Page 1


."3$)45 ."3$)45 %65$) 4&$358&"1/ %65$) 4&$358&"1/ '3&&&/53:1. '3&&&/53:1.


N<;E<J;8Pƒ N<;E<J;8PƒK?K?F=D8I:? F=D8I:?




H I F I    T H E N O R T H E R N    R O U N D H O U S E    T H E G O V   H I F I    C A P I T O L & A M P S  

t5*$,&540/4"-&/085)36888)*54"/%1*54'&45#*($"35&-$0.t"--4)084 + t'03.03&*/'07*4*5'"$&#00,$0.)*54"/%1*54t























































02 6685 8310























& EGYPT 80



METRO THEATRE - SUN 20 APR BRAG :: 554 :: 19:03:14 :: 3

rock music news welcome to the frontline: what’s goin’ on around town...with Andy Huang, Emily Meller and Ed Kirkwood

follow us:

like us:



on the record WITH

HAYDN ING FROM CALLING ALL CARS The First Record I Bought It was a double purchase. Two 1. cassettes. First, Silverchair’s Frogstomp…

The Last Thing I Recorded The most recent recording I have done 4. is on our third album Raise The People.

because all the other kids at school were listening to it. Second, Meatloaf’s Bat Out Of Hell, because I thought the cover was cool. Jumping Harley Davidsons over fire, et cetera. The Last Record I Bought Pharrell Williams – G I R L. I’m a big fan of anything Pharrell touches. I’m a sucker for good pop music, and really dig his production – quite often not the ‘norm’.   The First Thing I Recorded I started recording demos of my own music when I was about ten years old. I figured out how to use Dad’s old stereo, and how to multitrack, so I would spend hours experimenting. After that, when we did our first ‘professional recording’, I remember thinking to myself, “Yep, this is what I want to do… Only I have to get a lot better at this.” Ha.

I’m proud of this one. It was produced by a selection of people in different studios (Tom Larkin, Steven Schram, Mike Crossey) and mixed by Tchad Blake. We also did a bit of the recording and production ourselves.   The Record That Changed My Life Hopefully this one! [Laughs] OK, seriously… there are heaps. But one that pops into mind is Rage Against The Machine’s self-titled. Just a ballsy album. Who doesn’t want to sound that tough?

2. 3. 


What: Raise The People out now through Cooking Vinyl Where: Manning Bar When: Thursday March 20 And: Also appearing at the Small Ballroom, Newcastle on Friday May 2, Oxford Art Factory, Darlinghurst on Saturday May 3 and Studio Six, Sutherland on Sunday May 4


EDITOR: Chris Martin 02 9212 4322 ARTS + ONLINE EDITOR: Hannah Warren 02 9212 4322 STAFF WRITERS: Alasdair Duncan, Jody Macgregor, Krissi Weiss, Augustus Welby NEWS: Chris Honnery, Emily Meller, Callum Wylie, Andy Huang, Ed Kirkwood ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: Mark Boado, Katrina Clarke, Ashley Mar ADVERTISING: Georgina Pengelly - 0416 972 081 / (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 COORDINATORS: Sarah Corridon, Andy Huang, Ed Kirkwood, Emily Meller, Callum Wylie - (rock); (dance, hip hop & parties) AWESOME INTERNS: Callum Wylie, Andy Huang, Sarah Corridon, Emily Meller, Ed Kirkwood, Naz Jacobs REGULAR CONTRIBUTORS: Nat Amat, Ian Barr, Keiron Costello, Marissa Demetriou, Rachel Eddie, Christie Eliezer, Chris Honnery, Cameron James, Tegan Jones, Lachlan Kanoniuk, Pamela Lee, Alicia Malone, Adam Norris, Daniel Prior, Kate Robertson, Amy Theodore, Raf Seneviratne, Leonardo Silvestrini, David Wild, Harry Windsor, Stephanie Yip, David James Young

Paul Woseen, co-founder and main songwriter for iconic Australian rock band The Screaming Jets, has announced a nationwide tour this April in promotion of his debut release Bombido. The album showcases Woseen’s songwriting talents through stripped-back versions of Screaming Jets hits ‘Helping Hand’, ‘October Grey’, ‘Friend Of Mine’ and ‘Think’. Woseen plays at the Factory Theatre on Saturday April 5.


Brighton Up Bar has launched a new series of late night gigs to adjust for Sydney’s new lockout laws. The 1am stage times begin this Friday March 21 with a secret set from a raucous live local act to be announced on the day. Entry is free, with quality live music and good times guaranteed.


Having cut their teeth on the streets of Melbourne, busking their way to selling a whopping 15,000 records independently, The Pierce Brothers are one of the hardest-working bands in the business. They’re getting straight back into it with their newest single ‘It’s My Fault’ drawn from upcoming EP The Night Tree. Written in Hanoi Airport on their way home from a recent stint in the UK, the song is concerned with the emotion of guilt and the realisation of one’s own mistakes. The Sydney leg of their tour is set for Upstairs Beresford on Saturday March 29.

Robyn Hitchcock and Steve Kilbey

EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG.

DEADLINES: Editorial: Thursday 12pm (no extensions) Artwork/ad bookings: Friday 5pm (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

PRINTED BY SPOTPRESS: 24 – 26 Lilian Fowler Place, Marrickville NSW 2204

4 :: BRAG :: 554 :: 19:03:14

Multiple ARIA award-winners The Audreys are back with their fourth album, ’Til My Tears Roll Away, and will step out on tour in support. Frontwoman Taasha Coates and guitarist Tristan Goodall have long been the darlings of critics and fans alike, so their return to the Factory Theatre on Sunday June 8 is just about due, don’t cha reckon? Well, we can’t wait.


Songwriting icons Robyn Hitchcock of The Soft Boys and Steve Kilbey of The Church have lined up a series of Insects And Stars tour dates. Between them, the pair has released over a hundred albums, many of which reached the upper pantheon of artful contemporary songwriting. That means they’ve got about a thousand songs to choose from, so you may as well head along and shout a few requests. See them at the Metro Theatre on Saturday May 10. Support from Dave Mason.

Roots rocker Claude Hay is no longer a oneman band, as he joins forces with The Gentle Enemies to embark on east coast tour. Hailing from the Blue Mountains, Hay is known around the world for his live looping, which allows him to create a live band sound without a band actually being there. But he’s shaking things up with an added lineup of friends The Gentle Enemies, AKA Ryan Van Gennip and Jon Howell. The new three-piece will play a run of dates to mark the release of new tracks ‘Borracho’ and ‘Run’, which guarantee the usual infectious blend of stompin’ blues, hard rock and fuzzy funk. Aside from their Bluesfest appearance on Sunday April 20, Hay and his band will be stopping at the Old Manly Boatshed on Friday March 28, Katoomba RSL on Saturday March 29, The Grand Junction Hotel on Friday April 4, Lewisham Hotel on Saturday May 17, and the Stag and Hunter Hotel on Friday May 30 (solo show).

Jimmy Tait


One of the most talented blues artists in the land, Owen Campbell, has released a new single, ‘Remember To Breathe’, and will embark on a launch tour along the east coast of Australia. Campbell kickstarts his tour at the Deniliquin Blues Festival, bringing his gravelly blues and roots fusion to the stage alongside John Mayer, Elvis Costello and The Doobie Brothers. ‘Remember To Breathe’ was inspired in part by Campbell’s massive touring schedule of 2013, when he played in some very industrial and frenetic cities across the US, Europe and the UK. His east coast tour will take in Lizotte’s Central Coast on Wednesday April 16, Old Manly Boatshed on Thursday April 17, The Camelot Lounge on Saturday May 3 and Lizotte’s Newcastle on Sunday May 4.


The crew that makes up Jimmy Tait, fronted by Sara Retallick (who named her band after her late grandfather), found themselves under Australian Music Prize long list consideration for Golden, a release for which they were compared to PJ Harvey and Cat Power. Featuring members of The Gin Club, The Wintership Quartet and The Orphanage, Jimmy Tait are setting off on a run of dates to celebrate their success, including one at Brighton Up Bar on Friday April 25. Get on board.

Xxxx photo by xxx

DISTRIBUTION: Wanna get the BRAG? Email distribution@ or phone 03 9428 3600.



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

ACCOUNTS RECEIVABLE: Luke Forrester: ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121

The Audreys




WEDNESDAY 9 APRIL | CIVIC THEATRE NEWCASTLE Licenced / All Ages. Tickets available from Ticketek | | 132 849

FRIDAY 11 APRIL | HORDERN PAVILION SYDNEY Licenced / All Ages. Tickets available from Ticketek | | 132 849

SATURDAY 12 APRIL | ROYAL THEATRE CANBERRA Licenced / All Ages. Tickets available from Ticketek | | 132 849

SUNDAY 13 APRIL | ANITA’S THEATRE THIRROUL Licenced / Over 18. Tickets available from Ticketmaster | | 136 100



BRAG :: 554 :: 19:03:14 :: 5

rock music news

free stuff

welcome to the frontline: what’s goin’ on around town...with Andy Huang, Emily Meller and Ed Kirkwood

speed date WITH


CRISTIAN CAMPANO FROM FOOD COURT busy bees touring our latest EP, Smile At Your Shoes, which was recorded in Melbourne with super gutsy hanger Mark Doman from Ross De Chene Hurricanes. And we’re also doing a few shows in the coming weeks to launch our next single ‘She’s Away’. In the next few months we’ll be working on a heap of new songs to be released on our next EP or album mid-year, followed by a hefty tour or two. We’re going to be recording this next release with Owen Penglis in Sydney, which should be very fudging rad. Best Gig Ever Probably our show at the 3.  Captain Cook Hotel with our fruity


What Do You Look For In A Band? We’re a bit fuzzy, a bit boshy, sometimes sunny orange, sometimes cloudy apple, a bit rough round the edges, with a bit of ’60s garage pop and a bit of ’90s scuzz. We’re all good mezze mates, always talking, always laughing. We like having loadsa fun, especially at our shows.


Keeping Busy Before Christmas I had to take a few months off as I tore my hamstring pretty badly dancing to the ‘The Time Of My Life’ at my wedding. Nic and Lewey have been overseas on “meditation/ yoghurt retreats” and Dan has been searching the inner west for fresh produce and the ultimate bruschetta. Lately we’ve been

Adelaidian mates Bad//Dreems. It was an awesomely fun and boozy night where everyone sounded rad and the room/crowd had a great energy. The Captain Cook Hotel in Surry Hills is definitely one of the best live venues in Sydney. Great sound, great sound guys, an in-house drum kit, free entry; Ray the booker is a legend and they’ve just put in a new, bigger stage. Get down there kiddies, it’s delightful.

Current Playlist Lately has been a load 4. of Unknown Mortal Orchestra, Spirit Valley, Boomgates, Palms, Melody’s Echo Chamber, King Gizzard, Opossom, Pond, Ty Segall, TV Colours, Violent Soho, Bad//Dreems, The Faults and Pretend Eye. We’re super lucky to have such a strong local live music scene in Sydney and the whole of Oz at the moment – so many great bands and so many great venues. As for amazing gigs there’s been loads, but we always really enjoy Newtown Festival as we are all inner westians. The Snowdroppers and Palms were great last year, those dudes always put on a killer live show.

You can’t help the feeling that everybody wants a piece of Jared Leto these days. And can you blame them? I mean, look at that face. Look at it. He’s just picked up a gong at the Oscars for his turn alongside Matthew McConaughey in Dallas Buyers Club, and his band Thirty Seconds To Mars are only going from strength to strength. Love, Lust, Faith And Dreams emerged from a time of turmoil for the trio, who had been embroiled in a legal dispute with Virgin. But from great suffering comes great art, especially the angsty kind, and so Leto and co. are on their way back Down Under for rescheduled dates including Qantas Credit Union Arena on Saturday March 29. We’ve got five double passes to give away – for your chance to win one, head to facebook. com/thebragsydney and tell us the name of your favourite Thirty Seconds To Mars album.

Your Ultimate Rider A couple of frosty jugs of 5. one horse white blue, two horse red, one barrel green and/or stand-up surfer gold. And a pack of Holiday 50s for the kids. 

Where: FBi Social When: Thursday March 20

Emma Dean

Amy Rose


Thirty Seconds To Mars


Emma Dean and Francesca de Valence are joining forces to showcase their powerful voices and piano-based pop. Accomplished musicians in their own right, Dean and de Valence struck up a friendship based on mutual passion for music that blends the classical with the modern, all tied together with personal stories and heart felt lyricism. They decided to tour the east coast with a suite of intimate shows that are not for fair-weather fans, but those willing to immerse themselves for an evening (i.e. leave your fist-pumping friends at home). Catch them at The Newsagency on Friday April 4.


Amy Rose is an undiscovered gem on the Sydney pop scene. The unsigned singer-songwriter was nominated last year for the prestigious Vanda & Young songwriting competition for her single ‘Running’, and now she’s back with a cover of ‘Break My Stride’ and debut video. ‘Break My Stride’ will be out Tuesday March 25. The single launch is at The Vanguard tonight, Wednesday March 19.


As ‘supergroups’ go, Coronet Blue have a decent claim to the title. Their band members have worked with the likes of R.E.M., The Rolling Stones, Ben Folds, The Beach Boys, The Eagles and Roger Daltrey, among many more. Formed by singer-songwriter Josh Rooney of The Lonely Hearts fame, Coronet Blue’s recent album Better Day is their third.

They’ll play a Bluesfest sideshow at The Vanguard on Wednesday April 16, with support from The Peter Northcote Band.


Critically acclaimed instrumental rockers Russian Circles have announced the support acts for their upcoming Australian tour. The

Sydney leg will feature local rockers Dumbsaint, bringing with them their brand of cinematic music involving projections and a heavy rock twist. These lads have shared the stage with countless acts over the years including Dead Letter Chorus, Aperture and Meniscus. The stage will also be graced by Dumbsaint’s labelmates Mish. The show is at Manning Bar on Saturday May 3.


Led Zeppelin’s I, II and III are iconic albums full of some the most recognised and revolutionary songs of the last 50 years. Tracks like ‘Whole Lotta Love’, ‘Immigrant Song’, ‘Ramble On’ and ‘Babe I’m Gonna Leave You’ could never have been cut quite the same by any other band. Together, Jimmy Page, John Bonham, John Paul Jones and Robert Plant were able to move from country to rock to folk to metal within each album and occasionally within individual songs. Now, Led Zep fans will be able to hear their favourite songs in all their technicolour glory, with a remastered collection of the three records being put together by Page himself and due for release on Friday May 30. Rock and freakin’ roll.


A generous lineup has landed for the Cambodian Children’s Trust Benefit Concert, to be held at the Enmore Theatre on Wednesday May 21. The good vibes are being brought by big names like Jimmy Barnes, Lior, Mahalia Barnes (why not make it a family affair?) and hosted by one of the biggest names in comedy, Arj Barker. Donations will go towards a shelter for orphaned children in Battambag, education programs in Cambodia and two social enterprises that provide work experience opportunities for locals. Read more at 6 :: BRAG :: 554 :: 19:03:14

Hunx And His Punx


It may not be every day that you listen to bubblegum punk quite like Hunx And His Punx, but if you’re looking for a spectacular show, you’ve found it. Music is about entertainment and leaving you drenched in glittery sweat, after all. Likened to Misfits for their often hilarious and energetic style, it’s well worth checking out Hunx And His Punx’ polyester-heavy video clips (we recommend ‘You Don’t Like Rock’N’Roll’ for a taster) before heading out for a night sure to be full of surprises. If you are game, grab tickets to the Oxford Art Factory show on Saturday April 19.

S yd n ey O p e ra H o u s e i n a s s o c i at i o n w it h A r t i st Vo i c e p re s e nt




28 & 29 APRIL 2014 Mobile App 02 9250 7777 F O L LOW U S




Transaction fee $5 - $8.50 applies to all bookings, except Insiders



#music atthehouse

BRAG :: 554 :: 19:03:14 :: 7

Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR â&#x20AC;&#x153;Not on my watch!â&#x20AC;? and bought it himself to ensure it remained a music mecca. * John Martin of Swedish House Mafia fame will be in Australia this April to promote his debut solo single â&#x20AC;&#x2DC;Anywhere For Youâ&#x20AC;&#x2122;. * Tool have had to deny their long-awaited new album is set for release. Rumours flew after guitarist Adam Jones made a sarcastic remark it would be â&#x20AC;&#x153;released tomorrowâ&#x20AC;? although he did add, â&#x20AC;&#x153;Only kidding.â&#x20AC;? Meanwhile, U2â&#x20AC;&#x2122;s opus looks like seeing the light of day only next year as theyâ&#x20AC;&#x2122;re recording more. * Expect to see an Australian version of Iâ&#x20AC;&#x2122;m A Celebrity... Get Me Out Of Here! * Madonna is working in the studio with Avicii. * R&B singer-songwriter Alston Koch is now based in Los Angeles to work with some of Princeâ&#x20AC;&#x2122;s team. * Sydney hardcore act Hand Of Mercy have split with singer Scott Bird. * Spotted hanging out at Future Music Festival were Tinie Tempah and Formula

* Fire damaged $250,000 to $300,000 worth of hired lighting and sound equipment and fittings on a WOMADelaide stage as crews packed up after the event. Festival director Ian Scobie said insurance would cover the damage. * Pharrell Williams wandered out to shop in Brisbane before his show and was mobbed after crowds formed outside the Chanel store. This week heâ&#x20AC;&#x2122;s number one on the single and album ARIA charts â&#x20AC;&#x201C; the 119th act since 1965 to do so. * Future Musicâ&#x20AC;&#x2122;s Asian event in Malaysia, cancelled its third day after authorities claimed six people aged 21 to 28 died from overdoses. * Samsung has launched net radio service Milk in the US with 200 genre stations and 13 million songs, but weâ&#x20AC;&#x2122;re not sure when we can expect it here. * When James Young, owner of Melbourneâ&#x20AC;&#x2122;s Cherry Bar, heard restaurateurs were planning to buy live music venue Yah Yahâ&#x20AC;&#x2122;s, he yelped,

THREE MORE VENUES OPEN IN SYDNEY Sydney punters have three more places to get their rocks off. The Standard in Surry Hills (383 Bourke Street) relaunches first week of April as Standard Bowl. It offers free ten pins, free amusements, DJs and garage/indie bands. After announcing its arrival last December, events company Kingdom Sounds started live

One racer Lewis Hamilton. * This yearâ&#x20AC;&#x2122;s triple j One Night Stand will go to Mildura on Saturday May 17 with Illy, Violent Soho and more. * Kate Miller-Heidke has already sung â&#x20AC;&#x2DC;Happy Birthdayâ&#x20AC;&#x2122; over the phone to 50 fans as part of her crowdsourcing promises, and says she has more to go. * Commercial Radio Australia boss Joan Warner told the Mumbrella site that the radio industry does not see including music streaming services as Pandora, Spotify and Rdio in the new radio ratings system as a priority. * Perth designer Jaime Lee Major, whoâ&#x20AC;&#x2122;s dressed BeyoncĂŠ, Lady Gaga and Kimbra, is in talks with Katy Perry about using her gowns in her next video. * The Cliffe, the historic 1894 Perth home of The Triffids, which has been part of a push by Triffids fans to be given landmark honours, has been bought for $3.251 million by Andrea Bux who founded Australian Style magazine.

music this month at the 550-capacity Roller Den at the Imperial Hotel in Erskineville. Its hip hop club Knowledge debuts on Saturday March 22 and indie club night Common People on Friday April 4. The Lewisham Hotel celebrates its return as a live music venue (bookings by Rhythm Section Management) on Saturday April 5. Front End Loader, Chase The Sun, The Lazys and The Morrisons play its 215-capacity room.

In related news, the Australian Arms in Penrith is for sale as owner Ricky Stuart has moved to Canberra to coach the Raiders. Disco Nightclub in Kings Cross is the latest to cop a strike under the three strikes disciplinary scheme for not having drink marshals.

LANSDOWNE: NEW BOOKER, BAND ROOM EXPANDED The Lansdowneâ&#x20AC;&#x2122;s owner Oscars Group is making changes to return the venue to its heyday, starting with a new sound system and lights. The pokies will be moved to expand the band room by 100 to 300. A bar wall will be knocked down to widen the stage, and the island bar from the old days makes a return. The hotel will continue operations during these changes. Oscars has appointed Nathan Farrell Entertainment to take over bookings from April 1, with NFEâ&#x20AC;&#x2122;s Josef Muller doing the honours. Farrell told us when asked about his vision for the venue, â&#x20AC;&#x153;The buzz word Iâ&#x20AC;&#x2122;m using is neo-Hopetoun, with a variety of styles of emerging and established bands to nurture the local live scene.â&#x20AC;? Oscars has been â&#x20AC;&#x153;very supportiveâ&#x20AC;? of NFEâ&#x20AC;&#x2122;s plans. NFE also books The Basement, The Jam Gallery in Bondi Junction and Newtown Festival.

MICHAEL CHUGGâ&#x20AC;&#x2122;S 50TH CELEBRATIONS KICK OFF Celebrations of Michael Chuggâ&#x20AC;&#x2122;s 50th year in the biz began at the International Live Music Conference in London. Eddie Vedder, Alice Cooper, Robbie Williams, Neil Finn, Luke Steele, Dallas Green, Jason Mraz, Robert Plant and industry associates sent wishes. Festivities moved to SXSW in Austin at a showcase of his Chugg Music label with The Griswolds, Lime Cordiale, Sidney York, The Creases, Parade Of Lights and JP Hoe. In Australia thereâ&#x20AC;&#x2122;ll be a charity event and the re-release of his biography with additional chapters. Chugg was 15 when he got into promoting in Tasmania.

RECORD ATTENDANCE FOR BLUESFEST? Bluesfestâ&#x20AC;&#x2122;s 25th year is heading for sellouts on the Friday and Saturday, director Peter Noble told us. It reached the 89% mark weeks back. Noble predicts, â&#x20AC;&#x153;either an equal record or record attendance based on current sales trend.â&#x20AC;? The bill includes Jack Johnson, John Mayer and Erykah Badu.






Just Announced Coming Soon

CREATE/CONTROL SIGN MORE LABELS Create/Control struck new partnerships with the USAâ&#x20AC;&#x2122;s Downtown Records and UKâ&#x20AC;&#x2122;s Mute for Australia and New Zealand. Downtown is home to Gnarls Barkley, Miike Snow, Santigold, Justice, Cold War Kids, David Gray and Mos Def. Mute grew with Depeche Mode, The Bad Seeds, Goldfrapp, Erasure and Richard Hawley with latest signings Ben Frost, Diamond Version and Swans.

NOMINATIONS FOR ART MUSIC Flying Circus feat. Bobby Keys & The   Suffering Bastards

Melb Ska Orchestra

Dark Tranquillity (SWE)

Thu 17 Apr

Fri 28 Mar

Sat 29 Mar

Mon 24 Mar

Nominations for the 2014 Art Music Awards are open until Monday May 12. There are 11 national awards and various state ones for contemporary classical, electroacoustic, improvised and experimental music, and contemporary jazz. See the APRA and Australian Music Centre websites for more.




Wed 02 Apr

Thu 3 Apr

Monster Magnet (USA)

Diva Fever feat. Deborah Cox

Fri 4 Apr

Sat 19 Apr

John Newman

DJ Premier & Pete Rock (USA)

Toxic Holocaust & Skeletonwitch

Skid Row & Ugly Kid Joe

Sat 26 Apr

Sun 27 Apr

Children of Bodom

Misery Signals (USA)

Band of Skulls (USA)

Tankard (GER)

Fri 16 May

Fri 20 Jun

Fri 11 Jul

Jonny Craig (USA)


Sat 10 May: All Ages

Fri 30 May

The Crimson ProjeKCt

Rebel Souljahz (USA)

Fri 27 Jun

Sat 27 Sep

Thu 1 May

Sat 3 May

Fri 9 May

Veteran producer Robie Porter has set up a new label, Wizard Country. The first signing is Sydney troubadour Ben Ransome. Porterâ&#x20AC;&#x2122;s move comes as he revives his own singing career after a 40-year break. Porter notched up hits as Rob E.G. in the 1960s. In the â&#x20AC;&#x2122;70s, he operated the Sparmac and Wizard labels, and produced hits for Daddy Cool, Rick Springfield, Air Supply, Hush, Marcia Hines and Tommy Emmanuel. â&#x20AC;&#x153;I gave up performing because I was too busy producing and running labels,â&#x20AC;? he said. His productions sold about 50 million over the years here and overseas, he estimates. Porter worked in the US after that, although he was forced to take a hiatus from music due to a problem with tinnitus. â&#x20AC;&#x153;That cleared itself up, so I got back into music.â&#x20AC;? Now based full-time in Sydney, heâ&#x20AC;&#x2122;s revived his Rob E.G. moniker, performing with guitarist Phil Emmanuel and planning to launch in May a Behind The #1 Hits show performing his hits and those he produced.

TAYLOR SWIFT TOPS LIST OF HIGHEST EARNING MUSICIANS Taylor Swift was the highest earning musician in the US last year, reported Billboard. She pulled in US$40 million, 75% of it from her concerts. Artists are ranked by US earnings from touring, record sales, publishing royalties and revenue from digital music and video streaming. Others in the top ten were Kenny Chesney ($32.95m), Justin Timberlake ($31.4m), Bon Jovi ($29.4m), The Rolling Stones ($26.2m), BeyoncĂŠ ($24.4m), Maroon 5 ($22.2m), Luke Bryan ($22.1m), P!nk ($20m) and Fleetwood Mac ($19.1m).

NEIL YOUNG LAUNCHES PONO Neil Young has launched his new digital player and music service, Pono, at SXSW, saying: â&#x20AC;&#x153;Once you hear this, you canâ&#x20AC;&#x2122;t go back.â&#x20AC;? The veteran rocker lashed out at the quality of MP3s (â&#x20AC;&#x153;shitâ&#x20AC;?) and of too many fillers on albums. Pono provides digital music at top studio quality so music sounds as it should be, and can store up to 2,000 songs. Elton John said, â&#x20AC;&#x153;I havenâ&#x20AC;&#x2122;t heard a sound like [Pono] since vinylâ&#x20AC;?. Fans agree. A Kickstarter campaign for Pono had a target of $800,000. In two days it raised $2 million from 70,000 contributors.

Lifelines Engaged: DJ and glamazon Ruby Rose and US fashion designer Phoebe Dahl, who runs online charity fashion company Faircloth. Engaged: two cast members who met while performing in a local Tasmanian production of Phantom Of The Opera got engaged onstage during a performance, after he started singing Jason Deruloâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Marry Meâ&#x20AC;&#x2122;. Injured: Johnny Marr broke his hand after falling while jogging in London. Injured: US loudmouth guitarist Ted Nugent has undergone a double knee replacement. Recovered: Kesha is out of rehab (for an eating disorder), and has dropped the â&#x20AC;&#x2DC;$â&#x20AC;&#x2122; from her name. In Court: when Mexican restaurant chain Chipotle sued Frank Ocean for not singing on their ad after they paid him $212,500, he sent them a copy of the cheque with the words â&#x20AC;&#x2DC;fuck offâ&#x20AC;&#x2122; scribbled over it. In Court: Melbourne-based Stormey Coleman, 37, former member of Tupac Shakurâ&#x20AC;&#x2122;s Outlawz, faced Melbourne Magistrates Court on charges he punched his then-girlfriend three times to the ear and left her without hearing for three months. He returned to court earlier this week. Arrested: an 18-year-old who sneaked backstage into a Miley Cyrus concert in Nebraska and tweeted her to say heâ&#x20AC;&#x2122;d left her a marriage proposal. Jailed: Townsville guitarist Joel Damien Baynes, 28, for three years, after stabbing a 62-year-old neighbour who asked him to stop playing his guitar loudly at 11:30 pm. â&#x20AC;&#x153;No bastard tells me to turn my music down,â&#x20AC;? said Baynes, whoâ&#x20AC;&#x2122;d just moved into the apartment block. Died: Victorian singer-songwriter, tutor and music researcher Dennis Oâ&#x20AC;&#x2122;Keeffe, 57, from cancer in a Warrnambool hospital. He was surrounded by his wife and sons Joel and Ryan from Airbourne. He wrote a book about the origin of â&#x20AC;&#x2DC;Waltzing Matildaâ&#x20AC;&#x2122;. When his death was announced at the Port Fairy Folk Festival, the crowd stood and sang the song in his honour. He also curated parts of the National Folk Festival in Canberra. Died: Jerry Corbitt of US band The Youngbloods, at his home in Texas. Died: George Donaldson, 46, of Celtic Thunder, from a massive heart attack.


8 :: BRAG :: 554 :: 19:03:14

BRAG :: 554 :: 19:03:14 :: 9


10 :: BRAG :: 554 :: 19:03:14


t’s not actually that long ago that Australian hip hop was a divisive, underground subgenre. Over the last decade it’s evolved from being a minority movement to a chart-dominating force and acts like Bliss N Eso now seem inextricably woven into the fabric of the local music scene. Ahead of the Sydney trio’s biggest tour yet, MC Bliss (AKA Jonathan Notley) recognises the role they’ve had in hip hop’s rise into the mainstream. “There’s a handful of groups that are really the pioneers of bringing the culture forward in the country,” he says. “First it was 1200 Techniques who had success on radio, then the Hoods were the first real big group. We were the second, equally as big group, and we led the way with them [and] a bunch of other acts. We’re very blessed and honoured to be a part of some of those pioneering artists.” The forthcoming Circus Under The Stars tour is yet another instance of the platinum-selling group breaking new ground. Bliss N Eso (completed by MC Eso/Max MacKinnon and DJ Izm/Tarik Ejjamai) will take over a stack of venues customarily used as festival sites, including Sydney’s The Domain on Thursday April 17. Also along for the ride are Melbourne MC Seth Sentry and Sydney duo Horrorshow. “This is definitely the biggest tour we’ve ever done and it’s probably the strongest lineup we’ve ever had,” says Notley. “It’s three super solid acts, so it’s going to be amazing. They’re all outdoor shows, it’s licensed and all ages so there’s no restrictions there. It’s exciting for us to do something on this scale.” Not only does the tour encompass a mammoth list of venues nationwide, Bliss N Eso will be backed by a live band for the first time. “That brings an entirely new energy to the show, which is fantastic,” Notley says. “The DJ’s still the heart and soul in terms of the beats that everyone knows, it’s just we’re adding onto that. It’s more embellished and a little bit deeper.” Teaming up with a full live band might seem like a curious decision for a group that’s very comfortably used an old-school MCs-and-DJ set-up since forming near the turn of the 21st century. However, Notley explains they’ve been toying with the idea of live backing for years. “We actually had a gig back in the day with a band called Truelive. It was just a one-off where the band


actually played all our beats for us live and it was amazing. The energy onstage was phenomenal and we were loving it. Ever since then we’ve always said, ‘Man, we’ve got to get a live band going!’” Thankfully, expanding the band’s personnel hasn’t forced the show schedule to be any shorter. In addition to playing in all major cities, the Circus Under The Stars will visit a large chunk of regional Australia. From the moment they achieved substantial success, Bliss N Eso have made an effort to take Australian hip hop into many of the nation’s less frequented regions. “We’re bringing hip hop to some of these regional centres who have never had hip hop shows before, ever,” says Notley. “We were the first group to do that. Even that is breeding more bedroom MCs, more artists that are coming up.” Speaking of MC-breeding, touring partners Sentry and Horrorshow are two acts advantaged by the gamechanging foundations laid by the likes of Hilltop Hoods and Bliss N Eso. On top of invading the airwaves, Bliss N Eso have long been determined to nurture younger artists. “We’ve pretty much always toured with local acts,” says Notley. “The Australian community’s pretty tight – we’re mates with most of these guys. It was a no-brainer for us [to say], ‘Well, let’s get Seth and Horrorshow involved.’” While Bliss N Eso and their fellow hip hop pioneers certainly paved the way for the wave of Australian performers rising up in the last few years, that doesn’t simply mean a bunch of sound-alikes emerged. Indeed, by now the collective tag ‘Aussie hip hop’ seems ill-equipped to account for the diversity of music being made. “When I’m driving around it’s amazing how often I hear Australian hip hop artists on triple j,” Notley says. “It freaks me out, there’s all these new artists coming out that I’ve never even heard of. The quality of the music is just getting so much better these days and it really has evolved so much from its humble beginnings. It’s really good to see and it’s inspiring.” Far from being superseded by the new crop of innovative acts, Bliss N Eso’s success has continued to grow – 2013’s Circus In The Sky, their fifth LP, was their second straight ARIA number one. Despite the commercial triumphs, they aren’t resting on their laurels just yet.

“Every time you put out a record,” Notley says, “you have to inject all your heart and soul into it, do the best you can. The main thing is you’re feeling it, that’s first and foremost. We don’t really go in with major expectations of, ‘We’ve got to sell this much,’ or, ‘We’ve got to hit this number of views on our videos,’ because that kind of thinking can sabotage the creative process. We just try to focus on the music and then if people like it, they like it. “I’m not going to lie – sometimes the external factors definitely play a part in our thinking. It’s almost impossible to totally cut it out because obviously you need to be aware of what’s going on in your career and make certain decisions based on what’s happening. But fundamentally the idea is to try to phase everything out and just focus on the music.” Notley and his longstanding collaborators have been working together since the late ’90s and their collective bond clearly helps to fend off outside contamination. Likewise, the trio’s perseverance through the scrutiny that was heaped on those early Aussie hip hop experiments allows them to truly appreciate their current position. “We’ve been together as a group for well over 15 years now and we’ve built this platform where we’ve got the attention of people. Sometimes you get a little bit burnt out by the years and years of plugging away and you just need to remember how hard you’ve worked to get here. It’s inspiring to go, ‘Fuck man, I’m sitting in this position where people care what I say.’ I can put everything into it and actually bypass what it was when we started; how hard it was just to get people to hear your music. “I don’t want to get complacent and lazy now,” Notley adds, “because that’s when the next generation is going to come up and basically take over. You need to remember where you come from, appreciate the fact that you got to where you are, realise how special that is and then embrace that.” What: Circus In The Sky out now through Illusive/ Liberation With: Seth Sentry, Horrorshow Where: Nobbys Beach Reserve, Newcastle / The Domain, Sydney When: Saturday April 12 / Thursday April 17 xxx




BRAG :: 554 :: 19:03:14 :: 11

Christopher Coleman Collective High Hopes By Garry Westmore harder as Coleman was still writing material that he had to ignore to keep his music chronological. More than anything, the songwriter was embarrassed about constantly promising his album would be out soon. Now the time has come, and Coleman says touring the album will feel “heaven-sent”.


here’s a common word thrown around when the music press writes about a Christopher Coleman Collective show: ‘captivating’. Coleman’s style of folk music shows off an incredible singing range and a songwriting

sensibility that swings between the observational and the personal, all with a subtle Australian accent. Or as Coleman laughingly puts it, a “North Hobart bogan drawl”. The Tasmanian native is looking to branch even further out from the

Apple Isle, particularly now his first album is done. “It was a long process,” Coleman admits of the recording. “It took two years to be remotely satisfied.” A hard process was made even

That’s no fair descriptor of his music, though. Coleman grew up inspired by the great storytelling songwriters like Paul Kelly, with Kelly, Paul Dempsey and others providing reassurance that a performer can sing in their natural accent. For Coleman, that accent is most present on the single ‘Dandelion Flower’, while the storytelling aspect of his writing comes out on the magnificent ‘Man In The New Sydney Hotel’: a partfact, part-fiction track Coleman wrote almost as a stream-ofconsciousness poem. “Generally the ones that stick are the ones that let the pen do the work,” he says.

“It was beautiful, it was such a great process. It was an overdub that just came in very late – we thought that the album was done, then I saw them in concert and it was a moving performance. I was struck with all these ideas thinking, ‘Could there be collaboration?’ And they were up for it, 30 people or so from all different walks of life, people who’ve lived on the street or have an intellectual disability or just people who sing to make themselves feel better – a great human collaboration, no ego on anyone’s part.” The ego applies least of all to the down-to-earth Coleman, though it makes him no less ambitious. He’s already thinking about albums two and three before he’s even toured the debut. “It’ll be interesting to see how long it takes to get the next couple of albums out – then maybe I’ll be on par with where I’m actually at creatively now!” What: Christopher Coleman Collective out now through MGM Where: The Newsagency, Marrickville / Grand Junction Hotel, Maitland When: Saturday March 29 / Thursday April 3

Christopher Coleman Collective photo by Kishka Jensen

Not to suggest some intervention from a higher power. Ultimately, the Christopher Coleman Collective record is the result of hard work. Coleman has been playing in bands in Tasmania and Melbourne since he was 17, and has built up quite the reputation as a live performer. So why the collective? They’re his songs, why not go solo? “I guess for one, it’s lonely [playing solo]. I like collaborating as well, it’s an everchanging lineup, so a personality comes in and polishes the turd in a different glitter,” he jokes.

Another standout is ‘Go Home’, a sweetly rising track that features The Choir of High Hopes Hobart. Coleman speaks glowingly about having the group on board.

The Scientists Evolution Theory By Augustus Welby


“There was a certain primitivism that went with it – primitive-ism, as opposed to just being primitive,” says founding Scientists vocalist and guitarist Kim Salmon. “The bands that we admired always were bands that had a huge amount of minimalism, like Ramones or The Cramps or The Stooges. They were bands about primal urges and sounds. That was something that always marked The Scientists’ approach.” It’s now roughly 35 years since the formation of The Scientists’ original lineup, which also featured drummer James Baker, guitarist Roddy Radalj and bassist Boris Sujdovic. The foursome quickly congealed and wrote a stack of enduring songs but they broke apart before ever recording anything together (Sujdovic had left the band by the time ‘Frantic Romantic’ arrived). However, they’ve regrouped at long last for a 35th anniversary tour this month. “We’ve got enough [songs] for a set, basically,” Salmon explains. “That was what we had. We wrote a lot

when we first started. We wrote a shitload, actually. We’re going to claim what was ours.” It might have taken 35 years to get back together under the Scientists banner but the band members hardly kept quiet in the intervening years. In 1981 Baker and Radalj helped to form the Hoodoo Gurus (then known as Le Hoodoo Gurus) and in 1983 Salmon, Sujdovic and Baker all reunited (next to Tex Perkins and Spencer P. Jones) in Beasts of Bourbon. The seed for this upcoming tour was planted during the Beasts’ 30th anniversary tour last year. “It was just an idea that Boris had when I was with him and James doing the Beasts of Bourbon thing,” Salmon says. “It occurred to Boris that we were just one member shy of the original Scientists – why not get Rod involved in it?” While the others had gone off to focus on other projects during the ’80s, Salmon carried on using The Scientists name for nearly ten years; releasing five LPs with an ever-changing list of band members and making several sound revisions. In fact, he’s never been content inhabiting any one songwriting guise for too long. “I’ve always been that way. The Scientists, we used to be shocking about that. In the [1982 single] ‘Swampland’ days – people would complain back then that we didn’t play ‘Swampland’. It’s nice when, just for the sake of vanity, people are interested in what you’re doing these days, because it’s much more interesting exploring new ideas.”

“I’ve looked to make music that excites me and other people. It could be it excites people in a very physical way, or it could be in an intellectual way, or it could be just emotional.” 12 :: BRAG :: 554 :: 19:03:14

The Scientists photo by Candy Goldsmith

simplified account of the Australian punk movement will suggest it comprised The Saints and Radio Birdman and that was essentially it, until post-punk and new wave took over in the early ’80s. However, punk rock didn’t just strike in the eastern states. ‘Frantic Romantic’, the 1979 debut single from Perth’s The Scientists, is an unkempt gut-punch that’s as vital and memorable as contemporaneous work by Buzzcocks or Ramones.

Salmon is someone who has never been short of ideas. When The Scientists called it a day in 1987 he promptly initiated the Kim Salmon and the Surrealists project. He’s also been integral to four Beasts of Bourbon records and, more recently, teamed up with Died Pretty vocalist Ron Peno in The Darling Downs and made records with members of Dirty Three and Spencer P. Jones. Salmon is a widely respected songwriter, but his career has experienced no obvious commercial peak. “After a period of time it becomes old enough for people to like,” he says. “For instance, it was hard to get people interested in [the Surrealists] after The Scientists, but after about ten years [1993’s] Sin Factory is an album that people really look back at.” Even if massive financial accolades aren’t coming your way, that’s no reason to stop writing songs.

Salmon remains unendingly prolific, but the reunions of the last few years show that he’s now also willing to dip into his back catalogue. “I’ve been really good in the last decade. I’ve played Beasts of Bourbon songs and Scientists songs. I just thought, ‘Well, that’s what they want,’ and now I’m grateful that people are actually interested in that stuff.” Even though Salmon is finally comfortable revisiting the music written by his younger self, the vast diversity of his catalogue and his hitherto refusal to draw from the past might mean there’s an insurmountable distance between him and these earlier creations. “In some ways I’m a very different person but in other ways I’ve got the same basic motivations,” he says. “I’ve looked to make music that excites me and other people. It

could be it excites people in a very physical way, or it could be in an intellectual way, or it could be just emotional. That is what I think I’ve always wanted to do. I’m not making relaxation tapes or meditations. I do definitely want to move people.” And, accordingly, getting people excited is exactly what The Scientists’ original incarnation excelled at. “That lineup was the most rockin’ of all lineups of all bands I’ve ever been in – I can say that. So it’s just a chance to rock. It actually literally was the most primitive. We had pop chord structures and things going on, so it was more the delivery that was primitive. We weren’t really virtuoso players, so consequently there was a lot of anarchy in the sound.” Where: Factory Theatre When: Friday March 28



Buy tickets now at BRAG :: 554 :: 19:03:14 :: 13

Twelve Foot Ninja Komikaze By Cameron James


e kind to one another,” instructs the message at the end of Twelve Foot Ninja’s latest video, ‘Ain’t That A Bitch’. Guitarist Stevic Mackay says there’s another message there as well. “Don’t fuck with us,” he laughs. Melbourne’s epic genre mashers have always enjoyed extreme opposites – in their music, their visuals, and their message. Listen to ‘Ain’t That A Bitch’ and you’ll get a good idea of what they’re about: hard rock, bossa nova organs and crooning pop vocals all share space in a song that’s either about a relationship or a murderous revenge against an internet troll. “Trolling used to be harmless, funny even,” Mackay says of the inspiration behind the clip. “But it’s gotten personal and dark. It’s become a serious issue for people who don’t have positivity in their lives. So our clip is a little reaction against that.” The band famously raised a record destroying $52,000 through crowdfunding site Pozible to film the music video which features martial arts, comic book effects, an actual troll and probably a metric tonne of fake blood. “It’s not an instructional video,” laughs Mackay. “But it was fun to live that fantasy.” (Seriously, just watch it.)

We’re in a time when musicians taking risks in sound and image are rare. Many acts tread the same ground as those preceding them in order to assure their safety in a fi ckle industry. But Twelve Foot Ninja could never be accused of just playing it safe. “A lot of people will only support what has been validated by the mainstream,” explains Mackay. “So it can be hard to make a career by doing exactly what you wanna do. But if you try to keep ingenuitive, and think outside the box, you open yourself up to a million more opportunities.” Opportunities such as Twelve Foot Ninja’s 12-page comic book – one page per song, released a week at a time in the build-up to the release of their 2012 debut album, Silent Machine. A pretty ballsy move. Who does that? Twelve Foot Fucking Ninja, that’s who. “The comic was something I wanted to do from the beginning,” says Mackay. All this adds up to make something more than just a rock band – Twelve Foot Ninja are a multimedia experience. Fans can now engage with these musicians through music, film and print in a way that

most other bands don’t allow. “We’ve tried to create a bigger world through our songs and clips. An ongoing story for people to follow. And taking it to the comic page was just the next step.” And the next next step is the tour. Right now, the band is taking its van

around the country in support of the album and the latest single. And with all this talk of trolls and comic books, how exactly does a Twelve Foot Ninja gig play out? “High-energy,” Mackay laughs. “Real high-energy. Eventually, we’d like to get to a place where we can bring the comic stuff and the video visuals

into the show as well. But for now, we just wanna keep smashing it.” What: Silent Machine out now through Last Chance With: The Algorithm Where: Manning Bar When: Saturday March 29

Allen Stone A Capitol Idea By Augustus Welby seems he had something else in mind. “On this record it’s probably more of a signature sound that I’m going for. I want to find my voice. Music is kind of all recycled, I think. We’re all doing the same notes that we’ve always been doing, but I think that you can keep it current by attempting to find your individual voice. So this newest record is more along the lines of that.” Obviously, attempting to find your own voice is not as simple as just opening your mouth and letting rip. Rather, it necessitates honing in on what’s uniquely yours. “When you’re heavily influenced by Donny Hathaway and Stevie Wonder,” Stone says, “there’s always that [thought]; ‘Hey, what would Stevie do in this situation? What would Donnie sing in this scenario?’ When I’m attempting to find my own voice it’s like, ‘What am I going to do?’ It’s not so much trying to figure out the blueprint of what somebody else did, it’s more attempting to find your own intuition.” Being self-reliant involves jumping into the unknown and thus facing some intimidating decisions. The other side of the coin is that, when no longer determined to pay direct tribute, one has greater freedom to explore creative possibilities.

“Music is kind of all recycled, I think. We’re all doing the same notes that we’ve always been doing, but I think that you can keep it current by attempting to find your individual voice.” 14 :: BRAG :: 554 :: 19:03:14


llen Stone’s two LPs (2010’s Last To Speak and 2011’s self-titled effort) proudly draw upon classic soul and R&B. Labelling something a ‘rip-off’ would imply mercenary motives, but even though Stone’s music closely channels his stylistic forebears, the intention seems far purer. “The last record was defi nitely my attempt to try to recreate the classic albums that I grew up with,” he says. “That styling of music of the late ’60s, early ’70s. [It] was me paying homage through songs that I’d written. Defi nitely a lot of the arrangements and a lot of the tones were attributed to paying homage to that era of music.”

The 27-year-old American songwriter has managed to attract a considerable following while actively honouring his musical inspirations. His growing popularity is additionally impressive given his first two records were self-released. Stone’s third album is almost ready to go and he’s now in cahoots with a record label. “I took the big leap into the big machine and I’ve signed with Capitol Records,” he reveals. “I just finished my new record. We don’t have a release date yet but you’ll definitely be seeing a single out in the near future.” With Capitol’s hefty wallet backing him up, Stone might’ve been tempted to repeat the tributary format with grander production details. But it

“If you’re paying homage to somebody you never want to fuck it up,” Stone says. “You don’t want to mess up what they would normally do or cause them any dishonour. When you’re trying to find your own voice, obviously there’s self-doubt, but it’s also very freeing because you’re like, ‘You know what? This is just me and hopefully people like it.’ And if not, then you’re shit out of luck – but at least I was true to my own self and my own spirit.” Stone is a native of rural Washington town Chewelah, which he still calls home today. He grew up with his father, a Christian preacher, and being around the church from a young age has greatly informed his major musical ambitions.

“Even though I’m not still a part of a functional religious church I take my music as almost a ministry as such. I want to play songs every night that people can participate in and sing along to and enjoy with me. I don’t want to get up onstage and have everybody be silent and everybody just listen to me. I want it to be a congregational event. “Really I’m just throwing a party for people every night. Obviously they’re there to be like, ‘I’m coming to enjoy myself. I’ve paid money to come and have a good time.’ You’re just ushering in that energy every night. It’s a privilege – it’s one of the funnest jobs there’s got to be.” Stone brings the party to Australia next month to perform at the Bluesfest 25th anniversary festival. As always, the Bluesfest lineup includes artists from several eras of popular music. Stone might primarily draw on classic sounds but he is also well aware of his contemporaries. “It’s always really special to get to play festivals. I’m definitely pumped for Erykah Badu. India.Arie, I know her actually; she’s a Seattle compadre but I’ve never actually gotten to chance to see her live. Gary Clark, I’ve seen him many times and he’s a buddy of mine – always a good time. I’ve never seen John Mayer live, actually. Say what you will about the guy’s personality, but as far as a musician goes he’s unbeatable on his guitar. “I’m more of a fan than I am a performer. I’ll go fangirl-out to seven or eight hours of music after I’m done playing. That’s the most exciting part for me.” What: Metro Theatre When: Sunday April 13 And: Also appearing alongside John Mayer, Dave Matthews Band, Devendra Banhart, India. Arie, Joss Stone, Jake Bugg, Passenger and many more at Byron Bay Bluesfest, Thursday April 17 – Monday April 21


So how does a band get away with such an eclectic mix of sounds and

media in today’s instant industry? “We started this band with an idea for musical freedom,” says Mackay. “We’d probably get bored if we just did the one thing forever.”



Featuring Diplo, Chance the Rapper, G-Dragon, CL and KilltheNoise..

BRAG :: 554 :: 19:03:14 :: 15

The Soul Rebels The Pro Game By Adam Norris umar LeBlanc from The Soul Rebels has one of the most evocative names you’re likely to come across in the next few paragraphs. Even more impressive is the man’s voice; a deep, New Orleanian blend of Barry White and Jesse Duplantis. He is charismatic and attentive, though one does get the impression that after innumerable interviews there’s nothing he hasn’t been asked before, and he’d rather get back to practising before the next tour is underway.


“As you get older your management puts in all these different routines and schedules, and that lets you settle down some. We are a large group, but all of the guys are totally respectful of each other, because that’s the only way you can make it on the road for so long. You gotta respect and get along. It does get hard, sure. The luggage alone post9-11, the security checks at the airports, it gets to be pretty hard. The reward is you get to play your instrument for fans. You get to keep giving that love through your music.”

In fact, for the duration of our interview the sounds of rehearsal can be heard in the background – “How about we go like, say, one-twothree BOOMBOOMBOOM” – as the brass section comes alive and laughter slides between notes. It’s an interview and performance all in one, and it strikes me that with so much energy, so much spontaneity in an eight-piece band, perhaps LeBlanc might once have worried that the logistics of touring such an ensemble might become too great.

One of the most common observations of The Soul Rebels in action is that they seem like some unusual party that somehow stumbled onto a stage, something thrilling and chaotic. Their audiences seem just as engaged, and the Rebels have developed a nearunassailable reputation as a band you have to witness live to truly appreciate.

“Well, when you first start all you want is to play,” he rumbles. “When you play music and get paid for it, you realise that you’re a professional, but you don’t realise – and being so young when we started, we were all just doing it out of love – you don’t realise the truth about travelling, the heavy instruments, staying in hotel after hotel, waking up early to drive for hours on end, when all you really want to do is play your instrument.

“You have to be first mentally and physically fit to perform, because the tour schedule is so gruelling,” says LeBlanc. “You have to constantly create material, you have to be in tune with your body, your soul. We connect with the people, we kind of vibe off the energy of the people. From the outset, from the very first note of the show, we’re able to exchange or transfer that energy, and it all goes from there. I mean, we have a setlist that we’ll stick to, but we like to kind of be spontaneous with the energy of the people. It helps.”

It is through their collaborations with other acts that they first began to receive serious attention outside of New Orleans, and before he returns to rehearsals I ask LeBlanc about the invitation they received from Metallica to share the stage with them at the Fillmore in San Francisco for three consecutive nights. I swear I can somehow hear his face light up. “Oh, it was a dream. It was euphoria! I mean, we really were

focused on doing the job; we’d had to practise all the songs and be really intense with our focus. But on an inner, spiritual side, it was really a dream! I mean, I just couldn’t believe that here we are playing with Metallica, one of the greats of music, and they were so accommodating. I can’t tell you; it was just a great feeling, and that put us in another level, it really brought us into the public eye. So far I feel like we’re very blessed.

I just hope we can continue to grow.” Where: The Basement When: Wednesday April 16 And: Also appearing alongside John Mayer, Dave Matthews Band, Devendra Banhart, India. Arie, Joss Stone, Jake Bugg, Passenger and many more at Byron Bay Bluesfest, Thursday April 17 – Monday April 21

The Wailers High Ideals By Augustus Welby to Earth and perform these miracles.” Whether or not you’re prepared to agree with Barrett’s weighty assertion, the enriching quality of Marley’s music is hard to deny. However, Barrett’s time leading The Wailers hasn’t entirely been characterised by peace, love and understanding. The bassist has received no royalties since Marley’s death and consequently he’s been in a legal dispute with the Marley family for a number of years. His legal demands haven’t yet been met. “Bob’s family, the Marleys, they have everything in their custody, but I am the producer and the arranger for the albums,” he says. “Universal [Records], they’re a good company. The family, I have to wait around for them to do the proper things.”


lthough Bob Marley passed away from a melanoma in 1981, the lengthy list of peace anthems he released with The Wailers are still full of life. Following the iconic Jamaican singer’s death, Aston ‘Family Man’ Barrett (The Wailers’ bassist from 1969 onwards) took charge of the bereaved band and recommenced touring Marley’s tunes all around the world. It’s now 33 years since the reggae messiah departed, and although the lineup has undergone much reshuffling over the years, Barrett remains an invigorated bandleader.

16 :: BRAG :: 554 :: 19:03:14

“We get inspiration by the time we are living in, experiences, what is going on across the globe. These lyrics, they’re our realities and we love to tell it like it is – uncut, without commercials,” Barrett says. “This message is for all ages. It’s for past, present and the future. The Almighty inspired us to give these words and play this type of music, which is the reggae.”

It’s well known that Marley was a devout follower and advocate of the Rastafari way of life. The Rastafari movement, an Ethiopianinspired offshoot of Christianity, is closely tied to the development of reggae music and the ideology features prevalently in Marley’s lyrics. Barrett, too, has a spiritual predilection, which has motivated him throughout his longstanding position in The Wailers. “All of our songs are redemption songs. ‘Exodus’: ‘Movement of Jah people’. We will be forever loving Jah,” he says, borrowing another Marley lyric. “This music is coming from the throne of King David and King Solomon and it’s coming also from the Psalms. And we are the archangels chosen from the heavens to come down

“What we always say [is] that some is leaves and some is branches but I and I is the root. Keep the music in the authentic style and way,” Barrett says. “To all you fans in Australia, Family Man and The Wailers is coming your way. We want you all to come out at the shows – come out early and stay late.” The Wailers are no strangers to our shores, having toured with Marley way back in 1979 and returned several times since. Projecting the eternal message of Marley’s tunes is one reason for coming here, but there’s a few other things luring Barrett Down Under.

The Wailers will perform at this year’s edition of Bluesfest as well as a string of headline shows around the country with fellow Jamaican musical luminaries Sly & Robbie. Jamaica has given birth to some very liberated music, but the Caribbean nation still has its fair share of social unrest and violent crime. The Wailers remain a politically active force, currently driving the World Food Programme’s I Went Hungry campaign, which essentially takes money intended to stock musicians’ excessive backstage riders and puts it towards feeding those in dire need. In addition to their philanthropic efforts, Barrett believes something vitally important is presented onstage every night. “It’s good to let [the audience] all know that this music is so special. Coming from our little island, Jamaica, and spread globally. It’s not like any other – it’s Jah music. Reggae music is the art of the people, the universal language that is loved globally. If you have reggae feeling in you, you have to move your feet. ‘One good thing about music,’” sings Barrett, ‘when it hits, you feel no pain.’ So why worry? Be happy.” With: Sly & Robbie and The Taxi Gang Where: Enmore Theatre When: Saturday April 19 And: Also appearing alongside John Mayer, Dave Matthews Band, Devendra Banhart, India. Arie, Joss Stone, Jake Bugg, Passenger and many more at Byron Bay Bluesfest, Thursday April 17 – Monday April 21


“We love it all the time, man. We love this music, we love playing it,” Barrett says, speaking in a relaxed Jamaican drawl. “The reggae music is an international language; voice of the people.”

It’s no surprise that audiences continue to flock to hear uplifting Bob Marley and The Wailers classics such as ‘Redemption Song’ and ‘Is This Love’ played live, but how does the band maintain the music’s original spirit and vitality? Well, Barrett and his accomplished associates don’t have to strain too hard to match the messages in Marley’s songs with issues in contemporary society.

No matter how complicated the legal situation is, Barrett can’t be dissuaded from performing the songs. The Wailers come to Australia to celebrate 30 years since the release of the best-of compilation Legend (one of the highest-selling albums of all time). To mark the milestone, they’ll be playing the album from start to fi nish at their Australian shows.

“[Coming to Australia] is a treat every time. Last time in Australia I remember going up into the rainforest in Queensland where I [ate] some sweet potato which I don’t have to cook. A special kind of sweet potato, in Queensland in that rainforest, it was very fruitful. We spent most of the time in Sydney at the beachfront.”

SAT22032014 2100_0300 —










55 + BF



33S 53’ 11.5002 | 151N 11’ 14.9742 BRAG :: 554 :: 19:03:14 :: 17

arts frontline

free stuff head to:

arts news...what's goin' on around town...with Hannah Warren and Andy Huang

five minutes WITH



ell us about Milk Crate Theatre. Milk Crate Theatre works with an ensemble of artists who have experienced homelessness or social marginalisation. The work is honest, challenging and tenacious. The company started as a joint project between Darlinghurst Theatre Company, Wesley Mission’s Edward Eagar Lodge and South Sydney Council in 2000. The intention was to create an artistic space that engaged the local community. Milk Crate Theatre has since flourished into a fully incorporated company. It is now a Key Producer for Community Partnerships with the Australia Council for the Arts – one of eleven organisations nationally recognised for its excellence in the community arts sector.




What was the inspiration for You Are Here? You Are Here started through a writing workshop with Artistic Director and playwright Maree Freeman and seven ensemble artists. The workshop centered on the question: why do things happen that we all collectively agree shouldn’t happen? In response, each ensemble artist told stories they had heard of or experienced themselves. These themes and stories were woven into the play as verbatim text, provocations and direct address. You Are Here is one of Milk Crate Theatre’s community shows, which use forum theatre to interact with an audience to generate solutions to systemic problems. You Are Here explores youth homelessness through Hood, a 14-year-old boy currently rough sleeping; 40% of people currently experiencing homelessness in Australia are under the age of 25. What’s the overall message? You Are Here invites the audience to consider what would they do if they witnessed someone in crises. Would they take action? Or would they walk past? The play presents both sides of the coin and explores the reasons that hold us back from taking action as well as the reasons why we should intervene. The play acknowledges the demands on our time and


safety and how these reasons hold us back from taking action when we feel we should. The Forum Theatre style allows audience members to creatively brainstorm ways in which we could intervene without jepordising our own safety. You Are Here is a series of separate stories – can you tell us one? All of the characters in the play have complex lives with different demands on their time. One of the characters, May, struggles with a gambling addiction. We see her reach out to different people in the play wanting help. There is a strong juxtaposition at the core of her character, she wants to win the jackpot but she also wants to stop. The play sheds light on how her addiction plays tricks on her sense of reality. There is a powerful scene in the play when she enters a pokies joint at 10am and when she leaves it’s dark – she has no idea how long she has been inside and how much money she has spent. What: You Are Here When: Wednesday March 26 @ The Wayside Chapel, Friday March 28 @ Newtown Neighbourhood Centre Web:


MurderDrome has everything you could ask for in a fi lm – a roller derby rivalry, a meat hook wielding demon on skates, and romance. Oh, and some pretty kickass local music. Here at BRAG HQ, we have a pretty special giveaway package to celebrate the release the first ever roller derby slasher extravaganza. We have one copy of MurderDrome on DVD, one copy of The Mercy Kills CD (Happy To Kill You) and one copy of The Dark Shadows CD (Autumn Still) all bundled up together in a package of cinematic musical goodness. To enter, head to and tell us what sport-centric horror fi lm you think should be made next.


The Vivid Ideas program is now live, and Early Bird tickets to selected events are now available. More than a dozen venues through the CBD and inner west will burst with electric ideas, challenging, empowering and inspiring conversations and workshops with creative thinkers and doers from around the world during this program. Early Bird ticket offers are discounts on signature event keynote speakers. Adults $25 + bf, Concession $22.50 + bf; and group buy discounts on purchases of 5 or more tickets to selected signature events. Signature events with Early Bird offers include Mike Giant and Joshy D (REBEL8): On Collaboration, Commerce and Credibility in Youth Culture; Skylar Tibbits: On Shaping Future Manufacturing; Candy Chang: On Making Art to Make a Difference; Ryan Holiday: On Marketing, Media and Manipulation; Gadi Amit: On Designing Devices We Love; and Sara Critchfield: On Media, Marketing and Making People Care. Early Bird tickets are available at


Screen icon Isabella Rossellini is coming to Australia to perform her new, weird stage show Green Porno, a one-woman comedy about mating in the natural world in which she delves into the sex life of a number of land and marine animals. Green Porno began in 2008 when Robert Redford encouraged Rossellini to create short environmental films for his Sundance TV Channel. The series ran for three seasons and saw Rossellini dressed in an odd variety of insect and sea-

creature costumes as she described and, more importantly, enacted the mating rituals of various wildlife. All in the name of science. Written by Rossellini – who is studying animal behaviour at Hunter College in New York – and Jean-Claude Carrière, Green Porno mixes live performance with several of the short films. Each story, read and performed on stage by Rossellini, is scientifically accurate and shows her as a particular animal. Isabella Rossellini performs at City Recital Hall, Angel Place on Saturday March 22 and Sunday March 23. Tickets are available through cityrecitalhall. com.




18 :: BRAG :: 554 :: 19:03:14

Sherlockians, Tolkenists, Trekkies, fi lm buffs and theatre afi cionados listen up – Benedict Cumberbatch himself will be at two exclusive Oz Comic-Con Q&A events in Sydney. Best known as Sherlock Holmes, Cumberbatch is also the man behind the dragon as Smaug in The Hobbit trilogy, and the superhuman villain in Star Trek Into Darkness, as well as roles in 12 Years A Slave and August: Osage

County, and both Victor Frankenstein and his creature in the Royal National Theatre production of Frankenstein. Cumberbatch will headline two intimate Oz Comic-Con events featuring a moderated Q&A, and autograph and professional photograph opportunities for ticket holders at the Science Theatre at UNSW in Sydney on Saturday April 12 and Sunday April 13. Tickets to the two exclusive Sydney ComicCon events featuring Benedict Cumberbatch are on sale now at

RAW Byron Bay

The NSW State Final of the 2014 RAW Comedy competition will be held on Wednesday March 19 at the Sydney Comedy Store. More than ten heats and two semi finals have been held across the state ahead of the State Finals, the winner of which will go on to compete in the National Grand Final as part of this year’s Melbourne International Comedy Festival. The State Final will be hosted by Tommy Dean of the rock god hair who has previously appeared on Spicks and Specks, Good News Week, Stand Up Australia, Rove Live, Joker Poker, Sunrise, The Today Show, and The Sideshow. 2014 RAW Comedy NSW State Final is at The Comedy Store.


Lucinda Dunn OAM will take her final bow at the end of the Manon season following an unprecedented 23-year career with The Australian Ballet. One of Australia’s most loved and respected ballerinas, the principal artist and mother of two announced that she will retire following her final performance in Sydney on Wednesday 23 April. Throughout her career Lucinda has been awarded several scholarships to study overseas, and has partnered many international guests. In 2011 Lucinda celebrated 20 years with The Australian Ballet, making her the first woman to have danced 20 years consecutively with the company. In January this year, Lucinda was awarded the Medal of the Order of Australia for her service to the performing arts through ballet. Lucinda will dance the lead role in Manon in selected shows from April 3 to April 23 in the Joan Sutherland Theatre. Get your tickets at


RAW Sydney is launching its first showcase for 2014. On Friday March 28, MOSAIC will bring together more than 40 artists, spanning fashion, visual and performing arts, music and more, for a one night only extravaganza at Manning Bar. RAW’s mission is to provide independent artists of all creative genres, with the tools, resources and exposure needed to inspire and cultivate creativity. RAW connects artists with one another so that they might grow together. RAW hosts events in 60+ cities across the U.S., Australia, Canada and the U.K. “We hope to give a voice to emerging artists in Sydney from all creative backgrounds. RAW is not only about art, but also about community, and we hope to continue to build and add to that here in Sydney,” says Executive Director Kristen Wehlow. Doors open at 7:30pm, and tickets are $15 (+bf) through or $20 on the door.

xxx photo by xxx

Surry Hills-based conceptual art studio and motion design platform Supervixen want to answer the questions of what makes multimedia content engaging; and how we make content that captivates hearts and minds. They’ve organised Affected, a night of curated content – handpicked by Supervixen – that’ll feature short films, music clips and videos from deepest and most illuminating parts of YouTube. It’s a discussion-based forum that not only will feature some of the most interesting content from around the globe, but will seek to show what makes a great piece of content. Also, there’s free Messina. Yep. Affected is on Wednesday March 19 from 6-8pm at The Playground on William Street. Tickets are from $22 and include Messina. Purchase them through Eventbrite.


A Repertory Season at the





FILM & TV SCHOLARSHIP COURSES 2 brand new heavily subsidised training courses designed to meet industry skills shortage Post Production Only 15 places available to specialise in Editing and Post Production April – December 2014

Assistant Director Only 15 places available to specialise in Film & TV Assistant Directing April – June 2014

APPLY BY 9 APRIL C E N T R E F O R S C R E E N C R E AT I V I T Y BRAG :: 554 :: 19:03:14 :: 19

The Pride

Brendan Ewing and Adriane Daff in The Pride

[THEATRE] Just Lion Around By Kate Robertson


In The Pride, Bruce is the alpha male threatened by his stronger and more attractive neighbour James. “The scenario about coming in and taking over the family sounds really brutal and far from the human experience… [but] as soon as you put love into that scenario and rationalise these behaviours with human emotions they become a lot more palatable, but the similarities are quite striking in terms of the cyclical nature of the relationships,” says Pepper. She proposes that The Pride is essentially “a reverse coming of age story, in the sense that it’s about a guy who’s past his prime and is losing his grip on his power, and it’s about him becoming less capable and a bit redundant – it sounds a bit bleak but we do it in a funny way”.

ollowing two seasons in Perth and one at the Edinburgh Fringe Festival, the awardwinning tragi-comedy The Pride is premiering in Sydney this week. Zoe Pepper, the writer and director, spoke about lions, humans and the surprising similarities between the hunt for power in the savannah and in the suburbs.

Pepper is quick to point out that The Pride is a collaborative work, and that she wrote the play with the three cast members – Adriane Daff, Brendan Ewing and Russell Leonard. “In the writers room I always work collaboratively with my actors, so we generated the script through improvisation and then we transcribed a lot of the improvisations and whittled them down to get to the script, so it’s very much a project that myself and the three cast have a lot of ownership of and put a lot of ourselves into”.

The Pride is “an irreverent comedy that has a dark side that creeps up on you” and the most obvious comedic element is in the costuming, with cast wearing what Pepper calls “very daggy lion suits”. Did this humour translate to an overseas audience? “We got some really great reviews and we got nominated for an award [the Total Theatre Award for Innovation, Experimentation & Playing with Form], so it was a pretty successful run – Edinburgh is a notoriously tough market … People found it confronting how much it sat on the line between tragedy and comedy and it flicked between the two in an instant really, and people found that really different and unusual”. What: The Pride Where: Bondi Pavilion Theatre, Bondi Beach When: Thursday 20 March – Saturday 5 April More: Xxx

The Pride is, at its core, a story about a family. “The starting point for it was taking the social patterns of lions and what happens if you gave the behaviours of lions human sympathies and human characteristics, and looked at the similarities between lion behaviour and human behaviour”, says Pepper. “We looked at this one aspect of lion behaviour called the takeover – normally in a lion pride there are three or four lionesses and then one lion who is the head honcho of the lion pride and he starts to get old and there are other lions who will challenge that lion for his pride and they fight to the death – usually the young lion wins… we looked that scenario and overlaid it on a human context”. So she must have watched a lot of David Attenborough documentaries as research? “I did do a bit of a David Attenborough marathon”, she laughs.

Pepper insists that the play is “so much more about the physical than the text in a lot of ways, more like how it is in a conversation in real life”.

Tori Wrånes [VISUAL ART] Sights And Sounds By Pamela Lee The Norwegian artist, who started as a rock star slash actress, graduated from the National Academy in Oslo in 2009 and took the contemporary art world by its horns, addressing human presence and expanding concepts of reality across different genres, blending theatre, visual arts and music.

Tori Wrånes


his year’s 19th Biennale Of Sydney, for all its controversy, promises to be an exhibition of splendor and rapture, with a kaleidoscope of nationalities, artistic practices, and creative explorations, and Tori Wrånes is an artist who fits perfectly into the theme: You Imagine What You Desire.

“The work is always very different, I work without any rules. Because my work is timebased I have to be able to change things and take risks. Some things I can’t decide until I’m actually there because I don’t know whether the sun will be high or low, if the weather will be crazy or even how I will feel in my body that day. How are the rest of the performers and also all the audience, the people who come to the space and the space itself? There are so

What’s promised is a one-off demonstration of the sort of contemporary art that immerses audiences in creative exploration and experience. It will be both a visual and sound focused piece, as Wrånes sees no need to separate the two. “It seems to be difficult to separate the sound and the visual, what you hear, see and smell. Music and art are very much the same to me. It is just the techniques that are different, but it’s still about rhythm, temperature, colours and dynamic. When I sing it’s so close to painting, it’s natural to hear colour and see sound, to me it’s really natural that sound and image are so related. When I work with voice and sculpture it can go both ways, I can either make them say the same thing or let them go in different directions. I think music is very strong, it goes directly into the nervous system so it interesting to challenge the power of the two different mediums as they are extremely connected.” We do know that she has solicited a crew of volunteer open-minded dance performers – emphasis on ‘interesting characters’ – to be choreographed by Norwegian Tomas Glans

alongside Wrånes’ performance crew, with a menagerie of fantastical creatures conjured from her playful imagination in a direct response to the historical and physical landscape Cockatoo Island. “I was on a site visit half a year ago when I decided what I wanted to do in a reaction to the space. I really love the space; it’s totally amazing. They are doing an incredible job of reconstructing the old frames and I love the old industrial buildings. I think the performance on Cockatoo Island is me meeting this incredible space.” My interview with Wrånes, a twinkle in her eye and mischief in her voice, is punctuated by animated hand, voice and facial expressions, and her passion for her work is clear: “Sometimes it is necessary not to explain everything and just to do it because there is a physical need in the body to actually see it there, why not have it there… why not?” Who: Tori Wrånes What: 19th Biennale Of Sydney When: Saturday March 22 and Sunday March 23 Where: Cockatoo Island

A Moment on the Lips [THEATRE] Very Ladylike By Stephanie Yip built on great writing, and a beautiful balance of humour and pathos. And that’s kind of how it started.”

The cast of A Moment On The Lips

For those unfamiliar with the piece, it’s an examination of the personal relationships of seven really different characters with intertwined lives. “They’re all in their late-20s/early-30s,” says Barrie. “It’s a stage in life when they’re making those vital decisions, assessing what their lives have been like since high school.”


hen Offspring writer Jonathan Gavin wrote A Moment on the Lips in 2001, he had specific actresses in mind for its seven characters. In fact, it was these specific thespians, the likes of whom included Caroline Brazier (Rake) and Susie Godfrey, who implored him to create the play after complaining of the lack of opportunities for women in the theatre. More than a decade on, and it’s Claudia Barrie, Mad March Theatre Co.’s producer, creating these opportunities. “Last year I 20 :: BRAG :: 554 :: 19:03:14

performed in a show at the New Theatre called Top Girls,” says Barrie, who yes, produces and acts. Similar to A Moment On The Lips, Top Girls was comprised of an all-female cast. “Seven women, there’s no room for men!” jokes Barrie. “It was such a great play with great roles for women, and we were talking about doing another show together. Quite a few of us took that on board and one of the cast members, Sarah Aubrey, saw A Moment On The Lips ten years ago and thought of it straight away. It was a great Australian play

Due to prior commitments, only three of the Top Girls actors were able to commit to this reprisal, which allowed Beth Aubrey to take centre stage. The name may sound familiar; she’s the little sister of Sarah Aubrey, A Moment On The Lips’ initialiser and co-producer. “She’s like my knight in shining armour,” says Barrie. “Sarah’s sister Beth graduated from NIDA a couple of years after her – Beth’s a little younger than Sarah. They’ve always wanted to work together but never have, so when Sarah and I decided to do the play, we knew Beth was available, and she loved it and is a beautiful actress.” Could the circumstances be any more ideal? Why yes, they could. Because the characters they had in mind for the Aubreys to play were sisters, Jenny and Victoria. “Those two roles were perfect for them,” says Barrie. Sure the sisters aren’t exactly like their characters in real life – rendering their ability

to encapsulate them a testament to their on-stage talent – “but the chemistry they have as sisters … you can’t fake that! ... The scenes they have together…” Barrie shakes her head in amazement. “You see it! We joke about it in rehearsal. You just see it – it’s great! Sometimes it’s like watching the Aubreys at Christmas”. For those familiar with the play, whether you witnessed the debut years ago, or are an avid Offspring/Gavin fan like Barrie – “He has this ability to write women really well … He’s quirky. The character relationships, the manipulation, he’s got it spot on” – expect something new. “It’s very much our own interpretation,” says Barrie. “It’s a very different production – different director, different actors, different style, and it’ll sit with the audience a different way as initially it takes place around September 11, which we’ve had time to process by now.” But the brilliant, honest stories remain the same. “Because isn’t that what you want when you go to the theatre?” asks Barrie. “You just want to be told a good story.” And here, you’ll get seven. What: A Moment On The Lips Where: Old Fitzroy Theatre, Woolloomooloo When: Tuesday March 25 – Saturday April 12

photo courtesy of T

Wrånes will perform twice during the Biennale’s opening weekend on Cockatoo Island, the Biennale’s experientially focused venue, using costumes, props, architecture and sculpture to deform her appearance and create new constellations. What the performances will actually entail is still somewhat of a mystery, even to Wrånes herself who builds unique site specific experiences that reflect the location, human energy, her own mood on the day and weather conditions.

many unpredictable factors that are relevant for making each piece.”

Film Reviews Hits and misses on the silver screen around town

■ Film


■ Film


Waad Mohammed as Wadjda In cinemas 20 March

From March 20, Dendy Cinemas Newtown

Occasionally an artistic work comes along where the piece itself, its construction and design, takes a backseat to what the work represents. Take artist Marcel Duchamp’s revolutionary 1917 sculpture, Fountain; while the piece is an everyday object (a urinal), its continuing significance lies not in composition, but in how it completely challenged the definition of art.

Director Rithy Panh’s (S21: The Khmer Rouge Killing Machine) Academy Award nominated documentary, The Missing Picture, shows the violence and terror of Cambodia’s Khmer Rouge regime through scenes of clay figurines intermingled with archived propaganda footage. It is a film that works multitudinously: as a survivor’s testament, a work of art, and a creation of images of human resilience absent from official documentation.

Similarly the importance of Wadjda does not lie solely in the content of the film but in what it represents and how the world has changed as a consequence of its existence. Not only is it the first full-length feature shot entirely inside Saudi Arabia (where theatres and cinema are still banned), but it’s also the first feature-length film made by a female Saudi director, Haifaa Al Mansour.

The examination of the role of women and their varying reactions to their societal and religious ‘place’ in Saudi culture makes this film unique. The young Wadjda, yet to be fully culturally indoctrinated; her mother’s enforcement of the ‘rules’ which begins to wane as her own needs go unfulfilled; and Wadjda’s strict head mistress who represents the most disturbing product of this culture – when the oppressed become the oppressors, perpetuating the cycle of subjugation.

The Missing Picture is an adaptation of the autobiographical sections of Panh’s book The Elimination (2013). This continues Panh’s career-long examination of the Khmer Rouge in his films, tracing untold stories and unforgettable terrors. The Missing Picture takes a bold imaginative leap, depicting scenes featuring unanimated clay figurines (created by Sarith Mang) interspersed with official Khmer Rouge propaganda footage. The clay figurines are simple and childlike amid overwhelming darkness and brutality. Their highly stylised and static nature contrasts with the flurry of activity in the labour camps displayed in official footage. Each figure is handcrafted and painted slowly and laboriously, the value placed on the figurines conflicting sharply with the cheapness of life under Pol Pot’s rule. The film is narrated by Randal Douc in Panh’s native French, which ties the different formats together and maintains an engaging pace throughout. However, at times there is a lot of reading if you are watching with subtitles.

While the film does lack pace, this is nonetheless an inspiring and important piece of cinema and will hopefully increase transparency of this shrouded part of the world.

In The Missing Picture Panh creates an alternative to history; the depth of sadness and beauty fills in the humanity missing from the Khmer Rouge’s records.

Lee Hutchison

Harriet McInerney

THE RAID 2: BERANDAL In cinemas Friday March 28 2011’s Indonesian breakout success The Raid was an action film of breathless purity; so single-mindedly dedicated to nutso fight choreography and a tactile rendering of physical pain that it took on the quality of a demented slapstick musical. It was the film analogue to Slayer’s Reign In Blood, and for his follow-up, director Gareth Evans has gone the moreis-more route; The Raid 2: Berandal is bloodier, longer at a numbing 148 minutes, unconfined to a single location, but most detrimentally, plottier. Which isn’t to say The Raid 2 doesn’t deliver

sporadically. The fi lm’s plot is surprisingly hefty; cop Rama (Iko Awais), a survivor of the first fi lm’s hellish tower raid, goes undercover to bring down corrupt politicians. Naturally it devolves into incomprehensibility, but the patches of exposition at least function as breathers (or for less sympathetic viewers, an invitation for a bathroom break) in between the jaw-dropping action scenes. Even at the two-hour mark, a carnage-fi lled car chase scene involves you on a sensory level; it’s one of the best scenes of its kind in recent memory, and alone is almost worth the price of admission. Additionally, the first fi lm’s single location and grimy interiors didn’t offer a lot of visual interest, but the scale and various locales of the sequel allow

for striking compositions, from its arresting opening vista to the gangster dens, evocative of The Shining’s Overlook Hotel. The fi lm’s climax, however, with its endless succession of gory ‘showstoppers’, is difficult to sustain enthusiasm for, and if the sadism of the entire enterprise didn’t rankle before, it certainly will by then (to say nothing of the troubling suggestion that women are only of value if they have insane hammerfi ghting abilities). Evans’ skill at making you wince remains beyond reproach, but he’s less adept at making you care – there’s a good reason Slayer never released a doubleLP concept album, and he should’ve followed suit. Ian Barr

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


The Winter's Tale photo by Michele Mossop

Wadjda (Waad Mohammed) is a 10-yearold girl living in the Saudi capital of Riyadh. With hopes of racing a neighbourhood boy she becomes fixated on a bike at a local store, an idea her mother (Reem Abdullah) refuses to entertain as it clashes with The Kingdom’s tightly held gender roles. As her mother becomes increasingly distracted by Wadjda’s father’s attempts to take a second wife, our young heroine begins an enterprising journey to make the bike hers.

Panh was eleven years old when the Khmer Rouge took power in 1975. He and his family were forced out of Phnom Penh and into labour camps, rife with hunger, sickness, torture and executions.

■ Film


See for more arts reviews

Arts Exposed What's in our diary... Ron Howard and Jay-Z

To Kill A Mockingbird New Theatre, Newtown, until Saturday April 19 This week, we’ll be down at New Theatre enjoying To Kill A Mockingbird. Adapted from Harper Lee’s classic novel (obviously) and directed by Annette Rowlinson, To Kill A Mockingbird tells the timeless story of nine-yearold Scout, whose world is turned upside down when her widowed father lawyer Atticus Finch, defends a young black man accused of raping a white woman. Although the story remains set in the Deep South in the 1930s, the story is one that remains relevant today in contemporary Australia. Grab your tickets from

To Kill A Mockingbird

Made In America is the joint effort of Academy Award-winning filmmakers Ron Howard and Brian Grazer (A Beautiful Mind, American Gangster) and Grammy-winning superstar Jay-Z. It’s an inspiring behind-the-scenes documentary about the multi-genre Budweiser Made in America music festival in Philadelphia in 2012 and it offers viewers an all-access backstage pass as Howard and his camera rove the festival grounds speaking to the artists, music lovers, vendors, stage hands and neighbours who came together to make it a one-ofa-kind event. It features Jay-Z, Kanye West, Janelle Monáe, Skrillex, Rita Ora, Run-DMC and Pearl Jam plus many more both on the stage and behind the scenes.

Rita Ora in Made In America

Made In America is showing on the big screen at EVENT Cinemas George Street on Thursday March 20 and Friday March 21 and the BRAG has two double passes to the Friday showing to give away. To get your name on the door, head on over to and tell us what you think is the best thing that’s made in America.


BRAG :: 554 :: 19:03:14 :: 21


B R A G ’ S G U I D E T O S Y D N E Y ’ S B E S T W AT E R I N G H O L E S

Ash St Cellar 1 Ash St, Sydney CBD (02) 9240 3000 Mon – Fri 8.30am-11pm Assembly 488 Kent St, Sydney CBD (02) 9283 8808 Mon – Fri noon-midnight; Sat 5pm-midnight The Australian Heritage Hotel 100 Cumberland St, The Rocks (02) 9247 2229 Mon – Sun 10.30am-midnight BAR100 100 George St, The Rocks (02) 8070 9311 Mon – Thu noon-late; Fri – Sat noon-3am; Sun noon-midnight Bar Eleven Lvl 11, 161 Sussex St, Sydney CBD (02) 9290 4712 Thu 4-10pm; Fri 4-11pm; Sat 3-11pm

The Glenmore 96 Cumberland St, The Rocks (02) 9247 4794 Mon – Thu, Sun 11am-midnight; Fri – Sat 11am-1am

The Barber Shop 89 York St, Sydney CBD (02) 9299 9699 Mon – Fri 2pm-midnight; Sat 4pm-midnight The Baxter Inn Basement 152-156 Clarence St, Sydney CBD Mon – Sat 4pm-1am Bulletin Place First Floor, 10-14 Bulletin Place, Circular Quay Mon – Fri 4pm-midnight; Sat 5pm-midnight

Goodgod Small Club 53-55 Liverpool St, Sydney CBD (02) 8084 0587 Wed 5pm-1am; Thu 5pm-2am; Fri 5pm-5am; Sat 6pm-5am

deVine 32 Market St, Sydney CBD (02) 9262 6906 Mon – Fri 11.30am-11.30pm; Sat 5.30-11.30pm

Grain Bar 199 George St, Sydney CBD (02) 9250 3118 Mon – Fri 4pm-1am; Sat noon-1am; Sun noonmidnight

Frankie’s Pizza 50 Hunter St, Sydney CBD Mon – Sun 4pm-4am

Grandma’s Basement 275 Clarence St, Sydney CBD (02) 9264 3004 Mon – Fri 3pm-late; Sat 5pm-late

Gilt Lounge 49 Market St, Sydney CBD (02) 8262 0000 Tue – Wed 6pm-midnight; Thu & Sat 6pm-2am; Fri 5pm-2am

The Fox Hole 68A Erskine St, Sydney CBD (02) 9279 4369 Tue – Fri 5pm-midnight

The Grasshopper 1 Temperance Ln, Sydney CBD (02) 9947 9025 Mon – Wed & Sat 4pm-late; Thu – Fri noonlate The Lobo Plantation Basement Lot 1, 209 Clarence St, Sydney CBD 0415 554 908 Mon – Thu 4pm-midnight; Fri 2pm-midnight; Sat 4pm-midnight Mojo Record Bar Basement 73 York St, Sydney CBD (02) 9262 4999 Mon – Fri 4pm-midnight; Sat 5pm-midnight The Morrison 225 George St, Sydney CBD (02) 9247 6744 Mon – Wed 7.30am-midnight; Thu 7.30-1am; Fri 7.302am; Sat 11.30-2am; Sun11.30am-10pm Palmer & Co. Abercrombie Ln, Sydney CBD (02) 9240 3172 Mon – Wed 5pm-late; Thu – Fri noon-late; Sat – Sun 5pm-late

The Spice Cellar Basement 58 Elizabeth St, Sydney CBD (02) 9223 5585 Mon – Sun 4pm-late Spooning Goats 32 York St, Sydney CBD 0402 813 035 Mon – Sat 4pm-midnight

Bar-racuda 105 Enmore Rd, Newtown (02) 9519 1121 Mon – Sat 6-midnight

Corridor 153A King St, Newtown 0422 873 879 Tue – Fri 3pm-midnight; Sat 1pm-midnight; Sun 1-10pm

Whats on the menu? Modern Aussie tapas with an Asian infusion as well as a dining menu for the loft restaurant. Everything from the much loved Chinese ravioli (dumplings), to a beautifully baked signature barramundi and salmon Wellington. Care for a drink? The bar is well stocked with a good selection of local boutique beers, handpicked wines, and some fresh and quirky cocktails. The chili ‘n’ coriander margarita is a must for those that love a little bit of heat. Otherwise the blueberry and rose bramble is a winner.

22 :: BRAG :: 554 :: 19:03:14

Recommendations: You must get you hands on some wagyu beef sliders, pork soup dumplings, and a chilli ‘n’ coriander margarita. Now that’s a great time for all your senses!

The Little Guy 87 Glebe Point Rd, Glebe (02) 9200 0000 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3-10pm

The Midnight Special 44 Enmore Road, Newtown (02) 9516 2345 Mon – Sat 5pm-midnight; Sun 4-10pm

Cornerstone Bar & Food 245 Wilson St, Eveleigh (02) 8571 9004 Sun – Wed 10am-5pm; Thu – Sat 10am-late

Sounds? There is live music most nights of the week. Thursdays is a little bit of piano ‘n’ vocals, Fridays rock solo acoustic, Saturdays pump it up with a 3 piece band, then mellow back out for a Sunday session with some more acoustic sounds. Highlights: If you would like to imagine yourself in an industrial NY loft bar buried deep in the lower west side of Manhattan, then get yourself promptly in Donny’s, sipping on a couple cocktails with your better half or a group of mates, while enjoying some live tunes.

Kuleto’s 157 King St, Newtown (02) 9519 6369 Mon – Wed 4pm-late; Thu – Sat 4pm-3am; Sun 4pm-midnight

Tapavino 6 Bulletin Place, Circular Quay (02) 9247 3221 Mon – Fri 11am-11.30pm

Bloodwood 416 King St, Newtown (02) 9557 7699 Mon, Wed –Thu 5pm-late; Fri – Sat noon-late; Sun noon-10pm

Tell us about your bar: Donny’s is a contrast between industrial chic New York meets country warmth. A copper plated bar top and railway sleepers begin the foundation of the bar downstairs, while upstairs in the loft is a modern Australian tapas and dining menu with a slight Asian infusion. Live music most nights of the week really bring this space to life, sharing the same atmosphere in both the restaurant and the bar.

Kelly’s On King 285 King St, Newtown (02) 9565 2288 Mon – Fri 10am-3am; Sat 10am-4am; Sun 10am-midnight

Mary’s 6 Mary St, Newtown Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm

York Lane York Lane, Sydney CBD (02) 9299 1676 Mon – Wed 6.30am-10pm; Thu – Fri 6.30pm-midnight; Sat 6pm-midnight


Hive Bar 93 Erskineville Rd, Erskineville (02) 9519 9911 Mon – Fri noon-midnight; Sat 10am-midnight; Sun 10am-10pm

Stitch Bar 61 York St, Sydney CBD (02) 9279 0380 Mon –Wed 4pm-midnight; Thu – Fri noon-2am; Sat 4pm-2am

The Rook Level 7, 56-58 York St,




Small Bar 48 Erskine St, Sydney CBD (02) 9279 0782 Mon – Fri noon-midnight; Sat 5pm-midnight

Uncle Ming’s 55 York St, Sydney CBD Mon – Fri 11am-midnight; Sat 5pm-midnight

bar TH

Shirt Bar 7 Sussex Ln, Sydney CBD (02) 8068 8222 Mon –Wed 8am-6pm; Thu – Fri 8am-10pm

Rockpool Bar & Grill 66 Hunter St, Sydney CBD (02) 8078 1900 Mon – Sat lunch & dinner


Sydney CBD (02) 9262 2505 Mon – Fri 4pm-late; Sat 4pm-late

Cottage Bar & Kitchen 342 Darling St, Balmain (02) 8084 8185 Mon – Wed 5pm-midnight; Thu – Sat noon-midnight; Sun noon-10pm Different Drummer 185 Glebe Point Rd, Glebe (02) 9552 3406 Mon – Sat 4.30pm-late Earl’s Juke Joint 407 King St, Newtown Mon – Sat 4pm-midnight; Sun 4-10pm Freda’s 107-109 Regent St, Chippendale (02) 8971 7336 Mon – Thu 4pm-midnight; Fri noon-midnight; Sat 4pm-midnight; Sun 4-10pm The Green Room Lounge 156 Enmore Rd, Enmore (02) 8021 8451 Wed 5pm-late; Thu 5pm-midnight; Fri – Sat 5pm-1am; Sun 5-10pm

Miss Peaches 201 Missenden Rd, Newtown (02) 9557 7280 Wed – Sun 5pm-midnight The Moose Newtown 530 King St, Newtown (02) 9557 0072 Wed – Sat 5pm-midnight; Sun 5-10pm

Backroom 2A Roslyn St, Potts Point (02) 9361 5000 Bar H 80 Campbell St, Surry Hills (02) 9280 1980 Tue – Sat 6pm-late The Beresford 354 Bourke St, Surry Hills (02) 8313 5000 Mon – Sun noon-1am Black Penny 648 Bourke St, Redfern (02) 9319 5061 Tue – Sat noon-midnight; Sun noon-11pm Button Bar 65 Foveaux St, Surry Hills (02) 9211 1544 Mon – Sat 4pm-midnight Café Lounge 277 Goulburn St, Surry Hills (02) 9016 3951 Mon – Thu 5pm-midnight; Fri – Sat 4pm-midnight; Sunday 4-10pm The Carlisle 2 Kellett St, Kings Cross (02) 9331 0065 Thu – Sun 6pm-late The Carrington 565 Bourke St, Surry Hills (02) 9360 4714 Mon – Sun noonmidnight; Sun noon10pm The Cliff Dive 16-18 Oxford Square, Darlinghurst Wed – Sun 6pm-4am

Mr Falcon’s 92 Glebe Point Rd, Glebe (02) 9029 6626 Mon – Thu 4pm-midnight; Fri – Sat noon-midnight; Sun 2-10pm

The Commons 32 Burton St, Darlinghurst (02) 9358 1487 Tue – Sun noon-late

Newtown Social Club 387 King St, Newtown (02) 9550 3974 Mon – Sat noon-midnight; Sun noon-10pm

Darlo Bar 306 Liverpool St, Darlinghurst (02) 9331 3672 Mon – Sun 10am-midnight

The Record Crate 34 Glebe Point Rd, Glebe (02) 9660 1075 Tue – Wed 11am-10pm; Thu – Fri 11am-midnight; Sat 10am-midnight; Sun 11am-10pm The Royal 156 Norton St, Leichhardt (02) 9569 2638 Mon – Thu 10am-1am; Fri – Sat 10am-3am; Sun 10am-midnight Timbah 375 Glebe Point Rd, Glebe (02) 9571 7005 Tue – Thu 4-9pm; Fri 4pm-midnight; Sat 2pm-midnight; Sun 2-8pm The Workers Lvl 1, 292 Darling St, Balmain (02) 9555 8410 Wed – Thu 5pm-midnight; Fri – Sat 5pm-3am; Sun 2-10pm ZanziBar 323 King St, Newtown (02) 9519 1511 Mon – Thu 10am-4am; Fri 10am-6am; Sat 10am-5am; Sun 10am-12am

121BC 4/50 Holt St, Surry Hills (02) 9699 1582 Tue – Thu 5-11pm; Fri – Sat 5pm-midnight Absinthe Salon 87 Albion St, Surry Hills (02) 9211 6632 Wed – Sat 4-10pm

Darlie Laundromatic 304 Palmer St, Darlinghurst (02) 8095 0129 Wed – Sun 5-11pm Eau De Vie 229 Darlinghurst Rd, Darlinghurst 0422 263 226 Mon – Sat 6pm-1am; Sun 6pm-midnight The Flinders 63-65 Flinders St, Surry Hills (02) 9356 3622 Tue – Thu 5pm-3am; Fri – Sat 5pm-5am The Forresters 336 Riley St, Surry Hills (02) 9212 3035 Mon – Wed noonmidnight; Thu – Sat noon-1am; Sun noon10pm Foley Lane 371-373 Bourke St, Darlinghurst Mon, Wed – Fri 5pm-midnight; Sat 10am-3pm & 5pm-midnight; Sun 10am-10pm Gazebo 2 Elizabeth Bay Rd, Elizabeth Bay (02) 9357 5333 Mon – Thu 3pm-midnight; Fri – Sun noon-midnight The Hazy Rose 1/83 Stanley St, Darlinghurst (02) 9357 5036 Tue 3-11pm; Wed – Sat 3pm-midnight; Sun 3-10pm Hello Sailor 96 Oxford St, Darlinghurst

(02) 9332 2442 Tue – Sun 5pm-1am Hinky Dinks 185 Darlinghurst Rd, Darlinghurst (02) 8084 6379 Mon – Thu 5pm-midnight; Fri 4pm-midnight; Sat 3pm-midnight; Sun 1-10pm Hollywood Hotel 2 Foster St, Surry Hills (02) 9281 2765 Mon – Wed 10am-midnight; Thu – Sat 10am-3am Hustle & Flow Bar 105 Regent St, Redfern (02) 9310 5593 Tue – Sat 5pm-midnight Jekyll & Hyde 332 Victoria St, Darlinghurst (02) 9360 5568 Wed – Fri 4pm-late; Sat 8.30am-late; Sun 8.30am-evening Li’l Darlin Darlinghurst 235 Victoria St, Darlinghurst (02) 8084 6100 Mon – Sat 5pmmidnight Li’l Darlin Surry Hills 420 Elizabeth St, Surry Hills (02) 9698 5488 Mon – Thu noon-3pm & 5-11pm; Fri – Sun noon11pm Lo-Fi 2/383 Bourke St, Darlinghurst (02) 9318 1547 Wed – Sat 6pm-late The Local Tap House 122 Flinders St, Surry Hills (02) 9360 0088 Mon – Wed noon-2am; Thu – Sat noon-1am; Sun noon-11pm Love, Tilly Devine 91 Crown Ln, Darlinghurst (02) 9326 9297 Mon – Sat 5pm-midnight; Sun 4-10pm Low 302 302 Crown St, Surry Hills (02) 9368 1548 Tue – Sat 5pm-2am; Sun 6pm-2am Mr Fox 557 Crown St, Surry Hills 0414 691 811 Mon –Sat 5pm-midnight; Sun noon-10pm Name This Bar 197 Oxford St, Darlinghurst (02) 9356 2123 Thu – 5pm-2am The Norfolk 305 Cleveland St, Surry Hills (02) 9699 3177 Mon – Wed noonmidnight; Thu – Sat noon-1am; Sun noon10pm The Passage 231A Victoria St, Darlinghurst (02) 9358 6116 Mon – Thu 5pm-late; Fri – Sun noon-late Play Bar 72 Campbell St, Surry Hills (02) 9280 0885 Wed – Sat 4pm-midnight; Sun 3-10pm Pocket Bar 13 Burton St, Darlinghurst (02) 9380 7002 Mon – Thu 4pm-midnight; Fri – Sat 4pm-1am; Sun 4pm-midnight

Queenie’s Upstairs Forresters Cnr Foveaux and Riley St, Surry Hills (02) 9212 3035 Tue – Sat 6pm-late

COCKTAIL OF THE WEEK Pour it in your mouth-hole... (responsibly).

Roosevelt 32 Orwell St, Potts Point 0423 203 119 Tue – Sat 5pm-midnight

BREAK MY STRIDE single launch

Santa Barbara 1 Bayswater Rd, Kings Cross (02) 9357 7882 Wed 6pm-1am; Thu & Sat 6pm-2am; Fri noon2am

with special guest CAKESHOP


Shady Pines Saloon Shop 4, 256 Crown St, Darlinghurst Mon – Sun 4pm-midnight


The Soda Factory 16 Wentworth Ave, Surry Hills (02) 8096 9120 Mon – Wed 5pm-late; Thu 5pm-2am; Fri – Sat 5pm-5am Sweethearts Rooftop 33/37Darlinghurst Rd, Potts Point (02) 9368 7333 Mon – Thu 4pm-midnight; Fri – Sun noon-midnight Tio’s Cerveceria 4/14 Foster St, Surry Hills Mon – Sat 4pm-midnight; Sun 4-10pm Unicorn Cellar Basement, 106 Oxford St, Paddington (02) 9360 7994 Tue – Thu 4pm-midnight; Fri – Sat noon-midnight; Sun noon-10pm Vasco 421 Cleveland St, Redfern 0406 775 436 Tue – Sat 5pm-midnight; Sun 5-10pm The Victoria Room Lvl 1, 235 Victoria St, Darlinghurst (02) 9357 4488 Tue – Fri 6pm-midnight; Sat noon-2am; Sun noon-midnight The Wild Rover 75 Campbell St, Surry Hills (02) 9280 2235 Mon – Sat 4pm-midnight; Sun noon-10pm The Winery 285A Crown St, Surry Hills (02) 9331 0833 Mon – Sun noonmidnight

Anchor Bar 8 Campbell Pde, Bondi (02) 8084 3145 Tue – Fri 4.30pm-late; Sat – Sun 12.30pm-late Bondi Hardware 39 Hall St, Bondi (02) 9365 7176 Mon – Wed 5-11pm; Thu 5pm-midnight; Sat 10am-midnight; Sun 10am-10pm The Bucket List Shop 1, Bondi Pavilion, Queen Elizabeth Drive (02) 9365 4122 Mon – Sun 11am-late The Corner House 281 Bondi Rd, Bondi (02) 8020 6698 Tue – Sat 5pm-midnight; Sun 3-10pm Flying Squirrel


POUND FOR POUND @ THE ROOK LEVEL 7, 56-58 YORK ST, SYDNEY Origins: Like corgis and the Queen, “£4£” combines two of our English counterparts’ greatest loves – gin and tea. Named for its ability to hold its own! Ingredients: 45ml Tanqueray gin, 15ml Earl Grey liqueur, 10ml almond syrup, 20 ml lemon juice, squirt of egg white. Method: Add all ingredients to shaker, dry shake, add (good) ice, shake some more, fine strain to glass. Spray pound sign through stencil. Glass: Coupette. Garnish: Deep-red pound sign. Best drunk with: Anyone but an Australian cricket fan. During: Wimbledon. While wearing: Pants. And listening to: A really inappropriate bartender joke, and/or Flight of the Valkyries. More:

249 Bondi Rd, Bondi (02) 9130 1033 Mon – Fri 6pm-late; Sat 4pm-late; Sun 4-10pm

Ave, Manly (02) 9976 6737 Tue – Sun 5pm-midnight

The Rum Diaries 288 Bondi Rd, Bondi (02) 9300 0440 Tue – Sat 6pm-midnight; Sun 6-10pm

Hemingway’s 48 North Steyne, Manly (02) 9976 3030 Mon – Sat 8am-midnight; Sun 8am-10pm

Speakeasy 83 Curlewis St, Bondi (02) 9130 2020 Mon – Fri 3pm-late; Sat – Sun noon-late

Honey Rider 230 Military Rd, Neutral Bay (02) 9953 8880 Tue – Sat 4pm-midnight; Sun 4-10pm

Stuffed Beaver 271 Bondi Rd, Bondi (02) 9130 3002 Mon – Sat noonmidnight; Sun noon10pm

The Bay Jam Bar 2A Waters Rd, Neutral Bay 0407 454 0815 Tue – Fri 11am-midnight; Sat – Sun 7am-midnight Firefly 24 Young St, Neutral Bay (02) 9909 0193 Mon – Wed 5-10pm; Thu 4-11pm; Fri – Sat noon-11pm; Sun noon9.30pm The Foxtrot 28 Falcon St, Crows Nest Tue – Sat 5pm-3am; Sun 5-10pm Harlem On Central Shop 4,9-15 Central

In Situ 1/18 Sydney Rd, Manly (02) 9977 0669 Mon 9am-6pm; Wed – Sun 9am-midnight The Hunter 5 Myahgah Rd, Mosman Mon – Tue 5pm-midnight; Wed – Sat noon-midnight; Sun noon-10pm Jah Ba Shop 7, 9-15 Central Ave, Manly (02) 9977 4449 Tue – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm The Local Bar 8 Young Ln, Neutral Bay (02) 9953 0027 Mon 5-10pm; Tue – Wed 8am-10pm; Thu – Sat 8am-midnight; Sun 8am-10pm Manly Wine 8-13 South Steyne, Manly (02) 8966 9000 Mon – Sun 7am-late



The Mayor 400 Military Rd, Cremorne (02) 8969 6060 Tue – Fri 10am-late; Sat 8am-late; Sun 8am-10pm Miss Marley’s Tequila Bar 32 Belgrave St, Manly (02) 8065 4805 Mon – Sat 5pm-midnight; Sun 5-10pm Moonshine Lvl 2, Hotel Steyne, 75 The Corso, Manly (02) 9977 4977 Thu – Sat 5pm-midnight; Sun 3-11pm The Pickled Possum 254 Military Rd, Neutral Bay (02) 9909 2091 Thu – Sat 9pm-1am


“Bodies become imagery, & one image merges into another, optically, inexplicably”THE NEW YORK TIMES

The Stoned Crow 39 Willoughby Rd, Crows Nest (02) 9439 5477 Mon – Sun noon-late White Hart 19-21 Grosvenor St, Neutral Bay (02) 8021 2115 Tue – Thu 5pm-late; Fri 4pm-late; Sat 2pm-late; Sun noon-8pm

Your bar’s not here? Email: listings@!


SHADOWLANDLIVE.COM BRAG :: 554 :: 19:03:14 :: 23

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


O Vertigo!, Kate Miller-Heidke’s fan-funded fourth album, is a constant fight between her inner eccentricities (similar to the mother of eccentricities, Kate Bush), and her desire to be a pop diva. The album almost evenly divides itself into straight pop and art pop, but the songs always blur between those lines. The only low point is ‘What Was I To You?’, which approaches the saccharine levels of MOR mainstream pop. Xxxx O Vertigo! is an exciting clash of pop and artistry.

COMEBACK KID Die Knowing Victory/Rocket

Canadian hardcore band Comeback Kid seem well aware that there’s no need to overcomplicate things when writing music. Their back catalogue isn’t reflective of a band yearning, trying to reinvent the wheel, but more of a group refining its craft, guiding its songs across a spinning whetstone to hone a new edge. Over the years, they’ve ventured into metal riffage, accessible singalong punk and archetypal hardcore, but always with a respectful level of integrity. On their fifth full-length album, Die Knowing, they manage to find a balance between them all. In the early going, guitarist Jeremy Hiebert’s metal leanings dominate. The songs are heavy and full of menace. From the slow-burning chugging guitars on ‘Die Knowing’ to the slick, metal-influenced ‘Lower The Line’ and the anthemic stomp of ‘Somewhere In This Miserable…’, there is a heavier intent on this LP compared to their previous albums. ‘Beyond’ is Die Knowing’s throwback song, frenetic in pace with a skanking bass line breakdown. ‘Unconditional’ shifts down a gear speed-wise without a displacement of energy, while ‘Didn’t Even Mind’, ‘Full Swing’ (with former vocalist Scott Wade) and (predicted) live show staple ‘Sink In’ brighten up the tail.

Pop fans will delight in ‘Lose My Shit’, ‘Yours Was The Body’, and the perfect duets ‘Share Your Air’

KING GIZZARD & THE LIZARD WIZARD Oddments Flightless/Remote Control

Only six months after their last release, Melbourne’s King Gizzard & The Lizard Wizard are back with album four, Oddments. Having released three albums in two years, including one of the best Australian albums of 2013, Float Along – Fill Your Lungs, the seven-man collective could have been forgiven for taking their foot off the gas a little. Instead, their swift return delivers another set of mind-warping morsels. ‘Alluda Majaka’ opens with what sounds like a warped tape of Indian music that someone found under a car seat before kicking into a brisk drum and keyboard-driven groove featuring the occasional horse neigh. In contrast to the opener’s bustling vibe, ‘Stressin’’ moves things into a more stoned-out direction that continues through ’Vegemite’ and the bluesy ‘It’s Got Old’. The spacey ‘Work This Time’ is one of the album’s real standouts. From both a songwriting and production perspective it shows an emotionally eloquent side to the band that has rarely been put on show before. ‘Hot Wax’ sounds like a deranged Velvet Underground trying to make surf music.

Die Knowing packs a punch from start to finish.

Oddments marks yet another striking step in King Gizzard & The Lizard Wizard’s rapid creative evolution. What the hell are they going to do next?

Rick Warner

Michael Hartt

with Passenger and ‘Ghost’ with Megan Washington. Lovers of art pop will cling to the incredible vocal aerobics of the title track, ‘Rock This Baby To Sleep’, which recalls Graceland-era Paul Simon, and ‘Sing To Me’, continuing London Grammar’s attempt to get Eurythmics back into the public consciousness (a great cause). But all of this is just preparation for closer ‘Bliss’, a song which sounds otherworldly compared to the rest of the record. With just a piano and her incredible voice, Miller-Heidke stops time during the chorus, singing just the title at high range. ‘Bliss’ is one of the best songs of the year, and reason enough alone to get the album. Leonardo Silvestrini




Manhattan Warner

It’s Been A Long Time Awaiting Independent

Oxymoron Interscope/Universal

New York is brimming with immigrants who were lured there by its magical status to the point where you have to wonder how many bornand-bred New Yorkers make up the numbers. The debut album from Skaters embodies the starry-eyed romanticism of adoring outsiders applied to the bustling metropolis.

Fans of The Nymphs rejoice: after almost a decade of pitch-perfect a capella harmonies, the band has finally released an album. Summoning the sounds of bygone eras, the debut LP features everything you’d expect from the Aussie favourites – stunning voices, stamps and handclaps, without the aid of instrumentation.

Oxymoron is the newest album to come from TDE’s quest to dominate the rap game in 2014. While also being a play on oxycontin, Q says the title comes from having to do bad to do good; namely, selling crack/whatever to look after his daughter. Drugs and his daughter largely perforate the subject matter of Oxymoron with the theme being as prevalent as bucket hats in Q’s wardrobe.

Those detractors of New York City cops, The Strokes, are an obvious comparison here. Although Skaters choose the “young and beautiful” of Manhattan as their targets as opposed to dumb cops, there’s a real similarity to The Strokes’ scrappy but catchy sound. Like latter-day (i.e. not very good) Strokes, the band shows a willingness to break out of a welltrodden indie rock sound and make a real mess with the reggae-ska shuffle of ‘Band Breaker’ and a tiresome funk dirge called ‘Fear Of The Knife’. There are also numerous winks and nods to British acts like Arctic Monkeys, Palma Violets and The Libertines, particularly on ‘Nice Hat’ and ‘I Wanna Dance (But I Don’t Know How)’. As you can guess from the number of other bands referenced in this review, there’s nothing particularly new going on here. Certainly, the expression of unequivocal love for New York has been done to death. It’s okay to be overly familiar, but it shouldn’t be this forgettable. Chris Girdler

INDIE ALBUM OF THE WEEK The title Tomorrow’s Hits and the LP’s neon sign artwork bring to mind Big Star’s 1972 debut #1 Record. Much like that tour de force, The Men’s fifth LP draws from rock and pop’s past to charge ahead into the future. The New York band’s major reference points are Springsteen’s bar band years, The Clash (minus the Jamaican grooves) and Big Star worshippers The Replacements.

THE MEN Tomorrow’s Hits Sacred Bones/Inertia

24 :: BRAG :: 554 :: 18:03:14

The Men could be accused of being too fixed on their chosen rock’n’roll golden era, but it’s not to the detriment of the tunes. Many songs eclipse five minutes, often ending in a primitive instrumental jam, yet this record also features relatively defined production.

Lyrically Tomorrow’s Hits might not change your life, but it’s liable to shift your mood. Opener ‘Dark Waltz’ reminisces on childhood discovery of music, while ‘Get What You Give’ notes a non-stop thirst to listen: “I’d love to lie in bed but I’ve got to catch this song.” Tomorrow’s Hits lacks the exploring unpredictability of 2012’s Open Your Heart, but the album’s consistency is actually the key to its success. Most importantly, instead of trying to precisely replicate their favourite bands, The Men sound honestly inspired.

A large part of The Nymphs’ charm resides not only in their melodic expertise, but in their ability to craft evocative compositions. Tracing ’40s jazz, ’50s swing and early ’60s pop, each song drops the listener in a particular space. Weary processional ‘Hope I Feel Better Soon’ conjures images of prisoners chipping away at stone, chanting the song’s deeply intoxicating refrain. A second highlight emerges in the poignant ‘Grave Shift’, a delicate hymn with a haunting quality. It’s Been A Long Time Awaiting is warm and immersive, owing in part to the effortless authenticity of The Nymphs’ endeavours. Each of their original songs showcase a certain reverence for past classics and standards. Australia has been blessed with its share of vocal pop groups of late, but The Nymphs – now more than ever with the release of this immensely satisfying album – might just triumph as Melbourne’s finest.   Nick Mason

But this isn’t one of those “came from the struggle” joints that were played out even by the time Jay-Z came through. Oxymoron is more a celebration of wildin’ out with a few cautionary tales in the liner notes. On Prescription/ Oxymoron, Q’s elated because he “Just stopped selling crack today,” but he’s replaced it with prescription drugs like oxycontin that he struggles with even more. While he confronts the negativity of drugs, he does it with the charisma of someone not worried about the after-effects. Oxymoron is Q saying he fucks with drugs a lot and likes it, but it sometimes makes him sad. He’s also detailing a ghetto heritage and a desperate way of living, but he’s too busy getting rich being a debonair gangster to give a shit about that right now.   Edgar Ivan

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

HUSKY - Forever So TIM MINCHIN - Darkside FLIGHT OF THE CONCHORDS - Flight Of The Conchords

PRINCE - Emancipation A$AP ROCKY - Live.Love.A$ap

Augustus Welby

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



Sydney Opera House Thursday March 13 There aren’t a lot of bands that can split a performance into two pretty wildly different sets – ‘quiet’ and ‘loud’ respectively – and have it still feel like a cohesive and all-encompassing experience. Then again, not many bands are Yo La Tengo, an act which, after three decades and 13 studio albums, has built a proud legacy as one of the most idiosyncratic names in indie rock. Exploring their demure heartbreakers before demonstrating psyched-out rock leanings inside the intimate setting of the Opera House doesn’t feel disjointed; rather, it stands as testament to the group’s sheer songwriting capabilities and versatility as performers. Opening with ‘Ohm’ from latest album Fade, the trio of Ira Kaplan, Georgia Hubley and James McNew displays an immediate level of fragility, as if the seated Concert Hall audience is privy to some kind of delicately whispered secret slowly being uncovered. One of the best things about Yo La Tengo throughout the course of their career has always been the tiny flashes of brilliance in the intricate subtleties hidden within each song. Showcased in their strippeddown format, tracks like ‘Saturday’ and ‘Big Day Coming’ allow these nuances to truly breathe – with the ethereal vocal harmonies, hauntingly so.

Set two is not so much about immediate, heavy-handed juxtaposition as it is continuing to play off the band’s enigmatic, multifaceted nature. As the trio swaps vocal roles and instruments seamlessly, the kind of chemistry fostered through over 20 years of playing together with the same lineup becomes more and more apparent. That said, the latter portion of the performance increasingly becomes a platform for the band to throw inhibitions to the wind. ‘False Alarm’ sees Kaplan bash away seemingly haphazardly at an analog synth behind a frenzied wall of feedback, while the extended, psychedelic jams towards the set’s end emit a sense of euphoria that serves as a welcome counterpoint to the tender melancholia of the first half. There are more than a few heads a-bobbin’ throughout the crowd, glued though they may be to their velvet cubicles. A punter towards the front stands to the side and, having all but thrown their hands in the air and declared “fuck it”, dances with enough joyful exuberance to make up for the entire room. By the night’s end, Yo La Tengo have given inarguable evidence of the diversity and strength of their catalogue, as well as the creative ingenuity that goes into their live performance. Notably, ‘Ohm’ is included in both sets and while coming from the same root, feels like two quite different tracks. If the mark of great songwriting and compelling performance is the ability to powerfully translate across styles and settings, Yo La Tengo have it. Blake Gallagher



Blackbird. From what we’ve gathered thus far, it’s a rock record; heavy on the guitar and focused on the groove.

After some time out in the proverbial wilderness, The Medics returned to Sydney for the first time in over a year with a set filled entirely by new material from their forthcoming second album. The new songs see the band reaching into both its most atmospheric degrees of ambience and its most unrepentant, down-tuned intensity. At its centre are lyrics detailing a deteriorating, disillusioned outside world, sent out as a desperate cry. All this, however, seemed to be lost on a room with maybe 30 people scattered about, and most not even paying attention. Never mind, they’ll wish they had when this album comes out; just you wait and see. After falling out with former collaborator and guitarist Scott Wilson, Sultan has stripped his backing band down to just three. Long-time rhythm section Josh Jones (bass) and Pete Marin (drums) remain, but a new sideman has emerged in the form of Even’s Ashley Naylor. He appears to be having a lot of fun working with Sultan, and the two played off one another’s top-notch guitar work all evening. Sultan, meanwhile, could barely keep his mouth shut in between songs, excitedly talking about touring with Bruce Springsteen and misunderstandings about some of the songs he’s written. It definitely helped in breaking the tension a little, and ease people into enjoying the show a little more – although some took it to serious mum- and dad-dancing territory.

Metro Theatre Sunday March 9

On the subject of attendance, tonight sadly had to be one of the poorest turnouts in recent years for a show at the Metro, with the barrier taken out and the infamous ‘curtain of doom’ looming behind the mixing desk. Full credit goes to the man of the hour Dan Sultan for making the very most out of a dire situation. He was all smiles from the beginning, showing off new material from his forthcoming third album,

MOUNTAIN SOUNDS FESTIVAL Mount Penang Gardens Saturday March 15

What happens when you take Splendour, kidnap the local artists, order a few dozen bales of hay and transplant the whole lot to the Central Coast? You get the inaugural Mountain Sounds Festival; an event with a heavy emphasis on localism, sustainability and a relaxed attitude towards footwear. Boasting an allAustralian lineup, the crowd was exactly what you’d expect – a sea of Hunter S. Thompson impersonators (but with longer, bleached blonde hair) interspersed with floppy felt hats and nose rings. Central Coast natives Sea Legs kicked things off on the main stage to a small but dedicated crowd. Thieves’ folky rock had festivalgoers swaying over an early cider in the sun. The Club Mod ‘stage’ (read: black truck with neon graffiti) provided a place for those just needing to ride on some good vibes for a while. Convulsing dancers looked tribal, but didn’t care at all. Floral wreaths provided by Octopus’ Garden adorned many a long-haired head, adding to the #freespirit mood. At about 3pm, the inevitable hay fighting began at World’s End Press. It was a testament to the band’s infectious energy


Sultan is a strong talent, perhaps one of the more underrated that we have. Although tonight’s crowd numbers did him no favours, one can only guess that a full room will be greeting him upon Blackbird’s release. David James Young

that a bale was destroyed and thrown high into the sky – itchy arse cracks and allergies be damned. Other highlights included Snakadaktal, who would announce their split soon after the festival, and The Holidays, who killed it with funky ‘Morning Workout’ and frontman Simon Jones’ best Thom Yorke moves. When night fell, things started getting rowdy. Dark clouds looked to be moving in quickly as Jinja Safari took the main stage. If these boys do one thing, it is deliver a fun show – and this one was no exception. After jumping around like madmen for the better part of an hour to a good selection of old (‘Peter Pan,’ ‘Forest Eyes’) and new (‘Mombassa On The Line’), ‘Pepa’ Knight threw his sitar case into the crowd before diving in and shakily standing on top of it. If a band embodies the ‘jungle’ spirit of Mountain Sounds, it’s them. The storm clouds passed right by (presumably thanks to a pagan rain dance to the Festival gods going on over at Club Mod). Sticky Fingers, dressed like Sublime, went hard on reggae and Aussie rock, a festival highlight being ‘Gold Snafu’. Ball Park Music closed with a predictably fun and inoffensive set that had everyone jumping, wrapping Mountain Sounds up in a nice, indie, metaphorical package. Emily Meller BRAG :: 554 :: 19:03:14 :: 25

snap sn ap

johnny gretsch


up all night out all week . . .

ramshackle army


15:03:14 :: The Captain Cook Hotel :: 162 Flinders St Paddington 9360 4327

jam tap takeover

16:02:14 :: Frankie's Pizza :: 50 Hunter St Sydney

party profile

It’s called: Jam Tap Takeover

It sounds like: A veritable explosion of bubbl es. Australia’s finest breweries taking over the taps Specialist brews from ten of for one night at Jam Gallery and Spring Street Social. Acts: The Beards, Greta Mob, Jimmy Swou se & The Angry Darts. Sell it to us: All the Jam beer taps will be comm your favourite Australian microbreweries – Young andeered on the night by Henrys, 4 Pines Brewing Company, Illawarra Brewing Company, Two Birds Brewing, Feral Brewing Company, Stone & Wood Brewing, Murray’s Craft Brewing Co, Holgate Brewhouse, Riverside Brewing Company and Mountain Goat Beer. The bit we’ll remember in the AM: The beer and The Beards, the good times. Crowd specs: Everybody welcome. Wallet damage: $30, and that includes one complimentary beer of your choice upon entry. What else can we say...

14:03:14 :: The Beresford Hotel :: 354 Bourke St Surry Hills 8313 5000 26 :: BRAG :: 554 :: 19:03:14

billy bragg


pluto jonze + brave + little fox


Where: Jam Gallery / Spring Street Social, 195 Oxford St, Bondi Junction. When: Friday March 21. Tickets via Moshtix or on the door.

16:03:14 :: Sydney Opera House :: Bennelong Point, Sydney 9250 7111

snap sn ap

up all night out all week . . .

@ Agincourt


kate miller-heidke


12:03:14 :: Seymour Centre :: Cnr City Rd & Cleveland St Chippendale 9351 7944


15:03:14 :: The Beresford Hotel :: 354 Bourke St Surry Hills 8313 5000


client liaison + lanterns + nicole millar

@ Agincourt 871 George street, Sydney City, For band bookings please email BRAG :: 554 :: 19:03:14 :: 27

g g guide gig g send your listings to :

pick of the week Glen Hansard

Revesby. 12pm. free. Dee Donovan Revesby Workers Club, Revesby. 12pm. free. Eagle & Daxton Duo Collingwood Hotel, Liverpool. 3pm. free. Live Music Thursdays Bar100, The Rocks. 5pm. free. Maggie Scott Revesby Workers Club, Revesby. 12pm. free. Tin Sparrow Hotel Steyne, Manly. 9pm. free.


THURSDAY MARCH 20 Sydney Opera House

Glen Hansard + Lisa O’Neill 9pm. $49. WEDNESDAY MARCH 19 ACOUSTIC, COUNTRY, BLUES & FOLK

Pulp Kitchen and Folk Club - feat: Live Rotating Folk Bands Soda Factory, Surry Hills. 5pm. free. Stephanie Jansen Mounties, Mount Pritchard. 7pm. free. Trixie Whitley The Basement, Circular Quay. 5pm. $44.


Amy Rose The Vanguard, Newtown. 6:30pm. $13.80. Ben Goldstein Jam Gallery, Bondi Junction. 7:30pm. $13. Hitseekers Three Wise Monkeys, Sydney. 10pm. free. Lisa Marie Presley

28 :: BRAG :: 554 : 19:03:14

Hornsby RSL, Hornsby. 8pm. $60. Tatler Sydney (Live Til Midnight) Tatler, Darlinghurst. 8pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC The Mango Balloon Venue 505, Surry Hills. 8:30pm. $15. Concert On The Park - feat: Donna Lee Campsie RSL, Campsie. 1pm. free. Lionel Cole Imperial Hotel, Paddington. 8pm. free. Mingus Among Us Foundry616, Ultimo. 8:30pm. $21.50.

THURSDAY MARCH 20 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Cole Soul And Emotion feat: Lionel Cole

10 O’Clock Rock Frankie’s Pizza, Sydney. 10pm. free. 80s & 90s Live Music Nag’s Head Hotel, Glebe. 8:15pm. free. A-Team Duo Crows Nest Hotel, Crows Nest. 9pm. free. Cambo Observer Hotel, The Rocks. 8:30pm. free. Crossing Red Lines feat: Angel At My Table + Thunderfox Oxford Art Factory, Darlinghurst. 8pm. free. David Agius Hillside Hotel, Castle Hill. 7:30pm. free. David White Duo Maloney’s Hotel, Sydney. 9:30pm. free. Greg Byrne Dee Why Hotel, Dee Why. 7pm. free. Icehouse + Michael Paynter Rooty Hill RSL Club, Rooty Hill. 7pm. $55. Kingswood + Calling All Cars Manning Bar, Camperdown. 8pm. $12. Matt Jones Open Night The Ranch, Eastwood. 8pm. free. Orphaned Land + Voyager + Orsome Welles Factory Theatre, Marrickville. 7:30pm. $50. Redlight Ruby O’Malley’s Hotel, Kings Cross. 9:30pm. free. The Covers Factory - feat: Zombonimo + The White Strokes Agincourt Hotel, Sydney. 7pm. $10.

FRIDAY MARCH 21 The White Horse, Surry Hills. 8pm. free. Dan Barnett’s Swing Machine Foundry616, Ultimo. 8:30pm. $16.50. Grooveworks Revesby Workers Club, Revesby. 12pm. free. Johnny Nicol + The Judy Bailey Trio Venue 505, Surry Hills. 8:30pm. $15. Live Latin Sessions - feat: Malo Malo Jam Gallery, Bondi Junction. 7:30pm. $7. The Mango Balloon Venue 505, Surry Hills. 8:30pm. $15. The Nymphs The Vanguard, Newtown. 8pm. $15.


Cath & Him St George Leagues Club, Kogarah. 9pm. free. Gerard Masters Collingwood Hotel, Liverpool. 5:30pm. free. Guess Who Duo Quakers Inn, Quakers Hill. 8pm. free. Hello Morning

The Beards The Vanguard, Newtown. 6:30pm. $13.80. Live Music Fridays Bar100, The Rocks. 5pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Beaten Bodies Venue 505, Surry Hills. 8:30pm. $15. High Rollers Big Band Revesby Workers Club, Revesby. 8:30pm. free. Hue Williams Club Ashfield, Ashfield. 7:30pm. free. Jazz Hip Hop Freestyle Sessions Foundry616, Ultimo. 11:30pm. free. Sima The Sound Lounge, Sydney. 8:30pm. $25. Takadimi Foundry616, Ultimo. 8:30pm. $21.50. The Runaways Unity Hall Hotel, Balmain. 9pm. free.


Alex Hopkins Wentworthville Leagues Club, Wentworthville. 9pm. free. Andy Mammers Adria, Sydney. 5pm. free. Babaganouj + Chicks Who Love Guns + The Cathys World Bar, Kings Cross. 9pm. $15. Black Diamond Hearts New Brighton Hotel, Manly. 11pm. free. Brad Johns Observer Hotel, The Rocks. 10:30pm. free. Caitlin Park Brighton Up Bar, Darlinghurst. 8pm. $8. Christo Jones Seymour Centre, Chippendale. 6pm. free. Courtyard Sessions - feat: Borneo Seymour Centre, Chippendale. 6pm. free. Darren Johnstone The Grand Hotel, Rockdale. 5:30pm. free. Dave White Duo Kirribilli Hotel, Milsons Point. 8pm. free. David Agius Band Crows Nest Hotel, Crows Nest. 10:30pm. free.

Gay Paris - feat: Skinpin + Psyrens + Whisky Smile + Hoon Tattersalls Hotel Penrith, Penrith. 8:30pm. free. Gerard Masters New Brighton Hotel, Manly. 10pm. free. Heath Burdell Clovelly Hotel, Clovelly. 8pm. free. Irish Hooley Pj Gallagher’s, Leichhardt. 9pm. free. Jam Tap Takeover - feat: The Beards + Greta Mob + Jimmy Swouse & The Angry Darts Jam Gallery, Bondi Junction. 7pm. $34. Jess Dunbar Novotel, Darling Harbour. 5:30pm. free. Joe Echo Trio Cronulla RSL, Cronulla. 8pm. free. Klay Australian Hotel And Brewery, Rouse Hill. 9pm. free. Leon Fallon Castle Hill RSL, Castle Hill. 9:30pm. free. Lisa Marie Presley Castle Hill RSL, Castle Hill. 8:30pm. $60. Live Music At The Royal The Royal, Leichhardt. 9:30pm. free. Luke Dolahenty Kings Cross Hotel, Kings Cross. 7pm. free. Mad Cow Rooty Hill RSL Club, Rooty Hill. 8pm. free. Marc Malouf Duo Rock Lily, Pyrmont. 6pm. free. Matt Price Crows Nest Hotel, Crows Nest. 7pm. free. Matt Price Duo Kings Cross Hotel, Kings Cross. 11:30pm. free. Melody Black + Coredea + Domino + In Hydes Shadow Agincourt Hotel, Ultimo. 9pm. $12. Messrs + Tequila Twins + Karl Broadie + DJ Ray Antonelli Upstairs Beresford, Surry Hills. 6pm. free. Mum - feat: Tink + Mko + Astrix + Babaganouj + The Carraways + Ghost Talk + DJ Morgs World Bar, Kings Cross. 8pm. $15. Natasha Kavanagh Mona Vale Hotel, Mona Vale. 5:30pm. free.

Orphaned Land


Glen Hansard + Lisa O’Neill Sydney Opera House, Sydney. 9pm. $49. Cath & Him Campbelltown Catholic Club, Campbelltown. 6pm. free. Christian Guerro Revesby Workers Club,

g g guide gig g

send your listings to :

Neil Finn

Neil Finn Sydney Opera House, Sydney. 9pm. $84. Nicky Kurta Stacks Taverna, Sydney. 5pm. free. Original Sin - INXS Show Bull & Bush Hotel, Baulkham Hills. 9:30pm. free. Rob Henry Observer Hotel, The Rocks. 8:30pm. free. Ryan Thomas Parramatta RSL, Parramatta. 5pm. free. Something To Talk About Ramsgate RSL, Sans Souci. 8pm. free. Sticky Fingers Metro Theatre, Sydney. 8:30pm. $22. The British Blues Hibernian House, Surry Hills. 7:30pm. $10. The Fixators Hermann’s Bar, Darlington. 8pm. $10. The Music Makers Club - feat: Leura, Thyrsday, Western Front, Red Oxygen, Ayla Oxford Art Factory, Darlinghurst. 8pm. free. Tim Conlon Duo Mona Vale Hotel, Mona Vale. 9pm. free. Tinpan Orange + All Our Exes Live In Texas FBi Social, Kings Cross. 8pm. $15. Triple Shot Trio Harbord Beach Hotel, Harbord. 7pm. free. Victoria Avenue Hillside Hotel, Castle Hill. 8pm. free. Zoltan Ingleburn RSL, Ingleburn. 9pm. free.


Bob Allan Gladstone Hotel, Chippendale. 7pm. free. Cath & Him Crown Hotel, Camden. 8pm. free. Christie Lamb Band Campbelltown Catholic Club, Campbelltown. 9:30pm. free. Gerard Masters Trio Penrith RSL, Penrith. 2pm. free. Live Music Saturdays Bar100, The Rocks. 4pm. free. Paul Hayward And Friends Town & Country Hotel, St Peters. 4pm. free. Rick Fensom Collingwood Hotel, Liverpool. 6pm. free. Stormcellar The Bald Rock Hotel, Rozelle. 8:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Alice Terry + Jimmy Rigg Venue 505, Surry Hills. 8:30pm. $10. Greening From Ear To Ear Seymour Centre, Chippendale. 8:30pm. $20.

Sima - feat: Jane Irving Quartet The Sound Lounge, Sydney. 8:30pm. $20. Slumberhaze + The Ivory Drips + Monchichi Oxford Art Factory, Darlinghurst. 8pm. free. Vince Jones Foundry616, Ultimo. 8:30pm. $27.50.


80s Flashback Bull & Bush Hotel, Baulkham Hills. 9:30pm. free. Absu + Portal + Denouncement Pyre Factory Theatre, Marrickville. 7:30pm. $39. Adam Katz + Sammy Hinks + The High And Lonesome + DJ Bobby Gray Upstairs Beresford, Surry Hills. 6pm. free. After Party Band Castle Hill RSL, Castle Hill. 10:30pm. free. Alex Hopkins Helensburgh Workers Club, Helensburgh. 8:30pm. free. Angie Dean Castle Hill RSL, Castle Hill. 6:30pm. free. Babaganouj + Bell Weather Department + A.D.K.O.B Brighton Up Bar, Darlinghurst. 7pm. $10. Ben Finn Trio The Mean Fiddler, Rouse Hill. 9pm. free. Black Diamond Hearts Marble Bar, Sydney. 10pm. free. Brendan Deehan Observer Hotel, The Rocks. 3:30pm. free. C.O.F.F.I.N Agincourt Hotel, Sydney. 8pm. $10. Cara Kavanagh + Mark Oats Duo PJ Gallagher’s, Leichhardt. 9pm. free. Carl Fidler Observer Hotel, The Rocks. 4:30pm. free. Dave White Experience Crows Nest Hotel, Crows Nest. 10:30pm. free. David Agius Castle Hill RSL, Castle Hill. 9pm. free. Gang Of Brothers Jam Gallery, Bondi Junction. 8pm. $12. Glass Ocean Mona Vale Hotel, Mona Vale. 8pm. $10. Greg Agar Kirribilli Hotel, Milsons Point. 8pm. free. Greg Lines The Belvedere Hotel, Sydney. 8:45pm. free. Heath Burdell Duo Woolloomooloo Bay Hotel, Woolloomooloo. 9pm. free. Joe Echo PJ Gallagher’s, Moore Park. 7:30pm. free. Lisa Marie Presley The Cube, Campbelltown. 8pm. $60. Luke Dolahenty Australian Hotel And Brewery, Rouse Hill. 10pm. free. Matchbox Band Ramsgate RSL, Sans Souci. 8pm. free. Matt Jones Duo

The Mean Fiddler, Rouse Hill. 6pm. free. Michael Saracino Observer Hotel, The Rocks. 8:30pm. free. Neil Finn + Joshua James Sydney Opera House, Sydney. 7:30pm. $84. Nicky Kurta Crows Nest Hotel, Crows Nest. 7pm. free. Rapture North Sydney Leagues Club, Cammeray. 9:30pm. free. Roar Of Lions + Lion Calamity + 30three + The Reunion + This Dancefloor Rock Tattersalls Hotel Penrith, Penrith. 8:30pm. free. Sebadoh + Fait Accompli + Bed Wettin’ Bad Boys Factory Theatre, Marrickville. 5pm. $52. Soundproofed Penrith RSL, Penrith. 9pm. free. Stand Alone + The Veebees + Sin 4 Me Agincourt Hotel, Sydney. 8pm. $10. Steve Tonge Harbord Beach Hotel, Harbord. 7pm. free. Sticky Fingers Metro Theatre, Sydney. 8:30pm. $22. The Kamis Revesby Workers Club, Revesby. 8:30pm. free. The Prannies Katoomba RSL, Katoomba. 6pm. free. The White Brothers Ettamogah Hotel, Kelly Ridge. 7pm. free. Tim Shaw Greystanes Inn, Greystanes Inn. 8pm. free. Video DJ Shayne Alsop AKA Sloppy Mounties, Mount Pritchard. 8pm. free. Wildcats Three Wise Monkeys, Sydney. 10pm. free. Wonderbrass Oatley Hotel, Oatley. 8:30pm. free. Zoltan Stacks Taverna, Sydney. 6pm. free.

Agincourt Hotel, Sydney. 5pm. $10. Kyary Pamyu Pamyu UNSW Roundhouse, Kensington. 8pm. $70.70. Lost Picnic - feat: Megan Washington + The Rubens + Emma Louise + Dustin Tebbutt + Sons Of The East Centennial Park. 12pm. $99.

Kyary Pamyu Pamyu

MONDAY MARCH 24 INDIE, ROCK, POP, METAL, PUNK & COVERS Frankie’s World Famous House Band Frankie’s Pizza, Sydney. 9pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Big Swing Band Tattersalls Hotel Penrith, Penrith. 7:30pm. free. Happy Monday Games Night Venue 505, Surry Hills. 8:30pm. free. Latin & Jazz Jam Open Mic Night World Bar, Kings Cross. 7pm. free. Mambo Mondays Bar100, The Rocks. 5:30pm. free. Motown Mondays - feat: Soulgroove The White Horse, Surry Hills. 8pm. free. Reggae Monday Civic Underground, Sydney. 10pm. free.


Underground Tuesdays feat: John Martin + Jasmine Beth + Oliver Downes Bar 34 Bondi, Bondi Beach. 8:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Jazz Groove - feat: Dave Kemp Group + Passionfruit Trio Foundry616, Ultimo. 8pm.

$16.50. Old School Funk & Groove Night Venue 505, Surry Hills. 8:30pm. free. Rumba Motel Salsa - feat: DJ Willie Sabor + Friends The Establishment, Sydney. 6pm. free.


Innersoul Live Play Bar, Surry Hills. 6pm. free. Ray Beadle & The Silver Dollars Jam Gallery, Bondi Junction. 7:30pm. $7.


Brian King Campbelltown Catholic Club, Campbelltown. 1pm. free. Chill Out Sundays Scubar, Sydney. 7:30pm. free. Dave Bernoth Campbelltown Catholic Club, Campbelltown. 6pm. free. Ian Blackeney Ramsgate RSL, Sans Souci. 2pm. free. Intimate Sessions Paragon Hotel, Sydney. 6pm. free. Liam Gerner The Welcome Hotel, Rozelle. 5pm. free. Live Music Sundays Bar100, The Rocks. 1pm. free. Paradise Island - feat: Rufino And The Coconuts + Mikelangelo Petersham Bowling Club, Petersham. 4pm. free. Sunday Blues And Roots The White Horse, Surry Hills. 5pm. free.








(9:30PM - 12:30AM)

(9:30PM - 12:30AM)


21 Mar

(4:30PM - 7:30PM)

(9:30PM - 1:30AM)




(4:30PM - 7:30PM)


(9:30PM - 1:15PM)



23 Mar

(4:30PM - 7:30PM)

(8:30PM - 12:00AM)







(9:00PM - 12:00AM)

(9:30PM - 12:30AM)

60s Charttoppers Penrith RSL, Penrith. 2pm. free. Elston Gun + War Flower + Claire & The Cops + Delta Edge & The Hounds BRAG :: 554 :: 19:03:14 :: 29

gig picks

up all night out all week...

Trixie Whitley

WEDNESDAY MARCH 19 Trixie Whitley The Basement, Circular Quay. 5pm. $44. Amy Rose The Vanguard, Newtown. 6:30pm. $13.80. Ben Goldstein Jam Gallery, Bondi Junction. 7:30pm. $13.

THURSDAY MARCH 20 Kingswood + Calling All Cars Manning Bar, Camperdown. 8pm. $12. Orphaned Land + Voyager + Orsome Welles Factory Theatre, Marrickville. 7:30pm. $50.

FRIDAY MARCH 21 Babaganouj + Chicks Who Love Guns + The Cathys World Bar, Kings Cross. 9pm. $15.

Caitlin Park Brighton Up Bar, Darlinghurst. 8pm. $8. Jam Tap Takeover - feat: The Beards + Greta Mob + Jimmy Swouse & The Angry Darts Jam Gallery, Bondi Junction. 7pm. $34. Neil Finn Sydney Opera House, Sydney. 9pm. $84. Sticky Fingers Metro Theatre, Sydney. 8:30pm. $22.

SATURDAY MARCH 22 Adam Katz + Sammy Hinks + The High And Lonesome + DJ Bobby Gray Upstairs Beresford, Surry Hills. 6pm. Free. Sebadoh + Fait Accompli + Bed Wettinâ&#x20AC;&#x2122; Bad Boys Factory Theatre, Marrickville. 5pm. $52.

SUNDAY MARCH 23 Lost Picnic - feat: Megan Washington + The Rubens + Emma Louise + Dustin Tebbutt + Sons Of The East Centennial Park. 12pm. $99. The Rubens

30 :: BRAG :: 554 : 19:03:14

BRAGâ&#x20AC;&#x2122;s guide to dance, hip hop and club culture

brag beats


tijuana cartel


delta force

also: club guide + club snaps + weekly column

We has internets! Extra bits and moving bits without the papercuts

BRAG :: 554 :: 19:03:14 :: 31

brag beats

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

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

five things WITH




danced around the house to his favourite records and any other music he liked the sound of – tango and traditional dance records. I guess in those days even though you learnt a particular dance, it may have been one of few ways of really expressing yourself. It’s a shame that dancing with a partner is not relevant today – the contact and respect you have for the other person. Now people just touch each other on the dancefloor when they’re drunk and wanna screw. So laughing with him and at him dance, and seeing him enjoying himself or with my mum nearly every day, does stay with you. Inspirations Nina Simone – she is 2. the greatest; I’m drawn to her honesty and musicality.

Marvin Gaye, who sounds like an angel, he really does. Mix Master Mike and DJ Qbert for taking DJing/ turntablism out of this world. Your Crew I have friends about 3. and talk about what’s goin’. My mum put me onto studying the organ. My oldest brother had a record collection and my other brother began DJing. There are not many guys out there able to live off music comfortably – I’m one of those not many guys. The Music You Make It’s still a work in 4.  progress [laughs]. Since it’s a long set I’ll begin with music from everywhere – music that you have heard and some that you maybe haven’t heard. It’s all great and special music from rock to hip hop, house, Brazilian and African music to name a few… I had done this night in

Melbourne and it had good people and great times. Music, Right Here, Right Now 5. We all have our opinions. I don’t have really have any answers, I’m still trying to figure it out myself. The best thing that I’ve seen besides Kerri Chandler’s Boiler Room set is a busker dressed up as pirate in the city, usually on Park and George Street. He’s committed, he lugs his PA everywhere and he walks around holding a cigarette out of his mouth hoping someone will notice him. Regardless of what people think, he believes in what he does and that is really great. What: James Dela Cruz Residency Where: The Duke of Edinburgh Hotel, Enmore When: Every Saturday night


Maya Jane Coles is mixing the next edition in the Fabric mix series, which will drop next month. For anyone not yet on the bourgeoning MJC bandwagon, the UK producer has risen quickly through the ranks of house music, first coming to widespread attention with the ’90s-indebted organutilising house of the What They Say EP, and the ethereal Humming Bird EP. She also records under the Nocturnal Sunshine name, and is one half of live duo She Is Danger with Lena Cullen. Having previously mixed a DJ Kicks release, MJC returns to the commercial mix format for the 75th installment in Fabric’s hallowed mix series, collating tracks by Mathew Jonson, Trus’me and Ripperton along with a new unreleased production of her own.

32 :: BRAG :: 554 :: 19:03:14


The first lineup announcement for the Vivid Sydney Festival has landed, and features some of the most influential figures in pop and disco, period: Giorgio Moroder and Pet Shop Boys. While younger listeners may associate Moroder with Daft Punk thanks to his appearance on their recent album, Moroder’s influence on modern music is far more profound. From his timeless output with Donna Summer – those synthlines in ‘I Feel Love’ are vintage Giorgio – to crafting some of the best soundtracks of modern times – Scarface, The Cat People – Moroder pioneered Italo disco and paved the way for many who followed (French robots

included). Moroder will play a DJ set, and also participate in a Q&A, in separate events at Sydney Opera House on Sunday June 1. English duo Pet Shop Boys pack similar pop salience to Moroder, having been a perennial feature in the pop milieu for over 30 years (and counting), with their illustrious discography featuring classic early ’80s singles such as ‘West End Girls’, to the plangent ‘Being Boring’ and their most recent single ‘Love Is A Bourgeois Construct’ from the Stuart Priceproduced album Electric. Pet Shop Boys will headline Modular’s Vivid showcase Modulations at Carriageworks with performances on Friday June 6 through Sunday June 8. The full Vivid first announcement and ticket links can be accessed at


Charades is hosting one of 57 launch parties being held in 24 countries across the world for Croatia’s Dimension Festival at an as-yet undisclosed warehouse location (apparently located “not too far” from the inner city) on Saturday April 12. Headlining the party will be Melbourne DJ/producer Mic Newman (AKA Fantastic Man), a man who has notched up releases on labels like Tsuba and Freerange, and who has spent the last year playing in clubs all over the world. Newman still calls Australia home though – as the saying goes – and is now back Down Under, having recently played a Boiler Room set last week in his home city that can be streamed online. Local DJs Tom Witheridge, James I.V., TGMN, Ghostly DJs and Gerrit Oliver will also be throwing down, with presale tickets available online. Partygoers should also note that this will be a BYO affair.

Mic Newman

Maya Jane Coles


Growing Up In the back of my mind 1. [I remember] my dad always

Defected’s Pacha Pool Club series rolls on, with a daytime romp slotted for Saturday April 26 at Ivy Pool Club headlined by internationals Huxley and Nice7, and DJs Mo’Funk, Acaddamy, Mantra Collective and Escape also set to spin. Nice7 is the Italian duo of Nicola Daniele and Cesare Marocco, who reworked house veteran Jon Cutler to charttopping effect last year. Meanwhile Huxley has remixed the likes of (former Glebe resident and proud vegan) Lee Burridge and Maya Jane Coles, while notching up releases on labels like Hypercolour, 20:20 Vision and his own Saints & Sonnets imprint. The party kicks off at midday, with presale tickets available online.

dance music news

free stuff

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

head to:

he said she said WITH

RECONDITE Growing Up It was a lucky circumstance 1. that I grew up in a very beautiful, natural and solid area in Lower Bavaria, Germany. In my family we have a few musicians but for me they weren’t the influential ones. More so the influential ones were my aunt and my mum who were passionate music collectors and listeners – they gave me a strong sense for good music and harmonies, I think.


Inspirations Sometimes I think you are either inspired or you’re not. Like if you have a cold or not. You can’t change it. There are also lots of different ways of inspiration – visual; auditive; lingual; for example. I ask myself: is inspiration directly linked with creativity? I can’t say that I directly force inspiration from certain things. Having said that, what you experience in your life certainly has influence on the colour of your inspiration. xxx

Your Crew I’m happy that I was able 3. to sneak into several crews a bit in the last year. Hotflush, Ghostly International, Enter, and now


Innervisions a little bit, but the strongest connection is still with Dystopian. The Music You Make My live sets are not pre4. planned so anything can happen, although I’m not trying to reproduce my tracks completely live onstage. I can choose from a very big pool of moods within my tunes in order to be very flexible and adaptable to the mood I sense in me and the crowd. Usually I try to fuse the two. Music, Right Here, Right Now 5.  Music right now is as beautiful as ever. It will always change. The content, the business, the way of making it, the way of transporting it, but in my honest opinion the most important thing is to be able to relieve your emotions as an artist in order to create something that lets people relieve their emotions.

What: Recondite Where: Club 77 When: Saturday March 22


Veteran American DJ Danny Tenaglia will mix the next instalment in the Balance compilation series, Balance 025, due to drop in June. An irrepressible force behind the decks since getting his start back in – wait for it – 1976, Tenaglia is a worthy addition to the illustrious list of producers who have helmed Balance compilations over the years, joining the likes of James Holden, Agoria and Jimmy Van M. Tenaglia’s discography is crowned by his classic album from 1998, Tourism, his Global Underground mixes and his refashioning of Depeche Mode’s ‘I Feel Loved’, which received a Grammy nomination (and damn well should have won). He has also released under the moniker Code 718 and collaborated extensively with Celada – ‘Be Yourself’ still does the business on the dancefloor 15 years after its release, with Ame dropping it to a rapturous response in Panorama Bar recently. Renowned for integrating his own edits into his DJ sets, one can expect

Trinity & Beyond


Trinity & Beyond was borne out of a collaboration between close friends and musicians DJ Trinity and producer John Tzineris. Combining their extensive musical backgrounds, the pair crafts a techno/house sound with strong classical infl uences, resulting in something quite unique and quite wonderful. Over the years Trinity & Beyond have built quite the cult following, releasing EP after EP (seven to be precise) on various different labels including Moodmusic, Manual Music and Beef Records. Their most recent release, the full-length album Blinded By 1,000 Points Of Light, offers another blissful taste of Trinity & Beyond’s signature sound, with its atmospheric tendencies and warm chords. We have fi ve copies to give away – for your chance to win, head to and tell us what you think lies beyond infi nity (if you can).

Tenaglia’s Balance to bear the fruits of hours of meticulous research, preparation and re-editing.


Astral DJs, comprised of T. Mingus and Ben Fester, will headline Soft & Slow at The Spice Cellar on Friday March 28. Having been involved with touring a surfeit of electronic luminaries through their Astral People events in recent years, the Astral DJs have established themselves as genreacrobatic in-house selectors, warming up for dons like Kyle Hall, Jimmy Edgar and Dark Sky. In 2013, they started their own monthly affair, Heavenly, giving them a further opportunity to refine their take on house and bass-heavy grooves. Support DJs Pink Lloyd of Softwar and Slow Blow’s Parihaka will also be spinning, and entry is free for those who submit their names through the Spice Cellar website.

Edu Imbernon


Following up the release of their second album The Invisible River, Darwin duo Sietta have announced a fresh series of shows, including a performance at Goodgod Small Club on Thursday May 1. Sietta broke out with their 2011 debut The Seventh Passenger, and melded acoustic and electronic influences throughout their sophomore offering, which has attracted comparisons to the likes of Jessie Ware and James Blake and is out now on the Elefant Traks label.


The Leased crew will round off their series of summer parties with a Good Friday public holiday bash at Ivy Pool Club headlined by the international pairing of Gorge and Shit Robot. Gorge is the moniker of Mannheim producer Pit Waldman, who has been crafting tech house for nearly a decade, accumulating a discography that includes EPs on labels such as 8bit and Freerange along with a number of remixes such as his oft-overlooked luscious dub rework of Chelonis R. Jones’ ‘Pompadour’ from back in 2009. Shit Robot cut his teeth as a DJ in NYC through the ’90s and early 2000s alongside the likes of James Murphy of LCD Soundsystem and Luke Jenner of The Rapture, curating renowned nights like Plant and the Shit Robot party itself. He has since moved to Stuttgart and has been producing on the DFA label, putting out a string of acclaimed 12-inches and an album From The Cradle To The Rave, which featured guest

spots from The Juan Maclean and Alexis Taylor from Hot Chip among others. Since debuting Down Under courtesy of Deep Impressions back in January 2010, Shit Robot has established himself as a favourite with Sydney dancers, and will surely add to his Aussie fan base on his forthcoming visit. The party will run from midday to 10pm on Friday April 18, with early bird tickets available online for $30.


On Saturday April 5, Halfway Crooks celebrates its fifth birthday with a boat cruise and afterparty. In true tradition, the resident DJs Levins, Franco and Elston will all spin, celebrating five years of rap, dancing and whoppers in the middle of Sydney Harbour. The boat will depart King Street Wharf at 4pm on the dot and returns at 8pm, with your $30 ticket including entry to the Halfway Crooks bash at Phoenix Bar straight after the boat docks.


Direct from Valencia, Edu Imbernon headlines Chinese Laundry on Saturday March 29. Imbernon’s discography comprises releases on some of the most respected labels in the dance sphere, including the DJ T / M.A.N.D.Y / Booka Shade stable Get Physical and Digweed’s Bedrock label. Imbernon has also remixed Solomun and David August on his own Eklektisch label, while his rework of the xx’s ‘Crystalised’ remains the most popular remix to be released on the Young Turks imprint.

BRAG :: 554 :: 19:03:14 :: 33

Tijuana Cartel Cabin Fever By Tom Kitson


ong-time lovers of live performance Tijuana Cartel are planning big things in 2014, with singles, an EP and a live album all in the pipeline. The multi-genrecrossing electronic/world music group from the Gold Coast is on its way to Sydney ahead of Bluesfest commitments, with a passion for getting up close and personal with the fans. The live aspect of Tijuana Cartel’s music is something that means a lot to percussionist Daniel Gonzalez and provides him with the drive to carry on in a career that’s spanned a decade already. “We have such a loyal fan base and that, along with selling out shows, really keeps us excited,” he says. “Because we can still get people to our shows we continue to work hard and explore a lot of different avenues in sound.” Never belonging to just one musical style, the band prefers to play music with the aim of getting feedback in a live setting and then packaging what comes out as simply ‘Tijuana Cartel music’.

“We’ve definitely got deep electronic roots in our music, but there’s also the world music element,” explains Gonzalez. “Over the last ten years I think we’ve experimented with different sounds and it’s developed into our own sound. At our shows you’re really experiencing something that in this day and age is completely original; it sounds like nothing else and that’s what we pride ourselves on.” Planning to release a three-track EP soon, as well as a live album from one of their shows, the band uses live sets to come up with new directions to take songs in – an ideal way to gauge what’s working and what isn’t. “We tried the normal process of writing, recording then releasing material but found that we were changing things a lot in our live shows,” says Gonzalez. “So we started playing our new music live first, and then developing it into a full release from there.” Inspired by fellow Australian acts like Midnight Juggernauts and World’s End Press, Gonzalez says

the breakbeat scene has also influenced Tijuana Cartel and is reflected in their tunes. “Over the years we haven’t had an intention to specifically create music differently to everything else, but it just kind of happened that way. It’s

“At our shows you’re really experiencing something that in this day and age is completely original; it sounds like nothing else and that’s what we pride ourselves on.”

always been completely in-house, with music to artwork to interviews and even ads coming through one of the band members.” Fresh single ‘Endlessly’ is all set to feature on their upcoming dates, and Gonzalez says the experience of a Tijuana show is the reason he keeps at it. “We’ve got about 20 songs that are single-worthy at the moment after locking ourselves away in the studio for months. We may have a few collaborations

in the works for this year too, but we’ll keep that under wraps for now.” Where: Oxford Art Factory When: Friday March 28 And: Also appearing alongside John Mayer, Dave Matthews Band, Devendra Banhart, India. Arie, Joss Stone, Jake Bugg, Passenger and many more at Byron Bay Bluesfest, Thursday April 17 – Monday April 21

Shapeshifter Can You Dig It? By Augustus Welby


ew Zealand’s Shapeshifter is a band whose name doubles as a mission statement. The increasingly archaic notion of ‘genre boundaries’ certainly hasn’t troubled the five-piece DnB/funk/soul/hip hop outfit since it emerged in the early 2000s. Shapeshifter have unified these elements with increasing accessibility as their career has progressed, and on last year’s Delta LP, their fifth, they also welcomed in electropop and stadium rock elements, which helped it become their second consecutive NZ number one. “We’re not really the kind of band that worries too much about what trends are going down. We just write stuff that we like,” says vocalist P Digsss (AKA Paora Apera). “Firstly we make music for us, and for the people that we know love us. We’re like, ‘OK, what would blow them away this time?’ We’ve got to bring something new to this game while still staying us.” Delta’s predecessor The System Is A Vampire was a major step up for the band, featuring a more confident sound and offering bigger, more memorable choruses. The album 34 :: BRAG :: 554 :: 19:03:14

took them all over the world and was followed by a remix LP, but then there was a three-year wait before Delta came along. If outsiders were sceptical the band could match the mass appeal of System, it wasn’t an internal concern. “We weren’t even worried about it,” Digsss says. “We were more worried about getting it out and keeping it fresh for us.” They might be chiefly interested in exciting themselves, but Shapeshifter’s growing profile hasn’t been met with nonchalance by the band members. They’re determined to prove themselves as a stadiumworthy band, and Digsss explains the rigorous brainstorming procedure that led to the construction of Delta. “[There were] about 50 different tunes and ideas that came out from that first writing camp. We have these writing camps; every three to four months of the year we’ll get together, hire a nice place out, sit down and collabo – make heaps of great beats and stuff. And then we’ll go away and all have our little think about it and then you have to whittle it down.”

Coordinating the variety of influences regularly heard in Shapeshifter songs seems like an exhausting task. Delta is largely a feel-good album but making the record wasn’t all fun and games. “When you make an album, so many different emotions become involved,” says Digsss. “Sometimes it’s really awesome and sometimes you’re a little bit glum or you’re a little bit lacking in energy. But that’s the good thing about being in a band with someone that will bring a nice bit of energy in, or the right kind of mood.

“Sometimes we’re like cats and dogs in a box, then sometimes it’s amazingly harmonious. Sam [Trevethick, keyboards/guitar] and Devin [Abrams, synth/sax], they’re like chalk and cheese sometimes. Every now and then you’ve got to have those kind of relationships. It makes you bring your A-game. Instead of if it was just one producer or one dude doing everything, it truly is a great little democracy in Shapeshifter.”

“The last three months of the production of the album we went down to Wellington, had the studio there, but it was actually during winter. All those songs weren’t made in the sun, weren’t made in some tropical bloody island, they were actually made in a cold-arse city. It forced you to pull up your boots and get ready to bring some sunshine.”

It’s become more and more apparent with each Shapeshifter release that what you’re listening to is the product of manual labour. Much like The System Is A Vampire, Delta sounds like the work of a band that’s experienced performing in front of big audiences. For example, songs such as the ‘99 Luftballons’channelling ‘In Colour’ and lead single ‘Gravity’ are equipped with widescreen choruses and pounding instrumental sections.

Maintaining their characteristic diversity without it becoming contrived or sounding schizophrenic could be difficult to achieve, but the input of five strong opinions helps to give the songs a vital edge.

“That’s where we kind of cut our teeth really, playing live,” Digsss says. “The live dates we’ve been playing lately have inspired a lot of our recordings. Through the years it’s gone from being straight

studio-produced albums to now a lot more live instrumentation. We’re just getting better at making albums. They’re a bit more of a representation of what we sound like live.” Delta’s pre-album singles helped the group sell out a run of shows in Australia when the record came out last August. They’re back for a few select shows this week before taking the new songs overseas. Digsss says they’re continually trying to push the parameters of the gigs. “We always take pride in our live show, we always like to be as tight as we possibly can. When you go into battle, which is kind of what it’s like, you always want to have your A-game and then a whole bunch of X-factor tricks, your secret weapons. We’ve played a long time and our sound guy Tiki Taane is one of our X-factors. If you come to see us at a big venue, you’re going to feel alive.” What: Delta out now through Ministry of Sound/Universal With: Black Sun Empire Where: Manning Bar When: Saturday March 22



Okay, that’s hard to imagine? But being gay, lesbian, bi, trans or intersex is no different to being born left handed, it’s just who you are. So stop and think because the things we say are likely to cause depression and anxiety. And that really is pretty crap.



H A N D E D.


BRAG :: 554 :: 19:03:14 :: 35

club guide g send your listings to :




Cakes - feat: 4 Rooms Of Live Music + DJs And International Guests. World Bar, Kings Cross. 8pm. $10. Charades - feat: A1 Bassline + Wordlife + Preacha + U-Line + Adi Goodgod Small Club, Sydney. 11pm. $16.50. Djuro Chinese Laundry, Sydney. 9pm. $20. East West Norooz Dance Party - feat: Afx + Kazilion Metro Theatre, Sydney. 10pm. $23. FBi Social’s 3rd Birthday! - feat: Shining Bird + The Walking Who + Secret Act + Yon Yonson + Hands Up DJs FBi Social, Kings Cross. 8pm. $12. Marquee 2nd Anniversary feat: Havana Brown Marquee, Pyrmont. 10pm. $28.60. Masif Saturdays Space, Sydney. 10pm. $25. My Place Saturdays Bar100, The Rocks. 8pm. free. Sienna Saturdays - feat:


+ Kerry Wallace + Carlos Zarate Flyover Bar, Sydney. 2pm. $10. Sunday Sessions - feat: DJ Alter Ego Oatley Hotel, Oatley. 6pm. free. Sundays In The City - feat: Various DJs The Slip Inn, Sydney. 12pm. free.


Crab Racing Scubar, Sydney. 7pm. free. DJ Mattia Goldfish, Kings Cross. 11pm. free.


La Fiesta - feat: Samantha Fox + Agee Ortiz + Av El Cubano + Resident DJ Willie Sabor The Establishment, Sydney. 8pm. free. Martini Club And Friends feat: Ocky + Tom Kelly Goldfish, Kings Cross. 10pm. free. S.A.S.H Sundays - feat: Secret Guest + Gabby + Space Junk + Matt Weir


Chu World Bar, Kings Cross. 9pm. free. DJ Robin Goldfish, Kings Cross. 11pm. free.

send your listings to :

Shapeshifter + Black Sun Empire 9pm. $55.


Jurassic 5 Enmore Theatre, Newtown. 7:30pm. $82.50.


DJ Tom Kelly Goldfish, Kings Cross. 11pm. free. House Party Scubar, Sydney. 8pm. free. Snapback - feat: Various Artists Newtown Hotel, Newtown. 7:30pm. free. The Supper Club - feat: Resident DJs Kit & Kaboodle, Kings Cross. 10pm. free. The Wall - feat: Various Local And International Acts World Bar, Kings Cross. 9pm. $5. Whip It Wednesdays - feat: Various DJs Whaat Club, Kings Cross. 9pm. free.

Regular Rotating Residents Goldfish, Kings Cross. 10pm. free. Kicks World Bar, Kings Cross. 9pm. free. Loopy - feat: Drty Csh + Daschwood + Generous Greed + Guest DJs The Backroom, Potts Point. 10pm. $12. Physical Education - feat: Various DJs Flinders Hotel, Surry Hills. 10pm. free. Pool Club Thursdays - feat: Resident DJs Ivy Bar/Lounge, Sydney. 5pm. free. Recess Australian Hotel And Brewery, Rouse Hill. 9pm. $10. Solarium - feat: Solarium DJs And Live Acts Goodgod Small Club, Sydney. 9pm. free. Spice Thursdays The Spice Cellar, Sydney. 10pm. free. The Spheres + Haunts + Scissorlock 107 Projects, Redfern. 7:30pm. $10. The World Bar Thursdays World Bar, Kings Cross. 9pm. free.




$5 Everything Scubar, Sydney. 5pm. free. Goldfish And Friends - feat:

36 :: BRAG :: 554 : 19:03:14


Argyle Fridays - feat: Resident DJs

The Argyle, The Rocks. 6pm. free. Boom Box Fridays - feat: G-Wizard Marquee, Pyrmont. 10pm. $18.40. DJ Butcher Chinese Laundry, Sydney. 9pm. $20. DJ Corey Hodge AKA DJ Slinkee Campbelltown Catholic Club, Campbelltown. 9pm. free. Dub FX + Opiuo Manning Bar, Camperdown. 9pm. $40. El’ Circo - feat: Resident Circus Act Performers Slide Lounge, Darlinghurst. 7pm. $109. Factory Fridays - feat: Resident DJs Soda Factory, Surry Hills. 5pm. free. Frisky Fridays Scubar, Sydney. 5pm. free. Infamous Saturdays - feat: Live DJs Scubar, Sydney. 7pm. free. Loco Friday - feat: Various Live Bands And DJs The Slip Inn, Sydney. 5pm. free. Mashed Fridays - feat: DJ Shalvy Oatley Hotel, Oatley. 8pm. free. Mum - feat: Tink + Mko + Astrix World Bar, Kings Cross. 8pm. free. Soft & Slow - feat: Fantastic Man + Pink Lloyd + James Cripps The Spice Cellar, Sydney. 10pm. $15.

Jurassic 5

WEDNESDAY MARCH 19 Jurassic 5 Enmore Theatre, Newtown. 7:30pm. $82.50.

FRIDAY MARCH 21 DJ Butcher Chinese Laundry, Sydney. 9pm. $20. Dub FX + Opiuo Manning Bar, Camperdown. 9pm. $40. Soft & Slow - feat: Fantastic Man + Pink Lloyd + James Cripps The Spice Cellar, Sydney. 10pm. $15.

SATURDAY MARCH 22 Charades - feat: A1 Bassline + Wordlife + Preacha + U-Line + Adi

Goodgod Small Club, Sydney. 11pm. $16.50. Djuro Chinese Laundry, Sydney. 9pm. $20. East West Norooz Dance Party - Feat: Afx + Kazilion Metro Theatre, Sydney. 10pm. $23. Marquee 2nd Anniversary - Feat: Havana Brown Marquee, Pyrmont. 10pm. $28.60. Spice - feat: Mantra Collective + Space Junk + Whitecat + Aboutjack + Antoine Vice + Murat Kilic + Robbie Lowe The Spice Cellar, Sydney. 10pm. $25.

SUNDAY MARCH 23 S.A.S.H Sundays - feat: Secret Guest + Gabby + Space Junk + Matt Weir + Kerry Wallace + Carlos Zarate Flyover Bar, Sydney. 2pm. $10.


club pick of the week

Resident DJs The Establishment, Sydney. 9pm. free. Shapeshifter + Black Sun Empire Manning Bar, Camperdown. 9pm. $55. Soda Saturdays - feat: Resident DJs Playing Disco And Funk Soda Factory, Surry Hills. 5pm. free. Spice - feat: Mantra Collective + Space Junk + Whitecat + Aboutjack + Antoine Vice + Murat Kilic + Robbie Lowe The Spice Cellar, Sydney. 10pm. $25.


Deep Impressions

up all night out all week . . .

Dance And Electronica with Chris Honnery

Following a prolific 2013, Vancouver ambient/ dub techno proponent Jordan Sauer, best known as Segue, has just released a new album entitled The Here And Now on French label Sem. Last year, Sauer completed three separate releases, including the serene Pacifi ca album, an LP imbued with immersive layers of subtle melodies that evoke the beautiful natural landscapes of the Canadian west coast, which inspired the release. “The sounds of the Pacific are that of nature, forest and ocean. Space, tranquility and a pulse that lets you know everything is alive around you,” Sauer offered, adding, “Even if the album was inspired by nature and scenery, maybe it helps some guy in working in an office tower somewhere to calm down and focus on his work”. Indeed, Pacifi ca is aural escapism at its finest, and mandatory listening as a precursor to The Here And Now, which is similarly laden with field recordings and ethereal melodies created from live instrumentation.


SATURDAY MARCH 22 Recondite Club 77

SATURDAY APRIL 5 Hunee Goodgod Small club

SATURDAY APRIL 26 Fred P Marrickville Bowling Club

from the likes of Larry Heard, Robert Owens, Lil Louis, Marshall Jefferson and Glenn Underground,” Williams reflected recently. “When you listen to a Chicago artist back in the day that sound can not be copied and it’s a trademark of a lifetime – so that’s why my music is ahead of its time.” The next batch of remixes of tracks from DJ Koze’s acclaimed 2013 album Amygdala will drop next week on Koze’s own Pampa imprint. Following the reworks by Matthew Herbert and Efdemin, the latest refashionings arrive courtesy of another pair of considerable stature in techno circles: Roman Flügel and Robag Wruhme. Flügel, the co-founder of the hallowed Playhouse imprint, has remixed the track ‘Amygdala’, but it is Wruhme who steals the show with his version of ‘Nices Wölkchen’, which Robag appropriates with the kind of hazy melodies and crunchy percussion that imbue his original productions and remixes alike (Robag’s Olgamikks compilation is highly recommended for a snapshot of his formidable remixing ability). In short, this EP confirms that Koze getting Robaged is one of the better combos in German techno, a combination to rival Efdemin getting Kozed. DJ Koze

Acclaimed Chicago producer Boo Williams will make his Australian debut at Club 77 on Friday March 21, an appearance that coincides with the release of his forthcoming album, The Boo Williams Explosion, Williams’ first LP since 2001’s Universal Limits. Part of the ‘second wave’ of the city’s underground producers along with the likes of his mentor Glenn Underground, Gemini and Paul Johnson, Williams has been churning out house cuts since ’94, most recently on labels like Rush Hour and Chiwax. “I just have my own style of music that comes very rooted

14:03:13 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 OUR LOVELY PHOTOGRAPHER

What we've been out to see...


An eclectic night of music was in order as future soul queen Ngaiire hit the Oxford Art Factory for the last show of her Uranus Tour. Kicking off the night with an a cappella version of Kendrick Lamar’s ‘Bitch Don’t Kill My Vibe’ was Melbourne’s Hailey Cramer, whose brand of soul-meetship-hop highlighted the power of intricate harmonies and vocal styling to lift songs out of the ordinary. Following Cramer was Stereogamous, who took the party to Detroit circa the ’90s with their uplifting house vibes that demanded the audience dance. The vastly different support acts would not work in any other circumstance. But when leading up to the eccentric and unique Ngaiire, it all made sense. Ngaiire may be tiny physically, but she packs a punch that is goliath. With her hair suitably


What we've been out to see...

live review Oxford Art Factory Saturday March 15


live review

Direct all Deep Impressions related feedback, praise, vitriol and other proposals to





he HAHA crew will celebrate nine years in the game on Saturday April 5 with a birthday bash at Goodgod Small Club headlined by Hun Choi, AKA Hunee (which, for everyone reading this column aloud to a crowded room, is pronounced ‘who-knee’). The Korean-born Berlin resident established himself on the production front via EPs on labels like Ostgut Ton, Permanent Vacation and Rush Hour, while as a DJ, Hunee is known around the traps as a respected selector who trades in “warm and sensuous” sets that traverse an eclectic spectrum of disco, techno, acid and soul sounds. “I feel most promoters know what they’re getting into when they book me,” Choi stated earlier this year. “Sometimes I get asked to play a more ‘organic’ set or even ‘strictly techno’ for a few hours. I actually enjoy both – the freedom to build a journey through a variety of styles and genres, but also the challenge of boundaries and building a journey with a more limited scale of sounds.” Knowing the HAHA crew, Hunee will be given carte blanche to play the music he wants – it is this commitment to the artists they book and the music they love that has established HAHA as an underground institution in Sydney for the past decade. So happy birthday, and here’s to many more…

styled to mimic a crown of sorts, Ngaiire commanded the crowd’s attention. She captivated with her distinctive voice that ebbed and flowed effortlessly against the backdrop of synth-heavy beats. Whether painting a picture for the audience that it’s OK to be quirky on ‘Uranus’ or reaching deep into hearts on the haunting ‘Count To Ten’, one thing for sure was that she and her band never became complacent or gave anything less than 100 per cent. By the end of the show, when she closed off with the lead track ‘Dirty Hercules’ from her album Lamentations, there were no lingering questions about whether Ngaiire deserves the title of queen of the future soul movement. With her band piecing the elaborate layers together musically and Ngaiire completing the puzzle with her inimitable persona, the show could not be faulted. While this tour may be over, there’s little doubt we’ll be seeing much more of Ngaiire around. Kristie Nicolas

FLYING LOTUS, SILENT JAY Sydney Opera House Sunday March 9

It’s got to be a tough call to support a ‘Cosmic Bass Visionary’ and kick off the party at 10pm on a Sunday night, not to mention transform the Opera House Concert Hall into anything close to a smoky club, but Silent Jay played it cool and managed to do almost that, despite glaring houselights and the chatter of the audience. His teasing R&B tracks built smoothly before a twinkling yet satisfying drop and it was easy to imagine in a smaller club space minus the outward distractions his sets would be even more absorbing. The music that Flying Lotus creates is immersive and transcendent on a purely audio level, but in adding multiple visual layers the experience of a FlyLo gig becomes sublime. This Layer 3 show was a celestial trip through a colourful galaxy that felt like Pink Floyd had run into Mario and Luigi on the Rainbow Road. The staggering visuals by Strangeloop and Timeboy featured swirling topographic line drawings that echoed Joy Division’s Unknown Pleasures album artwork, flickering monochrome test patterns, a dizzying rainbow vortex, the twinkling late-night wander of a dancer through slicked downtown streets, and sci-fi inspired machinery, all projected

across two transparent screens. The third layer was the man himself. His booth between the screens was the nerve centre of the production and he bounced around stitching all the pieces together, sometimes even grabbing the mic and venturing onstage to throw down some of his Captain Murphy material. Staccato strobes gave way to pulsing, shifting molecules in the visuals that corresponded with the maestro’s rearrangement of elements, reassembling them into new musical formulas. When he mixed Clams Casino’s ‘I’m God’ beat into ‘Between Villains’ from Ideas+Drafts+Loops and then hopped down from the decks to rap his Captain Murphy verse it was next level. For ‘Putty Boy Strut’ there were robots marching through a city chatting to each other until the kill mode was switched on and flames swirled around to reveal a projection of the eyeless Yeezus from the mixtape cover, and his ‘Black Skinhead’ rework brought those who’d sat down back to their feet. Layer 3 was a magical conversation between sound and visual. The bass god held sway for over an hour and wrapped up with an extended ‘Do The Astral Plane’ and humble thanks, leaving the audience to trickle back to their real (but now slightly flatter) world. Natalie Amat

BRAG :: 554 :: 19:03:14 :: 37


16:03:14 :: Flyover Bar :: 275 Kent St Sydney 9262 1988

party profile

king st dub

boom box fridays ft. zerocool PICS :: MB

s.a.s.h sundays


up all night out all week . . .

14:03:14 :: Marquee :: The Star Sydney Pyrmont 9657 7737

It’s called: King St Dub, brought to you by Foreigndub Airwayvs from FBi Radio. It sounds like: Dub, reggae and dancehall.

Acts: Gappy Ranks. Three songs you’ll hear on the night: P-Mon ey & Gappy Ranks – ‘Baddest’; Gappy Ranks – ‘Stinkin Rich’; Gappy Ranks – ‘Heaven In Her Eyes’ And one you definitely won’t: Although it’s amazing in its own right… Babymetal – ‘Gimme Chocolate’ Sell it to us: Gappy Ranks, UK dancehall star of Jamaican and Dominican origin, joins us in Sydney for free at the Newto wn Hotel from 4pm-8ish. Get there early, and yes, I did say it’s free! The bit we’ll remember in the AM: The hot dancers from 101 Doll Squadron and the King St Dub vibe. Crowd specs: Anyone who likes to dance! Wallet damage: Free. Where: Newtown Hotel.

15:03:14 :: The Spice Cellar :: 58 Elizabeth St Sydney 9223 5585 38 :: BRAG :: 554 :: 19:03:14

len faki


move d


When: Sunday March 23.

15:03:13 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 OUR LOVELY PHOTOGRAPHER



Apply now

Trimester 2 commences

19 05 14

Australian Institute of Music

Australian Institute of Music, 1-55 Foveaux St, Surry Hills NSW For more information visit or call 02 9219 5444 CRIC CR ICOS OS 0 006 0665 65C C


SYDNEY’S FREE WEEKLY STREET PRESS Hitting the streets, with the best music, culture and events, every Wednesday. This issue: Bliss N Eso, Tw...


SYDNEY’S FREE WEEKLY STREET PRESS Hitting the streets, with the best music, culture and events, every Wednesday. This issue: Bliss N Eso, Tw...