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Contents Issue No. 1034 Tuesday 9 November 2010 All entries must be sent to giveaways@drummedia.com.au and include your full name, address and a contact number. Please note – prizes that are to be collected from the office must be done within four weeks of notification of winning.

XAVIER RUDD

LAST CHANCE TO FOTS As we announced in our last issue, the 2010 Festival Of The Sun at Sundowner Breakwall Tourist Park in Port Macquarie with Xavier Rudd, Regurgitator, Sharon Jones & The Dap Kings, British India and more has completely sold out. Lucky for Drum readers we managed to score two more double passes to give away to the festival running over Friday 10 and Saturday 11 December, so here’s literally your last chance to head to the festival. Email us with FOTS giveaway in the subject line by 5pm Tuesday 16 November.

GRAND JURY SAVE TOWN It’s been one big, busy year for the guys who travel as Philadelphia Grand Jury, who have spent the past six months living, touring and recording in London as well as nipping across to the US for three quick tours, and even managing to fit a South African tour in there somewhere. They’ve also reissued their album, Hope For The Hopeless, in a deluxe edition with additional previously unreleased, bonus and B-side tracks and a live DVD. Anyway, they’re back on their Save Our Town tour of Australia, which brings them to the Hotel Gearin Thursday, the Cambridge Friday and The Metro Theatre Saturday and we have two packs, each including a double pass and a copy of the album, to give away, so email us with Philly Grand Jury giveaway in the subject line by 5pm Thursday.

C&C MUSIC MACHINE While Chris Pickering and Catherine Britt are songwriters coming from very different ends of the spectrum, Pickering the pop and Britt from the country, though there might be some crossover in alt.country, the one thing they do have very much in common is spending time in Nashville learning about their craft and themselves. That’s what made the idea of a co-headlining tour seem a logical move, that and the fact they both have new albums that in some sense are a response to their respective Nashville experiences. They’re playing The Vanguard Wednesday and we have two Chris Pickering packs, each with a double pass to the show and a cop of his album, Work Of Fiction, to give away. Email us with Chris Pickering giveaway in the subject line by midday Wednesday.

THE GOOD DOC TAKES NOTES Doc Neeson isn’t only one of Australia’s great rock’n’roll frontmen but he’s also one of our great survivors, beating a debilitating period in his life that threatened to prevent him ever performing again to get back out there not only with The Angels but also with a new project called Red Phoenix. Thursday, the good doctor heads into Notes to present his favourite songs from right across his career, over two sets – unplugged and electric – with a few fun covers thrown in for good measure. We have two double passes to the show to give away, so email us with Doc Neeson giveaway in the subject line by midday Thursday.

SNOWDROPPERS MANN THE BAR They’re just about to pack up their touring kit and head back into the studio to cut their second album, so The Snowdroppers will be armed and ready for their SxSW visit to the US next year. Meanwhile they’ve got a couple of big gigs to put in, joining the party at Newtown Festival Sunday and one of their final headline shows for the year, Friday night at the Manning Bar. They’ve slung us five double passes to the Manning gig to give away, so email us with Snowdroppers giveaway in the subject line by 5pm Thursday.

WOULD YOU LIKE A VERSION? One of the most popular little fun segments triple j have ever dreamed up was Like A Version, where they get a visiting act, local, national or international, to pop into the studio and record a version of a song they would necessarily ever have thought to cover. Just how popular the segment has been is illustrated by the fact that Like A Version 6 has just been released, a CD/DVD set that includes 21 acts doing the business, from The Temper Trap doing Springsteen’s Dancing In The Dark to John Butler Trio tackling The Jackson 5’s I Want You Back, Alexisonfire covering The Saints’ (I’m) Stranded to Miami Horror ripping into Supertramp’s The Logical Song. We have five copies of Like A Version 6 to give away, so email us with Like A Version giveaway in the subject line by 5pm Tuesday 16 November.

DESIGN OUR COVER AND WIN BIG! Our Big Day Art competition is back. All you have to do is send us your impression of an artist on the current Big Day Out schedule (take a look at who’s performing – you won’t be short of options) and upload your entry at summerfestivalguide.com.au (go to the Big Day Art section). The competition is now open and entries close Friday 7 January. The prize? Not only will your entry appear on the front cover of Drum Media, but the lucky winner will also win a pass to the Big Day Out and CDs by Big Day Out artists. • 20 • THE DRUM MEDIA 9 NOVEMBER 2010

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DRUM MEDIA Giveaways – Look to your left for free stuff, silly! 20 The Front Line hits hard with industry fact and conjecture, plus we pay tribute to the late James Freud. 22 Mailbag – your say on what floats your boat or makes the red mist descend, plus Backlash and Frontlash. 24 The News – just like it says, with tours, releases and more. 26 Things get dark all ‘round for A Day To Remember. 32 Festival appearances can sometimes involve wearing nowt but underwear and being covered in blood for Jinja Safari. 33 Glenn Richards explores weird areas and dark alleys with his solo material. 34 Manic Street Preachers might be a bunch of mad fuckers, but at least you can understand them now. 35 Baroness will always bleed their music. 36 Tim Burgess from The Charlatans bonds with twisted filmmaker David Lynch. 38 Making the new album for Hungry Kids Of Hungary involved lots of jumping in the pool. 40 Success in any way for Killing Joke is a bad sign for humanity as apparently wars break out. 40 Despised Icon want to go out on a high. 42 Heavy traffic coming down from Queensland provides unlikely inspiration for Bek-Jean Stewart. 42 Carl Barât ends a chapter. 42 The Mission In Motion do away with outside influences. 42 Edwyn Collins fights back from a stroke to not just make music, but walk, talk and other things we take for granted. 43 Short Stack change every single aspect of their band. 43 On The Record reviews new release albums and singles from The John Steel Singers, Alter Bridge, Royksopp and more. 44 We feature our final exclusive extract from The 100 Best Australian Albums, which includes the big one. Shock result – Nikki Webster not number one. 47 Chris Maric gets local with hard rock and metal in The Heavy Shit. 48 Stu Harvey delivers a Short Fast Report on punk and hardcore. 50 Adam Curley muses on award winners and new music in The Breakdown. 51 Viktor Krum asks you to Get It Together with the latest in hip hop. 51 Scott Fitzsimons gets Young & Restless with all ages goings on. 51 We get the latest updates from our local industry and beyond from the good folks at MusicNSW. 51 Dan Condon features the world of blues and roots with Roots Down. 52 Michael Smith delivers some Blow with jazz and world music news. 52 Go south as you enter Pedro Manoy’s Swamp Shack. 52

FRONT ROW This Week In Arts plans the next seven days; Made You Look explores the upcoming Art Sydney Fair in more depth; Paul Capsis talks about his new play, Angela’s Kitchen. 54 Daniel Brine discusses Performance Space’s LiveWorks festival, taking over CarriageWorks this weekend; Cultural Cringe runs through AFI Awards nominations and other industry news; Snapshot takes an epic first look at the upcoming Justin Bieber film; we review RED and Made In Dagenham. 55 Richard Tognetti and Sarah Giles give two sides of the story behind the ACO-theatre piece Kreutzer vs Kreutzer. 56 Comedian Sammy J runs through his puppetry ahead of his show Ricketts Lane coming to Sydney. 57

FEATURE Heading to the Newtown Festival this weekend? Check out what’s on offer in our guide. 58

LIVE It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit and Thy Art Is Murder give things a mechanical, chunky edge. 63 Backstage and BTL – your guide to studios, recording, gear, courses and more. 82 The Classies – need a singer/bassist/ drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au. 87


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LINE

NEWS FROM THE INDUSTRY WITH SCOTT FITZSIMONS

TROUBADOUR FORCED TO CLOSE Iconic Brisbane venue The Troubadour has announced that it will be “closing its doors forever”, sending shockwaves through the Brisbane music scene. A statement circulated to media read “with a matter that has gone beyond the control of owners Jamie Trevaskis and Corinna Scanlon, the beloved music venue will close its doors on Sunday, November 21.” The owners were not prepared to talk about the specific reasons behind the decision as yet, but the statement claimed that more information regarding the reasons – and farewell party – would be revealed in the near future. The venue’s booking agent Ben Preece told The Front Line that it will leave an “incredible hole in Brisbane, especially the indie scene. Apart from The Zoo, the Troub’s one of the last – the last – ‘live venues’ in the Valley… Plenty of bars like to call themselves ‘live venues’ but few are.”

THE END FOR EMI? EMI Records’ instability has hit a new low with a decision in a New York court may mean that the bank may take control of the company. Guy Hands’ private equity firm Terra Firma was lent £2.6bn for a takeover of EMI in 2007 by Citibank and Hands was suing the bank for lying to him during the proceedings, arguing that Terra Firma would not have paid £3.2bn for the label if he’d known the situation it was in. Hands claims he has 60 percent of his wealth tied up in the investment and could now stand to lose it all. The decision creates the very real possibility that the major label could enter administration. EMI Australia were not able to comment on the case, but a press release stated that “Terra Firma reserves the right to appeal”. “We will continue to focus on achieving the right result for [our investors] and for EMI whilst continuing to support the successful development of our other nine businesses.”

MELB PHOTOGRAPHER WORLD-CLASS Renowned UK music tabloid NME has awarded Melbourne-based Kane Hibberd second place in their first annual Music Photography Awards in the professional category. From over 5,000 entries Hibberd, who’s taken photos for The Drum Media, Inpress, 3D World, Time Off, Rolling Stone, Jmag and Blunt as well as extensive live and promotional shoots, flew to the UK to accept his award. His shots are currently being exhibited at London’s O2 Arena and he’ll soon be putting together his first exhibition, planned for May.

INXS SCORE ANOTHER COURT DATE Back in the headlines for a number of reasons, INXS are being sued for $2.8 million by internet executive Robert Manning who claims they stole his website idea. Manning says that he and business partner Stephen Allende developed the idea of connecting fans with big retail brands and pitched it to their manager David Edwards in 2003, who liked the idea but then pulled the plug on the project at the last minute to make a “substantially similar” website the following year. Manning believes that the business plan was confidential and should not have been developed without their permission, which Edwards and the band deny. The idea is that by signing up to the site, fans will be able to accumulate points to be used for the brands’ services – The Age reports that Accor, Harvey Norman, Channel Seven, MasterCard and Australia Post were amongst those approached. The case, which will be heard next year, is another in a long list of cases against the band, including the previously reported case brought by a company acting on behalf of deceased frontman Michael Hutchence’s daughter Tiger Lily regarding the rights to Hutchence’s image and songs. • 22 • THE DRUM MEDIA 9 NOVEMBER 2010

NEWS? ANNOUNCEMENTS? TIP-OFFS? RUMOUR AND GOSSIP? SEND THEM THROUGH TO FRONTLINE@STREETPRESS.COM.AU

ARIAS OUT IN THE ELEMENTS, PRESENTERS OUT OF THEIRS

The new look ARIA Awards was met with a mixed reception on Sunday, as the award ceremony of the Australian Recording Industry Association took to the Sydney Opera House’s forecourt from its previous venue at Acer Arena. The outside approach was hit-and-miss, enjoyed by the industry heavyweights post the event, but slammed by the viewing public. The shots of the Opera House were spectacular but not being in a typical venue there seemed confusion regarding the logistics, the whole event disjointed for lack of a solid set-up. Winning recipients appeared to not know where to go and due to the open marquee set up of the VIP area cameras were unable to show the nominees as they were being announced. The doubts around the eclectic presenters appeared founded as a few struggled with TelePrompters, apparently with little to no knowledge about what they were presenting. Jessica Mauboy made Geoff Huegill look decidedly awkward with her forced flirting, before completely gaffing her introduction for Tame Impala’s album of the year nomination for InnerSpeaker. Pronouncing debut “de-butt” twice, she referred to the album as InnerSpeak as a confused Huegill tried to keep a straight face. Bob Katter was another to trip over his words presenting, looking out of place on stage as he announced Sia for Best Independent Release. After his show-winning speech at the Hall Of Fame event, The Church’s Steve Kilbey was a natural behind the microphone again presenting the Album Of The Year, although his opening statements were haphazard as he jumped between improvising and reading his cues. The Front Line also believes that some presenters were kept in the dark about which awards they were presenting until soon before they were due on stage. Powderfinger’s “last” live performance on TV was well-received by the live crowd, while Washington’s was the most elaborate and Angus & Julia Stone’s rendition of Big Jet Plane cut through the average on-site sound to steal the show and the main awards. With little to no focus on the award presentations themselves, acceptance speeches seemed devalued. Angus and Julia Stone’s preprepared statement, where they thanked their pets, suited them, but highlighted a disconnect on the evening. Announcing the genre awards throughout the week in lead-up events has also been met with apathy, with some claiming that a band’s achievement will not give them the profile or sales boost that it once did, with the coverage on Channel Ten’s 7pm Project minimal at best. Some artists are also disillusioned with the process, sources told The Front Line that some were finding out about their wins in the paper the next day, with the award accepted by a representative. The Herald Sun reported that Jimmy Barnes was also not impressed by the show, saying, “I think they’re trying to make it for TV, which, I think, is rubbish. It reminds me of Countdown. Get all the kids screaming up front, treat most of the bands like shit up the back.” The show’s shorter run time, however, was praised and it’s a shame that these distractions have taken away from the actual award winners, of which Angus & Julia Stone, Washington and Dan Sultan officially announced their arrival as major forces on the Australian music scene. The full list of the night’s winners: Album Of The Year – Angus & Julia Stone, Down The Way Single Of The Year – Angus and Julia Stone, Big Jet Plane Best Female – Megan Washington Best Male – Dan Sultan Best Group – The Temper Trap Breakthrough Artist – Megan Washington, I Believe You Liar Best Independent Release – Sia, We Are Born Publicly voted awards: Australian Single – Temper Trap, Sweet Disposition Australian album – Powderfinger, Golden Rule Australian artist – Powderfinger International Artist – Mumford & Sons They join the genre awards which were announced during the week: Pop – Sia, We Are Born Rock – Birds Of Tokyo, Birds Of Tokyo Adult Alternative – Angus & Julia Stone, Down The Way Country – The McClymonts, Wrapped Up Good Adult Contemporary – Crowded House, Intriguer Jazz – James Morrison & The Idea Of North, Feels Like Spring Dance – Yolanda Be Cool & Dcup, We No Speak Americano Urban - M-Phazes, Good Gracious Blues & Roots – Dan Sultan, Get Out While You Can Hard Rock/Heavy Metal – Parkway Drive, Deep Blue

ARIAS SLAMMED IN RATINGS The rejuvenation of the 2010 ARIA Awards however has failed to kick-start dwindling ratings for the program as it rated even lower than last year’s disastrous figures. According to figures The Front Line has seen, just 634,000 people tuned into Channel Ten broadcast, Fremantle Media produced event, down from 708,000 when Nine hosted it last year. Organisers had hoped that be bringing the awards back to their traditional Sunday night slot and by spreading the event out over a week would spark interest. Being led in by Junior MasterChef, which came second in the night’s ratings with 1.44 million viewers, wasn’t enough as most seemed to switch to Seven Network’s Bones, which came third on the night with 1.406 million viewers, or Nine’s feature film, Hancock. Seven News won the night with 1.51 million. Even the ABC’s Agatha Christie’s Poirot dwarfed the ARIA Awards, with 1.054 million. It’s highly unlikely that the events will continue in the 2010 format given these results.

CALL FOR COMP INQUIRY Doubt has been cast over the legitimacy of Washington’s win in the 2009 Vanda & Young Song Competition by songwriter and producer John Gordon, who has questioned the fact that of the $50,000 prize awarded to the winner, $20,000 was donated by Albert Music, who Washington is signed to. Coordinated by APRA-AMCOS and raising money for the Nordoff-Robbins Music Therapy Australia charity, Gordon started making noises when he read a post on Albert’s website which indicated that the Brisbane starlet had been signed prior to the award’s announcement. “It might be pure as snow,” Gordon told The Front Line, “and hopefully it is, but as a contestant who paid $50 in good faith – and there were three thousand of us – it’s not a good look. To me, she shouldn’t have been eligible because [part of the prize money] is being given to her in a jumbo cheque by her employer.” Gordon has raised

WASHINGTON @ THE ARIA AWARDS. PIC: LUKE EATON

the matter with both APRA and the NSW Office Of Liquor, Gaming & Racing, but not satisfied with their responses has taken the matter publicly in hope of an industry inquiry or investigation. Stressing that it wasn’t a personal attack on the artist Gordon said, “I’m just uncomfortable with it. I have been for six or seven months since I discovered it, I don’t want it happening again.” Neither APRA or Albert responded to The Front Line’s request for comment.

GUILTY UNTIL INNOCENT IN NZ After their 2009 proposal was shouted down by a public outcry, the New Zealand parliament have moved to combat illegal file sharing by re-introducing their guilty until proven innocent approach. A parliamentary committee report stated that, “an infringement notice establishes a presumption that infringement has occurred, but this would be open to rebuttal where an account holder had valid reasons, in which case a rights holder would have to satisfy the tribunal that the presumption was correct. We consider that such a change would fulfil more effectively the aim of having an efficient ‘fast-track’ system for copyright owners to obtain remedies for infringements.” InternetNZ issued a statement saying, “rights owners’ notices will be considered conclusive evidence of infringement, with alleged infringers having to prove they have not done so. This reversal of proof is not a welcome development and our initial view is that it should not be passed by Parliament.”

CIRCLE WORK After not being able to secure a release for their album locally, Sydney’s Circle have won a $12,000 competition with international competition running website, We Are Listening. Their album Molasses Sandwiches will now have 1,000 copies pressed and their tracks are being serviced to college and commercia radio in the United States.

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FRESHLY INKED Cherry Rock management have signed Melbourne psychedelic rock group Matt Sonic & The High Times to their roster. Modular have signed Australian globe trotting DJ Beni, his debut album due before the end of the year. Melbourne’s East Brunswick All Girls Choir have singed with Departed Sounds, a new label in their city, who’ll release their debut album Sandhurst Town in April 2011. The first release on Tiësto’s new label Musical Freedom will be Dada Life’s Unleash The F**king Dada.

MOVERS AND SHAKERS MusicOz founder Pat Maloney officially resigned his post from the company at the end of August, only revealing the decision last week. Bel Boyce, editor of MTV online, has resigned her post and moved to Ballina where she will continue to freelance.

BLUESFEST LEAK BEATS TICKET JUMP The first Bluesfest announcement was leaked last week after The Music Network broke the embargo via email. Festival Director Peter Noble was reported as being “furious” by the leak and The Front Line believes that the festival had planned to up its ticket prices to coincide with the first announcement – tickets were on sale prior to the announcement – in order to compensate for the cost of their headliners given that the event had not expected all of the artists to agree to play.

LAUNCH’S FIRST SPEAKER The Launch Festival, held at Blacktown Arts Centre Saturday 27 November, has announced Thirsty Merc’s Rai Thistlthewayte as one of the speakers for their industry seminar. It is all ages and free, but to reserve a seat call the Centre on 9839 6558.


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VALE JAMES FREUD

LOCAL NEW WAVE PIONEER JAMES FREUD PASSED AWAY LAST WEEK. ANDREW MAST REFLECTS ON THE ARTIST’S LIFE AND HIS CONTRIBUTION TO AUSTRALIAN MUSIC. Minds, inspired by New York Dolls, were also attempting at the time). Teenage Radio Stars were one of the first local punk bands to start getting regular gigs in Melbourne and so were featured on 1978 Australian punk compilation Lethal Weapons (alongside The Boys Next Door and Jab). One of their tracks, Wanna Be Your Baby, was lifted as a single in April 1978 and straight off the bat, Freud was bucking the trend as the track steered away from the no-rules, loose-and-brash style of others in the punk scene. Freud was already creating carefully-structured songs with smart lyrics and memorable hooks. Kelly left to form Models, leaving Teenage Radio Stars to evolve into James Freud & The Radio Stars and sign to Mushroom. Modern Girl was released in May 1980 and our first new wave star was born. Freud exuded a rock star swagger that made him a pin-up idol. But he also sported dyed hair and eye make-up, meaning Freud was also a hero of a disaffected youth movement ready to lap up his new wave posturings – a gateway sound to the underground, if they dared.

JAMES FREUD AT THE 2006 COUNTDOWN SPECTACULAR

I

confess, that as a kid I wanted to be James Freud. The minute I first saw him on Countdown, that was it. I stole one of my dad’s old suit jackets, “borrowed” eyeliner from my sister and fashioned a handkerchief into a bandana. Looking into the mirror, I was seeing Freud. Until Freud appeared in my life my pop idols had all been imported. Unlike Blondie and XTC – and other radio and Countdown-influenced obsessions – Freud was making these sounds here. Freud was my gateway drug to the local live music scene. However, when Freud rolled into my neck of the woods, I was not allowed to attend his gig – he was playing the local pub instead of the family-friendly environs of the local cinema where

the likes of Cilla Black performed when they toured. At the time I thought Freud had landed like a bolt from the big smoke. Like many teens switching onto Freud at that time, I was unaware of his history in the local burgeoning punk scene (all news of punk was filtered from UK press and ABC magazine shows ‘reporting from London’). Born Colin McGlinchey in 1959, Freud had been turned onto punk via Sex Pistols and the like. Already making music as a teen, Freud and his bandmate of the time, Sean Kelly, mutated their lineup into punkier outfit The Spred. In late 1977, they became Teenage Radio Stars and experimented with an amalgamation of glam and punk (just as UK bands Japan and Simple

That’s when Freud entered many of our lives, one of those crazy pop blips that, in hindsight, you realise would never happen now. Trips to the UK followed a debut album and sessions recorded with UK electro star Gary Numan were aborted and the band quickly dissolved. Freud re-entered the public arena when he re-teamed with Kelly as Models’ new bass player. This partnership proved a major artistic and commercial success for both artists. Their 1983 Models album, The Pleasure Of Your Company, was a monumental achievement (and recently listed in a new book as one of the ‘100 Best Australian Albums’ of all time - it ranks #46), and it sparks with electronic experimentation while straddling an accessible pop sensibility. Freud began to share vocal duties with Kelly and fronted the wonky electronica-based cut Facing The North Pole In August on this first album with Models. In 1985 Models scored their two biggest hits Barbados and Out Of Mind Out Of Sight – both written and sung by Freud. The Out Of Mind Out Of Sight album was an epic-sounding blue-eyed funk workout and produced

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LINE five singles. But one album later it was all over, as the band split in ’88. Freud followed his Model-ling career with a variety of projects, including a stint in post-new wave supergroup Beatfish, also featuring Mental As Anything’s Martin Plaza. After that Freud continued to pursue a solo career and occasionally participated in reunion shows with Models, triumphantly performing with Kelly as a part of 2006’s Countdown Spectacular arena tour of Australia. Most startlingly though, Freud achieved success with two biographies, I Am The Voice Left From Drinking (in 2002) and I Am The Voice Left From Rehab (in 2007). The books shed light on Freud’s battle with alcoholism and his attempts at recovery. Most recently Freud had been concentrating his efforts on managing the band his two sons, Harrison and Jackson, had formed called Attack Of The Mannequins. As with Freud’s own early musical career, the Mannequins are glam-influenced, albeit in a more hard rock manner and had spent time based Stateside where there has been growing interest for them in LA. Freud’s legacy lives on. Contact Lifeline on 13 11 14, Kids Helpline 1800 551 800 or MensLine Australia 1300 789 978 if you are in need of immediate assistance or talk to someone you trust.

MARK OF RESPECT In light of Freud’s passing, Models cancelled their upcoming February tour where they were due to play their Local &/Or General album in its entirety. Models frontman Sean Kelly wrote on the announcement of the cancellation, “James’ untimely passing has left us devastated and in shock; the messages of love and support are greatly appreciated. As a mark of respect for James and his family, we’ve decided to postpone our recently advertised shows of February 2011 with Dave Mason of The Reels. We regret any inconvenience caused and thank those who were to be involved for their efforts and support. James’ soul is at peace now, our thoughts and prayers are with his family.”

THE DRUM MEDIA 9 AUGUST 2010 • 23 •


YOUR SAY

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All letters must have author’s correct phone number, name and address to verify identity – not for publication (NFP)

DIFFERENT SOUNDS

THE KIDS ARE ALRIGHT

Dear Drum,

Dear Drum,

I was interested to read in last week’s Drum that The Basics have decided to use their name in the International Phonetic Alphabet (IPA) as the title of their new album. Phonetic script looks cool, right? The trouble is that The Basics stuffed it up. They’re using the transcription: //ðə’bæzɪtʃ//, but this actually says ‘the bazich’, which sounds like ‘Baz’, as in your mate Barry and ‘itch’, as in something you scratch. The Bazich? What they should have used was /ðə beIsIks/, but then that doesn’t look even half as cool. (Or /ðə bæIsIks/, which has a seldom used Australian IPA variation on the diphthong and is a smidgeon closer to what they’ve used). Oh well! They’re left with an album that sounds like it’s been named the Hungarian version of ‘Bazza’. But surely no one will notice…

Just regarding Tony’s letter on all ages gigs (mailbag #1033), I’m sure the level of organisation required to put on an all ages gig these days is quite beyond your average all age punter who no doubt wants to put one on. I’m sure back in the day that if some go getting kid wanted to put on a gig, they could probably just ask to use a hall somewhere and they would be sweet. Now these days I’m sure the bureaucratic red tape would be a nightmare. That’s not to say that in the past one wouldn’t have had similar hurdles, but I’m guessing the public liability issue for example was nowhere near as stringent as it is now. But – and I know this is a hoary old chestnut – but there is so much more competition out there for a young person’s attention these days. When I was off an all ages going variety, yeah we had videos but they’d gained nowhere near the traction that DVDs and downloads seemed to have gained. Similarly there were computer games around, but again, the quality and the popularity was light years behind what’s coming out today. I don’t know, maybe the parents are worried by over exaggerated media reports of kids being abducted or something that they keep them inside. I even see this extending to my local park – I don’t see nearly as many kids running around and playing there as a while ago. I see people writing in letters about people attending live music venues (or not, as the case may be), which is surely an important issue, but if there’s a problem today with kids and gigs, we should look to instill in them a love of going to live music now so that come five years time or whenever when they can legally hit the pubs and other such music venues, they’ll love it and establish something that will continue with them for life and hopefully in turn this will help the music scene.

Janise Newtown Maybe it’s a subliminal marketing ploy for The Basics to break into the Hungarian market. – Ed

USE THE FORCE Dear Drum, By Sunday night, Peter Garrett must have wished he’d either never recorded US Forces or signed up with the Australian Labor Party, though at least it meant he really didn’t have to front for the ARIA Awards. How must he be feeling now that the Gillard government has announced that the US military presence in Australia will be increased after the weekend’s love-in with Hillary Rodham Clinton? Especially when he spent so many years happily singing the lines, “We’re unable to make decisions/ Politicians party line, don’t cross that floor”. Bad enough that “market movements call the shots” – Commonwealth Bank shares anybody? Surely, as he once said – second line – “It’s a setback for your country”. No? Well I guess the beds really might be burning. Ray

Ben Forestville Sure this is appropriate here: “I believe the children are our future/ Teach them well and let them lead the way”. But maybe don’t have them attend Whitney Houston gigs. – Ed

Chiswick Maybe he should raise the issue with ‘Prime Minister’ Rudd – Ed?

ARIA-FRONTLASH

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PERFORMANCES

PRESENTERS

A bit hard to hear at times, but Angus & Julia Stone cut through the night and Washington introduced herself in fine fashion, a big step up from her Hall Of Fame performance.

Jessica Mauboy: really? Just because it’s on a TelePrompter doesn’t mean the general rules of phonetics go out the window… or that you can make your own album titles up. One in a night of sub-par presenters.

JANE GAZZO’S DRESS It was made out of balloons and pulled off surprisingly well. Did seem to spend the whole night avoiding rogue cigarette butts though.

OPERA HOUSE STEPS Love that building and it’s not every day you get to drink with friends on its hallowed steps.

PUBLISHER Street Press Australia Pty Ltd

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CONTRIBUTORS Aarom Wilson, Adam Wilding, Alice Tynan, Anita Connors, Anthony Carew, Ben Preece, Ben Revi, Benjamin McInerney, Bethany Small, Brendan Crabb, Chris Familton, Chris Maric, Clare Dickins, Craig

• 24 • THE DRUM MEDIA 9 NOVEMBER 2010

ARIA-BACKLASH

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POTBELLEEZ Maybe they should try writing another song? Or start hitting notes? We’ll blame it on the wind.

RATINGS Got slaughtered in the TV ratings, does that mean that nobody cares anymore? We hear it was a really good episode of Bones though….

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THE DRUM MEDIA 9 NOVEMBER 2010 • 25 •


NEWS@DRUMMEDIA.COM.AU Tickets have been released at all price levels through Ticketek for the second ANZ Stadium U2 360s Tour concert Tuesday 14 December, with special guest Jay-Z. Harbourlife Sydney Saturday 20 November at the Fleet Steps on Mrs Macquarie’s Point has some final release tickets still available from the Fuzzy website if you want to join The Temper Trap, Metronomy, Yacht Club DJs, Knightlife and a whole lot more for the day. Jebediah’s Thursday 9 December at the Annandale has completely sold out. The death of James Freud last week has understandably deeply affected the other members of his former band Models and as a consequence they have decided to postpone their tour until February next year as a mark of respect.

JOAN JETT

CLOSE TO THE HEARTS In what’s sure to be quite a remarkable night, Joan Jett & The Blackhearts will be playing their only Sydney sideshow at the Annandale Hotel Friday 7 January, a fitting venue for the legendary rock chick who we’re told chose the venue herself. The PETA-promoting star will be playing a range of festivals over summer – she was one that the lineup guesses didn’t predict – but this is surely going to be the crowning show of the tour. Tickets go on sale at 9am Tuesday 16 November and we’re sure will sell out quicker than Nintendo Wiis on Christmas Eve.

Pretty much unknown in these here parts, New Yorker and indie power pop singer songwriter Ingrid Michaelson is jumping in the deep end to introduce herself up close and personal with a couple of shows this week, Wednesday at the Clarendon Guesthouse and Thursday at the Factory Theatre. Berlin music collective Jazzanova take on the AGWA Yacht Club Saturday 20 November. Fresh out of Alabama, USA, indie folk artist Pieta Brown is coming to Australia for the first time to play the Mullumbimby Music Festival the last weekend of November, but first she’ll be popping into the Basement Circular Quay Monday 22 showcasing her latest album, One And All. When DJ Krush hits the Basement Circular Quay Friday 26, joining him will be local supports Dizz1, Tigermoth and MC Tuka with DJ Morgs. Showcasing her debut album, Waitin’ And Seein’, Canadian Carmen Townsend will be joining The Fumes as their special guest support on their next round of dates that’ll see them play The Vault 146 Thursday 2 December, Coogee Diggers Friday 3, Manly Fisho’s Saturday 4, the Heritage in Bulli Sunday 5 and the Brass Monkey Monday 6. When Gorillaz hit the Sydney Entertainment Centre stage Thursday 16 December, the crowd will have been warmed up not only by Sweden’s Little Dragon but also De La Soul. Little Dragon also play GoodGod Wednesday 15.

POP LADS

FESTIVAL OF LEGENDS

Leaked and then confirmed, it’s pretty safe to say that Bluesfest have dropped one of the biggest first announcements this year. Recently announced as Australia’s best event, Bob Dylan (pictured), BB King, Ben Harper & Relentless7, Elvis Costello & The Imposters, Michael Franti & Spearhead, Rodrigo y Gabriela, The Cat Empire, Blind Boys Of Alabama featuring Aaron Neville, Derek Trucks & Susan Tedeschi Band, Robert Randolph & The Family Band, Fistful Of Mercy, Mavis Staples, Xavier Rudd, Trinity Roots, Kate Miller-Heidke, Washington, Little Bushman, Tony Joe White, Indigo Girls, Eric Bibb, Ash Grunwald, Ruthie Foster, C.W. Stoneking, Jeff Lang, Saltwater Band and RocKwiz Live make up the first round. Taking place over Easter again, it’ll run Thursday 21 – Monday 25 April. Tickets on sale now.

Formerly known as Psuche, Oscar + Martin have opted for a moniker that rolls off the tongue far more easily. They’re breaking in the new title with the new track, Recognise, which also ushers in a new direction for Oscar Slorach-Thorne and Martin King. They’re debut EP is angled towards uplifting and downright enjoyable pop music by way of synthesisers and children’s toys. And it’ll be a downright enjoyable night as well when they launch the single at the Excelsior Hotel Surry Hills Saturday 20 November with Collarbones and Ghoul. Expect the as yet untitled album early next year.

Dead Letter Circus will be jumping straight off opening for Muse up in Brisbane to opening for Linkin Park at the Acer Arena Homebush Saturday 11 December. Celebrating 25 years of Detroit Motor City’s electronic dance music scene, the forthcoming D25 event, featuring Carl Craig, Theo Parrish and Moodyman, which takes over the Forum Saturday 11 December, now has its own warmup party right next door in The Fox & Lion Terrace, with the Co-op DJs, Claire Morgan and Joe Stanley kicking things off from 4pm, entry free to D25 ticketholders. America’s Those Darlins and Jeff The Brotherhood are joined by Melbourne’s Puta Madre Brothers when they play Wednesday 15 December at the Beach Road Hotel and Thursday 16 at the Annandale. Saturday 18 December, the Enmore Theatre will host an evening billed Heads Of State, featuring Bobby Brown, Johnny Gill and Ralph Tresvant, all of whom did time fronting New Edition and all of whom will perform songs from that and their own back catalogues.

BRIDEZILLA Bridezilla have scored the plum opening spot as special guests of Interpol when the Americans come to play the Enmore Theatre Tuesday 4 January. Recently in town promoting his latest EP, We’re Still Saying Nothing, Melbourne’s Ryan Meeking will be back Friday 28 January to open for Train at the State Theatre. Ross Wilson is pulling Mondo Rock back together to join Roxy Music when the veteran UK popsters play Hope Estate in the Hunter Valley Saturday 26 February. Loene Carmen will be joining Gareth Liddiard when he brings his debut solo album, Strange Tourist, into Lizotte’s Newcastle Wednesday 17 November, Lizotte’s Kincumber Thursday 18 and the Oxford Art Factory Saturday 20. The Jewel And The Falcon are opening for The Boat People Friday 19 November at the Sandringham. Tash Parker introduces herself and her debut album, Waking Up, as the special guest of The Paper Scissors when they play The Gate Presents Saturday 27 November, then takes the headline spot at the Vanguard Sunday 28. • 26• THE DRUM MEDIA 9 NOVEMBER 2010

COCOROSIE

OF THE ONE MIND

THE HOLD STEADY

SILENCE AIN’T GOLDEN

JOE BONAMASSA

The second festival to happen at Meredith’s Supernatural Amphitheatre each year, Golden Plains, has dropped its first announcement – with a few favourites we’ll go and see every time and a few newcomers we dying to get as taste of. Up the top there’s Os Mutantes, The Hold Steady, Joanna Newsom, Best Coast, Hawkwind, Architecture In Helsinki, Wavves, The Clean, Jamie Lidell, Airbourne, Pulled Apart By Horses (yes!), The Middle East, Mount Kimbie, Boy & Bear, Robert Forster, The Besnard Lakes, Cosmic Psychos, an out of rehab Justin Townes Earle, J-Wow featuring MC Kalaf, Wildbirds & Peacedrums, Imelda May, Bamboo Musik DJs, Brain Children, Graveyard Train, World’s End Press and Magic Kids. It happens Saturday 12 – Monday 14 March.

HALF-CENTURY CELEBRATIONS It’s been quite a career for American folk veteran Judy Collins, who’s been performing for over 50 years now. With a hugely successful career that’s witnessed a plethora of albums and timeless renditions of tracks like Send In The Clowns, Amazing Grace and Turn! Turn! Turn!/To Everything There Is A Season, it’s very exciting news that the 71 year-old will be touring Australia early next year. Wednesday 12 January she’ll be at Wests Leagues Club Newcastle and will then indulge in a threenight stand at The Basement, Circular Quay Monday 17, Thursday 18 and Wednesday 19.

MUSIC BRANCHING OUT In July this year Music For Trees threw a show at Carriageworks and raised enough money to plant 20,000 trees – and now they’re ready to present their next lineup. Heading to the Sydney Theatre Company’s Wharf Sessions Stage and curating their Open Day, Waiting For Guinness, Dog Trumpet, Ray Mann, The Slowdowns, The Anon Anons, Charlie McMahon and Ngarayta will be doing their bit in the hope of raising enough money to plant 10,000 trees around the world. Do your bit Sunday 5 December from midday.

ALL THE RIGHT NOTES Hugely renowned in blues and guitarists circles as one of the best in the business at the moment, Joe Bonamassa will make his second visit to Australia next year. With recommendations from Slash’s Twitter account like this: “Just saw Joe Bonamassa on Jools Holland again. He’s definitely my new favorite guitarist,” the New York-based guitarist’s profile is rising – then again, being lauded by BB King at age ten helps as well. With his ninth studio album due for release in March, the 33 year old will be at Newcastle’s Civic Theatre Wednesday 18 May and the Enmore Theatre Friday 20.

FRIENDLY AND LOUD They’ve just finished showing Canadian friends Elliot Brood the sights of Australia and The Fumes are bringing more friends from the land of the maple leaf down under. Carmen Townsend will make the trip over as the fiery two-piece blues racket strip things back a touch once again and play a few of the tracks they may not usually. Thursday 2 they’re at The Vault 146, Friday 3 Coogee Diggers Friday, Saturday 4 Manly Fisho’s, Sunday 5 the Heritage Hotel and Monday 6 The Brass Monkey. Without their international friends The Fumes will also be at the Beach Road Hotel Wednesday 29 and at the Cambridge Hotel on New Year’s Eve (Friday 31) with The Vasco Era.

DANCE HEROICS We all know that Modular know how to throw a party and given that it’s the lead up to releasing the new Canyons album, they’re going to be in full swing. This Saturday the Western Australia-originating duo will be launching their new single, My Rescue, at the supremely intimate GoodGod Small Club. This ‘Small’ club will be turned into a party cave as the guests of honour, along with Simon Caldwell, Steele Bonus and Michael Cue It Up, provide the soundtrack from 10pm. Canyons are also booked into Wollongong Uni Thursday 18, the Shine On, Stereosonic and Field Day festivals among others.

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Sisters Blanca ‘Coco’ and Sierra ‘Rosie’ Casady are CocoRosie together (with a few added live musicians, we must admit) and they offer an experimental take on the traditions of folk, hip hop and everything in between. World travelling since their Paris inception, they actually filmed a movie with director Emma Freeman last time they were in Melbourne, which is yet to be released (although for a taste, Freeman produced their clips for Lemonade and Gallows). Returning, it’ll be a special night out at the Sydney Opera House Concert Hall Tuesday 25 January.

IT’S JUST ART Being involved with a Veronica, going “missing” in America and changing their name to The Art, there’s always been a lot of interest surrounding the Sydneyoriginating (they’re all over the place these days) band. Expect the same as they’ve lined up their fist single, I Wanna Know, which will be released this week through iTunes internationally and precedes their album, Here Comes The War, slated for February. They’ll be launching the new track Saturday at Spectrum with support from Chicks Who Love Guns, The Go Roll Your Bones and Familia.

SKILL GOT IT Memphis’ Christian metal outfit Skillet have announced an Australian tour on the back of their latest album Awake, which debuted in second spot on the Billboard charts and sold around 68,000 units in the first week. They’re not as well known in Australia just as yet, but don’t put leaving with quite a solid fanbase past them. They’re playing The Metro Theatre Friday 21 January with VIP meet and greet packages available if you consider yourself a hardcore fan.

READ ABOUT IT Sample prone and using pretty much anything they can get their hands on the make sounds with, The Books are returning to our fair shores next year so we can experience them as they were meant to sound – live. Another of the New York City neighbour collaboration stories, they sold out a run of shows earlier this year – and history may well repeat itself around the same time in 2011. Friday 18 February they’ll arrive at the Seymour Centre.


THE DRUM MEDIA 9 NOVEMBER 2010 • 27 •


NEWS@DRUMMEDIA.COM.AU

THE CLEAN CUSTOM KINGS

NO REST FOR ROYALTY On the back of their east coast album launches, Custom Kings are heading back out on the road again for a more extensive introduction to their new record, Great Escape. Released only in August, it showcases the band’s penchant for not only pre-21st century indie-pop, but also the Californian-based surf sounds of the ‘60s and more or less the ‘70s as well. Their next tour visits the Harp Hotel Wednesday 1 December, Clarendon Guesthouse Thursday 2, Old Manly Boatshed Friday 4 and the Annandale Hotel Saturday 4 (alongside Dan Kelly).

TWO GUYS AND THEIR SOUNDS

MUM GETS A MAKEOVER

A terribly kept secret but one that brought about a lot of attention and excitement, the joint tour of Caribou (pictured) and Four Tet has been officially announced – there are dates, there are venues and there are places you can buy tickets from. Arriving to play a handful of festival dates, including Playground Weekender in NSW, the experimental electronic monikers Thursday 17 February at The Metro Theatre, with tickets on sale Tuesday 16 November. Friday 18 they move onto the Playground Weekender then off to Perth for their International Arts Festival.

Friday night indie party MUM will be moving out of its World Bar home for one night, Friday 3 December to be specific, to take over Melt and Iguana Bar with 20 bands and 20 DJs for the Go Here – Go There festival. You’ll catch The Checks, The Dirty Secrets, Felicity Groom, Bleeding Knees Club, The Fearless Vampire Killers, The Honey Month, Convaire, Chicks Who Love Guns, The Holy Soul, Dark Bells, Slow Down Honey, Post Paint, Nick Van Breda, Shakin Howls, Leroy Macqueen & The Gussets, Drop Tank, Disco Club, Jugu, Old Men Of Moss Mountain and Donny Bennet. DJs will be announcing in the coming weeks.

GETTING THEIR TOUR BUS DIRTY Touring Australia for the first time since 1989 – that’s longer than some of us have been walking this earth – New Zealand punk pioneers The Clean are back. Credited with the foundation of the seminal Flying Nun label and influencing the likes of Pavement, Sonic Youth and Yo La Tengo they’ve never really had a formal ‘hiatus’, although there’s been some side project endeavours and they’ve actually toured more this year than they have in any other for the past 20 years (Pavement support, Matador’s 21st anniversary party). Respect will be had at The Factory Theatre Wednesday 9 March.

BLUES ALL ROUND In the other blues event announced this week, the Australian Blues Music Festival has announced its first round of artists, with The Angels’s Doc Neeson and Mal Eastick joining forces to top proceedings. Also announced are Collard Greens & Gravy, Boogie-Woogie Piano Queen Jan Preston, Ray Beadle, Cath Butler, Blind Lemon, Morningside Fats, Asa Broomhall, The Dillon James Band, Pugsley Buzzard, Diana Wolfe & The Black Sheep, The Lemon Squeezin’ Daddies, Dreamboogie, Shaun Kirk, 19Twenty, Luke Watt, Richard Person & Matt Southon, Eli Wolfe and Halfway To Forth. The annual event happens in Goulburn from Thursday 10 – Sunday 13 February.

GANG OF FOUR

IN WITH THE NEW

JOANNA NEWSOM

UP CLOSE AND PERSONAL In a very special treat for Sydney punters, Joanna Newsom will be playing the City Recital Hall Wednesday 9 March. It’s going to be an incredible intimate performance – who remembers the reviews from Grizzly Bear’s performances there earlier this year? – and she’ll be bringing a six-piece band with her for a grand old time. They’ll be drawing material primarily from Newsom’s latest album, Have One On Me, with tickets on sale this Friday. It feels like one that you’ll remember for a while to come, perhaps even Newsom folklore fodder.

WHERE THERE’S HOPE An event aiming to raise funds and awareness for mental illness and depression, all the proceeds from the Hope Out West Festival will be going towards To Write Love On Her Arms and Beyond Blue. Taking place at St Stanislaus’ Performing Arts Centre in Bathurst, Hand Of Mercy and Sienna Skies will be headlining the hardcore/metal event. Buried In Verona, The Bride, The Never Ever, As Silence Breaks, Hands Like Houses, Falling For Beloved, Flatline Drama, Not Unto Us and Vanstorm will also be playing. Then there are the local supports Tear Down The Skies, City Falls, Lost In The Moment, Beneath Night Skies, Never Back Down and Stay Strapped.

DREAM THROUGH LIFE Usually mentioned when one’s discussing daydream-inspiring electro-pop, Toro Y Moi, led by 24-year-old Chaz Bundick have announced intentions to tour Australia early next year. Riding the wave of applause for this year’s debut record, Causers Of This, Bundick’s brought in influences from all over the spectrum to create his daydreams. From South Carolina it’s a long way to the GoodGod Small Club Wednesday 23 February, but we really wouldn’t have them at any other venue. • 28 • THE DRUM MEDIA 9 NOVEMBER 2010

One of the surprise inclusions on this year’s Soundwave announcement, there’s a lot of anticipation surrounding Gang Of Four’s imminent visit and new material. Due out late January, the album Content is their first new material in 16 years – yes it’s been that long. Reportedly stripped down to keep the intensity that they’ve built their reputation on, they’re playing a surprisingly cosy venue by way of The Gaelic. Catch them there Tuesday 1 March after you catch them at Soundwave. Tickets go on sale this Thursday.

FORWARD MOTIONS Formed by ex-members of relatively prominent Western Sydney outfits Guns For Glory, Sienna Skies, Me Vs. You and Envy Parade, Caulfield are looking to make their own impact with their debut EP Clarity In A Sea Of Confusion. Wearing their song meanings on their sleeves, the first single Bring Sunday is, they tell is, a number of selfperception and being able to let go of the past. These guys are certainly looking to the future and the punk outfit can be caught Friday at the St James Hotel for Club Blink, The Lucky Australia Tavern Sunday, Spectrum Saturday 27 November and the Bull N Bush Thursday 23 December.

DAN KELLY

TRUST DALE There’s some people that are feeling a void in their early December plans with the absence of Homebake this year and it’s from those feelings that Dalebake has emerged, happening at, you guessed it, the Annandale Hotel. It doesn’t quite have the same greenery or fear of rain, but the calibre of Australian music is right up there. With three stages the first announcement includes Dan Kelly, Custom Kings, Fergus Brown, Keiran Ryan, Songs, Leena and Spookyland with many more to be announced. It happens on the very familiar Saturday 4 December, tickets just $15 if you arrive before 5.30pm on the day – so long it hasn’t sold out with the $20 presales.

AMANDA PALMER

AUSSIE AMANDA She loves Australia, Australia loves her and so everybody’s happy with the announcement that Amanda Palmer will be returning down under and playing the Sydney Opera House’s Concert Hall Wednesday 26 January, for An Australia Day Spectacular. Joined on stage by fiancé Neil Gaiman, Meow Meow, Mikelangelo & The Black Sea Gentlemen amongst others, the Dresden Doll recorded her last album – the Radiohead tribute – which she was in Australia last time. Who knows what she’ll get up to this time? Here’s a good starting point to find out.

DARREN’S GIFTS It’s that time of year – the retail decorations tell us so – and Darren Hanlon is preparing for the festive spirit by announcing Christmas shows. Returned from a US jaunt where he toured with the likes of Billy Bragg, Corin Tucker and Sean Lennon, he’ll be playing one show in Sydney and one in Melbourne as we’ve come to expect. In solo mode and playing stripped back versions of tracks from his album I Will Love You At All he take to, fittingly St Stephens Anglican Church in Newtown Saturday 18 December. The show’s all ages.

LENDING A CUBAN HAND Fundraising for Cuba’s first and only non-profit surf school, Royal 70 Surf School, Las ideas no se puedan matar (that’s “you can’t kill ideas” in English) will take place Saturday 27 November at Avalon Beach RSL, from 6pm until “late”. There The Herd’s Ozi Batla will be headlining proceedings, Dubblys Fernando Aragones, Matty Woods, The Ras Gong Guerrilla and Dan Reid round out the bill. All proceeds are going to supplying surf equipment for the school and music and art supplies to Hogar 10 Orphanage.

MARTHA WAINWRIGHT

THE FAMILY TREE The Wainwright family member’s fondness of Australia seems to be continuing with Martha Wainwright announcing a tour early next year. Something of antithesis to Rufus, where he’s exuberant, Martha’s grounded. In a newly-formulated performance she’ll be pulling tracks from her albums, EPs and her celebrated Edith Piaf (who she admires and is regularly compared to) tribute record Sans Fusils, Ni Souliers, à Paris: Martha Wainwright’s Piaf Record. Thursday 17 and Friday 18 February she’ll be at Lizotte’s Newcastle and Thursday 24 the Sydney Opera House’s Concert Hall.

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JENNY & JOHNNY

LOVE COUPLE American indie duo Jenny & Johnny are preparing for their first ever Australia tour as they play two headline shows – one in Sydney and one in Melbourne – to coincide with their Laneway Festival itinerary. A new project from Rilo Kiley’s Jenny Lewis with boyfriend Jonathan Rice, their debut album I’m Having Fun Now is an uplifting and love-infused affair, with harmonies to boot and a ‘70s vibe about the whole thing. With more substance than something like the last Mates Of State record, they’ll be at the Oxford Art Factory Monday 7 February.


THE DRUM MEDIA 9 NOVEMBER 2010 • 29 •


HUNGRY KIDS OF HUNGARY

THE AUSSIE WAY

BACK TOGETHER, BACK IN TOWN

Probably unknown to the majority of the latest music-listening generation, there’s certainly a special place or two in the hearts of many for Swervedriver. The Oxford alternative outfit returned from a ten-year hiatus in 2008 – their final show until then having actually happened in Western Australia while they were on tour as guests of Powderfinger – and once again they have Australia in their sights. With a lineup that includes singer/guitarist Adam Franklin, guitarist Jim Hartridge, bassist Steve George and newcomer, drummer Graham Bonnar, they’ll play The Metro Theatre Friday 18 February.

They do it every year and there are few places better to spend your Australia day than at Sydney’s iconic The Rocks. The free Festival Of The Voice is expecting over 140,000 people to make their way around the area, where there’ll be six open-air stages covering a variety of genres. Hungry Kids Of Hungary are the major headline, with Cuthbert & The Nightwalkers, Casey Donovan, Tijuana Cartel, Andy Bull, The Medics, Spooky Mens Choral, Pia Anderson, Street Warriors, Eli Wolfe, Robyn Laou, Gail Page, The Big Singing Thing and more. It runs from 11am to 9pm Australia Day, Wednesday 26 January.

FORTIFY YOUR KNEES LADIES Swoon-prone Mayer Hawthorne will be making his return to Australian shores early next year, bringing with him his band The County. But that’s not all he’ll be bringing on the flight, because there’s new material from a forthcoming album to be road-tested. Notoriously signed to Stones Throw after just a few tracks (as rumour has it, label head Peanut Butter Wolf couldn’t believe that the tracks were originals and everything was played by Hawthorne) he’s got his dad’s old jazz records to thank for his disposition. Saturday 19 February it’s all going down at the Manning Bar.

KEEPING IT LOCAL The sideshow-free Good Vibrations festival has announced its local contingent, with (New Zealand’s) Fat Freddy’s Drop and Bag Raiders joining the previously announced Yolanda Be Cool, Koolism and Tim & Jean in playing all the cities. Just for the Sydney event – Centennial Park Saturday 12 February – the following, in alphabetical order, will also be track selecting – Adam Bozzetto, Agent 86, Ajax, Anna Lunoe, A-Tonez, Bang Gang DJs, Cassian, Club Junque, Jeff Drake, Jinja Safari, Kid Kenobi, Nick Findlay, Nino Brown, Samrai, Slow Down Honey, Sosueme DJs, Spenda C and Thundamentals.

HELL OF A RACKET In their own words, the ten-piece Clairy Browne & The Bangin’ Rackettes are a “love makin’, ass shakin’, eyelash fakin’, heart breakin’ motherlovin’ soul train,” and they’re drawing their influences and inspirations from all the right places – Etta James, Tina Turner and so on and so forth. A year down the track from their debut performance, they’ve been touring with/played at festivals and with their debut self-titled EP ready to be unleashed they’re spreading their collective wings and rolling into The Vanguard Friday 19 November.

11.25pm Monday 15 November, ABC2 screens the next triple j Presents, this time featuring Bliss N Eso, recorded live in concert at the Enmore Theatre in August this year. Out Thursday is an album titled The Key Of Sea that features Australian artists collaborating with world artists, so Sarah Blasko for instance collaborates with Sudanese artist Ajak Kwai, while Tim Rogers teams up with Greece’s Rebetiki and Old Man River Chile’s Javier Fredes. The new project for The Butterfly Effect’s Glenn Esmond, A Family Of Strangers, releases its debut EP, New Techniques For Beginners & Champions, Friday. Sister Bliss & Rollo from Faithless, our own PVT and Peter Bjorn & John among others have been given free rein to remodel a track from the debut album by The Temper Trap and the result have been released as Conditions – Remixed. San Diego art punks Crocodiles release their second album, Sleep Forever, Friday, the Australian version including two exclusive remixes by Cold Cave and The Horrors’ Tom Hurse. Josh Grobin releases his fifth and this time Rick Rubin-produced album, Illuminations, three years in the making, Friday. Also out Friday is the new studio album, Born Free, from Kid Rock, which coincidentally was also produced by Rick Rubin. Rihanna releases her fifth album, Loud, Friday, giving you plenty of time to learn the words before she hits Australia for her February/ March 2011 tour. Touted as “in the same league as Bon Iver and Jeff Buckley, American singer songwriter Nathaniel Rateliff releases his debut album, In Memory Of Loss, Friday. Thirty Seconds To Mars release a deluxe edition of their This Is War album with a bonus DVD Friday. Skybombers release second album, Black Carousel, Monday.

• 30 • THE DRUM MEDIA 9 NOVEMBER 2010

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THE DRUM MEDIA 9 NOVEMBER 2010 • 31 •


A DAY TO REMEMBER VOCALIST JEREMY MCKINNON TELLS SAMUEL J. FELL HOW THE BAND GOT MEANER WITH PISSED-OFF SOUNDING RIFFS AND ARE REALLY LIKE FOUR BANDS IN ONE.

Y T E I ANX

NO SEPARATION

P

unk rock is an intriguing beast and has been ever since it first exploded, rude and raw, into musical culture back in the early to mid-‘70s. Back then, it was the barest form of self-expression, as angsty and primal as it was possible to be at the time, a steroidpumped version of the blues. Bands like Radio Birdman and The Saints here in Australia, The Ramones and the New York Dolls in the US and The Clash and the Sex Pistols in the UK formed the basis of what was to become an overt form of musical desperation, born of isolation, anger, frustration and a need to separate from the norm. Utilising a D.I.Y. ethic, these bands and many like them forged their own place amongst what they saw as the dross and the debris of a society gone to the dogs and they stomped on the terra and did it their own way. These days though, punk rock is different. Through new wave, post punk, grunge and pop/punk, this genre, whilst defining a generation and influencing countless bands along the way, has morphed into what can only be described as the antithesis of what it set out to achieve (or not) in the beginning. For when did pop (the notion of popular music) become an acceptable part of punk (the polar opposite)? Quite some time ago now, and this is why punk rock is such an intriguing beast – those base ideals are still being utilised, but as a badge of ‘honour’ as opposed to an ethos (for the most part) – like an old soldier, pinning ribbons on his tunic, ones he never won, from a war he never fought in. Green Day and the Offspring began this ‘movement’ in the early ‘90s, turning punk rock into an acceptable form of mainstream entertainment and from there pop/ punk has blossomed and become the norm as far as punk rock goes. Of course, there are many bands, hiding in the underground, doing it the old way, but the ones you hear about (in mainstream media, anyway), these are the ones eschewing the ethos of old in favour of big budgets, major labels, huge tours, entourages, the dross and the debris that characterises the mainstream music market and the people who inhabit it. Where has punk rock gone? And does anyone even care? One of the more intriguing bands flying the flag today are Florida’s A Day To Remember. They’re a band who, when you look through their past, wear the pop/punk tag on their collective sleeve and who embrace it – for them, pop/punk has become accepted, it’s been around for a long time, it’s where punk has ended up and you’d better dig on it or get the fuck off. But these boys go deeper. For melded with the bounce and the ping is the hard and the dirty, the metalcore and the grind that takes this five-piece and makes them seem just that little bit more ‘real’ than most. This is, obviously, a dangerous game, as subjective as they come, but this one is blatant. A Day To Remember have prided themselves in the past as a band who have managed to remain underground. There are many pop/punk bands who say the same thing, without a hint of irony, as they ride around in slick tour buses playing to thousands upon thousands of kids. ADTR seem to have it pegged properly though • 32 • THE DRUM MEDIA 9 NOVEMBER 2010

– but having said that, with the release of their fourth d, What Separates Me From You, this is likely record, ange, if it hadn’t already after their third record, to change, esick, hit number 21 on Billboard’s d Top 200 chart. Homesick, “Well,, we’ll see. It kinda depends on how people take it,” musess vocalist, Jeremy McKinnon on where this record ake the band. will take estly, I’m not worried. Homesick took us to a place “Honestly, that I never really imagined our band could get to. I mean,, whatever this new record does or doesn’t do, I’m happy with because we did our time with it and I’m more proud of these songs than anything I’ve ever worked on before, so if people don’t dig it, that’s cool. I’m proud of what I did; it is what it is.” McKinnon doesn’t see it as a ‘new’ band having to conform (again, anti-punk) to an ethos founded over 30 years ago and

I wouldn’t say the heavier songs got heavier, I would say this time around they got way meaner.”

in truth, this is perhaps what sets ADTR apart. And this is particularly evident in how they put together their records. “We didn’t try to make this record sound any one way or the other, it’s just what happened naturally. And what happened naturally is… well, I wouldn’t say the heavier songs got heavier, I would say this time around they got way meaner. A lot less metalcore, chuggy stuff and a lot more hardcore influences, like pissed off sounding riffs, which I’ve always been a big fan of. And on the pop side of things, it just got a bit more serious; it just became an all round darker record for us.” A darker record it is indeed, the most apt descriptor being what McKinnon himself tagged it – meaner. What Separates Me From You is indeed a record that will bring ADTR out of the underground, whether they want it to or not, capitalising on the popularity of its predecessor, but not in the way most pop/punk bands have in the past. It’ll bring them out as a harder, faster band, the power outweighing the puff and the pop and, in fact, ADTR seem to have built themselves a niche where everything ranted about earlier hardly seems applicable. “Yeah, it’s kinda cool. We’ve created this thing where we can literally record anything we want because A Day To

Remember isn’t one band, it’s like four different bands as one. So I think it’s a great thing and if people accept that, that’s cool. But to be honest with you, we really don’t need our band to change drastically, because we’re four different bands in one.” ADTR have been criticised in the past for their melding of pop/punk and metalcore, but it’s a mix they’ve been able to pull off time and again. But they’re still changing. As McKinnon says, they’re not bound to any one formula, they’re doing it their own way and isn’t that what punk music is at its heart? “To be honest, we didn’t even think about it, we just went into it and just wrote, because when you start thinking about it, that’s when you begin to have problems,” he says on how they did want this record to come out. “So we just took it as it came and so didn’t have those kinda problems. We just wanted time to get in there and record this album.” A Day To Remember did just that, along with New Found Glory founder, Chad Gilbert, the man responsible for producing Homesick. Now this is interesting, because New Found Glory are as pop/punk as they come and yet What Separates Me From You is perhaps ADTR’s most un-pop/punk release to date. “Not at all,” McKinnon says candidly when asked whether or not he was worried about Gilbert’s pop influence coming through too heavily on this new record. “He knows both sides to our band and he’s never really pushing us more towards the other. It’s all about the song and what the song means to us.”

To answer the question posed earlier, where has punk rock gone? Well, the answer is it hasn’t gone anywhere. It’s still underground, it still utilises the D.I.Y. ethic, it still does things its own way. The bands you see on TV and hear on the radio though, the ones who call themselves punk, or pop/punk or whatever, these aren’t punk bands. They may contain traces of what transpired back in the ‘70s, as ADTR do; they may write angsty lyrics and act pissed off at the world, but they’re not punk bands. ADTR are a band, pure and simple. They come from a place long gone – and they recognise that. They also recognise the need to evolve and the desire to not become pigeonholed. They’re an ever-changing beast and whilst their roots are intriguing and interwoven and blurred beyond comprehension, they’re doing things their own way and as was mentioned, this is truly what punk is anyway. Who the hell cares what anyone else thinks?

WHO A Day To Remember WHAT What Separates Me From You (Victory/ Stomp) out Friday 19 November WHEN & WHERE Saturday 18 December, No Sleep ‘Til

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ROAD WARRIORS At time of writing, to look at A Day To Remember’s touring schedule is akin to reading War And Peace – in a word, it’s extensive. This is a group who have never been afraid of the hard work associated with mainstream bands these days and the fact they’ve got 49 shows listed between now and mid-February is testament to that to be sure. When they hit our shores in mid-December as part of the No Sleep Til… festival, it’ll see them churn up Australian moshpits only eight months after they last graced our fair shores, again testament to their voracious need to play. “Yeah, I’m pretty excited about it. I love playing Australia,” smiles McKinnon. “We’re all really excited to be back.” It strikes me that playing these travelling festivals (No Sleep Til… plays out in Brisbane, Sydney, Melbourne and Adelaide) would be an ideal way for a band to play a country – mellow schedule, surrounded by like-minded people: surely a fun time. “For sure, you get to hang out and it’s all about everybody, so it’s a little less focused. You get time to hang out and watch bands you like, see the city – it’s cool.” The Australian leg of ADTR’s schedule comes at the end of an extensive US tour, precedes a brief Christmas break, which in turn precedes a hectic tour of Europe – they’re certainly not sitting around doing nothing at the moment. “Never man, we’re always on the go,” he admits. “And this is just the beginning, it’s gonna be very much nonstop for the next two years. We usually tour for around two months then take a two-week down time, depending on what we’re doing. Someone was telling me we’re touring less this time around, but that’s a lie. We’re pretty much nonstop.” Of course, in this particular instance, the band are toting a new record – no doubt this particular run, from now until the end of the cycle in around two years, will focus heavily on these new tunes. “Yeah, for sure, the album will have been out for around a month by the time we get to Australia, so we’ll definitely be playing a lot of newer stuff once we get there.” Fans of the band will be glad to hear this, no doubt – it’ll be a punk rock Christmas for sure.


SON OF A PREACHER MAN

JINJA SAFARI’S MARCUS AZON TALKS TO DANIELLE O’DONOHUE ABOUT DANCING IN HIS UNDERWEAR IN PUBLIC AND HAVING A DOG THAT’S A GOOD LISTENER.

M

arcus Azon isn’t quite sure how he ended up on stage at this year’s Coaster Festival dressed in little more than a pair of jocks and neon industrial tape, but he knows it has a lot to do with recent tourmates Art Vs Science. It was their stage that he and his Jinja Safari bandmates were dancing around on, after all. “I don’t know how it happened and I certainly don’t think it should be happening,” Azon admits with a chuckle. “We did our first tour with them. They were kind enough to bring us along so we got into the habit of doing things on tour. Every night that they’d play Flippers we’d always try and up the ante. One night we came out with all of their food on platters and started giving it to the crowd. “It’s all very surreal. We saw Bluejuice backstage [at Coaster] and they gave us their fluoro tape that they use to tape up their Yeti costumes. We ran out onstage with Cypress Hill watching from the side. And that first moment someone in the crowd threw a flipper up to Alister [Pattern, Jinja Safari percussionist] and he just threw it at my face and it cut my lip open and blood went everywhere and then I realised where I was – in front of 7,000 with blood coming out of my face, I was in my undies with tape around me and I just thought about where I’d come from and where I was and I was full of regret.”

I was in my undies with tape around me and I just thought about where I’d come from and where I was and I was full of regret.”

Though it may be hard to imagine, now you have an image in your head of a half-naked troupe of young men dancing like loons, Jinja Safari play beautiful, intricately crafted pop that’s part Arcade Fire, part Midlake. It’s there for all to hear on their debut self-titled EP. The band is the creation of multi-instrumentalists Azon and Pepa Knight. The pair have since added Pattern, Joe Citizen on bass and Jacob Borg on drums to fill out the live band, but it was a camping trip last year that first set the Jinja Safari wheels in motion. “It was a very fortunate camping trip that all of my friends bailed on. But I decided to go anyway with a group of friends of friends. I met Pepa up there. We just had very simple conversations about music and just had a little jam around the campfire one night. We toyed around with the idea of writing music together. I wanted to start a new band but didn’t really know how to do it. We came up with a bunch of ideas. We saw eye to eye on some musical tastes. “It wasn’t like we agreed straight away on some artist we liked, but every idea that I offered musically and every idea he offered musically it all resonated with the other person. I’ve jammed with a lot of people and any musician will say there’s just a moment where you kind of feel like you’re seeing things on the same wavelength and there’s a lot of times where that doesn’t happen, so when it does happen you’re very grateful for it.” Knight is from the Central Coast, but Azon’s backstory needs a little more explaining. “I grew up in Sydney until I was about ten. But then my parents moved to Tasmania to start a church. They’re both preachers. They ran a church down there and that’s where I grew up, with Alister our percussionist. We grew up playing in church.” Settling in Kingston, just out of Hobart, Azon admits that he wasn’t happy about the move but was won over by the thought of finally being able to get a puppy, which he had until just last year. “We did home schooling for the first few years as well. I was the classic home-schooled kid with his best friend being his dog. He was just a great listener. He couldn’t give any harsh critical advice about my music,” he says laughing. Rather than a strict, austere household, Azon was encouraged by his parents to play music, with his father providing the practical knowhow, his mother the support. “The deal was I had to learn classical piano for two years before I was allowed guitar lessons. My dad always played the acoustic guitar. He showed me all the open chords and how to simply rhyme about things that were in the room. He made a lot of songs up on the spot. I guess informal lessons began from early on. He was a really good singer and player. He was one of those guys that could have done anything and did a little bit of everything. Mum was completely tone deaf but she could draw a really good duck.” Though there was music surrounding Azon at home, there can’t have been a whole lot of bands touring through Tasmania for a young music fan to feast on, certainly not like the constant stream of international tours that would run though the capital cities on the mainland. “The first live show that I really remember was this festival down in the country. There was this band that I’d heard a lot about and one of my friends had the EP, so we went along and saw them play and it was Frenzal Rhomb and they were so good. My parents didn’t know I was going obviously, so I stayed the night at my friend’s place. I think I was fourteen/fifteen. It may have even been the first time I had a beer as well. I saw them play and I was just blown away. They were such good performers and so far from everything I’d grown up playing. I didn’t realise at the time but because triple j have done so much for Jinja Safari, we’ve gone in for a couple of interviews and the first time I kind of recognised the guy interviewing us, the Doctor, but I didn’t realise, I had to Wikipedia it later on, that he’s the guitarist for Frenzal Rhomb. But luckily I didn’t find out at the time because I probably would’ve made an idiot of myself.” And let’s face it – Azon would much rather do that when he’s invading other people’s stages. WHO Jinja Safari WHAT Jinja Safari (Young Mine/Other Tongues) WHEN & WHERE Thursday, Oxford Art Factory; Friday, Northern Star Hotel; Friday 31 December, Peats Ridge Festival

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THE DRUM MEDIA 9 NOVEMBER 2010 • 33 •


THERE IS A LIGHT

LEARNING FROM THE MISTAKES AND MACHINATIONS OF THE LAST AUGIE MARCH ALBUM AND TOUR, GLENN RICHARDS SIMPLIFIED THE IDEA FOR HIS LONGAWAITED SOLO ALBUM INTO ‘HAVING FUN WITH A BUNCH OF MATES’. ROSS CLELLAND ACCEPTS THE EXPLANATION.

A

lthough fighting off the last coughs and aches from “working through the depths of a Melbourne winter, then going to mix in America, straight into one of the hottest summers on record”, Glenn Richards has got some enthusiasm, some spark back. The erstwhile Augie March singer now has the solo album, Glimjack, many have sought for so long. Lovers of Augie’s literate pop with sometime odd angles will be happy – Richards’ lilting voice is still centre-stage, with a band capable of going with his occasional flights of fancy. It is very much the album he had in mind. “I didn’t want to go out there with an Ascot and do the quiet and gentle radio-friendly acoustic thing, as much as some people might have wanted that,” the singer accepts with a smile. “If anything, I wanted to explore even a few weirder areas than Augie, just taking some things a little further. Not sure how it will be received.” One thing that apparently hasn’t changed is the Augie March tendency to self-doubt. It’s almost part of the charm. “Just different players, some different things. I’ve never had the ambition to approach anything with any thought other than, ‘Yeah, that sounds like a good idea, let’s do it.’ Or even, ‘Yeah, I like the way that sounds.’ Sometimes I regret not having that kind of foresight.” Had some of that foresight been present earlier, Richards might not be looking back on the last Augie experiences album with such ill-feeling. Shoehorned with a ‘big-name’ American producer in an attempt to find that elusive international success, a band already fraying pushed itself that bit too far, with the Watch Me Disappear album not really pleasing anyone with the way it ended up. “We should have taken our break before we made the last record. Toured quite solidly to pay the rent and we were exhausted. Made a record that was what it was. Then toured America again. And playing to a dozen people in Boston – you may as well be in Frankston. Any energy we had left was just spent, dissipated.” The cracks became fissures: “The little acrimonies among us that had been there for years became bigger ones when you’re all trapped on the same bus. We absolutely needed this time apart.” Conversely, he’s equally insistent that the band are not done. “Oh, no – it is a hiatus, a break. I change my mind every day as to how to manage it and when. Of course, a lot will depend on how this goes. Unfinished business? Yes, no – but we will do things differently – we have to. It was like a bickering family toward the end. Never wanted that.”

THE DEBUT ALBUM FROM THE UNEARTHED J-AWARD WINNERS THE TRIPLE J FEATURE ALBUM INCLUDES: OVERPASS, MASOCHIST, RAINBOW KRAUT & EVOLUTION “The Brisbane six-piece emit dreamy, candy-coloured pop with a fantasist streak.” Rolling Stone “They have delivered the goods and then some.” Triple J Mag “A creative tour de force ... Well worth the wait.”The Dwarf “Tangalooma bursts with bright pop.” Sydney Morning Herald

Between that and this, Richards also took the odd left turn for a man renowned for his words, composing an instrumental soundtrack for a movie. “An absolute discipline,” he admits. “To be told you need a piece of music that goes two minutes 12.5 seconds and has strings and goes there – and has to have ‘drama’ to keep it moving.” It’s the challenge of keeping it ‘interesting’, finding that something different to hold creative attention. “Like Paul Kelly’s work ethic. The older he gets, to maintain that energy he has, he does different things, seemingly every year. My next thing could be an Augie March record, or an album of covers, or something I haven’t even thought of yet. Work is the thing that keeps you above board – and above bored – rather than the endless repetition. Which is what Augie ended at being sometimes.” He sees Glimjack as a moment to itself. “I’m not putting a massive shelf life on this, not the least because the people in this band have other things.” Indeed, the band hereon have other ongoing credits. Beside Richards’ brother Chris, there’s Ben Bourke, more usually Ned Collette’s bass player. In a handy twist, Augie’s Adam Donovan is currently doing that job overseas. “The best trade since Chris Judd went to Carlton,” Richards jokes. And then there’s Dan Luscombe and Mike Noga, more usually of The Drones, themselves having some time off while their singer does his solo album. “Gaz Liddiard’s idea of a solo album is a bit different to mine,” Richards chuckles again. “I might try it his way one day, but it’s not what I was ready for yet.” Is it a matter of needing collaboration, people to bounce off? “Not really. These are all mates of mine and my brother. People I’ve been threatening to do something with for a long time. I just wanted to do this quickly, try and have some fun, with a bunch of mates. Of course it got hard, stretched out – making music is not easy and you can never quite get it to that timetable you had worked out.” While there was no whip-cracking, there was effort: “We did work hard – there’s 15 of 19 songs we recorded on the album. Jammed on them two or three times and then bashed them down. From various places: three or four from before the last Augie record that I’d just put aside and went back and had another listen, another think about them and maybe come at them differently.” Revealing the secret of the creative process: “It’s often very much just throw shit at the wall and see what sticks.” The songs of Glimjack come from the usual idiosyncratic places that Augie fans may be used to. Hangovers, Victoria’s disastrous bushfires, old Nazis in Brazil and an almost steam-punk vision of an invaded Tasmania, among other things outside the usual ‘cars and girls’ pop habitats.

ALBUM OUT NOW

TOURING NATIONALLY NOV/DEC WWW.THEJOHNSTEELSINGERS.COM

WWW.DEW-PROCESS.COM

And even Glimjack Muttering. With the benefit of Google, we find a glimjack is one of those obsolete jobs of Victorian times – the boy who carries the lantern to lead your way through nighttime London’s sometimes dangerous streets. ‘It’s a trust thing,” Richards suggest. “Sometimes the boys were bribed to take the richer folks they were leading off the track to less savoury neighbourhoods. Hopefully, this record is going to take you down some dark alleys. You may sometimes even like it down there,” he adds with some mischief. WHO Glenn Richards WHAT Glimjack (Sony Music) WHEN & WHERE Friday, The Metro Theatre

• 34 • THE DRUM MEDIA 9 NOVEMBER 2010

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PREACHING FROM THE CONVERTED

THE MANIC STREET PREACHERS FRONTMAN JAMES DEAN BRADFIELD TELLS PAUL SMITH WHY THE BAND ALWAYS HAVE A MESSAGE TO SHARE.

“W

e are a different band again; it’s like there are two versions of us. That’s been confusing for us sometimes and it’s been confusing for our audience sometimes, but I think whenever we get bored with the one version of the band we just go in and become the other and that’s just been great for us. It was never by design, it just happened that way.” Manic Street Preachers frontman James Dean Bradfield is the first to admit that over the course of some 20-plus years and ten studio albums his band has flitted between styles and tones, at times dark and intense, while at others exuding a more classic rock sound; yet whatever incarnation, they’ve always managed to hold onto their fans. The band’s latest album, Postcards From A Young Man, which naturally follows last year’s Journal For Plague Lovers, sees those extremes hit the highest differential since 1996’s Everything Must Go lifted their mood from the depths of its 1994 predecessor, The Holy Bible. In both cases they have followed up darkly poetic offerings with a much cleaner and more commercially friendly release. The approach worked wonders for them the first time with Everything Must Go bringing them the sort of mass appeal that somewhat belied their altogether punkier origins. Bradfield recalls how that came about. “I think up until then we were almost like a cult band on a major label. Everything Must Go was our crucial fourth album – which I think more often than not is the best album from all bands – and it just came to the point where we managed to distil everything down in our writing. We wanted to make any little bits of what you might call a message easier to understand ourselves, let alone the audience, so rather than trying to tell somebody something in a full verse of a song, we’d do it in one line of a song. I just think we became more of a musical band at that point and people therefore understood where we were coming from. Suddenly where before people were like, ‘Oh they’re a bunch of mad fuckers from Wales,’ they then thought, ‘Ah they’re a bunch of mad fuckers – but we kind of understand them a bit more now!’”

People then thought, ‘Ah they’re a bunch of mad fuck ers – but we kind of understand them a bit more now.”

Much of that was a necessary move for the band to make from a somewhat overpowering and claustrophobic period. Bradfield can clearly see parallels with their new release, which follows an album written entirely using entrusted lyrics left to them by their missing (presumed deceased) friend and band member Richey Edwards. “When we came off the back of Journal For Plague Lovers it was just like coming out the back of The Holy Bible. It had been such an intense and disciplined experience that we just wanted to let the music breathe in the next set.” The result is an altogether more accessible album with its moments of orchestration, gospel choirs and plenty of rousing choruses. Despite the return to an obviously more commercial sound though, it still manages to beat a Manics heart that Bradfield puts down to the way they tailor their lyrics, which can have quite an angular edge, to music that has a lot of mainstream rock elements to it. Does the band ever feel any pressure to revert back to their original more rebellious punk though? “It’s funny, you’ve asked the question in a converse fashion, do we feel pressure to keep those punk roots in there and I would say yes, you’ve hit it on the head actually. People always think that we feel pressured to make things more radio playable and put strings on there, but I don’t feel any pressure to do that. But yeah, I do feel sometimes if there’s not enough political songs on a record – and there only needs to be three or four – it’s as if we’re betraying our slightly punk roots kind of thing.” By way of example, the anthemic new track, All We Make Is Entertainment, is an attack on the lack of support the (now ex) UK Labour Government gave to manufacturing industries, with the selling off of the resolutely British Cadbury brand to the American Kraft company being the last straw for the band. Given that, the undertone of the title becomes clear. While they‘ve remained true to such social and political songwriting motivations, Bradfield expresses his surprise and disappointment that latter day bands don’t feel the same passion: “It is kind of amazing and it puzzles me that we’ve had two wars and the longest and deepest recession in Britain for a long time, but no bands are writing any songs about it. None at all. Don’t get me wrong, I don’t think that when a band makes an album every song has to be political, I just mean perhaps there could be one song on there that tackles one of these subjects. I don’t want to sound pious or fucking pompous or earnest about it, but it truly staggers me that this generation do not write songs about those things. We were always just the opposite; perhaps we’re just really strange people, but we always try and react to things such as how we feel ourselves and the present year that we’re living in.” As the band prepare for their first Australian tour in over ten years, Bradfield promises they’ll play a set encompassing all eras and personalities. “You know how you get a lot of bands that won’t play their favourites, won’t play the audience’s favourite songs? Well we’ve never been that band. I do kind of believe in the Springsteenesque kind of entertainment ethic where people have paid to see you, so you go out there and you give them the songs that they want to hear. The one unchanged thing about being in a band whenever you’re confronted with how the music industry has changed is that playing live is still the one thing you’re still completely in control of. You’re still standing on the same stage that The Clash stood on and you still actually feel as if you are part of rock’n’roll tradition. You feel as if you’re part of something which has lineage which is kind of rare these days, so I just love playing live.” WHO Manic Street Preachers WHAT Postcards From A Young Man (Sony Music) WHEN & WHERE Monday, The Metro Theatre

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THE DRUM MEDIA 9 NOVEMBER 2010 • 35 •


ARE YOU EXPERIENCED?

YES, SAYS JOHN BAIZLEY, GUITARIST AND VOCALIST FOR PROG/METAL ACT BARONESS IN BETWEEN THE TWO BIGGEST TOURS THAT HIS BAND HAS EVER BEEN ON. LUKE MONKS CATCHES A LESSON IN HUMILITY FROM A MAN WHOSE STAR IS ON THE RISE.

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resh off a tour with grandfathers of nu-metal, Deftones, John Baizley sounds relaxed and quite pleased with himself, though it seems that he is happier just to be catching a breather rather than chuffed with any perceived notions of past glory. “It was really fun,” he says of the string of American dates just past. “Even if it was the most outside of the box tour we’ve ever done, it was definitely the biggest kind of tour we’ve been on to this point. We really didn’t know what to expect and we got a really good reception from the crowd.” While at the time of speaking to Baizley, the tour with Deftones was the biggest thing that the group had done, it won’t remain so for long, as the group head down under with possibly the most influential metal act of all time – Metallica. “It would get overwhelming if I sat down and thought about this coming tour,” laughs the frontman, explaining that he avoids such contemplations in favour of keeping every show in perspective and he is keen to reiterate that no show is approached differently from any other. “This is what all this stuff, all this playing music is about. To me, we shouldn’t be playing differently when we’re on tour with Metallica than we do when we’re headlining. One way or the other, we’re doing something that we feel really strongly about. I don’t want anxiety or nerves to get the best of us and I don’t want to get a big head about it, because then we’re being something that we’re not.” For a man whose band has done so much in a little under a decade, Baizley is decidedly humble about all aspects of his career, from his epic music to the fantastic/fantastical artwork he creates. This renaissance man says that the best way to keep your ego from damaging your art is to keep tabs on it and make sure that those around you are deserving of knowing you intimately and vice versa – basically, don’t be an arsehole. Still, there can be difficulties. “There is an entertainment angle to what we do and as a touring band, there is a stage and it’s well lit and people are paying money to see you and your humility is constantly at odds with that fact. The best that you can do is try to remain the same person that you were before anybody knew your name.” So far, so good for this four-piece, as the singer says that he can honestly and definitively claim that each member of the band is the same person who started out with this act. “There is a difference between entitlement and experience and we have erred on the side of experience.”

We’ve seen every imaginable excess of the road and we’ve come up close and personal with so many impressive and powerful things.

The experience that Baizley speaks of is something more holistic than many rock types are willing to take in – though this isn’t surprising, given the subject matter of his often mystifying lyrics. “Everything impresses itself on you,” he explains when asked about what he takes away from touring. “Since we started in 2002 or 2003, whenever it was, we’ve seen almost every continent on the planet and we’ve bumped shoulders with so many different cultures and ways of life. We’ve seen every imaginable excess of the road and we’ve come up close and personal with so many impressive and powerful things. It’s difficult to say which of these things leaves the biggest mark on you, because as much as we tour, it’s really best taken as a whole – how much we have seen and really, how much we have been able to do. The fact that we’re still excited about visiting new places and revisiting ‘old’ places, it’s exciting to reinvest yourself in music and the entirety of being a touring band. That’s the most impressive thing, I guess – we’re still excited.” This excitement is something that sets Baroness apart from other veteran bands, who either get tired of trying to make it, or make it then take the money and run, probably starting a fashion label of sorts or appearing in reality television some years down the line, starved for attention. “We’ll always bleed this, this music,” says the frontman. “If you play a song on stage, what, say two thousand times, that’s a difficult point, there may be something robotic and it becomes less creative – you’re essentially just performing – but we just try to keep each and every performance unique. If you can stay on the edge of your seat, once in a while, you’ll surprise yourself and it’s tough, but it’s those surprising times that we’re focused on.” For Baizley and company, the best way to keep this excitement is to regress, he explains, to take a step back from huge shows and festival tours, to get back to basics and play a tiny show. “Point in fact is that sometimes, we like to trick ourselves. You’re going to meet the same people on the way up as on the way down and my shit stinks as bad as yours does, so you know sometimes we’ll do something different. Last week, we played a show to one hundred people in a record store. Our merch guy advertised it on Facebook a couple of days before and it was without that whole mechanism that we have working around us – guarantees, agents, all that stuff. And you know what? It turned out to be the best show we have played in quite a while. No one crowd is better than another and music should never be a case of quantity, it should always be a case of quality. “What we’re interested in is variety and the easy way out causes boredom, which leads to repetition and once that happens, you become a robot. The plan has to be to follow up everything that is easy with something that is difficult. That’s what keeps our arms and eyes open to different experiences.” WHO Baroness WHEN & WHERE Wednesday, Thursday, Saturday, Acer Arena; Friday, Annandale Hotel • 36 • THE DRUM MEDIA 9 NOVEMBER 2010

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THE DRUM MEDIA 9 NOVEMBER 2010 • 37 •


TOUCHED BY THE HAND OF MOD ON THE EVE OF A TOUR WITH HIS BAND THE CHARLATANS, STYLE ICON AND LONGTIME BRITISH INDIE LEGEND TIM BURGESS GIVES ANDY HAZEL THE LOWDOWN ON 20-PLUS YEARS OF BEING INCREDIBLY, INCREDIBLY COOL.

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’m in Birmingham, England and I’ve just woken up. It’s 9AM and I’m having a cup of green tea,” says Tim Burgess in an entirely un-rock’n’roll manner. Soon to embark on a tour with his group The Charlatans promoting their new album, Who We Touch, this Salford lad has been calling Hollywood home for the best part of two decades. Is there any sense of homecoming? “Not in Birmingham, no,” he says with a wry laugh. “It’s not my favourite part of Britain. We start our tour tomorrow in Newcastle. The warm-up gig went really well; we played for a really long time because our drummer has been taken sick and we had to rehearse up a new drummer. Jon [Brookes] had a brain tumour; he collapsed on stage in Philadelphia. We thought it was dehydration. Over the last couple of weeks, it’s become more serious. He’s getting it sorted out, so it’s as good as can be expected. We’ve been using Pete Salisbury from The Verve. We’ve had to learn two hours’ worth in a week, so it’s been a pretty intense time,” he says quietly. “It’s as good as it can be, you know? When we’re in Philadelphia he suggested Pete; from drummer to drummer.” This sort of brotherhood epitomises the history of The Charlatans. Unlike almost every other hyped band of the early ‘90s British rock era, they have endured and maintained a strong core following. When it comes to working out what they did right, Burgess is at a loss. “I mean, over twenty years there’s got to be a few things we’ve had bust ups about, but I don’t take it personally,” he says before pausing. “I answer this question a lot and I’ve not got a really stock answer for it. I’m a music obsessive and as a band we can play anything we want to and we have enormous respect for each other; I feel like they’re me brothers, y’know. Obviously, we fight as well, but we’ve got over a lot of things together. A lot of our friends from that time, they got married and have kids and this life, it’s not for them anymore. They might lose the plot or maybe they find music for them is a lead onto something else like a TV career, but for us… I don’t know. As soon as we’ve done a record, I’m going around trying to find a new thing.” Influences on the band’s music have been as varied as the 20 years through which they’ve existed, with early records getting a fresh release from hip hop, drugs and the Britpop scene and later albums from geography, esoteric books and films. “I wanted this album to be interesting in a filmic way,” Burgess explains of Who We Touch. “I like the idea of [opening track] Love Is Ending as a credit sequence and an opening, then there’s a backtrack through the album like Memento or Wild At Heart. I’m a big Lynch fan and I love the way he messes with a film’s narrative. I’ve been doing a musical project for the Lynch Foundation,” he admits shyly. “He’s using my music for transcendental mediation (TM) classes at the Lynch Foundation. He asked me to supply some music for a compilation album or something along those lines; we’re meant to work on something together. I gave him an acoustic version of The Only One I Know and he really liked it – wrote me a letter!” he exclaims, as excitedly as you or I would be. “I do a lot of TM and I think it influences everything I do. I’ve only been there for the last two years so it only influences the last album.”

Over twenty years there’s got to be a few things we’ve had bust ups about, but I don’t take it personally.”

Sounds like a long way from Madchester and the heady days of Britpop. “I don’t really see my drug years as being a problem, I’m just glad I don’t take them anymore,” he says without provocation. “I was at a point in my life where that felt like the right thing to do. I’m at another point now where I feel I’ve got through those phases of my life to get here and it was all part of my life which I’ve lived without regrets.” This open and carefree attitude oozes through Who We Touch, reminiscent of Baggy’s cocky swagger and the loose West Coast hip hop Burgess fell for back in the band’s early years. As with most songs he pens lyrics for, there is a story behind it. “I don’t belong here in your garden/ I should be up there on your throne/ All the losers worship me”. Elsewhere Burgess has stated the song was about old manager Alan McGee, but today he has a different story. “I was in Gatwick airport a while back and this cockney scally chav girl with really bad makeup on is walking toward me and I bumped into her by accident and she did the L-shaped word to me on her forehead. And I was like, ‘Fuckin’ hell she thinks I’m a loser.’ All the Charlatans fans are like me, so we’re all losers.” Renowned for giving away free songs, ringtones and downloads to subscribing fans, The Charlatans have always been big on catering for fans’ needs, whether it’s playing requests or giving away their last album for free. “I think the way we treat our fans is been a huge part of why we’re still around. We give to them and they give to us and it’s mutual respect in a lot of ways. The thing about giving away the album for free last time was more than just treating the fans well; it was a move in a lot of ways, it was a statement of intent like a ‘fuck you’ to the record company.”

so ld ou t

This attitude has won the band many younger, more recently recruited fans such as The Pains Of Being Pure At Heart and The Morning After Girls, musicians who they are keen to work with. “With new stuff we’ve had remixes done by The Horrors who are friends of mine and we give those away for free – more feeding the fans and picking up people who are interested to try and get their heads around it. It’s always interesting to be involved in the passing of information and that’s what it’s all about, isn’t it? You never know where it will end up or what effect it will have.” WHO The Charlatans WHAT Who We Touch (Cooking Vinyl/Shock) WHEN & WHERE Thursday, The Metro Theatre • 38 • THE DRUM MEDIA 9 NOVEMBER 2010

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SATURDAY NOVEMBER 13th

WEAR SCHOOL UNIFORM FOR FREE ENTRY

MASSIVE END OF EXAMS PARTY

ALBUM LAUNCH

show student card for a free drink card

LIVE

BANDS

EMPIRES (LAST EVER SHOW) & FOR ALL ETERNITY ST JAMES HOTEL 114 CASTLEREAGH ST, CITY THE DRUM MEDIA 9 NOVEMBER 2010 • 39 •


THE GREAT ESCAPE

WITHIN A BUSTLING INNERCITY COFFEE SHOP, DEAN MCGRATH AND BEN DALTON GIVE BENJAMIN MCINERNEY THE INSIDE STORY ON THEIR RISE TO FAME AS BRISBANE’S LATEST MUSICAL STALWARTS, HUNGRY KIDS OF HUNGARY.

first band rehearsal. The band started with Kane living in London and our drummer, Ryan [Strathie], demoing songs back and forth. I eventually got involved, but had never met Kane, so the end product of Hungry Kids was really strange in a very weird and cool way.” But it’s not all recording and songwriting for the Brisbane natives, with 2010 highlighting their hectic touring schedule for the third year in a row. After initially touring with other unearthed winners Philadelphia Grand Jury and Megan Washington, the lads have continually snagged healthy supports, including international heavyweights such as Jamie T and OK Go and locals acts Little Birdy, Red Riders and The Holidays. Embarking on yet another tour, this time around the band will be headlining proceedings in support of their debut album, navigating their way across the continent with local band Big Scary and fellow Brisbane act Ball Park Music. “We are really excited to be hitting the road for the new album launch shows. I’m not going to lie, it has been a hectic year for us touring-wise; we have been to the USA and on several runs across Australia, but this time around I think we will have a bit more incentive with the release of the record.”

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t the forefront of the burgeoning Australian indie scene, Brisbane’s Hungry Kids Of Hungary can seemingly do no wrong. From their initial success through triple j unearthed in 2008 to their acclaimed debut album, the four-piece have taken the Australian music scene by storm by simply producing quality music. But as singer/guitarist Dean McGrath admits, things weren’t always fire and brimstone. “It started off kinda slow, admittedly. But we quickly got the hang of what we were doing and we started to get moving. We started the band in early 2007 and quickly decided that live gigs were a long way off. We just started practising a lot and took our time and it eventually paid off.” Initially developing a propensity for catchy hooks and simple songwriting, the band never seemed concerned with recording a full-length early on, instead deciding to wait until the right time surfaced rather than merely rushing a half-rate attempt. “Unearthed definitely kicked it off and, truth be told, initially we might have had an album’s worth of songs. You know, we probably did, but we knew we had a lot of growing to do and we didn’t want to rush into anything and now that we have a finished product, we are glad we waited.” The final result, Escapades, was undoubtedly worth the wait. A comprehensive and entertaining longplayer, the record echoes musical influences both old and new and finally delivers their poignant indie pop tunes as a complete and refined package. Deciding to record the album over a summer stretch in their home state, the decision allowed the lads the freedom and sanity to produce their best work. “Leading up to doing the album we had a couple of options on where we were going to record and who with,” McGrath explains. “We

ended up spending a bit of time in a studio down here [in Sydney], but for comfort reasons and financial reasons, we just decided to do it a little closer to home. I mean we weren’t on the clock or in a really sterile studio environment, so we could come and go as we please. It was such a laidback environment. We didn’t spend a lot of time mucking around on it; I mean we would track for a couple of hours then go and jump in the backyard pool near the studio. It was seriously great.” The subject matter of each song on their debut album varies from track to track, with McGrath stating that they consciously wanted to steer clear of any kind of concept album, a result that is plain to see. “All the songs are fairly self-contained, as Kane and I both write in a way that is very much in the moment. This is not a concept album in any sense and that is something we consciously wanted to achieve.” He also points out that the inclusion of some older material was not necessarily an easy decision. “Initially we were really excited to write all new material for the album,

but once we started work on it, it started to make more and more sense to have those older songs there. They really fit with the record and they really seem to just belong.” Bass player Ben Dalton also admits that they learned a lot about these songs second time around, with the power of reflection allowing these songs to enter a new era in their own right. “It was a really good experience to be able to re-record some of the older songs,” he says. “Set It Right, for instance, was a song that we had previously recorded a lot faster than on the current album and it was really good to have another go at it and hear the finished product in a new light.” Although seemingly performing as a succinct and formidable songwriting team, the collaborative partnership of McGrath and keyboardist/singer Kane Mazlin was more of a chance encounter than anything else, as McGrath admits that before the formation of the band, the two had never actually met. “That’s the funny thing; the first time that I actually met Kane was at our

JOKER’S WILD

WITH KEY ORIGINAL MEMBERS BACK IN THE FOLD, LEGENDARY POST-PUNKS KILLING JOKE HAVE JUST DROPPED THEIR 14TH STUDIO ALBUM. A CANDID JEREMY ‘JAZ’ COLEMAN TELLS EJ CARTLEDGE WHY THE BAND HAS NEVER WRITTEN A LOVE SONG.

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“Killing Joke has always been something of a gauge for me. I’ve always stopped the band from being too successful and there’s an element of truth in that; whenever Killing Joke has had big success, normally a war breaks out. So success in any way for us is a bad sign for humanity.” • 40 • THE DRUM MEDIA 9 NOVEMBER 2010

WHO Hungry Kids Of Hungary WHAT Escapades (Stop Start/EMI) WHEN & WHERE Wednesday, Beach Road Hotel; Thursday, Grand Hotel; Friday, The Factory Theatre; Saturday, The Maram; Sunday, Cambridge Hotel; Saturday 20 November, Open Arms Festival; Wednesday 29 December, Peats Ridge Festival; Wednesday 26 January, The Rocks

questioning minds. The gigs are where people meet up and it has been this way since the beginning, in 1979, 1980. If you like, it’s a kind of open forum of views and discussion. It’s also been the avenue for our further education. All of us left school at sixteen and yet we’ve accomplished so much. It just shows that most things are achievable. It’s got me thinking that after thirty years of Killing Joke our legacy could be in the area of education and self-learning. I meet so many gatherers who tell me they started getting informed and educating themselves after taking an interest in Killing Joke.”

t has been 30 years since Killing Joke released their self-titled debut and hurtled into notoriety. Lauded as one of the most influential acts of the punk/new wave era (think Nirvana, Nine Inch Nails, Soundgarden, Metallica, et al), Killing Joke also remain one of the most vilified. Apocalyptic lyrics, doomsday pronouncements, death metal-style vocal delivery and savage political indictments have served to set the band very much on the outer. Devoted followers of the group – labelled as ‘gatherers’ by singer/songwriter Jeremy ‘Jaz’ Coleman – are as passionate about Killing Joke’s philosophy, mysticism and politics as they are about the music. Formed in London in the late-1970s during the second incarnation of the punk movement, Coleman and company fused an unlikely array of styles, such as Goth, heavy metal and dub, with an incendiary awareness of the social, geo-political and environmental landscape. The semi-industrial sonic textures and end of the world prophesying are distinctly at odds with Coleman’s background and extra-curricular activities. He studied piano and violin and was a member of cathedral choirs in his youth. He is an ordained priest, has invested in two eco-villages in the South Pacific and Chile, composes classical work and opera (he is composer in residence for the Prague Symphony Orchestra) and has contributed to numerous film soundtracks. He is also terrific company and does a fine line in self-deprecation.

Showing no signs of slowing up, the rise to fame for the indie heroes has been a rapid and unexpected journey, but make no mistake – the boys seem to be taking it in their stride. With seemingly little time to even reflect on their achievements, it might then take a couple of years for the Brisbane lads to realise just what they have accomplished. In the meantime, Hungry Kids Of Hungary will continue to do what they do best – write catchy and energetic music with a no-holds-barred attitude and a clear craving for success.

New album, Absolute Dissent, is the band’s 14th longplayer and the first to feature original members Geordie Walker, Youth and ‘Big’ Paul Ferguson since 1982’s Revelations. The four were reunited at Paul Raven’s funeral in late 2007 – he had replaced Youth on bass – and decided to tour again. The subsequent world tour and festival appearances more recently led to discussions about recording new material. According to Coleman, another album would have followed irrespective of Killing Joke’s membership. “There have been various incarnations of Killing Joke,” he explains, “and all have their virtue, but I’m very grateful I have the original lineup around me now. We’re all aware that we are very lucky; many of our peers and contemporaries are not on the planet anymore. I don’t think there is any other band from our era that is doing it for the same reason as we are. But we have our disagreements, believe me. It’s hard to reach a consensus. Recording as Killing Joke has always been a very traumatic experience. It’s difficult to reach agreement and it wreaks havoc on your personal life.

But we love it and we come back for more.” Coleman insists Killing Joke have always served as a didactic vehicle for both band members and supporters alike. That and a ferocious outlet for self-expression. “Killing Joke for us has always been a social function. The music is used to rid ourselves of anger and dissenting views, to get rid of these afflictions. It always has been. Youth said recently that we could all have fallen foul of the law if we didn’t have Killing Joke in our lives. Killing Joke is, if you like, a homeopathic principle – we inject ourselves in performances with a little of the sickness of the outside world so we acquire a certain immunity. As an art form, the band has been used as a social function to help us get through life. We’ve never written a love song, for example; all of our music is about things that disturb us so that we may come to terms with them. When it comes to Killing Joke, it’s a very different space, it’s a different audience. Our audience very much differentiates Killing Joke from other bands – they are incredibly intelligent and not at all like the audiences for other rock groups. They have

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Given the straightforward time signatures and generally standard instrumentation of rock music, it seems remarkable that an accomplished classical and operatic composer like Coleman can still find inspiration and liberation within the medium. “I keep them in completely different mediums, different compartments if you like,” he admits. “Killing Joke and classical music have very different functions for me. The orchestra for me is a romantic expression of landscape and a romantic concept of perpetual melody. I can explore sentiments and emotion that a band can’t touch. With Killing Joke, I use it to get to a transcendental state through repetition and mantra; it becomes a cathartic ritual. You’re never going to have an orchestra rocking a crowd of 4,000 people so the whole place is physically moving, but Killing Joke can.” The discussion moves into murky waters and a hotch potch of observation and sentiment follows. From Peter Garrett’s involvement with the ALP (“Absolute scumbag,” says Coleman) to going on three- and four-day benders with the late Joe Strummer (“I never had his phone number but didn’t need to – we just bumped into each other and went a bit mad”), Coleman is remarkably candid. He is aware and proud of his band’s legacy and wishes there were more kindred spirits to carry the torch. “There are big changes happening on the planet. I guess it’s good to be here to document them, but if I look at young bands now, there’s no real sense of rebellion in the music or in the spirit. They are driven more by the notion of being famous and celebrity.” WHO Killing Joke WHAT Absolute Dissent (Shock)


THE DRUM MEDIA 9 NOVEMBER 2010 • 41 •


A DAY OF MOURNING

MISSION: POSSIBLE

AFTER EIGHT YEARS OF LEADING THE DEATHCORE CHARGE, VOCALIST ALEXANDRE ERIAN EXPLAINS TO LOCHLAN WATT THAT DESPISED ICON’S IMPENDING BREAK-UP IS DUE TO THAT PESKY THING CALLED LIFE.

DON’T FORGET ABOUT WESTERN SYDNEY’S WELL LOVED THE MISSION IN MOTION. AS SINGER BRETT ISLAUB TELLS SCOTT FITZSIMONS, THEY HAVEN’T FORGOTTEN ABOUT YOU.

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ormed in 2002 in their hometown of Montreal, Quebec, Despised Icon were signed to metal giant Century Media by 2005, releasing their breakthrough and second album, The Healing Process, later that year. The five years since have been the stuff the member’s fantasies were no doubt made of, with the six-piece continually on the road with some of the biggest names in the underground. After boiling their combination of death metal and hardcore influences down to their most signature approach and praised sound with 2007’s The Ills Of Modern Man and 2009’s Day Of Mourning, life eventually began to get in the way of the heavy metal dream. “I would say at the beginning of this year, a portion of my band were talking about buying houses, having a kid and all that,” begins vocalist Alexandre Erian. “So when half of the band finally bought houses and half of the band are expecting kids early next year, you kind of try and call it a day instead of keeping it on with a bunch of random members who would play songs they never even wrote. It’s just a matter of ending things right and ending things on a high note.” While he agrees that a planned break-up was the best way to put his band to rest, Erian isn’t so sure that he’s ready to move on like some of his bandmates. “In all honesty, I wish we didn’t have to call it a day right now. I’d love to be able to keep on doing this for a couple more years. I love the lifestyle and I love music and all that, but it just doesn’t feel right without my boys, so that’s basically what’s happening right now.” With that in mind, one wonders whether or not Erian sees himself picking up the microphone for another act anytime in the near future? “Good question man. I’ve been touring in various bands since 2001, been touring with Despised Icon full-time since the end of ‘04. It became my lifestyle. I love doing what I do. Maybe I’ll try and find a new band and start all over again and if I get lucky hopefully I’ll be able to do this all over again and, if not, well at least I’ve had some good times with this current band. No matter what happens, I’m happy.”

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He continues on to reveal that life may end up pulling him the other way. “On the other hand I just got a job, my first job in over four years. I don’t know how I feel about it – working full-time, nine-to-five sounds kind of weird – so it’s a new endeavour, it’s a new challenge, so I’ll give it a try. All I’ve been doing is this band and this thing I’ve been doing around live music all this time, so I’m trying to do something different you know, maybe play hockey again. Try out different things you know? We’ll see. I’m kind of mixed up right now, trying to get my life back together.” Though the breakup wasn’t his idea, Erian is satisfied with what he and his brothers have achieved. Despised Icon’s relentless touring cycle finally comes to a close this month with their first and last Australian tour, followed by one last round of shows in Canada. “We’ve toured a good portion of the world thanks to Despised Icon and playing death metal and all that and I would say that Australia was one of the last places on our wish list that we had never visited. Now that we finally have the opportunity to do so and it’s going to be our last tour, it’s something that is really special to all of us.” WHO Despised Icon WHEN & WHERE Friday, Holy Grail; Saturday, The Factory Theatre

TURNING INWARDS

Barât is on the line talking about his debut solo album, aptly self-titled as it is the result of serious reflection over the past couple of years. “It felt like I had to make it, I had to put it out there and I needed to do that in order to put the past in the past. Same with the Libertines [reformation], really – I couldn’t have done one without the other.” Certainly, Barât’s found a new sound. Where Dirty Pretty Things felt like the frontman was stuck in limbo, here he’s found himself – not quite turning his back on his roots, but embracing the changes that have taken place (such as impending fatherhood). “I’m quite nervous really, I’m playing without a guitar on some songs – it feels a little bit exposing to say the least,” he says when describing performing the new material live. “I think the most important things, really, in how it’s changed, is taking out big guitars. I think you’ll find a lot of the theatricality was there in The Libertines, to an extent, • 42 • THE DRUM MEDIA 9 NOVEMBER 2010

but I also wanted to work with people from different backgrounds and do things I hadn’t done before.” An intimate record that takes cues from cabaret and chanson rather than The Clash, Barât’s collaborated with a few interesting names, including Miike Snow member Andrew Wyatt and The Devine Comedy’s Neil Hannon on album highlight The Fall. “I’d seen Neil perform a sea shanties gig with Shane McGowan and obviously he wrote the theme tune to Father Ted as well, plus I was a big fan of the song National Express. I just knew he had an amazing voice and a totally different background and no apparent ego either.” The two collaborated over a few days in Hannon’s house in Dublin. “I literally had nothing – and he had nothing – and we just worked out a syntax – dit, da-dit, da-dit, da-dit, da-dit – and I wrote the words and he wrote the music and I was in the basement and he was upstairs on the piano. Then we stuck them together. It’s the first time I’ve ever been introspective with lyric writing, it’s part of the whole breaking away solo thing. I realised there’s so much there and I had to turn inwards really and it was all done over about three months. It was pretty intense.” In that same writing binge Barât put another few thousand words together by way of an autobiography, Threepenny Memoir, which preceded the album by a month. “They came out at the same time of the same place. It puts into perspective the last decade for me, anyway. That was the point – it’s the rise and fall, the birth and death, of two bands and various relationships and a few ripping yarns along the way.” Much like the album. WHO Carl Barât WHAT Carl Barât (Liberator)

The band has released one EP since their debut – the understated A Curse, A Calling – but since then they’ve been relatively quiet. They’ve been so focused on writing, in fact, that they verged on falling out of the public’s psyche. They’d tour whenever they could, but trying to keep one’s life in order and hold down a job can make such endeavours difficult. “From being on the inside of it,” Islaub, who writes most of the band’s tracks with guitarist/co-producer Chris ‘Far’ Maguire, explains, “it’s really hard to get a vibe on how it is on the outside and whether or not our popularity, for lack of a better word, is waning. It’s definitely something that’s on our mind… ‘Is anyone going to remember the band or still care about what we’re doing?’ I think every person in the band had that conversation with another person in the band at one point.” The Window was a track about opportunity, urging themselves to take their chance at youth and carve

“I think anyone who’s in a band has a bit of Peter Pan syndrome in terms of what they’re doing. No one want to get a job and be responsible… It comes not so much from a youthful perspective; well I guess it did, but it came from more of the fact that when we’re not on the road, we’re working to make money to go back on the road. At the end of the week everyone’s exhausted and we only keep our eye on one thing, which is the next tour, the next record.” Now that they’re there, it’s a case of continuing to push in the same manner they always have. This album is “a pretty big step” for them after all. “We’re really happy with it just for the sheer fact that we put so much effort into it, it took so long and we worked so hard to get the money for the record. Other bands have label funding or whatever, so I think after the sheer flog of it, that night that we played Oxford Arts [on the eve of release] was the first time that I saw the record where everyone had it in their hands. It just encompasses everything we’ve worked for in this one little square. It’s kind of odd.” WHO The Mission In Motion WHAT Somewhere Safe (Taperjean/Shock) WHEN & WHERE Wednesday, Cambridge Hotel; Thursday, Harp Hotel; Friday, Oxford Art Factory

THERE’S A DEEP YEARNING, AN ACHINGLY BEAUTIFUL QUALITY TO THE VOICE AND MUSIC OF BEK-JEAN STEWART THAT UNERRINGLY CAPTIVATES THE LISTENER. MICHAEL SMITH PONDERS THE PLACE BETWEEN INNOCENCE AND EXPERIENCE WITH HER.

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That was in 2008. Last year, barely a word was heard publicly about the 32-year-old Londoner, whilst his former beau-in-crime Doherty kept the tabloids in business. Barât re-emerged at the beginning of this year, on stage, starring in Sam Shepard’s Fool For Love (he was studying drama before the Libertines took off). Then The Libertines reunited for the Reading and Leeds Festivals. “In a way it was ending a chapter,” he says. “I wouldn’t say closing a door. It’s nothing quite so final.”

“Our influences on The Window were worn pretty obviously on our sleeves,” admits the band’s vocalist Brett Islaub, “and I think with this record there hasn’t been too much outside influence on how we wanted to write it. We’re not the kind of band that sits down and talks about how we’re going to write songs; we let it go and see what comes out.”

themselves a musical career. Five years down the track it’s arguable whether they’re yet to jump through the window – or whether it’s still even open – but Somewhere Safe and most obviously lead single New Skin continue to drive that theme of escape.

THE HUMAN CONDITION

FORMER LIBERTINES FRONTMAN CARL BARÂT TALKS DANIEL CRICHTONROUSE THROUGH HIS PAST TWO YEARS, WHICH HAVE INCLUDED A LOT OF WRITING – PROBABLY EVEN MORE THAN YOU’RE THINKING.

ne of this generation’s defining bands, The Libertines existed within a world of their own entirely and for the first four years of the last decade there wasn’t an act as exciting on the planet. In the wake of their demise in 2004, many bands stepped forth, from Arctic Monkeys to The View to almost any band you can see gigging in pubs around London, dressed in skin-tight jeans and donning trilbies. After its members – Peter Doherty, Carl Barât, John Hassall and Gary Powell – went their separate ways, Doherty went with his already-established next project, Babyshambles, whilst Barât formed Dirty Pretty Things. Two albums later, Barât called time on that project.

ntrinsically tied to the ‘emo’ movement among others, the Western Sydney punk/hardcore scene has moved at a startling pace over the last five years, promoting bands to inflated heights and then dropping them as yesterday’s news. There are a few, however, that have managed to graduate from the noise, whose patience and perseverance – not pigeonholing yourself helps as well – is paying dividends of longevity. One of those bands is rock outfit The Mission In Motion who, in releasing their debut album, Somewhere Safe, seem a mile and an age away from their then-exciting debut EP, The Window, and a mile away from those scene prejudices while they’re at it.

“A

lot of it is adult experiences and childhood memories and just people that I’ve known, characters that I’ve witnessed consciously and unconsciously and, I dunno, they just fell together,” Bek-Jean Stewart admits, discussing her latest album, Winter, Summer Suburban Exile. “It’s hard for me to explain exactly where they’ve come from. I know that the songs inherently come from my heart space and they’re locked in kind of my child space inside me, but it’s just my creative self and I don’t really know. I guess they’re semi-autobiographical in a way. “There’s a lot about love in there as well – thematically – and love always in my songs being such a difficult thing. but also a triumphant thing as well. Within the depths of those songs and the sadness of them there’s always hope, there’s always love. It’s like love over fear and I guess that’s what I hold onto as a songwriter.” Stewart first made her name in the early ‘90s fronting Sydney indie popsters Eva Trout, who managed against all odds to get themselves signed to the unlikely Trauma label in the US, having a few tours there before folding in 2002 after releasing four albums. She released her debut solo album, Junior Years, in 2007, plus also plays drums for Perry Keyes and her former Eva Trout cohort, Grant Shanahan, who co-produced and played bass on her new album. Stewart’s songs lean towards the alt.country end of the pop spectrum, somewhere between Gillian Welch and Neko Case, reflecting the human condition in all its manifest complexity – the hopes and fears, the pain and the joy and of course the fun and playfulness. “Human condition’s a great kind of term I think for this record ‘cause I feel like it’s a chapter in my life that is part of my human condition and everything up until now that I’ve lived I’ve written about in all my songs. So it’s like another chapter in my book, even though a lot of the time I find it hard to explain what they’re about or where they’ve come from.

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“I definitely feel this kind of yearning search, you know? For that one answer – and I feel that it’s kind of childlike in that sense. I feel that a lot of my records do that – that mix of innocence and experience – and a lot of it’s unconscious. A lot of my songs have come from my subconscious and I only feel I’ve been conscious of it in the last couple of years.” Sometimes a song is triggered by a simple turn of phrase or a chance comment overheard. Stewart had essentially completed the record when she sat back, listened to what she had and realised there was something missing. It came in what had to be the last song on the album. “Out of any of the songs on the record, Caravans Are Killers Aren’t They (She Said) is a natural progression into the next record that I’ve written, which is going to be called Amos Versus Ann. That song is particularly about my father, but the title, I overheard a conversation about somebody coming down from Queensland and the traffic was really heavy. A friend of mine asked about the traffic and this guy said, ‘Those caravans man, they just clog the highway,’ and she said, ‘Yeah, caravans are killers aren’t they?’ And I just clocked it and went, ‘That’s the line, that’s the song.’ My father has pretty much lived in a caravan the past twenty years and I semi grew up in a caravan and always on holidays and partly living in one with him. So that was kind of an ode to him really.” WHO Bek-Jean Stewart WHAT Winter, Summer Suburban Exile (Laughing Outlaw) WHEN & WHERE Saturday, Notes


SLEEP TALKING

PRESENTS...

EDWYN COLLINS NEARLY DIED FIVE YEARS AGO AFTER SUFFERING A MASSIVE STROKE. AS HE RELEASES HIS FIRST ALBUM COMPLETELY WRITTEN AND RECORDED POST-STROKE, THE FORMER ORANGE JUICE FRONTMAN TELLS ANDY HAZEL ABOUT HIS FRUSTRATIONS AND STARTING ALL OVER AGAIN.

E

dwyn Collins is frustrated. It might not come through in his day-to-day life but once he starts writing and singing, it’s all there. And unlike most of us, he has a very good reason to be filled with impatience. The victim of a stroke in 2005 – and a staphylococcal infection following the highly risky operation to insert a titanium plate in his head – Collins has truly earned the right to sing about life. For weeks after the operation the only words uttered were “yes”, “no”, the name of his partner Grace Maxwell and the phrase “the possibilities are endless”. Six months later, he left hospital and has been regarded as a medical marvel ever since, despite having to learn to talk, read, walk and – of course – play his own songs all over again. “Before the strokes I wanted to get things done; now I want to get things done right now,” he says slowly but emphatically. Throughout the interview, Maxwell completes his sentences – “I’m Edwyn’s other half,” she says ruefully as she explains helping with his dysphasia, a lasting symptom of his brain damage. “There’s more urgency in his approach now. Making music with Edwyn, it’s not like making music with bands like My Bloody Valentine where they take five years to make a record and scratch it and start all over again. Edwyn will have none of that; he’s a taskmaster.” His laughter is audible in the background. “A very hard taskmaster,” she says joining in. “Yeah, I like fast songs,” says Collins of the new album, Losing Sleep, which has already become his second-highest charting album in the UK. “My new songs are more simple and direct. This is my time to achieve and to do it I had to go far and work hard. I like the songs very much.” Collins’ previous album, Home Again, was recorded before his strokes and mixed following his release from hospital, making Losing Sleep his first album to reflect on his current state. “The album is mostly up-tempo,”

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Collins begins. “He records at breakneck speed,” Maxwell continues. “The other musicians are used to going slower but Edwyn is all, ‘Okay, let’s get on with it.’” “That’s deliberate,” he continues. “I like spontaneity. We try to get that energy live. The gigs are a joy, I love them,” he says of his glowingly-reviewed return to the stage. “I’m not writing any songs at the moment, I’m touring now. Just doing interviews and recording other bands. Right now, I’m working with The Cribs and The Heartstrings. They’re from Sunderland – we resume with them tomorrow. I’m working with this new young German band called The Kennedys; all these youngsters.” With all this work and a lengthy discography both with post-punk pioneers Orange Juice and under his own name, is it annoying to be widely known for just one song, the magnificent A Girl Like You? This question elicits a simultaneous and contradictory response before both laugh uproariously. “I suppose it’s known all around the world, isn’t it?” says Collins. “A Girl Like You is no problem at all.” “Well, it’s more famous than you, isn’t it?” says Maxwell. “If the song is in the charts by itself, no one really knows who makes it,” he replies, laughing in agreement. “It gave you financial security, didn’t it?” she asks. “Yes, yes… I’ve no regrets,” he replies quietly before talking about the process of hearing his own music for what was, effectively ‘the first time’. “After the strokes I cried constantly when I listened to A Girl Like You and Home Again and the older stuff. It was very emotional hearing my own music, but it’s not anymore. I like it. There was a time when it was very hard – I couldn’t perform or write or record. It’s a heavy sadness knowing I’ll never be that person again,” he pauses. “Well, it was. Now it’s okay.” WHO Edwyn Collins

MON FEB 7

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SHUFFLING THE STACK

THREE YEARS OLDER, SHORT STACK WERE DETERMINED TO REINVENT THEMSELVES FOR THEIR SECOND ALBUM, THIS IS BAT COUNTRY. SINGER, SONGWRITER AND GUITARIST SHAUN DIVINEY EXPLAINS WHY TO MICHAEL SMITH.

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s Short Stack pounded their way through Cara-Lyn recently at the ARIA Hall of Fame inductions, they were watching Johnny Young, for whom it had been a #1 hit in 1966, for his reaction. “We were waiting him to walk out and he didn’t, so we were lucky,” Diviney laughs. “It was kind of weird – we’d never even heard the song before – but at the same time it’s sort of fun to make something that is so different to us our own, so we tried to make it sound like one of our songs.” Just what that might be depends on whether you’re remembering their incredibly successful debut album, Stack Is The New Black, or their new album, This Is Bat Country. As far as Diviney is concerned, the band was determined that they would sound very different the second time around. “When I wrote the last album, we were sort of trying to emulate our heroes and it started off as something for our mates to listen to and it grew into something that people got interested in and that wasn’t expected. The main thing is I wanted the songs to sound like me, like a Short Stack song. On our last album we wore our influences pretty heavily on our sleeves and I think the only reason for that was we were so young. When I wrote the last one I was only seventeen – now I’m twenty-one and I think I have developed my own style and we like to think it’s a style that’s not really like anything else out there. Whether that be due to our capabilities or our own incapabilities, you know what I mean?” Not that the three high school friends – Diviney, bass player Andy Clemmensen and drummer Bradie Webb – from Budgewoi on the Central Coast have anything to complain about. After releasing their first single, Shimmy A Go Go, they scored Channel [V]’s Oz Artist of the Year Award in 2008, while their debut album, released in August last year, topped the chart. Their success won them a pretty rabid and admittedly very young fanbase, the dream pop/punk career run really. “We just wanted this album to sound completely different, sort of do a whole revolution. So what we did was we changed every single aspect of our band, from our live shows down to the fundamentals. Before,

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when I had a song, I’d come to the boys and we’d bang it out in the rehearsal studio. This time I actually went down to Sydney and I recorded up demos and gave the songs to the boys about two weeks before we had to go into the studio, so essentially what we recorded in the studio was kind of our first impression of the songs and what the songs should sound like. We wanted to capture ‘a moment’ rather than ‘a sound’. We’d made the pop/punk album the last time; this time we wanted to see how far we could take the genre.” This Is Bat Country has a much broader sound, with stacked harmonies on some tracks, big string arrangements on others, synthesisers and even guitar solos, though they’re pretty short and snappy. So where there were three, there are now five touring members, with an additional keyboards player and guitarist. “This time around too, we knew a lot more people would be listening to it so I felt we had to convey a message. Night after night we were playing to thousands and thousands of kids that we really saw ourselves – our seventeen-year-old selves were coming to these shows. The message we wanted to convey to them was that you can do it – we’re living proof.”

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THE DRUM MEDIA 9 NOVEMBER 2009 • 43 •


WITH ROSS CLELLAND

ALPINE Zurich EP Ivy League/Universal With its olde-worlde synths and occasionally sing-song vocals, it would be easy to have Alpine as genre-neighbours to Architecture In Helsinki or Operator Please. But they’d probably find those comparisons odious – well, at the least, not quite accurate. It’s layered, sometimes wandering off into the ether in its reveries, before remembering they’re a pop band and getting day-glo again. On its meandering, things sometimes get a bit dark in the words and feelings being revealed. There may be something happening here.

THE FOREIGN OBJECTS 321 Cross Section/Inertia Having stumbled across them the other week, playing really, really, REALLY loud to a fairly empty Annandale on a rainy Sunday arvo, they’d obviously be just as happy rattling the roll-a-door of a suburban garage. That’s the spirit. Kinda. As probably noted, Phil Jamieson appoints himself producer and finds a bit of Detroit dynamics in the title track that wasn’t entirely obvious on that famous stage. It’s rough and whiny, in that early Vines way that worked at the time. Music to get your T-shirt sweaty and beer-stained.

THE VERSES feat. DAN SULTAN Running Away Warner The second coming of Killing Heidi – after they’d listened to the Fleetwood Mac back catalogue – was all polished and assured and melodious and commercial. And safe. Somewhere it seemed to miss something. Heart? Muscle? Spleen? Guts? Hey Dan, got any groin to spare? Thus, the sex and growl of the increasingly good Mr Sultan is added, encouraging Ella to swing her hips a bit more. It’s still a bit too clean and tidy, but there’s some talent in there, perhaps still a bit too shiny from corporate interference?

ALTER BRIDGE

ASTRIAAL

CHIDDY BANG

Roadrunner/Warner

Obsidian

EMI

AB III

Anatomy Of The Infinite

The Preview

One of the unfortunate results of three members of Alter Bridge coexisting in the now (gulp) resurrected Creed is many rock fans have refused to take the former’s none-too-small musical chops seriously. Disappointing, because both guitarist Mark Tremonti and vocalist/ axeman Myles Kennedy are highly talented performers. With no disrespect to their taut rhythm section, on AB III it’s the Tremonti/Kennedy chemistry that binds their music together. This album is highly conventional, accessible rock and Alter Bridge can be almost as formulaic as Creed on occasion (especially bland ballad, Wonderful Life), never venturing outside the familiar with respect to arrangements and pacing. That said it isn’t completely merit-free by any means. Queensryche frontman Geoff Tate possessed an inherent ability to make even banal material sound far more vital than it otherwise would, and Kennedy’s vocals during the soaring melodies of instantly memorable Isolation, Life Must Go On and All Hope Is Gone lends them an even greater urgency. An under-rated guitarist too, he and Tremonti mesh comfortably. Tremonti again proves adept at penning hook-laden riffs (Slip To The Void) and well-measured leads (Ghosts Of Days Gone By). These elements make a largely predictable album more engaging. The quartet reportedly derived their name from a bridge located in Detroit, which led to a seedy part of town most didn’t dare venture for fear of their own safety. This reflects this record’s main shortcoming – perhaps Alter Bridge could head into the unknown, into potentially dangerous musical territory, rather than sticking firmly to the security blanket of what they already know. They’ve got the skill – but seeking out some adventure next time around wouldn’t go astray.

The eight tracks are adorned with morbidity and every song takes the listener further into Astriaal’s vision of the ultimate abyss. The tracks Visceral Incarnate, Scars Of Aberration and Foundations In Flesh highlight Astriaal’s black metal grandeur while in contrast Ad Interim and the instrumental track Relinquishment Of The Stars underscore the album’s haunting nature. Through all this, Astriaal’s Anatomy of the Infinite is the ideal second chapter – even after such a long wait – to their musical panorama.

Brendan Crabb

Christine Caruana

James d’Apice

EMMA DAVIS

GAMMA RAY

HAND OF MERCY

Independent

Riot!/Warner

Dogfight

Astriaal have been on a seven-year recording hiatus but finally they’re back with Anatomy Of The Infinite. On the first listen of their second album, it is clear they are one of the best black metal bands Australia has produced. Seven years may be a long time to wait, but Anatomy Of The Infinite will definitely satisfy the passionate fans who have been waiting. The album opener, Blessed Are The Dead, impeccably builds up the momentum in a stunningly crafted black metal track. From there, Anatomy Of The Infinite builds in aggression with brutal blast beats and toxic melodies. Ambience is not forgotten, with the haunting dynamic prevalent particularly in the choruses of dark chanting heard throughout. The immediate impression of this album is utmost bleakness. Sheathed within a digipak of grotesque yet captivating artwork, the simple quote “I can find no room in my cosmos for a deity save as a waste product of human weakness, the excrement of the imagination,” instantly sets in motion the theme of the album.

This reviewer’s first experience of this joyous, fairy floss rap was physical: get the CD, put the CD in the machine, play the CD. After a few listens, and the realisation that Chiddy Bang had made something noteworthy, one checks for videos online. The film clip for Opposite Of Adults had seven million views. Wow. RIP compact discs. The future is now, etcetera. Opposite Of Adults deserves that sort of exposure, though. It’s a wonderful track; all melody, nostalgia and catchy chorus. For CD listeners it will be our summer anthem. For those at the online vanguard, it was probably your summer anthem last year. Incredible song. Here We Go is not as successful, but then again nor is any other track on The Preview. All Things Go is notable for its opportunism as much as its warm, grateful nod to Sufjan Stevens. Nothing On We will extract a smile from even the most cold-hearted. Old Ways is immediate, a little patchy, but bouncy enough to conclude proceedings in style (though it’s worth noting that if you buy the album on iTunes, things end a little differently. The online bonus track Neighbourhood is crispy). By and large, this is good stuff. Granted it’s a little 2008, but good pop music has rarely ever been cutting edge. This album? If you’ve already uploaded a weblog to the world wide web about it at your online URL address, good for you. If you’re like this reviewer, this is a release that deserves a visit to a shop.

BJÖRK The Comet Song Inertia As ever, the voice is unmistakeable. But somehow, again, what she does with it is different than before. The backing is stop/start. A mix of little electronics and ethnic interjections – is that some sort of wood flute? Probably. She swoops by, making the title almost onomatopoeic, then seeps away, before flashing by again and disappearing suddenly. It could only be her. And that fact alone suggests you’d probably made up your mind about it as soon as you saw the name up here. Unique is an absolute.

THE JEWEL AND THE FALCON EP Independent Patrick from Youth Group and Sarah from theredsunband find each other at the Townie – the way every inner-west indie combo should get together – and make something of some rough-hewn charm. There are hints of his band and hers at various points. But more often it’s quieter than either, like watching the harbour water lap up against the sea wall at that old worker’s shed that YG’s Tim Kevin made a quite lovely recording environment until the council turfed him out. Understated music that can seep into you.

WORLD’S END PRESS Faithful Love & Mercy/Shock Modern electro-disco – i.e., it sounds exactly like 1987. But they do make the shapes under the mirror-ball with some style and finesse, and enough tongue in cheek to make it appealing without being self-consciously nostalgic. This even goes for a respectful cover of The Pet Shop Boys’ West End Girls – or is it just difficult being ironic and detached about something that was ironic and detached to begin with? Although even Neil might not have thought of the football crowd call-and-response chorus. Rather neat. • 44 • THE DRUM MEDIA 9 NOVEMBER 2010

To The Metal!

Emma Davis

A British ex-pat armed with an acoustic guitar singing songs about the backpacking life in Australia has the potential to be cringe-worthy and self-indulgent, but Davis executes it well, sitting somewhere between The Waifs and a less ocker Missy Higgins. Even when she toes the line lyrically, as in the sickeningly cute girl/boy verses of Picking Fruit, the song builds and unravels in such a way that no lyrics could stop the rousing, optimistic trumpet from whisking you away.

On the whole, power metal is a genre that rarely seeks to break the well-established mould. This is a claim you could make about several sub-genres of heavy music, but the plethora of acts so closely following the blueprint is that prevalent it can be difficult to ignore. That said, surely fans can rely on German veterans and pioneering exponents Gamma Ray to deliver?

The Fallout

If Hand Of Mercy’s debut long player was the first hardcore and metal crossover album ever recorded, it would be a groundbreaking release. But it’s not. In fact, it’s far from that, as their generic blend of chugging breakdowns, brutal screams, soft singing sections and melodic guitars blend seamlessly into a scene crowded by Parkway Drive wannabes. Opening track, Sick For It begins with an obligatory “Fuck” and a pounding breakdown, as the track then bursts into a groove-driven and tumultuous verse only to return to their favoured breakdown section. The production value on the record can only be described as huge, as the punchy drum sound is complemented by a perfect blend of gritty and bassy guitars.

Single, Machines, steps away from the clichéd, selfindulgent singer/songwriter frame of mind and shows that Davis can write a great song without taking herself too seriously. The organ outro is great fun; absolute pop gold. Brian Campeau’s touch as producer is understated but effective, from the off-beat homemade percussion in Feel A Thing to the brief banjo cameo in Picking Fruit, there are simple, small additions that layer the songs beautifully.

Well, somewhat. To The Metal! is about as predictably performed and structured as one could expect, which will satisfy devotees but infuriate anyone seeking something possessing a modicum of fresh ideas. The title track typifies much of the record’s shortcomings; about as blatant a musical theft as you’ll encounter (let’s just say that Judas Priest’s legal team are likely filing paperwork as you read this), it lacks any real inspiration. So follows the majority of the record, which borrows liberally – often too much so – from the Priest and Iron Maiden (see Rise especially) catalogues. All the elements are there and executed skillfully enough; Kai Hansen’s soaring, Halford-esque vocal melodies, fret-melting solos, choirs, swathes of keyboards, a few saccharine pseudo-ballads, a couple of thrashers and even a guest appearance from ex-Helloween frontman Michael Kiske on somewhat catchy All You Need To Know. The album does present moments of fire and energy (the urgency of Chasing Shadows being one example), but is frequently formulaic to the point of annoyance.

This is an impressive debut and while, for the time being, you could be forgiven for assuming Emma Davis is just another girl doing the cutesy acoustic pop rounds, this album shows Davis has the potential to grow into much more.

The self-referential nature of power metal is often very much the point and, in selected instances, one of its endearing qualities. That said, surely it isn’t overstepping the mark to expect a band once so vital to not be this derivative and pedestrian?

It’s not all bad – the production value is exceptional from start to finish and the musicianship is faultless. Although, if a modern metalcore band is to standout in an overcrowded scene of analogous bands one must try some things differently and must not rely solely on perfecting the ideas of others.

Dave Drayton

Brendan Crabb

Benjamin McInerney

Davis uses her voice well, innocent and upbeat and, at times, even fragile through the earlier songs. She croons confidently over Did You… later and shows that she is capable of sass and attitude. When her British accent breaks through she sounds like a less kitsch Kate Nash, the girl next door harbouring a secret penchant for melody. When she sings of home (London), as she does in William and Happy Song, wherein she exchanges lines with a jazzy clarinet, it really stings.

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Interestingly titled, Buzz Your Girlfriend, Woof! shows one of the most captivating sections of the entire record, as singer Scott Bird’s screams are echoed by a group vocal, chanting “the mask is slipping”. The Fallout remains the exception to the rule, as its simply-plucked guitar riff is echoed with samples of electronica giving a rare moment of bliss amongst the chaos, but as a whole the record continues with the monotonous structure of verse, chorus, breakdown, varying slightly to include some emotional singing sections.


bleeds ‘60s sincerity and most importantly you’ll be pressed to find one dull moment. The thinking person’s pop ensemble has crafted another brilliant offering on the back of The Beagle And The Dove, but they’ve also grown up in the process. Adam Wilding

FACT FILE Length: 12 songs, 46 minutes

HURTS

JENNY AND JOHNNY

RCA/Sony

Warner

Happiness

Moods: Light, confident and refined.

DID YOU KNOW

I’m Having Fun Now

If you’re not a fan of pop music, don’t even glance at Hurts. The impeccable pop ethos they adhere to will burn holes in your eyes and ears. We’re talking classic pop here, not odd or indie, but the ‘East 17 by way of Take That with a touch of electro’ type of pop. Add the monochrome visage and pierced ear of singer Theo Hutchcraft and you soon realise Hurts are a band on a mission. Luckily the songs exceed the imagery. Hutchcraft has the silky smooth vocals of the ‘80s and ‘90s’ finest frontmen, flitting from falsetto to operatic baritone on Illuminated and lustfully crooning in dancefloor killer Better Than Love. The themes are simple, tossing between love, lust and sex with plenty of metaphors on hand. At times the combined prowess of Hutchcraft and synth player Adam Anderson touches on the more downbeat ends of Scissor Sisters, thus making it unsurprising when Kylie pops in for a beautifully placed cameo on Devotion, a masterful contrast created between the sweet thinness of her voice and the deep boom of Hurts. Wonderful Life opens with minimal instrumentation and Hutchcraft’s a cappella before the chorus’ bodyinvading percussion backs the words of “Don’t let go/ never give up it’s such a wonderful life”. Saxophone is welcomed instead of cringed at. At times the melodramatic lyricism is taken too far (see: Evelyn) but it’s a small flaw.

Jenny Lewis of Rilo Kiley and actor boyfriend Jonathan Rice team up in a well-crafted folk guitar record that isn’t necessarily original, but sparks interest in harmonies and neatly packaged four-minute songs. When a musical couple get together for a project, one can’t help but wonder, what’s their agenda? Is it one giant romance novel in song? What happens if they break up midway through promoting this record, do they write a break-up record? Now that would be a good listen.

THE JOHN STEEL SINGERS Tangalooma

Dew Process/Universal “I propose we take out clothes off” is the opening pickup line to Your Favourite Perversion, the first track on the debut LP from Brisbane’s the John Steel Singers, delivered with just enough nerdy panache to warrant an endearing quality that many people aspire to. Subliminal messages about the opposite sex, irony and mixed signals are themes explored on an ambitious outing more in line with their live sound. Having won the Brisbane leg of triple j’s Unearthed competition in 2008, the sextet have toured pretty much every pub and venue across this locust-infested, sunburnt country, having also embedded themselves on the bills of several festivals along the way.

But this record isn’t an in-depth analysis of Lewis and Rice’s relationship. Sure, lines like “I’ll forgive you, if I out live you” in Scissor Runner suggests a hint of malice, but Lewis’ sweet voice is perfectly juxtaposed to Rice’s everyman depth and their voices compliment one another without either overwhelming. Switchblade is a key example, as they take turns to lead the humble ballad with not much more than an acoustic guitar providing instrumental support. The songs are mellow, not far diverged from Lewis’ previous work and it’s no surprise that the man behind the desk is Bright Eyes’ producer Mike Mogis. When the couple do pick up the pace they hit the ground running, like Big Wave and its surf rock guitar and chorus, as Lewis takes the reins forcefully and leaves Rice to provide a few ‘doo-doo’s.

They could easily have been the latest in a long line of contrived pop-pretending-to-be-indie bands, but their dedication to a unique brand of emotional electro pop gives them a promising edge.

There are moments when the record falters, like the borderline Billy Ray Cyrus of Committed and the Dovesaping Animal, which in itself is an excellent song. If only it didn’t sound like a UK indie band in the middle of a country folk record.

Sevana Ohandjanian

Sevana Ohandjanian

• That despite the four horses on the front cover that appear to represent the band’s members, the band actually list six members in the liner notes. They are Timothy Morrissey, Scott Bromiley, Ross Chandler, Pete Bernoth, Luke McDonald and Damien Hammond. • The album’s producer Robert Forster has enjoyed a healthy career beyond his Go-Betweens fame, with a critically acclaimed solo album and producer duties. He’s also become The Monthly’s primary music critic, winning awards for his writing despite his lack of print experience. • The John Steel Singers released an EP, In Colour, on Levi Jean’s label Levity Records in 2008, which also had Cut Off Your Hands and WOW on their roster. The label has been quiet since 2008.

Some may harp on about the pointlessness of their pop, but they are creators of introspective music and this is what gives Tangalooma its mass appeal. With a veteran producer and songwriter onboard (the Go-Betweens’ Robert Forster) and a pile of stay-inyour-head songs, The Steely Sing Jays are never ones to shy away from virtues and the layered sounds sound like a 12-man boat on its maiden voyage without the overcrowded feeling of a sinking ship. Revamped versions of Rainbow Kraut and Evolution are more in line with how they are delivered on the live front and new tracks such as Overpass and Masochist highlight a number of changes in sound direction. There is the odd psychedelic curveball such as Dying Tree, which

&

present

Gareth Liddiard Strange Tourist Tour

with Loene Carmen (excluding Katoomba show)

Wednesday 17th November LIZOTTE’S Newcastle

Thursday 18th November LIZOTTE’S Kincumber

Saturday 20th November OXFORD ARTS FACTORY Sydney

Sunday 21st November THE CLARENDON GUESTHOUSE Katoomba

For more information visit www.myspace.com/garethliddiard or www.shock.com.au

The debut solo album for lead singer of The Drones. STRANGE TOURIST out now through Shock Available from:

(all stores), Redeye Records, So Music, Hum Records

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THE DRUM MEDIA 9 NOVEMBER 2010 • 45 •


ONLINE MUSICAL WIN WITH DCR

RED SPAROWES

THOM YORK Remixes of “indie” songs are rarely impressive; more often than not they make you want to put your hands around your own neck and squeeze until your face goes purple and your eyes look likely to burst out of your head. (Hello, practically every Vampire Weekend remix, ever.) But that’s not the case with Florence + The Machine’s Heavy In Your Arms, by far the best thing to have emerged from the existence of Twilight. For this remix C-Berg, good friend of The Knife and Fever Ray, has deconstructed the track to an atmospherically heavy, drugged-out anthem that gives the song’s title a new meaning. It’s not often a remix is better than the original but this is close. Seriously, at the five-minute mark when Florence belts out the chorus over choir and a static drum line, shit gets intense. Play this at your funeral and the crowd will be on the floor, melting. Heavy In Your Arms is being released as a single, featuring this as a B-side, but in the meantime it’s available via that old goldmine, RCRDLBL.com. To some people the pairing of The Cure’s Robert Smith and Crystal Castles would seem like an obvious choice – to others not so much. Is the seemingly butchered-music sound of Crystal Castles, SALEM, oOooOO, et al the obvious successor to Goth? Perhaps. Both styles are moody as fuck and most of the people who listen to them (us included) can be best described as antisocial. Canadians Crystal Castles have called on Smith to re-record the vocal line to Not In Love, a throwaway song from their recent self-titled album, turning it into an epic indie club-friendly single with a trance-heavy chorus juxtaposed with angsty verses. It’s difficult to tell who had most influence on the direction the song takes as if you’d said it was a CC remix of a Smith solo track, we would’ve believed you (if we hadn’t heard the original, that is). Either way, it’s the most popfriendly Crystal Castles release ever and arguably the best work Smith has done since the mid-’90s. Grab it at Stereogum. We’ve already spoken of The Vaccines in this column, when a demo of If You Wanna made itself onto Said The Gramophone in August. Since then the band have been labeled “the worst kept secret in London indie” by NME, who’ve taken it onboard to plug the fuck out of them. We’re expecting a cover any day now. Unsurprisingly NME’s Daily Download Blog is featuring a new track from the four-piece, Blow It Up, which is less catchy, more whiny. Hopefully this has simply been put online to further whet appetites and isn’t actually a single. Oh wait, it is a single. After the brilliant surf-rock punch of If You Wanna, this seems like the result of far too much beach cricket. Ditch the cricket, guys! Still, we’re eagerly awaiting more news from these guys. Download from NME’s Daily Download Blog or via thevaccines.co.uk. This one ain’t free – which means it probably shouldn’t be here – but it’s online-only, it’s Radiohead, and it’s for charity. For anyone that’s followed Radiohead’s every move of late, you will have noticed they’ve been releasing single tracks online, one of which was in honour of the death of the last British First World War veteran. Now they’re back – well, Thom York is – with a song raising funds for The Royal British Legion called 2 Minute Silence – and it’s exactly what it says in the title, two minutes of silence. Thom Yorke’s post on Dead Air Space, “wouldn’t it be great if it was number one” comes with tongue seemingly placed firmly in cheek, but then again let’s hope that is does. You can purchase the single (which comes with a video featuring the likes of David Tennant and Andy Murray for £1 at silentsingle.com. We think the fact that you’re buying silence is pretty much the complete opposite of freely downloading a pop song, hence its place in Hyper Music. Finally – and in non-music related news – we’re big fans of Alan Partridge, the popular radio host creation of comic actor Steve Coogan. Whilst the TV series is long gone, a feature film is in development and Foster’s Funny, a comedy website sponsored by that Australian beer you only drink when you’re overseas, has commissioned a new online-exclusive series. Partridge now works at North Norfolk Digital hosting Mid Morning Matters with Alan Partridge. As the man himself says, “I look forward to ‘hanging out ‘n’ chillin’’ with the MySpace generation.” The episodes can be watched at fostersfunny.co.uk.

The Fear Is Excruciating, But Therein Lies The Answer Sargent House/Other Tongues

As an album title it sounds a little bit smart, a little bit complicated and pretty damn long. That’s pretty much how the album sounds as well. The songs, at times, seem as convoluted as the title, suggesting all kinds of highbrow fodder, but not always hitting the mark that they set. That said, Red Sparowes only just fall short; the three guitarists are put to good use and create sweeping, cinematic post-rock with intricate and natural arrangements. Giving Birth To Imagined Saviours is one of the few times when the band really allow themselves to climax. The heights that the band are constantly threatening to reach are finally embraced and we get a taste of what has been looming illusively on the horizon throughout the record’s other instalments.

SEABELLIES

Virign/EMI

Albert/Sony

Senior

Although Röyksopp’s concept of creating a dark and atmospheric album, labelled the big brother of their previous electro-pop masterpiece Junior, may be an interesting and credible idea, the result remains far from imaginative, artistic or even enjoyable. Leaving their creative and concise pop mastery behind, Royksopp have somehow managed to create an awfully bland and strikingly average record. Although conceding that the all-instrumental album was a departure from their previously melodic past, the introverted and subdued long player does little but echo the pretentious cries of a duo that should certainly stick to what they know.

By Limbo Lake

By Limbo Lake, the debut album from young six-piece The Seabellies, witnesses the band develop their indiepop stylings into a more mature and cohesive sound. Working with well regarded producer Wayne Connolly, the group’s songwriting has developed into a rich platform of layered sounds, which eventually combine across the 12 tracks to offer a memorable debut. Despite straying in parts towards a whiney acoustic pop ballad, Orange X is for the most part a catchy and interesting track, with some glitch synthesised noises adding a quirky edge to proceedings. Single, Young Cubs, shows a tinge of Americana creeping into their sound, which seems to work well with singer Trent Grenell’s higher vocal register. Again utilising some fuzzy synthesizer to their advantage, the band have continued to expand their simple sound into something much more layered and exciting.

Nothing happens quickly with Red Sparowes; they definitely take their time. And if you’re patient, The Fear Is Excruciating, But Therein Lies The Answer just might be worth it.

Opening track, And The Forest Began To Sing is a sleepy haze of synthesisers that seems to end before it begins and it rolls into the stretched Tricky Two, perhaps the most complex song on the record offering almost eight minutes of rolling arpeggiators. The dark and brooding mood of the record is clear within most songs, although the delivery seems lacking with the long, repetitive and drawn-out pieces coming across as wholly boring and exceedingly enigmatic in most cases. Forsaken Cowboy is a rare exemption, with its dull folky guitar creating a quirky mood over a staggered beat and groovy bass line. Final track, A Long, Long Way, is eleven minutes of monotonous nonsense, including a near two-minute gap of complete silence, a horse neighing and a whole lot of white noise. Although it may sound somewhat cliché, the dance-floor fillers of Junior now seem only a distant memory and it seems a lot of people are going to note that they like the old stuff better.

Dave Drayton

Benjamin McInerney

Benjamin McInerney

THE CHEVELLES

THE HOLY SEA

TRAPT

Wicked Cool

Ocean Awaits/Fuse

Eleven Seven/Sony

A Mutiny is a loosely jazz-inspired jam and along with the lap slide-centric In My Mind, shows the band’s focus on individual tracks, as opposed to previous efforts. It works well though; the album still feels cohesive as it showcases a broader sound. The slide guitar features again in A Swarm and offers a fresh take on the postrock style there, giving a hint of east meets west as the oriental melodies of the instrument swell over the heavier sounds of the band.

Ghosts Of The Horizon

Accelerator

Beach Boys harmonies, silly lyrics, nasal vocals and jangling guitars define Accelerator, the fifth album from Perth’s The Chevelles. These guys have been at it for two decades now, and their garagey power pop has a certain timeliness about it. They capture the energy and exuberance of The Jam, oohs and ahhs that remind a little of The Beach Boys or, more recently, The Drums, and a power-pop crunchiness a little like Ash’s. The timing of this release seems appropriate as the band has a definite summertime sound, and not just on aptlytitled track four, Summertime Sun. This album has its flaws, though, with annoying lyrics (“she’s the type of girl you gotta get alone/’cause there’s no point making love on the telephone/when I don’t know why/I could jump off my roof and fly”), but The Chevelles have never claimed to be rock’s finest poets. There’s not a very broad range between songs in terms of tempo either and the vocal delivery can be a tad whiny, but it’s rock’n’roll and that’s what we ask for. Accelerator doesn’t pretend to be making big leaps in how music is played or thought about, and silliness isn’t exactly the opposite of fun. There are quite a few hooks to latch onto through all the faults, and these songs would likely sound great played in a beachside pub with nobody in the room thinking about much beyond the fact that the old guys on the stage can belt out some pretty catchy jams.

Comparisons to both The Hold Steady and Paul Kelly are the first to grab you as Henry F. Skerritt launches into “I said men, think of all the sights you will see,” from punchy opener There Be Dragons Here, and Ghosts of The Horizon remains lyrical from there on in. King Of Palm Island is a more restrained, piano-driven tale of hope boding lines like “Time rolls slowly, man!/I think you owe me just a little love, have you got a little love.” The Ten Rules sits between Augie March and the aforementioned Kelly, allowing a low tone to prove Skerritt has an all-too-necessary vocal diversity, while “I have been feeling it/bad luck follows you around,” pushes Bad Luck as each verse ascends to a pulsing delivery of the line. An inventive and charmingly folky Arthur’s Lament follows, sung from the point of view of the 1830’s governor of Van Diemen’s Land and, not unlike most of the stories told here, sees often dark themes (see: “I hear your mothers wail around their childrens’ graves/a list of God’s little ones, not saved”) fill a lively musical setting. The Seafarer introduces Emma Frichot’s dense voice in an eerie setting, with a cello solo providing the icing on the cake, while Skerritt joins back in on a musically relaxed This River. Not Here Tonight continues the mellow themes, taking three and a half minutes to build towards a dynamic brass explosion, leaving it to Holy Holy to wrap up 42 minutes of tall tales of history, love and regret.

Board The Apartment Up is perhaps the catchiest song on the record. Building on a distinct percussive groove, the originally Newcastle-based outfit create a moody and atmospheric track with Garnell utilising a softer vocal approach to his sweet melodies. Armour is an interesting synthesiser jam that sparks creativity and fun. With some call and response vocals and a strong beat, the song transforms into a captivating chorus filled with layered vocals and some sweetly sung backing oohs and ahhs. This is certainly a noteworthy record and a solid foundation for the band to work upon. Deciding to wait more than three years to record their first album has put the band in good stead, allowing them to learn their craft in a comprehensive way and refine their sound to a tee.

No Apologies

Trapt have released their fourth studio album with No Apologies and honestly, not much has changed since their debut release in 2002. Chances are if Trapt didn’t hook you in with their most celebrated single, Headstrong, No Apologies is not going to do anything for you. Since they began Trapt have produced some of the best upbeat, commercial rock today. The album opener, Sound Off, is reminiscent of the attention-grabbing Headstrong. The whole album is a little monotonous with an almost cookie cutter formula to all 11 tracks. That said, it’s worked for eight years, why change now? All that is to be expected from a Trapt record is here; heavy guitars opening the track, a catchy, fun chorus, motivating lyrics, heavy guitars bringing the song to a close. Get Up is probably the closest to a rock anthem on this album, the lyrics “get up, get off the ground/I want to see your head in the clouds” repeated throughout the song, enough to have the effect on the listened. The title track would be the ballad track of the album, and the only track to differ ever so slightly from the favoured songwriting formula. No Apologies sees Trapt pinpointing their strengths and amplifying them with tracks Sound Off, No Apologies, Beautiful Scar and Overloaded. But Stranger In The Mirror is an unfortunate attempt to enter the darker side of rock, appearing cheesy and misplaced on this otherwise uplifting listen. Sticking to their own formula Trapt have once again proved that hard rock doesn’t always have to be depressing.

Brent Balinski • 46 • THE DRUM MEDIA 9 NOVEMBER 2010

RÖYKSOPP

Matthew Cheetham

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Christine Caruana


THE FINAL COUNTDOWN: BEST AUSTRALIAN ALBUMS 30 - 1

HERE FOLLOWS THE FINAL PART IN OUR THREE WEEKS OF EXCLUSIVE EXTRACTS FROM THE NEW BOOK, THE 100 BEST AUSTRALIAN ALBUMS, BY JOHN O’DONNELL, TOBY CRESWELL AND CRAIG MATHIESON. THIS WEEK WE UNCOVER SIX OF THE ALBUMS THAT CLOCK IN BETWEEN NUMBERS 30 AND ONE IN THE BOOK, INCLUDING THE ALBUM THAT HOLDS DOWN THE NUMBER ONE SPOT, MIDNIGHT OIL’S DIESEL AND DUST.

MIDNIGHT OIL Diesel And Dust CBS

(Released: August 1987) In the winter of 1986, Midnight Oil spent a little over a month on the Blackfella/Whitefella tour and their lives would never be the same again. They returned as different people. And they returned as a different band. Rob Hirst has said how difficult it is to translate into words or onto film what they experienced out there. Instead, Midnight Oil turned what they saw and felt into songs – songs about the need to address land rights for Australia’s indigenous people, songs about the spiritual relationship the Aboriginal people have with the land, songs about the terrible living conditions, the poverty and the systematic racism the band witnessed. These songs would provide the backbone to Midnight Oil’s best album, Diesel And Dust. “It was the most collectively exciting, eye-opening and ultimately saddening experience for us as a band,” Rob Hirst would later write in 1987. “We found people reduced to living under bits of Western refuse, falling prey to Western disease... petrol sniffing, alcoholism... and being misdirected by idiot bureaucrats. But at the same time [we were] exposed to the positive aspects of Aboriginal culture. There are parts of the trip I still have trouble assimilating years later.” Returning to Sydney after the tour, the band took nine months to digest what they had experienced before heading into the studio with producer Warne Livesey. Recorded in early 1987, Moginie remembers the sessions as having a great spirit and being “remarkably easy”. The exception was Sell My Soul, which they painstakingly constructed instrument by instrument in order to make the track fit with the rest of the album and move away from the drum machine sounds and syncopated beats of the demo that Moginie had created at his home. Livesey was particularly focused on the band’s vocals. He pushed Peter Garrett to deliver his best-ever performances, making him sing Beds Are Burning across three different sessions until he got just the right feel. He captured fiercely passionate takes from the singer on Dreamworld and Sometimes and great emotional moments in the spooky Arctic World and the whispered, pleading Put Down That Weapon. Livesey also encouraged the Oils to focus and develop their backing and harmony vocals, which brought a rebel-rousing power and strong commercial potential to many of the songs. Beds Are Burning opens Diesel And Dust in electrifying fashion. Three bracing stabs of horns and drums played in unison grab you by the throat in the first two seconds, before Peter Gifford’s molasses-thick bass does its funky snake dance, underpinning the next four minutes of sonic genius. Rob Hirst adds a true and constant snare to create a monster groove that is regularly punctuated by his percussive tricks, Moginie’s keyboard jabs and sonic trippery and the driving, proud horn fills. Peter Garrett’s strangled howl owns the verses and then is joined by Hirst on the prechorus (“The time has come/ To say fair’s fair/ To pay the

rent/ To pay our share”) before the band steps up to the microphone for the huge chorus (“How can we dance when our earth is turning?/ How do we sleep while our beds are burning?”). It’s a songwriting and production tour de force.

SARAH BLASKO

As Day Follows Night Dew Process

(Released: July 2009)

YOU AM I Hi Fi Way Ra/rooArt

(Released: February 1995) With some records, their destiny is apparent even as they’re being tracked and mixed: everyone involved knows the stars are aligned, the songs are ready and the snare drum couldn’t sound better. You Am I’s Hi Fi Way, which was recorded in New York in just one week, in September 1994, is not one of those records. The trio’s frontman, Tim Rogers, remembers the finishing of it this way: “It was pretty hazy at the end and totally amphetamine logic because we had no time. I was freaking out, being a total arsehole. Lee [Ranaldo, producer] was being really cool, but then I threw my bag at John [Siket, the engineer], even though I liked him, but I was just totally freaked out. I went back to where we were staying at six in the morning and I was just crying all day. I couldn’t believe it. I thought, ‘I’ve totally fucked up this record, this is shit!’ I spent the next three days at a bar called Boo Radley’s on a bender.” Rogers, thankfully, had got it wrong. Hi Fi Way is one of the finest Australian albums ever and it is certainly the outstanding release of the 1990s. It’s a textured, immediate pop record that delves through layers of memories, looking back to consider the past even as it makes sober judgments for the future. Amid flailing, super-charged arrangements that take in ’60s pop and ’90s dynamics, it cuts between youth and adulthood, showing us how each informs the other. It can break your heart and at the same time berate your hips.

RADIO BIRDMAN Radio Appears Trafalgar

(Released: July 1977) Radio Birdman was, for a moment, the greatest rock’n’roll band in the world. In the pressure cooker of the Oxford Hotel with 120 people, Birdman cranked the sound harder and faster and pushed every moment to its limit. They made their contemporaries, like AC/DC, sound like sissies. Birdman never played anything at less than full intensity. They never played the same set twice. It was inspiring. It was, in fact, exactly what they tell you rock’n’roll is about but almost never is. When was the last time that you danced nonstop for an hour and a half? When was the last time that you actually saw a band so overload the sound system that it fell apart on stage? The first thing that’s important about Radio Birdman is that singer Rob Younger, bass player Warwick Gilbert and guitarist Deniz Tek were record collectors with broad tastes. They had secret knowledge of The Stooges (from whom they took their name) and MC5. But the influences went much further – New York Dolls, The Doors, Blue Öyster Cult, early Alice Cooper, The Flamin’ Groovies, The Velvet Underground, 13th Floor Elevators, The Rolling Stones and more obscure artists. So while they were dubbed a ‘Detroit’ band, in fact their sound is closer to New York Dolls and The Rolling Stones. “Our idea from the outset was to get people really involved – give them a really high energy show, so we could get a real exchange of feeling,” said Rob Younger. “As rough and ready as it was, the audience appreciated what we were trying to get across to them and they gave something back and that was quite spectacular at times.” Few Australian albums have had the impact of Radios Appear. It remains the finest hard rock record made in this country and is the foundation on which the band’s legendary status rests.

As is her way, Sarah Blasko’s summing-up of As Day Follows Night, her masterful third album, had both an unexpected logic and a genuine charm: “It’s like slapping black paint on a white wall,” she explained upon the record’s release. If the analogy suggested a stark simplicity, the album itself turned on emotional subtlety and instrumental clarity. It sounded like little else in 2009, or most any other year for that matter. The songs are solitary observations. Blasko had parted ways with her professional and personal partner, guitarist Robert F. Cranny, with whom she authored her promising 2004 debut The Overture And The Underscore and its outstanding successor from 2006, What The Sea Wants, The Sea Will Have. In the opening song, Down On Love, Blasko sings, “Lately you’ve been down on love/ You believe that it’s a poison cup”, but the record was more rumination than reckoning. It got tangled up in blue, twisting conscience and recrimination until the two were indistinguishable. She’d taken to heart the onset of change and decamped to Stockholm, where Swedish musician Bjorn Yttling (of Peter Bjorn & John and Young Folks whistling fame) assembled players who were new to Blasko and her songs. There was no call for electric guitar and few keyboards, but timpani, vibraphone and banjo featured. It was an acoustic album, but assembled with a jazz sensibility. She didn’t spare herself, an honesty that not everyone can handle, but the exchange was a fascinating song cycle, from the classical quiver of Lost And Defeated to the sweeping, Ennio Morricone-influenced All I Want. Sarah Blasko made the journey worth it every time.

to separate, forecast the digital ennui of recent years. And like many works that are ahead of their time, Unit hasn’t yet been caught up with (even by Regurgitator themselves). It’s still a provocative, eclectic song cycle that can’t be pinned down by time. Game changers are usually like that.

GEOFFREY GURRUMUL YUNUPINGU Gurrumul

Skinnyfish Music (Released: February 2008) Critics and admirers – usually they were one and the same – went to great lengths to describe Geoffrey Gurrumul Yunupingu’s voice, first in Australia and then overseas, as his debut solo album Gurrumul went from being an unknown release on a tiny Darwin independent label to become the cause célèbre of world music and a significant commercial success in his homeland. They were rapturous, applying metaphors that spoke to the indigenous experience or placed the shy young man in a tradition of vocalists whose raw tones could lay claim on the soul. They were all quite right – and then some. Suffice to say that of all the artists listed and discussed in this book, Geoffrey Gurrumul Yunupingu has the finest voice. When you hear it you just know.

WHO John O’Donnell, Toby Creswell, Craig Mathieson WHAT The 100 Best Australian Albums (Hardie Grant)

REGURGITATOR Unit

Warner (Released: November 1997) Only one album into their career and Regurgitator were ready to hit the reset button. It was 1997 and the Brisbane trio – guitarist and vocalist Quan Yeomans, bassist and vocalist Ben Ely and drummer Martin Lee – were sick of each other. What had begun casually several years prior, when the geeky Yeomans and the punk-bred Ely met on a suburban bus, had grown out of control. The band had quickly become a major attraction on the alternative scene with their whiplash guitars and hip hop-influenced rhythms. They’d toured Australia a dozen times, either side of releasing their 1996 debut Tu-Plang and now their record company’s American arm wanted them to decamp for a year on the road in North America. Don’t think so. The trio instead went home, went to ground and went back to the sounds of their adolescence: Prince, Pat Benatar, Devo, The Bangles and Bananarama. The resulting album, Unit, was cut in little more than a month in a condemned warehouse (dubbed ‘The Dirty Room’) in Brisbane’s Fortitude Valley. It began as it intended to go on: couched in the language of irony, referencing the electronic sounds of the late 1970s and early 1980s and refusing to accept, let alone carry, the burden of their own success. Mere sarcasm occasionally won out, as on the piss-take title track in the middle of the album, but much of the album is deeply prophetic. The predilection for the thenignored pop sounds of the prior decade predates whole movements by almost ten years, while a song such as Black Bugs, where consumer electronics take over a life to the point where society and the next level are difficult

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SEND IN YOUR TOP TEN TO WIN BOOK & CD PACK So what do you think the best Australian albums of all time are? Email your top ten list to bestozalbums@streetpress.com.au (mark it Best Oz Albums in the subject heading too!) and you also get yourself in the running to win a copy of The 100 Best Australian Albums and a copy of its companion CD release, Songs From The 100 Best Australian Albums (Sony). We have ten packs of the book and accompanying five-CD set plus ten copies of the five-CD release for runners-up – the CD features tracks from 95 of the top 100 albums in the book (including tracks from the albums featured this week: Beds Are Burning – Midnight Oil; How Much Is Enough – You Am I; New Race – Radio Birdman; We Won’t Run – Sarah Blasko; Polyester Girl – Regurgitator and Gurrumul History – Gurrumul). Start making lists now and don’t forget to number them in order from one to ten – that way we can make our own list. The entries have already been flooding in for two weeks and we’ve seen everything from The Choirboys’ Evolver through to Radiators’ Feel The Heat mentioned so far, with most lists name-checking the likes of AC/ DC, The Triffids and Cold Chisel. Entries close 5pm, Wednesday 17 November. THE DRUM MEDIA 9 NOVEMBER 2010 • 47 •


METAL AND HARD ROCK WITH CHRIS MARIC

IRON MAIDEN

THE IRON AGE When Iron Maiden arrive in Australia for the Soundwave festival and sideshows next year, they’ll be doing it in typical style. They’ll be taking their customised Boeing 757 all around their Final Frontier World Tour – complete with new album livery – with captain Bruce Dickinson at the helm they’ll travel 50,000 miles visiting 26 cities to play 29 shows in 66 days. In a statement frontman Dickinson said, “Of course we will play more songs from the new album and some other recent material, but we will include a healthy dose of older fan favourites as we will be playing to so many new faces who we know will want to hear those songs live for the first time. We will cram into the plane as much of the production we used this year as is physically possible, including of course Eddie, and intend to replicate the spectacular light show in as many places as we are able. All in all it promises to be a fantastic trip for everyone! So see you all soon.”

METAL INFLUENCE Contemporary soul singer Cee Lo Green, who sprang to world fame thanks to his Danger Mouse collaboration Gnarls Barkley, has told British magazine Q that he’s inspired by heavy metal bands: “Rock’n’roll always spoke to me. Judas Priest had the look that I liked – when I was young I wanted to wear spikes. I like things to be sincere and Black Sabbath was the most genuinely evil music that I heard. When I first started to smoke weed I fell in love with [Black Sabbath track] Planet Caravan.” He went on to say, “Now I don’t even smoke cigarettes. The only drug I enjoy, really, is ecstasy. I like it pure. Is it called MDMA? I like that.”

• 48 • THE DRUM MEDIA 9 NOVEMBER 2010

OK – grab your plus One and Hit The Lights as by the end of this week you will be Broken, Beat & Scarred as you Frantically Roam all over town chasing the Four Horsemen like Nothing Else Matters. So tell your Phantom (land) Lord that you will be home on Dyers Eve because you will be on a Seek & Destroy mission for King Nothing. Give your partner one Last Caress before you Jump In The Fire and Fade To Black under the light of Orion and remember there is No Remorse for the Master Of Puppets if the Metal Militia marches Through The Never to battle Some Kind Of Monster over a Battery. Yes folks ‘tallica is in town and I have a license to be stupid. Thursday Well Lars Inc return to Sydney for what is actually the first scheduled concert of their three-date tour but is actually their second gig. Get that? If you saw the September show you know what’s coming but if you didn’t I can assure you that the band is in fine form, much tighter and more together than they were the last time they rolled through in 2004. Such is the extent of their back catalogue that despite playing an amazing 18-song set, I was quite annoyed that they left out Bellz and Creeping Death, two songs you think that they would never not play. They’ve been giving Orion and other surprise tracks a run in other cities around the country so here’s hoping either Thursday or Saturday’s shows are peppered with a couple of Metallica gems that aren’t aired that often. Friday Playing with Metallica, I won’t say ‘support’ since like Maiden, Metallica doesn’t need a ‘support act’, are the very familiar to local crowds Lamb Of God and a band with probably the biggest buzz of any at the moment, Baroness. If you haven’t heard them, I suggest you track down The Red Album or The Blue Record now. Baroness mainman John Baizley is just as popular for his pastel psychedelic album artwork for a host of other bands as he is for his own. Hailing from Savannah USA the band’s sludgy, doomy approach is reminiscent of when Kyuss held the crowd captive for the ‘93 Metallica tour. Anyway, I’m rambling, get down to the Annandale if you can, since it’s nearly sold out and catch Baroness in a very intimate and raw setting. Summonus are on the bill too so it should be a perfect gig! Head back to town afterwards to keep the theme of the week alive as Club Blink are launching The Big Four

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And if neither of those events do it for ya, well, get down to the Bald Faced Stag to see one of the biggest icons of the ‘80s glam and hard rock scene, Ted Poley, of Danger Danger fame getting stuck into the classics and stuff from his solo years. He is backed by White Widdow, who are more than equipped to do the job. DD’s debut album was pretty much the soundtrack to my first year of high school in ‘89 along with Warrant’s DRFSR album – Perfect, overblown, innuendo-filled LA hair rock’n’roll – You’ll love it!

THE RED SHORE Metallica DVD and staging their own Metallica-infused night with local cover band Damage Inc playing a two-hour set of Metallica tunes. At the same time, The Basement will be launching the latest albums by Cradle Of Filth (back in fine mid-‘90s form) and Within The Ruins (crushing). If you want heavier, since Metallica only gives you ‘heavy’, you can head up to the Valve Bar, which was formally The Harp in Tempe, and catch Sydney’s welloiled death metal machine Anno Domini go at it along with atmospheric metallers Katabasis. Canberra’s Immorium will put the brutality in their death metal and young proggers Resonator will be making their Sydney live debut. All this for only ten bucks too. Saturday Now this is pretty damn cool. Ross Halfin is the man responsible for pretty much every iconic photo of Metallica that you have ever seen and has published a book of many of those pics called The Ultimate Metallica – Photographs by Ross Halfin. Several of these photos will be on display in his first ever Aussie exhibition at The Blender Gallery in Paddington. The exhibition runs between Wednesday 10 to Saturday 20 November and Ross himself will be there on Saturday between 11.30am and 1.30pm to sign copies! Want some more from Metallica? Well, they take the prime spot on Saturday’s to do list but there is plenty of other stuff going on if you don’t want to go to Homebush/don’t have tickets. Despised Icon are going to be pushing the sound system at The Factory Theatre to its limits in an all ages show with The Red Shore, Thy Art Is Murder, Beyond Terror Beyond Grace and Vegas In Ruins.

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Something else? Demanding lot aren’t you! How about some Death Metal, Prog and Blackened Death Metal all on one bill? Club Carnage in Newtown is hosting an album launch for Queenslanders Mass Burial and Sydney’s Hate Disciple are throwing an EP Launch. Joining both bands will be Altars, who hail from South Australia, and local boys Hemina and Avarin. Sunday Still with me? OK, well after another giant week of metal madness, finish it off in style by helping out Buried In Verona, who need you to make an epic film clip. They need as many people as possible to come meet them at Belmore Park opposite Central Station at the gazebo from 1pm till around 3:30pm, The dress code is black. All black, short shorts, black t-shirt or singlet. Basically girls need to look as sexy as possible and guys should picture an ‘80s running man in all black. Bring very, very comfy shoes as you’ll need them.

LOCAL GIG GUIDE

THURSDAY

The Sacred Truth, Breaking Orbit – The Harp Hotel

FRIDAY Despised Icon, The Red Shore, Thy Art Is Murder – Holy Grail, Canberra Shadowmill, Na Maza, Sunset Riot – Hush Lounge

SATURDAY Shadowmill, Mad Charlie, Na Maza, Perpetual End – Basement, Belconnen Platinum Brunette, Blind Chance, Jimmy Swouse, Mechanical Black, Droptank – Saturday, Lansdowne Hotel heavy@drummedia.com.au


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PUNK AND HARDCORE WITH STU HARVEY

TONIGHT ALIVE

WORLD AT THEIR FEET Sydney-based Paramore-inspired pop punk outfit Tonight Alive have signed a worldwide deal with Sony and will head off to America to record their debut album with highly regarded punk producer Mark Trombino (Blink-182, Jimmy Eat World). The release follows their EP, All Shapes And Disguises.

PROPAGHANDI

LOOKING FOR A HOME Notorious for their label dramas, Propaghandi are once again looking for a label to put out their next album. “Don’t make us do it ourselves. We’ve all seen what happens when we’re left in charge of things,” reads a post on their website. “We’ve had enthusiastic, but vague inquiries from a few labels and we really appreciate that. But we’re not looking for vague. We’re not looking for nebulous ‘what do you guys want?’ inquiries. We’re looking for a strong, specific, enthusiastic offer that lays out in detail what your organisation will do for us in exchange for releasing what will certainly be our wildest record yet.” They then go into a token ice hockey analogy to push the point further. So, if you own a record label get in touch with the guys. They’re serious.

IDEAS FLOWING According to their Twitter, Thrice have entered the studio to begin work on their next album. The post, presumably from Riley Breckenridge, read, “Back in the studio... These parts/ideas are making the slow but steady metamorphosis into songs. –r”.

• 50 • THE DRUM MEDIA 9 NOVEMBER 2010

Polar Bear Club have been announced for Soundwave 2011, replacing Alesana. According to the promoters, Alesana were forced to postpone their upcoming touring commitments due to “label changes”. Soundwave went on to elaborate, “The band have just had a rather difficult change of labels and we are happy to announce that they have found a new home with the good people at Epitaph. However, part of their exit from their last label involved an additional US tour with [Escape The Fate] in support of their last record to help their old label recoup costs.” Another change sees Blessthefall returning to Australia to join the massive lineup. They’re taking the place of A Skylit Drive, who have decided to take the opportunity to open for Underoath on their US tour instead of playing Soundwave. The promoters aired their thoughts via twitter, calling it a “a piss weak excuse”. Once they finish the current Keeping It Bogan tour, Confession are planning to lock themselves away and commence pre-production on their second album. The band will head to Byron Bay to start writing. Also about to hit the studio are Converge, who are locking themselves away in Godcity Studios to commence working on a follow-up to last year’s Axe To Fall. The Get Up Kids return in late January 2011 with a new studio album, There Are Rules, the band’s fifth fulllength and the first on their own Quality Hill Records imprint. Seven years after what looked to be their final album, Guilt Show, with the group disbanding a year later in 2005 after ten years of constant touring, The Get Up Kids returned to the studio last year, sparked by a spur-of-the-moment decision to start writing songs together again, made while rehearsing to tour the tenth anniversary edition of their breakout album, Something To Write Home About. At the same time, There Are Rules marks a new chapter for the band, as they return to their independent roots, forming their own label and re-igniting the D.I.Y. spirit that originally launched the band onto the worldwide stage. Talking to Alternative Press, frontman Matt Pryor said, “We had a really great relationship with Vagrant but we felt that with the proverbial rebirth of the band we wanted to start our own label. Do everything ourselves like we did in the beginning.” And as to the label’s name, “Quality Hill is a historic neighbourhood in Kansas City. It’s not far from where we first formed the band. It seems like an appropriate name for the label.” How the mainstream music industry has ignored the heavy music genre for so long by not including it in its

and Bone Turd and then on Sunday at the Shamhaus Basement with Intentions, Slogan Free Youth and Thylacine. Check their music now at talbot-music.com

SHORT FAST REPORT TOP 5 1. Parkway ARIA win. Time to build a trophy shelf in Byron. 2. Underoath. The new album Ø (Disambiguation) is their first without founding member Aaron Gillespie and one of their best yet.

POLAR BEAR CLUB annual ARIA Awards is an absolute travesty. Finally this year they added a new category of Best Hard Rock/Heavy Metal Album and congratulations to Parkway Drive for winning with their album, Deep Blue. It’s kind of embarrassing when you think about it. The ARIA Awards started in 1987, so it’s taken 23 years for the country that produced AC/DC to include heavy music in it’s annual awards. As we all know Descendents will be in Australia for the very first time ever this December, playing at the No Sleep Til festivals. Recently Karl Alvarez discussed the future of the band with dyingscene.com. “In your 20s it’s OK to climb in a van and go on tour for extended periods but in your 30s and 40s it gets increasingly hard because people have families. The hiatus was due to Stephen, Bill and Milo raising children. If you’re a parent you don’t want to be away eight months in a year. I think we’re back, we’ll probably make a record and probably be doing more shows but I don’t think we’re going to be doing the kind of tour that we would do in the old days which was very intensive. On the Everything Sucks tour, we were home 17 days in that year. It can be a strain, at a certain point. When you’re a kid it’s great, it’s all adventure but when you get older you’ve got a life at home. Me, speaking for myself, I’ve been on tour the whole damn time anyway, I have no children that I know of so I’ve been out on tour in the past six years with Gogol Bordello, I’ve been on tour with The Real McKenzies, I’ve been out on tour with a band called All Systems Go. I’m kind of addicted to it.” Estonian two-piece Talbot are in town this week for a couple of gigs. Check them out on Thursday at Station Hotel Newcastle with Drillbit, Spew Your Guts Up and Juice, Saturday at Black Wire Records with Fattura Della Morte

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3. Anchors + In Trenches. Two great Melbourne bands hitting Sydney this week. Catch them Friday night at Black Wire Records with 10 Paces and Bonestorm. 4. I Exist + Warbrain. Melbourne’s Warbrain hit Sydney this week for a show with I Exist Friday night at Hermanns Bar. Also playing are Legions and Vigilante. 5. New Found Glory. Tune into Short Fast Loud this Wednesday night because I’ll be chatting to Chad from New Found Glory

LOCAL GIG GUIDE

WEDNESDAY

The Mission In Motion, Valencia, Crystal Cove, Second Opinion – Cambridge Hotel

THURSDAY City Escape, Sparrows, Starting Sunday, Evelyn – Hot Damn, Spectrum

FRIDAY The Mission In Motion, Valencia, Blonde Sovereign, In This Defence – Oxford Art Factory Lime Spiders, Happy Hate Me Nots, Infamous Grouse – The Sandringham Hotel

SATURDAY Hitmen, Decile Of The Reptiles, The Cool Charmers – Jets Sports Club The Thylacines, Essentia, The Needs, No Peace For Charlie, Violet Pulp, Macchiato, Anatta – Lewisham Hotel Catch Stu presenting Short.Fast.Loud. every Wednesday night from 10pm on triple j. Contact Stu at shortfast@drummedia.com.au


HIP HOP WITH VIKTOR KRUM Have you already seen Kanye’s Runaway? It’s online for free. You’ve either watched it a million times by now or you don’t care. I’m the former. How great is it? Remember the first time you heard Nicki Minaj do that silly English accent and you thought, “Oh oh! This is going to be super shit!” but then Yeezy came in with a, “yeah… yeah” and everything was fine? Remember the awful dialogue in the Cinematic Film Movie parts? Terrible dialogue. How about All Of The Lights? What a song! How about Runaway?! Is it the best pop song ever made? Is Pusha T’s 16 bars the best 16 ever rapped? Will we ever recover from Kanye beginning a Deep Song by explaining, “I sent this girl a picture of my dick”? There are so many questions. And – for the moment at least – so few answers. I think the smartest thing to do is stay just as psyched as we are (or maybe get a little bit more psyched) and look forward to the release of My Beautiful Dark Twisted Fantasy later this month. It’s a terrible name but, let’s face it, this is basically Thriller 2010. Syphon: you really should be going. It’s the best, most organised and longest-running cipher in Sydney. There are good rappers there. There are some excellent DJs there. There are some bad rappers there too. It’s a rich tapestry is what I’m saying. If you like freestyling or watching other people freestyle, then it’s the event for you. There are some suggestions I would make if you are planning on going. The first, and probably most important, is: practice. Don’t just try to be a freestyle rapper. Try to be a good freestyle rapper. There’s a big difference. The other suggestions are mainly about arriving on time, having fun and not rapping for too long. The place to be is the Henson Park Hotel from 5pm on 13 November. It’s over 18s only. Underagers: just keep practicing. By the time you’re able to attend, your tongue will be sharp as a laser. While your sharpening your tongues and getting your freestyle skills back in order, it’s time to consider heading off to Battlekhunts, a real Sydney battle night. It’s an event put on by Benji of the PK Crew and it promises to provide those of us who get a little misty about the passing of BattleActs (in 2005, no less) with a lovely flashback to when battles had beats and freestyling and captivated audiences. Friday 19 November is the night and it’s happening at the Valve

ALL AGES WITH SCOTT FITZSIMONS There’s a fair bit on this week in the world of predrinking age events, and a fairly wide selection at that. TV-magnet Ingrid Michaelson will be at The Factory Theatre on Thursday. You may not know the name too well, but the MySpace-discovered New York indie-pop gal has worked the American TV scene like few others, garnering spots on Good Morning America, Late Night With Conan O’Brien, The Tonight Show With Jay Leno and The Ellen Degeneres Show. But her songs have been on the box even more times, featuring on shows like Grey’s Anatomy and Scrubs. Self-described as quirky, you’ll either love her (Regina Spektor, Fiest fans especially) or hate her.

HERMITUDE Bar. There are great acts playing, there are cash prizes. Go get it, Sydney! Get your tissues out! It’s time to mourn the passing of Dust Tones at the Beach Road Hotel, a venue so annoying to get to, but with an entry fee that tickled our hip pocket nerve in just the right way. Don’t worry: this is not the end of Dust Tones. Even if it was (which, we are assured, it is not), then they are going out with a bang. On Friday you can catch Hermitude playing with DJ Ability and Mike Who. On Friday 19 November you can catch Horrorshow playing with Shantan Wantan Ichiban, DJ Ability, and Mike Who. Exciting times, my dudes. Plus, for a little longer at least, entry to Dust Tones events remains free. No charge: just a party. RIP Dust Tones at the Beach Road Hotel: odd venue, good music, great prices. Thursday 16 December, head to The Forum and check out Rap City. The lineup is pretty great: Blackalicious, Murs & 9th Wonder and R.A. The Rugged Man (!) with more to be announced soon. Your friends who you haven’t seen for ages are guaranteed to be there. So are scores of people who do not dress like you. Get in quick. getittogether@drummedia.com.au

Chances are if you’re a Michaelson nut, we probably won’t see you at Canada’s Despised Icon’s shows this week – and vice versa. The deathcore outfit will be in fine company for their couple of dates, at the Holy Grail Civic in Canberra this Friday with The Red Shore, Thy Art Is Murder, 4 Dead and Corporate Takedown making up the supporting bill, while the big one at The Factory Theatre this Saturday sees The Red Shore, Thy Art Is Murder, Beyond Terror Beyond Grace and Vegas In Ruins on hand. The technical ‘Icon are touring on the back of 2009’s Day Of Mourning album. Catapulted into the limelight beyond her fronting Bleached Academy after a stint of Australian Idol, Hayley Warner has been quiet most of this year, spending time in Los Angeles to work on new material. Latest single, Hands Off, is the first we’ve heard of the next coming and it’s sure to be heard at The Brass Monkey this Sunday. Supporting is relatively unknown but no doubt emerging acoustic singer songwriter, Sydney’s Joel Leffler. The early show starts at 1pm. Two favourites of the indie rock scene are in town this week, the first being Hungry Kids Of Hungary, who’ve taken their time to release their debut album, Escapades (worth the wait as well, it was Drum’s CD of the Week recently you may recall). Friday the Brisbane lads are at The Factory Theatre with Big Scary, who’ve just released their Four Seasons album, a compilation of their four seasonal-themed EPs – and Ball Park Music. The other favourite is Sydney’s Philadelphia Grand Jury, who are reintroducing themselves to Australian audiences with a new drummer after a recent English

POP CULTURE THERAPY WITH ADAM CURLEY For all the talk and praise of a real, not-just-token nod to a ‘new guard’ of Australian musicians at Sunday’s ARIA Awards, there was an equally real feeling that those whose names were called had already passed a litmus test – or tests – grading their right to be applauded and their accessibility to the marketplace. They could be young and independent but not too irreverent (at least not vocally) to the industry. They could exist outside ‘mainstream’ radio, but, well, let’s not beat around ‘the bush’, they had to at least have been given the OK by triple j, itself now a bastion of, almost exclusively, the ‘crossover’ artist. They could even be one of those ‘outsider genres’ like ‘metal’ (WTF?) as long as they’d sold enough records to prove their legitimacy with ‘the kids’. If they were a girl wearing a ‘party dress’ playing ‘indie pop’, they were pretty much through the door (seriously, enough with the ‘I’m alt.girl but look how retro-feminine I CHOOSE to be’ steez, it’s patronising and boring). It might seem somewhat redundant to be whinging about a list of award-show nominees being ‘clean’ or ‘unrepresentative’ of the ‘best’ of Australian music, particularly when it comes to the ARIAs, which has neither the commercial motivation to be, nor the history of, digging up acts who don’t fit the radio mould and giving them kudos or airtime. However, it’s the same story being told across the now many well-promoted awards initiatives, from the Australian Music Prize to the Independent Music Awards to the APRAs and Melbourne’s Age-affiliated EGs. They all, in their various ways, claim to be ‘shining the spotlight’ on acts who don’t get the commercial backing or recognition they deserve, yet they all happen to think the same acts deserve recognition and those acts all happen to have had a fair whack of national radio play and exposure (with the notable exception of some of the nominated EG Awards acts, who’ve built their reps primarily on live shows). Anyway, so with that and the whole Tea Party takeover of American politics happening over the week, I was extremely grateful that my headphones were overtaken by misfits. Not the radio-approved misfits of the awards shows and not the conservatives-in-misfits’lipstick of Sarah Palin etc, but real misfits; the kind messing with song structures and instrumentation and images and attitudes towards the ‘industry’ but not relegating themselves to the no-exposure pile. Animal Collective’s Avey Tare released his debut solo

album, Down There, and it’s hard not to view it as a pull back from AC’s most recent pop format, cutting up melodies and sound bites to create what at times sounds like one of Gus Van Sant’s bipolar film scores. It’s a big, mumbling, echoing, introspective head-fuck of an album that rarely lets you indulge in the dance-beat moments before it dives back into the darkness and pulls out something more disfigured. Sydney warehouseparty-rat Simo Soo has unveiled his latest mixtape, Twenty Ten 4eva!! (available to be streamed on his MySpace and purchased at shows), which takes all the laptop-electrotrash stuff of earlier this decade and adds some ‘90s pop elements, a few warped late-‘00s elements (AutoTune can still sound relevant when used like this) and a whole heap of unabashed enthusiasm (and yelling) and turns it into a full-on assault. The mixtape features remixes from Hawnay Troof, Horse Macgyver and Curse Ov Dialect and a pretty incredible cover of Lisa Mitchell’s Coin Laundry. Simo Soo is playing a residency at the Lansdowne Thursdays in November. Another Sydneysider who’s out playing gigs along the coast over coming weeks is loop-pedal-adoring guitarist, vocalist and sometimes (at the same time) drummer Kirin J Callinan, misfit to the core who sometimes even fucks off his own steez and does whatever the moment calls for onstage. Occasionally that’s even meant leaving his instruments at home and letting his wonderfully deep, uninhibited vocals do all the work – well, that and the art-goth outfits he’s known for sporting. He’s out launching new single, She (also to be found on his Kassette release on, yes, cassette, available at shows). breakdown@drummedia.com.au

stint (there’s plenty more international touring on the horizon as well). Saturday they’re at The Metro with Howl and Bearhug. Celebrating ten years of the event, the Saturday A Day On The Green performance at the Hunter Valley’s Bimbadgen Estate is one to take your parents along to. Why? Because it’s got a lineup that includes Jimmy Barnes, Vanessa Amorosi, Tex Perkins & The Dark Horses, Mark Seymour, Richard Clapton, Dan Sultan, Mahalia Barnes, Michael Spiby and Swanee. Not the usual rabble we see at all age events, but definitely a cross-section of some true Aus music pioneers. Well worth checking out – for education if nothing else – if you’re in the area. The Newtown Festival’s going to be a big crowd-drawer this Sunday – as it always is – with this year’s lineup reading Richard In Your Mind, The Paper Scissors, Megastick Fanfare, Guineafowl, Mojo Juju & The Snake Oil Merchants, The Snowdroppers, Alter Ego Mania, Skipping Girl Vinegar, Liz Martin and more. The festival gets about 80,000 people each year and despite being free ask for a small donation at the door as the event is a fundraiser for the Newtown Neighbourhood Centre after all. We’re told sponsorship for this year is down as companies watch their bottom line, so maybe opt for the one-note donation instead of the one-coin this year, and don’t skirt it! allages@drummedia.com.au

WORDS FROM THE PEAK BODY FOR CONTEMPORARY MUSIC IN NSW

INDENT ADVISORY GROUP

SIMO SOO: A REAL MISFIT

RICHARD IN YOUR MIND

Indent is looking for the next wave of young people and music lovers to join their Advisory Group, which meets every three months to discuss the direction of all ages entertainment in New South Wales, and how Indent can better pitch itself as peak body. The Indent Advisory Group consists of music, youth and arts industry professionals, and for the next term, which starts in January 2011, they are looking for two youth representatives – one from regional NSW and one from metropolitan NSW. Melody Forghani, one of the departing members, was honoured to represent the views of her generation and help shape the opportunities for all ages entertainment in the state, saying that “sitting on the Indent Advisory Group has really broadened my understanding of the working of the music industry and what goes into staging an event.” Applications for the two vacant positions close Friday. If you believe you have what it takes, we encourage you to become involved. For more information check out indent.net.au.

WHICHWAY EPS In amongst all the hussle and bustle, Whichway is well underway to releasing their final two artists’ EPs, for Ngaratya and Dan Stockley. These artists completed the Whichway Advanced Workshops earlier this year, and were selected to record an EP to showcase their talent. Dan Stockley is a singer/songwriter from Dubbo, who now resides on the Central Coast. Dan recorded with producer Ian Pritchett (Angus and Julia Stone, The Beautiful Girls) and his folk and roots sound is something to behold. Ngaratya could be described as Missy Higgins meets Aretha Franklin, a classic Australian folk and roots sound packed with loads of soul. The duo comprises of sisters, Emily, 16, and Alicia Johnson, 18, whose talent has been acclaimed by both Indigenous and non-Indigenous audiences across Sydney. We look forward to their forthcoming release.

SOUND SUMMIT POSITION AVAILABLE If you fancy yourself planning and programming Sound Summit for the next two years, take note! Australia’s only festival and conference for independent and innovative music is currently seeking applications

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for a new director to work with Festival Co-Directors Chris Hearn and Kirsty Brown on the 2011 and 2012 festivals. With an alumnae that includes Seb Chan (Cyclic Defrost, Sub Bass Snarl), Millie Millgate (Sounds Australia/APRA), Levins (Heaps Decent), Kenny Sabir (Elefant Traks), Nina Agzarian (triple j, Heaps Decent), MusicNSW Executive Officer Eliza Sarlos and many more, the Sound Summit director position offers a great opportunity to build up experience and ideas around innovative and independent music.

SPLENDOUR WANTS TO CALL NSW HOME In other news, the organisers of the Splendour in the Grass festival are campaigning to bring the event back onto New South Wales soil and are looking for your help to get it happening. Finding a permanent home for the festival is not the only argument for bringing the festival back home; there are environmental benefits for settling in the North Byron Parklands where they propose to establish the new permanent site. The practically untouched land, which covers a massive 660 acres in the Byron Shire, will only be used to stage the event for a maximum of 20 days per year, allowing the natural beauty to flourish. Let your voice be heard and lodge a submission with your name on it. Let the Department of New South Wales know that Splendour should be brought back to where it belongs – on our side of the border. Head over to the website to read up on the campaign and to lodge your submission: bringsplendourhome.com.

FUNDING AVAILABLE The Music Board of the Federal Government’s Arts funding body, the Australia Council for the Arts, has three funding rounds closing soon. The funding pools dedicated to Presentation and Promotion, New Work and International Pathways are all currently open, closing variously through November. The Australia Council for the Arts Digital Culture Fund and Geek In Residence 2011 programs are also closing soon. For more information on each of these visit australiacouncil.gov.au. THE DRUM MEDIA 9 NOVEMBER 2010 • 51 •


DROP IT LIKE IT’S HOT Before too long they’ll be off to the South By Southwest festival as the first Australian band to be invited to the festival, but this Friday The Snowdroppers have the Manning Bar in their sights. Guitarist Pauly K spoke to Drum.

You’re heading to South By – looking forward to showing the Texans what’s what? Yeah definitely looking forward to that one. But I’m sure it couldn’t be any more exciting than the Tamworth country music festival was earlier this year. Hopefully more mechanical bulls. And less country music. But first you’ve got a Manning Bar show – do Sydney fans know what’s what? Yes it’s on Friday. We’ve been advertising it for ages and the tickets seem to be selling okay. So I guess I could say that they know what is what. We’re up against Baroness and Engelbert Humperdink that night, so could be anyone’s game.

You’ve got brass, backing and piano planned, is the night going to showcase the real sound of the Snowdroppers? Well every gig up ‘til this one has just been the four of us, so this is just a bit extra to make the night more special. We’re not turning into Huey Lewis and the News just yet.

BLUES AND ROOTS WITH DAN CONDON The Byron Bay Bluesfest is a very special event and following the biggest first announcement in the festival’s 22-year history, one would imagine the 2011 edition will be the most special yet. Everyone has their own personal favourite memories of the event, one of mine the Bluesfest mixtape I would make before the first couple of events. Nothing gets you more fired up for five days of blues than cruising along the highway listening to a taste of what’s to come, playing your travelling buddies their future favourite artists. So instead of just telling you who’s playing the festival, I thought I’d share the first instalment of my 2011 Bluesfest mixtape with you. I’ve chosen just international acts because there’s only so much space in this column!

To my mind Tony Joe White is the coolest man in the world and the finest guitar player as well. This 1968 tune is very groovy but lyrically quite shockingly dark.

BOB DYLAN Don’t Think Twice, It’s Alright

MAVIS STAPLES Eyes On The Prize

The biggest headliner in the festival’s history requires no introduction. There’s a good chance that if Dylan plays this song it will sound nothing like its recorded form, but I don’t care.

A song that became quite powerful in the American Civil Rights Movement, to which Staples’ voice contributed very strongly. She’ll blow the roof off the tent.

and cool, more modern funk. SUSAN TEDESCHI Rock Me Right Possibly a little controversial given the fact her partner Derek Trucks is the more celebrated, but this woman’s voice can’t be beat and sometimes I can’t help but feel her guitar playing is more tasteful than the (still very awesome) Trucks.

BOB DYLAN

ELVIS COSTELLO Lipstick Vogue

BB KING See That My Grave Is Kept Clean

Finally, what’s the most basic tip for someone learning to stomp?

It’s morbid to talk about, but a huge number of legendary performers have passed away since performing at Bluesfest. BB King is 85 years old and isn’t in the greatest health. I’d be surprised if we ever saw him here again; this rendition of an old Blind Lemon Jefferson tune from King’s 2008 album One Kind Favor is utterly breathtaking.

Stomp or do not stomp. There is no learn.

TONY JOE WHITE Old Man Willis

A storming post-punk via rockabilly tune from Costello’s second album, This Year’s Model. Lipstick Vogue shows off the oft-ferocious genius of his songwriting. BLIND BOYS OF ALABAMA Run On For A Long Time It doesn’t get any more authentic… Hell, it just doesn’t get any better than witnessing a Blind Boys of Alabama show. This version of the traditional God’s Gonna Cut You Down shows off their mix of traditional vocal music

ROBERT RANDOLPH AND THE FAMILY BAND We Walk This Road The fact the debut record from Randolph and co was a live record gives some indication as to their priorities. Their We Walk This Road record from this year is pretty wonderful though and this version of Prince’s Walk Don’t Walk is a definite highlight. ERIC BIBB Kokomo A frequent visitor, Bibb is a fingerpicking genius with a beautifully rich voice and a real knack for penning almost instantly classic sounding songs. RUTHIE FOSTER When It Don’t Come Easy While her records are great, a Ruthie Foster live show is just so magical it really can’t be compared to anything else. Byron Bay Bluesfest hits Tyagarah Tea Tree Farm Thursday 21 April to Monday 25 April. rootsdown@drummedia.com.au

JAZZ/WORLD WITH MICHAEL SMITH

THE IDEA OF NORTH

ARIA’S ARE A FIRST With their collaborative album, Feels Like Spring, trumpeter James Morrison and a cappella group The Idea Of North picked up their first ARIA Awards last week. They beat out Drum’s tip Dick & Christa Hughes and previous winners The Necks for the honour. Before they embarked on their first tour supporting the release back in June, the band told Drum, “As individual artists, we’ve been working together on the odd occasion since we met in 1998, and each time we’d get together we’d say ‘we really should record an album’… but in spite of performance collaborations all over Australia and internationally, as well as having guested on each other’s albums, it’s taken us 12 years get it together for a full album collaboration. It was well and truly worth the wait though.”

TOP HONOUR Middlesex-born jazz pianist and composer Michael Garrick was awarded an MBE (Order Of The British Empire) by the Queen late October. In return for the honour Garrick presented Her Majesty with a one-off compilation CD, The Royal Box Suite, which was performed by his big band and trio.

TUESDAY

from 7pm.

The Jazzgroove double header at 505 tonight features the trio 3ofMillions and the quintet Tony Electro Heavy-Vibe Concert Band.

The inaugural Penrith International Jazz Festival takes over the Joan Sutherland Arts Centre for three days, kicking off tonight with the James Morrison Sextet with Emma Pask, from 8pm, then 2pm Saturday it’s the John Morrison Quintet with Jacki Cooper followed at 7.30pm the full John Morrison’s Swing City Big Band. 2pm Sunday it’s Gary Daley Quartet with Kristin Berardi and 7.30pm The Birdyard Big Band.

The Basement Circular Quay is transformed into some back street in Barcelona or Madrid as Flamenco Fusion present the contemporary face of an age-old tradition. Pianist Glenn Hennrich is joining the James Valentine Quartet down at the Golden Sheaf.

WEDNESDAY Pianist and composer Kevin Hunt takes his trio into 505. She may have become one of Hollywood’s favourite blondes, but Doris Day started out fronting big bands led by Bob Crosby and Les Brown, and tonight Melinda Schneider showcases her latest album, a tribute to Day, at Circular Quay’s The Basement. The John Redmond Trio plays the Manhattan Lounge in Martin Place.

THURSDAY Saxophonist Rick Robertson’s Baecastuff and the guitar-led Tim Rollinson Band, both band leaders also members of d.i.g., co-headline at The Basement, Circular Quay. By popular demand, Sheba Williams and her band return to The Supper Club to present their tribute to Nina Simone.

JASON BRUER The Date Brothers, Ian and Nigel, bring their gypsy jazz guitars to Colbourne Ave. The guitar-led Chris Alexander Trio plays Rydges Hotel in Campbelltown from 5.30pm. Saxophonist and composer Jason Bruer takes his sixpiece band down to the Sound Lounge.

Wollongong Golf Club hosts an afternoon of jazz with singer Yuki Kumagai and her quintet, from 3.30pm.

Guitarist Julian Curwin launches his latest musical project and album, The Mango Balloon (Rufus), a sort of stripped-back chamber version of his other band The Tango Saloon, at 505, with special guest Eddie Bronson on clarinet, with supports The Rescue Ships.

Jumping between guitar and piano, singer and composer Ben Fink is joined by the String Drum Band for a night at 505.

FRIDAY

The Charlotte-Jane Duo provides the soundtrack at the Berkelouw Wine Bar tonight. The Steve Clisby Trio heads down to the Rocks to deliver some sophisticated soul/jazz at the Park Hyatt

LONG LIVE SLIM’S LEGACY Steve Passfield and Stuart Handsaker have been awarded Slim Dusty Community Mateship Awards while Drew Walsh has received the inaugural Country Energy Slim Dusty Community Youth Award at the recent Slim Dusty Country Music Memories concert. The awards are given to individuals the Slim Dusty Foundation believes possess Slim’s values of ‘fairness, mateship, family and community along with learning.’ “I was extremely proud to receive the Slim Dusty Community Mateship Award,” said Passfield at the event, “which will take pride of place with my Golden Guitar, TIARA, Australian Song Writing, MusicOz and People’s Choice Awards. This award, however, means more to me… An award given because of my involvement with disabled and charity groups and, as the certificate... says, ‘a fair go for all, looking forward whilst learning from the past, valuing family and engaging with the community, and working and living collaboratively.’”

PLAY IN THE SNOW Applications are now open for artists looking to perform at the 2011 Perisher Snowy Mountains of Music. Organisers are looking for artists not only to be involved in concerts, but also in sessions, singalongs, workshops, themed concerts, dances and children’s events among other things. Applications are available at snowymountainsofmusic.com.au/page/ performers and closing date is 30 December.

VALE DOT DAWSON Wife of the late Smoky, Dot Dawson passed away in a Sydney nursing home 27 October after a long illness. • 52 • THE DRUM MEDIA 9 NOVEMBER 2010

SATURDAY Sure to revisit their latest album, Rejavanation and more, The Java Quartet, with guest Bobby Singh on tabla, provide the soundtrack to the first of four free concerts on Cockatoo Island over the next four Saturdays, from 5pm.

With their singer Sarah Bedak fresh from an Arts Council study tour of Serbia, Hungary and France, Lolo Lovina play their first headline gig, at the Vanguard. There’s a little Latin flavour at Berkelouw Wine Bar courtesy the Amada Trio. blow@drummedia.com.au

ROCKABILLY/PSYCHOBILLY/ALT.COUNTRY WITH PEDRO MANOY TUESDAY

SUNDAY

Adam Pringle and friends get together for a great blues jam at the Sandringham Hotel.

Early starts from 1pm for Stormcellar at the Macquarie Arms Hotel and the Western Sydney Blues Club Jam hosted by Shelley Turner Band at the Hawkesbury Inn, with both venues in Windsor. The Steve Edmonds Band rock the Heathcote Hotel from and Johnny G & The E Types swing the Towradgi Beach Hotel, both shows from 2pm. At the Lake Illawarra Hotel it’s the El Caminos from 3pm. The El Paso Latin American Dance Studio in Annandale is the venue for another in the series of Rockabilly Dance Workshops. This time it’s for beginners and the last one for 2010. Call the Kitten on 0410 668 995 for registration and enquiries. Pugsley Buzzard hits the Sydney Rowing Club and Ward’s Xpress take over the Tudor Hall Hotel, both shows from 4pm. The wonderful Alison Penney and her Moneymakers lift spirits at the Sandringham Hotel and the Leanne Paris Trio do likewise at the Pyrmont Bridge Hotel. Don Hopkins is solo at the Dee Why RSL and the House of Blues featuring Matt Black & The Phat Cats takes centre stage at the Botany View Hotel, both shows form the early evening. Kinetic Method, featuring Luke Koteras and Byron Mark, launch their debut album, Find A Friend, at Raval while Terry Batu wraps up a big week at the Wisemans Ferry Inn from 8pm.

WEDNESDAY The Slowdowns are back at the Sandringham Hotel from 8pm. The Muso’s Club Jam Night summons all blues fans to the Bald Faced Stag and Clayton Doley’s Organ Donors, recently signed to an overseas label, have a November residency at the Mac Hotel from 8pm.

THURSDAY The Steve Edmonds Band play their regular spot at the Empire Hotel from 7pm, as does Ross Ward at GJ’s Coffee Lounge in Cronulla from 7.30pm. The Muso’s Club Jam Night moves to the Carousel Inn and Isaiah B Brunt has an early evening start at Carlita’s Cafe Restaurant. Pugsley Buzzard tinkles the ivories at Lizotte’s in Dee Why and lonesome Terry Batu is solo at the Chisholm Family Tavern, Canberra.

FRIDAY The John Leigh Calder Trio hold down their regular gig at the Hotel Clarendon Surry Hills and the soulful Mitch Anderson is solo at the Pyrmont Bridge Hotel. The El Caminos travel to the Balgownie Hotel in Wollongong and Finn play the Chisolm Family Tavern. Steve Edmonds takes his Hendrix & Heroes Show to the Springwood Sports Club. Those rocking and rollicking Dennis Boys are back in town to raise havoc at the Petersham Bowling Club.

PUGSLEY BUZZARD SATURDAY Jonny Gretsch’s Wasted Ones head to the Carlisle Castle Hotel with an early 3.30pm start followed by Dave Tice & Mark Evans at the Sandringham Hotel from 4pm. The Dennis Boys Band move to the Phoenix Hotel in Canberra and Blue Venom play the Engadine Tavern. The Bald Rock Hotel hosts the Chris Mawer Band and the Shelley Turner Band play the Kingswood Sports Club. Steve Edmonds moves his Hendrix & Heroes Show to the Heritage Hotel and Finn get bluesy at the Camellia Grove Hotel in Alexandria. Ward’s Xpress featuring Don Hopkins and Richard Booth play the Fitzroy Hotel in Windsor.

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swampshack@drummedia.com.au


IN THE

sunday 21 november vaucluse house 6 - 9pm Featuring

Dick and Christa Hughes hes Tina Harrod Jazzgroove Mothershipp Orchestra featuring Kristin Berardii

Book now: tickets.hht.net.au or T 02 8239 2211 or at the gate from 5pm Gen $40 Conc $30 Family $110 Vaucluse House, Wentworth Road, Vaucluse Licensed event (no byo or glass, photo ID required) MAJOR SPONSOR

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THE DRUM MEDIA 9 NOVEMBER 2010 • 53 •


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THIS WEEK IN TUESDAY 9 Uncle Vanya – final Main Stage production for Sydney Theatre Company’s 2010 season and it’s a star-studded affair, with Cate Blanchett, John Bell, Richard Roxburgh, Jacki Weaver and Hugo Weaving in the cast. Based on the Chekov classic but updated by Andrew Upton. Previews from tonight until Friday 12. Official opening night Saturday 13. Sydney Theatre until 1 January 2011.

WEDNESDAY 10 Tom Gleeson: Get It Into Ya! – Australian funnyman returning with his Sydney Comedy Festival show. Opening night, 7pm. The Comedy Store until 21 November.

THURSDAY 11 Angela’s Kitchen – new piece from Paul Capsis and Julian Meyrick about Capsis’ grandmother that begins at the dinner table and spirals into a dense family history. Official opening night, 7pm. Griffin Theatre’s SBW Stable Theatre until 18 December. Art Sydney – art fair with an emphasis on “affordable” artworks, featuring an extensive collection of photography, Aboriginal art, works on paper and “rising Australian stars”. Opening night, 5pm. Royal Hall Of Industries until Sunday 14. LiveWorks – a “fast and furious festival of new ideas” from over 20 artists and groups across theatre, performance, live art, dance and installation. Opening night. Performance Space at CarriageWorks until Sunday 14. Robin Williams: Weapons Of Self Destruction – first stand-up tour of

ARTS Australia by the Hollywood superstar actor/comedian. Support comes from The Umbilical Brothers. Sydney Entertainment Centre, 8pm. (Also performs Friday 12, Sunday 14, Tuesday 16.)

SATURDAY 13 Alluvia – exhibition of illustration from Sydney artist Matt Huynh, who’s also responsible for the Chinatown Comics series. Closing day. The Papermill, Angel Place. The Biggest Comedy Show On Earth – last night to see ten comedians live in action on the same night. Talent: Nikki Lynn Katt (US), Matt Okine, Steve Philps, Anthony Salame, Amanda Gray, Dave Eastgate, Michael Hing, Alistair Bates, AmeliaJane Hunter, Umit Bali, David Smeidt, Adil Varisli and Daniel Townes. The Comedy Store, 8:30pm. Comedy Allstars – one-night-only charity stand-up gig raising money to support Australian Defence Force families. On the bill are Merrick Watts, Peter Helliar, Akmal, Tom Ballard, Sam Simmons, Chris Pickering and more. Enmore Theatre, 8pm.

SUNDAY 14 Cranston Cup Semi-Finals – semi-finals of Impro Australia’s theatresports competition to see who will represent NSW in the Theatresports National Championships at the Sydney Comedy Festival 2011. Fusebox at Factory Theatre, 7:30pm.

ONGOING Dobell Prize For Drawing 2010 – exhibition showcasing finalists and winner for respected award for drawing. AGNSW until 30 January.

GIVEAWAYS

The third film in the Jackass feature film series promises something the other films have been lacking - an extra dimension. In Jackass 3D, all the stunts you’ve come to expect from Johnny Knoxville and Co. will now be literally coming at you. Thanks to Paramount Pictures we’ve got two prize packs to give away, featuring the first two Jackass films, Jackass: The Movie and Jackass Number Two, and an in-season double pass to see Jackass 3D at the cinema. For you chance to win one email giveaways@ drummedia.com.au with ‘JACKASS’ in the subject line. IMAX Darling Harbour is gearing up for an immense summer with three • 54 • THE DRUM MEDIA 9 NOVEMBER 2010

MADE YOU LOOK

blockbuster films coming out before the New Year hits: Harry Potter And The Deathly Harrows: Part 1 on 18 November, Tron: Legacy 3D on 16 December, and Megamind 3D on 26 December. Thanks to IMAX Darling Harbour we’ve five double passes to give away, valid until the end of January 2011 to see a film of your choice. For your chance to win one email giveaways@drummedia.au with ‘IMAX’ in the subject line. The latest sand-and-sandal film to hit the big screen is the Spanish epic, Agora, from director Alejandro Amenábar (Open Your Eyes, The Others). Starring Rachel Weisz as Hypatia, the film is set during the fall of Greco-Roman polytheism as Christianity rises in the Roman Empire, with Hypatia trying to save the Classical antiquity. Winner of seven Goya awards, the film also screened out of competition at Cannes in 2009. Thanks to Transmission Films we’ve ten in-season double passes to give away. For your chance to win one email giveaways@drummedia.com.au with ‘AGORA’ in the subject line. “Machete don’t text.” With those three words you know that it’s Robert Rodriguez’s Machete, which started life as one of the mock trailers between the director’s Death Proof/ Planet Terror ‘Grindhouse’ double bill with Quentin Tarantino. Danny Trejo stars as the titular Machete, a man hellbent on revenge. With a supporting cast of Robert De Niro, Jessica Alba, Don Johnson, Lindsay Lohan and Steven Seagal, this is going to be epic. Thanks to Sony Pictures we’ve got five in-season double passes to give away. For your chance to win one email giveaways@drummedia.com.au with ‘MACHETE’ in the subject line.

SALLY MAYMAN: MANGROVE TREE

SYDNEY FESTIVAL TO ANNNOUNCE PROGRAMME TODAY

Enter via the Paddington Gates for proximity. headon.com.au has more information.

The 2011 Sydney Festival programme will be announced today and while we can’t publish it here without fear of total nuclear war (since it’s officially revealed at a gala event tonight), we can tell you that you’re going to be very, very excited by it and even perhaps a little surprised by a few of the more left-field choices. Keep your eyes peeled to twitter. com/frontrowSPA for details – but for a head’s up, tickets to all shows go on sale next Monday 15 November, the day before the next issue of The Drum Media, so considered yourselves adequately warned. Sydney Festival takes over the town Saturday 8 January to Sunday 30.

CELEBRATING THE UKULELE

PARKLANDS COTTAGE HOSTS PHOTO EXHIBITIONS Open every weekend until the end of January 2011 and located in the historic Superintendent’s Cottage, Superintendents Residence is an exhibition of award-winning night photography by Peter Solness, which is complimented by highlights from the Head On Portrait Prize 2004-2010 and artist-of-the-month guests. This Saturday 3 November, the cottage will also launch its artist group show, Earth, Flower, Water, featuring the work of Sydney photographers Tim Hixon, Sally Mayman, Charles McKean, Steven Godbee and Phil Quirk exploring both built and natural environments. If you haven’t been to Centennial Parklands for a while, this is a good excuse.

Currently exhibiting at Gallery East, Clovelly, Hula Dreams – “where art meets music” – is a collection of hand-painted and reinterpreted ukuleles from some 70 artists including the likes of Martin Sharp, Mic Conway, Queenie Nungarrayi Stewart and Bruce Petty. Curated by Carol Ruff this is the third triennial exhibition dedicated to celebrating the ukulele. Head to carolruff.com for more info and examples of ukulele art.

SHOOT YOUR PILOT It’s ONE80PROJECT time again with Australians interested in forging a name for themselves in the film and/or television fields given the opportunity to get their works seen and voices heard. The full panel of judges for this year is yet to be announced, but Kat Stewart (star of last year’s ONE80PROJECT winner Dungoona, as well as a regular on TV through Tangle and Offspring) has confirmed she’ll be returning to the judge’s seat. Entrants are being asked to upload a 180-second pilot and treatment for a TV show with the eventual winner given the chance to turn their idea into a fully-formed pilot to screen on MTV Australia and across Optus Zoo’s web and mobile portals. Entries close Friday 14 January, 2011, so you’ve got some time to get your ideas together. Head to one80project.com.au for more info.

WITH BETHANY SMALL I’ve got an issue with Art Sydney branding itself as “the affordable art fair”. Sure, lots of people who are interested in learning to buy art and to whom branding-level sponsorship by the Weekend Australian is a reassuring thing would regard the sessions on buying stuff under $1,000 as entry-level. Fine, art’s expensive: the last thing I thought about buying was a $30,000 Kuno Gonschior right after he died, because he was going to get pricey. Then I remembered about how the only capital I have is cultural, which is a BA majoring in semiotics, which is my way of saying that most of my shoes have holes in them and other people pay for my food. What was I complaining about again? Yeah, fine art’s expensive, but usually there are side benefits, like galleries are real nice to you and send you pretty invitations and give you wine sort of like a really fancy hairdresser or clothes store. This art fair, though, is more like a music festival: there are heaps of shit you don’t care about on the bill, a bunch of annoying people and you have to pay to get through the door. Sure, this one’s only $20 a day, and less in advance, and kids under 15 are free when accompanied by an adult, and they do have big overheads in a venue like Moore Park, and they are running a bunch of education programs, but still... essentially what you’re paying for at a thing like this is

for the art to get some kind of stamp of approval, to be legitimised as worth paying attention to, and I think that’s actually not great. On the one hand, it could save buyers a lot of time and energy, but it also disenfranchises them by imposing a curatorial standard based on the compromise between who the organisers would like taking part and the galleries and artists who find it worth their while to exhibit. Instead of being an introduction to new art and to ways of buying it, the whole thing starts to look a bit like an exercise in market grooming and opportunistic offloading. “The Weekend Australian Art Sydney show is making art accessible to everyone,” the website says, and accessible and affordable are both admirable things. “But,” exclaims my moral panic and tendency toward horrible puns, “accessible and affordable at what cost?” There are more than a hundred artists and galleries taking part and more than 15,000 people are expected to visit, which are impressive numbers, but also ones that concern me given the significant people who aren’t represented in the showings and the fairly minor levels of “Oh yeah, that thing...” interest my people-whocare-about-art acquaintances show in an event this big. I sort of feel like an investigative exposé is in order, but then maybe I just know I’m going to try to sneak in as a 14-year-old and want Louis Theroux to be my accompanying responsible adult?

KID IN THE KITCHEN LIZ GIUFFRE SPEAKS TO THESPIAN PAUL CAPSIS ABOUT HIS NEW PLAY, ANGELA’S KITCHEN, WHICH PAYS TRIBUTE TO HIS GRANDMOTHER. Paul Capsis remains an amazing underground treasure. That is both amazing as in ‘amazingly talented’ and amazing in that he’s not been swept more thoroughly into the mainstream and showered regularly with accolades. This gap in national notoriety is Sydney’s gain yet again, as Capsis graces us with an intimate, unusual and original piece of theatre. In Angela’s Kitchen Capsis explores the place of a post-war migrant who negotiated between two places and cultures, yet maintained and forged her own identity. She was also his grandmother. “I wouldn’t call it an impersonation, but I would say it’s about connecting with her spirit,” Capsis says by way of describing how he’ll present the story of Angela’s life. “Evocation, I guess, is the word I would use. Even when I sing like the famous people like I do, I don’t impersonate them but try to connect with their spirit.” While it’s one thing to summon someone to the stage who you admire but don’t know, it’s quite

another to bring to life someone that has affected you personally and directly. Angela is not just a character for Capsis, but a dearly loved figure in his life, someone who raised him, inspired him and also someone whose loss he still mourns. While she is definitely worthy of having her story told, decising how to frame the show must have been a difficult one. “The show came about because Julian Meyrick, who’s an old friend of mine who I’ve worked with for about 25 years, he came to me to talk about... Julian had met my grandmother and had a connection with her, and then he approached me again about 18 months ago and I just thought I still wouldn’t do it, that it would be too difficult because it wasn’t long after she’d passed away and it was still too fresh for me. “But about three months after that we had another chat and I thought, ‘You know, maybe this will be good for me, maybe in some ways it’s my way of paying tribute to her and passing on her stories.’ Because in Maltese culture you give your stories,

you pass all that on, that’s a very big part of what Maltese people do and I guess what lots of people do, but I don’t have kids so I thought, ‘This is one way of doing that.’” While it may seem a little odd that two inner Sydney men should want to tell the story of a Maltese migrant, actually it was a unique partnership that depended on each man’s perspectives. The resulting piece is something that, in Australian theatre, that is still quite rare. “Julian’s background, and his passion, has always been Australian theatre and Australian stories and Australian writing. He’s not interested

in Shakespeare and Beckett; he thinks there should be some nurturing of Australian material. So he was the perfect person really to get this going, and because of the history he had with me, because he knew my grandmother, all the boxes were ticked. I felt that I could trust Julian, and there was no way I would have done it if anyone else asked, that’s absolutely sure.” WHAT: Angela’s Kitchen WHERE & WHEN: SBW Stables Theatre until Saturday 18 December


frontrow@drummedia.com.au This impetus shows the simultaneous role of LiveWorks in the company’s work fostering and developing performers professionally as well as artistically and how that aligns with Performance Space’s relationship with their audience coming together in what Brine calls “that sense of continuity with our programme, that sense that something might come back in our future, that sense of following an artists as they develop a work. Having a permanent base here that’s something hopefully we can do.”

WORK IT

OUT

LIVEWORKS, A “FAST AND FURIOUS FESTIVAL OF NEW IDEAS”, TAKES OVER PERFORMANCE SPACE THIS WEEKEND. BETHANY SMALL TALKS TO ITS ARTISTIC DIRECTOR DANIEL BRINE.

“The starting point for people who want to come,” Daniel Brine says of LiveWorks, “shouldn’t be, ‘Oh am I going to a performance, or dance, or visual art?’ It should be ‘I’m going to an event where there’s a whole lot of artists who work cross-media who are going to throw out ideas and I’m just going to go with it.’” This is the second LiveWorks festival Performance Space have presented and Brine’s first as their Artistic Director, and the first time the company has hired out the whole of CarriageWorks for the “not überlymassive” festival. “We’re kind of going to give it a go, basically,” is his take on dealing

FILM

with the enormous amount of space this entails, both logistically and environmentally and for performers and audiences and how they interact. LiveWorks is experimental not only in that a lot of the works being presented are in the research and development stage, but also because of the way it’s scheduled and the diversity of kinds of performance. As far as theme, Brine explains, “one of the things we said [in the open call put out for performers] was ‘if you’ve got something you really want to explore in the relationship between audience and performer then let us know,’ and that was the sort of thing we were looking for.” A whole

lot of different ways of questioning engagement come through in the program and in the festival itself. For Performance Space itself, “this is an opportunity for us to break apart a little to say, ‘We’re going to work with artists in different ways,’ and get the artists to decide how they really want to interact with the audience. Some artists have chosen to do that one-on-one, some’ve chosen to give lectures, so rather than present a massive work they’re just going to talk about the work, and that’s so important because it’s a chance to just throw ideas out there, and then some are presenting works they’ve developed.”

It’s a triangular sort of relation, with performers and audiences and company all relating to one another individually and althogether within the context of the possibilities and the constraints of the short time frame and the big-name, big-budget, physically big venue. “I hope it works for the artists,” Brine says with a characteristic combination of enthusiasm that practically comes across italicised and a well-mannered humility, and he really seems sincere. This is a sort of signature event for Performance Space, but he really wants it to be great for the artists and the audiences too. “If people come and don’t say, ‘I’m going to ART,” is his theory, “but think ‘I’m coming for fun,’ hopefully they’ll be rewarded. Just come for fun, even if you hang out at the bar the whole time, just come for fun and see what catches your eye.” Done! WHAT: LiveWorks WHERE & WHEN: Performance Space at CarriageWorks Thursday 11 November to Sunday 14

REVIEWS Connie (Geraldine James) and factory manager Albert (Bob Hoskins), who, despite the sexist and useless advice of their union boss Monty Taylor (Kenneth Cranham), take their demands all the way to the top. Not before long the group is meeting with then Employment Minister Barbara Castle (Miranda Richardson) at her office at Westminster.

RED If you were one of those old souls who went to see Eat Pray Love and thought, ‘Hmm, this concept of having exciting, romantic adventures while travelling is all well and good but it could use Bruce Willis and an arsenal of automatic weapons’, then my friend, RED was made for you. Quite loosely based on a comic book by Warren Ellis, RED (Retired; Extremely Dangerous, if you’re wondering) follows the fortunes of retired CIA agent Frank Moses (Willis), a man who’s toppled governments and assassinated hundreds but has now been put out to pasture. He gets his kicks from his flirtatious phone calls to his pension fund manager Sarah (Mary Louise Parker). When Moses becomes the target of assassins and finds his name on a ‘hit list’, he comes out of retirement to protect Sarah and find out who’s behind the attempted hit by getting his old ‘band back together’ – cancer-stricken mentor Joe (Morgan Freeman), LSD-addled conspiracy theorist Marvin (John Malkovich), network genius Victoria (Helen Mirren) and Russian agent Ivan (Brian Cox). RED doesn’t quite hit all its targets but still manages to entertain. Malkovich is the comic heart of the film as the wonderful Marvin, the

underrated Cox twinkles as Ivan and Mirren is surprisingly hot rocking an evening dress, combat boots and an SMG. However Parker’s promising character is wasted in the third act and Willis is kind of stuck playing John McClane yet again – but hey, it works. WHERE & WHEN: Screening in cinemas now BAZ McALISTER

MADE IN DAGENHAM With its collection of tenacious working-class characters fighting against the odds during a time of economic strife to a soundtrack of some toe-tapping music and laughs, Made In Dagenham fills the mould of the British feel-good movie to a tee. However, this movie is much more than this year’s The Full Monty or Billy Elliot. It’s good old-fashioned merry storytelling with an important message for the young ’uns. Made In Dagenham dramatises the real-life 1968 strike by a group of female workers at the Ford car factory in Dagenham, Essex. Almost 200 sewing machinists, fed up with not receiving the same pay as the male workers at the plant, decide to take matters in their own hands. Leading the fight is the feisty Rita O’Grady (Sally Hawkins), best friend

Given its subject matter, Made In Dagenham must have been considered hard to sell to mainstream audiences who are now used to big blown budgets, special effects and tree-jumping blue aliens. That perhaps explains why director Nigel Cole (Calendar Girls) decided to make the film closer in tone to Hawkins’ ebullient break-out movie, Mike Leigh’s Happy-Go-Lucky, than the gritty realism of Ken Loach. William Ivory’s script is light-hearted and funny, but it does touch on drippy sentimentalism at times.

Fortunately Hawkins has the star turn to make it quite touching. Charming and well-crafted, Made In Dagenham is a heartwarming yarn. Stay for the credits and you’ll see TV news footage of the real Dagenham strikers, who unsurprisingly were not as young or as attractive as Cole’s cast. WHERE & WHEN: Screening in cinemas now ANITA CONNORS

SNAP-

SHOT

C U LT U R A L

CRINGE

JACKI WEAVER WITH SULLIVAN STAPLETON IN ANIMAL KINGDOM

WITH JAMELLE WELLS David Michôd’s debut feature film, Animal Kingdom, has scored 18 nominations for the AFI Awards, including best film, best director and best lead actress for Jacki Weaver. This low budget gem is Weaver’s first nomination since 1976. She’s brilliant as the grandmother of a dysfunctional Melbourne crime family. The war drama, Beneath Hill 60, has 12 nominations and Jane Campion’s Bright Star 11. Indigenous musical, Bran Nue Dae, and FrenchAustralian co-production, The Tree, have each scored seven nominations. The Awards will be given out in Melbourne next month. The Seven Network heavily publicised last week’s Packed To The Rafters episode in which a main character was killed off. The character Mel, played by Zoe Ventoura, died in a car crash, after taking her eyes off the road to operate her mobile phone. The character was on her way to a romantic liaison with her husband Ben Rafter, played by Hugh Sheridan. Ventoura has apparently left the series to work in Los Angeles. The show averages 1.8 million viewers an episode. Hugh Jackman is working with screenwriter Aaron Sorkin (The West Wing, The Social Network) and Tim Burton’s go-to-composer Danny Elfman on a new Broadway musical about master illusionist and escape artist Harry Houdini. Jackman will play the lead. There are rumours the show will open in early 2012.

We’re told tickets for the dreary Ben-Hur ‘spectacular’ narrated by Russell Crowe were sold at almost half-price, due to thousands of unsold seats ahead of its recent opening. The $15 million dollar show from France was part of a five-year agreement between ANZ Stadium and Stade de France Live Events. It only played for two nights. Some $299 tickets were eventually sold for $149 in groups of four. Other tickets were advertised at $42 a head for groups of four - 39 per cent below the original price. Screen Australia has announced $3 million in support for five production companies under its Enterprise Program. The funding will help one company, Blackfella Films, engage Miranda Dear, the former head of drama at the ABC, as Creative Producer to oversee development of documentary, television drama and features. Another company, Electric Pictures, will use the money to establish offices in Sydney and Toronto, Canada. Denise Borino-Quinn, who starred in television series The Sopranos, has died from cancer. The 46-year-old had no acting experience when she was hired in 2000 to play Ginny Sacrimoni, the mafia wife with a weight problem. She had said she went to the casting call to support a friend and was shocked when she was hired. The City of Sydney is sponsoring the musical Doctor Zhivago when it makes its Australian premiere in Sydney next year. Following a Council resolution, the support will be a ‘value-in-kind’ promotional package. The show opens at the Lyric Theatre in February.

FIRST LOOK: JUSTIN BIEBER: NEVER SAY NEVER Look at him. N’aww. Biebs makes his foray into 3D (yes!) in March/April 2011 through MTV Films/Paramount Pictures. We know you cannot wait.

THE DRUM MEDIA 9 NOVEMBER 2010 • 55 •


frontrow@drummedia.com.au

SAMMY J HAS QUICKLY RISEN TO THE TOP OF THE COMEDY CIRCUIT AS A SOLO STAND-UP COMEDIAN, BUT HE’S ALSO BEEN CAUSING A STIR WITH A PUPPET SHOW THAT FEATURES THE POTTY-MOUTHED RANDY. HE SPEAKS TO LIZ GIUFFRE ABOUT BRINGING RICKETTS LANE TO SYDNEY. “When Heath [McIvor, the hands behind Randy] and I first starting writing together we did a piece called Forest Of Dreams that had four different other puppets and it was a massive, very ambitious piss-take of Disney films - it had a full adventure storyline and all the rest of it,” says Sammy J of the origins of his and McIvor’s show. “So for this show we thought we’d try a completely different tack and just focus on a relationship between two characters, so rather than being outside in a

MASTER OF

PUPPETS

magical world we are now in a domestic sitcom.” Onstage with J is Randy, one of McIvor’s latest creations and a puppet that’s been given much more love than the standard oneliner. “The show’s all set in our house together and the premise is that I’m playing a shit-kicking tax lawyer, that’s my day job, and Randy is my bit-of-adropkick housemate and I discover that Randy’s got a bit of a dodgy tax history, so I am forced to choose between my friendship and my job.”

When writing Rickett’s Lane Sammy J and McIvor were keen to make a good piece of theatre rather than just some stand-up with a puppet as a prop. Directed by Spicks And Specks’ Alan Brough and described as “a live sitcom with an HBO twist”, the show has already won a Barry Award at the Melbourne International Comedy Festival and has toured Adelaide and New Zealand. Lots of this has got to do with the way the boys approach things and although Randy has taken a bit of a beating (he’s been repaired

The City of Sydney is not closing at midnight. We’re about creating a vibrant and safe city night out. A good night out for you, your friends and the city. And we want you to know the facts about bars and clubs staying open late. Get the long and the short of late night trading at: cityofsydney.nsw.gov.au/latenighttrading

• 56 • THE DRUM MEDIA 9 NOVEMBER 2010

a few times), it’s a winning, oldschool collaboration. “Well we’re actually quite traditional, really. Randy is a full character and you don’t see Heath at all in the show. It’s not like Avenue Q where the puppets and puppeteers are on stage; instead Randy is just a puppet and that’s all you see, and we like that because it’s simple. But it’s also, it reflects the fact that we want Randy to be his own character; we never refer to the fact that he’s a puppet at all. Our aim when we

write a script, and we don’t always necessarily achieve this, but our aim is to write a script that is so funny that Randy would be funny even if he was being played by a human. We want him to be a strong enough character that he could survive on his own. “I think Randy’s probably more multifaceted than Sammy J on stage, he’s got quite a detailed backstory and everything like that.” Is there ever a confusion over who ‘owns’ Randy though, over who should be responsible for him? “We do have that really curious thing whenever Heath does an interview; he needs to decide whether to be Heath or to be Randy, and that’s a very interesting question because I’m just Sammy J wherever I go whereas Heath and Randy are two very different characters. So when people are doing an interview they might be talking to Randy and do some cheeky question like, ‘What does it feel like when Heath puts his hand up your bottom?’, but Randy doesn’t know there’s a hand up his bottom, he’s completely on character. So it’s a very fine line he has to tread.” When not working in a comedian/ puppeteer collaboration, Sammy J and Heath McIvor each have established and well working careers of their own. J played to glowing reviews at this year’s Edinburgh Festival with his solo show Skinny Man, while McIvor is beavering away on a show for the BBC called Me And My Monster (due in Australia next year). Although each love both, J admits a particular joy in working with McIvor (and Randy, of course).

“We haven’t done the show since May so this is its second coming, if you like. I’m really excited and the only time I’ve ever not enjoyed performing is when you do, like, the same show for five months at a time, because then you get bored. “But fixing it up and doing something different in between means that first I can’t wait to see Heath; it’s kind of like getting the band back together, and it’s a very different thing performing on your own than with a friend. You can pretty much never have a bad show when you’re performing with Heath, because even if the audiences aren’t enjoying it we’ll be having a laugh and trying to make each other laugh and hopefully the audiences are enjoying it and we’ll all have fun. “We like to please ourselves, but on a more philosophical level you have to love your work, not be a comedic whore,” he laughs. When this writer suggests that “Comedic Whore” would make an excellent title for this article, J turns and issues a threat that is perhaps a first in Drum Media’s history. “No, I’m saying I’m not a comedic whore. Careful, I’ll get you on Media Watch otherwise,” he says, not missing a beat. Although surely some of the stuff that those comedians do... (a joke, yeah, a joke). This writer would like to finish by saying Sammy J is definitely not a comedic whore. Randy, perhaps, but Sammy J is solid. WHAT: Sammy J and Randy in Ricketts Lane WHERE & WHEN: The Studio, Sydney Opera House Thursday 11 November to Sunday 20


frontrow@drummedia.com.au

TWO WORLDS

COLLIDE THE AUSTRALIAN CHAMBER ORCHESTRA HAS TEAMED UP WITH SOME NOTABLE DIRECTORS AND ACTORS TO CREATE AN ORCHESTRATHEATRE HYBRID REVOLVING AROUND A WORK THAT BEETHOVEN, JANÁCEK AND TOLSTOY ALL HAVE IN COMMON. MONICA CONNORS SPEAKS WITH ACO ARTISTIC DIRECTOR RICHARD TOGNETTI AND KREUTZER VS KREUTZER DIRECTOR SARAH GILES. Following recent collaborations with photographer Bill Henson and comedian Barry Humphries, the Australian Chamber Orchestra has paired up with British playwright Laura Wade to create Kreutzer vs Kreutzer. Described by director Sarah Giles as a “sequence of influences and retakes”, the production combines a

theatrical tale by Tolstoy with musical arrangements by Beethoven and Janácek to ask the fundamental questions, ‘What is marriage? What is sex? What is love?’ With three intricate layers to Kreutzer vs Kreutzer, it is needless to say that the production is a little complicated. When German composer Ludwig

van Beethoven wrote a violin sonata (Violin Sonata No.9 in A major, Op.47, ‘Kreutzer’) in 1803, it was originally dedicated to the violinist George Bridgetower, but after they fell out over a mutual love interest, the sonata was instead known as the Kreutzer Sonata. Eighty-six years later, the Russian writer Leo Tolstoy used

Beethoven’s music as inspiration for his controversial novella, The Kreutzer Sonata. Understood to be a statement in support of sexual abstinence, Tolstoy’s short story is about a man who kills his adulterous wife and her violinist lover after their performance of the Kreutzer Sonata leads him to realise that they were having an affair. In 1923, the Czech composer Leoš Janácek used Tolstoy’s novella as a starting point for his own composition, String Quartet No. 1 but due to the pressures of his own extra-marital relationships, Janácek sided with the adulterous wife of Tolstoy’s story rather than the cuckolded husband. As the ACO’s artistic director and leader Richard Tognetti explains, “Tolstoy’s obviously talking about himself and his own past and something that he’s quite ashamed about and Janácek on the other hand is very much the modern man of the modern, western world so it’s interesting how from 1890 to 20 years later, even though they lived just a few hundred kilometres from each other, the difference in attitude. “Janácek must have also been expressing his own desires because he was having a relationship and he had been for many years with a girl called Camilla who was much younger than him and I think with Tolstoy, he’s looking at love and wanting square in the eye and trying to get rid of it.” Though this year marks 100 years since Tolstoy’s death, the themes of jealousy, sexual intrigue, anger and love, which combine in the nefarious tale of Kreutzer vs Kreutzer, make it just as relevant to today’s audience. Despite Tolstoy’s dark story, Tognetti says he wanted to get involved in the project precisely because

of the production’s three distinct components, the “Beethoven Sonata, which is one of the great works of music, but then Tolstoy using that piece and then Janácek reacting to Tolstoy’s hideous message, and the three things all seem to point to an explosive, dramatic symphony.” The production’s director Sarah Giles feels that Tolstoy’s story is again being readdressed but with a “more sort of contemporary approach with Laura’s writing. That story of Tolstoy’s has affected writers and musicians and artists for generations”. With British actor Samuel West, who lists a range of theatre, film and television credits, and Australian actor and rising star Robin McLeavy (currently at cinemas in The Loved Ones) as the two performers cast in Kreutzer vs Kreutzer’s central roles, Giles says, “The whole project has the ability to be something really new and really different and really fresh and I think if anything, will help the ACO find a new younger audience.” A younger audience for classical music is indeed something that Tognetti is keenly interested in. Now into his 21st year of leading the ACO, Tognetti admits that despite his many achievements, including being made one of Australia’s National Living Treasures in 1999, he would like to see Australians become more musically educated, adding, “I don’t mean that we all just listen to a bit more music but that there’s a proper music education system in this country so that kids really understand what music is and how to listen to it because I do think that it helps the brain. “Yes, it is for pleasure and it is for entertainment and it is stimulating but the stimulation part is actually the

way in which you connect thoughts together and I think it’s important to connect thoughts together in an intelligent and provocative and energized way and I don’t think we’ve even begun with music education in this country and so I’d love to see that happen.” Despite being called “the thinking woman’s André Rieu” by Barry Humphries, Tognetti has no patience for more popular versions of classical music such as Susan Boyle and Rieu, adding “André Rieu is a musical rapist. He has great music, whether it’s classical or folk, and he just plays it really badly and he just lobotomises the audience, but I’m not denigrating the audience at all because there are some wonderful people who enjoy André Rieu. If you want good music there’s amazing music out there. I don’t know why you’d get stuck on André Rieu.” With Tognetti and the rest of the ACO at the helm, there’s no doubt Kreutzer vs Kreutzer is an example of what could easily be branded amazing music though you should go see and decide for yourself whether the combination of Beethoven, Janácek and Tolstoy can dare you to dream a dream. Kreutzer vs Kreutzer will make its world premiere at the Newcastle City Hall on Thursday 11 November before touring nationwide. WHAT: Kreutzer vs Kreutzer WHERE & WHEN: Newcastle City Hall Thursday 11 November, Canberra Llewellyn Hall, ANU Saturday 13, City Recital Hall, Angel Place Saturday 20, Sydney Opera House Sunday 21

THE DRUM MEDIA 9 NOVEMBER 2010 • 57 •


NEWTOWN FESTIVAL 2010 S U N D AY 1 4T H N O V E M B E R . C A M P E R D O W N M E M O R I A L R E S T PA R K

A DOLLAR WENT DONATED ONCE AGAIN NEWTOWN WILL BE PUTTING ITS SUNDAY BEST – AND THE LONG-TERM WEATHER FORECAST SUGGESTS MOTHER NATURE WILL BE JOINING IN WITH A FINE LATE SPRING SPLASH OF BLUE SKIES AND SUNSHINE – FOR THE 2010 NEWTOWN FESTIVAL. NEWTOWN FESTIVAL DIRECTOR SUE ANDERSON CHATS TO MICHAEL SMITH. For all the great vibes, awesome music and fun galore the day promises for the estimated 80,000 punters that will be sharing Newtown’s unique and eclectic community ambience down at Camperdown Memorial Rest Park, there are a couple of things to remember about the Newtown Festival. Foremost of which is the fact that, while the festival is free, it’s also the main annual fundraising event for the Newtown Neighbourhood Centre, so everyone that attends is asked to give at least a gold coin donation. The reality is that, unfortunately, while in general we as a nation have been lucky not to have felt the impact of the Global Financial Crisis (GFC), individually a lot more of us than we realise have been doing it tough and the recent interest rate hike hasn’t done anything to help either. “As if people aren’t doing it hard enough,” agrees Sue Anderson, who has been the Newtown Festival’s Co-Director for the past 11 years. “I mean, we’re seeing it here in the Neighbourhood Centre. In the last couple of years our figures…

• 58 • THE DRUM MEDIA 9 NOVEMBER 2010

There are so many more people presenting at the Neighbourhood Centre. I don’t know if it’s the GFC or things have just got tighter in general, but I think that the effects of the crisis took a while to filter down. We’re finding it impacting on all ages – a lot of young people are presenting but also too a lot of older people – across the board really. “The clients that the Centre gets have always been always been a pretty diverse group of people, but homelessness is definitely increasing. I think the number of people coming to the Centre presenting as homeless has doubled in the last couple of years. So it’s a pretty dire situation but the thing with Newtown is the Newtown community is a very politically and socially active community and I think that more than ever, if there was a reason to put on a festival, this is the year we really need it. “And because we’ve lost a considerable amount of sponsorship this year, we’re putting a call-out to the community to really step up. The volunteers with buckets collecting on the gate have been really great and collected lots of money, but it isn’t anywhere near every person giving a dollar at all. If every single person put just one dollar in the buckets it would make such a huge difference for the Neighbourhood Centre.” As well as thinking locally, this year’s festival is also pushing the fact that we can our local activities can make a difference globally, through a greater emphasis on environmental initiatives, showcased as always in the festival’s Eco Zone. “As a festival, we’ve always had a history of being quite eco-friendly, but we’ve never really made a big song and dance about it. When I first started eleven years ago, I implemented that the food vendors for instance could only use corn starch knives and forks and compostable plates and cups and stuff. As we’ve gone on we’ve added more and more things and this year we’ve gone really, really hard on sustainable features of the festival. This year we’re only using bio-diesel in the generators on site and Vocal Local stage, as it has been for the last few years, is completely solar powered. All of our printing for the festival is on sustainable stock and we’re also using soy-based ink so we’re really getting down to the micros of it.

“We’ve got a big worm farm on site this year and we’re hoping it’ll take at least seventy-five percent of the compostable waste. Then of course we’ve got a lot of community education going on at the festival too, but not ramming it down people’s throats, just making it more interesting and informative. While I don’t think it’s directly due to the festival, but Newtown has so many community gardens and people have come to the festival and gained a better idea of what they can actually do for the environment. In fact the people who dispose of our waste have said that out of all the Marrickville [Council] festivals, we recycle and compost the greatest amount of waste. The crowd that we get at the festival actually do take on the responsibility of ensuring that waste is minimised.” Most of the expected 80,000 punters attending the Newtown Festival will be there for the music as much as the atmosphere, food and market stalls, amusement rides, artwork and hand crafted fashions from local artisans, the Writers Tent and the infamous dog show. This year’s line-up includes not only some of Newtown’s finest musical exports but also a few blow-ins from interstate, with acts performing including Stiff Gins, Liz Martin, Melbourne’s Skipping Girl Vinegar, The Snowdroppers, Mojo Juju & The Snake Oil Merchants, Thundamentals, Brisbane’s Chocolate Strings, The Paper Scissors, Richard On Your Mind and many, many more. “The Writers Tent, which isn’t organised by the festival but by a local bookshop called Better Read Than Dead, over the years has actually become a really, really popular feature at the festival and that’s why we’ve included a beat poet [Tom Hogan ] on the Vocal Local stage as well. The day’s not just about coming along and hearing brilliant music so it’s good that we can offer a really good variety of experiences. This year, they’ll be getting social commentator Hugh Mackay, Walter Nathan – who’s written about his experiences in Vietnam – and Annabel Crabb and Jacqueline Kent talking about their new books.” Throw in Planet Ark’s Great Aussie Swap Party happening right in the heart of the Eco Zone and, it can never emphasised enough, the infamous

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NEWTOWN FESTIVAL DIRECTOR SUE ANDERSON

Newtown Dog Show, which begins the day’s nonmusical activities and there’s absolutely no better place to be spending this coming Sunday – and all for a single gold coin donation.


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Get Your Music Career Off The Ground!

Free music industry info sessions and Q&A, including a song-writing workshop with

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Saturday 27th Nov 11.00am-4.30pm Reservations: 02 9839 6385

Launch 2010 is a drug and alcohol free event

www.launchevent.com.au

THE DRUM MEDIA 9 NOVEMBER 2010 • 59 •


BRIAN CAMPEAU How much are you likely to pay for a Krishna meal from outside the Newtown Neighbourhood Centre? I dunno! Never eaten there. $10? I reckon $10 is okay? Is that screwed? Am I screwed? Well sometimes I am. Tim Freedman said that God drinks at the Sando – where do you drink in Newtown? Home! And the Townie! And the Cooper’s Arms! And the Courty! And the Carlisle! I’m pretty sure that if there’s a god, it drinks at all those places. A lot. Who are you most looking forward to seeing on the day? Laneous & The Family Yah are great, Melanie Horsnell is a favourite and let us never forget the dog show. You may select one member of the Newtown Jets to join your band. Who do you choose?

GUINEAFOWL

MEGASTICK FANFARE

How much are you likely to pay for a Krishna meal from outside the Newtown Neighbourhood Centre? Depends how many karma coins I have on me at the time. Usually I don’t have that many, so I would have to barter my pet goat “Herb” for a meal.

Answered by Danny Keig

Tim Freedman said that God drinks at the Sando – where do you drink in Newtown? I’ve been to the Sando and I have never seen God. I met a guy who told me his name was Jesus once, but five minutes later he was talking to a parking sign outside. We tend to drink all over town, we don’t discriminate. Who are you most looking forward to seeing on the day? Snowdroppers. A) They’ll be heaps of fun and B) Kinda want to get into a brawl with them for kicks. We would totally lose. What sweet ride will you be dropping off for free bicycle valet parking in the Dendy carpark? Does my Humvee count as a bike? Just kidding. We’re so environmental, we don’t even have bikes. We don’t want to injure the pavement. What’s your most memorable moment from Newtown? Our first headline show at The Vanguard. It was totally sold out, which was pretty amazing for us and we closed with a spontaneous cover of The Cure’s Close To Me, which made us realise we would make a ripping Cure cover band.

MELANIE HORSNELL How much are you likely to pay for a Krishna meal from outside the Newtown Neighbourhood Centre? I’ve never been for one, but I’m guessing a tenner? Tim Freedman said that God drinks at the Sando – where do you drink in Newtown? Used to be at the Townie but don’t feel like going out to pick up anymore! So now it’s chai at Buzz Bar, Who are you most looking forward to seeing on the day? Brian Campeau first ‘cause he’s just brilliant and madder than you think and then The Thundamentals for pure wild dancing fun. What sweet ride will you be dropping off for free bicycle valet parking in the Dendy carpark? My beautiful Bottechia hybrid, not a lot of gears but it’s so spunky and takes me anywhere and I can fit a bassoon, four djembes, my guitar and two-year-old on it no trouble.

What’s your most memorable moment from Newtown? Watching my friend (name withheld) bite numerous bouncers

What’s your most memorable moment from Newtown? Playing an awesome late night gig at the Townie (some of my favourite musos sat in – Angus Diggs on drums is a legend), then a bunch of us swinging naked from a tree in the back streets (why???) on the way to some after after party, before falling asleep in my lovely old Sigma and waking up for tasty breakfast at the Moose Café. It was a good night.

When and where are you performing? I will be playing at the Vocal Local Stage at Noon.

When and where are you performing? Vocal Local Village Stage, 11am

Okay, I don’t follow football, but I just had a look at the Jets’ website and I choose Richard Kambo because his name is close (sorta) to mine and it’s also close to Rambo. Shit reason, but you asked the question.

When and where are you performing? The Essential Stage, 12.50pm.

Tim Freedman said that God drinks at the Sando – where do you drink in Newtown? The majority of deities drink at the Courthouse. I follow suit. Who are you most looking forward to seeing on the day? Richard In Your Mind! The main course on the essential stage. You may select one member of the Newtown Jets to join your band. Who do you choose? I’d invite them to the Courty for auditions and call on local deities to choose the lucky mega-jet. What sweet ride will you be dropping off for free bicycle valet parking in the Dendy carpark? Since my not so sweet ride won’t fit in the car with the gear, we’ll drop of the mega-mobile and hope for the best. What’s your most memorable moment from Newtown? Watching local deities make the Newtown Jets jump through hoops. Oh wait that hasn’t happened… yet. When and where are you performing? 2.40pm at the Essential Stage.

NEWTOWN FESTIVAL 2010 S U N D AY 1 4T H N O V E M B E R . C A M P E R D O W N M E M O R I A L R E S T PA R K

THE PAPER SCISSORS Answered by Jai Pyne How much are you likely to pay for a Krishna meal from outside the Newtown Neighbourhood Centre? I believe it’s free. A very good service for those in need of a free meal. Tim Freedman said that God drinks at the Sando – where do you drink in Newtown? Usually the Carlisle Castle. The food is amazing and the food at The Union is killer now too – basically wherever there is good food I will have a drink with the meal. Who are you most looking forward to seeing on the day? Richard In Your Mind are always fun live. They are even better now that SPOD has joined the band – he added his radness and it took them up a notch. Keen to see Megastick Fanfare too. What sweet ride will you be dropping off for free bicycle valet parking in the Dendy carpark? My custom seven-speed town bike made by Mr Christopher Rogers at Pedal Cyclery. That’s if I can convince someone else to drop the gear off. What’s your most memorable moment from Newtown? Newtown Festival three years ago we got mobbed by teenagers that loved our band but hadn’t had the chance to see us play live. They were so into it, asking for guitar picks and stuff. They’re probably all in bands playing the festival now. When and where are you performing? 3.30pm Essential Stage • 60 • THE DRUM MEDIA 9 NOVEMBER 2010

RICHARD IN YOUR MIND

THUNDAMENTALS

Answered by Richard Cartwright

How much are you likely to pay for a Krishna meal from outside the Newtown Neighbourhood Centre? The most honourable amount possible.

How much are you likely to pay for a Krishna meal from the outside the Newtown Neighbourhood Centre? Probably around five bucks. Tim Freedman said that God drinks at the Sando – where do you drink in Newtown? The Courthouse. Who are you most looking forward to seeing on the day? Quite looking forward to seeing Mojo Juju and all our friends in Guineafowl and Megastick. You may select one member of the Newtown Jets to join your band. Who do you choose? Um, the biggest one, so he can help carry our stuff. “Thanks bro!” What sweet ride will you be dropping off for free bicycle valet parking in the Dendy carpark? I don’t have a bike at the moment so I guess I’ll drop off my shoes and let my toes run free. What’s your most memorable moment from Newtown? Can’t decide which moment is more memorable than another moment, but there are lots and most involve drinking, friends and graveyards. When and where are you performing? 4.25pm, Essential Stage

THE SNOWDROPPERS Answered by Pauly K How much are you likely to pay for a Krishna meal from outside the Newtown Neighbourhood Centre? It’s up to you. The fact they provide great food without preaching or rampant kiddy-fiddling makes them my favourite religious group. The way to a poor man’s soul is through his kofta ball-filled stomach. Tim Freedman said that God drinks at the Sando – where do you drink in Newtown? Take a tip from Pauly – you can climb onto the Zanzibar rooftop bar after closing time from a series of adjacent rooftops down Eliza St, lower yourself down with a sack and they leave the bar fridges unlocked. Well they did circa 2005 anyway. Who are you most looking forward to seeing on the day? Moju Juju & the Snake Oil Merchants, Kira Puru & the Bruise and Idea Idea. More fierce femmes than a Wednesday night at the Sly Fox. What sweet ride will you be dropping off for free bicycle valet parking in the Dendy carpark? BMX 4 life! Valet parking probably unnecessary to deter thieves. Unless you have the right sized allen key the cranks will fall off 200m down the road. What’s your most memorable moment from Newtown? See previous answer regarding the Zanzibar rooftop. When and where are you performing? 2.20pm on the Main Stage.

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Tim Freedman said that God drinks at the Sando – where do you drink in Newtown? I met God at the ‘Townie’ once and he said he always drinks there. I’ve also met a few atheists there, who thought God was full of it and now they drink at The Bank after a long day at the office. I’ll be drinking at the Courty after our set, so if anyone else would like to enlighten me on where the best place to sink piss is, I’m all ears! Who are you most looking forward to seeing on the day? My ex-girlfriend is entering the dog show, pretty excited for her. You may select one member of the Newtown Jets to join your band. Who do you choose? Val Kilmer. He’s got a good 50 metre sprint and he’s a monster at high jump. GO JETS! What sweet ride will you be dropping off for free bicycle valet parking in the Dendy carpark? I parked my gold low-rider in that new shop ‘Fadez’ on King Street. Baller! (I don’t own a car in the city as it is bad for the environment) What’s your most memorable moment from Newtown? The day that Oldtown became Newtown. Ah, I remember it as if it was yesterday... When and where are you performing? Main stage, 4pm. Enjoy!


THE DRUM MEDIA 9 NOVEMBER 2010 • 61 •


live@drummedia.com.au ANGUS & JULIA STONE @ ARIA AWARDS CONCERT SERIES. PIC: CHAZ WEBB.

NATIONAL

ARIA AWARDS CONCERT SERIES

Royal Botanic Gardens 01/11/10 – 05/11/10

JOHN BUTLER

01/11/10

It was perhaps a little ambitious on iTunes’ behalf to think Sydney could host five nights of ARIA celebratory gigs without a couple of torrential downpours to spoil the mood. And of course, Sydney didn’t disappoint. Day one was supposed to host Dan Sultan and John Butler. But it was not to be. Sultan’s set was cancelled and the bad weather reduced John Butler’s to just two songs – a warm and spirited solo rendition of Pickapart and the Paul Kelly and Kev Carmody cover, From Little Things Big Things Grow, where he was joined by Dan Sultan and Scott Wilson. The second song, even more than the first, almost made all the standing around in the rain worthwhile. Danielle O’Donohue

WASHINGTON

BOY & BEAR

02/11/10

Playing before a picturesque backdrop; a moody sky above the Harbour Bridge, Boy & Bear opened aptly with The Storm. The five-piece set the tone for the rest of their set leading into the song with flawless five-part harmonies. Throughout the set, the intertwining vocal melodies come to the fore and create an enchanting, almost spiritual effect. Playing contemporary folk, their live sound is understated and bare, though the densely layered and well executed vocals and natural sounds of acoustic guitar, mandolin and banjo give the songs an undeniable warmth. Amidst recent singles like Rabbit Song and Blood To Gold, Boy & Bear played some newer tracks. Clearest Of All featured a wailing organ part from versatile multi-instrumentalist Jon Hart and showed a rockier, more groove-driven band. Opening with Rich Kids, all eyes were on Megan Washington, who possessed as much energy as possible for someone restricted by keyboard and vocal duties. She looked absolutely frenetic as the familiar bop of Clementine sounded. Washington played a tight set of favourites and despite the ominous clouds overhead, managed to rustle some energy into what had previously been a lacklustre crowd with songs like The Hardest Part and How To Tame Lions. Washington have found a perfect balance between Megan’s classically trained chops and ‘60s pop sensibility, with both on display in Cement. While Megan knows how to work a crowd, maniacally attacking the keys like the phantom of the opera with one hand while earnestly clasping the mic with the other, it was a shame that the other members of the band failed to display such enthusiasm. The set closed with a rendition of Divinyls’ I Touch Myself and with Megan’s entertaining performance and great voice, it felt like a passing of the torch from one great frontwoman of Australian pop – Christina Amphlett – to another. Dave Drayton

SIA

SALLY SELTMANN

04/11/10

Day four of the ARIA/iTunes concert series looked like it was going to tell a similar story to day one, with ponchos all round and a very wet and soggy gardens. But the night cleared up and for the crowd that continued pg.64

CHRIS PICKERING, CATHERINE BRITT: Nov 9 Brass Monkey, Nov 10 The Vanguard MELINDA SCHNEIDER: Nov 10 The Basement Circular Quay HUNGRY KIDS OF HUNGARY: Nov 10 Beach Road Hotel, Nov 11 Grand Hotel, Nov 12 The Factory, Nov 13 The Maram, Nov 14 Cambridge Hotel THE MISSION IN MOTION: Nov 10 Cambridge Hotel, Nov 11 Harp Hotel Wollongong, Nov 12 Oxford Art Factory HOLLY THROSBY: Nov 11 Heritage Hotel MUSCLES: Nov 11 Mona Vale Hotel, Nov 12 The Gaelic DAN SULTAN: Nov 11 Notes, Nov 12 Heritage Hotel MIAMI HORROR: Nov 11 Beach Road Hotel ED KUEPPER: Nov 11 The Vanguard, Nov 12 Lizotte’s Newcastle, Nov 13 Lizotte’s Kincumber THE MELODICS, [ME]: Nov 11 Melt, Nov 12 Ivanhoe Hotel, Nov 13 Great Northern Hotel Newcastle PHILADELPHIA GRAND JURY: Nov 11 Hotel Gearin, Nov 12 Cambridge Hotel, Nov 13 The Metro, Nov 25 Beachcomber Hotel, Nov 26 ANU Bar, Nov 28 Fitzroy Hotel, Dec 16 Caringbah Bizzo’s, Dec 17 Mona Vale Hotel, Dec 18 Grand Hotel DIESEL: Nov 11 Vikings, Nov 12 Revesby Workers, Nov 13 Penrith Panthers, Nov 18 & 19 Brass Monkey SKIPPING GIRL VINEGAR: Nov 11 Ryan’s Hotel, Nov 12 Grand Junction Hotel, Nov 13 Beaches Hotel, Dec 10 The Factory, Dec 11 Street Theatre JINJA SAFARI: Nov 11 Oxford Art Factory, Nov 12 Northern Star BLAME RINGO: Nov 12 World Bar GLENN RICHARDS: Nov 12 The Metro PEABODY: Nov 12 Lass O’ Gowrie, Nov 13 Hotel Gearin MM9: Nov 12 Fitzroy Hotel THE BOOK OF SHIPS: Nov 12 World Bar, Nov 13 Lass O’Gowrie CHEMICAL TRANSPORT: Nov 12 Sirens, Nov 20 Church On Chalmers, Nov 26 Crest Hotel DANIMALS: Nov 12 Grand Hotel, Nov 17 Beach Road Hotel, Nov 18 Oxford Art Factory BONJAH: Nov 12 Brass Monkey, Nov 13 Beach Rd Hotel, Nov 18 The Brewery JIMMY BARNES: Nov 13 Bimbadgen Estate, Nov 26 Royal Theatre, Nov 27 Enmore Theatre KASEY CHAMBERS: Nov 14 Civic Theatre Newcastle, Nov 19 Shoalhaven

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FEATURE TOUR

THE NEW PORNOGRAPHERS

WEDNESDAY, THE MANNING BAR

Bringing the whole rabble out to Australia – yes, including the often elusive Neko Case – the very welcome New Pornographers are touring their fifth and 2010released album, Together, another great album in their ever-solid catalogue. Creating intricate and difficult-sounding power pop, they seem to do it so easily. And not just on the record either; live the harmonies and melodies come alive into something very special – the reason why this band are lauded as much as they are.

Entertainment Centre, Nov 20 State Theatre, Nov 21 Canberra Theatre JEFF MARTIN & TEREPAI RICHMOND: Nov 17 Brass Monkey, Nov 18 & 19 The Basement Circular Quay, Nov 23 Lizotte’s Newcastle, Nov 24 Vault 146, Dec 4 Heritage Hotel, Dec 5 Hotel Gearin, Dec 7 Lizotte’s Kincumber, Dec 8 Lizotte’s Dee Why GARETH LIDDIARD: Nov 17 Lizotte’s Newcastle, Nov 18 Lizotte’s Kincumber, Nov 20 Oxford Art Factory, Nov 21 Clarendon Guesthouse THIRSTY MERC: Nov 17 ANU Bar, Nov 18 Grand Hotel, Nov 19 The Metro AXXONN: Nov 19 The Wall, Nov 20 Dirty Shirlows WORLD’S END PRESS: Nov 18 Good God, Nov 19 Coogee Diggers ANDY BULL: Nov 18 The Clarendon, Nov 19 Spectrum THE JEZABELS: Nov 18 Harp Hotel Wollongong, Nov 19 The Gaelic, Nov 20 Clarendon THE MONITORS: Nov 18 Excelsior Hotel Surry Hills, Nov 19 Great Northern Newcastle, Dec 9 Valve Bar OWL EYES: Nov 19 Melt AMY MEREDITH: Nov 19 The Factory CLAIRY BROWN & THE BANGIN’ RACKETTES*: Nov 19 The Vanguard KOOLISM: Nov 19 Gearin Hotel, Dec 9 Melt Bar BOAT PEOPLE: Nov 19 Sandringham Hotel, Nov 20 Beaches Hotel Newcastle NUMBERS RADIO: Nov 19 World Bar, Nov 20 Northern Star SALLY SELTMANN: Nov 19 Grand Hotel, Nov 20 The Factory, Nov 21 Brass Monkey JERICCO: Nov 19 Fitzroy Hotel, Nov 20 The Maram, Nov 25 Harp Hotel Wollongong, Nov 26 Hamilton Station Hotel THE VASCO ERA: Nov 19 The Maram, Nov 20 Annandale Hotel THE RED SHORE: Nov 20 Cambridge Hotel, Nov 21 Centenary Hall SYDONIA: Nov 20 ANU Bar EMMA DEAN: Nov 20 Raval

CROWDED HOUSE: Nov 20 Hope Estate BAG RAIDERS: Nov 21 King St Hotel Newcastle, Dec 4 The Forum MY DISCO: Nov 24 ANU Bar, Nov 25 Cambridge Hotel, Nov 26 Manning Bar JEZ MEAD: Nov 24 View Factory, Nov 25 Front Gallery, Nov 26 Heritage Hotel, Nov 27 Raval CHILDREN COLLIDE: Nov 25 Blush Nightclub, Nov 26 Manly Fisho’s, Nov 28 The Maram THE LUCKY WONDERS: Nov 25 Lizotte’s Kincumber YOU AM I: Nov 25 Castle Hill RSL BELLES WILL RING: Nov 25 Grand Hotel, Nov 26 The Gaelic, Nov 27 Cambridge Hotel, Dec 10 Hotel Gearin THE CAIROS, YOUNG HERETICS: Nov 26 World Bar PENNY IKINGER: Nov 26 Cabbage Tree Hotel, Nov 28 Sandringham Hotel THE CHEMIST: Nov 26 Melt, Nov 27 Hamilton Station Hotel WENDY MATTHEWS: Nov 26 State Theatre BETTY AIRS: Nov 26 Grand Hotel, Dec 18 Roxbury Hotel ILLY, 360, SKRYPTCHA: Nov 27 Transit Bar THE TONGUE, SPIT SYNDICATE: Nov 27 The Gaelic PHATCHANCE, COPTIC SOLDIER: Nov 27 The Wall TASH PARKER: Nov 28 The Vanguard THE JOHN STEEL SINGERS: Nov 28 Baroque, Nov 30 Brass Monkey, Dec 1 Beach Road Hotel, Dec 2 Grand Hotel, Dec 3 ANU Bar, Dec 4 Oxford Art Factory ADAM COUSENS: Nov 29 Phoenix Canberra, Dec 2 Lansdowne Hotel,

INTERNATIONAL LEONARD COHEN: Nov 9 Acer Arena JASON DERULO: Nov 9 & 10 Hordern Pavilion

THE NEW PORNOGRAPHERS: Nov 10 Manning Bar INGRID MICHAELSON: Nov 10 Clarendon Guesthouse, Nov 11 The Factory BONE THUGS N HARMONY: Nov 10 CBD Hotel Newcastle, Nov 11 The Gaelic, Nov 12 Southern Cross Events Centre, Nov 14 Grand Hotel, Nov 21 The Gaelic METALLICA: Nov 10, 11, 13 Acer Arena GARY PUCKETT: Nov 10 Wests Leagues Newcastle, Nov 13 The Cube, Nov 20 Ettalong Bowling Club THE CHARLATANS: Nov 11 The Metro BARONESS: Nov 12 Annandale Hotel DESPISED ICON: Nov 12 Holy Grail, Nov 13 The Factory ENGELBERT HUMPERDINCK: Nov 12 & 13 State Theatre MANIC STREET PREACHERS: Nov 15 The Metro ELECTRIC WIRE HUSTLE: Nov 17 Tone JOE PUG: Nov 17 Red Rattler, Nov 18 Raval THAT 1 GUY: Nov 18 Transit Bar, Dec 5 Cambridge Hotel, Dec 8 Gearin, Dec 10 The Factory NEIL FINN: Nov 17 & 18 Seymour Centre KAKI KING: Nov 19 Oxford Art Factory FEMI KUTI: Nov 20 The Metro SUMMERBEATZ feat. FLO RIDA, JAY SEAN, SOULJA BOY, TRAVIE MCCOY: Nov 20 Acer Arena PIETA BROWN: Nov 22 The Basement Circular Quay GEMMA RAY: Nov 23 Raval, Nov 24 Brass Monkey METRONOMY: Nov 23 Oxford Art Factory RICHARD BONA: Nov 24 The Basement Circular Quay FAT FREDDY’S DROP: Nov 25 Enmore Theatre PHAROAHE MONCH, JEAN GRAE*: Nov 26 The Metro CUTE IS WHAT WE AIM FOR: Nov 26 The Factory DJ KRUSH: Nov 26 The Basement Circular Quay

THE DRUM MEDIA 9 NOVEMBER 2010 • 63 •


live@drummedia.com.au from pg.63 continued to grow even through Sia’s performance, they certainly were treated to a very special show.

DNBBQ feat. MAKOTO, LYNX & KEMO: Nov 27 Manning Bar STICK TO YOUR GUNS: Nov 27 (arvo) Blacktown Masonic Hall, Nov 27 Teen Wolves, Nov 28 Oasis Youth Centre, Nov 30 Axis Youth Centre SMOKIE: Nov 28 Enmore Theatre ELIZA DOOLITTLE: Nov 30 Oxford Art Factory THE EAGLES: Nov 30, Dec 2 & 3 Sydney Entertainment Centre, Dec 6 & 7 Acer Arena THE LEMONHEADS: Dec 1 The Metro SHAWN MULLINS: Dec 1 The Basement REEL BIG FISH, THE AQUABATS: Dec 3 UNSW Roundhouse SHARON JONES & THE DAP-KINGS: Dec 3 Enmore Theatre FOZZY: Dec 3 The Factory SOLA ROSA: Dec 3 The Gaelic KORN: Dec 4 Hordern Pavilion GUNS N’ ROSES: Dec 4 ANZ Stadium ARCHITECTS: Dec 4 The Metro MARY GAUTHIER: Dec 4 Notes GOTAN PROJECT: Dec 5 Sydney Opera House THE FALL: Dec 7 The Metro BLONDIE, THE PRETENDERS: Dec 7, 8, 9 Enmore Theatre, Dec 11 Bimbadgen Estate, Dec 14 Royal Theatre GIRLS: Dec 8 Manning Bar BROADCAST: Dec 8 The Forum WASHED OUT: Dec 9 Oxford Art Factory MUSE: Dec 9 & 10 Acer Arena THE BOUNCING SOULS, HOT WATER MUSIC: Dec 10 The Metro EL GUINCHO: Dec 10 The Gaelic JENNY HVAL: Dec 10 Red Rattler JOEY CAPE: Dec 11 Sandringham Hotel JACK JOHNSON: Dec 11 The Domain THE FIELD: Dec 11 The Gaelic LINKIN PARK: Dec 4 Newcastle Entertainment Centre, Dec 11 & 15 Acer Arena REVEREND HORTON HEAT: Dec 11 The Metro CLIPSE: Dec 12 The Metro U2, JAY-Z: Dec 13 & 14 ANZ Stadium THOSE DARLINS, JEFF THE BROTHERHOOD: Dec 15 Beach Road Hotel, Dec 16 Annandale Hotel GORILLAZ: Dec 16 Sydney Entertainment Centre ROBY LAKATOS: Dec 17 Sydney Opera House Concert Hall BON JOVI: Dec 17, 18 & 19 Sydney Football Stadium BOBBY BROWN, JOHNNY GILL, RALPH TRESVANT*: Dec 18 Enmore Theatre BUILT TO SPILL: Dec 29 The Metro LIGHTSPEED

Although poor Sally Seltmann. A tragically underrated performer, she finally had her chance to perform in front of the industry and a more mainstream general public crowd than is aware of her work, but she was almost washed away. She valiantly soldiered on for a few songs, her guitarist pretty much giving up entirely so it was just drums and Seltmann herself at the piano. That worked until the piano gave up the ghost and the roadies had to come out and cover it with a tarp. Seltmann finished her set early, playing guitar herself on the stunning Dark Blue Angel.

FOALS

Thankfully the rain stopped for the awards presentations and the night cleared up a little so with that stunning backdrop behind her, Adelaide’s own Sia appeared with her outrageous giggle and unbelievable voice. Based, for now, in the US – and with success following her wherever she goes – it was a rare opportunity for Australian audiences to see the pop singer and she didn’t disappoint. In between performing renditions of favourites such as The Fight and You’ve Changed from most recent album, We Are Born, and her cover of Madonna’s Oh Father, Sia charmed one and all by forgetting words and improvising with a cheeky, “Something, something, something” then declaring afterwards, “I fucked up some words in that song. Oops, I’ll have to put money in the swear box now.” There was also a call for anyone who wanted to do any heckling and a thank you “for staying while it rains on your heads and faces”. But for this amazing performer one suspects the crowd would’ve put up with conditions far worse.

DRUM PRESENTS

THE NEW PORNOGRAPHERS: Nov 10 Manning Bar JINJA SAFARI: Nov 11 Oxford Art Factory, Nov 12 Northern Star OPEN ARMS: Nov 20 Coffs Harbour Showground MY DISCO: Nov 24 ANU Bar, Nov 25 Cambridge Hotel, Nov 26 Manning Bar THE LEMONHEADS: Dec 1 The Metro FOZZY: Dec 3 The Factory KORN: Dec 4 Hordern Pavilion THE FALL: Dec 7 The Metro GIRLS: Dec 8 Manning Bar FESTIVAL OF THE SUN: Dec 10 & 11 Sundowner Breakwall Tourist Park BUILT TO SPILL: Dec 29 The Metro PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley MARINA & THE DIAMONDS: Dec 30 The Factory SHOUT OUT LOUDS: Jan 2 Annandale Hotel MYSTERY JETS: Jan 3 The Metro INTERPOL: Jan 4 Enmore Theatre FUTURE OF THE LEFT: Jan 5 Annandale Hotel COLD WAR KIDS: Jan 6 Enmore Theatre JUNIP: Jan 8 The Metro THE NATIONAL: Jan 7 & 8 Enmore Theatre RAGGAMUFFIN: Jan 28 Parramatta Park YEASAYER: Feb 7 The Metro TWO DOOR CINEMA CLUB: Feb 7 Enmore Theatre STORNOWAY: Feb 8 Annandale Hotel FOALS: Feb 9 Enmore Theatre BEAR IN HEAVEN, THE ANTLERS: Feb 10 Annandale Hotel CARIBOU, FOURTET: Feb 17 The Metro SWERVEDRIVER: Feb 18 The Metro THE CLEAN: Mar 9 The Factory Theatre

CHAMPION: Dec 29 Oxford Art Factory MARINA & THE DIAMONDS: Dec 30 The Factory SHORE THING feat. DAVID GUETTA, ARMAND VAN HELDEN: Dec 31 Bondi Beach SHOUT OUT LOUDS: Jan 2 Annandale Hotel BORN RUFFIANS: Jan 3 Oxford Art Factory MYSTERY JETS: Jan 3 The Metro INTERPOL: Jan 4 Enmore Theatre THE MORNING BENDERS: Jan 4 Oxford Art Factory FUTURE OF THE LEFT: Jan 5 Annandale Hotel DARKEST HOUR: Jan 5 The Factory THE SOFT PACK: Jan 5 Manning Bar COLD WAR KIDS: Jan 6 Enmore Theatre HOT HOT HEAT: Jan 6 The Factory THE NATIONAL: Jan 7 & 8 Enmore Theatre JOAN JETT & THE BLACKHEARTS*: Jan 7 Annandale Hotel FLYING LOTUS, HUDSON MOHAWKE, DAM FUNK, GASLAMP KILLER: Jan 7 The Forum NERD: Jan 7 Hordern Pavilion JUNIP: Jan 8 The Metro SLEIGH BELLS: Jan 8 The Forum MOS DEF: Jan 9 Enmore Theatre JUDY COLLINS*: Jan 12 Wests Leagues Club Newcastle, Jan 17, 18, 19 The Basement Circular Quay SKILLET*: Jan 21 The Metro COCOROSIE*: Jan 25 Sydney Opera House

• 64 • THE DRUM MEDIA 9 NOVEMBER 2010

Concert Hall AMANDA PALMER*: Jan 26 Sydney Opera House Concert Hall TRAIN: Jan 28 State Theatre BLONDE REDHEAD: Jan 29 Sydney Opera House Concert Hall BROOKE FRASER*: Jan 29 & 30 City Recital Hall STING: Jan 31 & Feb 1 Sydney Opera House Concert Hall, Feb 3 Sydney Opera House Forecourt, Feb 5 Hope Estate MISFITS: Feb 5 Manning Bar YEASAYER: Feb 7 The Metro MENOMENA: Feb 7 The Factory TWO DOOR CINEMA CLUB: Feb 7 Enmore Theatre JENNY & JOHNNY*: Feb 7 Oxford Art Factory DEERHUNTER: Feb 8 The Metro STORNOWAY: Feb 8 Annandale Hotel WARPAINT: Feb 8 Oxford Art Factory FOALS: Feb 9 Enmore Theatre ARIEL PINK’S HAUNTED GRAFFITI: Feb 9 Manning Bar !!!: Feb 9 The Metro

FESTIVALS NEWTOWN FESTIVAL: Nov 14 Camperdown Memorial Rest Park OPEN ARMS: Nov 20 Coffs Harbour Showground HARBOURLIFE: Nov 20 Mrs Macquarie’s Point NEWTON’S NATION: Nov 26 & 27 Mount Panorama

Danielle O’Donohue

ANGUS & JULIA STONE

JOHN BUTLER OLD MAN RIVER

05/11/10

STEREOSONIC: Nov 27 Sydney Showgrounds SUBSONIC: Dec 3 – 5 Riverwood Downs Mountain Valley Resort FESTIVAL OF THE SUN: Dec 10 & 11 Sundowner Breakwall Tourist Park NO SLEEP TIL: Dec 18 Entertainment Quarter PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley HARBOUR PARTY: Dec 31 Luna Park FIELD DAY: Jan 1 The Domain ILLAWARRA FOLK FESTIVAL: Jan 13 – 16, Sticky Flat Bulli Showground A NEW BEGINNING: Jan 15 & 16 Lake Macquarie SUMMER VIBES: Jan 16 Newcastle Croatian Club BIG DAY OUT: Jan 26 & 27 Sydney Showground RAGGAMUFFIN: Jan 28 Parramatta Park ST JEROMES LANEWAY FESTIVAL: Feb 6 Sydney College Of The Arts AUSTRALIAN BLUES MUSIC FESTIVAL*: Feb 10 – 13 Goulbourn GOOD VIBRATIONS: Feb 12 Centennial Park PLAYGROUND WEEKENDER: Feb 17 – 20 Del Rio Riverside Resort SOUNDWAVE: Feb 27 Eastern Creek Raceway CMC ROCKS THE HUNTER: Mar 5 & 6 Hope Estate FUTURE MUSIC: Mar 12 Randwick Racecourse BLUESFEST: Apr 21 – 25 Tyagarah * indicates new or amended listing this week Check with agencies for booking fees.

It didn’t seem like the rain was going to stop tonight, but Old Man River wasn’t going to let it drown him out. The heavy but soulful brand of jazz/rock fusion was a great opener for the final night of the ARIA concert series. Ohad Rein (aka Old Man River) and his band had great energy on stage and played with such intensity that they had everyone watching in a state of pure rapture. It was almost difficult to know where to focus your attention. The guitar work was meticulous, the keys were awe-inspiring and the vocals were magnetic. All of which worked fantastically together to make a

THE AUDREYS

NICHOLAS ROY JAC STONE

The Basement Circular Quay 05/11/10 To get the night started, the ever lovely Jac Stone took to the stage, inviting us all into her world. Stone was accompanied by two acoustic guitars and strong bass, but her voice was really all that mattered and it was a pleasant shock coming from a woman of such small build. From the first note she sang, everyone was instantly hooked, not wanting it to end. The guitars were sharp and strong, but never took away from the wonder of her voice. The raw emotion in every song and the honesty that only comes from a live performance was a brilliant start to a wonderful night.

SIA @ ARIA AWARDS CONCERT SERIES. PIC: CHAZ WEBB

remarkable live experience that ensured you noticed each part separately, but also together as a band. The next portion of the night was a pleasant surprise. John Butler was set to play Monday night, but unfortunately was rained out after two songs, so he came back tonight for a special performance. The rain however wasn’t that much better, but Butler soldiered on. He sat through his whole set and the only variation was when his wife joined him on stage for a beautiful duet. Fortunately, this did not hinder his performance as Butler had a power over the audience with his music alone. The energy poured out of every chord played and note sung and the crowd absorbed it all. His hypnotic instrumental closer was a great end to a special performance. As it was nearing time for Angus & Julia Stone to hit the stage, the rain seemed unyielding. There were fears that the night would be rained out, but Angus & Julia Stone persevered. As their backing strings took their place on stage, the crowd erupted in a wave of cheers for what was to come. Everything about Angus & Julia Stone is mellow. From their laidback personae both on and off stage, to the soft, tranquil grooves that mesmerise their audience. They perform well together, both knowing when to support and when to lead. While it was a great set, at points the strings seemed overpowering and the smooth, captivating vocals were lost. This minor setback however did nothing to diminish the hold they had over the crowd, with their soothing, yet strong vocals and thoughtful lyrics. Christine Caruana

and amazing instrumentation live was simply entrancing. That kind of ambiance cannot be captured on record. They played a good mix of old and new songs and it’s quite obvious that Troubles Somehow will become a live favourite. Only The Audreys could get a room full of people excited about a melodica, banjo, piano accordion and spoons. They were entertaining, awe inspiring and exciting. Christine Caruana

After some issues with the lights, Nicholas Roy was finally able to begin his set, though it was regrettably cut short due to time restraints. Despite this, Roy played amazingly. The energy he has when performing is exceptional and the fast tempo had people just itching to dance and he did manage to get a few on the dancefloor. For a few songs, Roy stepped away from the keyboard to pick up an acoustic guitar, which was probably the only downfall of his set. While his ability to switch from funk-infused pop to folk is commendable, the songs on acoustic were lacking the personality that the keys-driven songs possessed. After much anticipation it was time for The Audreys to astound us all, with one and a half hours of musical wonder. From the moment vocalist Taasha Coates had taken her position on stage, she had control over everyone in the room. Before starting, she urged all to come to the front and when satisfied, they began with crowd favourite Oh Honey, which was a great opener to warm the crowd before delving into their new record. On stage the chemistry between Coates, guitarist Tristan Goodall and the new band was brilliant. The seductive nature of Coates’ vocals

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THE AUDREYS @ THE BASEMENT. PIC: LUKE EATON


live@drummedia.com.au

SHIHAD

jump up and down like fucking idiots”. The crowd was more than happy to oblige.

TRIAL KENNEDY BLACK DEVIL YARD BOSS ARTS MARTIAL

Danielle O’Donohue

The Gaelic 05/11/10

It took Jon Toogood, Shihad frontman and rock dynamo, all of three songs to disappear up onto The Gaelic balcony and scale a railing to play half a song perched out over the crowd on an overhanging piece of roof. But that’s what happens when this Melbourne-based New Zealand rock quartet show up to play. Mayhem generally ensues and a real, oldfashioned rock’n’roll show takes place.

HOLLY THROSBY

KIERAN RYAN SLEEPYHANDS

The Factory Theatre 05/11/10 Falling into the same basket as The Middle East and Parades, sleepyhands swapped between guitars, synths and floor toms as the three vocalists (two female, one male) provided both hooks and harmonies that pricked everyone’s ears up. Often showing bursts of energy as each song built up, the dynamics may not have mixed the way they seemed planned to, but the potential is definitely good enough for now.

Black Devil Yard Boss didn’t seem to be all that bothered by cool. Instead it was all blistering riffs and thick and sludgy bass grooves. Featuring a couple of the guys from Mammal, Black Devil Yard Boss took their main influence from QOTSA and fired up the crowd.

As endearing and honest as Gareth Liddiard and Paul Kelly, Kid Sam’s Kieran Ryan worked perfectly as a warm-up to tonight’s headliner. The more vocal half of what was a promising folk duo has come into his own as a songwriter and by the end of the set the applause was so loud that the diversity somewhat lacking within his melodies was all but ignored.

Trial Kennedy were playing their first Sydney show with new bass player Richie Buxton. With a new album in the can, the Melbourne quartet played three new songs. Best Of Tomorrow was the highlight; all added muscle and punch. Despite a long absence from Sydney stages, the four-piece’s relentless energy proved why it will be good to have them back.

After easing things on with an acoustic opener on her own, Things Between People shifted between verse and chorus smoothly and Holly Throsby showed the vocal contrast the night had been lacking. Easing from crisp low tones to passionately loud ones, the songwriter often drew on her literal lyrics to bring to life a story and along with her stripped-back band, took a step up as each song ended.

Shihad have always won rave reviews for their live shows. The antics of Toogood and the passion all four musicians play with were on show again tonight. Songs like My Mind’s Sedate, Rule The World and recent single, Lead Or Follow, whipped the moshpit into a frenzy, while the title track from their new album, Ignite, was an intense, slow-burning, atmosphere builder. But atmosphere, while a nice sideline, wasn’t really what Shihad was here to trade in. Toogood best summed up the night in his introduction to Rule The World, when he said, “Let’s

KURT ELLING

SHIHAD @ THE GAELIC. PIC: LINDA HELLER-SALVADOR

drumming of Ulysses Owens. Bob Shepperd’s saxophone poured golden syrup over the mix; lovely, but another characteristic of a show weighted to the slow rather than the syncopated, whilst Elling’s patter was more Hollywood than Chicago – easy on the cheese, please Kurt!

Over many years, many albums and many performances, Kurt Elling has, in this reviewer’s experience, been uniformly excellent. Sometimes more compelling and thrilling than others, but always excellent. Early days shows at The Basement and performing with a symphony orchestra stand out in a performance context. Tonight lacked some of the edge and innovation of these shows but none of their elegance, expertise and attention to detail. In fact, it was due to Elling’s recent album, centred around the astonishing, classic John Coltrane and Johnny Hartman recording from 1963, that this gig was more mellow than your typical ‘Ellingtonian’ carnival of exuberance. Coltrane and vocalist Hartman’s collaboration, though one of the greatest pieces of music ever (that’s not an exaggeration), was a restrained affair, setting the scene for Elling’s take on the effort and tonight’s show. An example of the sublime, gorgeous side of Elling was his reading of Hartman’s In The Wee Small Hours Of The Morning – snowflake perfect. And as in great jazz and the archetypal snowflake, it revealed new subtleties in the tune. That this gentle song was an encore, rather than a more physically engaging number, gives an insight into Elling’s approach for this tour. Included tonight from Coltrane and Hartman’s album were the title track of Elling’s new album, Dedicated To You, Autumn Serenade, You Are Too Beautiful and (a gorgeous rendering of) Lush Life. As always, Elling’s longstanding musical partner, pianist Laurence Hobgood, wove entrancing melodies and improvisations through the tunes. Hobgood’s commitment of his own prodigious talents to Elling’s for so long has enriched their collective musical output. This is notable considering the tendency for consistent, long term working relationships in jazz not to be sustained. Elling is a showman and he and his band have always excelled at their ‘set pieces’. The upside tonight was exhibited through some thrilling scats from The Man, one featuring him riding on top of a rambunctious percussiveness kiss and crash between the piano and Harish Raghavan’s feisty bass, with another seeing him fire engine-like and integrated with the tap dancing

tasteTEST

Chris Familton

Young Perth band Arts Martial are going to learn a lot being on tour with Toogood and co. Though they had a sound that impressed, there wasn’t quite enough stage presence to tag them the next big thing. They’ll get there though. Typical of young Perth rockers, theirs was a melodic rock sound that was augmented by cool, deft bass lines more readily found in arty, indie bands. It was a good combination.

Sydney Opera House Concert Hall 02/11/10

The Shiny Brights partly filled the dancefloor with some enthusiastic punters who were well into their Friday night celebrations. They were rewarded with eminently danceable guitar pop heavily leaning towards the likes of The Strokes, Kings Of Leon and Arctic Monkeys. Everything was a strumming blur of twitching nervous energy with frontman Wolfgang Marwe stalking the stage like a marionette on amphetamines. Their sound was definitely nothing new but they executed it with enthusiasm and added a rough and sweaty vibe to an evening made up of mostly artful guitar pop.

Craig N Pearce

DRAWN FROM BEES

THE SHINY BRIGHTS MADE IN JAPAN

Melt Bar 05/11/10

Brisbane’s Drawn From Bees have taken something of an indirect career path by playing a number of industry showcase events and conferences over the last year. It has seen them reach a wide audience but probably not a large one – a point confirmed by a disappointingly low turnout for their Sydney show. Made In Japan played a precise and tight set of indie pop that charmed in an unassuming manner. Their pop combines the choruses of Phoenix and the dynamics of Bloc Party with a clean, crispness of sound that was muddied little by distortion or dissonance. Their chiming, post rock, woven guitar melodies suggest a lot of compositional thought has gone into their songs – something initially cloaked by the catchy pop hooks. Drawn From Bees chose to play the middle slot of the evening for some reason; maybe they thought The Shiny Brights would bring the party home more effectively. Regardless of their position on the bill, the band stood out with the depth of both their writing and playing. Centring around the glorious soaring voice of Dan James they played a set that included some new songs getting their first airings on stage. Trying to pinpoint why Drawn From Bees are such an appealing act is hard to do, as their influences seem to range from baroque art pop to lush folk and gentle prog rock leanings. Caves showed off their harmonies and way with dynamics that allowed this and other songs to swell and recede with either bluster or grace depending on what was called for. The standout track was the single, The East Wood Fox, which they bathed in an aching melancholy that felt strangely uplifting in the same manner as Suede or Midlake. These guys deserved a much bigger audience both on the night and demand the attention of the wider music community.

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Not stopping at the acoustic guitar tones though (as many often do), it was some colourful percussion and backing vocals from her drummer that gave a yet to be released song an edge over anything yet as each chorus built up with “Buried six feet under”. One Of You For Me followed, providing some even more textured pop as Throsby got behind the keyboard and showed that she could not only charm this crowd, but leave them all hanging on her next album release if this what was on offer. Old favourites littered the set, with one of the biggest reactions being the male and female call and response of Would You? that added a depth not yet seen. It was The Time It Takes though that wrapped the set up and reinforced Throsby’s well-needed individuality.

With Catcall

The best record I stole from my folks’ collection was... I didn’t really have musical parents. I don’t even remember a record collection, so really had to fend for myself on that one.

The first record I bought with my own money was... Hit Machine 12 on cassette when I was ten. Had some classics like Right Said Fred, R Kelly, Oasis and TLC. I so wore that tape out, but still own it and proudly display it in my cassette collection.

The record I put on when I’m really miserable is… 1000 Hurts by Shellac, such a painful record. You can turn misery into completely irrational anger from that record. I’d also throw on You Are Free by Cat Power.

The record I put on when I bring someone home is… Probably the latest Chromatics record or The Stooges’ Fun House.

The most surprising record in my collection is… I own a lot of Christmas albums on vinyl. Completely obsessed with Christmas carols.

The last thing I bought/downloaded was… Tom Tom Club’s Boom Boom Chi Boom Boom 12”. So good, they even do a cover of Femme Fatale by Velvet Underground/Nico. Catcall plays The Gaelic with El Guincho Friday 10 December.

tasteTEST

Matthew Cheetham

CROWDED HOUSE

Hordern Pavilion 06/11/10

Finally! The answer to the burning question how many Crowded House gigs is too many Crowded House gigs? There’s no such thing. From beginning to end they were tight, witty, entertaining, professional, relaxed and enjoying themselves. There’s finally a camaraderie between them all and they seem to genuinely like each other, something that was often missing in previous shows. If only the audience had been the same, as it seemed one of the most disrespectful crowds that ever bitched about a booking fee. Barrelling your way through the crowd with 20 of your closest friends in a futile attempt to get to the front for Don’t Dream It’s Over does not a fan make. Knowing all the words to In My Command and being able to sing along to an impromptu rendition of Recurring Dream is what we’re after. Recognition of World Where You Live within four bars even with an unfamiliar intro and polite applause for newer tracks Archers Arrow and Isolation from most recent album, Intriguer – these are the things that mark the true fans. If only they had been in the majority. Sure the newer songs didn’t really stack up against the classics, even with the inclusion of Sharon Finn – in the flesh no less, on backing vocals – but we forgive that for the chance to hear one of the best versions of Private Universe to date. But then during Something So Strong the band segued into Once In A Lifetime from Talking Heads and everything seemed alright again and the couple who have been groping each other and sometimes, accidentally, you, for the last hour don’t seem to matter anymore. What’s a sweaty love tap between friends anyway? All that matters is that your hands hurt from clapping, your voice cracked somewhere during Weather With You and you pulled a muscle jumping to Locked Out, but you feel no pain as you walk to the car park, you just keep singing the chorus of Silent House – and that’s a good night.

With Rhys Richards of World’s End Press

The best record I stole from my folks’ collection was… Mike Oldfield – Tubular Bells. No matter how many copies of this I find in one-dollar bins, I always buy it. Who’d have thought one man could play 20 instruments at once. Unfortunately I’ve never had the pleasure of hearing this one in all its quadraphonic glory.

The first record I bought with my own money was… CDB – Let’s Groove, a CD single purchased at Sanity. I just hope some of that money went to Earth, Wind And Fire.

The record I put on when I’m really miserable is… Giorgio Moroder – E=MC2. Personally I don’t really mope with music. If I’m feeling down I’ll most likely have a private dance party with Moroder.

The record I put on when I bring someone home is… Blowfly – Blowfly Disco. Full of romantic sentiments. A true poet.

The most surprising record in my collection is… Wind & Cloud – Remixed. I have a bunch of Canto-pop remix 12”s I bought from a record vendor in Hong Kong. I still have his card.

The last thing I bought/downloaded was… Nicolas Jaar – Russian Dolls. I’m loving everything coming from New York label Wolf + Lamb. World’s End Press play GoodGod Small Club Thursday 18 November, Coogee Diggers Friday 19.

Beck THE DRUM MEDIA 9 NOVEMBER 2010 • 65 •


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MAKE THE PARTY

RECENTLY IN AMERICA TAKING PART IN THE CMJ MUSIC MARATHON AMONG OTHER THINGS, BERKFINGER FROM PHILADELPHIA GRAND JURY WROTE DRUM A TOUR DIARY CONTAINING TALES OF LATE NIGHT DRIVING, STEALING SANDWICHES AND MYSTERY PARTIES.

which is on the less desirable side of Brooklyn where everybody doing anything creative on a budget has been forced to move. We arrive to watch Imaginary Friends play and they are fantastic. Their crew is a pretty rough bunch and we fear they are going to rob us. They drink all my beers in front of me and then take one of our jackets home with them. There is no sound guy and we play two songs where we can’t hear ourselves and the mics give us electric shocks. I get the shits and storm out. I’m sorry about that. Nobody talks to one another during the cab ride home. Sunday 24

Tuesday 19 October We arrive in NYC late at night and realise that we are actually playing in Boston the next day. Probably should have flown there instead. Shit. Next step is to get Burritos and Half and Half milk (half cream, half milk, know what I’m saying?). Oh, also the last time we saw our keyboard was in Iceland and now the airline has no idea where it is but assure us they will call us. Wednesday 20 MC Bad Genius turns up at my apartment in Little Italy in a ridiculously American sedan. We don’t have GPS and fearing a passive aggressive band war I don’t ask why. Cut to three hours later and we are well lost somewhere in Connecticut. Susie was driving and I was reading a magazine and MC Bad Genius was asleep in the back. We decide to remain calm and not wake Bad Genius as this will just prove that we should never be left in charge of anything ever again. I decide that, as Boston is kind of east from NYC, that we should take the highway that has east in its name. Two hours later we see a sign for Boston and MC Bad Genius sleeps on like a baby, although the seatbelt is now wrapped across his face, which is kind of obstructing his breathing and makes his snoring sound extra funny. Boston is nice and I’m sure the Pixies would have fitted in. The support band at T.T. The Bear’s Place features the little Japanese lady that drums for Cornelius and there are heaps of

epFOCUS

Japanese people there who, of course, leave before we play to ten people. We decide to drive back to NYC and my first US driving experience comes after a few beers at 3am on a dark highway. I see lots of things and only some of them were really there. Thursday 21 Apart from tourist stuff and looking at girls we have another concert tonight. It’s the Sennheiser Microphone showcase at Le Poisson Rouge. I think this is kind of funny because I don’t really like to sing into Sennheiser microphones and of course every microphone on the stage is the latest shiny model from said brand. We drop every one of them on the ground, swing them around, step on them and then leave. Lots of people take pictures of us and Susie tries to get free Sennheiser headphones but she is not allowed. I should say Sennheiser one more time. We drink Brooklyn Lager in an odd bar and I try to predict the future of the music industry. Meanwhile at Madison Square Garden Phoenix play to a huge crowd and Daft Punk joins their band for the last few songs much to everyone’s surprise. Susie and I decide to check out Santos Party House, which is Andrew WK’s club. The Drums play a secret show and we feel as cool as Nick Zinner (who is very short) and The Raveonettes party on around us. Oh and the keyboard shows up from Iceland unscathed.

Our EP is titled Something New. The name stems from one of the tracks and seemed appropriate given the fact that we haven’t been around for that long.

How many releases do you have now? This is our first release.

How long did it take to write/record? The songs, among others, were written over a period of about ten months. We won a ten-hour free recording session at Damien Gerard Sound Studios and managed to record all songs during that session.

Since releasing a stellar EP early last year Made In Japan have been honing their indie rock sound as they continue to work on their debut album. This Friday they kick off a three-week residency at Oxford Art’s Gallery Bar.

FEELING ABSOLUTE

BEK-JEAN VS PERRY Bek-Jean Stewart will launch her second solo album, Winter, Summer Suburban Exile, this Saturday at Notes. Stewart will play tracks from both releases, as well as tracks from the as-yet unreleased third album, Amos V Ann. Sydney storyteller Perry Keyes supports.

WE ARE SHOEGAZE

GRANDMASTER CHEF

Joining the growing ranks of shoegaze bands in Sydney, We Are Debaser make their live debut this Wednesday at The Annandale as part of the Jager Uprising Comp. Also performing on the night are Jova and pop/rock trio Audio Blackmail, who round out their week with a show at The Melt Bar on Friday.

Masterchef Aaron Harvie kicks of a four-week residency at The Vanguard this Tuesday. Combining his two loves, food and music, this week Aaron pairs the tastes of Central America with the party-inducing Watussi. The eight-piece band blend rock and folk with the sounds of their singer’s native Colombia and will also play at Notes on Wednesday with The Conscious Pilots.

What’s your favourite song on it? Jess: Something New. Betty: 23 Years.

GHOST TALES

Will you do anything differently next time?

Possessing a sound much larger than you would expect for a three-piece, Tales In Space play post-rock blended with electro. They are launching their new EP, Ghost In The Room, on Thursday at The Annandale with special guests The Khans, Kids At Risk and Mushu.

We are inspired by the 1960s and 1970s music and culture.

We are pretty happy with our efforts – given the fact that this is our first release. We have to wait for people’s feedback. Being in a two-piece has been a steep learning curve. There’s always room for improvement!

Will you be launching it? Saturday – Lewisham Livehouse.

For more info see: myspace.com/violetpulp • 66 • THE DRUM MEDIA 9 NOVEMBER 2010

SULTANS OF SING Some partnerships just work, like Dan Sultan and Scott Wilson. The musical collaborators are stripping back their sound for up close and acoustic performances at Notes on Thursday and the Heritage Hotel on Friday.

South African electro noise pioneer Haezer is coming to Oxford Art Factory Saturday for the launch of Absolut’s new Vodka, Absolut Glimmer. Redial, Ra, Geneden, Nadisko and Smacktown round out the lineup for what will surely be a big party.

THE TWO OF THEM

BRING ON BARONESS Epic metal masters Baroness are gracing our shores this week to support none other than Metallica, bringing with them colossal riffs and a powerful live show. In their onlyt sideshow in Sydney, they play The Annandale on Friday with Melbourne band Akaname.

WHO Philadelphia Grand Jury WHEN & WHERE Thursday, Baroque; Friday, Cambridge Hotel; Saturday, The Metro Theatre; Thursday 25 November, Beachcomber Hotel; Friday 26, ANU Bar; Saturday 27, Newtown’s Nation; Thursday 16 December, Caringbah Bizzo’s; Friday 17, Mona Vale Hotel; Saturday 18 Grand Hotel Wollongong

Surreal Estate is a half-arsed warehouse in Bushwick,

ORBIT THE ANNANDALE

When singer, songwriter and guitar virtuoso Luke Koteras and percussionist and pianist Byron Mark first jammed together, they knew they were onto something. That something became Kinetic Method and as such, the duo launch their debut album, Find A Friend, Sunday at Raval. The CD includes some CD ROM bonus live footage.

Was anything in particular inspiring you during the making?

Saturday 23

With a debut album awaiting completion in the studio, Breaking Orbit are doing the rounds one last time before they bunker down to wrap up recording. Armed with new single, Callsign, the band play The Annandale on Saturday with Sleepmakeswaves, Delsanto and Beaufields.

ON THE ROAD TO SAFETY

What’s the title of your new EP and where did it come from?

Imagine playing to a room of 300 music industry conference attendees while they eat lunch in a big room at New York University. That’s what we did today. Jezabels play before us. It’s a two-song-only showcase and both of their songs are great, but the people just chat and eat their lunch. Susie is nervous and I decide that we need to shake things up a little bit. I end up naked on the drumset as Susie eats people’s sandwiches and takes over the vocals while she kicks over every chair in the place. People describe it as “memorable” and the conference grinds on. Next stop is a basement hidden under Milk photography studios over on West 14th. The guy running the party explains that this is Patti Smith’s rehearsal room and assures me that there will be people here later. We don’t believe him and go for a walk. When we get back we are greeted by a full room of drunken models and well-dressed magazine editors. We make the party and everybody goes nuts. I have a lot of fun and drink a bunch of Budweisers. Models make me feel short and we have odd conversations until it is time to reconnect with the real world.

MADE IN JAPAN

Following the release of their impressive debut album, Somewhere Safe, Sydney five-piece The Mission In Motion hit the road with US pop-punkers Valencia to launch it. They play The Cambridge on Wednesday, The Harp Hotel on Thursday and Oxford Art Factory on Friday.

VIOLET PULP

Friday 22

Today I am determined to have fun and prove to everyone that I am an okay person. We have three shows for some reason. Show One is at the Living Room on Ludlow and is more suited to acoustic performers. We play a tentative set to about six people and the organiser gives us brownies that he baked. Show Two is downstairs at The Delancey, which is deep downtown in Chinatown near the Williamsburg Bridge. It’s dark and fun. Everything is broken and we have a catastrophic but thoroughly enjoyable set to a great crowd. One of the guys there heard about our show in Boston and came to check us out. We eat corn chips and discuss life with The Grates. Show Three is the kind of thing dreams are made of. Midnight performance in a full house at the Bowery Electric. White Arrows play before us and they are great and then we have the best show we’ve ever had. I meet lots of new friends and then have to leave them as we are getting up early to go to the airport. I grab a slice of pizza at Ray’s and wonder whether this is the city for me?

ON THE DRUM STEREO Speak now TAYLOR SWIFT The Union ELTON JOHN/LEON RUSSELL The Collection Volume One JAY-Z Four Seasons THE BIG SCARY He Will Have His Way VARIOUS Falls Festival Sampler VARIOUS As Above, So Below PHANTOMS Thunderdome VARIOUS Familial PHILIP SELWAY The Chase ILLY

ARIA TOP 10 ALBUMS 1. Speak Now 2. Come Around Sundown 3. Cardiology

TAYLOR SWIFT KINGS OF LEON GOOD CHARLOTTE

4. Fly Me To The Moon. The Great American Songbook: V ROD STEWART

5. Dreams NEIL DIAMOND 6. Jack JOHN FARNHAM KATY PERRY 7. Teenage Dream 8. Glee: The Music, Rocky Horror GLEE CAST VARIOUS 9. Triple J’s Like A Version 6 ANGUS & JULIA STONE 10. Down The Way

it hton filed a lawsu crowd during 1990, Patricia Boug er, ll he kicked into the mb ve tba No foo a 13 t on tha t tha ing im … cla OW t result the ar KN U ew DID YO le finger and as a against Rod St tendon in her midd a d re ptu ru d ha Knob Music Theatre a concert at Pine ficult. d her husband dif x between she an injury had made se

ED GETS PERSONAL Ed Kuepper has a resume most musicians would envy. He has played guitar for The Saints, Laughing Clowns and The Bad Seeds and is now embarking on a string of intimate shows at The Vanguard on Thursday, Lizotte’s Newcastle on Friday and Lizotte’s Kincumber on Saturday

ROCK DOCTOR Doc Neeson, the undeniably rock frontman of The Angels, will play a show with his own band this Friday at Notes. With decades of experience as a ‘god’ of Australia’s pub rock scene, this is a show worth drinking to.

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FBI’S FAVOURITE NEW AUSSIE SONGS FOR THIS WEEK Waiting In Wisconsin WE SAY BAMBOULEE Pee Green Bote FISHING Milk Bar ELECTRIC SEA SPIDER 3Mark GHOUL Kinds In Place NO ART Recognise OSCAR + MARTIN Little William BIG SMOKEY Harmony To My Heartbeat (World’s End Press remix) SALLY SELTMANN

Douche Bag La La Melode

THE PHONIES KITE CLUB


THE DRUM MEDIA 9 NOVEMBER 2010 • 67 •


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singleFOCUS

THE BOOK OF SHIPS …Aagh What’s the song about? Thoughts of having neglected things and people, of loss and of hope in the face of it, of questioning whether you have chosen the right option, of mutual exclusivity. Weaving through all this is the thought that we live in an age that is bunkum, that the enlightenment has failed.

How many releases do you have now? This is our second single off our debut record, Dark Continent, Cold Century.

How long did it take to write/record? The song was written quite quickly. The arrangement evolved over the course of a few years.

Was anything in particular inspiring you during the making? Lyrically, the feeling that it was time to leave something I’d been part of for many years. Sonically, really busy albums with lots of intricate parts, which I later came to realise Broken Social Scene were doing.

What’s your favourite part of the song? The explosion that comes after the false end. And the hundred guitars that ferociously spill their seed all over the outro.

Do you play it differently live? We don’t have a hundred guitarists. We still spill seed.

Will you be launching it? Friday – Mum, World Bar Saturday – The Lass O’Gowrie

For more info see: myspace.com/thebookofships

er, 1967, that on 9 Novemb DID YOU KNOW… gazine was ma e on lling St the first issue of Ro a photo of John ancisco. It featured published in San Fr ach fre r and had a e ro Lennon on the cove uana joint. clip to hold a marij

BEST OF BORICH With a career spanning three decades – some of which has been recorded in Michael Chugg’s new book – Kevin Borich has cemented himself as a consistent and entertaining performer on the live scene. Armed with a selection of his many guitars, he plays The Vanguard on Friday night and Saturday at Coogee Bay Diggers.

FABULOUS GYPSIES

ESSENTIAL VIEWING

If you have ever wondered what happens when the sounds of Eastern Europe make it to Australia, the answer lies at The Vanguard on Saturday night where high-energy gypsy band Lolo Lovina will be playing, alongside The Fabulous Contraption.

BLISS N ESO – ADDICTED

KIDS DOWN GOON They may be called the Goons Of Doom, but the unpretentious rock band play anything but. They take over the Beach Road Hotel on Wednesday with Slow Down Honey and Kids At Risk for a free show.

MARKETING MUSIC The live music at Markets by Moonlight, The Rocks, continues this Friday night when acoustic duo Sistermadly and the guitar-toting, harmonica-blowing stomp-boxing Paul Greene will perform.

CASUAL RHYTHMS Central Coast newcomers Act Casual will be doing anything but when they take charge of the stage on Saturday night at the Rhythm Hut. Also performing on the night are locals Love Child.

FEELING FAMILIAR Brisbane band The Rooftops are heading south to spread the word about their new single, Something So Familiar. Blending soul, jazz, reggae and pop to create a dance provoking live show, they play Friday at Front Bar, Saturday at The Mac and Sunday at The Junkyard.

LET’S PLAY BALL Joining Hungary Kids Of Hungary for their national tour are six fun-loving, pop-friendly people collectively known as Ball Park Music. They have just released a new single, and are playing Wednesday at Beach Road, Thursday at Grand Hotel, Friday at The Factory, Saturday at The Maram and Sunday at The Cambridge.

The walls are alive in the new clip from Bliss N Eso, as paint crawls like a vine along the sidewalk and various traps of the city. The shots are quick – you’ll pick up more during the second and third viewings – and it holds your attention the whole way through, despite nobody appearing on screen. The artwork is amazing and comes courtesy Askew One and Dues, who spent six days and used 300 cans of paint to bring the warehouse space that is this city to life. Directed by James Solomon blissneso.tv/addicted/

FIRE COMES FULL CIRCLE Rani’s Fire have come full circle with their debut album, From The Left Side. After spending 12 months recording it at the Australian Institute of Music, Rani’s Fire launch the album at AIM on Friday with support from Ceara Fox.

SYDNEY SOUL KINGDOM Bella Kalolo has been described as one of New Zealand’s most exciting artists and you can witness her powerful voice in person when she performs on Saturday at The Basement Circular Quay. Nadeena Dixon and Randa & The Soul Kingdom provide support.

DROPPING BEATS’N’BLUES Taking time out from their tour with Grinspoon, The Snowdroppers are playing a special, one-off show at Manning Bar on Friday night. The band have enlisted a four-piece brass band, piano player and backing singers to ensure the night is memorable - just go easy on the whiskey. The band are also the first Australian act to be selected for next year’s South By Souhtwest showcase.

CALL THE COUSINS Local newcomers The Pastics headline a night of rock and pop at the Bald Faced Stag on Thursday. Joining them are Cousin Betty Band and Madeline Rogers.

STARTING SUNDAY

STARTING OVER Previously known as Front Counter and then announcing their current lineup earlier this year, Starting Sunday have started to build momentum up again. They’ve a new single, Somewhere, which they’ll be launch this Thursday at Hot Damn, QBar. They’ll be playing in support of City Escape and alongside Sparrows and Evelyn.

ACROSS

BREAKING ORBIT Mark Tyson, drums

2 Which US pop punk band have The Mission In Motion brought out for their album tour?

What do you think is your band’s greatest strength?

6 Glenn Richards’ first solo EP was titled Life As A Can Of what?

We try to integrate a range of musical textures, from heavy syncopated riffs and tribal percussion grooves to layers of symphonic backing and catchy melodies.

8 What was The Charlatans’ debut single, released in 1990? 9 Hungry Kids of Hungary signed to which label earlier this year?

What movie do you think your music would best accompany and why? Final Fantasy or Top Gun? Because I can see our sometimes intense tribal riffs and sometimes melodic/symphonic textures matching intense action coupled with a bevy of dramatic scenes.

DOWN 1 Baroness singer John Baizley did the album art for which Norwegian metal band’s self-titled debut?

What are your plans for the immediate future? And the rest of the year?

3 At which Sydney venue did Jinja Safari play their first official show?

This tour finishes at the end of this month and then we bunk down into the studio to complete the remainder of our debut album.

4 Which Rihanna song did the Manic Street Preachers cover in 2008?

Favourite “pick me up for a big night” drink?

5 Bek-Jean Stewart entered the Aussie music scene as the singer of which band?

Red Bull. But when there’s fresh coffee available and a barista that knows what he/she is doing, a triple short black with two sugars is always a good boost.

7 How many vocalists are in Despised Icon?

For more info see: breaking-orbit.com

LAST WEEK’S ANSWERS

When and where are your next gigs? Saturday – Annandale Hotel

1. Morrissey 2. Nonzero 3. Neongold 4. Three 5. Three 6. Neptunes 7. Gotye 8. Pacifier 9. Israel 10. Magoo

Saturday 20 November – The Maram Thursday 25 – The Harp Hotel • 68 • THE DRUM MEDIA 9 NOVEMBER 2010

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TOURING NATIONALLY IN NOVEMBER

OXFORD ART FACTORY FRIDAY 19TH NOVEMBER W/ RESCUE SHIPS (BRIAN CAMPEAU & ELANA STONE)

LITTLE JOY OUT NOW WED 24 NOV ANU BAR CANBERRA THU 25 NOV THE CAMBRIDGE NEWCASTLE FRI 26 NOV MANNING BAR SYDNEY

WWW.OXFORDARTFACTORY.COM MYDISCO.COM.AU

WWW.KAKIKING.COM

SHOCK.COM.AU

NEW ALBUM OUT NOW

THE DRUM MEDIA 9 NOVEMBER 2010 • 69 •


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CORE BELIEFS THE DEATHCORE ARMS RACE HAS ENCOURAGED CONSIDERABLE COMPETITION. THY ART IS MURDER AXEMAN GARY MARKOWSKI TALKS TO BRENDAN CRABB ABOUT SEEKING AN ALTERNATE PATH.

ROSE WINTERGREEN Your music is…? Acoustic/folk/pop with a dollop of world music.

Which acts inspired you to produce your own music and why? Suzanne Vega, because some of her songs are so simple-sounding, yet really powerful. Tylea, because her music is so rich and warm, but natural-sounding. Kate Bush, Tori Amos and Björk, because their music is so evocative of other worlds. Sally Seltmann, Ani DiFranco and Clare Bowditch.

What’s your wildest ambition for your music? It affects people. My idols want to write and perform with me. I don’t get rich but I have enough money from performing my music that I don’t have to work doing something else too.

S

ince the explosion of the strain of death metal known as deathcore – characterised by pulverising hardcore beatdowns and pig squeal vocals – a few years ago, acts seeking to avoid the bloated scene have branched out. Some ( Job For A Cowboy, Whitechapel) have adopted a technical death metal sound to retain a distinctive identity. Sydney’s Thy Art Is Murder incorporated this ethos into debut album, The Adversary, but didn’t ignore their roots. “We started with a lot of ‘core elements,” the guitarist explains. “We prefer to be labeled death metal, but if you’ve got breakdowns and that stuff (and) it makes us ‘core, then whatever, I don’t care too much. A lot of deathcore bands are pretty generic, but we try to give a mechanical, chunky edge to our breakdowns, something a little different.”

The deathcore culture has engendered a mindset of bands seeking to craft the heaviest breakdown, lowest guitar tuning or most brutal blast-beat, often at the expense of actual songwriting. “Yeah, basically that’s what we set out not to do,” Markowski remarks. “With the [Infinite Death] EP, when it was written that sort of thing, in this country especially, was sort of new. I could possibly say our EP was slightly generic, but I thought the vocals and way we approached it was a little different. Two years down the track obviously influences and ideas change. So with this album we approached it from a songwriting point of view, so the songs were smoother and flow together better. We’ve tried to go more technical… For the [next] album I’d probably like to incorporate less death, more black metal and still keep the breakdown stuff. We still have our roots in the ‘core

element, so that’ll probably never leave. We’ll just try to take the ‘core edge to a new level.” One band with whom Markowski says Thy Art Is Murder share a similar musical mindset is Geelong’s The Red Shore, who will join them for their national tour. “I would say they’re on the same sort of wavelength of us, in terms of where they’re progressing with their music. This is our first tour with them and then getting to play with [Canada’s] Despised Icon on their final world tour is just an honour.” WHO Thy Art Is Murder WHEN & WHERE Friday, The Holy Grail; Saturday, The Factory Theatre

Why should we come and see you? It’s going to be my first time playing Sydney as well [as tour co-headline Hannah Acfield]. I’ll have a cellist and violinist playing with me and it will be great. Plus, we’ll have an awesome local Sydney band, Agnes Kain, playing support.

ESSENTIAL VIEWING FRANK TURNER – I STILL BELIEVE

How do you find the local live scene? You tell me, I only just moved to Sydney!

What’s your greatest rock’n’roll moment? Seeing Midnight Oil at the Great Northern in Byron Bay, just before they stopped playing.

For more info see:

CANYONS

rosewintergreen.com Next available at: Sunday – The Valve Bar from 2pm

singleFOCUS HANNAH MACKLIN & THE MAXWELLS The Remedy What’s the song about? I wrote the song for my best friend, who was in the middle of a crappy break-up. We were talking about how, when something shit happens, you always think to yourself ‘this won’t be a big deal in six months’.

How many releases do you have now? This is our debut single!

Is this track from a forthcoming release? Yes! Exciting. Our debut album is due for release early next year – look out for it in March/April…

How long did it take to write/record? I was at home late one night and had the idea, then quickly set my keyboard up in the kitchen and it was finished in an hour.

Was anything in particular inspiring you during the making? The song has a pop/soul feel kinda reminiscent of the Jackson Five or Stevie Wonder, both of whom I’m inspired by.

What’s your favourite part of the song? The bridge, where the horn section kicks in. It’s like a big burst of energy!

Do you play it differently live? A little, yeah! We’ve been doing it a bit faster and funkier lately.

Will you be launching it? Ravál – Thursday

For more info see: myspace.com/hannahmacklin

• 70 • THE DRUM MEDIA 9 NOVEMBER 2010

THE BIG ONE Celebrating the first anniversary of the City Hotel – the one on the corner of King and Kent streets in the CBD – the owners will be hosting Canyons (and their new single, My Rescue), the recently Modular-signed Beni, Paul Guy & Friends, DJ Emme and Matt Gilpin this Friday. It kicks off at 9pm and there’ll be a complementary drink on arrival and canapés throughout. In a novel approach, you pay as you leave the venue – $10 if you had a good time, nothing if you didn’t, kind of like a Radiohead single.

We love it when punk guys go acoustic and start playing alt. country and folk and Frank Turner’s one of the best in the business. He’s recently released the video for his terribly enjoyable I Still Believe. A ‘50s throwback party that we all secretly (or not so secretly) would love to be a part of, it’s filmed in black and white and it’s simple concept emphasises the track’s motifs. It’ll make you bring some friends round to sing for yourself, “Who’d have thought/that after all/ rock’n’roll would save us all?” Directed by Ben Morse youtube.com/user/frankturner

DON’T BE A HATER

BEACH HOLIDAY

If you’re feeling nostalgic about the ‘80s then head along to the Sandringham Hotel on Friday night. The renowned psychedelic pop punkers Lime Spiders will share a bill with none other than Happy Hate Me Nots. Infamous Grouse open the night.

Despite the weather suggesting the copntrary, summer came a little early this year in the form of Miami Horror’s new single, Holiday. The band are launching the pop gem, and perhaps a few more summer vibes, on Thursday at the Beach Road Hotel.

ANTI-MUSIC

THE [ME]LODICS TOUR

Peabody continue to plug their new anti-album, Loose Manifesto, this week as they hit the Lass O’Gowrie on Friday and the Hotel Gearin on Saturday.

Melburnians The Melodics, who play electro hip-hop, and [ME], who play progressive theatrical rock, are bound together in a genre-mashing tour of the east coast. They play Melt on Thursday, the Ivanhoe Hotel on Friday and the Great Northern on Saturday.

HOLLY TAKES FLIGHT Holly Throsby’s Here Is My Co-Pilot tour gets regional this week. Supporting her recent single of the same name, Holly plays the Heritage Hotel on Wednesday night before heading interstate.

MELINDA DOES SYDNEY Six-time Golden Guitar winner, Melinda Schneider has taken a new approach for her sixth album, Melinda Does Doris: A Tribute To Doris Day. She will play cuts from the album live this Wednesday at The Basement Circular Quay.

GIRLS GO CRAZY Muscles’ Girls Go Crazy tour hits town this week, so lock up your daughters/wife/girlfriend. The frenzy begins Thursday at Mona Vale Hotel and continues on Friday at The Gaelic.

PHILLY J’S SAVE SYDNEY Philadelphia Grand Jury have returned from their globetrotting adventures with their blaring new single, Save Our Town. Taking young guns Howl and Bearhug along for the ride, the band play Hotel Gearin Katoomba Thursday, Cambridge Hotel on Friday and The Metro on Saturday.

SKIPPING TOWN Alternative acoustic four-piece Skipping Girl Vinegar are heading north from Melbourne to play at the Newtown Festival on Sunday. Not content with just the one show, they will also play at Ryan’s Hotel on Thursday, Grand Junction Hotel on Friday and Beaches in Thirroul on Saturday.

d rrison for drunk an , arrested Jim Mo na a izo to Ar , y nix wa oe his Ph on ger, who was 1969, the FBI in ne. The Doors sin t on 11 November pla a tha The rd … s. oa se OW ab es t KN rd uc U wa DID YO disorderly cond noying the ste en drinking and an be d ha r, ke Ba m ncert with actor To Rolling Stones co d on $2,500 bail. ol and were release ga in ht nig the t pair spen

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er, 1992, that on 15 Novemb DID YOU KNOW… ent from nounced his retirem Ozzy Osbourne an g “Who wants to be in California, sayin touring after a gig e his early, he didn’t tak touring at 46?” Cl own advice.

AAGHNOTHER SINGLE The Book Of Ships, that dreamy indie pop four-piece from Melbourne, have a couple of Sydney shows lined up to launch their new single, …Aagh. They play Friday at World Bar and Saturday at Lass O’Gowrie.

NEW NAME NEW SONG Following a name change after a threatening interaction with a children’s yoghurt company, Djanimals (formerly Danimals) will launch his new single, Nightshift In Blue, available on a limited run 7” vinyl this Friday at the Grand Hotel in Wollongong, with guests kyü and Domeyko/ Gonzalez. Next week the tour returns for Sydney city dates.

ACTIVATE SIRENS The busy boys in Chemical Transport add another notch to the belt this Friday when will play Sirens nightclub with Central Coast locals Activate Deathray.

COUNTRY’S LITTLE BIRD Kasey Chambers, Australia’s queen of country, will perform at the Civic Theatre on Sunday night to launch her new album, her sixth to date, Little Bird.

FUEL THE FIRE Multi-ARIA award winning guitarist Diesel will continue the success of his 7 Axes To Grind tour this week as he returns from Queensland to play Vikings on Thursday, Revesby Workers on Friday and Penrith Panthers on Saturday.


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(with Catherine Britt) Tuesday 09 November

The Brass Monkey Cronulla

Wednesday 10 November

The Vanguard Newtown Friday 12 November

Cabbage Tree Hotel Wollongong Info and tickets at: www.chrispickering.net

NEW ALBUM ‘WORK OF FICTION’ OUT NOW! Recorded at Ardent Studios, Memphis. Produced by Don Nix.

myspace.com/longtimelistenerau

THE DRUM MEDIA 9 NOVEMBER 2010 • 71 •


TOUR OF A KIND

T

wo bands, two releases, one tour. Mismatched on the face of it, The Melodics (“electro hip hop”) and [ME] (“theatrical rock”) are hitting the road together and they’re due at the Melt Bar Thursday, Thirroul’s Beaches Friday and The Great Northern Hotel Saturday. Drum got them to talk about one another.

wanted to play with bands that we can really be challenged by in professionalism and ability. This is a special tour for us thanks to The Melodics.”

“Theatrical rock” and “electro hip hop” – where’s the connection?

Melodics: “I think both bands are both of those things, backstage will be filled with nine dudes each night staring at themselves in the mirror singing Andrew Lloyd Webber hits.”

The Melodics, Jeremedy: “Well, I’ve often wondered what it would have sounded like if Freddie Mercury had a project with Grandmaster Flash back in the day, so I guess this is our ode to what could have been. [Me] are a dope band who have a bangin’ live show, if they played country krunk or new wave Afrobeat we still would have hit the road with them. I guess I just would have started this paragraph with ‘I’ve often wondered what it would have sounded like if Femi Kuti started a band with Kraftwerk…’ [ME], Damian: “The connection is that The Melodics are super-fucking champions on stage. Their live show is completely nuts. They are one of the best bands in Melbourne and probably in the country. We’ve always

Are The Melodics all about melody and are [ME] all about themselves?

and booker.”

What is it about your touring partners that makes you want to hit the road with them?

How good is the new release from your opposite numbers? (Melodics – Pant Me Gold , [ME] – Naked)

Melodics: “The [Me] boys have a van, great equipment and contacts all around the country so they’re kind of like that friend you kept in contact with during summer holidays just ‘cause he has a pool. Na, they are just rad lads with boomin’ tunes.”

Melodics: “Naked is rad. [Me] have a huge depth in their production, great arrangements and killer tunes. Naked is the epitome of what [Me] are; great songwriters with massive sounds and dope artwork.”

[ME]: “See question one! Also, they are great guys, truly. It does make it easier that we have the same publicist

[ME]: “The Paint Me Gold EP is excellent. My favourite track is Bang Bang, followed by Donkey Kong Suicide.”

HERE’S LOOKING AT YOU

Two more in the weekly wrap-up of covers this week, a Sydney-based hardcore act that are hoping to flog a few copies of their new album at shows and a world-ruling American country-pop act that’s hoping to buy a couple more mansions when her record goes platinum a couple of times over (her last one did it six times in the US and Canada, five times here).

KE$HA 1. We R Who We R 2. Only Girl (In The World) RIHANNA FAR EAST MOVEMENT 3. Like A G6 NELLY 4. Just A Dream KATY PERRY 5. Firework 6. Raise Your Glass P!NK BRUNA MARS 7. Just The Way You Are 8. Heartbeat (feat. Nicole Scherzinger) ENRIQUE IGLESIAS MIKE POSNER 9. Cooler Than Me DUCK SAUCE 10. Barbra Streisand

CHRIS PICKERING

FACT OR FICTION

As the Coffin Brothers near their 20-year anniversary they step into The Sound Lounge for one of their final gigs of the year. They will be playing tracks from their new jazz album, Living In Apocalyptic Times.

DREAMING OF BRAZIL Jarrah Thompson has returned from Brazil with a late night TV appearance and a new album under his belt. Jarrah launches the album’s first single, Dream On The Way, on Wednesday at The View Factory, Thursday at The Junkyard, Saturday at Pot Belly and Sunday at Tumut’s Orient Hotel.

34B LADIES

ARIA TOP 10 AUSTRALIAN ALBUMS 1. Jack 2. Down The Way 3. Billy Thorpe’s Tangier 4. Little Bird 5. Birds Of Tokyo

JOHN FARNHAM ANGUS & JULIA STONE BILLY THORPE KASEY CHAMBERS BIRDS OF TOKYO

7. Angel Without Wings 8. Running On Air 9. Marcia Sings Tapestry 10. Hillsong Chapel: Yahweh

To feature in a music video with Antoine Dodson so you can run and tell that home… home… homeboy Oh… sorry we thought you were already coming ‘cause you accepted our invite on Facebook. How do you find the local live scene?

Google maps. What’s your greatest rock’n’roll moment?

Denying Justin Bieber’s friendship on MySpace. For more info see:

myspace.com/talesinspace talesinspace.com Next available at:

Saturday 20 November – Beach Road Hotel Saturday 18 December – Oxford Art Factory

singleFOCUS

PHONIE DOUCHE BAGS Hip hop is all about image, something that you don’t have to tell Sydney lads The Phonies twice. The selfproclaimed hip-pop Casio rockers launch their new single, Douche Bag, on Sunday at The Sandringham Hotel.

CHANNEL NINA Sheba Williams, a woman of soul and stage, will be joined by a full backing band on Thursday night as she performs a tribute to Nina Simone at the Supper Club. Best of all, entry is free.

CAM HENDERSON BLISS N ESO MARCIA HINES HILLSONG LIVE

ITUNES AUSTRALIA TOP 10 ALBUMS VARIOUS 1. The Annual 2011 TAYLOR SWIFT 2. Speak Now 3. Glee: The Music – Rocky Horror GLEE CAST BON JOVI 4. Greatest Hits ANGUS & JULIA STONE 5. Down The Way JOHN BUTLER TRIO 6. April Uprising JAMIROQUAI 7. Rock Dust Light Star 8. Get ‘Em Girls JESSICA MAUBOY BIRDS OF TOKYO 9. Birds Of Tokyo 10. Teenage Dream KATY PERRY

The Maladies bring their inventive take on folk-rooted rock’n’roll to 34b this Saturday for their final headlining show of the year. The Exiles and Border Thieves support and tickets are $12.

• 72 • THE DRUM MEDIA 9 NOVEMBER 2010

Radiohead, The Drums, Vampire Weekend, 40 Odd Foot Of Grunge [Ed – 30 Odd Foot of Grunts?] because they’re rad.

6. The Very Very Best Of Crowded House CROWDED HOUSE

COFFIN FOR 20 YEARS

And then (and for probably the only time these two will be compared to one another) there’s the debut from Sydney hardcore punk outfit Phantoms. With artwork by Ash Pederick, it’s a rough sketch of the grim reaper and a dilapidated Sydney that could well have existed before the time of Photoshop. Black, grey and blood red, one expects the hardcore vocals and metal riffs long before Eye Of The Storm has your metal hands in the air.

Which acts inspired you to produce your own music and why?

Thursday – Annandale Hotel

Acclaimed saxophonist Jason Bruer will perform on Friday at The Sound Lounge, with a handpicked backing band. Jason will be promoting his new album, As Above, So Below.

PHANTOMS – AS ABOVE, SO BELOW

Available in all sizes including XXXXL (L is for Loud).

What’s your wildest ambition for your music?

ARIA TOP 10 SINGLES

SAX IN THE LOUNGE

You can be sure that there was no expenses spared on the creation of young Taylor Swift’s third album and the packaging is evidence of that. Slick and produced – as much so as the album itself – there’s not a blemish on her skin on the cover shot or any of the ones inside the booklet, her light blue eyes absolutely dreamy. Using vibrant and usually primary colours throughout, it’s one that this Christmas’ retail splurge won’t let you forget soon.

Your music is…?

Why should we come and see you?

Singer songwriter Chris Pickering and 2010 ARIA Award nominee Catherine Britt have joined forces for the Fact Or Fiction tour. They wrap up the NSW leg this week with shows at The Brass Monkey tonight, The Vanguard on Wednesday and Home Tavern on Thursday.

TAYLOR SWIFT – SPEAK NOW

TALES IN SPACE

[ME]: “Both bands are crazy about melody and both bands I’ve noticed are quite selfless.”

TOP 10 UK ALBUMS 1. Come Around Sundown 2. Crazy Love 3. Wide Awake 4. The Wanted

KINGS OF LEON MICHAEL BUBLE JOE MCELDERRY WANTED

5. In And Out Of Consciousness – Greatest ROBBIE WILLIAMS

6. Speak Now 7. Disc-overy 8. The Ultimate Collection 9. Teenage Dream 10. Letters Home

TAYLOR SWIFT TINIE TEMPAH BARBRA STREISAND KATY PERRY SOLDIERS

ote Sarah Sainsbury wr to raise funds at 2004, Coldplay fan er, e could sell them sh mb ve so s No ph 11 ra on tog t au tha ir … the OW for g KN DID YOU to the band askin worth over £4,000. ple platinum disc tri a r he nt se lay . Coldp her school charity

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THE ROOFTOPS Something So Familiar What’s the song about?

It’s a song about coming home. Most people ache to leave their hometown at some stage in their lives. They want greener pastures, heightened experiences and stories to pass on to their kids. In the end though, the things that count are your friends and family, and having a place to belong to. How many releases do you have now?

Our first album, Storm Season, our more recent EP, Clean Dirt, and a live album that we released for Woodford Folk Festival last year. How long did it take to write/record?

Peta Wilson, our keyboard player came up with the music. She sprang it on us at a gig – just started playing it – and we all just made it up as we went along. This song just wanted to exist. Was anything in particular inspiring you during the making?

We were just about to end our four-year residency at The Bowery so I wanted to write lyrics that were something of an anthem to our shared experience as a band. What’s your favourite part of the song?

In the final chorus, the horns come in with a killer line that lifts the song to a whole new level of excitement. Will you be launching it?

Saturday – The Macquarie Hotel For more info see:

totherooftops.com


THE DRUM MEDIA 9 NOVEMBER 2010 • 73 •


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THEY’RE HAIR FOR THE CAUSE

W

ith a band name derived from the fact that a certain member of the Fab Four took legal action against their original name (Goodnight Vienna is the name of Ringo Starr’s fourth album, for a giveaway hint), Blame Ringo have never been ones to do things by the book – their last tour was one of laundromats, for example. This time they’re ruing the fact that they can’t partake in the Movember shenanigans due to a lack of facial hair ability – but that’s not going to stop them from playing their part. What they plan to do is head around the country, donating 100 percent of the profits from sales of their spankin’ new album, Too Strange For Avery, to the Prostate Cancer Association of Australia. We caught up with the band to discuss such matters as sparse upper lip hair. They play MUM at World Bar this Friday. What’s the worst thing about not being able to grow a mo?

WARD OFF THE BLUES After two successful appearances at the Sydney Blues Fest, Sydney rock band Ward’s Xpress will play the Fitzroy Hotel on Saturday and Tudor Hall Hotel on Sunday.

THURSDAYS ON FRIDAY This Friday night it will be pointless to resist the call of the inner west’s rocking virgins, The Virgin Thursdays just to clarify, as they are sharing the stage with Day Of The MeerKat, who are celebrating a new single release, as well as deranged countries animals Billy Goat & The Mongrels. All at the Excelsior in Surry Hills, with doors opening at 8pm for this wild single launch.

THE MANGO TANGO On Friday night at 505, Rufus Records presents the launch of The Mango Balloon, a spin-off project/ album from members of Sydney’s premier tango/western act The Tango Saloon. The normal lineup will be halved for this smaller, laid-back lineup incorporating elements

(not so) LOST SONGS

“The unbearable shame.” How does it make you feel when you see other men – or boys – with superior mos? “We’ll often say we have a job interview or that we used to have an awesome mo, but felt the need for change.” How to you account for the lack of facial fair influence in your songwriting? “We feel it directly affects the wussiness of our songs. I mean honestly, would Merv Hughes ever write a song called Midnight To Twilight? No. No he would not.” Would Too Strange For Avery have sounded different if you had been able to grow mos?

Laundromats – what’s better/worse about your upcoming tour in comparison of that?

“Yes, it would sound a lot more like a Thirsty Merc record.”

“Better – Rather than just cocking about we’re actually going to be contributing to society this time around. Worse – We won’t be able to wash our clothes so we will stink!”

You’ve completed a tour of Australian

of lounge and continental jazz into the music. Special guests The Rescue Ships will be supporting.

WIRE BITER Hailing from Estonia, down-tempo and darkly psychedelic, are doom duo Talbot, and they are headlining a show at Black Wire Records in Annandale. Joining the ranks for the Saturday show will be Sydney sludge band Fattura Della Morte as well as Bone Turd. This will be a cheap night out, with BYO grog and only $7 entry. Music will be kicking off at 6pm sharp.

DOUBLE DAY Sydney rock’n’roll trio Calling Mayday are out on the road and this week they have two dates locked in. The first will be on Thursday night at the Valve Bar, with doors opening nice and early at 7.30pm. Then on Saturday night the three-piece rock Manly Fisho’s from 8.30pm.

NEW-TOWN CARNAGE This Saturday, Carnage returns to the Newtown RSL

from 8pm bringing you prog metal, death metal and power metal on one massive bill. Two of the three headliners, Hate Disciple (Qld) and The Altars (SA) will be playing their debut shows in Sydney while Mass Burial will be launching their album, Eternal War. Supporting these three monster acts will be local progmetal acts Hemina and Avarin.

SOO GOOD This Thursday will be week two of Simo Soo’s November Lansdowne Hotel residency and he is putting on a fabulous spread with some amazing artists. Doors open 8pm with Whipped Cream Chargers (possibly last show for a long time), Horse Macgyver, Eves Harp (Ryan from Regular John) and Dora Maar, and it’s free entry.

SHOW GOES ON Moving to QBar while Spectrum undergoes a facelift of sorts, The Art and Chicks Who Love Guns will be taking to the stage this Saturday. Also joining these kids of discontent are The Go Roll Your Bones and Familia.

Making it in the music business with Steve Clisby

This course is designed to prepare you for a career in today’s music industry.

Begins 15th November

Miracle8 Mentoring With professional opinions, ongoing guidance, performance techniques, song writing skills and up to date information on the industry, this course will chart an individual and realistic approach to achieving your dreams in the music industry. Includes one-on-one skype sessions with Steve in-between sessions Bookings essential! Call Big Music on 8622 6555 or 0413 161 726 • 74 • THE DRUM MEDIA 9 NOVEMBER 2010

There are just some things that shouldn’t be forgotten and some of those things are classic Australian songs. Looking back on songs that were perhaps loved by a fair few but never really became part of the public domain, week by week we’ll be bringing back songs that we think you should go dig up – be it from the bottom of your record collection, iTunes downloads, YouTube, whatever – for your own good. This week it’s Art Of Fighting’s Along The Run, released 2004 as a single from their second album, Second Storey. Led by Ollie Brown, the Melbourne band have always been there or thereabouts – and still are – but the melodramatic swell of Along The Run, a tale of love lost for unknown but unavoidable reasons, was surely one their most memorable moments, a track that stopped you dead in your tracks. As Brown sings “And I’ll always remember you”. So too should you - go and dig up this one.

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ART OF FIGHTING CIRCA 2004


THE DRUM MEDIA 9 NOVEMBER 2010 • 75 •


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NEWTOWN MATTERS With the Newtown Festival happening this Sunday and plenty of the bands giving their opinion on the event a few pages to the left in this week’s Drum, there are some other key elements of the town whose thoughts we wanted to hear.

RR: “If I wanted to chill out, I wouldn’t be in small business.”

Presumably you’ve been to the Newtown Festival before, what’s your best memory?

RR: “Our dog Rocky. She barks at everything (yes it’s a girl called Rocky), is big, clumsy, untrained and hates Maltese Terriers.”

Egg Records: “Just seeing the festival grow year after year and creating a great communal atmosphere.”

What’s first – bands or stalls or bars?

Aside from the festival, what are your favourite Newtown locations?

GIG OF THE WEEK

Maybe even giving a little bit of street cred to redheads around the country (though one IS running the country!), Jinja Safari have been winning crowds over with their strong live shows and poppy jungle-folk sound. They launch new single, Forest Eyes, on Thursday at Oxford Art Factory and Friday at the Northern Star Hotel.

ER: “Right in the middle of it all!”

JACK’S BACK

Favourite spot at the festival to chill and watch the world go by?

Augie March frontman Glenn Richards has put his full attention towards solo exploits during his day job’s break and with his band The DSM Bros (that’s Dan Luscombe, Mike Noga, Ben Bourke and Chris Richards) he’ll be launching his record, Glimjack, this Friday at The Metro.

FOR YOU BILLY This Saturday Crelfest will be held at the Explicit Manor in Strathfield from 2pm ‘til 10pm. The day will feature

fun stalls and a great local lineup including Mad Polly, PomPom, Marf Loth, Jusgo Mosh, God Rest The Good Doctor and more. Entry is by donation to raise funds to replace photographer Billie Crellin’s stolen camera equipment. Any money above this amount will go to the Leukemia Foundation.

RR: “St George Bank, The Vietnamese bread shop with $4 pork rolls.” For more information see: ER: “eggrecords.com”

MAKE IT FELT

JACKALS LET LOOSE

The Friday night events at the Cock N Bull Hotel will this week welcome The Fires, Le Venge and The Presence at respective hourly intervals from 8pm.

Locally-based metal outfit Kunvuk will be playing at the Newtown RSL this Friday as part of their launch proceedings for the album, Immute: Jackals.

ROCK IN ALL SHAPES

FOLK THOUGHTS The Fairlight Folk Acoustic Lounge has another show this Saturday, featuring young newcomers The Creatures Rose, MusicOz Award winners Racz And Waters and Anne Ridgway and friends, who’ll be launching her new CD, Paint A Thought.

A NIGHT FROM HELL

Featuring Jake Grigg of Something With Numbers and Shawn Harris, formerly of California’s The Matches, pop duo Maniac has been long in the works and after a hit and/or miss demo or two they’ll be playing at 34B, as Spectrum’s currently closed, with Former Love Pirates and Radio National in support.

GUITAR MOVES

Canberra’s doomy saviours of hardcore, I Exist, play their last Sydney show for the year on Friday at Hermann’s Bar with Melbourne’s Warbrain, and young guns Legions and Vigilante.

ER: “I was born and bred in Newtown, so I love it all. That’s why we have a store here.”

guard, sex with her in elli’s former body forcing him to have er, 2004, Liza Minn of mb r ve ge No sin 11 the on d t se tha ayah, accu DID YOU KNOW… M’hammed Soum in damages. i for $100 million su s wa ing Minnell ah ay um So . job order to keep his

GO A LITTLE CRAZY

I EXIST IN SYDNEY

RR: “The Laurels are playing in-store at 2pm. They’re rad and it’s free.”

RR: “repressedrecords.com”

The cross-dressing rockers who call themselves Platinum Brunette are back again this weekend, playing the always free Lansdowne Hotel with Blind Chance, Jimmy Swouse, Mechanical Black and Droptank.

I EXIST

Should we visit you before or after the festival? ER: “Definitely both.”

RR: “If the bands are bad, bar first. If the bands are good, bar first. Stalls drift somewhere between.”

JUNGLE MEN

ER: “Fido.”

Repressed Records: “The Captain Cleanoff in-store gig a couple of years ago after we’d just moved to Newtown. I don’t have many other memories as I can’t leave the shop.”

ER: “Definitely the bands, such a great diversity of music.”

JINJA SAFARI

Your entry into the dog show?

As for Peter Northcote’s movement this week, one of Sydney’s finest guitarists will be at the Unity Hall Hotel on Friday with Barry Leef and then at the Bridge Hotel for his regular residency with Drive.

ROLL ON Presented by Damien Lovelock, The Basement, Circular Quay, will pay tribute to the iconic and this year reissued Rolling Stones album, Exile On Main St., along with other Stones classics, this Friday.

BONJAH

SOMETHING YOU SHOULD KNOW Like Shihad and Crowded House before them, Bonjah relocated to Australia from New Zealand and brought their blues and roots sound with them. The band play the Brass Monkey on Friday and the Beach Road Hotel on Saturday for their Something We Should Know single tour.

Celebrating their first anniversary, the Sly Fox Hotel’s Solid Gold Hell night will be throwing a celebration this Saturday. DJs Cutthroat, Demonika, Danger Coolidge, Angelica Von Helle and more will provide the soundtrack as the night – free as usual – runs from 9pm to 3am.

GET YOUR SHIT IN ATTN: Local bands! If you have a gig or release in the pipeline that you want to promote, send the details, blurb (no longer than 100 words) and pic (no bigger than 1MB, NO SMALLER THAN 200 DPI and in .JPG or .PDF format) to live@drummedia.com.au. Get in quick, it’s fuckin’ FREE!

W W W . B E N C H M A R K M A S T E R I N G . C O M Don Bartley’s

Benchmark Mastering Changing the Rules Over 35 Years of Audio Excellence Supporting Australian Music AUSTRALIAS MOST PROLIFIC MASTERING SUITES  INTERNATIONAL RESULTS AT AFFORDABLE RATES

info@benchmarkmastering.com (02) 9211 3017 • 76 • THE DRUM MEDIA 9 NOVEMBER 2010

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BIG DAY ART DESIGN OUR COVER

AND WIN BIG! READERS’ CHOICE AWAR Vote for your favourite artwork D in the Readers’ Choice vot Check out the entries exhibit e. summerfestivalguide.com.aued at vote via Twitter. More details and soon!

TO ENTER: ENT NTERR CCompetition i i opens TTuesday d 2 NNovember. Create your impression of an artist on the current Big Day Out schedule and upload your entry at summerfestivalguide.com.au (go to the Big Day Art section). WIN: Drum Media cover art. Artist profile. Double pass to the BDO Festival. A cd prize pack – the latest releases from BDO artists. Design software for each state winner. Free entry to a CATC Workshop for each state winner. ENTRIES CLOSE FRIDAY 7 JANUARY

MELBOURNE SYDNEY BRISBANE

THE DRUM MEDIA 9 NOVEMBER 2010 • 77 •


gigs@drummedia.com.au

9 - 15 NOVEMBER 2010

DAY OF THE MEERKAT: FRIDAY 12, EXCELSIOR HOTEL, SURRY HILLS

MM9: FRIDAY 12, FITZROY HOTEL

TUE 09

AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ADAM PRINGLE BAND: Sandringham Htl downstairs BNO ROCK SHOW: Scruffy Murphys DAVE WHITE EXPERIENCE: Coogee Bay Htl, Beach Bar DJ DISCOROSSO, GRAND WIZARD MYME 01, GEE WIZZ, LOKOL, BEN JI: Valve Bar and Venue, Tempe FLAMENCO FUSION: The Basement IAN BLAKENEY: Dee Why RSL KARAOKE, THE COSMIC EXPLORER, MADHONOUR, GATSBY: World Bar Kings X MADDIE BELL, KYM CAMPBELL, CIRCLE, PATRICK SULLIVAN: Beach Rd Htl Bondi PETER HEAD: Harbourview Htl TONY ELECTRO HEAVY VIBE CONCERT BAND, 3 OF MILLIONS: 505, 280 Cleveland St Surry Hills

WED 10

3 WAY SPLIT: 3 Wise Monkeys BADGE DRAW: Botany View Htl CHRIS PICKERING: Hotel Gearin, Katoomba CHRIS PICKERING, CATHERINE BRITT: The Vanguard CONSUME THE MASSES, ATAXIA, AUPHAEN, MIRAMAR, BEWARE OF THE DOG: Valve Bar and Venue, Tempe

DONNA AMINI, PJ Wolf: Sandringham Htl EDWARD DEER, CADEAUX, DYLAN TAI: The Gaelic ERROL BUDDLE QUINTET: Paddington RSL GODDOG, LUMIERE, THE SPOON COLLECTORS, RATTLESNAKE: Excelsior Surry Hills GOONS OF DOOM, SLOW DOWN HONEY, KIDS AT RISK: Beach Rd Htl Bondi JAGER UPRISING PRESENTS…, JOVA, HOTELS ON MAYFAIR, WE ARE DEBASER, AUDIO BLACKMAIL: Annandale Htl KEVIN HUNT TRIO: 505, 280 Cleveland St Surry Hills LUCY SASSOON: Dee Why RSL MAL’S OPEN MIC NIGHT: Taren Point Htl MARK HOPPER: Artichoke Café Manly MARTY STEWART: Rocksia Hotel MELINDA SCHNEIDER: The Basement OUTLIER: Scruffy Murphys PETER HEAD: Harbourview Htl ROLAND STORM: Belmont 16ft Sailing Club THE SLOWDOWNS: Sandringham Htl downstairs THE WALL WEDNESDAY, PAINTINGS BY CARISSA KARAMARKO: World Bar Kings X Trivia To A Tee with The Doctor: Muree Golf Club Twisted Trivia: Wallsend Sporties WATUSSI, THE CONSCIOUS PILOTS: Notes, Newtown

THU 11

AAMAZING ENTERTAIN-

• 78 • THE DRUM MEDIA 9 NOVEMBER 2010

MENT KARAOKE: Penrith Htl ANDY MAMMERS: Hillside Htl Castle Hill BAECASTUFF, TIM ROLLINSON TRIO: The Basement BEAU SMITH: Iron Horse Htl Cardiff BIG BEN DUO: Gymea Bay Hotel BONE THUGS N HARMONY: The Gaelic CITY ESCAPE, SPARROWS, STARTING SUNDAY, EVELYN: Spectrum COMEDY TRIVIA: Exchange Htl Newcastle COMEDY TRIVIA: South Leagues Club DAN SULTAN BAND, ADALITA: Notes, Newtown DAVID AGIUS: Newport Arms Hotel DI SOLOMON: Pioneer Tavern DONT FRAC THE GAS OUT OF US: Chauvel Cinema Paddington ED KUEPPER: The Vanguard HARMONIC GENERATOR, CALLING MAYDAY, THE PRESENCE: Valve Bar and Venue, Tempe Idea Idea, FLATWOUND: Oxford Art Factory, Gallery JINJA SAFARI, ALPINE, Fishing: Oxford Art Factory, Live Art Space JUST FRAN: CLUB BELMORE KIDS AT RISK, THE KHANZ, MUSHU: Annandale Htl LATIN STYLE: Scruffy Murphys LIONEL ROBINSON: Dee Why RSL MANDI JARRY: PJ Gallaghers Parramatta

MARK TRAVERS: Club Five Dock Marty Mulholland: Northies Cronulla HtlSport Bar MATT PRICE: Harbord Beach Htl MIAMI HORROR: Beach Rd Htl Bondi MICHAEL MCGLYNN: Greengate Htl MUCHO MAMBO: 505, 280 Cleveland St Surry Hills MUSCLES: Mona Vale Hotel NICKY KURTA: Greenpark Hotel, Darlinghurst PANORAMA: 3 Wise Monkeys PETER HEAD: Harbourview Htl PHILADELPHIA GRAND JURY, HOWL, BEARHUG: Baroque Bar, Katoomba PUGSLEY BUZZARD: Lizottes, Dee Why ROSS WARD: gj’s Coffee Lounge RUSSELL NELSON: Railz On Regent, Redfern SAM & JAMIE TRIO: Maloney’s Hotel SHANE FLEW: Royal Prince Alfred Yacht Club SKYSCRAPER: Miranda Htl SOLSKYR, Satellite: Excelsior Surry Hills SOUNDS LIKE TWO: Coogee Bay Htl, Beach Bar STEVE EDMONDS BAND: Empire Htl STEVE TONGE: Observer Htl TALK OF THE TOWN: Wallsend Sporties THE CARPET BURNS: Sandringham Htl THE CHARLATANS, DEEP SEA ARCADE: Metro Theatre THE PLASTICS, COUSIN BETTY BAND, MADELINE ROGERS: The Wall (The Bald Faced Stag) THE SMITH: Artichoke Café Manly

TOM & DAVE SHOW: Novotel - Brewery Bar, Olympic Park TOM TRELAWNY: Marlborough Htl Trivia To A Tee with The Doctor: Muree Golf Club TRIVIA WITH RETA: Botany View Htl URBY, EL MARIACHI, Kitty Munroe, MONKEY GENIUS: World Bar Kings X

FRI 12

ACHTUNG BABY-U2 SHOW: Rooty Hill RSL AM 2 PM: CLUB RIVERS ANDY MAMMERS DUO: Mean Fiddler Htl ANNO DOMINI, KATABASIS, IMMORIUM, RESONATOR: Valve Bar and Venue, Tempe ANTOINE: Harbord Beach Htl ARMCHAIR TRAVELLERS DUO: Blacktown RSL B.J: Revesby Workers, Skyline Lounge BARONESS, AKANAME: Annandale Htl BARRY LEEF, PETER NORTHCOTE: Unity Hall Htl BEAU SMITH, NICKY KURTA: Greengate Htl BIG SHOTS DEULLING PIANO SHOW: Club Five Dock BLACK DIAMOND HEART CLUB: 3 Wise Monkeys BLACK ROSE: Matraville Htl BOBBY SINGH: Camelot BONJAH: Brass Monkey BRIDGE CITY JAZZ BAND: Club Ashfield CANYONS, BENI, PAUL GUY AND FRIENDS, DJ EMME, MATT GILPIN: City Htl Sydney CARINA: Oasis on Beamish CHARTBUSTERS: The Point Bowling Club CHRIS ALEXANDER TRIO: Rydges Htl Campbeltown CHRIS ORCHARD: Kareela Golf Club CHRIS PICKERING, CATHERINE BRITT: The Cabbage Tree Htl, Fairy Meadow CLUB BLINK feat., DAMAGE INC: St James Htl Sydney COSY VELOUR: Windsor Castle Htl Newcastle COVERGIRL: Coogee Bay Htl, Beach Bar DANIEL LISSING DUO, MARK DA

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COSTA AND THE BLACK LIST: Crows Nest Htl DAVE WHITE EXPERIENCE: Bull & Bush DAY OF THE MEERKAT, BILLY GOAT & THE MONGRELS, THE VIRGIN THURSDAYS: Excelsior Surry Hills DIRTY DEEDS - AC/DC SHOW: Bombaderry Htl DOC NEESON: Notes, Newtown DREW MCALISTER: Macquarie Htl, Liverpool DUSTTONES feat…, HERMITUDE, DJ ABILITY, MIKE WHO: Beach Rd Htl Bondi ELECTRIC EMPIRE: Melt Bar Kings X ENDLESS SUMMER BEACH PARTY: Narrabeen Sands EPIC DJS: FOTHERINGHAMS HOTEL EXILE ON MAIN STREET-ROLLING STONES TRIBUTE: The Basement FALCONA FRIDAYS, FALCONA DJ’S: Kit & kaboodle, Kings Cross FEVER GIRLS: Hotel Gearin, Katoomba FULL SWING: Lane Cove Country Club FUNKTION: Marlborough Htl GARY JOHNS: Novotel - Brewery Bar, Olympic Park GEORGE BENSIN, SYDNEY SYMPHONY ORCHESTRA: Sydney Opera House GET THE PARTY STARTED-THE PINK SHOW: Club Menai GLENN RICHARDS (AUGIE MARCH), BRIDEZILLA, THE HONEY MONTH: Metro Theatre GREEN DAY SHOW: Scruffy Murphys HAPPY HIPPIES: Jannali Inn HEATH BURDELL: PJ Gallaghers Drummoyne HENDRIX & HEROES: Springwood Sports Club HIP NOT HOP: PJ Gallaghers Parramatta HP DUO: South Leagues Club IDOL KARAOKE: Carousel Inn Rooty Hill INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club ISAAC AESILI, RACHEL FRASER, RAY MANN THREE: Tone, Sydney JACKS IN BLACK: Penrith Gaels JAMES MORRISON, EMMA PASK: Joan Sutherland Perf Arts Centre, Penrith JARED SCOTT: The Pub JED ZARB: Rocksia Hotel JEFF DUFF TRIO: Kirribilli Htl

JESSE: Crown Htl City JJ DUO: Engadine RSL JO ELMS: Club Umina JOHN GLOVER, BEN MORRIS: East Leagues JUDY COLLINS, CHRIS BAILEY: Wests Leagues New Lambton KEVIN BORICH: The Vanguard KIDS AT RISK, BABA O’RILEY, THE BOOK OF SHIPS, THE MONEY SMOKERS, RAY RAY RAY & THE JETSONS, BLAME RINGO, ALPHABET CITIES, + DJ’s: World Bar Kings X KOTADAMA: Warners at the Bay KUNVUK: Newtown RSL LE COVER BAND: Albion Hotel Newcastle LIME SPIDERS, HAPPY HATE ME NOTS, INFAMOUS GROUSE: Sandringham Htl LIQUID SKY feat., DJ BAM BAM, VAMP DJ CREW, + HEAPS MORE!: Candys Apartment LUKE DIXON: Ettamogah Htl MAD SEASON ‘MATCHBOX 20 SHOW’: Penrith Htl MADE IN JAPAN, THE FUTURE PREHISTORIC, BETTY AIRS: Oxford Art Factory, Gallery MADE RADIO: Exchange Htl Newcastle MANDI JARRY TRIO: Woolloomooloo Bay Htl MANGO BALOON, The Rescue Ships: 505, 280 Cleveland St Surry Hills MARK B: Matraville RSL MARK TRAVERS: Australian Hotel & Brewery, Annangrove MATT JONES: Parramatta RSL MATT PRICE DUO: Penrith Panthers, Fluid Bar MIRAMAR, THE MY TYS, THE AUTHER: The Wall (The Bald Faced Stag) MISSION IN MOTION, VALENCIA: Oxford Art Factory, Live Art Space MITCH ANDERSON: Pyrmont Bridge Hotel MM9, THE DEAD LOVE: Fitzroy Htl Windsor MUDDY FEET: Brewhouse Pub St Marys MUSCLES, PURPLE SNEAKERS DJ’s, CASSIAN: The Gaelic MYSTERY GUEST: Richmond Club ONE HIT WONDERS: Wentworthville Leagues

PETE HUNT: Kro Bar, East Leagues Club, Bondi Junction PHIL SPILLER: Artichoke Café Manly PHILADELPHIA GRAND JURY, HOWL, BEARHUG: Cambridge Htl Newcastle PURPLE SNEAKERS feat., SECRET SPECIAL GUEST DJ SET, TOKI DOKI, M.I.T, BEN LUCID, Fantomatique: Gladstone Htl RADIOACTIVE: Hotel Jesmond RAFFLES: Botany View Htl REBECCA JOHNSON BAND: Terrey Hills Tavern RENAE KEARNEY: Chatswood RSL SARAH PATON, GOODNIGHT DYNAMITE: Observer Htl SHADE OF RED: Mosman RSL SINGLED OUT: R.G.McGees, Richmond SKYSCRAPER: Vineyard Htl SOAP OPERA: Brighton RSL SOUL NIGHTS: Tokio Hotel STOLE & THE BLACK TRAIN BAND: Eastside Arts Paddington SUPER DRIVER: Customs House Sydney SWAP, NEW VINTAGE, DJUNGLE JEUCE: Manly Fishos TED NASH: O’Malleys Kings X TERRY LEONARD: Dubbo RSL THE ATOMS: Jewells Tavern, Jewells, Central Coast THE BOOK OF SHIPS, BABA O’RILEY, THE MONEY SMOKERS, KIDS AT RISK: Mum @ The World Bar THE CHESTNUTS, EDENS MARCH: Beach Hotel THE CRUISERS: Wallsend Sporties The Dennis Boys Band: Petersham Bowling Club THE JASON BRUER BAND: The Sound Lounge Seymour Centre THE LEVYMEN: Club Lemon Tree THE POD BROTHERS: Parramatta Leagues THE RADIATORS, LIONEL ROBINSON & THE IN CROWD, JAMES PARRINO: Dee Why RSL THE SHUFFLE BOYS: Belmont 16ft Sailing Club THE SNOWDROPPERS, THE BEARDS, THE DELTA RIGGS: Manning Bar Syd Uni THE STONE PARADE, THE JONES RIVAL: Bizzos - Caringbah THE UNDERTONES: Cronulla Sailing Club THE ZILLERS: Belmore Htl Newcastle TOM & DAVE SHOW: Hillside Htl Castle Hill TOM TRELAWNY: Orient Htl


THE DRUM MEDIA 9 NOVEMBER 2010 • 79 •


gigs@drummedia.com.au

9 - 15 NOVEMBER 2010 TROY CASSAR DALEY, ADAM HARVEY: Mingara Rec Club TROY KEMP: Cessnock Supporters Club WILDCATZ: Campbelltown Catholic Club ZOLTAN: Town Hall Htl Balmain ZUCKER DJ: Nags Head Htl Glebe

SAT 13

24 HOURS: Warners at the Bay 4-TUNE: Gosford RSL AAMAZING ENTERTAINMENT KARAOKE: Parramatta Leagues ALEX K, SUNSET BROS, OUTSOURCE, RATA, STEVE PLAY, + HEAPS MORE!: Plantation Bar AM 2 PM: Panania RSL ANDY MAMMERS: Quay Bar, Sydney ANDY MAMMERS BAND: Crows Nest Htl ANGRY ANDERSON & THE JUNKYARD DOGS, BLACK LABEL, BALLSHOOTERS: CCS HOTEL CAMPBELLTOWN ANNE RIDGWAY, RACZ AND WATERS, THE CREATURES ROSE: Fairlight Acoustic Lounge ARMCHAIR TRAVELLERS DUO: Belrose Hotel BACK TO THE 80’S: Bull & Bush BEK JEAN STEWART, PERRY KEYES: Notes, Newtown BELLA KALOLO, RANDA AND THE SOUL KINGDOM, NADEENA DIXON: The Basement BEN FINK AND THE STRING DRUM BAND: 505, 280 Cleveland St Surry Hills BERNIE SEGEDIN TRIO, DEAN HAITANI DUO: Dee Why RSL BETH ROBERTSON: Windsor Castle Htl Newcastle BILLY JAMES: Hotel Jesmond BLISS BOMB: Wentworthville Leagues BLOW: Cronulla RSL BLUE MOON QUARTET: Fairfield RSL, Supper Club BONJAH: Beach Rd Htl Bondi

BREAKING ORBIT, SLEEPMAKESWAVES, DELSANTO, BEAUFIELDS: Annandale Htl CAMBO: Sir Joseph Banks Hotel CARLOS ZARATE, TIM CULBERT, VICTOR DE SOUSA, CHROME NEXUS, THE MAD EXPERIENCE CREW: The Oxford Hotel, Darlinghurst CARNIVAL MEAT, GENERAL DISARRAY, EMPTY, THE JUKEBOX ZOMBIES, Second Nation: Valve Bar and Venue, Tempe CHRIS ALEXANDER: Bass Hill RSL Club CHRIS PATON: Northies Cronulla Htl COFFIN BROTHERS: The Sound Lounge Seymour Centre COMEDY ALLSTARS, MERRICK WATTS, PETER HELLIAR, AKMAL, + HEAPS MORE!: Enmore Theatre DAN LAWRENCE: Newport Arms Hotel DAN MURPHY, JOHAN KHOURY, MARK ALSOP, RADO: Phoenix Bar, Exchange Htl DANGER COOLIDGE, ANGIE VON HELLE, DEMONIKA, CUTTHROAT, + more: Sly Fox Htl Enmore DAVE WHITE EXPERIENCE: Mean Fiddler Htl, Woolshed DAVID AGIUS TRIO: Maloney’s Hotel DIRTY DEEDS - AC/DC SHOW: South Hurstville RSL DISCO DISCO feat., EMBER, ZOMG! KITTENS!, BULLOCKS, + HEAPS MORE!: Candys Apartment DJ DELICIOUS: Shelbourne Htl DORA D TRIO: Australian Hotel & Brewery, Annangrove DOUBLE TROUBLE: Coogee Legions DR LOVE: Cessnock Supporters Club ELEVATION-U2 SHOW: Kiama Leagues EMMA HAMILTON: Stamford Grand Nth Ryde ENDLESS SUMMER BEACH PARTY: St Marys Leagues EZIO DE ANGELIS PSYCHIC MEDIUM: Revesby Workers, Whitlam Theatre FUNKTION: Scruffy Murphys GARY JOHNS: PJ Gallaghers Drummoyne GEROGE BENSON,

PEABODY: SATURDAY 13, HOTEL GEARIN SYDNEY SYMPHONY ORCHESTRA: Sydney Opera House GHETTO DISCO feat‌, HOODLMZ, JAMIE WHAT, SEBY IGLA, STICKY BEE, DAN AT NIGHT, CHRIS LASEK: Q Bar Darlinghurst HAEZER, REDIAL, NADISKO, SMACKDOWN, OBEY, RA, GENEDEN: Oxford Art Factory, Live Art Space HAPPY HIPPIES: Ettamogah Pub HEATH BURDELL: Clovelly Htl HENDRIX & HEROES: Heritage Htl HITMEN, DECLINE OF THE REPTILES, THE COOL CHARMERS: Jets Sports Club, Tempe HUE WILLIAMS: Avoca Bowling Club Idol Gossip, DJ SONIC: Belmore Htl Newcastle IGNITION: 3 Wise Monkeys ILLYA, DANIEL FARLEY, JAMES TAYLOR, RAYE ANTONELLI, MORIARTY, ADAM BOZZETTO, FOUNDATION, + HEAPS MORE!: World Bar Kings X INCOGNITO: Club Lemon Tree INFUNKTIOUS: Bay Hotel INSTANT REPLAY: Kurnell Rec Club JACK DERWIN: Artichoke CafÊ Manly JAVA QUARTET, BOBBY SINGH: Cockatoo Island JED ZARB: Town Hall Htl Balmain JELLYBEAN JAM: Guildford Leagues JJ DUO:

Courthouse Htl JOEY & THE BOY: Revesby Workers, Skyline Lounge JOHN MORRISON, JACKI COOPER: Joan Sutherland Perf Arts Centre, Penrith JOHN WILSON: Wallsend Bowling Club JONNY GRETSCH’S WASTED ONES: Carslie Castle Hotel KEEP THE FAITH - BON JOVI SHOW: Lithgow Workers KEL-ANNE BRANDT: Dubbo RSL KING FAROOK: Sandringham Htl KRAFTY KUTS, SKOOL OF THOUGH: Great Northern Byron Bay LE COVER BAND: South Leagues Club LEMON SQUEEZIN’ DADDIES, TROY CASSAR DALEY, ADAM HARVEY: Belmont 16ft Sailing Club LIVE SPORT: Botany View Htl LOCKDOWN, GET REAL, TAKEN BY FORCE, AFTERMATH, VOCAL WEAPON: Bizzos - Caringbah LOLO LOVINA: The Vanguard LUKE DIXON: Waterworks Htl, Botany Macchiato: Lewisham Livehouse MAD COW: Blacktown RSL MANDI JARRY: Greengate Htl MANI, EXZILES, NICK TOTH, LORD GEE, KIZITO MARLEY, DJ FASMWA: Tone, Sydney MARK TRAVERS: PJ Gallaghers Parramatta MATT PRICE: Woolwich Peir Hotel MATT SEABERG, DAVE STEVENS: Observer Htl MICKEY PYE: Harbord Beach Htl

MISSION JONES: Canterbury Hurlstone Park RSL NICKY KURTA TRIO: Kirribilli Htl NORTHERN SOUL: The Gaelic NOVA TONE: Miranda Park NOVATONE: Miranda RSL OCTIVE: Taren Point Htl PANORAMA: Paddy Maguires Haymarket PARTY VIBE: Rocksia Hotel PAUL SUN, ALEX COMPTON, JOHN BLENKHORN: Riverside Girls High School PEABODY, SISTER JANE: Hotel Gearin, Katoomba PETE: The Belvedere Htl PHILADELPHIA GRAND JURY, HOWL, BEARING: Metro Theatre PHONIC AIR, THE CURSE OF EVE, MAUX FAUX: Excelsior Surry Hills REBECCA JOHNSON BAND: Ingleburn Htl SHANE FLEW: Welcome Htl Balmain SHARRON BOWMAN: Brewhouse Pub Marayong SHOOT THE CAT: Club Five Dock SKYSCRAPER: Novotel - Brewery Bar, Olympic Park SKYZ THE LIMIT: Penrith Gaels SOUNDS LIKE TWO: Parramatta RSL SUNS OF SU, MERCURY SKY, CALLING MAYDAY, EMMALOUISE: Manly Fishos SUPERJAM: Exchange Htl New-

castle TED POLEY, WHITE WIDOW, + GUESTS: The Wall (The Bald Faced Stag) THE ART, CHICKS WHO LOVE GUNS, THE GO ROLL YOUR BONES, FAMILIA: Spectrum THE CONSCIOUS PILOTS: The View Factory, Newcastle THE ELTON JACK SHOW: Ettalong Beach Memorial Club THE HAPPY HIPPIES: Ettamogah Htl THE NOUGHTIES: Coogee Bay Htl, Beach Bar THE SHOOTERS PARTY, JOSEPH LIDDY AND THE SKELETON HORSE: Oxford Art Factory, Gallery THE ZIPS: Chatswood RSL TOM SKOLARIKIS: Woolloomooloo Bay Htl TOM TRELAWNY: Overlander Htl TRILOGY: Richmond Club TWO MINDS TRIO: Mercantile Htl WARDS XPRESS: Fitzroy Htl Windsor We Love Indie: Forbes Hotel WILDCATZ: Marlborough Htl YUKI KUMAGAI & JOHN MACKIE, PAUL FURNISS, JACK WIARD, MARTIN HIGHLAND: Wollongong Golf Club

SUN 14

2 DAYS HITS: Harbord Beach Htl ANDY MAMMERS DUO: Cronulla RSL ANTOINE: O’Malleys Kings X ARMCHAIR TRAVELLERS DUO: Mean Fiddler Htl BEN DAVIS TRIO: Gymea Bay Hotel

$MFWFS$PMPVSGVM $POGJEFOU:PV &YQSFTTZPVSJOOFSTFMGXJUIBNPVTFGSPNUIF -PHJUFDI-JNJUFE&EJUJPO4QSJOH4VNNFS $PMMFDUJPO"WBJMBCMFGPSBMJNJUFEUJNFPOMZ &BDIXJSFMFTTVMUSBDPNQBDUNPVTFJTEFTJHOFE UPHJWFZPVDPNGPSU DPOWFOJFODF BOEBO FYUSBTQMBTIPGGVOUPNBUDIZPVSNPPE

XXXMPHJUFDIDPN

• 80 • THE DRUM MEDIA 9 NOVEMBER 2010

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BLUES SUNDAYS: Artichoke CafÊ Manly BOTTLEROCKET DUO: Gosford RSL CARL FIDLER, DAN LAWRENCE, MIKE BENNETT: Observer Htl DAN SPILLANE: Coogee Bay Htl, Beach Bar DAVID ANGIUS DUO, MATT PRICE: Ettamogah Htl DISCO PUNX: World Bar Kings X DON HOPKINS: Dee Why RSL ELEVATION-U2 SHOW: Orient Htl FRANK WAKEWOOD: Wallsend Sporties GARY JOHNS: Woolloomoolooo Htl HOUSE OF BLUES: Botany View Htl HUE WILLIAMS: Kincumber Htl JOYCE COLLINS: The Belvedere Htl JUDY COLLINS, CHRIS BAILEY: Glasshouse Theatre, Port Macquarie KASEY CHAMBERS: Civic Theatre Newcastle KATRINA BURGOYNE: Dee Why Hotel KING TIDE, SWAT DJS: Beach Rd Htl Bondi LEANNE PARIS TRIO: Pyrmont Bridge Hotel LOUISE MARIE: ROCKSALT LOVE THAT HAT: South Leagues Club MANDI JARRY: Miranda Htl MARK WELLS: Murray’s Brewery MATT JONES DUO: Hillside Htl Castle Hill NEWTOWN FESTIVAL AFTER PARTY: The Vanguard NICKY KURTA TRIO: Crows Nest Htl PAUL SUN, MATT LAMB, JOHN BLENKHORN: Organic Food Markets, Marrickville PETE: Richmond Club RECKLESS, DAVE WHITE DUO: Northies Cronulla Htl ROSE WINTERGREEN, HANNAH ACFIELD: Valve Bar and Venue, Tempe (Afternoon) SCREAMING SUNDAY: Annandale Htl SHANE FLEW: Kamma Wine Bar, Neutral Bay STEPHEN R CHENEY, TY: Belmont 16ft Sailing

Club STEPPIN’ OUT: Overlander Htl STEVE EDMONDS BAND: Heathcote Hotel STORMCELLAR: Macquarie Arms Htl SUITE NONCHALANT, THE GILBERT COUNTRY UNION CLUB, THE BERNIE LOMAX FIVE: Valve Bar and Venue, Tempe THE BONETTES, MICHAELANGELO AND SAINT CLAIRE, THE HANDLEBARS: Red Rattler, Marrickville THE PHONIES, Daily Meds, MASSEEMA, NIKKITA, DJ LUKE PRESTO: Sandringham Htl THE TURNING TIDE, FALLING FOR BELOVED, TENPENNY TOWERS, THE RABID TERROR, ENTHRONE, BENEATH THE ICE: Lucky Oz Tavern, St Marys TORI DARKE: Cessnock Supporters Club TURNER & SIMMONS: Forest Lodge Htl, Glebe WARDS XPRESS: Tudor Hall Hotel WHOPPING BIG NAUGHTY, + GUESTS: Excelsior Surry Hills WILDCATZ: 3 Wise Monkeys ZOLTAN: PJ Gallaghers Parramatta

MON 15

BERNIE: Observer Htl

IAN DATE: 505, 280 Cleveland St Surry Hills John Hill: Dee Why RSL MANDI JARRY: Coogee Bay Htl MANIC STREET PREACHERS: Metro Theatre SONGSALIVE, NatashaEloise Andrade, Manager, RANI’S FIRE, SAM NEWTON, Sam Jones: The Basement SONGWRITER SESSIONS: Excelsior Surry Hills


THE DRUM MEDIA 9 NOVEMBER 2010 • 81 •


BROUGHT TO YOU BY

BEHIND THE LINES WITH MICHAEL SMITH BTL@STREETPRESS.COM.AU

VIRGIL DONATI DRUM CLINIC A US resident since 1996, Melbourne-born drummer extraordinaire Virgil Donati started learning to play a month shy of his third birthday and first made his name aged 15 in pop/rock band Taste. Four years on, he took time out to study in the US, returning aged 21 to become an in-demand session player across several genres before joining Southern Sons, featuring on all their albums before the band folded and he once again headed for the US to establish himself as one of the most distinctive practitioners, working with artists as diverse as Steve Vai, Planet X and Mick Jagger, as well as his own prog/fusion projects. Drum Scene, in conjunction with Allans Music and Billy Hyde, is presenting a workshop by Donati at JMC Academy, Surry Hills, 6.30pm Thursday 25 November.

ACKERMAN SPEAKS American Grammy Award-winning guitarist, composer, producer and founder of Windham Hill Records, Will Ackerman, is coming out to perform at The Basement Circular Quay Sunday 21 November with local Central Coast-based instrumental composer and pianist Fiona Joy Hawkins. He’ll be getting here a little earlier so he can be the next guest at APRA’s Songwriter Speaks session, 6-8pm Friday 19, at which Hawkins will also be talking about how an independent artist can take their music to the world and how she became a Windham Hill artist. A second talk will take place at The Basement from 3pm on the day of the gig, but the free APRA evening will run on Level 4 of the APRA/AMCOS office in Broadway. Bookings are essential so RSVP by logging into the APRA website.

JANDS A WINNER Local production and distribution company Jands picked up four product category awards at the second annual Australian Musician Music Gear Awards, winning Best Mixer for the Soundcraft FX16ii, Best Speaker/Monitors for the JBL EON 515 S, Best Live Microphone for the Shure Beta 58A and Best Studio Microphone for the Shure KSM313.

SONGCATCHER IPHONE APP It took him a few years to develop but Sydney-based singer songwriter John Vella has come up with an iPhone app he’s called SongCatcher, that boasts ten layers of recording, apparently the most of any app to date and the only app to have both Audio and MIDI recording, making it the first professional recording studio for the iPhone. Among its features are a resizable keyboard to play, ten different instruments (with more available through the iStore), the ability to turn your voice into any instrument, a MIDI editor, a mixer and two separate interfaces individually tailored for the novice and expert. Vella reckons that with SongCatcher you can develop ideas wherever you are and email them home so that they’re waiting for you when you get back to your home studio or next rehearsal.

NEW STUFF FROM ALBION Based in Huntingdon in England, Albion has been manufacturing professional PAs and amplifiers for some years, having been set up by guitarist Steve Grindrod, who was the former director of engineering at Marshall Amplifiers. The Albion range of amplifiers are now being distributed in Australia through LSW. This now means the new Albion AG Series is now available locally, ranging from the AG10 tenwatt amp with 8” speaker through to the AG80DFX 80-watt twin-channel amp with two 12” speakers, 16 programmable digital effects and footswitch, featuring a valve preamp along with a high-voltage Field Effect Transistor, which gives the warmth and reliability of a high-end amp. Also newly arrived are the Albion TCT Series of valve guitar amps. The heads are twin-channel units ranging from 35 to 100 watts, with either two 12” or four 12” speaker cabinets, all heavy-duty construction and again designed and built in-house.

SOUND BYTES Part of the reason keyboards player Gregg Allman hadn’t recorded an album in 14 years was the passing in 2002 of his longtime producer Tom Dowd, but meeting T Bone Burnett (Elton John & Leon Russell, John Mellencamp, Elvis Costello) was obviously the right thing as Burnett has produced Allman’s latest album, a collection of blues covers titled Low Country Blues. Formerly known as Captains, the now LA-based, Sydney-spawned WAZU is a Darkwave Lo-Fi duo currently sitting at #20 in The Deli Magazine LA charts courtesy the music they piece together in their shared Hollywood room full of computers, instruments, hard- and software, though they’re heading into their favourite North Hollywood studio to record their EP for a planned Australian tour next year. • 82 • THE DRUM MEDIA 9 NOVEMBER 2010

SAYING GOODBYE

THE PASSING OF BILLY THORPE DIDN’T HALT PRODUCTION ON WHAT WOULD BE HIS LAST MUSICAL EPIC. PRODUCER DANIEL DENHOLM TOOK THE REINS AND COMPLETED THORPE’S VISION AND EXPLAINS THE FINISHING TOUCHES TO MICHAEL SMITH.

W

hen Billy Thorpe was unexpectedly struck down in February 2007 by a massive heart attack, he left an unfinished recording project that had consumed him for seven years, an opus based on his experiences and impression of Morocco. The task of bringing that sprawling project, Tangier, together into a coherent representation of Thorpe’s grand vision fell to producer/engineer Daniel Denholm. “He had an epic vision for it, so that just had to be carried out really,” Denholm of Point Blank Productions, whose credits include working with Max Sharam, Frente, The Cruel Sea, Alex Lloyd and The Whitlams among others, explains. “Part of his working method had been making pretty detailed notes. I was contacted by [Tangier Executive Producers] Amanda Pelman and Michael Chugg and they gave me all the hard-drives to go through to see how hard it would be and what it would take to finish it.” Thorpe had his own recording studio, Electric Mountain in Surry Hills, where he recorded not only his own material but likeminded artists like Rose Tattoo and The Poor. “It was all on Pro Tools, but it was all across various sessions, with one song often spread across three or four or more sessions, so I put them all together to see which ones worked. Quite often they’d be different tempos so they wouldn’t fit together. Had I walked in and Billy was still alive, I’d want to go back and listen to everything he’d done and then make an assessment. So I just went in with that same approach. It’s not heavily edited – it’s pretty much full takes. “So going through them, on some songs for instance we didn’t have finished vocals but we did have guide vocals from early demos that I could fly in. He also had keyboard versions of orchestral parts that he wanted to include – [the late] Jackie Orszaczky had worked really hard on the arrangements with Billy and they were done in MIDI format, so I’d maybe revoice a few things and then expanded them for full orchestra. Also his bass

load of drumming overdubs, which was sad but also really inspiring. I felt part of saying goodbye to him was being to play on what will be his final album.” “Then on my way to mixing it in America,” Denholm continues, “I went via London and got Connie Mitchell to sing on the last song, because it just needed a voice [to duet] with him – it didn’t need massive backing vocals, just a strong powerful character.”

DANIEL DENHOLM (CENTRE) WITH AMANDA PELMAN (TANGIER EXECUTIVE PRODUCER, LEFT) AND JACK THOMPSON (TANGIER NARRATOR, RIGHT) playing was wicked. Some songs there was a lot to do, but some songs were virtually finished. Yet quite often too there were different versions of the song and I just had to make a decision on which version to ally myself with and take to the end.” Taking the original sessions recorded at Electric Mountain, Denholm then worked on the files at his own studio. “Then we went into Trackdown [Digital in Fox Studios] to do the orchestra – though [violinist] Richard Tognetti and [oud player] Joseph Tawadros played here at my house – and then we went to Studios 301 [in Alexandria] to do the backing vocals with Vanessa Amorosi, Melinda Schneider, Brian Cadd and Ian Moss. I went to [Lahaina Sound in] Hawaii because Mick Fleetwood was an old friend of Billy’s, so we contacted him to see whether he wanted to put some drums and percussion on it and he loved the idea and he played on about four or five tracks.” “They sent a whole chunk of tracks to me here in Hawaii,” Fleetwood, describing his participation in the recording of Tangier, told me late last year prior to his Australian tour with his blues band in February, “and I laid down a whole

The album was then mixed by Tim Palmer, an Englishman who began his career as an assistant engineer in London in the early ‘80s working with Mark Knopfler and Dead Or Alive before moving into production and then mixing, working on albums by Mother Love Bone, Pearl Jam, The Cure and Concrete Blonde. “We just had a little studio set up in a hotel and I’d work through the night and get the tracks all edited up and ready for him to mix and he’d come to the hotel to pick me up in the morning, we’d load it up and he’d drive me back to the hotel to sleep, go back to [‘62 Studios] later in the day and hear the mix. He was fantastic; more than accommodating. Mastering was done at Sterling Sound in New York by Ted Jensen – he’s done stuff for me before but he does all Tim Palmer’s stuff – so we just went with him again.” Anyone who ever sat in on a session Thorpe was working on would have experienced the same kind of deafening decibel count that was his hallmark in the live context. “Well I’m a bit the opposite,” Denholm admits. “I kind of strain to hear it because I want to hear what’s missing. I can imagine the shape of it more when it’s really low. I run Dynaudio monitors and I have a big pair of Questeds too and then when I got to Tim’s studio I only really had a pair of Questeds and then we’d go for a drive round LA in his car listening to the mixes as we did them.” Billy Thorpe’s Tangier is out now through Sony Music

SHURE HEADPHONES SRH840 The Shure SRH840 headphones come from Shure’s high-end range. We all know their microphones, as anyone who has ever played a gig or rocked up to a rehearsal room unprepared has usually been given the SM58 – your standard heavy duty microphone. Well, they also do headphones. What impresses most about these is that the headphones are isolated or closed back, cutting out any background sounds that might interfere. They fit the ears well and when you’ve finished with them, they bend at the ears so you can store them away properly, which really helps as headphones tend to break as often as a pair of cheap glasses purchased at your local trendy shop. It’s the little things that count like input options to plug into your sound card or into your laptop or the nice “leather” pouch to store them away safely. As well, you can unplug the entire cord from the headset so if you have lead issues (which we all have from time to time), you can replace just the lead instead of the entire headset. Finally, there’s an extra pair of ear muffs in case you damage the original ones. They go for about $299RRP and are well worth the outlay. Comparatively to other brands on the market you’d expect to be up for something like $400, but perhaps with the dollar being the way it is we can finally start seeing some more affordable high-end gear in Australia. What you should be looking for in headphones and any studio monitors is a flat sound, not to heavy on the high and lows. They’ll comfortably handle a rough mix with as the SRH840s do produce a nice even sound, suitable to anyone with a portable studio, travelling musicians or the rehearsal studio for the next live demo playback. With these headphones, it would appear that Shure has made something as sturdy and durable as their signature mic. Logan Price For stockists head to www.jands.com.au/purchase/australian_dealers. Supplied by Jands www.jands.com.au

OVATION ELITE T ACOUSTIC BASS

SHURE HEADPHONES SRH840

OVATION ELITE T ACOUSTIC BASS The tone of this little beauty is perfect before you even plug it into your amp, which is as it should be when you’re looking at an acoustic instrument made by Ovation. Their speciality of course is the amplified sixstring acoustic and they bring their distinctive lyrachord construction and roundback design to the Elite T acoustic bass, while trimming down that roundback to a more manageable breadth to accommodate the bass player more used to the slimness of the solidbody electric bass. Similarly, the neck profile has been slimmed down, which makes for a good fast neck on which to play. It was easier to play sitting than standing, but that’s just because I’ve always been an electric bass player and I’m sure I’d feel just as comfortable playing it standing on stage after a couple of weeks. Enhancing the low and mid-range punch of the acoustic sound emanating from the instrument, or so the manufacturer explains, is a series of untrimmed holes of various sizes in a snazzy sort of floral pattern on the top left-hand side of the body, 11 in all, and since there’s no hole in the traditional place front and centre beneath the strings, the Ovation people have obviously

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worked out the sonic architecture for those 11 holes with the precision that gives the Elite T the beautiful tone mentioned at the beginning. The harmonics on the instrument I was given were spot on right across and along the fretboard, which runs to 20 frets under the E string and 24 under the G, though to be honest, neither top note is particular easy to either play or to ring all that clean a note out of, which probably says more about my fingers than the instrument. It’s the electric side of the instrument of course that makes it a useful addition to the rock/pop/folk/whatever armoury and the Elite T features the top-loading (literally, the whole unit pops out so you can replace the battery or whatever else needs fixing should it so require, sitting in the top of the body where you can adjust it easily as you play) Ovation Op-Pro, which includes a full onboard chromatic tuner, volumed control and three-band graphic equaliser. Once again, plugged the tone of this bass is just beautiful and there’s plenty of scope available to find exactly the tone you want at your fingertips before you even turn to your amp, which is very handy in performance. All up then, the Ovation Elite T Acoustic Bass is a lovely instrument, though how hardy it would be under heavy road use is a moot point – it would be interesting to see how it came out at the end of a gruelling Australian tour, as it seems such a delicate piece of equipment. I’d certainly ensure it travelled in a solid roadcase. Michael Smith For stockists head to allansmusic.com.au. Supplied by Allans Music + Billy Hyde, allansmusic.com.au


THE DRUM MEDIA 9 NOVEMBER 2010 • 83 •


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TEX CRICK PHOTOGRAPHY, a young WOLLONGONG based photographer looking for immediate work, will shoot PROMO or LIVE photographs for any local bands at cheap and affordable rates. View my photos here... www. flickr.com/photos/texcrick Contact Tex at: tex.crick@gmail.com

THE LAB STUDIOS

6663 Lilyfield. www.big-rock.com. au/artists

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ABSOLUTE BEGINNERS 4 GUITAR & KEYS

RECORDING STUDIOS

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City Recording Studio. Award winning songwriters and engineers. Ideal service for singers and songwriters wanting a quality recording of ideas.Logic Pro and ProTools,12 guitars,heaps of midi modules and outboard.5min from Central station. Call 8212-4522. iFlogID: 8861

Do You Want That Million Dollar Sound On A Small Budget! CityOfNineGates is a studio near Bondi Beach that specialises in Contemporary and Urban music. To hear samples of recent projects and see testimonials – www.cityofninegates.com For Pricelist- cityofninegates@gmail.com iFlogID: 9057

RECORDING SERVICES

We are experienced risk takers that not only know the rules, but also know when and how to break them! We have been engineering and mixing for over 15 years and have worked in Sydney’s top studios. We also have our own Mixing/Production studio called The LAB, located at the famous Level 7 studios which is decorated in some of the most appreciated vintage and modern gear in combination of a myriad of assorted software and plug-ins that provides our clients an incomparable advantage in the sense of both the analogue and digital domains. THIS IN COMBINATION WITH MANY STUDIO CONTACTS AROUND TOWN, YOUR PROJECT WILL SOUND GREAT AND PROFESSIONAL WHILST WORKING WITHIN A BUDGET!! For a full list of our credits see myspace. com/mixinthelab. Contact us on 0424 462 945 or Email at thelab1@ hotmail.com iFlogID: 6285

The MUDA Studio is offering a “Production Pack” including Writing, Recording, Mixing and Mastering for $300 per track ONLY. This pack is available for a period of time so hurry up and contact us at studio@ mudasutdio.com iFlogID: 9280

Complete Album & Demo Recording, Production, Instrumentation,CD Mastering. Pop, RnB, Country, Gospel etc. I’m comitted to acheiving for you the highest quality in a creative, friendly environment. 30 years of experience. Email info@johnertler.com or visit www.johnertler.com for more info and to hear examples of my work. ph 02 9654 8143 mob 0400 323 982

Would you like your EP mastered for $450 (ex GST)? Or how about your album mastered for $900 (ex GST)? Matthew Gray Mastering - world class mastering from where you are right now. Check out the blog for details matthewgraymastering.com/ blog. iFlogID: 8924

REPAIRS ROCKIN’ REPAIRS - GUITAR TECH

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Recording Studio in Wollongong! Professional equipment (Pro tools, Rode, Audix, TLAudio). Record your EP/Album for $40 p/hour or $280 p/ day. Email: studio@silversound.com. au Phone: 0434246064

iFlogID: 8869

A four week course that gets you playing fast. Individual tuition. Chords, Rhythm, Songs, Theory. 25 years specializing in teaching beginners! Gift vouchers available. Call David on 96603877 Annandale/ Inner West area. iFlogID: 6426

BASS FOR BEGINNERS

Sean Carey (ex Thirsty Merc) is now the In-House Producer/Engineer at the original TRACKDOWN Studios in Camperdown. Multi-platinum artist with over 10 years of production experience. Vintage guitars, mics, gear. Get the most out of your songs! www.myspace.com/seancareyproducer. Ph: 0424923888. iFlogID: 9141

Session Bass Player Andrew Challoner is available for any recording. Special offer - 1 track free for any new clients! Hear the difference a real bass player can make on your songs. www.andrewchalloner.com 0410-625-981 iFlogID: 8755

SONGRIMES STUDIO-INDIE SUMMER SPECIAL 5 SONG EP PACKAGE-$5500 INC GST INCLUDES: PRE-PRODUCTION MEETING/REHEARSAL 8 DAYS RECORDING PRODUCTION MIXING/ MASTERING 10 SONG ALBUM PACKAGE-$8800 INC GST INCLUDES: PREPRODUCTION MEETING/REHEARSAL 15 DAYS RECORDING PRODUCTION MIXING/MASTERING CALL: 0419 509 461 FOR MORE INFO songrimes@ songrimes.com iFlogID: 8999

TOYROOM guitar effects pedal modification. Modding Boss Vox Digitech Dunlop MXR EHX and more. E-mail greenguitargear@hotmail.com or visit www.toyroomguitareffects.com iFlogID: 9248

TUITION ************ITALIAN VIOLIN TEACHER************Years of experience, also AMEB. All levels welcome. West Ryde $30/half hour. 0415783160 or 1300 28 38 58 iFlogID: 8863

ABSOLUTE BEST GUITAR LESSONS Do what you’ve always wanted - get that guitar singing!From beginers to professional - studio & recording environment.Lifetime pro Chris Turner can get you there. Ph 9552

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Bass Tuition with professional bass player Andrew Challoner. Fun creative and relevant. Any style, age or ability. 1st lesson free! Northern Beaches/ North Shore. For more info see www. andrewchalloner.com. Ph Andrew on 0410-625-981 for your free trial lesson

all levels, all styles. fully qualified and professional tutoring. bachelor of music perf w/ hon. Mascot Eastern Suburbs area. check out www.musicteacher.com.au/peter-bursky/guitarlessons/ or email guitarpete26@ hotmail.com

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Blues/Rock Guitar Tuition with acreddited working professional guitarist. Blues, Rock, slide, open tunings, acoustic styles. Learn the playing styles of Clapton, SRV, Santana, Johnny Winter, Hendrix, Gary Moore, Albert King, Albert Collins, Freddie King. Phone no 0407906389. www. myspace.com/samuelvernonbuckley iFlogID: 8951

CONTEMPORARY SINGING & PERFORMANCE $30 half hour lessons in small recording studio (Leura). Singing, Performance, songwriting, beginner keys/guitar. JMC Academy graduate, (02)47842354 sing_with_ amelia@hotmail.com

CREATIVE GUITAR TUITION

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Guitar & Bass Tuition. Electric & Acoustic, Private one on one lessons, all age groups catered, beginners to intermediate. Theory, Rock, Blues, Slide, Finger Picking and Improvisation techniques. Phone Terry 0402 993 268. Sutherland Shire. GUITAR LESSONS with experienced and qualified tutor. Who has 20 years of studio and live performance. Rock, pop, jazz, etc. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 or email oa@olesart. com

iFlogID: 8873

Do you live to play? Whether you’ve just bought a new guitar or an old favourite is feeling a little faded, we’ll bring the best out of it! Rockin’ Repairs is based in Point Piper in Sydney, Australia and offers restrings, setups, upgrades and repairs for all guitars and basses; no matter what you play or how you play it, we’ve got the tools and techniques to breathe life back into even the most mistreated guitar. We treat every instrument individually; time, care and love is taken with each job to get the best from your guitar. We work hard to give you the feel and the sound you want. 0405 253 417 tara@rockinrepairs. com www.rockinrepairs.com

DRUM TUITION. Drum Tuition in Stanmore with a Billy Hyde trained teacher. Dip Ed, Dip Drums. All levels and all styles. Beginners Welcome! Call Lee: 0403307796

Equipped with 13 years of bass guitar and musical experience, Rachael offers an introductory level of tuition for beginning musicians focussing on areas of technique, music theory, rhythm and performance. Open to all ages. Bass ownership not essential, studio location Eastern Suburbs. Contact 0415273252 or rachael.rees@ hotmail.com.

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SEAN CAREY - PRODUCER

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Drum teacher in Wollongong, 10 yrs experience, Bachelor of music/ performance. $25 p/half hour. Rock, Funk, Technique, Recording. Phone: 0434 246 064 Email: studio@silversound.com.au

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**VOCAL RECORDING** $50 AN HOUR! PRO STUDIO IN SURRY HILLS INCLUDES ENGINEER! If you need good quality vocals for demos/ albums/auditions, simply bring along backing track/s or pre-recorded track/s to sing over! Call Danielle: 0425-213-721 blaco.recording@ gmail.com 5mins walk from Central Station

Drum Lessons Location: Gladesville Billy Hyde Drumming Academy Trained. 15 years experience, all ages, levels and experience. Home Studio. Michael Mob: 0402 663 469

iFlogID: 8825

GUITAR LESSONS

SINGING LESSONS - MODERN VOCAL Singing & Songwriting Lessons Rock/Pop/Indie/R’n’B/Punk. Signed artist with 10 years experience. Recorded over 100 times. Pay per lesson - no contracts. Lessons can be either at music school rooms at Gordon or in Wahroonga. Beginners through to experienced singers welcome. 1hr Lessons/Low Rates. Also open in school holidays! Call AJ on 0448-080-619 SINGING LESSONS Certified Speech Level Singing (SLS) Instructor. Learn the Technique of over 120 Grammy award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. www.myspace.com/mazvocalstudio Contact Maz: maz@mazmazak.com

GUITAR TUITION. STEVE MCKENNA Taught at AIM, GIT USA and London, Munich University, Sydney Conservatorium. Played with Joe Pass, Robben Ford, Mike Stern, John Scofield. All styles taught beginners to professionals. Many ex-students have been accepted into Sydney Conservatorium. Competitive rates. Lewisham. 0416 738 397. www.jazz-planet. com/smckenna. steviegtrplaye1@ optusnet.com.au

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SINGING LESSONS

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iFlogID: 6552

GUITAR, BANJO AND VOICE

Voice science is out there to help improve your singing quickly. One on one lessons in hi tech multi award winning studio with fully qualified singing and performance expert. First assessment FREE. Beginners and professionals. I Look forward to helping you find your voice. www. avic.com.au studio - 9588 2184 mob - 0414 453 066 Stephen Baker iFlogID: 8239

SINGING LESSONS

Voice science is out there to help improve your singing quickly. One on one lessons in hi tech multi award winning studio with fully qualified singing and performance expert. First assessment FREE. Beginners and professionals. I Look forward to helping you find your voice. www. avic.com.au studio - 9588 2184 mob - 0414 453 066 Stephen Baker

iFlogID: 9225

VOICE LESSONS

GUITARIST Australian Bands Only.Do you have A You Tube Rock Band Video you want to promote,if so Mike Hunt wants to promote it.Just send your link to admin attention Mike Hunt and we will do our best to list you for free worldwide at www.clearhunt.com iFlogID: 6007

Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We employ a range of industry professionals to insure that our products are of the highest industry standards. For more info visit www. kontrolproductions.com

We’ve made clips for El Duende, Line Drawings and Grace Before Meals. Get your band on Rage and Youtube, or make a video for your myspace page. Fantastic concepts and slick production that wont break your budget. www.dynamicscreencontent. com.au, facebook.com/dynamic. screen.content 0413555857 iFlogID: 9080

MUSICIANS AVAILABLE

18 Year old northern beaches guitarist specialising in metal, hardcore, death metal, deathcore and technical death metal available to join band or for session work. Have previous stage and studio experience and gear. 0403 483 960 iFlogID: 9082

19yr lead guitarist with 7 years experience playing guitar looking for openminded punk/metal/rock musicians to start youthful innovative band with attitude, based around inner-west as of start of next year. Must be open minded. No Screamers/hardcore. Call Ben 0448221479 iFlogID: 8865

Lead guitarist looking to form/ join a heavy metal band,on the central coast. Influences: Mercyful Fate, Judas Priest, Metallica,Iron maiden,Kalmah,Dethklok - Blake 0403138542

iFlogID: 9109

3 mid week inner Sydney original venues looking for original solo/duo acoustic acts and commercial rock acts. Acts touring interstate welcome. For more information contact: NowMuzik nowmuzik@gmail.com iFlogID: 9051

90’s covers band seeking bass player. covers include soundgarden,tool,greenday,rage against the machine. if you have the skills and good gear and transport. no time wasters rehearse once a week at wetheril park call grant on 0421005983 iFlogID: 8844

‘Alexi’ are looking for a reliable Bassist. We are an original Rock/Blues Band based in Wetherill Park. Must have own Transport and equipment. For more info about the band visit www.myspace.com/alexitheband. For an audition please call or sms 0415970079. iFlogID: 8812

Tired of paying exorbitant amounts of money for studios? Get professional quality guitar tracks done for your demo/album online. Contact for more info.

Bass player required for rock cover band for high end pubs and corporate work. Experienced, mature, professionals only. Starting committment is two nights per week, every week. Serious, talented players call Peter 0418603619

OTHER

BASSIST NEEDED FOR SPACETICKET

iFlogID: 8711

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PRO TROMBONIST AVAILABLE

BASS PLAYER Bass Guitarist + Double bass player available. Mature age, excellent gear + heaps of experience in most kinds of music. Specialise in country, country rock and swing etc. Working bands would be preferred. 02 97590970 BASS PLAYER ~ available for working band. Pop/rock/country/folk, anything melodic. Long experience, strong harmonies, some lead vox [+originals] if wanted. Not young but suit experienced, enthusiastic, young attitude band. [Have some daytime Sydney based work] razza50k@ gmail.com [Epping] iFlogID: 9017

Bass player available for working situations, Mature age, high standard + the best gear. Specialise in 50’s to 90’s music. Huge repertoire. 0403357019 iFlogID: 8220

Professional Bass Player Andrew Challoner is available for gigs; covers or originals, casual or permanent. Great groove/feel, quality gear, experienced in any style, large repertoire, reasonable rates and a good attitude! Also available for recording and tuition. 0410-625-981 www. andrewchalloner.com

Professional Trombone player available for gigs, session and tours. Jazz, Funk, Latin, Pop, Rock and Classical. Can sight read, improvise and write parts. Contact Brendan 0409833827. iFlogID: 4099

SAXOPHONIST AVAILABLE. Experienced saxophonist based in Sydney is looking for bands and studio sessions. Jazz, funky, afro, reggae, latin, rock, folk. If interested contact me at 0410041979. Cheers. Lorenzo iFlogID: 8733

SINGER JASON AYRES

Bassist needed for psychedelic grunge band. We have over an albums worth of material that we can teach you but we also want someone who is able to write their own baselines down the track. Ability to play and rehearse, decent equipment, and a good attitude is a must. We plan to release an album when we have found someone and tour, so time wasters need not apply. To listen to our stuff go to www.myspace.com/ spaceticket iFlogID: 9212

Brisbane alternative band ‘Pink Bullet’ are looking for a tight and energetic bassist with varied musical tastes and ability to play different styles. Songs written, new EP ready to be launch soon,long term applications only please. iFlogID: 8665

CALLING ALL BASS PLAYERS Sydney Fusion Band , The Three Wise Monkeys has just launched a Free iPhone app for a limited time. Search on your iPhone APP store for “Three Wise Monkeys” or go to www.threewizemonkeys.com

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DRUMMER Professional Drummer Available for Gigs, Recording Sessions and Lessons. Professional Drum tracks and Band Charts supplied for use at Rehearsals and Live Performance. www.steeledawson.com iFlogID: 8614

Sing with the TONE, POWER, CONTROL and RANGE you’ve always wanted! Achieve natural breath support & dispel vocal mysteries. The Deva Method, developed by Hollywood Celebrity Voice Coach Jean-

~Rock band Black Matches are seeking a good quality bass player to complete their four piece. Originals ready to go and keen to gig asap! If you’re like minded with good gear/ transport please contact Simon on 0414859684. Demo’s at www. myspace.com/blackmatchesband

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TEACHER TO THE STARS STEVE OSTROW VOCAL COACH who started the careers of Bette Midler, Barry Manilow, Peter Allan, and countless others now accepting limited amount of private students all styles pop, classical, beginners welcome. Call me on 0408461868

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for gigs,tours,sessions etc. Good equipment, professional attitude. Many years pro experience working with well known artists. Please check out my website, www.mikehague. com Ph 0419760940

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iFlogID: 8241

TUITION WITH BROTHER JOHN (The Blues Preachers). Fingerstyle guitar, open tunings, slide, flat picking, improvisation, country, blues, folk, celtic styles, music theory, ear training, singing and vocal harmonies. Banjo: up-picking and three finger picking. Mandolin, songwriting and arranging. All styles from Doc Watson and Mississippi John Hurt to Robert Johnson and Eric Clapton. www.acousticfingerpicking.com, www.rosestudios.com.au, mob:0431953178

HAVE YOU SEEN MIKE HUNT

MUSIC VIDEOS - B.Y.O. concept or let us serve you up something fresh! Let’s grab a cuppa and flesh it out ;) www.sketchbook.tv

GUITAR TUITION Petersham/ Leichhardt/ Sydney. Real guitar for committed students. Attentive, one on one guitar lessons with Craig Corcoran. Fully equipped music studio in centrally located in Sydney’s Inner West. Learn Jazz, Rock, Blues, Contemporary , Funk, Latin , Gypsy, Folk and other popular styles. Learn at a pace and in a direction you want to go. Beginners to advanced, all aspects of guitar are supported. Incorporate a practical approach, using rhythm, harmony, melody and improvisation. Learn theory and all about scales and modes and how to apply them effectively. Learn songs and practice techniques. Ear training, song writing, composition and sight reading. Learn all about chords, arpeggios, substitutions, synonyms and inversions. Alternate tunings, slide guitar, finger style, chord melody and world music. Study your favourite players and learn how to develop your own sound. Comfortable, air-conditioned studio with huge resource library and comprehensive digital recording available to those wanting to demo. Days and evenings, Monday to Thursday and Friday, Saturday day. All guitar lessons are private. Ask about special introductory offer and gift vouchers. Contact Craig Corcoran: 0430344334 (02)95726702 creative-guitar@hotmail.com www. creativeguitar.com.au

BASS PLAYER

VIDEO / PRODUCTION

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Guitar lessons available from a Conservatorium trained musician. Most styles taught. Jazz/Blues/Rock/Pop/ Metal. Musicianship, Composition and Theory lessons also available. All ages welcome. Contact Sean on 0429 508 101

MUSICIANS WANTED

iFlogID: 9159

SINGING LESSONS THAT ROCK<<<<< Your voice has the ability to sing at the Audioslave/ Muse/ Aretha/ P.J.Harvey level because of Design. Pick any singer you like and you can sing as good if not better using a relaxed technique. Starting off with extending your vocal range learn to sing the right technique the first lesson, how to start a band or just fun. Microphone technique - recording techniques – songwriting –. Beginners to advanced Newtown 0405-044-513

Singer and/or lead guitarist available for fill in/corporate work or working band. pro gear and attitude. have large repetoire and happy to learn most set lists. Male 36yo Rick ricfen@optushome.com.au or (02) 8807 0166 iFlogID: 9115

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GUITAR TUITION BY MAL EASTICK

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TOP PRO DRUMMER AVAILABLE

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Guitar tuition customised to the individual-all levels. Blues, rock, theory, equipment & tone my specialties. 37yrs professional experience in Tuition, gigging, recording, production, songwriting, arrangements, the enjoyment of music & improving your best. Central suburban Sydney location. Limited vacancies. Phone: 0407 461 093 - Email: mal@maleastick. com

nie Deva, will unlock your voice and develop your unique sound. SPECIAL OFFER: Get your initial 30min consultation valued at $30 FREE when you purchase 4 or more voice lessons. Contact - Certified Voice Instructor of The Deva Method® - Maureen Longo ph:0402007453 devavoicesydney@optusnet.com.au www. jeanniedeva.com

Sydney drummer(27) seeking established/gigging alt rock band. Influences: QOTSA, NIN, AIC, Alexisonfire, Deftones, Filter, Karnivool, APerfectCircle, STP, PorcupineTree, Tomahawk ect 10years live+recording experience. Good gear+transport ect. Please have myspace link or demos available. Andrew scoobysnacks@ live.com.au

Acoustic Pop-Rock Specialist -www. jasonayres.com-

iFlogID: 5777

Singer and acoustic guitar player available (Hank, Cash, Cline, etc some originals). Looking for band, drummer or hand percussionist. I have some contacts for supports. Will try any genre. 0408 300 152 iFlogID: 9035

GREEN DAY SHOW require a pro bassist with great BV’s. 18-35 with the “look” preferred. Sydney metro gigs paying $200. no beginners please. gigs waiting. call Rick 0419 437 794 iFlogID: 8914

Monster Gale Searching for Bass Player must have good gear,transport and be a wizard on the bass!! rehearse once a week at wetheril park check out our myspace for tracks or call ado 0405269880

iFlogID: 8806

For a limited time. Free online and print classifieds Book now, visit iflog.com.au

iFlogID: 8846


New dedicated band looking for bassist and drummer for an industrial/ metal/horror type project. Writing and live experience preferred, must have own gear & total passion for creating something unique. City rehearsals. Call for audition: Lily 0423584617 Zac 0405033618 Kurt 0432470463 iFlogID: 9172

NOT AVAILABLE FOR FREE ADS. CL need bass playa!

DRUMMER WANTED-PRO METAL BAND! Hard-rock / Metalcore band seeks committed, self motivated drummer capable of playing to a Pro standard. Must be available for regular gigs, rehearsal. Must have a great work ethic and be easy to get along with, and share the same passion to pursue music full-time. iFlogID: 6445

iFlogID: 9178

Pro Drummer and Guitarist looking for Bass Player for Commercial Rock Originals. Looking to jam with view to record and play live. Must have good gear Vocals would be nice as well. Rehearse at Sound Check Studios Belmore iFlogID: 8994

Slappin’ double bass player needed to complete rockabilly trio. Ph: 0403 30 288 iFlogID: 9199

DRUMMER 3 mid week inner Sydney original venues looking for original solo/duo acoustic acts and commercial rock acts. Acts touring interstate welcome. For more information contact: NowMuzik nowmuzik@gmail.com iFlogID: 9053

‘Alexi’ are looking for a reliable Drummer. We are an original Rock/ Blues Band based in Wetherill Park. Must have own Transport and equipment. For more info about the band visit www.myspace.com/alexitheband. For an audition please call or sms 0415970079. iFlogID: 8814

An experienced drummer needed for blues/roots band Tortured Willow. Soon to release E.P, planning to gig at venues/festivals in Sydney and beyond. Influences: Dallas Frasca, Ash Grunwald, John Butler. Rehearse Monday nights, city. 20-40ish, good gear and transport. Jordan 0411451976 iFlogID: 9074

Band with completed album looking for drummer, permanent member or sessionist. For more info visit: www. myspace.com/mojoblitz iFlogID: 8978

CALLING ALL DRUMMERS Sydney Fusion Band , The Three Wise Monkeys has launched a Free iPhone app. Search on your iPhone APP store for “Three Wise Monkeys” or go to www. threewizemonkeys.com iFlogID: 9063

Covers band playing good music from 70s & 80s up to today looking for drummer. We rehearse in Alexandria. Basically we are doing this for fun but looking to play gigs where we can. Call Peter on 0412 305 378. iFlogID: 9272

DRUMMER NEEDED FOR NORTH SHORE GOSPEL FUNK BAND MUST BE COMMITTED & HAVE GEAR & TRANSPORT CONTACT: Ben – 99444984 OR snapper_watson@hotmail.com

iFlogID: 9193

Drummer required for rock cover band for high end pubs and corporate work. Experienced, mature, professionals only. Starting committment is two nights per week, every week. Serious, talented drummers call Peter 0418603619 iFlogID: 8904

HATEMAIL Sydney based heavy rock band, Hatemail looking for a kick to the arse rock-god slammin’ drummer. Call Steve 0407 239 494 iFlogID: 8980

New dedicated band looking for bassist and drummer for an industrial/ metal/horror type project. Writing and live experience preferred, must have own gear & total passion for creating something unique. City rehearsals. Call for audition: Lily 0423584617 Zac 0405033618 Kurt 0432470463 iFlogID: 9174

Play with passion! Versitile drummer is needed for our Sydney based originals band. Complete freedom to enhance our song writing with your ideas and drumming skills. You must be reliable with own transport and gear. www.myspace.com/insideoutoz (0408) 232110 Veneita vendel@ bigpond.net.au iFlogID: 8757

Sydney metal band seeking Drummer, music is a mix of prog, power and death. Demos can be heard at www.myspace.com/thedragonsclaw contact can also be made through the same place. iFlogID: 9128

Synth-Pop act seeking Electric Drummer with own gear. 2-3 rehearsals a week. Gigs being booked now! Must be experienced, love the genre and be a great performer. Check us out at www.myspace.com/divineknightsmusic and email divineknightsmusic@myspace.com iFlogID: 8877

GUITARIST 20-30 yo Guitarist and drummer wanted to start a punk/rock band with 29 yo Singer / Bassist. Have some songs written, looking to collaborate and start gigging. Inner-west area. Email battlecat@live.com.au iFlogID: 9111

3 mid week inner Sydney original venues looking for original solo/duo acoustic acts and commercial rock acts. For more information contact: NowMuzik nowmuzik@gmail.com iFlogID: 9049

CALLING ALL GUITARISTS Sydney Fusion Band “The Three Wise Monkeys” has jst released an iPhone APP. Get it free for a limited time. Search for “Three wise Monkeys” on your iPhones App Store or go to www. threewizemonkeys.com iFlogID: 9055

Enthusiastic, versatile rhythm guitarist for Blue Mountains originals/ covers rock band for CD launch, gigs and possible tour. Paid gigs are a split of the payment,Some unpaid promotions/rehearsals. launch is a split of door. Open age. Phone Lel 02 47822421

Drummer wanted for Sydney rock band. Currently gigging and recording. Prefer aged from 19 to 25. Own Kit and Transport. www.myspace. com/ramshackleau For details call Jared on 0437 670 480. iFlogID: 9039

Singer Songwriter seeking guitarist/ singer for acoustic gig work and writing. Female preferred but not essential. Please contact me at tmusicj@ gmail.com if interested. iFlogID: 8885

KEYBOARD Indie pop band The Blue Belladonnas are looking for a talented and committed keyboard player. We rehearse weekly in the Lower Blue Mountains. www.myspace.com/ thebluebelladonnas contact Claire on 0413416210 or Amelia on milly_ moo_7@hotmail.com iFlogID: 8875

Keyboard player required for rock cover band for high end pubs and corporate work. Experienced, mature, professionals only. Playing rythm guitar is a huge advantage. Starting committment is two nights per week, every week. Serious, talented players call Peter 0418603619 iFlogID: 8907

KEYS/ORGAN PLAYER NEEDED FOR NORTH SHORE GOSPEL FUNK BAND MUST BE COMMITTED & HAVE GEAR & TRANSPORT CONTACT: Ben 99444984 OR snapper_watson@ hotmail.com iFlogID: 9195

NOT AVAILABLE FOR FREE ADS. CL JACK NASTY FACE are looking for a piano/keyboard player.We are seeking someone that can do the following, Nick Cave, Kaiser Chiefs, Dandy Warhols, Devo and Nina Simone. Girl or Guy 18-35, inner west rehearsal. iFlogID: 8837

SYNTH-POP ACT SEEKING SYNTH KEYBOARD PLAYER. Rehearsals 2-3 times a week in Newtown. Gigs being booked now. Must have own gear, be experienced, love the genre and be a great performer. Visit www.myspace. com/divineknightsmusic and email divineknightsmusic@myspace.com iFlogID: 8879

OTHER Funky guitar,bass,keyboard & horn players wanted for groove oriented covers band.Backing vocals an advantage.Females encouraged to apply,commitment & a sense of fun required.Please call Allen on 0403347822. iFlogID: 9107

GIGS FM muso’s...good enough for fm radio? wanna prove it? chance in a lifetime to get yourself out there and it won’t cost a cent!(and you wont charge me).Sorry Sydney only at present. Interested? contact andy@ gigsfm.com iFlogID: 8640

MUSICIANS WANTED

We seek guitar players who are looking to earn money teaching guitar. Training and teaching materials are supplied. Teach from one of our schools or your own location. Limited positions available. Visit www.g4guitar.com.au for details. iFlogID: 7447

guitarists wishing to improve their playing wanted for regular music workshops covering rock, blues, jazz and funk- mature dedicated players only please.enquiries 0402112557 or 0414421252 iFlogID: 8887

Sydney Mexican Mariachi band requires violinists. Please call Marc on 0415 073 306. For more info see our website: mariachiaustralia.com. au and MySpace: myspace.com/ marcsantillana.

iFlogID: 8779

Sydney Mexican Mariachi band URGENTLY requires trumpeters who have experience in playing Jazz and/ or Latin music. Call Marc on 0415 073 306. For more info see our website: mariachiaustralia.com.au and MySpace: myspace.com/marcsantillana. iFlogID: 8777

SYNTH-POP ACT SEEKING PROGRAMER/MD/KEYBOARD PLAYER. rehearsals 2-3 times a week in Newtown. Sydney gigs being booked now. Must have own gear, be experienced, love the genre and be a great performer. Exp in Logic. Visit myspace. com/divineknightsmusic and email divineknightsmusic@myspace.com iFlogID: 8881

Wanted all singers and musicians! Join for free and post your clips on the all new website, www.nu2talent. com.

If you want to join a band, form a band, find a new band member, get exposure, or just jam, then www. ozjam.com.au is for you! Whatever instrument or genre of music you play, Ozjam can connect you with other talented, like minded musicians who are looking to jam, gig, and even tour the World! Ozjam is loaded with features, it’s free to join and with over 4000 members its fast becoming the largest online music community in Australia today! iFlogID: 6499

My names Gary I’m a drummer from Campbelltown with 10 years experience in garage/small bands wanting to expand. I’m looking for musicians to start a heavy prog metal band in style of Judas Priest/ Queensryche/Savatage conatact me on 0432043771 (after 4pm) iFlogID: 8723

Looking for experienced singers to join ‘Sincopa Band’, a cover band performing for weddings and corporate events. Located in the Eastern Suburbs area. Contact: 0433938278 iFlogID: 8960

Male Singer Wanted! Sounds like Rob Zombie / Wednesday13 / Alice Cooper. Call 0423 764 009.

iFlogID: 8922

ROCK N ROLL SINGER WANTED Newly formed Bluesy hard rock band seeking experienced vocalist/lyric writer with charisma and powerful voice, Your influences Stones,Expensive Winos, Creedence, Aerosmith, Crowes,GNR,Cult Dacca,Kinks,60s Garage, be hitting gigs and recording studio asap, phone 0435475921 iFlogID: 9119

Seeking singer for hard rock band in Alexandria. Currently 2 gtrs, bass & drums. Infls inc. Tomahawk, Deftones, Them Crooked Vultures. Newly formed and looking to write. A driven, talented & confident singer needed. Call Pete 0404200893 iFlogID: 9044

iFlogID: 9168

SINGER A heavy, sludgey, Sabbath inspired band require an EXPERIENCED singer. We’re looking for an EXPERIENCED singer with who LOVES heavy, riffy, metal style music to develop our sound & write songs with a view to gigging ASAP. Contact: Jason on 0431-836-604. iFlogID: 9182

ATTENTION!! ALL SINGER/SONGWRITERS, are you: between 18-30? have a unique style and voice? If so then I want to collaborate with you!! Call Justin on 0420312864, or add me www.myspace.com/justinacooke, castlehill area. iFlogID: 9278

BON JOVI SHOW SINGER REQUIRED Male singer/frontman required for the Bon Jovi – Blaze Of Glory show, gigs waiting.To audition call Dennis 0414 433 735 iFlogID: 8930

Central Coast - Newcastle. X inner city guitarist/writer seeking mature aged vocalist as well as other musos (35+) for casual jambing collabration. Originals electric or acoustic. Sound style to that of Powderfinger. Something more serious if personalities gel. Craig kiahaycra@live.com.au iFlogID: 9205

Cold Chisel tribute show requires lead vocalist. Not necessarily looking for a ‘Jimmy Barnes’ impersonator, just someone capable of delivering such a challenging vocal. Send a small mp3 demo & bio to glenn@sevenyearitch. com.au - Interviews/auditions will based on the promo received. iFlogID: 9180

Do you love the 50’ & 60’s music and can sing? Join us to play Holly, Elvis, Berry, Beatles etc Weekly practice, own mic and transport, can definitely sing. Mature age welcome (relive your past) email your details to guitartime6@gmail.com iFlogID: 9072

GUITARIST WANTED TO TEACH

iFlogID: 8801

iFlogID: 8990

iFlogID: 9070

iFlogID: 9157

drummer wanted for band. we sound like this www.hiyolb.com. if interested email: heroinyourownlunchbox@gmail.com DRUMMER WANTED FOR METAL BAND. WOLLONGONG AREA, ORIGINALS, HOME RECORDING. influences: Amon Amarth, Bloodbath, Tool, COG, Strapping Young Lad, Pantera... Contact us for more details. Mark Email: krammusil@hotmail.com Phone: 0402621247 Troy Email: mrc.1984@ yahoo.com.au Phone: 0431165853

Like to have the opportunity to join a band and play guitar? We are looking for someone who loves the 50’s & 60’s R&R. Any age but able to practice weekly email guitartime6@ gmail.com with your details.

Female and Male Singer wanted to feature on Commercial Quality Recording Project, taking place after mid November. Must be available for gigs after recordings are mastered. All lyrics and singing structure provided. Send demo and contact details to jhaldupaul@hotmail.com iFlogID: 8891

Im after a singer or singer/guitarist, male or female to form a duo. professionals only please. i have full equipment and will be ready to work as soon as your ready located in Sydneys west Rick 8807-0166 iFlogID: 9078

INDI POP SINGER Singer wanted to work up a few tracks in my studio on the northern beaches. Im a signed writer to Universal publishing and working with other signed artists. No commitments lets just see how it turns out. Wanting someone with good pop melody sense and original sounding voice, Inf. Kisschasy, Faker, Motor Ace, Gyroscope etc. Please email a Myspace link or a mp3 of a track you have done to mbmusic100@yahoo.com iFlogID: 8854

Singer wanted ok

SERVICES BEAUTY SERVICES www.blackstar.com.au 100 Colour A4 Gloss Posters = $40. 100 Colour A3 Matt Posters = $50. 100 Colour A3 Gloss Posters = $80. More options to choose from Posters • Flyers • Handouts • Business Cards. We print your job within hours. • bsd@zip.com.au iFlogID: 8928

GRAPHIC DESIGN AWESOME DESIGNS AT AFFORDABLE PRICES www.melissahowarddesign. com for a full list of services including logos, posters web and much more. 0402796254 iFlogID: 8943

Do you need a new website? Want a great price without sacrificing quality? Make an impact online with a website that sells your business. 1-4 Page Website from $500. 5-7 Page Website from $800. 8-20 Page Website from $1200.

iFlogID: 8895

Need a high-quality website you can update yourself? Want your customers to be impressed with your level of professionalism? One-Click Australia helps businesses reach the next level with an impressive website. Call for a FREE consultation -(02)9126 3202. iFlogID: 9266

Professional Band and Business Websites: Videos, audio clips/jukebox, Photogallery, Gig Dates, About Us, Contact Us and much more from $399 fully hosted. See www. bizwebsites.com.au or contact info@ bizwebsites.com.au today!

iFlogID: 9258

iFlogID: 8789

FULL COLOUR POSTERS

iFlogID: 9011

SINGERS MALE/FEMALE NEEDED FOR NORTH SHORE GOSPEL FUNK BAND MUST BE: Committed, Available for rehearsal & Shows, Able to sing parts & or lead vocal, Able to learn dance routines, & HAVE TRANSPORT CONTACT Ben – 99444984 OR snapper_watson@hotmail.com

Visit our website for an extensive price list and other services! iFlogID: 6348

MUSICIAN & BAND WEBSITES

Sydney metal band seeking singer, open to any type of vocalist, music is a mix of prog, power and death. Demos can be heard at www.myspace.com/ thedragonsclaw contact can also be made through the same place. iFlogID: 9126

Vocalist Wanted. Western Sydney punk band require male vocalist aged between 20-30 to front band. Exp not important. Looking for a mix between clean melody and screaming. Influences: Nofx, Pennywise, The Bronx. iFlogID: 9145

versatile singer/lyricist looking for equally versatile musician/songwriter to collaborate with to start a new project. Old school metal/hard rock as a primary sound base but also wish to be able to cover other musical styles in a “unique” way. Primary sound influences: Alice Cooper, Ozzy Osbourne, W.A.S.P., Judas Priest, Rob Zombie, Type O Negative. Vocal style description: classically trained, good range and power, also has vocally rough sounds ie. Cooper, high range vocals ie. Halford and “Screaming” on pitch ie. Blackie Lawless If interested in working together, please email dmin741@gmail.com with subject header SONG WRITER iFlogID: 9100

GET SIGNED TO A 360 DEAL! You MUST be a great male singersongwriter! Drummer is forming a fast paced original alternative rock band to get signed to a 360 deal. Must be ambitious, self-motivated, committed, reliable and have a lot of drive. Musical direction: Muse and The Killers etc. Age: 18-30. Rehearsing at Wetherill Park N.S.W. Only contact me if you want to get signed to a 360 deal! Phone Will: 0413 772 911.

Using our professional grade automated disc repair service ensures your discs have the very best chance of working again. Suitable for all disc formats incl. CD, DVD, Blu-ray, and especially all game formats such as Xbox360 & PS3. Ph 1300 728 094 for booking. Visit www.discstation.com. au to book online. iFlogID: 8696

Whether you just want to sing for your own pleasure or dream of being a singer on stage, all aspects covered from diction, breathing, microphone technique, pitch, harmony,working with live bands and performing. How to get into the music industry. Utilising the latest vocal techniques from the US, sing without stress or fear. All lessons can be recorded and take place in a relaxed and fully equipped studio in Botany, SYDNEY. All ages welcome - female teacher- children welcome. INTRODUCTORY OFFER: FREE first lesson to assess your needs and direction, then $30 per lesson for the first 3 months. Conditions apply. Contact: alteregoprom@ gmail.com or phone 0403 869 364 iFlogID: 6516

WANTED AMPS

iFlogID: 8972

Create your presence online and get noticed. Sydney based web designers are here to help you create and design your website with ease. We specialise in building websites that work. When you hire us to design your website we’ll give you a product that looks great and that actually works for your business or service. Packages start from $400 Call Richard or Kelly on 0424 125 169 iFlogID: 6665

SONG WRITER CREATIVE SONG WRITER WANTED

VIOLIN TEACHER FROM ITALY - years of experience in Sydney AMEB or just for fun. Ryde Area. $30/half hour. Interested also in employment opportunities in other areas. 0415783160 iFlogID: 8727

SENIOR FIRST AID TRAINING $90 Senior First Aid training fully registered and approved. Just $90 Blacktown area. Group discounts avail. www.valiant.net.au Call 1300 600 343

iFlogID: 9197

Your voice has the ability to sing at the Audioslave/ Muse/ Aretha/ P.J.Harvey level because of Design. Pick any singer you like and you can sing as good if not better using a relaxed technique. Starting off with extending your vocal range learn to sing the right technique the first lesson, how to start a band or just fun. Microphone technique - recording techniques – songwriting –. Beginners to advanced Newtown 0405-044-513 iFlogID: 8451

SCRATCHED DISC REPAIR SERVICE

iFlogID: 9113

SINGER/GUITARIST FOR ROCK DUO An experienced Singer/Guitarist is required to join a drummer for Sydney based Rock Duo. Classic rock anthems and retro favourites. Management and PA gear supplied. Min $250 per gig. Rehearsals in Rydalmere. BIO & DEMO to rockduo@ smoketheband.com.au

SINGING LESSONS THAT ROCK<<<<<

LIVE MUSIC photographer with industry experience. Rates open for negotiation. Sydney based photographer who is a big supporter of the underground music scene. Visit - www. alicepractice.net to view pictures or - alicepractice_x@hotmail.com to contact.

MYSPACE BAND PROFILE FROM 200$ I’m starting a new business in CSS programming and I’m willing to charge very cheap to gather some folio with customized myspace profiles. This price will certanly increase after some productions, so be quick to not loose the oportunity. To know more about my work visit www. fugadalula.com.br/blog To quote: renato@fugadalula.com.br Thanks! iFlogID: 6481

OTHER EARPLUGS FOR MUSICIANS Protect your hearing with custom moulded earplugs designed to reduce the level of sound without adversely affecting the frequency response of the music. Choose between 10,15 and 25dB attenuation. Fitted by professional audiologist, by appointment only. Ph 9387 3599 iFlogID: 7742

HIGH QUALITY BAND PHOTOS.

TUITION AWF SCHOOL OF PROWRESTLING * Applications for our next learn to wrestle beginners Spring course starting September 4 are now being accepted. 16years+, Cost: $400 * AWF’s next School Holiday “Dreamcamp” open to all ages will be 4-7 Oct. 4 consecutive Days of wrestling tuition 10am - 3pm culminating in a taped bout. Fun for all ages. Cost: $300 * On 28 August AWF will be holding a Pro-Wrestling Training Seminar hosted by former TNA stand out Sonjay Dutt of the USA, and AWF School of Pro-Wrestling Head Trainer TNT. The Seminar will be open to all ages and will have a particular emphasis on Cruiserweight / X Division Style wrestling. Cost: $100 *AWF School of Pro-Wrestling is located at 7/32 Swettenham Rd, Minto. All correspondence to be made by emailing info@awfwrestling.com.au or calling 0410 691 377. See www. awfwrestling.com.au for full details on upcoming training, shows, merchandise and upcoming TV show!

Hi I am looking for people that are interested in supplying original music or video clips/art work and a web designer to post on a new website The site will provide space to sell/ showcase projects ph(02)95243439 iFlogID: 8749

Rnb artist seeks volunteer web designers and online promoters/ managers to help create a buzz and distribute music online ultimately an building international a fan base checkout www.myspace.com/parafnaliasynced and email me exel1@ live.com iFlogID: 8831

GUITARS LOOKING FOR ESP Looking for an Esp Horizon black. New or used. Email For more info. wtf_juice@hotmail.com

iFlogID: 6578

CLASSICAL GUITAR LESSONS in the convenience of your own home. Fully qualified professional tutor. Learn the best way to achieve good results. Phone Oles 0407413143 or email oa@olesart.com iFlogID: 8644

Guitar and Bass Tuition. Gordon, Pymble, St Ives area. Very qualified and experienced. Great with kids. www.simoncosta.com.au 0418 674 363, 9499 4708 mrboomwhacker@ gmail.com iFlogID: 8742

iFlogID: 8735

Are you tired of you current promotional images? Let us help you stand out from other bands with high quality professional photography and affordable packages. Location shoots start at $150 and studio shoots start at $250 including retouching, graphics and full res along with web optimised versions of your final photographs. www.sheerimage.com.au

Rock Band Workshops. Are you between 12 and 17, and want to get some experience playing in a band, under the direction of a seasoned pro? North Shore area. Every Wednesday and Thursday evening 7:30-9:00 http://rockworkshop.webnode.com/ 0418674363, mrboomwhacker@ gmail.com iFlogID: 8744

iFlogID: 9130

For a limited time. Free online and print classifieds Book now, visit iflog.com.au

iFlogID: 5875


• 90 • THE DRUM MEDIA 9 NOVEMBER 2010


NORTHERN BEACHES 55 BASSETT ST, MONA VALE. PH. 9986 0589 TRADING SAT ONLY

2 DAYS ONLY!

1 Only

108 BOTANY RD. PH. 9318 2255

222 CLARENCE ST, CBD. PH. 9269 9600

$860

1 Only

$599

Limited

Ludwig Vistalite Jelly Bean Shell Pack (ZLUJELLYBEAN)

$2,495

1 Only

Pearl 13"x3" Black Steel Snare (PES1330B)

$100

1 Only

Korg Multitrack Hard Disc Recorder (KOD888)

$599

1 Only

Shriro Keyboard (CTK4000ST)

$289

1 Only

$600

1 Only

Epiphone Gothic Thunderbird IV (EBTBPBBH1)

$150

1 Only

Marshall AVT Series 100W Guitar Combo (70/AVT100X-T)

$280

1 Only

Roland Sound Module (SONICCELL)

$499

1 Only

Yamaha Digital Piano (P155) Arioso Bb Clarinet (ARCL100)

$599

1 Only

Roland USB Audio Interface (UA4FX)

$239

1 Only

CAMPERDOWN

NEWCASTLE

128 - 130 PYRMONT BRIDGE RD. PH. 9557 7500

795 HUNTER ST. PH. 4965 4222

$699

3 Only

PDP Platinum Exotic 6PC Rock Shell Pack, Natural To Black

$2,700

1 Only

PDP Platinum Finish Ply 6PC Fusion Shell Pack, Black Oyster

$1,900

1 Only

$612

1 Only

$250

2 Only

Zildjian 18" Spiral Effect Cymbal (ZIFXSPL18)

$57

1 Only

Hammerax Bash 14" Effect Cymbal (HABAS14)

$14

1 Only

PDP FX 22" Fusion Kit, Tobacco Lacquer (DWPFX0522TF)

Pearl 6.2"X10" Mike Mangigni Signature Snare (PEMM1062)

TAREN POINT

1 Only

(LEA52Q04SPMBL)

$99

2 Only

Rode Condensor Microphone (1-RODNT1000)

$299

1 Only

DW PDP 805 24" Rock Shell Pack, Black On Black (DWPD852405BB)

Harrison Series 3 Alto Saxophone (HASX555A)

$595

3 Only

DW Delta 3 Left Foot Dble Pedal (DW5002TDL3)

1 Only

$26

1 Only

Line 6 Lowdown 150W Bass Combo (LILD150)

$180

1 Only

Schecter Damien 7 String Electric (SCHDAMIEN7)

$180

1 Only

Legacy 5PC Electronic Kit (LEDD505)

$599

2 Only

$100

1 Only

$12

1 Only

$299

1 Only

WILLOUGHBY TRADING SAT ONLY

Squier Fat Strat/Bullet 150 Guitar & Amp Pack, Sunburst (03.01610.325)

$340

1 Only

$40

1 Only

$200

1 Only

$1,190

1 Only

$119

1 Only

(SCHSTILSTU5HSN)

Legacy 20" Jazz Kit W/Cymbals, Metallic Blue

$42

65 PENSHURST ST. PH. 9967 3777

TRADING SAT ONLY

$300

2 Only

TRADING SAT & SUN

Zildjian 14" ZBT Rock Hi Hats (ZIZBT14RPR)

1 Only

DW Pacific 5"X14" Tobacco Burst Lacquer Snare

2 Only

$199

SURRY HILLS

1 Only

$799

Korg Guitar Multi-FX Unit (KOAX10A)

$1,699

100 COMMONWEALTH ST. PH. 9211 1700

$500

Roland Percussion Pad (SPD20)

1 Only

1 Only 1 Only

Powerbeat 5PC Junior Drum Kit (TXJ5PL)

1 Only

$799

$100

1 Only

1 Only

$39

Mapex QR Series 6PC Kit (90/DK-QR5245TSX)

1 Only

$999

Arioso Trombone (ARSTATB737)

Schecter Stilletto Studio 5 String Bass, Honey

$99

$427

$14

(PETGB625HC72)

1 Only

1 Only

Sound X 5PC Electronic Kit (GRE184)

Stagg Wah Wah Pedal (STWM1960BK)

Breedlove ROOTS OM CW (BLROOTSOM/SRH)

1 Only

$500

Tama Superstar 5PC Rock Kit (SK52K)

Coffin Blood Drive Distortion Pedal (CFBDFX1)

1 Only

$150

1 Only

1 KOONYA CIR, CARINGBAH. PH. 9589 7100

$200

$250

$50

Legacy 5PC Electronic Kit (LEDD505)

Zoom G9.2TT Guitar Multi Effects (FXM029)

Martin DX1 Solid Top Dreadnaught Natural (DX1)

Jackson WRXT Warrior, CobaltBlue (2911600522)

1 Only

Engl Powerball 100W Valve Head (EBE645)

Behringer Rack Bass V Amp Processor (LX1BPRO)

TRADING SAT ONLY

Guild Gad-JF30E Jumbo, Blonde (3813006801)

$166

TRADING SAT & SUN

CLARENCE ST

Pearl Eliminator Double Pedal (PEP2001C)

1 Only

$400

Legacy 5PC Electronic Kit (LEDD506)

ALEXANDRIA

TRADING SAT & SUN

1 Only

$10

(150052001)

www.allansmusic.com.au | www.billyhydemusic.com.au

Arioso Oboe (AROB906)

$30

Legacy Vintage Style Mic (LEMS55)

Musicman Stingray 5 String Bass, Sapphire Black

Some items one only available. Stock cannot be reserved. Stock lists are store specific. Doorbuster items in RED. One Doorbuster item only per customer. Allans Music + Billy Hyde reserves the right to correct any errors, omissions or misprints in this publication.

Stanton DJ CD Player (STNS250)

JTS NX 9 Condenser Mic (JTNX9)

TRADING SAT & SUN

This is just a sample of some of the huge deals on offer! Check web for full lists.

Pearl Target 5PC Fusion Kit, Steel Blue

1 Only

PITT ST

STOCK CANNOT BE RESERVED, SO GET IN EARLY!

1 Only

$50

228 PITT ST, SYDNEY. PH. 9283 7711

DOORS OPEN 9AM. NO RAINCHECKS

$899

1 Only

Legacy Groove Coach (LEDD6)

Line 6 Space Chorus FX Pedal (LISPACECHORUS)

20% OFF D’ADDARIO, PLANET WAVES, GATOR, LEGACY, STRINGS, CASES, STANDS & MORE!

Roland Ex Demo SPD30 (SPD30-VDF)

1 Only

Squier Fat Strat/Bullet 150 Guitar & Amp Pack (03.01610.306)

UP TO 40% OFF SELECTED DRUM STICKS UP TO 35% OFF SELECTED DRUM HEADS

1 Only

$99 $100

TRADING SAT & SUN

20% OFF SELECTED GUITAR ACCESSORIES

$299

1 Only

PARRAMATTA

EVERYTHING REDUCED! PLEASE QUEUE WITH COURTESY

Ashton 5PC Electronic Kit (EDK530)

1 Only

$99

16 HUNTER ST. PH. 9689 2438

SALE

Legacy Distortion Pedal (LEDS100)

$599

Le Blanc LB320 Bliss Clarinet (BALB320)

DOORBUSTER

1 Only

Line 6 Spider Valve Head

DDrum Red Shot Kit (DD-RSAIT)

THE BIGGEST EVER

$29

1 Only

Electro Harmonix Holy Stain Guitar FX (690/HS)

THE SALE OF THE YEAR!

Ashton 5PC Fusion Kit, Wine Red (TPF520WR)

$200

Roland Cube 15X Guitar Amp (CUBE15X)

SAT NOV 13 & SUN NOV 14

TRADING SAT & SUN

Cort Luce Parlour Guitar (100/L900P)

Fender Solid Top Steel String Acoustic (09.61430.921)

$166

1 Only

$94

1 Only

Legacy 5PC Electronic Kit (LEDD505)

$599

4 Only

Pearl Target 22" Rock Kit, White (PETGB625C33)

$500

1 Only

$18

1 Only

DW 400 Series Bass Drum (DWPSP400) JTS Drum Microphone Pack (JTTXB5MC)

$299

1 Only

Korg Multitrack Hard Disc Recorder (KOD888)

$599

1 Only



Drum Media Sydney Issue #1034