saunters up to the microphone, declaring himself (amongst many other things on the album) “a man on a mission,” all bets are off. Of course, at this juncture it must be emphasised that just because this isn’t The Ape’s first collective rodeo, it doesn’t mean the material on offer is unimaginative or uninspired. Perkins alone arguably hasn’t sounded this comfortable rocking out since The Cruel Sea’s 2001 swansong, Where There’s Smoke. Throughout each of the ten tracks on offer, the band delivers on whatever it’s set out to do within the song. Whether it’s the Stooges-borrowing jam ‘Sno Fun’ or the brisk garage rock of ‘Don’t Need Nuthin’’, the quartet sounds as though they’ve been playing these tracks for years. They have a precision and a depth that are fitting of the members’ collective veteran status, and are bound to please anyone who’s even passingly enjoyed any of their former projects. Never mind the monkey business, here’s The Ape – possibly the most fun you’ll have with an Australian rock album this year. Quit your moping and crack one open.

There are few musicians who can find, develop and master their own style as quickly or as professionally as Jordie Lane has done, but when you listen to his Not Built To Last EP you can be forgiven for thinking it’s as easy as Lane makes it out to be. Opener ‘Here She Comes’ hits you with a steady beat and lively sound which accentuate Lane’s rich vocal presence. The more sombre followon ‘Dead Of Light’ takes the mood down somewhat, but provides a better example of Lane’s impressive lyrical ability. ‘Maybe Someday’ waxes philosophical about possibilities that lie ahead of us, containing a rather melancholic optimism of what may happen someday: “Maybe someday I’ll marry that girl / Maybe someday she will see.” ‘Lost In You’ is perhaps the most beautiful track on the album, with gentle guitar-picking and Lane’s voice soaring over it like an eagle, while on ‘Think I Always Thought’, double bass and steady drum pats hold Lane’s impossibly gripping blues lyrics, and the track rattles and rolls along like an old steam train on its way to nowhere in particular. Jordie Lane continues to grow his musical prowess and lyrical abilities, and Not Built To Last is an excellent mark to show both how far he has come and how far he has left to go. A fine blues and roots record if there ever was one, Not Built To Last is a great successor to Blood Thinner and a solid stepping stone for whatever Lane has planned next. Daniel Prior

David James Young

Elsewhere, Kev Carmody’s classic ‘Cannot Buy My Soul’ is given a modern update, its legacy extended by Jimblah’s pensive and emotive verses; while Jethro Tull’s classic ‘Aqualung’ is switched up on ‘Park Bench’ to contemplate Aboriginal stereotypes. Like nothing before it and potentially nothing that will come after it, Phoenix deserves every accolade that is bound to come its way.

The next time someone tells you there is nothing of worth in Australian hip hop, introduce that person to Jimblah. Jimblah is the voice of a new generation of MCs that, given the right audience, could genuinely make a difference. David James Young



Potato Potato Vitamin Records

Moving Pieces Of The Sea Bird’s Robe Records

Remember those kids in high school that gazed at their shoes, picked daisies and swore by polaroids? And were irritatingly handy with a guitar? They formed a bluegrass band. Byron Bay four-piece Potato Potato say music is what happens when they aren’t surfing or feeding chickens, and while that may not sound promising, their EP atones. This self-titled maiden voyage sees the youngsters finding their sonic feet. As with any new band, the risk of outside influences taking unbridled control is often inexorable. Opening track ‘Memories’ is treasure for those who brazenly wept to early Angus & Julia Stone records, with the kick of a bass drum pulsing over a simple, arpeggiated guitar melody. A light vocal and three-part harmony brings warmth to the track; the lamenting hook “With the devil by her side / Misery fi lled up her lungs” clicking sticks but still falling short of sparks. ‘Devil By Her Side’ is Matt Corby meets Mumford, though the muted percussive guitar and piano chord interjections hit a little to close to the latter’s home. Lead single ‘Eveything Is Coming Back’ showcases the band’s instrumental knack, with a sprightly dexterity from the banjo breathing soul into the track. The intimate harmonies harness a barbershop panache, with Merryn Boller’s vocals weaving a lithe yet husky glow through the mix. ‘You Can Find What You’re Looking For’ is exactly that. The walking bassline and slowed-down chorus flirts with sharp piano riffs in the verses. Maintaining the sweet simplicity of other tracks, it ventures out and sees the ’Taters finding their own sound. Production is minimal so heart is maximised, but with a record so raw and modern folk a futile field for emerging bands, Potato Potato are a little too starchy to be tasteful.

If you feel all modern day music sounds the same and you’re desperate for a refreshing blast of different, The Crooked Fiddle Band’s second album Moving Pieces Of The Sea is exactly what you’re looking for. It’s a blend of folk, gypsy and world music, all passed through the looking glass of the modern day and expanded to a grand cinematic scale. The music isn’t new in itself, simply a combination of that which already exists in the ether – however, in comparison to most contemporary releases, it’s hard not to think of Moving Pieces Of The Sea as something wholly new and unique. Moving Pieces is a mostly instrumental album with songs containing the same sweeping sounds of a Lord Of The Rings film, and chattering arguments between guitar and violin. Album opener ‘The Vanishing Shapes Of A Better World’ switches between these two places halfway through, while ‘Puncture’ and ‘The Deepwater Drownings, Part I’ utilise gentle guitar and vocals that slowly build upon rising cello and violin notes to heartbreaking effect. The band’s uniqueness will unfortunately always be its biggest detractor, forcing those who fear the creative new world to cover their ears and shy away to the comfort of the more relatable pop music. But if you’re looking for a way to experience a quirkier side of the musical realm, or just something to shake up the familiar sound of what continuously pours into your ears, then you cannot go past Moving Pieces Of The Sea. Daniel Prior

KASKADE Atmosphere Ultra Music/Onelove Recordings

It isn’t very often you come across an album that is so difficult to listen to. Difficult because casting one’s mind back to Kaskade’s debut, It’s You, It’s Me, or even crossover hit ‘Move For Me’, listening to Atmosphere is deeply underwhelming. Smooth and so slickly produced that the sound is virtually coated in oil, there is nothing particularly bad about any track that appears on Atmosphere. The real problem is the album barely has any atmosphere at all. Sure, there’s a marked focus on the ‘classic’ elements of music – dramatic keys and solemn string sections get their chance to shine here – but it seems on his tenth full-length studio album Kaskade has gone his own way, and to his credit, eschewed the radio-friendly vibe of previous work as he experiments with a more varied landscape. However, the occasional glimmer of his deep house roots peeks out every now and then and keeps things above board, such as on ‘MIA To LAS’ (which deserves a decent set of headphones at the very least). Meanwhile, ‘Something Something’ (featuring Zip Zip Through The Night) is a pleasant surprise, a lilting indie-dance foray that might not be Kaskade’s usual style but one he nails with aplomb. Kaskade also steps up on vocals for the title track, which is inoffensive at best. But when the album veers sharply into stadium EDM territory, things become inane and uninspiring. It’s just a shame that the few hints of the old Kaskade are buried in amongst a record that isn’t quite sure where it wants to go or why. Marissa Demetriou

Mina Kitsos

INDIE ALBUM OF THE WEEK ELEVENTH HE REACHES LONDON Banhus Hobbledehoy Records On third album Banhus, Perth post-rock outfit Eleventh He Reaches London expertly paint intensely bleak sonic landscapes that demand a decidedly uncomfortable response from listeners. Birthed over a four-year period spent writing and recording, the quintet simultaneously delivers their most expansive yet consistent album to date, serving up seven haunting slices of atmospheric experimental rock that seamlessly come together to create an impressively coherent body of work.

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Right from the get-go, there’s an overwhelming sense of foreboding on menacing opener ‘The Dragging Cloud’. Lead into second track ‘Code Entwined’ and the sort of dread-filled beast lying at the centre of Banhus becomes clearer. Dissonant, jarring guitar lines serve as a backdrop to vocalist/guitarist Ian Lenton’s notably Australian snarl; vivid imagery of barren, inhospitable wastelands stirred up by the highly textural nature of the band – EHRL comprises of two guitarists apart from Lenton, plus a super-tight rhythm section. In saying that, it’d be naïve to assume it’s all semi-apocalyptic doom and gloom. On Banhus, EHRL explore a broader range of sound than they’ve ever done

before. The slow-burning semi-balladry of ‘No Funeral’ and banjo-driven ‘Veil’ are reminiscent of the likes of Nick Cave and The Smiths. It feels the furthest away from forced, and on a thematic level progresses the album’s vision rather than confuses it.

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... THE POLICE - Synchronicity QUEENS OF THE STONE AGE - Songs For The Deaf COLD WAR KIDS - Dear Miss Lonelyhearts

Ultimately, Eleventh He Reaches London have crafted a record versatile while innately connected and fully realised. Each track stands proudly on its own, but absorbed in its entirety, Banhus is an altogether draining, exhausting experience – in the best way possible. An impeccable release.

WITHERED HAND - Good News OWL EYES - Nightswim

Blake Gallagher

Jimblah photo by David Stefanoff

It begins with the crackling of an ember, an SOS call from afar and the succinct, simple warning: “Wake up... I think your fi re’s going out”. If this alone doesn’t stop you dead in your tracks, then the 40 minutes that follow certainly will. On Phoenix, Adelaide-via-Broome triple-threat (singer, rapper, producer) Jimblah has gone above and beyond the call of duty to battle Second Album Syndrome. Not only does the album far surpass his already excellent 2011 debut, Face The Fire, it makes a mark as one of the most resoundingly powerful Australian albums to emerge in the last 15 years.

The man born James Alberts takes his struggles, reflections and quest for identity and delivers them in a soulful, thought-provoking package. Songs like ‘TV’ and ‘March’ present a disgust at the state of affairs he has found his nation and his people in, but he also goes to great lengths to make sure there is a point to be made, as well as – perhaps most importantly – an answer and a solution.

snap sn ap

aether beach


up all night out all week . . .

my bondi riot


04:10:13 :: The Standard :: 3/383 Bourke St Darlinghurst 9331 3100

ginger and the ghost


06:10:13 The Beach Road Hotel :: 71 Beach Rd Bondi Beach 9130 7247


dead radio

richard cuthbert

03:10:13 :: FBi Social :: Kings Cross Hotel 248 William St 9331 9900


02:10:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587

04:10:13 :: Brighton Up Bar :: Level 1/77 Oxford St Darlinghurst 9572 6322 D HONCHO) :: KARL BRAASCH



BRAG :: 534 :: 14:10:13 :: 29

snap sn ap

03:10:13 :: Metro Theatre :: 624 George St Sydney 9550 3666

the basics


steve wilson


up all night out all week . . .

06:10:13 :: Hordern Pavilion :: 1 Driver Ave Moore Park 9921 5333

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bring me the horizon



04:10:13 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711

04:10:13 :: FBi Social :: Kings Cross Hotel 248 William St 9331 9900 D HONCHO) :: KARL BRAASCH



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


In what was set to be one of the concerts of the year, The Cinematic Orchestra played a career retrospective at the Sydney Opera House as part of GRAPHIC Festival. Much was made about how they were to play alongside the 40-piece Sydney International Orchestra, with specially commissioned live visuals by The Light Surgeons. As it turned out, however, a lot of that billing was superfluous; the orchestra remained onstage the entire time, but the amount of playing they actually did was outnumbered three to one by the amount of time they just sat there, silent. And for a group dubbed as “boundary-pushing multi-media artists”, The Light Surgeons’ contributions were nothing more than a collection of ambient images – moonlight on water, sunlight through leaves – that have been available as computer screensavers for years. So for all the extraneous material used to sell the show as a one-of-a-kind, it actually was just a concert by The Cinematic Orchestra. Luckily for the audience, they remain one of the most thrilling acts around.

It’s always a joy to see a professional unit actually having a good time onstage. In particular, drummer Luke Flowers’ exuberant expression never shifted for the duration of the two hours. He was on a mission for the entire concert to find the perfect drum pattern or fill, and if you locked in with him, it was entrancing. That’s not to say the rest of the band could be ignored. LD Brown, AKA Grey Reverend, who played guitar all night, got two solo acoustic showcases including a beautiful reworking of the hit ‘To Build A Home’. But if there is one reason to see The Cinematic Orchestra, it’s Flowers. Now, there’s a big chance half the audience who were there to see ‘the song off the Schweppes ad’ had unknowingly purchased tickets to a jazz show. As an attempt to appease this crowd, the show became wildly diverse, alternating between long, thrilling jazz explorations and the more stand-alone pop material. Unfortunately, this meant momentum was hard to generate, but it was probably the only way to please both sections of the band’s audience. So after all the hoopla, the night was just an everyday brilliant concert by The Cinematic Orchestra. Let’s hope that next time they tour, there are none of those extra distractions. The band alone is reason enough. Leonardo Silvestrini


ALUNAGEORGE Oxford Art Factory Thursday October 3

Like a kind of alluring praying mantis, the gorgeous Aluna Francis emerged through the smoke somehow scantily clad and wearing lots of garments at the same time. Sporting a black corset with “Oh Shit!” written all over it, black transparent fisherman pants and flourishes of jewellery, she immediately confirmed the belief that she does absolutely whatever she wants. AlunaGeorge dropped ‘Attracting Flies’ early, and the palpitating hip hop beat flowed through the venue. The genesis of the duo’s sound lies in the classic R&B and new jack swing of the ’90s, and they paid homage to their roots with a stellar cover of Montell Jordan’s ‘This Is How We Do It’. The song, by its nature, demands a real attitude and sass to be pulled off; luckily Francis exudes pure sass from her pores. ‘Lost & Found’ is a mystical, Crash Bandicoot-esque track that utilised the whole band’s potential and filled the room with squelchy, manic beats. Things got real funky and ravey when they played crowd favourites ‘Just A Touch’ and ‘You Know You Like It’, with Francis getting all bashful onstage and telling the audience how she and George Reid felt at home here, thousands of miles away from London. Aww. The duo bounced off each other in an adorable yin and yang kind of way. Reid was happy to humbly blitz it on his spread of synths and mixers while Francis took charge with the audience, winning us over with her charm and talent and dance moves and effrontery and lack of pretence. She obviously shines but doesn’t hog the limelight, and the two have such great onstage intuition and chemistry with each other. At one point Francis wandered over to Reid’s setup, and they jammed side by side on various synths, reaching around each other and swapping positions before transitioning fluidly into the rousing sing-along ‘Best Be Believing’. As they’re only one album deep, AlunaGeorge’s set was a snappy 45 minutes, but they closed out so triumphantly it was easy to forgive them. The penultimate song was a less clubby, more sensual cover of their huge collaboration with Disclosure, ‘White Noise’, and they rounded off a killer set with last year’s outstanding single ‘Your Drums, Your Love’. Raf Seneviratne

THE CULT, REDCOATS, BEACHES Hordern Pavilion Friday October 4

A trio of first-class performances flowed through the much-loved Pavilion of Hordern on Friday night, with the smell of nostalgia heavy in the air. I spent many an unhinged night in my early twenties at this venue seeking out great music and experiences with people who are now just distant memories. Tonight the Hordern is exactly what a venue should be to mark the occasion: loud and huge. The motley crowd of ten-to-75-year-olds swelled outdoors in hazes of smoke, weathered black band t-shirts and overpriced beer. The all-girl quintet Beaches kicked off the night with a solid set of ’70s-style psych rock. The casually cool Melbourne ladies warmed the crowd up with just the right dose of purring guitars, ethereal vocals and smoke-filled ambience onstage. Cue Redcoats, and the bar was raised higher again. Dynamo frontman Emilio Mercuri slinked and writhed his way around the stage, gripping his microphone with the firmness of a long-lost lover. Mercuri’s Herculean vocals complemented the band’s raw cranking sound, thick with bass-heavy riffs, reverb and feedback. There were


Xavier Rudd, Donavon Frankenreiter and Nahko Bear. Three powerful voices in their own right. Bring them together with the drumbeats of Bobby Alu and it results in a beautiful, feelgood, body-grooving, mind and soulmoving musical session. From the moment Nahko and Medicine For The People took to the stage the crowd became a sea of smiling faces and dancing feet. Moving to the percussion-based reggae beats of Nahko Bear and his troubadour, a rhythm took hold that continued through Donavan Frankenreiter’s set and beyond into Xavier Rudd’s encore. Donavon Frankenreiter entered the stage a vision of the quintessential surfer-turned-musician, with his overgrown mop of hair, signature moustache, floppy hat, tie-dye t-shirt and wielding a guitar. Playing a solid set of folksy tunes including fan favourites like ‘Swing On Down’, ‘It Don’t Matter’ and ‘Free’, Frankenreiter proved his famed friendly nature as he invited several lucky fans onstage for a rendition of ‘Life, Love And Laughter’. Known for his exceptional live performances, Xavier Rudd is a musical force. The multi-talented harmonica, guitar, drum and didgeridoo-playing musician’s skill was only amplified by joining forces with Alu, bringing influences of world beats and a Pacific sound to Rudd’s original tunes including ‘Follow The Sun’, ‘The Letter’ and ‘Food In The Belly’. Rudd’s raw sounds and powerful political messages of spirituality, positive change, indigenous culture and love for mother nature and the ocean left the audience in a state of blissful awe and admiration. Arguably the most magical moment of the night was when Frankenreiter, Alu and Bear joined Rudd onstage for an incredible, goosebump-inducing rendition of Bob Marley’s classic, ‘Buffalo Soldier’. From reggae to blues, beach vibes, folk and indigenous beats, these four guys had the crowd in a musical and spiritual embrace. Four incredible artists. Four powerful voices. One love for the ocean and human nature. One unforgettable gig. Julienne Gilet

plenty of sexy guitar solos and slamming drum sequences to keep the sea of heads enthusiastically banging away. The Cult immortalised their groundbreaking 1987 album Electric with a sensational and immaculate performance. Ian Astbury sported the classic overcooked rock‘n’roll guise, wearing dark sunglasses for the entire set, with hair slicked back and a fur-collared coat despite the obvious heat. Astbury’s charisma and ear-piercing gritty vocals match those of any young gun. Alongside him, Billy Duffy’s skilful guitar playing was razor-sharp. An electrifying light show and artistic visuals were on show throughout, including an interesting short film titled Elemental Light, which Astbury chimed was “for all you people who like art and arty things and stuff.” The visual triptych juxtaposed snippets of animals and exploding technology backed by an ambient electro soundtrack. A cautionary tale illustrating the inevitable death of nature at the hands of humans, perhaps? Aside from this bizarre allegorical tangent, The Cult’s performance had the crowd eating out of their palms; dancing and singing along in an idolising frenzy.


Kylie Finlay

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g g guide gig g

send your listings to :



FRIDAY OCTOBER 18 Big Top Sydney, Luna Park


Songs On Stage - feat: Bart Thrupp + Ruby’s Toy + Carolyn Woodorth + Rick Taylor + Chris Brookes + Massimo Presti Kelly’s On King, Newtown. 7pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Mariachi Mondays - feat: Victor Valdes And Friends The Basement, Circular Quay. 5pm. free. Motown Mondays - feat: Soultrane The White Horse, Surry Hills. 8pm. free. Reggae Monday Civic Underground, Sydney. 10pm. free. The Converge Festival - feat: Wilbur Whitta Ensemble + Nish Manjunath Ensemble + Will Gilbert Ensemble Conservatorium Of Music, Sydney. 5:15pm. $13.


Andy Tipton Orient Hotel, The Rocks. 9pm. 32 :: BRAG :: 534 : 14:10:13

TUESDAY OCTOBER 15 INDIE, ROCK, POP, METAL, PUNK & COVERS Nick Kingswell Orient Hotel, The Rocks. 9pm. free. Rob Henry Observer Hotel, The Rocks. 8:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Big Band Tuesdays - feat: Sirens Big Band The Basement, Circular Quay. 8pm. $5. Old School Funk & Groove Night - feat: DJs Elchino And Jon Venue 505, Surry Hills. 8:30pm. free.



8:30pm. $50. free. Bart Thrupp - Monkey King Tour 2013 Kelly’s On King, Newtown. 8pm. free. Frankie’s World Famous House Band Frankie’s Pizza, Sydney. 9pm. free. Steve Tonge Observer Hotel, The Rocks. 8:30pm. free. The Money Go Round + The Khanz Beach Road Hotel, Bondi Beach. 8pm. free.

Andy Mammers Duo Maloney’s Hotel, Sydney. 9pm. free. Chris Stretton Stamford Grand, North Ryde. 5:45pm. free. Joe Echo Duo O’Malleys Hotel, Kings Cross. 9:30pm. free. Leon Fallon Observer Hotel, The Rocks. 8:30pm. free. Lepers & Crooks + Vanadium + Tail + Lion Calamity Brighton Up Bar, Darlinghurst. 7:30pm. $5. Lunchbreak - feat: Ginger & Drum FBi Social, Kings Cross. 1pm. free. Mark Travers Orient Hotel, The Rocks. 9pm. free. The Ocean Party + Beef Jerk + Shopgirl + Nathan Roche Blackwire Records, Annandale. 8pm. $10. Uni Bar100 Bar100, The Rocks. 9pm. free. Victoria Avenue Hillside Hotel, Castle Hill. 7:30pm. free. Wildbloods + Colour Therapy + Maurice Jones + Raw Idiocy Brass Monkey, Cronulla. 7pm. $12

The Converge Festival feat: Harry Day Ensemble & Sydney University Big Band Sydney University Verge Dome, Darlington. 5:30pm. $20.


Eric Bogle (The SMS Tour) Camelot Lounge, Marrickville. 7pm. $39.50. Lorde


Musos Club Jam Night feat: Various Bald Faced Stag Hotel, Leichhardt. 8pm. free. Pulp Kitchen And Folk Club - feat: Live Rotating Folk Bands Soda Factory, Surry Hills. 5pm. free. Songs On Stage - feat: Helmut Uhlmann + Ben Hardie Trio + Dolce Noir + Laura Beasant The Loft (UTS Loft), Ultimo. 6pm. free. Songs On Stage - feat: Peach Montgomery & Guests Sackville Hotel, Rozelle. 7:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Hump Wednesdays - feat: The Petting Zoo The Little Guy, Glebe. 7pm. free.

Finn The Home Tavern, Wagga. 8:30pm. free. Live Music Thursdays Bar100, The Rocks. 5pm. free. Musos Club Jam Night feat: Various Carousel Inn Hotel, Rooty Hill. 8pm. free. Songs On Stage - feat: Peach Montgomery + Bradley Primmer & Guests Forest Lodge Hotel, Forest Lodge. 7:30pm. free. Songs On Stage - feat: Ndrew Denniston + Jeff Tooth + Abbey Gardner + Adriano Cimilio + Dale Cosatto + Maisie Raver + Tom Simmonds & Mick White Ruby L’otel, Rozelle. 7:30pm. free. The Folk Informal - feat: Lily So & The Bellows + All Our Exes Live In Texas + Sam Newtown + Sean Kirkwood FBi Social, Kings Cross. 8pm. $10. Twin Beasts Hotel Steyne, Manly. 9pm. free. Wolf Mail Lizotte’s Newcastle, Newcastle. 9pm. $29.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Django Bar (Salsa Jam) feat: Malo Malo Camelot Lounge, Marrickville. 6pm. $8. Organ Groove - feat: Dave Goodman + Darren Heinrich + Lionel Cole The White Horse, Surry Hills. 8pm. free.


Andy Mammers Australian Hotel And Brewery, Rouse Hill. 10pm. free. Arbori & Ryan Collings Venue 505, Surry Hills. 8:30pm. $10. Brendan Gallagher Brass Monkey, Cronulla. 7pm. $17. Dave White Duo Maloney’s Hotel, Sydney. 9:30pm. free. Delorean Tide + Lilly Rouge + Lower Cast Skies + Paintbox City Agincourt Hotel, Ultimo. 8pm. $10.

Elevate Duo Scruffy Murphy’s Hotel, Sydney. 9:30pm. free. Greg Agar Open Mic Night Northies Cronulla Hotel, Cronulla. 7:30pm. free. Isotonic - feat: Nantes + Louis London + The Owls Beach Road Hotel, Bondi Beach. 8pm. free. Jamie Lindsay Dee Why Hotel, Dee Why. 7pm. free. John McIvor Hillside Hotel, Castle Hill. 7pm. free. Lorde + Oliver Tank Metro Theatre, Sydney. 8pm. $33.70. Nathan Cole Coogee Bay Hotel, Coogee. 9pm. free. Redlight Ruby O’Malleys Hotel, Kings Cross. 9:30pm. free. Twin Lakes + Shady Lane + Gnome + Village Echoes The Standard, Surry Hills. 8pm. $8. Wats Up Orient Hotel, The Rocks. 9:30pm. free. Zoltan Marrickville Ritz Hotel, Marrickville. 7pm. free.


Beaten Bodies Single Launch Venue 505, Surry Hills. 8:30pm. $15. Bump City Camelot Lounge, Marrickville. 7:30pm. $25. Katchafire + Common Kings Big Top Sydney - Luna Park, Milsons Point. 8.30pm. $50.

ACOUSTIC/ COUNTRY/BLUES/ FOLK Bands On Stage Concert - feat: Hiddenace + Carl Stewart Band & The Kava Kings Ruby L’otel, Rozelle. 8pm. free. Live Music Fridays Bar100, The Rocks. 5pm. free. Wolf Mail + Eddie Boyd The Basement, Circular Quay. 9pm. $35.


2 Way Split Cock N’ Bull, Bondi Junction. 7pm. free. A-Team Duo Kings Cross Hotel, Kings Cross. 12am. free. Adalita + Laura Jean The Annandale Hotel, Annandale. 8pm. $25. Andy Mammers Trio Kirribilli Hotel, Milsons Point. 8pm. free. Australian Guns N’ Roses Show Bull & Bush Hotel, Baulkham Hills. 10pm. free. Baby Et Lulu - feat. Abby Dobson & Lara Goodridge Brass Monkey, Cronulla. 7pm. $35. Brad Johns Observer Hotel, The Rocks. 8:30pm. free. Brendan Deehan O’Malleys Hotel, Kings Cross. 8pm. free. Calling Mayday + Joint Venture + Normal Day Town Hall Hotel, Balmain. 7pm. free. Castlecomer Trio PJ Gallagher’s, Leichhardt, 9pm. free. Daniel Lawrence


pick of the week

Lionel Cole The White Horse, Surry Hills. 8pm. free. The Converge Festival - feat: Sydney Conservatorium Jazz Orchestra Led By David Theak With Kristin Berardi + Paul Meo Ensemble & Lauren Benson Ensemble Venue 505, Surry Hills. 7:30pm. $18.

g g guide g

send your listings to : Mona Vale Hotel, Mona Vale. 9pm. free. Darkness Reigns + DeadLife + Until Darkness Falls + Mayfall + Blackened Beneath Penshurst RSL, Penshurst. 8pm. $10. Fiona Leigh Jones Duo Harbord Beach Hotel, Freshwater. 8pm. free. Gary Johns Band Crows Nest Hotel, Crows Nest. 10:30pm. free. Gemma Observer Hotel, The Rocks. 10:30pm. free. Greg Agar Mona Vale Hotel, Mona Vale. 5:30pm. free. Greg Byrne Kings Cross Hotel, Kings Cross. 7pm. free. Imagine Dragons Enmore Theatre, Newtown. 8pm. $67.60. James Fox Higgins Australian Hotel And Brewery, Rouse Hill. 9pm. free. Lansdowne Hotel’s Reopening Party - feat: Gay Paris + Fox Company + Reckless Empire + Tremor Dolls + Daniel Allars + Brooklyn Block Party Lansdowne Hotel, Chippendale. 6pm. free. Live Music At The Royal The Royal, Leichhardt. 9:30pm. free. Luke & Ben Duo Hillside Hotel, Castle Hill. 8pm. free. Lorde + Oliver Tank Metro Theatre, Sydney. 8pm. $33.70. Melody Rhymes Novotel, Darling Harbour, Sydney. 5:30pm. free. Michael Votano Duo Northies Cronulla Hotel, Cronulla. 9pm. free. Naked Bodies + The Darkened Seas Bank Hotel, Newtown. 9pm. free. Nancy Vandal + The Australian Beef Week Show + In Hydes Shadow + Sheriff The Cambridge Hotel, Newcastle West. 8:30pm. $20. Red Remedy The Square, Haymarket. 8pm. $15. Renae Stone The Eastern, Sydney. 8pm. free. Rock Dogs Engadine Tavern, Engadine. 9pm. free. Sammy Baker Customs House Bar, Sydney. 7pm. free. Seattle Sound Bull & Bush Hotel, Baulkham Hills. 10pm. free. Steven Crocker Chatswood RSL, Chatswood. 5:30pm. free. Sticky Fingers Manning Bar, Camperdown. 8pm. $15. The Ape + Bittersweet Kicks Coogee Diggers, Coogee. 8:30pm. $23.50. The Break The Standard, Surry Hills. 7pm. $25. The Cairos + Tales In Space + Guests FBi Social, Kings Cross. 8pm. $15. The League Of Extraordinary Monsters + Pharaohs Of The Far Out + The Wrong Keys Town & Country Hotel, St Peters. 8pm. free. Tony Williams Crows Nest Hotel, Crows Nest. 7pm. free. VIP Scruffy Murphy’s Hotel, Sydney. 10:30pm. free. Zoltan Cronulla RSL, Cronulla. 7:30pm. free.

SATURDAY OCTOBER 19 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Yuki Kumagai & John Mackie Well Co. Cafe And Wine Bar, Leichhardt. 11:30am. free.


Bozzy Duo Tattersalls Hotel Penrith, 8:30pm. free. Live Music Saturdays Bar100, The Rocks. 4pm. free. Paul Hayward And Friends Town & Country Hotel, St Peters. 4pm. free.


Altitude South Hurstville RSL Club, South Hurstville. 9pm. free. Andy Mammers Harbord Beach Hotel, Freshwater. 8pm. free. Antoine Observer Hotel, The Rocks. 4:30pm. free. Benn Gunn Coogee Bay Hotel, Coogee. 9pm. free. Black Diamond Hearts Crows Nest Hotel, Crows Nest. 10:30pm. free. Cambo Observer Hotel, The Rocks. 9:30pm. free. Cara Kavanagh & Mark Oats Duo PJ Gallagher’s, Leichhardt, 9pm. free. Carl Fidler Observer Hotel, The Rocks. 3:30pm. free. Cody Chesnutt Metro Theatre, Sydney. 8pm. $49.90. David Agius Duo Northies Cronulla Hotel, Cronulla. 9pm. free. Electric Anthems Trio Paragon Hotel, Sydney. 9:30pm. free. Evan And The Brave Island Tour Brighton Up Bar, Darlinghurst. 8pm. $10. Every Time I Die Manning Bar, Camperdown. 8pm. $50.10. Fatt Lipp Carousel Inn Hotel, Rooty Hill. 8pm. free. Health Burdell Clovelly Hotel, Clovelly. 8pm. free. Hits & Pieces Oatley Hotel, Oatley. 8:30pm. free. James Englund Australian Hotel And Brewery, Rouse Hill. 10pm. free. Joe Echo PJ Gallagher’s, Moore Park. 7:30pm. free. Made In Japan FBi Social, Kings Cross. 8pm. $10. Michael Votano Duo Kirribilli Hotel, Milsons Point. 8pm. free. Nathan Cole Duo Engadine Tavern, Engadine. 9:30pm. free. Owl Eyes + Willowbeats + The Kite String Tangle Oxford Art Factory, Darlinghurst. 9pm. $26.50. Professor Groove And The Booty Affair Vs Minneapolis Brass Monkey, Cronulla. 7pm. $17. Renae Stone Crows Nest Hotel, Crows Nest. 7pm. free. Rob Henry Observer Hotel, The Rocks. 8:30pm. free.

Steve Tonge Duo Hillside Hotel, Castle Hill. 7pm. free. Sticky Fingers Mona Vale Hotel, Mona Vale. 8pm. $21.95. Stormcellar & Friends The Royal Hotel, Bondi. 8:30pm. free. The Amity Affliction + Chelsea Grin + Stick To Your Guns + In Hearts Wake Newcastle Panthers, Newcastle West. 8pm. $46. The Ape + Bittersweet Kicks Factory Floor, Marrickville. 8:30pm. $25. The Butterfly Effect The Annandale Hotel, Annandale. 8pm. $30. Vanity Scruffy Murphy’s Hotel, Sydney. 10:30pm. free. Vaudeville Smash The Beresford Hotel, Surry Hills. 9.30pm. free. Waiting For Guinness Camelot Lounge, Marrickville. 7:30pm. $22.70.


14 Oct


(9:00PM - 12:00AM)

15 Oct (9:00PM - 12:00AM)







(9:30PM - 12:30AM)

(9:00PM - 12:00AM)


18 Oct

(4:30PM - 7:30PM)

(9:30PM - 1:30AM)





(4:30PM - 7:30PM)



(4:30PM - 7:30PM)

20 Oct



SUNDAY NIGHT (8:30PM - 12:00AM)

Django Bar + The Book Of Vilah Camelot Lounge, Marrickville. 6pm. $8. Intimate Sessions Paragon Hotel, Sydney. 6pm. free. Kickstar Oatley Hotel, Oatley. 2pm. free. Little Sundays - feat: Stephanie Grace The Little Guy, Glebe. 7pm. free. Live Music Sundays Bar100, The Rocks. 1pm. free.


Atma Blu Camelot Lounge, Marrickville. 6:30pm. $22.70. Benjalu Hotel Steyne, Manly. 7pm. free.


Antoine O’Malleys Hotel, Kings Cross. 8pm. free. Evie Dean Mill Hill Hotel, Bondi Junction. 3pm. free. Heath Burdell Duo Woolloomooloo Bay Hotel, Woolloomooloo. 3pm. free. Mangrove Boogie + 50 Million Beers Botany View Hotel, Newtown. 7pm. free. Nicky Kurta Harbord Beach Hotel, Freshwater. 9pm. free. Reckless Duo Northies Cronulla Hotel, Cronulla. 9pm. free. Rob Henry Observer Hotel, The Rocks. 8pm. free. Stormcellar & Friends The Royal Hotel, Bondi. 6:30pm. free. The Amity Affliction + Chelsea Grin + Stick To Your Guns + In Hearts Wake Big Top Sydney - Luna Park, Milsons Point. 5:30pm. $52.05. Three Wise Men Observer Hotel, The Rocks. 4pm. free.

Gordi Folk! Folk! Folk! Thu 17 Oct, 8pm Brighton Up Bar, Darlinghurst w/ The Boots, Imogen Clark EP Launch Wed 30 Oct, 8pm The Vanguard, Newtown w/ Revier

Debut EP Out 25 Oct | |

BRAG :: 534 :: 14:10:13 :: 33

gig picks

up all night out all week...

The Cairos

& The Bellows + All Our Exes Live In Texas + Sam Newtown + Sean Kirkwood FBi Social, Kings Cross. 8pm. $10. Isotonic - feat: Nantes + Louis London + The Owls Beach Road Hotel, Bondi Beach. 8pm. free. Lorde + Oliver Tank Metro Theatre, Sydney. 8pm. $33.70. Twin Lakes + Shady Lane + Gnome + Village Echoes The Standard, Surry Hills. 8pm. $8.

FRIDAY OCTOBER 18 Katchafire + Common Kings Big Top Sydney - Luna Park, Milsons Point. 8.30pm. $50.


The Ape + Bittersweet Kicks Factory Floor, Marrickville. 8:30pm. $25.

Cody Chesnutt Metro Theatre, Sydney. 8pm. $49.90.

The Butterfly Effect The Annandale Hotel, Annandale. 8pm. $30.

Evan And The Brave - Island Tour Brighton Up Bar, Darlinghurst. 8pm. $10. Every Time I Die Manning Bar, Camperdown. 8pm. $50.10. Made In Japan FBi Social, Kings Cross. 8pm. $10. Owl Eyes + Willowbeats + The Kite String Tangle Oxford Art Factory, Darlinghurst. 9pm. $26.50. Cody Chesnutt

Vaudeville Smash The Beresford Hotel, Surry Hills. 9.30pm. free.

SUNDAY OCTOBER 20 The Amity Affliction + Chelsea Grin + Stick To Your Guns & In Hearts Wake Big Top Sydney - Luna Park, Milsons Point. 5:30pm. $52.05. Owl Eyes

Wolf Mail + Eddie Boyd The Basement, Circular Quay. 9pm. $35.


WEDNESDAY OCTOBER 16 Lepers & Crooks + Vanadium + Tail + Lion Calamity Brighton Up Bar, Darlinghurst.

Lunchbreak - Feat: Ginger & Drum FBi Social, Kings Cross. 1pm. free.

Imagine Dragons Enmore Theatre, Newtown. 8pm. $67.60.

The Ocean Party + Beef Jerk + Shopgirl + Nathan Roche Blackwire Records, Annandale. 8pm. $10.

Sticky Fingers Manning Bar, Camperdown. 8pm. $15.

Cody Chestnut photo by John Ferguson

The Money Go Round + The Khanz Beach Road Hotel, Bondi Beach. 8pm. free.

7:30pm. $5.

Adalita + Laura Jean The Annandale Hotel, Annandale. 8pm. $25.

The Break The Standard, Surry Hills. 7pm. $25.

THURSDAY OCTOBER 17 The Folk Informal - feat: Lily So

The Cairos + Tales In Space + Guests Fbi Social, Kings Cross. 8pm. $15.

level 2, kings cross hotel













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8PM // $10



+ CASTIO 8PM // $10


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

dance music news

brag beats

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

he said she said WITH



Jamal Woolard

On Thursday October 17 at Oxford Art Factory, the star of the 2009 Notorious movie, Jamal Woolard, will perform a two-hour tribute set of Notorious B.I.G. classics. When he’s not adding over 50 pounds to his already large frame to play The Notorious B.I.G., Woolard raps under the name Gravy. Hip hop afi cionados will also tell you that Woolard is featured in Tupac Shakur’s song ‘Untouchable’ on the Pac’s Life album. Woolard will be supported by DJs Samrai and Fingers, with the event running from 8pm till midnight.


A new weekly Sunday party called Exit launches at The Spice Cellar on Sunday November 3 with a headline slot from flamboyant Venezuelan-born, Berlin-based Aérea Negrot, who is signed to Ellen Allien’s BPitch Control label. A sonic chameleon who sings in different languages just as she experiments with different musical genres, Negrot creates ‘oddball’ variations on house and techno that give her a unique niche in the clubsphere. Clearly not someone who is afraid to experiment, Negrot emphasises that “it’s so important to have artists that shake you out of your comfort zone. For me, conservatism, especially in art, is also a fear of showing true emotion and talking about the reality of your feelings.” It is a testament to Negrot’s abilities as an artist that she’s been remixed by the cream of the house and techno world: Ricardo Villalobos, Efdemin, Kiki, Philip Bader and tobias. Seeing her live will provide a first-hand experience of her formidable vocal abilities, which have been compared to Bowie – at his most ‘deranged’. Exit commences at 9pm every Sunday and runs till 3am. Having seen some of the forthcoming acts headlining Exit, it is safe to predict there are going to be even more technophiles calling in sick for work on Monday than usual this summer.


The headlining triumvirate of DJ T., Guti and Will Saul share top billing for Agwa Yacht Club number 18, with the harbour antics locked in for Saturday December 21. Get Physical record label co-founder Thomas Koch, AKA DJ T., has built a formidable pedigree since the release of his debut LP, Boogie Playground, releasing compilations for Fabric and his own Body Language mix series, and remixing the likes of Visionquest, Phreek Plus One and more recently Clayton Steele. Meanwhile, Argentinean-born house exponent Guti announced himself with his debut album Patio De Juegos back in 2011, which featured collaborations with Guy Gerber, Grünbox, Ryan Crosson and Anthea Marie Nzekwu. Renowned for fusing jazz and Latino influences with a house template, Guti has released on renowned labels such as Desolat, Crosstown Rebels and Wolf & Lamb. As a result, he’s had his name whispered – and then shouted – with considerable fervor by folk queuing outside nightclubs. Rounding off the headliners, Saul has been trading off his aural prowess for many years, starting out working for Sony International before committing to production. The move has proved an astute one, with Saul releasing a compilation for the Balance series and remixing the likes of Chicken Lips, Scuba and The Juan Maclean. Presale tickets for Agwa Yacht Club 18 are currently available on the Pulse Radio website.

Cosmo’s Midnight


nders Trentemøller is a consummate producer – as an artist, he conceptualises in arrangements rather than constructing a song like a metaphorical building as most bands and musicians do. The Danish producer’s lush soundscapes first came to the attention of the masses via his 2006 debut The Last Resort that reeked of genius, but the entry barriers for those outside the serious dance music scene were high. Now Trentemøller has dropped Lost, a misleadingly titled release, considering on this album Trentemøller has in fact found the perfect mix of accessibility and innovation.

Trentemøller photo by Alastair-Philip-Wiper

Trentemøller sat down with Denver Maxx to chew over his latest chart-crusher. What inspired you to use so many guest vocalists on this album? I actually thought about a pure instrumental album. But as I worked more and more with the songs they turned in to be these tunes that kind of demanded vocals on them, it was a slow process that just happened step by step. On all the songs with vocals on the album, I had specific vocalists in mind. So I had to contact these vocalists that I had written these songs for and then just cross my fingers that they would say yes. Luckily they all did. Maybe because they could feel that these songs were written specifically for them? How do you think your sound has developed? This time my songwriting became much

more focused on writing for some specific artists like Low, Blonde Redhead and The Raveonettes. I think it has a melancholic vibe, but also some hope and some light. If it’s all too dark it gets boring and too heavy, so I love working with contrasts in my music and in the sound; dark and light, analogue and digital. Who writes the lyrics? All the vocalists write their own lyrics. I believe that makes [for] the most honest and pure result. The vocalists should definitely sing their own songs, that’s what makes it personal and not just a feature on the album. What was it like working with Low? They have been a constant inspiration for me the last 15 years. As soon as I sat down at my Wurlitzer and wrote those chord progressions I had Mimi Parker’s voice in mind … so it was a great, great pleasure and a big honour that she actually really liked the music I sent to her and made this magic melody and lyrics to my music. What Australian artists are you listening to? I’m a BIG fan of Nick Cave! And I [was] already listening to him when he did The Birthday Party. I think his new album is one of the best albums in years – it has been on repeat on my home stereo for months now. With: Lost out now through In My Room/ Balance Music/EMI


Further international and local acts have been added to the lineup for the annual Subsonic Music Festival, which will take place in the idyllic surrounds of the Riverwood Downs Mountain Valley Resort at Barrington Tops over the weekend of December 6-8. Fabriclive 64 mixer Oneman and vaunted German producer Red Robin will throw down, along with Microtrauma, Le1f, Lisbon duo The Bastards, Kelpe, Batucada Sound Machine and Fort Knox Five, who will play a four-deck DJ set. On the local front, the Mad Racket residents will represent alongside the likes of DJ Modern Fairytale, Cliques and Cosmo’s Midnight. They join Nile Rodgers and his band Chic, Dirtybird artists Christian Martin and Kill Frenzy, UK producer Zed Bias, Salmonella Dub Soundsystem, Alexkid, Marcus Meinhardt, Nico Stojan, Smallpeople, Klartraum, Amir Alexander, Eelke Kleijn, Africa Hitech, Opiuo and more. For the uninitiated, Subsonic is a custom-built lifestyle festival held on a world heritage site on the banks of a river, two-and-a-half hours north of Sydney. Head to for further details and tickets if you aren’t sor’ed already.

BRAG :: 534 :: 14:10:13 :: 35

dance music news

free stuff

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


five things WITH


JAMES MARALLICH FROM FOOLS GOLD Growing Up The Music You Play I grew up in a small African Fools Gold loves classic 1. 4.  village in the ’80s when music Britpop. So the golden age wasn’t available at your digital fingertips. So the early days were spent listening to my older brothers’ tapes and watching music shows like Top Of The Pops. That’s where I learned the subtle difference between Judas Priest’s Painkiller and doing the locomotion.

where Jarvis mooned Michael Jackson and Gorillaz were a twinkle in Damon’s eye and Menswear were still a thing. Apart from Britpop and Madchester we’ll take you to the ’60s and ’70s too. It’s the best history lesson you could hope for.

Inspirations Music, Right Here, I like artists with an edge to Right Now 2. 5.  them. Sure I dig Noel Gallagher’s There’s so much good stuff snark as much as the next person, but a good storyteller like Nick Cave and Gareth Liddiard goes far. Lately I’ve been listening to a lot of Danny Brown and King Gizzard And The Lizard Wizard. Eclectic much? Your DJ Crew I have a great bunch of DJs 3.  who are in tune with the theme of Fools Gold so they nail it every time. They’ll play everything from The Beatles through to New Order to Jake Bugg and I love ’em for that. They’re also very good-looking (ladies, are you paying attention?).


Twisted Audio’s Homegrown FreQs national DnB DJ competition returns later this month to sort out who will be crowned Australia’s Homegrown FreQ for 2013. There will be five live regional heats in major capitals across Australia, including the Sydney heat at the Gladstone Hotel on Saturday October 26. The winner of the heat will then be flown to Melbourne to compete in the Homegrown FreQs national final, while the champion will also be flown back to Melbourne for a set at Tribe Festival alongside some of foremost figures in DnB. Along with the competitors, Double Robi, DJ Axe, Celsius, DTechMC and Jviggy will also be providing the soundtrack to the Sydney heat, which kicks off at 10pm. Head to for more info.

out there if you know where to look. Blogs and forums are always a great source of new music, like the guys from Skydreams who are doing an amazing job of covering great local bands. I can’t stop listening to TV Colours and Yes I’m Leaving. What: Fools Gold, a night of classic Britpop and indie anthems Where: Brighton Up Bar When: Saturday October 19 (starting after the bands)

Nina Las Vegas

Get ready for Sydney’s famous Luna Park Big Top to be spookily transformed into a haunted house of music for Karnevil on Saturday October 26. With sets from Bombs Away, What So Not, Havana Brown, Nina Las Vegas and Ian Carey, this night promises to haunt you for weeks to come. Make sure you dress to terrify for an early Halloween night! We’re giving away two double passes – for your chance to win, email and tell us what you’re dressing up as this Halloween.


Absolut Vodka are launching a new limited edition bottle and have created a campaign unique to Australia to launch it, which called for budding creatives to submit ideas and compete for the chance to collaborate with artists including sculptor Dion Hortsmans, fashion designer Emma Mulholland, audiovisual DJ Sampology and digital artist Jimmy McGilchrist. Sadly, you’ve missed the boat to be part of that side of things (congratulations to the winners Heather, Mikaela and Julian), but if you’re feeling blue then we can help. The BRAG has three double passes to the exclusive, invite-only Blue Room launch of Absolut Originality at Goodgod Small Club on Thursday October 17. Email with what’s getting you down this week and why you need help to cure those blues.


Jonwayne and Oisima make up the headline double bill for the next instalment of Niche’s Hold Tight! series, slotted for Saturday November 22 at Oxford Art Factory. Jonwayne came onto the Los Angeles music scene by way of the east Los Angeles club Low End Theory circa ’08-’09, before releasing the instrumental album Bowser in 2011. However it was his abilities as an MC that prompted Stones Throw’s Peanut Butter Wolf to sign him to the label, which will release his forthcoming album Reflection at the end of this month. The other headliner is Adelaide beatmaker Oisima, who is signed to Sydney/ Berlin-based Herbede Records and has released two EPs while sampling and reworking everyone from Adele to DOOM.


A$AP Rocky


Party institution Fuzzy has delivered another sprawling lineup for its annual New Year’s Field Day bash, which will be held as always on Wednesday January 1 in The Domain. Hip hop figureheads Wiz Khalifa and A$AP Rocky will turn out alongside the likes of Julio Bashmore, Future Classic posterboy Flume, Solange, Dusky, Flux Pavilion, Kill The Noise, Shadow Child and Jacques Greene. A host of locals including Hermitude, Alison Wonderland and Flight Facilities will also represent. Presale tickets are available online for $118.



After a sell-out tour back in 2011, Simon Green, AKA Bonobo, returns to Australia off the back of his fifth and most successful album, The North Borders. Signed to the Ninja Tunes label on the strength of his debut LP, Animal Magic, Bonobo has accumulated a back catalogue of acclaimed albums including Days To Come, voted 2006 Album of the Year by listeners in BBC Radio 1’s Worldwide Awards. Bonobo will be flanked by a six-piece band that includes vocalists such as Flying Lotus collaborator Andreya Triana, Bajka, and the latest addition to the troupe, Szjerdene. The performance is slotted for the Sydney Opera House on Monday January 6, with presales available online.

36 :: BRAG :: 534 :: 14:10:13

Picnic will host Bulgarian producer Strahil Velchev, AKA KiNK, at The Burdekin on Saturday November 30. KiNK is well established in house and techno circles due to releases on labels like Rush Hour, Poker Flat, Ovum, and Mule Musiq, while his live show saw him voted among Resident Advisor’s Top 5 live acts of 2012 poll, sandwiched between Âme and Henrik Schwarz no less. Over the years, KiNK has collaborated with Neville Watson, Hercules and Love Affair member Kim Ann Foxman, and more recently Marc Romboy (on Romboy’s own Systematic imprint) and Belgian champ Sierra Sam. KiNK also played the Svengali role in helping fellow Bulgarian Rachel Row create one of the anthems of this year with the irresistibly catchy ‘Follow The Step’. A strong support cast of DJs including Phil Smart, Simon Caldwell and Kali will spin on either side of KiNK’s live set, with the revelry commencing at 10pm.


Following the sophomore success of OutsideIn 2013, Astral People have announced Concept, a new back-to-back club series featuring intimate multi-venue parties and one-ticket weekender passes. Concept launches at The Basement on Friday November 15 with the Australian debut of two of the most critically acclaimed producers in the techno sphere: Berlin-based Shed and Manchester’s dub-inflected tech impresario Andy Stott, who also pushes more bass-inflected sounds under the moniker of Andre. Backing up for Concept’s first Saturday event is Ghostly International’s jazz-orientated beatmaker Shigeto, which means “to grow bigger” in Japanese (he was born prematurely and weighed in at less than a pound!). Alongside Shigeto, Afterglo Records’ Phaeleh will showcase the cinematic electronica that has attracted comparisons to Bristol’s finest, Massive Attack. Presale tickets to each night’s event can be purchased separately for $40, or you can grab a double pass for $70. Do the maths.

Helena Boss Of Electronica By Francis Witsenhuysen


elena is steadily becoming one of Australia’s most prominent producer/DJs, dominating the world of electronica with her progressive electro/house beats. Seducing dancefloors globally, the UK-born, Australian-bred Helena says she is ready to live up to her reputation as the boss of electronica at next year’s Future Music Festival. “I’m so honoured to come back to my home ground and play Future. The lineup is pretty epic. I can’t wait to play my set and be able to deliver my sound, vibe and what I’m about there, and tour with everyone on the bill. I’m sure I will come offstage flying. When you’re learning, you look at these guys who are successful and that’s what you aspire to be doing, playing a festival like Future. To reach those levels, to kick those goals, you really are playing out your dream as an artist; it’s so exciting to be involved in this kind of thing.” Becoming the first female artist to be booked as the support DJ on the main stage for Miami’s Ultra Music Festival in March was an experience Helena will never forget. “It’s the highlight of my career so far. I got booked on the main stage alongside Swedish House Mafia, Disclosure and Major Lazer. I ended up doing 24 sets on the live stage, so I was playing in between all of the main acts. I was literally running backwards and forwards all day playing sets every hour, on the hour. It was pretty intense; at the end of it I almost collapsed and died, but it was worth it.” Helena says she is proud to show other women that they too can dominate main festival stages. “It’s a huge honour, to be leading the way in that sense and opening up future opportunities for female artists. It’s a privilege; I get a lot of emails from girls who want advice on different things, like how to go about furthering their careers. It’s really cool to think I’ve been inspiring other female artists. To see girls up there kicking it as hard, when it’s been such a boys’ club for so long, is a really positive thing for the music industry.” Helena’s recent decision to relocate to LA, where the club scene is exploding, was an easy one. “I’ve been touring the States since January, and did quite a few shows backwards and forwards, so I decided to relocate to LA three weeks ago. The shows I’ve been part of here, and the clubs I’ve played, have been ridiculous. There’s been such a positive response everywhere I’ve played, and it’s really exciting that I’m building a strong fan base over here.” International chart success has seen Helena collaborate with the likes of Dutch sensation Disfunktion. “I spent a few months in Amsterdam last year, and decided to work

with some of the Dutch guys. The track ‘Detox’ actually came about because I was on this hard core detox for five to ten days, and in the studio Disfunktion kept trying to feed me truffles, so I was trying to make them eat celery sticks and carrots. When we finished the track, it only seemed fitting to call the track ‘Detox’.” Growing up surrounded by music and DJs, Helena says she didn’t have a choice with music, it chose her. “My love for music originated back in the UK; I was obsessed with music in general, it was my passion and love. My brother’s a DJ, a lot of my good friends are DJs and I was also involved in running nightclubs in the UK, so becoming a DJ was just a natural progression. I would steal my brother’s equipment, and make quite a hobby out of mixing. I never set out to become a DJ; I just loved it, which makes me incredibly lucky to be able to make a career out of a hobby.” Helena says she owes her talent for mixing to her background in classical music. “I grew up playing the cello and classical piano, which definitely helped train my ear and helped me to pick up mixing techniques rather quickly. Once you understand musical theory, you can naturally feel the beat and how it’s all put together. When I’m playing, I’m naturally mixing tunes because I can hear what tracks are going to go with others.” And whenever she takes to the decks, Helena makes sure every person in the crowd has the time of their life. “I try to have a really big stage presence and showcase my attitude and passion towards my music. My sound is pretty upfront. I keep it unique and play mash-ups no-one would ever think to play. I always try to deliver and create a really good atmosphere. I put a hundred per cent into everything I do.” Releasing a full-length album isn’t on the cards yet for Helena, who wants to focus on singles first. “I want to establish my sound a bit more before making an album. I’ve just finished three tracks, ‘Breathe, ‘Decoda’ and ‘Wake Up’ which are bubbling away for release. The plan of attack is to whip up a bit more of a storm and keep getting my name out there.” What: Future Music Festival 2014 With: Deadmau5, Macklemore & Ryan Lewis, Phoenix, Hardwell, Rudimental, Eric Prydz, Kaskade, Porter Robinson and more Where: Royal Randwick Racecourse When: Saturday March 8


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Spit Syndicate Money Over Bull$hit By Keara Forde

Spit Syndicate’s 18-date Money Over Bull$hit tour will have them visiting a fair few airports, but Nice is just happy he doesn’t have to tour around the country in a bus. “I sit here and complain about being in an airport and I say that’s the worst part about touring … [people before us] really had to grass-root it to get around, so we’re appreciative that we don’t have to do that.” Supporting Spit Syndicate on their tour is the duo’s “life coach”, Joyride. When asked what exactly “life coach” means, Nice jokes, “That’s probably Joyride being self-proclaimed. I mean, he likes to think that he’s the glue in the touring party … ’cause he does a lot of the driving and I think he thinks that Nick [Lupi] and I should drive. [But] he likes to handle the wheel. I don’t really know how he’s coaching us in life – maybe coaching us in how to drink iced coffee and smoke darts … beyond that, I think we’re schooling him.” There’s no doubt Spit Syndicate like to poke fun at their mates and make the best of times. And the ARIA chart success of Sunday Gentlemen, the album they dropped earlier this year, is a direct reflection of their passion for making music. “I guess we’ve had more success off of this album than any other, but that’s how we want everything to go. We want every release and every tour that we do to step up a notch and reach new ears.


immy Nice, one half of Aussie hip hop duo Spit Syndicate, is talking about life on the road. “Being with my mates … it’s just the best times I have when I am doing dumb shit with [them] on the

road.” That’s Nice’s favourite part about touring. His least favourite part? “Just fucking airports, man. I know I sound like a massive diva but airports in the morning are not a friend of mine … and drunk,

belligerent idiots at gigs ... But yeah, beyond that, there’s not too much I dislike [about touring]. I’d rather be at an airport hungover than being at work or doing something shitty.”

“We’ve been doing this for a long time … since we were back in school. Nick and I met through a mutual friend who happens to be Solo from Horrorshow … I met Solo at his 14th birthday party … [a

few months later] I was introduced to Nick through graffiti.” Nice, now 26, adds, “Back then it was never really a conscious decision to start a group … it was just something we did when we jigged school, or when we hung out; it was something we did at parties”. Nice, his bandmate Lupi and Solo are all still close mates. Spit Syndicate and Horrorshow are now a part of an intimate hip hop collective called One Day, alongside the likes of Joyride and Jackie Onassis. The whole crew is “trying to possibly float the idea of doing a One Day tour sometime next year, and [the crew has] some writing trips planned for the back end of this year … That’s something that we’re working on and just trying to strengthen the whole One Day brand.” Another band that Spit Syndicate found themselves (albeit unexpectedly) inspired by was Sticky Fingers. “We’ve been partying a lot in the previous [months],” says Nice. “We had a night with Crabs from Sticky Fingers, and we were just fucked up listening to [Disclosure’s ‘Latch’]. We had a little light bulb go off; ‘Yeah, let’s do this as our [triple j] Like A Version!’ So the idea just came from being faded and loving to dance to that song.” With: Joyride Where: The Hi-Fi When: Saturday November 2 And: Sunday Gentlemen out now through Obese Records

Dubmarine Problems And Solutions By Alasdair Duncan


ubmarine’s second album, Laser Sound Beam, arrived earlier this year, but the record has very deep roots – its opening track ‘Beat In Control’ dates all the way back to when frontman D-Kazman was in his late teens and experiencing the exhilaration of dancing in a club for the very first time. “I was in the army when I was 17, and two days after I got out, I went to a club for the first time,” explains the singer. “It was a really eye-opening experience. That song and the lyrics are based on those experiences I had when I was younger.” The driving track attempts to capture the feeling of a whole new world opening up though dance. “When you’re in a dancing frame of mind, you can go outside of yourself, and your body is capable of doing all kinds of amazing things,” D-Kazman says. “Dancing to me is one of the miracles of music, and I’m really interested in what happens in the body and the mind. A lot of tribal dancing is based around the idea of opening yourself up as a channel to different things, different dimensions, and I’ve felt that through dance.” Dubmarine’s combination of dub, reggae, roots and dancehall has made them into a potent live band over the years, and Laser Sound Beam represents an attempt to capture the energy of their live performances. “Our last record had a very slicklyproduced studio sound, but we had some complaints that it didn’t capture the energy of the live sound, so we put a lot of time and effort into doing that this time around and people are digging it. It’s getting some radio play, it’s doing well.” With the new songs in their set, the band is feeling more energised than ever. “It’s great to hear how people respond to the new stuff,” D-Kazman says. “These days we’re really into 38 :: BRAG :: 534 :: 14:10:13

the idea of pushing ourselves. We’ve been together for a few years now, so we’re in a place where we can really explore our musicality and take it to unexpected places. The show accompanying the album really pushes a lot of things – we change some of the tunes up a bit, add a few more toys into the mix. For me personally, it’s one of the most fun shows I’ve ever done.” Laser Sound Beam does indeed feature a broad array of sounds – some tracks push the band’s sound in a more explicitly club and dance-oriented direction, with synths and heavy bass, while others even feature elements of Middle Eastern music. D-Kazman says this diversity was always the idea. “That’s always been one of our goals, to take on an array of different global sounds and rhythms. Our music is about trying to bring together different cultures and influences and mixing them all together. I think it’s futuristic in the way it puts all those things together.” Dubmarine’s lyrics can be overtly political – as in recent single ‘Spearchukka’, which takes on the commercial fishing industry – but the message is always presented in a positive and even upbeat way. “When it comes to politics, it can be a bit of a downer if you focus on just the problem, so you want to try and think about the solution as well. We like to be aware of what’s happening around us and bring that awareness to the table. There are a lot of global forces like greed and inequality that we like to address, but we also like to remind people that they can think for themselves, and we like to suggest solutions.” What: Laser Sound Beam out now through Sugarrush Music Where: The Standard When: Friday October 18


Deep Impressions

up all night out all week . . .

Dance And Electronica with Chris Honnery

James Holden


Well, well, well. Look who comes crawling back. OK, I’ll drop the sulking, forget last year’s misguided itinerary – it isn’t any fun staying mad at James, is it? – and focus on Holden redeeming himself in spectacular fashion throughout the early hours of the New Year. One of the most captivating producers in the club sphere, both as a producer and DJ, Holden mines his own field of experimental electronica, showcasing dreamy and at times abrasive analogue soundscapes. In his early days, Holden contributed a classic instalment to the Balance compilation series, and has since released equally laudable mixes for the DJ Kicks and At The Controls canons. Of course, many best remember Holden for his rework of Nathan Fake’s ‘The Sky Was Pink’, which still whips dancefloors into a frenzy today. However the Border Community record label head honcho is not one to play it safe and re-tread territory that he’s previously mastered as a producer. When I interviewed him in 2010, Holden revealed: “I spent a couple of years where I got really annoyed by the music that people saw as related to Border Community. People were just doing copies of ‘The Sky Was Pink’ and it really put me off that sound. I started to really hate the ‘computer techno’ sound.” Consequently Holden reinvented and expanded his sonic palette, remixing the likes of Caribou and Radiohead in the lead up to releasing The Inheritors earlier this year. Drawing its name from a William Golding novel, The Inheritors was ostensibly influenced by the likes of Four Tet and Steve Reich. Building on the foundations of his DJ Kicks compilation from 2010 and his excellent debut LP The Idiots Are Winning, Holden’s recent LP is one of the best releases of this year, yielding serene slices of blissed out,

Hamburg producer Stefan Kozalla, AKA DJ Koze, is one of the few figures who can challenge Holden for the title of best electronic album of 2013. His album Amygdala featured guest spots from Caribou, Apparat, Dirk von Lowtzow, Hildegard Knef, Matthew Dear, Ada and Milosh, and lived up to the expectation one would expect from a project that involved so many heavy hitters. While Amygdala was only Koze’s second full-length solo album since he released Kosi Comes Around on Kompakt Records in ’05, his eclectic discography is replete with productions of the highest standard. Koze’s work with vocalist Cosmic DJ and instrumentalist Erobique as International Pony is often criminally overlooked, while he’s also released a litany of quirky floor-thumping singles such as ‘I Want To Sleep’ and ‘Mr Bojangles’, along with remixes of Matias Aguayo, Matthew Herbert and Efdemin, which utilises a sample from the film Basquiat to brilliant effect. In recent times, Koze has broken away from Kompakt, starting his own record label Pampa and releasing albums from Isolee and Ada. Koze is scheduled to play an early set at the NYD party before heading down to Melbourne for the Let Them Eat Cake festival, which means that the Holden and Koze double bill is not as arduous as it may seem on paper – New Year’s shenanigans always involve an element of stamina, after all.

03:10:13 :: Allphones Arena :: Edwin Flack Ave, Sydney Olympic Park 8765 4321


04:10:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587


SATURDAY NOVEMBER 23 John Tejada & Moomin’ The Burdekin

TUESDAY DECEMBER 31 James Holden The Abercrombie


joey negro



droning synthtronica such as ‘Blackpool Late Eighties’, which ranks alongside Holden’s very best productions.


espite techno wizards James Holden and DJ Koze being the star attractions on the lineup for Melbourne New Year’s Day festival Let Them Eat Cake, local denizens remained uncertain as to whether the pair would also turn out in Sydney so long as no further Australian dates were announced for the duo. After all, Holden did inexplicably snub Sydney when he toured Australia in December last year, opting to only play at the Strawberry Fields Victorian bush bash in November 2012 and adding further fire to the Sydney versus Melbourne rivalry in the process. Thankfully, Sydney shows have now been announced for both acts, with Holden set to headline Strange Fruit’s New Year’s Eve romp at The Abercrombie, while DJ Koze has been drafted in to bolster the Lost Disco lineup, which will take place in the opulent confines of Ivy Pool Bar on New Year’s Day. Let’s walk and talk through Deep Impressions’ suggested new year’s itinerary in more detail.



05:10:13 :: The Soda Factory :: 16 Wentworth Ave, Surry Hills 8096 9120

Deep Impressions: electronica manifesto and occasional club brand. Contact through




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club guide g send your listings to : Xxx

club pick of the week



David Moss + Reece Low + Blake & Steven Bourke + Jaz & Dosstruction Australian Hotel And Brewery, Rouse Hill. 9pm. free. DJ Starjumps + Smart Alec The Argyle, The Rocks. 6pm. free. Loopy - feat: Drty Csh + Daschwood + Generous Greed + Guest DJs The Backroom, Potts Point. 9pm. $10.

FRIDAY OCTOBER 18 DJ Quik & Kurupt


Dubmarine + King Tide + Caravana Sun The Standard, Surry Hills. 8pm. $20.


FRIDAY OCTOBER 18 The Standard

Dubmarine + King Tide + Caravana Sun 8pm. $20. TUESDAY OCTOBER 15




Brad Oakes - feat: Toby Murescianu & MC James Masters Harold Park Hotel, Glebe. 7:30pm. free.

The Wall - feat: Resident DJs World Bar, Kings Cross. 8pm. $5.


The Supper Club - feat: Resident DJs

Argyle Fridays - feat: Resident DJs The Argyle, The Rocks. 6pm. free. El’Circo - feat: Resident Circus Act Performers Slide Lounge, Darlinghurst. 7pm. $109. Factory Fridays - feat: Resident DJs Soda Factory, Surry Hills. 5pm. free. Mashed Fridays - feat: DJ Ric C Oatley Hotel, Oatley. 8pm. free. Rene Lavice + Mind Vortex - feat: Doctor Werewolf + Capture & Open-Eye + Brooklyn Zoo + Turnt Up + Empress Yoy + Judson Chinese Laundry, Sydney. 9pm. $15. Twist And Shout - feat: DJ Dylabolical Brighton Up Bar, Darlinghurst. 11pm. $5.

SATURDAY OCTOBER 19 Kit & Kaboodle, Kings Cross. 10pm. free. Whip It Wednesdays - feat: DJs Camo + Snillum + Jaimie Lyn Whaat Club, Kings Cross. 9pm. free.


The Laugh Stand With Cam Knight FBi Social, Kings Cross. 8pm. $15.


DJ Quik & Kurupt The Hi-Fi, Moore Park. 8pm. $75.50.


After Dark - feat: Resident DJs Whaat Club, Kings Cross. 8pm. $15. Argyle Saturdays - feat: Resident DJs The Argyle, The Rocks. 5pm. free.

Ben Morris + Alex Taylor + Strange Cloud DJs + Johnny Gleeson Goldfish, Kings Cross. 9pm. $20. FBi Hands Up! - feat: DJ Clockwerk + Special Friends With Benefits FBi Social, Kings Cross. 11:30pm. free. Fools Gold Brighton Up Bar, Darlinghurst. 10:30pm. $10. Homemade Saturdays feat: Resident DJs Home Nightclub, Darling Harbour. 9pm. $25. Jacksons Saturdays - feat: Resident DJs Jacksons On George, Sydney. 9pm. free. Masif Saturdays Space, Sydney. 10pm. Motion + Dave Fernandes + Dean Dixon + Burn-Hard + Poster Boy Hollywood Hotel, Surry Hills. 8pm. free. Pacha Sydney - feat: Swanky Tunes + Scndl + Baby Gee + John Glover + Jace Disgrace + Fingers + Devola + Pat Ward + Slicker Cities + Deckhead + Dylan Sanders + Nad Ivy Bar/Lounge, Sydney. 6:30pm. $30. Skybar Saturdays - feat: Resident DJ The Watershed Hotel, Sydney. 9:30pm. $20. Soda Saturdays - feat: Resident DJs Playing Disco And Funk Soda Factory, Surry Hills. 5pm. free. Stafford Brothers Marquee At The Star, Pyrmont. 10pm. $25. Surprise International Headliner - feat: Ember + A-Tonez + Ocean + Hannah Gibbs + U-Khan + Magic Bird + Raull + Fingers + Gg

Magree + Ra Bazaar Chinese Laundry, Sydney. 10pm. $20. The Suite - feat: Resident DJs Sapphire Lounge, Potts Point. 8pm. free.


Mickey Avalon + Kid Mac Metro Theatre, Sydney. 7pm. $43.90.


Beresford Sundays - feat: Resident DJs Upstairs Beresford, Surry Hills. 3pm. free. Easy Sundays - feat: Resident DJs Kit & Kaboodle, Kings Cross. 10pm. free. S.A.S.H Sundays - feat: Burnski + Jake Hough + James Taylor + Jaded + U-Khan + Thomas Lisse + Simon Brayford + Mitchell Fowler + Garry Bennett + Cameron Cooper The Abercrombie, Broadway. 2pm. $10. Soup Kitchen - feat: The Soup Kitchen DJs World Bar, Kings Cross. 7pm. free. Spice After Hours - feat: Steven Sullivan + Murat Kilic And Guests The Spice Cellar, Sydney. 4am. $20. Sunday @ Gay Bar - feat: Resident DJ The Gay Bar, Darlinghurst. 3pm. free. Sunday Sessions - feat: Alter Ego Oatley Hotel, Oatley. 7pm. free.

We has internets! Extra bits and moving bits without the papercuts 40 :: BRAG :: 534 : 14:10:13


club picks p

up all night out all week . . .

send your listings to :

FRIDAY OCTOBER 18 Dubmarine + King Tide + Caravana Sun The Standard, Surry Hills. 8pm. $20. Rene Lavice + Mind Vortex - Feat: Doctor Werewolf + Capture & OpenEye + Brooklyn Zoo + Turnt Up + Empress Yoy + Judson Chinese Laundry, Sydney. 9pm. $15. Twist And Shout - Feat: DJ Dylabolical Brighton Up Bar, Darlinghurst. 11pm. $5.

Fools Gold Brighton Up Bar, Darlinghurst. 10:30pm. $10. Pacha Sydney - Feat: Swanky Tunes + Scndl + Baby Gee + John Glover + Jace Disgrace + Fingers + Devola + Pat Ward + Slicker Cities + Deckhead + Dylan Sanders + Nad Ivy Bar/Lounge, Sydney. 6:30pm. $30. Stafford Brothers Marquee At The Star, Pyrmont. 10pm. $25.

Rene LaVice Surprise International Headliner Feat: Ember + A-Tonez + Ocean + Hannah Gibbs + U-Khan + Magic Bird + Raull + Fingers + Gg Magree + Ra Bazaar Chinese Laundry, Sydney. 10pm. $20.




04:10:13 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999


Stafford Brothers

S.A.S.H Sundays - Feat: Burnski + Jake Hough + James Taylor + Jaded + U-Khan + Thomas Lisse + Simon Brayford + Mitchell Fowler + Garry Bennett + Cameron Cooper The Abercrombie, Broadway. 2pm. $10.

goodgod b’day night (smash hits)


Mickey Avalon + Kid Mac Metro Theatre, Sydney. 7pm. $43.90.



05:10:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587

06:10:13 :: The Abercrombie Hotel :: 100 Broadway Ultimo 9211 3486 D HONCHO) :: KARL BRAASCH



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jealous much?

adult disco


up all night out all week . . .

05:10:13 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst Sydney 9332 3711

rainbow chan


goodgod b’day night (all stars)

06:10:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587

42 :: BRAG :: 534 :: 14:10:13


05:10:13 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999

03:10:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587 INA












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SYDNEY’S HOTTEST INDEPENDENT WEEKLY STREET PRESS Hitting the streets with the best music, culture and events, every Monday. This week: Stone...


SYDNEY’S HOTTEST INDEPENDENT WEEKLY STREET PRESS Hitting the streets with the best music, culture and events, every Monday. This week: Stone...