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Contents Issue No. 1037 Tuesday 30 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.

THE MEANIES

TOO BIG FOR MUM Every Friday night, Mum at World Bar Kings Cross gives you eight bands, indie DJs and more but this Friday night, it’s Go Here Go There, a night so big the organisers are running across three venues – World Bar, Melt Bar and the Iguana Bar – 20 bands, 20 DJs. But right here we can offer five double passes, and the organisers promise a free teapot on arrival. Email us with Go Here Go There giveaway in the subject line by 5pm Thursday.

JOIN THE FALL They were the late John Peel’s favourite band and 34 years and 28 albums since they began in Manchester, UK, the enigmatic Mark E Smith is not only still leading The Fall but is bringing them to the Metro Theatre Tuesday 7 December and we have two double passes for the show to give away. Email us with The Fall giveaway in the subject line by 5pm Friday.

MERRY BLACK CHERRY XMAS And so it begins, Christmas parties all the way to Christmas, with one of the biggies the Black Cherry Christmas Party Saturday at the Factory Theatre with Melbourne’s The Meanies and Graveyard Train, Torch Le Monde and Gay Paris there’s also burlesque glamour. We have two double passes to the night to give away, so email us with Black Cherry Christmas giveaway in the subject line by 5pm Thursday.

HEY LITTLE STEVIES Melbourne pop darlings The Little Stevies have been over in the US and while they were there, they cut a new album with LA producer Ethan Allen and Thursday they’re showcasing the first single off that album and more at Raval. We have three double passes to give away, so email us with Little Stevies giveaway in the subject line.

FOR THE LOVE OF ASONG Believe it or not, the powers that be have decided on your behalf that Australian digital radio programmers need not play any Australian content! The non-profit independent songwriters association, ASong feel strongly enough to put on an SOS (Salute Our Songwriters) concert at Shush in Newtown RSL Thursday night with GANGgajang and Mahalia Barnes heading up the bill, along with Snez and Serenik. We have three double passes to give away, so email us by midday Thursday.

FANCY SOME CONTRABAN Powered by the irrepressible Jameel on drums, rock’n’rollers Contraban have cut a new single, My Town, which the four-piece is launching at the Excelsior in Surry Hills. So pleased are they with the single that they’re giving away copies to the first 50 people through the door, but we’ve also got one double pass, which will also score you a t-shirt, to give away, so email us with Contraban giveaway in the subject line by 5pm Wednesday.

BAG THESE RAIDERS The Bag Raiders are house DJ duo Chris Stracey and Jack Glass and they’ve just delivered, well in October, their self-titled debut album. Saturday night, they take over The Forum, and we have three double passes to the night to give away. Email us with Bag Raiders giveaway in the subject line by 5pm Thursday.

TWELVE FOOT SFX Melbourne’s four-piece Twelve Foot Ninja are on the road launching their new EP, Smoke Bomb, all sonic paradoxes and hybrid genre shuffling. Saturday night they will be joined by special guests Pirate, Lunar Calm and Delorean Tide when they launch Smoke Bomb at SFX in the St James Hotel and we have five double passes to the show to give away. Email us with Twelve Foot SFX in the subject line by 5pm Thursday.

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 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.

THE WINNERS – 100 BEST AUSTRALIAN ALBUMS And the lucky ten readers of Street Press Australia titles around the country (Inpress, Time Off and The Drum Media in Perth and Sydney) to win our packs of The 100 Best Australian Albums book and a its companion CD release, Songs From The 100 Best Australian Albums are: Chris Auld, NSW; Scott Williams, NSW; Andrew Pierce, WA; Alex van Dorsselaer, Qld; Andrew Nunns, Vic; Darreen Gray, Qld; Jayden Fisher, WA; Peter Harper, Qld; David Fleming, Vic; Chris Nicholls, Vic. And the runners-up who score copies of the five-CD box set Songs From The 100 Best Australian Albums are: Sandy Friend, WA; Scott Pardey, Qld; Michael Seman, WA; Mike Dickson, Qld; Dennis Lashmar, NSW; Raymondo Pope, Qld; Shelley Howe, WA; Rob Taylor, NSW; Jacquie Fisher, NSW; Allen Aday, Vic. • 28 • THE DRUM MEDIA 30 NOVEMBER 2010

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DRUM MEDIA Giveaways – Look to your left for free stuff, silly! 28 The Front Line hits hard with industry fact and conjecture, plus how a proposed GST on personal imports from overseas will have an effect on the retail landscape. 30 Mailbag – your say on what floats your boat or makes the red mist descend, plus Backlash and Frontlash. 32 The News – just like it says, with tours, releases and more. 34 No one put Chris Jericho from Fozzy in a corner. Unless, of course, you’re a song title, then he writes himself out of it. 40 Mark E Smith from The Fall admits he might be deluded in thinking that The Fall’s best album is always their last one. 41 Architects are a bit cheeky, but fuck it, they don’t really care. 42 Matt & Kim are happy to have a tiebreaker present. 43 Ambitious? Fuck that says Straight Arrows. 44 Depending on how they feel will determine what we get to hear when Broadcast perform live. 45 It’s time for the next step according to Local Natives. 46 Gotan Project – some kind of soupy fusion music it ain’t. 47 The spirit of friendly competition is evident with Reel Big Fish vs The Aquabats. 48 Sharon Jones doesn’t use her Janet Jackson voice – and we should be thankful for that. 53 Atreyu would rather be lumped in with metalcore bands than be ignored. 54 That 1 Guy shows off his new pipe. 54 Sola Rosa get their shit together. 56 Life imitates art for Nic Dalton & His Gloomchasers. 56 Stone Parade open up new horizons. 56 The Rumjacks: now with added Aussie. 56 On The Record reviews new release albums and singles from Kanye West, My Chemical Romance, Comeback Kid and more. 58 Chris Maric gets local with hard rock and metal in The Heavy Shit. 62 Sarah Petchell brings us local and international punk news in Wake The Dead. 63 Adam Curley muses on upcoming tours and new releases in The Breakdown. 64 Viktor Krum asks you to Get It Together with the latest in hip hop. 64 Scott Fitzsimons gets Young & Restless with all ages goings on. 64 James McGalliard gives us tales from the mother country in London Fields. 64 Dan Condon features the world of 66 blues and roots with Roots Down. Michael Smith delivers some Blow with jazz and world music news. 66 Go south as you enter Pedro Manoy’s Swamp Shack. 66

FRONT ROW This Week In Arts plots the week ahead; we review NBA 2K11 for Nintendo Wii; News announces Sydney Comedy Festival, Casula Powerhouse’s impressive exhibition and more; Ursula Martinez’s My Stories Your Emails is also reviewed; 7 Up features awardwinning character actors. 68 American funnyman Arj Barker preps for his new string of Sydney shows; Ursula Martinez discusses making the most of fanmail; Cultural Cringe looks at arts gossip and industry news. 69 John Collee talks about turning the story of Charles Darwin writing a book into a film; this week’s Film Reviews: Monsters and The Last Exorcism; Made You Look gets angry at Interpol and ends up talking about Hentaï. 70 Gareth Edwards is the latest director to cause a storm with his lo-fi science fiction film, Monsters; we review the video game Blaze Blue: Continuum 71 Shift for PS3. Just in time for Christmas, Jalmari Helander brings to the screen some really bad Santas; Guy Davis previews the 72 second season of Bored To Death.

LIVE It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit, Miriam Lieberman draws from African experience and, unlike Cheers, Matt Corby goes to where nobody knows his name. 75 Backstage and BTL – your guide to studios, recording, gear, courses and more. 92 The Classies – need a singer/bassist/ drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au. 96


THE DRUM MEDIA 30 NOVEMBER 2010 • 29 •


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

MUSIC DIRECTORY’S NEW HOME

NEWS FROM THE INDUSTRY WITH SCOTT FITZSIMONS

SOUNDWAVE’S WESTERN SYDNEY JAM After the negative response to the traffic systems in place following Soundwave’s 2010 event in Sydney at the Eastern Creek Raceway, an article by The Daily Telegraph’s Urban Affairs Reporter Vikki Campion cast fresh doubt over the 2011 plans. Citing a Roads and Traffic Authority (RTA) report that said patrons were walking down freeway off-ramps and the nature of traffic queues created “the environment for rear-end collisions”. On the back of these findings a report from Blacktown Council read, “The event is not currently supported due to the inadequacies of the draft traffic plan,” the article insinuating that the event was under threat. Responding to the reports, a joint press release from Soundwave and Eastern Creek Raceway outlined that the findings in the report were based on the 2010 event and the traffic management plans for next February’s event had not yet been submitted. “The safety and comfort of residents, fans and performers takes priority over any commercial concerns of the organisers and the venue and we do not take this commitment lightly,” the statement read. “Soundwave will be going ahead as planned.” Responding to Street Press Australia for the recent Summer Festival Guide booklet, Soundwave’s promoter AJ Maddah cited, “The bottleneck of traffic trying to leave the Sydney Festival site,” as a moment he wished hadn’t happened. “As a result we are working extensively with the RTA, Blacktown Police and the venue to ensure that fans are able to exit the festival easily. We will also have free parking in Blacktown with free shuttle buses to transport people to/from the venue, and the roads in Eastern Creek will be no stopping/tow away zones.”

BUY INTO THE DALE Premier Sydney music venue The Annandale Hotel is looking for a partner to invest in the building ahead of their planned renovations. The venue has long been planning to extend into a restaurant and wider pub, whilst keeping the band room as is. The extra funding is needed to realise the plans as banks become less willing to hand out money, as, booked until July essentially, the band room is holding its own. The Front Line believes that talks have already been had with prospective investors but before they lock into something current owners, brothers Dan and Matt Rule are offering the rest of the music and/or pub industry the opportunity of a percentage split.

SOUTH BY INVITES Further invitations have gone out to 49 Australian bands for the 2011 South By Southwest Music Festival, out of the near-300 who applied. Not all of the artists have accepted their invitation yet and there will be more announced in the coming fortnight. Bliss N Eso, The Boat People, The Novocaines, Injured Ninja, The Jefferson, Snob Scrilla, Wagons, Whitehorse, The Swiss, The Vaudeville Smash, kyü, Ghostwood, DZ, Blue King Brown, Miami Horror, Darren Hanlon, Sampology, Art Vs Science, Operator Please, The Snowdroppers, Kate Miller-Heidke, The Fumes, Dan Brodie & The Grieving Widows, Tame Impala, Hungry Kids Of Hungary, The Chevelles, Young Magic, The Jezabels, Matt Corby, The Holidays, Little Red, Wolf & Cub, Beni, Clare Bowditch, Cloud Control, Boy & Bear, Paris Wells, The Amity Affliction, Sherlock’s Daughter, Gotye, Qua, Belles Will Ring, Dash & Will, Architecture In Helsinki, Teeth & Tongue, Sparkadia, The Cambodian Space Project, Washington and British India were among this round of invitations. There was also a few familiar names amongst New Zealand’s invited acts, Kids Of 88, Ruby Frost, The Naked & Famous, Liam Finn, Nightchoir, Tiddabades, Zowie, Family Cactus, Street Chant, Surf City, Die! Die! Die!, Electric Wire Hustle and Battle Circus. The festival runs from Wednesday 16 – Sunday 20 March in Austin, Texas.

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CRAIG TREWEEK AND FASHION MENTOR PHIL TRIPP

GOLD DIGGING Nominations for the Country Music Awards of Australia have been announced with Kasey Chambers leading the awards with seven nominations followed by Lee Kernaghan who’s got six. Album Of The Year will be fought for by Dianna Corcoran – Keep Breathing, Kasey Chambers – Little Bird, Lee Kernaghan – Planet Country, Graeme Connors – Still Walking and The McClymonts – Wrapped Up Good. As part of the Tamworth Country Music Festival, the Golden Guitars will be awarded Saturday 22 January and will be hosted by Ray Hadley and Beccy Cole.

STACK STILL THE FAN’S FAVOURITE Channel [V]’s annual fan-voted Oz Artist Of The Year competition has been won by Short Stack – the second time the trio have one the award after first receiving it in 2008. Beating off fellow top four finalists Amy Meredith, Bliss N Eso and the John Butler Trio, the band are known for their devoted fanbase, the result of strong social networking in their formative years. The band were awarded the prize during a “guerrilla” gig held at Sydney’s Circular Quay by 14 year old fan Dana Shearer who won the privilege by voting in the competition. The band’s latest album This Is Bat Country hasn’t charted as strongly as their debut, Stack Is The New Black did when it debut in the top spot.

MUSIC VIC APPOINTMENT Following Music Victoria’s inaugural Annual General Meeting mid-November, the state’s peak body has elected Clare Bowditch and Bruce Milne to the board for two-year periods. Bowditch is an ARIA-Award winning artist whose prominence was highlighted during the recent federal election, which coincided with an album release, when she interviewed Prime Minister Julia Gillard. Milne is the former owner of The Tote music venue, the temporary closure of which prompted a widespread protest by Melbourne’s industry stakeholders. John Perring was re-elected to the board while at a later meeting Andrew Fuller and Adam Jankie were appointed to the board for 12-month stints.

CHARTS: HERE Despite the fanfare and critical acclaim for My Dark Twisted Fantasy, Kanye West’s new album only managed to debut at six this week – the album has been available for online streaming. It was however the highest debut this week, with Guy Sebastian’s Twenty Ten slotting in at nine. P!nk holds top spot with her best-of and Susan Boyle moves in to second with The Gift. On the punk front, My Chemical Romance crack the top ten with Danger Days: The True Lives Of The Fabulous Killjoys while A Death In The Family opening with an impressive 24 with What Separates Me From You. The singles chart heralded the first impact of talent quest TV show X

Factor with winner Altiyan Childs debuting in eight with Somewhere In The World. Channel Seven paid a reported $25 million for the show, which has been a flop compared to similar franchises like MasterChef and the early Australian Idol series.

CHARTS: THERE Despite falling out of the Billboard Top 20, Eminem’s Recovery became the first album of the year to sell over three million copies. In the last three years Lil Wayne and Black Eyed Peas are the only others to achieve such a feat. Partly thanks to their appearance on the 36th volume of the Now compilation (which debuted at four), Sydney’s Sick Puppies’ track Maybe climbed one spot to fifth in the Heatseekers chart, which tracks emerging artists.

The Australasian Music Industry Directory – currently up to its 44th edition – has been purchased by Street Press Australia (SPA, the publishers of The Drum Media). The masthead was up for sale from IMMEDIA! after owner Phil Tripp announced his retirement from the industry and sold off all the assets in the company’s deconstruction. Also included in the acquisition are the websites immedia.com.au, themusic.com.au, musicbusiness. com.au and musicdirectory.net.au. In a statement Tripp said, “We’ve had a 20-year trusted relationship with the Street Press Australia brands starting with Melbourne’s leading music title Inpress, then through its acquisition of Sydney’s top weekly Drum Media, Brisbane’s Time Off, the creation of Drum Perth and 3D World east coast.” Five media companies bid for the title and SPA co-director Craig Treweek outlined in the same statement that they will be “expanding into new content and extended digital offerings to ensure AMID retains its place as Australia’s only relevant industry guide”. First published 22 years ago, the 46th edition will be published early 2011.

MAG BURNED FOR LIMEWIRE TALK Following the closure of Limewire, PCMag published a list of alternatives to the peer-to-peer file sharing service only to receive a strongly worded letter signed by record company executives. Despite the disclaimer, “PCMag does not condone the download of copyrighted or illegal material,” the letter read, “The harm done to the creative community when people are encouraged to steal our music is immeasurable. Disclaimer or no, when you offer a list of alternative P2P sites to LimeWire – and include more of the serial offenders – PC Magazine is slyly encouraging people to steal more music.”

INKED VALE PETER “SLEAZY” CHRIS- FRESHLY X Factor judge Guy Sebastian has re-signed TOPHERSON with Sony Music on a “long term” deal, therefore Peter “Sleazy” Christopherson, founding member of pioneering UK industrial outfit Throbbing Gristle (TG) died in his sleep last Wednesday, aged 55. The news of his passing was announced by fellow TG members Chris & Cosey on their website. After TG broke up in 1981, Christopherson formed another wildly influential band, the psych experimental electropunk act Psychic TV as well as continuing to create industrial music as Coil. Christopherson also had a successful career as a music video director, making clips for Ministry, Nine Inch Nails, Rage Against The Machine, Sepultura, Rollins Band, The The and Robert Plant. He also made clips for Australian artists Silverchair, Barry Gibb and ABBA tribute band Bjorn Again (TG members were longtime ABBA fans). His most commercially successful clip was Yes’ Owner Of A Lonely Heart. As a designer/photographer with the Hipgnosis art collective, Christopherson is credited for the cover art on first three Peter Gabriel self-titled albums (although Gabriel claims not to recall who was directly responsible) and some sources cite him as contributing to the sleeve art for Pink Floyd’s Wish You Were Here and Animals albums. In recent years, Christopherson took part in a TG reformation as well as forming the Soisong project and recording as The Threshold HouseBoy’s Choir.

MORE DOUBT OVER WOLLONGONG RDL Investments, one of Wollongong’s biggest hoteloperating groups, has entered administration, throwing doubt over live music venue The Harp Hotel amongst others. Also owners of the Glasshouse Tavern and the Commercial Hotel, the news comes not long after the closure of The Oxford Hotel’s closure in July from the same area. The Harp’s booking agent Jeb Taylor told The Front Line, “I met up with the administrators and they said they pretty much want to continue live music, for the foreseeable future anyway. Anything that’s scheduled is still going ahead, beyond that we’re not sure… The Harp still trades really well, it’s moreso a result of the other businesses draining from that.” The process will be resolved “well into next year”.

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sticking with the label he’s been with since winning Australian Idol in 2003. Emma Hamilton has signed a deal with ABC Jazz that will see her debut album released through Universal early March. She recently signed with manager Jeff Chandler as well. Sydney pop youngsters The Never Ever have agreed to a publishing deal with Centrifuge Music, the home of Hugo Race, Artisan Guns and Noiseworks.

FOR THE FORCES The Forces Entertainment Tour will be taking Australian performers to Australian soldiers currently deployed on peacekeeping missions in Egypt for Christmas this year. Country singer Beccy Cole, comedy trio The Axis Of Awesome and Luke Dickens will before while Gretel Killeen will MC the two concerts.

MELB-FEST SETS NEW RECORD The Melbourne Festival’s box office takings of $2,700,281 for 2010 has surpassed that of the previous record, 2009’s $2,605,916. The result came in Brett Sheehy second year as Artistic Director and in a statement said, “while great box office and surplus figures are terrific, it is what they say about the people of Melbourne which is most significant and this year it means that Melburnians have again embraced the Festival in droves, taking ownership of the State’s premier cultural event.”

JACK’S CLEANING UP Renowned for his environmental approaches, Jack Johnson’s All At Once Community is working with environmental groups as part of his upcoming tour. Taronga Blue and the Two Hands Project will partner up for a Beach Cleanup Series to coincide with Johnson’s tour Saturday 11 December 9am at the Manly Beach Surf Club. Volunteers are asked to assemble at the club and there’s signed Johnson gear to be won by draw.


PROBLEMS OF THE ONLINE BARGAIN front WHILE ONLINE PURCHASES FROM OVERSEAS ARE EXTREMELY ENTICING – AND EVEN CHEAPER THAN USUAL AT THE MOMENT – THERE ARE UNFORSEEN IMPACTS THAT ARE STARTING TO TAKE THEIR TOLL ON OUR MUSIC INDUSTRY, WRITES SCOTT FITZSIMONS.

LINE

the store that they bought it overseas,” national marketing manager Rob Walker told The Front Line. It’s not just guitars and big equipment that are affected; they’re seeing the effects through things like sheet music, the smaller purchases that often make up the profit margins. “Our industry association have been lobbying the government for a while now… [the tax system] is not a like-for-like concept.”

MANNY GAUCI-SEDDON

C

ompounded recently by the excellent value of the Australian dollar, personal importing has become increasingly popular. Websites like Amazon and eBay are the obvious outlets, but specialist retailers are proving to be more and more popular for individual purchases – especially given that purchases under $1,000 do not attract any tax. Good news for consumers, bad news for Australia’s own retailers and something that is certainly having an impact on the music scene. Recently one of those retailers – Manny’s, an independent music equipment store in Melbourne’s Fitzroy – issued a “promise” on their website, that they would go as far as they could possibly go to match legitimate overseas prices. But there’s no guarantee they’ll be able to compete and business owner Manny Gauci-Seddon doesn’t believe they’re on a level playing field. “The real issue for us is that there is no GST for imported goods $1000 and under,” he told The Front Line. “There’s no duty. There’s no compliance cost on electric goods. If a supplier wants to bring in like a simple thing like a guitar pedal, for example, he’s got to go through all the C-ticket approvals and if it’s not approved you can’t import it. Individual importers have no issues like that.” What’s most frustrating for him are instances where consumers use the service he provides, that is coming into the store to test the gear, only to then purchase the goods overseas. “We have to pay GST, ten percent on everything we

E-BAY import. Anything that’s manufactured in Australia, guitars and amplifiers and what have you, there’s a duty to be paid on that… We try to do the best possible price, but sometimes it’s just impossible. But it’s not just our industry; there’s lots of industries suffering the same thing.” One of the biggest players in the Australian retail market, Harvey Norman co-founder and chairman Gerry Harvey, recently told stakeholders at the company’s annual general meeting that, “This is a huge, huge problem… If you are in retail selling those sorts of goods, you are severely disadvantaged.” What Harvey suggested – and Gauci-Seddon supported – is that there should be a goods and services tax placed on individual purchases from overseas online retailers. Undoubtedly it’s a hard sell to the public and therefore politicians aren’t keen to attach their name to the idea. In response to a question at the meeting, Harvey said, “The fact that people say… it is too hard – that is bullshit… We have spoken to a number of politicians and their answer is, ‘It’s too hard’. ‘It is too much to collect. We’ll upset the voters because they vote for us’.” On top of the strong Australian dollar, one of the reasons that overseas purchases are attractive is that there are only two margins involved – usually that of a manufacturer and the retailer. In Australia and with imports, there’s an added middleman, the wholesaler, who imports the goods. Gauci-Seddon believes it unlikely that wholesalers or manufacturers will try to cut out the

retailer in Australia, in order to bring margins down. There are also the cultural differences working against Australian retailers, especially in terms of America. “The US don’t have a minimum wage, they work on bare bones,” stressed Gauci-Seddon. “They also don’t pay nine percent superannuation, they don’t have a work cover and I know it just sounds like me bitching about competition, but it’s not an even playing field.” One company that believes retailers are being melodramatic – and stands to lose a lot from any import GST – is eBay. A spokesperson for the company, Daniel Feiler, told The Front Line that “calls for lowering of the GST threshold are misplaced.” He also said that the falling purchases was due to the retailers themselves and that “retailers need to be online in a compelling way.” According to their own statistics, they believe that retailers with an online store through eBay have grown at ten times the pace of those without it. Instead of bemoaning the current climate, they believe retailers should be making use of the Internet as a powerful tool themselves. “There’s no point in looking at an action that will essentially punish the consumer,” Feiler said. When The Front Line asked if this would result in cutting out the wholesalers from the retail chain, he said it was a “separate issue”. Manny’s has an online store and so to does Allans Music + Billy Hyde, one of Australia’s largest music retailers. Though even with their bigger Internet presence, Allans are still feeling the pinch. “We have people telling us in

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Ninety-five percent of Allans’ stock is imported and that has a profit margin from the wholesaler. While he admits a full analysis is yet to be completed, “it’s a problem that’s not going away.” In a statement, The National Retail Association’s executive director Gary Black supported the trashing of the $1,000 threshold. “Australian retailers who import shipments are paying up to 30 percent more than a consumer buying online. The $1000 tax-free threshold is unique to Australia, with countries such as the United States, United Kingdom, Canada and New Zealand all imposing varying amounts of tax, duties and charges.” From the outside – especially the consumer’s – perspective, it’s easy to side with eBay and peers (Amazon international didn’t respond to request for comment) and question why the consumer should foot the bill. But, especially in the case of the music industry, the problem runs deeper into the community. Much like a venue lockout will cut work opportunities for students who rely on those early hours for work, Gauci-Seddon says that other retailers have already had to restrict staff and their hours and the same looms for him. “If nothing happens, I’ll have to put people off… Everyone who works with me is a muso, they’re all aspiring musicians or they run a studio and they work with me because they need to supplement.” The response from his appeal has been heartening though. “Since I’ve put that up I’ve had ten times the number of enquiries online and I’ve had people walk into the shop and say, ‘We agree. You don’t have to get it exactly the same price, but can you do it a little bit better than what you normally do.’ Most people have a conscience and they understand that we’re not trying to rip them off.”

THE DRUM MEDIA 30 NOVEMBER 2010 • 31 •


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GOD HATES US ALL Dear Drum, Why is it that the Christians always have a go at metal acts? There seems to be an inherent mistrust of any type of metal from the Christian community. I’m surprised that the Black Mass metal event that was planned was cancelled due to Christian groups (Mailbag #1036). Why is it always the vocal minority seems to be the one that gets it way? I bet those that complained had never even heard of the bands performing before they started their campaign. They probably never even went to one of the bands’ websites to hear/see what they do and then make an informed comment upon the proceedings. I suspect it was a case of, metal = bad, let’s ride our complainy horse and have it stopped. I thought Christianity was based upon tolerance of others, but it seems that it’s not the case with incidents such as this happen. Personally I’m more offended by the misogynous attitudes of some hip hop and rap artists, but you don’t see me starting a campaign to cancel rap shows now. I get and respect that people like that kind of music so let them enjoy their shows. I won’t be going along to them, but good luck to the people that do. I hope they do enjoy the show. I wish Christians would do the same with metal fans and let them be. Thommo Erskineville Explain Stryper then – Ed

SIMPLY THE BEST Dear Drum, Re Readers Poll best Australian albums (Drum #1036) So yet another poll on the best Australian albums and yet another strange result. Why is it that no matter what the poll, people rarely think that any decent albums were released post about 1990? While I understand that usually an album’s greatness reveals itself over time – and looking at the albums the readers nominated, some of those weren’t exactly embraced upon release, by the critics or even punters as they didn’t have massive sales – surely there has been some great music released in the last 20 years. Died Pretty snuck into the top ten, but after that it’s few and far between. As for this last decade? Well, looks like the noughties were a musical wasteland if the readers are to be believed. Powderfinger only coming in at 20? The first appearance of Nick Cave at 24? That makes no sense. His talent deserves to be way higher than that, though apparently not to readers as The Birthday Party don’t even make the top 50? Though someone like AC/DC should only have one entry seeing as they’ve pretty much made the same album over

FRONTLASH

TAG, YOU’RE IT

Adam Dee Why We’re still seething our vote for Melissa Tkautz didn’t have an effect and she didn’t make the poll. – Ed

SMALL CIRCLES Dear Drum, Why is it that the whole of Sydney’s original live music scene seems to be confined essentially to three “entertainment hubs” – Oxford Street and environs, King Street and environs and bits of the city centre – with the odd token venue in Bondi and Parramatta? Looking at your weekly gig guide, it looks like the city’s positively heaving with gigs, yet when you really scrutinise that guide, so many of the venues beyond those aforementioned “entertainment hubs” are really only presenting cover bands of some description, so the commitment to music seems to be pretty cursory – something to amuse the punters between sporting functions on the plethora of TV screens blaring out of every conceivable corner and the midnight DJ run, with all too often the bands up there on stage, when anyone bothers to pay attention, expected to be merely the jukebox to the whims of the punters between text messaging and shouted, giggly gossip (“Can you play Khe Sahn?”). Is this really what greater Sydney wants from its live music venues? If so, no wonder Melbourne jokes about our scene! The only real commitment to original live music west of Leichhardt seems to be coming out of the all ages scene – and thank goodness for that because that’s the scene that might just force the venue owners to broaden their entertainment programs as those under 18s get old enough to go into licensed premises (though if Fred Nile gets his way, they might have to wait till they’re 21!) if they want to keep that trade in their neighbourhoods rather than losing them to the inner city. Tim Harris Park Just flicking through the first few pages of last week’s Drum we came across quite a few venues that were outside the so called “hubs” you mentioned and they didn’t just have all cover bands listed. Right, that’s that theory disproved. Creationism, I’m gunning for you next – Ed

BACKLASH

500

This rapper tag thing – as started by 360 – has really taken off and is pretty sweet viewing. We want to see all genres get in on this.

Five hundred and what for one?! Good Lord this could be a long Ashes series…

CAN’T SILENCE THE NET

“I just wanna tell you both, good luck. We’re all counting on you.”

MR CRICKET

Korea, if we were four-foot tall, we would not be throwing stones at those who are eight foot tall. Doesn’t end well.

WikiLeaks is keeping everyone very honest at the moment. We just need a good week of nothing but trawling through the latest gigantic release. Hussey and Haddin, what a partnership! This could be an excellent Ashes series…

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• 32 • THE DRUM MEDIA 30 NOVEMBER 2010

and over for the past 40 years. Then something like a bona fide classic like Whispering Jack only makes it to number 49. While I agree that everyone’s got an opinion and no two people will probably agree on just what the best Australian album is, ever, there seems to be an imbalance in what people have voted on. Next time, don’t be afraid to consider new music.

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NEWS@DRUMMEDIA.COM.AU The organisers of NYE On The Harbour have announced a few last minute additions to the already huge bill, with New Yorkers DJ Equal and Anna Lunoe joining Miami Horror, France’s Breakbot, our own Bag Raiders and more. Then you’ve got Space Ibiza Festival Sydney 2011 taking over Moore Park Entertainment Quarter from high noon on New Year’s Day, with Carl Cox just announced as headlining, with the bill also featuring Steve Lawler, Francois K, Mandy, Nick Curly, Sebastien Leger and a stack more.

FREEBEES

Universal have hooked us up again with another couple of free downloads that we’re happy to pass onto you. Head to universalmusic.net.au/freedownloads/streetpressaustralia to get some. Canyons – My Rescue

MILLENCOLIN

DEVIL DRIVER

Taking a musical approach guided by intuition and feel, Canyons are forging an identity amongst a turbulent sea of comers and goers. Not necessarily typical of what the radio programmers are filling their slots up with at the moment, their label debut, My Rescue, is an ode to sun and enlightenment. Feel positive, feel free, feel rescued. Imelda May – Sneaky Freak

KYUSS LIVES The fact that Sydney took a little longer (46 minutes) than Melbourne (four minutes) to sell out tickets for the forthcoming Kyuss tour hasn’t prevented the promoter from upgrading the gig from the Metro Theatre to the Big Top in Luna Park, so for those of you who have tickets saying Metro, never fear, your tickets remain valid for the Big Top. Also completely sold out is the first Gotye theatre show in Sydney in three years Thursday 27 January in the City Recital Hall Angel Place. A documentary on the making of the lead track, Eyes Wide Open, from his forthcoming album premieres on iTunes Ping Tuesday 7 December. Here for the Stereosonic tour, Chilean techno DJ Ricardo Villalobos is also putting in a Sydney sideshow this very Friday at the Metro Theatre, with guests Simon Caldwell, Garry Todd and Murat Kilic. The devilishly debonair Dave Graney has been tapped to be the very special guest of UK rock institution The Fall when they return to the country for the first time in two decades, playing The Metro Tuesday 7 December.

THE GASLIGHT ANTHEM

CALLING THE WAVES

As Sydney starts to catch up with Melbourne’s sideshows for the upcoming Soundave festival, one of the latest shows announced is that of The Gaslight Anthem and Polar Bear Club – a bit of a mismatch on paper considering the depth of genres the festival boasts, but both excellent bands no doubt. Taking more than a few cues from Springsteen, The Anthem are like a punked-up version of The Hold Steady, heavily narrative of smalltown America. Monday 28 February they’re at The Metro Theatre (all ages). Another of the Sidewaves announced this week is a match made in recent punk rock history. Both Millencolin and Pennywise have been prolific and influential over the last decade. Millencolin in particular will be in a good mood, as they’re celebrating the tenth anniversary of their record Pennybridge Pioneers, and are likely to be drawing tracks from all over their back catalogue. On the other hand, Pennywise have undergone a bit of a shake-up recently, with the departure of vocalist Jim Lindberg and the entry of Zoli Téglás but they’re assuring everyone that the new phase is going to be a good one. With a new album due next year, they join Millencolin Monday 28 at the UNSW Roundhouse, all ages. To round out this week of Sidewave announcements, Devildriver, Ill Nino, All That Remains and Nonpoint have the heavier side of things covered Wednesday 2 March at The Forum.

With another single, Broken Bones, lifted from their debut album, Post Paradise, to prepare the way, The Holidays are touring the nation as the special guests of the UK’s Mystery Jets, hitting Sydney’s Metro Theatre 3 January. Sydneysiders Further have picked up the opening slot for Welsh rockers Future Of The Left when they play the Annandale Wednesday 5 January. When Swedish folkie Jose Gonzalez introduces his new outfit, Junip, to Sydney Saturday 8 January at the Metro Theatre, special guests Ghoul will kick off the evening’s entertainment.

Former frontman of The Saints, Chris Bailey will be opening for American folk legend Judy Collins when she comes to the Basement for three nights Monday 17, Tuesday 18 and Wednesday 19 January. As you should all know by now, veteran UK experimentalists Wire are coming over as guests of Sydney Festival 2011 and will play Beck’s Festival Bar Thursday 20 January. Friday 14 January, Popfrenzy will be releasing their latest album, Red Barked Tree. Philippines-born Canadian DJ Laidback Luke, fresh from his collaboration with Robyn, heads down to our hemisphere for a tour that finishes in our own Soho Saturday 5 February. Rihanna has announced a second Acer Arena concert for Saturday 5 March, the show the night before having sold out. Tickets go on sale midday Wednesday 8 December. Smudge are getting quite busy right now, what with their support slot with The Lemonheads, whose Sydney concert at the Metro Theatre Wednesday has completely sold out, and now the announcement that they’re opening for NZ’s The Clean Wednesday 9 March at the Factory Theatre. Having sold out both the Wednesday 23 and Thursday 24 March Usher concerts at the Acer Arena, it was inevitable that old popular demand would see the announcement of a third Acer concert for Monday 28. The first Tommy & Phil Emmanuel 50th anniversary tour Lyric Theatre, Star City concert Thursday has sold out but there might be a few tickets left for their second, Friday night. Currently touring the US, Anthony Snape returns to open for Jon Stevens at Lizotte’s in Kincumber Friday 17, Saturday 18 and Sunday 19 December, then headlines Wednesday 22 at Lizotte’s Dee Why. • 34 • THE DRUM MEDIA 30 NOVEMBER 2010

DOOM

THE ARTIST KNOWN AS

DJ Tyson Koh is now also joining Barcelona’s El Guincho when the three-piece heads into the Gaelic Friday 10 December, along with Catcall and megastick fanfare. Swedish electronic futurists The Field will now also be joined by DJ Kalli as well as Mark Pritchard and Domeyko/Gonzalez when the visitors take over the Gaelic Saturday 11 December.

Imelda May, born in Dublin and raised in the Liberties, may be an unknown name to some, but to many she is already a superstar. With a fusion of surf guitars, blues and rockabilly as her sound, and her style with a solitary curl and shock of blonde in her jet black hair she’s standing out. In Ireland, her debut album, Love Tattoo, which she recorded and released on her own label, has gone triple platinum. She has shared a stage with U2, Eric Clapton, Jeff Beck, Van Morrison, Scissor Sisters, Eartha Kitt, Lionel Richie and, most recently, the first lady of rockabilly, Wanda Jackson. And now, with the release of her new album, Mayhem, she may just go stellar. May will be touring Australia in February and March next year.

ZZ TOP EDDIE VEDDER

ROCK TO THE TOP

PEARLS IN THE ROUGH His repertoire as a solo artist continues to grow, and Eddie Vedder builds that reputation with the announcement of an inbound solo tour. The Pearl Jam frontman was last in the country fronting that band, but this time he’ll be armed with just a guitar and no doubt taking tracks from his most acclaimed solo work, the awardwinning soundtrack for Into The Wild. Tuesday 15 March he’s due at Canberra’s Royal Theatre, Wednesday 16 Newcastle’s Civic Theatre and Friday 18 and Saturday 19 the State Theatre. Tickets on sale Friday 10 December.

Legends of both the blues rock and beard rock genre, ZZ Top have announced their own run of shows to coincide with an appearance at the Bluesfest event. The Texans were inducted into the Rock And Roll Hall Of Fame by Keith Richards back in 2004 and endorsements don’t come much better than that. Doing the same thing they’ve always done, expect a classic rock show at Newcastle Entertainment Centre Wednesday 20 April, Wollongong Entertainment Centre Monday 15 and the Enmore Theatre Wednesday 27 and Thursday 28. Rose Tattoo and The Poor will support.

Some know him as MF Doom and his mum named him Daniel Dumile, but when he comes to Australia in the near future we’ll be referring to him as just Doom. The New York lad of story-based hip hop has released some brilliant material in his time – our favourite has to be Danger Doom, a collaboration with the usually awesome Danger Mouse – and his comic-book tales serve only to grow the man’s mystique. The man and the myth will visit The Metro Theatre Wednesday 23 March.

SIA

RAP TRENDS

BORN OF THE MOMENT

It’s safe to say that The Rapture paved the way for many an artist after them, bringing the punk influences into the dancefloor scene and blowing kids’ minds in the process. Virtually veterans these days, they’re back in town for the festival circuit over summer and have announced a Sydney headline show at The Metro Theatre Thursday 6 January. Support comes from Erol Alkan – a DJ of varying skills and talents – as well as Strange Talk. A party will be had, we guarantee it.

LIVE FOR COG-MAS

THE CHURCH

Keeping their heads down for reasons of seeming disinterest, Cog are making something of a surprise return to the live arena, just in time for Christmas. The hard rock trio are one of the most influential within the current Australian scene, partly because of their unmistakable Australian nature. A regular event, just because they haven’t done much else this year doesn’t mean their Christmas show gets a miss – Wednesday 22 December they’ll be at Selina’s in the Coogee Bay Hotel – nice and close to home. After The Fall and Overreactor will provide the supports.

ROCK’N’ROLL STALWART A man of many faces throughout his career 54-year-old Chris Isaak has announced touring plans for March next year, where he’ll return to one of his more successful markets around the world (there are a few of them), Australia. Returning with his long-time band Silvertone, he’ll be swapping between his surf rock, rockabilly, crooner and all that’s in between throughout the shows. Playing Saturday 12 March at Wyndham Estate, he’s got two Sydney shows at the State Theatre Tuesday 22 and Wednesday 23 before heading to WIN Entertainment Centre Friday 25.

COME TO PRAY After providing the highlights of the ARIA Hall Of Fame – and to a lesser, Kilbey extent the ARIA Awards – The Church are well and truly on a roll, one they’ve kept going since the release of their remarkably good record, Untitled #23. Now for something special. Celebrating their 30th anniversary the band will be taking to the Sydney Opera House’s Concert Hall for A Psychedelic Symphony. It’s a show that will feature all the best tracks from their history backed up by accompaniment George Ellis Orchestra. Fans, don’t miss this Sunday 10 April.

HED’S UP One of the leading bands in the punk rock/hip hop collision, (HED)p.e. will be touring Australia on the back of their latest album Truth Rising. Typically fuelled with a political message Truth Rising, takes aim at those trying to withhold power from the masses throughout the history of man, in one of their more skit-heavy nu metal efforts. Join in the movement Saturday 29 January at the Manning Bar and Sunday 30 at the Cambridge Hotel.

twitter.com/drummedia

With the end of her performing career rumoured to be on the horizon, we should be savouring every moment we get with quirky pop darling Sia. Even though she spends most of her time overseas these days, writing songs for pop stars and generally having a grand old time, she’ll be returning for the Big Day out run of shows and accompanying headline dates in Sydney, Melbourne and hometown Adelaide. A livewire on stage, her latest album, We Are Born, lends itself to good times. They’ll be had Wednesday 2 February at the Enmore Theatre.

IT’S A WRAP Performing tracks from across her whole career, Renee Geyer has announced two year-ending shows at The Basement, Circular Quay. The ARIA Hall Of Fame inductee will be offering her own interpretations on jazz classics, proving that even with a career that’s now spanning four decades and 22 albums, she’s still as vital as she ever was. She’ll perform Wednesday 29 and Thursday 30 December.

WHERE PAGANS DWELL It’s not surprising that some of the best pagan folk metal around today comes from the depths of Finland and the aptly named Finntroll are right up there. With tales of the old world folklore and elaborate legends, they’re an innovative band in the scene, working with new instruments and methods not usually utilised. Touring Australia next year they’ll be joined by Australia’s own Claim The Throne – inspired by ale as much as they are ancient battles – Saturday 26 March at The Manning Bar.


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DAVE EASTGATE I WISH I HAD A BAND

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MELBOURNE’S FAVOURITE XMAS SHOW FINALLY MAKES ITS SYDNEY DEBUT

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THE DRUM MEDIA 30 NOVEMBER 2010 â&#x20AC;˘ 35 â&#x20AC;˘


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SIMON CALDWELL

LOCAL SUB-INS Happening this week from Friday lunchtime to Sunday midnight, Subsonic’s latest lineup announcement includes over 30 local and supporting DJs, including The Bastards, Andre Wakko, Phil Smart, Little Fritter, Simon Caldwell, Thankyou City, Shades Of Gray, Jimi Polar, Matt Aubusson, Gettafunkt, Robbie Lowe, Kodiak Kid, Daniel Crocetti, Mashy P, Dave Stuart, MSG, Marcotix, Luke Harland, Trinity, Raffi Lovechild, Jordan Deck, Shaun Joshua, Launchpad, Franchi Bros, Woodsman, Robohan and more. It takes to Riverwood Downs Mountain Valley Resort at Barrington Tops.

WHISTLES IN THE HILLS

MICHAEL FRANTI

THE POINT OF IT ALL Almost unnoticed in the lists due to the sheer size and weight of the first Bluesfest announcement, Michael Franti & Spearhead will be bringing their album, The Sound Of Sunshine, an apt title for the work of the Californian musician and poet, to bask in our southern hemisphere rays next year. Born of a life-threatening incident when Franti ruptured his appendix, the positive outlook he found in those darkest of moments flavoured the album and turned things around. Sunday 24 April the band play the Enmore Theatre, in an all ages event.

One of the most pleasant festivals that Sydney hosts each year, The Blue Mountains Music Festival (now with folk, roots and blues) has announced one of its biggest line-ups ever for the 16th edition. The Waifs (pictured) need little introduction, neither should Justin Townes Earle or Luka Bloom. They’re the three big names but there’s plenty of depth as well with The Alan Kelly Quartet, Andy Irvine & Rens Van der Zalm and Pacific Curls, The Backsliders, The Little Stevies, Sal Kimber & The Rollin’ Wheel, Frank Yamma, The Spooky Men’s Chorale, Skorba, Slava & Leonard Grigoryan, Crooked Still, Martin Simpson and more. Not to forget some of the other local acts Katie Noonan & The Captains, David Bridie, Mama Kin, Graveyard Train and much more. With plenty more to be announced closer to the date, it happens Friday 18 – Sunday 20 March at venues across the Mountains.

G.LOVE

SWEET SOUNDS BB KING

THE COMPANY OF KING PAUL GREENE

WINDING DOWN It’s been a fair journey for Paul Greene, not someone you find barnstorming the mainstream, but certainly one who goes about his business with diligence earning the appreciations of his peers. A decade of touring will definitely take its toll though, and through the ups and downs 2011 will be a slightly less hectic tour year for the singer/songwriter. He’ll still play dates, but not the extensive intimate shows we’re used to. Before a period of self-reflection there are a few chances to catch him up close and personal – Thursday 9 December at The Basement, Circular Quay, Friday 25 February at Lizotte’s Kincumber, Saturday 26 Lizotte’s Dee Why and Sunday 27 Lizotte’s Newcastle.

THE GREENHORNES

GET HORNY Announced as part of the second Big Day Out announcement this week, The Greenhornes have wasted no time in announcing their other intentions for their Australian visit. Supporting their Ohio-pals The Black Keys, they’ve also announced their own club shows – the Sydney version due to take place Thursday 27 January at The Annandale Hotel. There’s nothing particularly swish or polished about The Greenhornes, but as they near a career of 15 years and a back catalogue of blues/garage/ psych-rock gems, we wouldn’t have it any other way. Makes for a good live show, too.

There are few names in blues these days that are as big as B.B. King, and the man who’s probably earned the title “The King Of Blues” more than anyone walking the planet today will be playing next year’s Bluesfest. It’s no secret he’s getting on in years and although we’re sure he’ll be playing until he departs, it’s impossible to tell how soon that might be. As if you needed any other reasons to not miss his upcoming appearances, especially his headline date Tuesday 12 April at The State Theatre. Tickets go on sale Wednesday 8 December and won’t hang around long.

INDIGO GIRLS

INDIGO RISING

GUINEAFOWL THE VINES

YEAR OF THE INDIE

THE BIG LOCALS Big Day Out have announced their second and final announcement for the festival – consolidating their existing lineup with national names as well as giving the Lilypad an injection. Playing all the festival dates, Sia tops the announcement with The Vines (pictured), The Greenhornes, Washington, Matt & Kim, Black Milk and Anna Lunoe. As for the Sydney-specific acts, the sold-out Wednesday 26 January event will now also welcome Smudge, I Am Giant, Hard-Ons, Amy Meredith, Boy & Bear, Parades, Knievel, Cameras, Chaingang, World Champion, Catcall, Flatwound, Nina Las Vegas, Yacht Club DJs, Paradise Lost DJs and We Say Bamboulee, while with tickets still available to the Thursday 27 show, there’s still a chance you can catch I Am Giant, The Snowdroppers, Amy Meredith, Boy & Bear, Parades, Papa Vs Pretty, Regular John, Cabins, Jinja Safari, The Mission In Motion, Bass Kleph + Chris Arnott, Mark Murphy, The Only, The Humingbirds, Brendan Clay and Lanie Lane. • 36 • THE DRUM MEDIA 30 NOVEMBER 2010

JUSTIN TOWNES EARLE

WHERE THE RIVER RUNS His substance addictions well documented, there were fears for Justin Townes Earle when he entered rehab on the eve of the release of his latest album, Harlem River Blues, another gem of a record that slyly documents his slide through alt.country storytelling. He’s back in the real world though, playing shows once again and billed, much to our delight, on the Golden Plains and now Blue Mountains Music Festival lineups. With a tour to coincide with the shows, he’ll be at Lizotte’s Dee Why Thursday 3 March, The Basement Circular Quay Friday 4, the Heritage Hotel Saturday 5 and the Annandale Hotel Sunday 6. The latter’s an afternoon show, kicks off at 2pm.

It’s a big rap to give an album, but G. Love (of G Love Special Sauce fame) has said of his new collaboration, Moonshine Lemonade, with producer Plutonic Lab, “I’ve been making and mashing hip hop and blues for the last 20 years. With Moonshine Lemonade, I finally feel like I got it right,” on the press release. It’s a big call considering some the material they’ve released previously on their own individual accords but they’ll be playing the Oxford Art Factory Saturday 15 January before the album comes out in February. Catch the teaser show and reap the cool points.

Now we all know that Purple Sneakers know how to throw a party, and their finest tend to be their New Year’s bashes. This year’s event has even more appeal thanks to their partnership with FBi, who we all know can select indie tunes with the best of them. Doubling as a fundraiser for the station, the first round of bands performing all through the night will be The Paper Scissors, Guineafowl, Gold Fields, Ghoul, Bearhug and Butcher Blades, while there’s no shortage of DJs either with Purple Sneakers DJs, FBi DJs, Surecut Kids and Kato. This year’s event is moving to The Gaelic and obviously happens Friday 31 December.

GROUNDED JAMS Heathen Skulls are bringing out another band of dark psychedelic tones to Australia – San Diego’s stoner rock trio Earthless. Pushing along the psych revival the band features Mario Rubalcaba of Hot Snakes and Rocket From The Crypt and they’re set to make their first visit to Australia in January. Kicking out the jams they’ll be at the Annandale Hotel Saturday 8 January with yet-to-beannounced special guests.

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Inbound for their fourth Australian tour, Amy Ray and Emily Saliers – who together are Indigo Girls – have their eyes set on Australian venues once more thanks to their billing on next year’s Bluesfest. Quiet achievers of sorts, they’ve certainly filled out the ‘achieve’ part of that even if you couldn’t accuse them of being terribly quiet at times. The folk duo have received seven Grammy nominations through their career that’s also witnessed over 12 million albums being sold. On top of their Bluesfest appearance, Ray and Saliers will be at the Canberra Theatre Wednesday 27 April and Sydney’s State Theatre Thursday 28.

JIMMY EAT WORLD

A FAMILIAR INVENTION A late inclusion on the last Soundwave festival, Jimmy Eat World have made good on their plans to return to our shores and have announced dates for next year on the back of their latest album, Invented. Highly anticipated, the record saw the band work with superproducer Mark Trombino once again and won the hearts of the loyal fans – if not amassing them a new army. While they’ll be playing tracks from the newie, these days their setlists are essentially wall-to-wall classics and in the surrounds of the Enmore Theatre Friday 8 April, it’s sure to be special. The show’s all ages.


THE DRUM MEDIA 30 NOVEMBER 2010 • 37 •


TRICKY

MORE PLAY THINGS

SONS HAS RISEN

One of the newest outfits in the category of ‘the biggest band in the world’, Kings Of Leon consolidated their sound with their fifth album, Come Around Sundown, and, like they promised they would in a cover story with this very magazine, they have announced Australian dates as part of their world album tour. One thing that hasn’t changed with their rise to world domination is their stage presence. At heart they’re still the four Tennessee lads playing ‘the devil’s rock’n’roll’ with bravado but not much fanfare. Expect less exploding and fire-starting bras and more blues rock riffs either Tuesday 8 or Thursday 10 March next year at Acer Arena.

L

After the initial teaser announcement, the second – and more sizable – Playground Weekender announcement has been revealed. Lab, Tricky, The Beautiful Girls and Architecture In Helsinki are the big names, but the gold lies in the lower rungs which include You Am I, Midnight Juggernauts, Mayer Hawthorne & County, Derrick Carter, Black Mountain, The Like, I Am Kloot, Andy Fletcher (Depeche Mode), Dixon, Ame, Mad Professor, Fort Know Five, Parades, Grace Woodroofe, Rat Vs Possum, King Cannons, Fait Accompli, Andy Bull, Slow Down Honey and more will take to the Del Rio Riverside Resort in Wisemans Ferry for the festival. It runs from Thursday 17 to Sunday 20 February.

NEVER FAR AWAY

VE POLICE PRESENT

After leaving his native Ireland for the opportunities of America, Luka Bloom has enjoyed himself a solid two-decade career since then. Things are anything the but slowing down as this part of the folk storyteller’s career and returning to Australia for his tenth tour downunder next year, it’s one of his biggest yet. He’ll play over three nights at Canberra’s Tilley’s Tuesday 22, Wednesday 23 and Thursday 24 March, before hitting the Enmore Theatre Saturday 26, The Heritage Hotel Sunday 27, Lizotte’s Newcastle Tuesday 29 and Lizotte’s Kincumber Wednesday 30.

DRAGONS AND GORILLAZ Following on from their self titled debut of two years ago that was well received – if not world changing – Little Dragon are continuing their electro pop habits with Machine Dreams. They’ll be coming out to support the one and only Gorillaz, their frontwoman Tukimi Nagano to jump on stage for the two songs she co-wrote on Plastic Beach. There’s a chance to get intimate at GoodGod though, where Little Dragon will headline Wednesday 15 December.

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Six months after the their 15 year reunion show, the lads in Juice have announced another celebratory event – this time for the release of their live DVD. Saturday 11 December they’re at the Beach Road Hotel and following this launch they’ll be heading back into the studio to work on their new album. Juice will also be supporting Kora at the Annandale Hotel Thursday.

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If the spiritual home of reggae is Jamaica, then the father of the house may well be Horace Andy. With a career of four decades, no-one can deny Andy has stance within the reggae ranks. Achieving prominence in the late ‘70s with his move to American, and then at the start of the ‘90s with a move to the UK (working with Massive Attack at that time will do that), he’s returning to Australia next year for shows in both Melbourne and Sydney. Wednesday 16 March he’ll be at The Metro Theatre.

XMAS FORTUNES It’s a special time for the Sandringham Hotel at the moment, as they roll out a low-key celebration of their 30th anniversary and it’s going to be a special Christmas party when two of Sydney’s most loved indie outfits (when you average that love out over the last few years) team up Thursday 9 December. 78 Saab have their new album Good Fortune on hand, as Peabody have Loose Manifesto in the bag and they’ll be flipping a coin for the headline spot. Vegan Mosquitos are to support.

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It’s going to be a Sizzling summer if Bluejuice, Philadelphia Grand Jury and the Purple Sneakers DJs have anything to say about it. The three – more acclimatised to pubs and dark indoor venues it must be said – are heading out for a tan to welcome in the year 2011 and thanking the year past for its spoils (ARIA noms, international travels, album releases and kudos in general were all had). With a range of dates up and down the east coast, they’ll be at the Woodport Inn Thursday 13 January and Panthers Newcastle Friday 14.

CULTURE CLASH The UK’s Afro Celt Sound System have been lured out to Australia for next year’s WOMADelaide festival and won’t be leaving until they’ve visited our Opera House. Regarded highly as a world fusion group, they take their dues from both the African and Irish spheres (not something all that regular) and will be taking to the Concert Hall Monday 14 March.

COME TO DADDIES A mixture of ‘30s swing, ska-punk and “the seedy glamour of 1930s Hollywood”, the Cherry Poppin’ Daddies will head to Australia as part of their 21st anniversary celebrations. Finding themselves at the front of a neo-soul explosion, they’ve kept the dream – and the vibe – alive to this day, as you’ll see Friday 8 April at The Factory Theatre.


THE DRUM MEDIA 30 NOVEMBER 2010 • 39 •


MUSICIAN, PROFESSIONAL WRESTLER, ACTOR, AUTHOR AND IMPROV COMEDIAN – CHRIS JERICHO SOMEHOW CRAMS IT ALL INTO HIS SCHEDULE. THE FOZZY FRONTMAN TELLS BRENDAN CRABB HOW YOU CAN MAINTAIN THEM ALL, AS LONG AS YOU DON’T START WRITING SONGS ABOUT AIRLINE FOOD.

ROCK’N’ROLL

WRESTLING

F

ollowing two albums of predominantly covers, American heavy metal act Fozzy hit pay dirt with 2005’s All That Remains and this year’s Chasing The Grail, creating a diverse range of songs with musical partner in crime, guitarist/producer Rich Ward of rap/metallers Stuck Mojo. Jericho (best known as a performer with the World Wrestling Entertainment juggernaut) says after doing this for more than a decade, they have successfully shaken the stigma of being “the band with the wrestler and the rap/metal guy”. “Absolutely man, especially the last three years,” the immediately friendly vocalist happily admits. “Things have really changed for the band and that’s due to the fact that we’ve been doing this for eleven years now; we’ve kind of been through all the hurdles and heard everything. I think at this point in time, because the last two records have been so strong and have done so well, that… It’s either good music or it’s bad music and at this point I don’t think [people] really care about, ‘Oh, Jericho’s a wrestler’ or whatever. I could be a butcher, a baker or a candlestick maker; all that matters is that it’s a good song. I don’t care that [Iron Maiden vocalist] Bruce Dickinson is an airline pilot – it’s not like he goes on stage and sings songs about peanuts, sitting in Seat 2B and flight plans. It doesn’t make a difference; we’ve never been a wrestling band, we’ve never sang about wrestling, we’ve never body-slammed each other on-stage,” he laughs. “I think it’s really starting to come through, where people view it as two separate entities – two very viable, entertaining and quality performers.”

Given the broad musical scope of Chasing The Grail, the band deserves to be taken on their own merits, seemingly effortlessly juggling influences ranging from Iron Maiden, Judas Priest and Ozzy Osbourne to Rush, Journey and Styx. “Well, it’s funny that you mention that, ‘cause all those bands are important in that they’re bands who we appreciate. We really have created this kind of a niche for ourselves that not a lot of bands are doing, because we are very heavy and there’s a lot of great soloing and great musicianship, but there’s also a lot of hooks, harmonies, vocal melodies and things that you don’t have a lot of bands really including. We’re really very much a singer’s band, as far as all our favourites from Bruce Dickinson to Steve Perry [Journey] to Michael Kiske from Helloween to all those different bands [who] all have these great singers first and foremost.”

This band is going to make it or break it on our own, just like every other band in the history of music.”

In stark contrast to the brash, long-haired rock‘n’roll wrestling alter-ego he portrayed on television for a decade, Jericho’s wrestling persona has recently undergone a facelift. While the cocky “Ayatollah of Rock ‘n’ Rolla” character was the ideal fit while moonlighting as Fozzy frontman for their first three albums, in recent years Jericho’s on-screen character has evolved into a cold, clinical figure inspired by Javier Bardem’s character in No Country For Old Men. Does this change the public’s perception of Jericho as a musician? “I don’t think so,” he quickly emphasises. “I’m very protective of not having the band be a part of the WWE, because we’re not and I know that people will understand it.

This approach helped lead to the creation of The Beatlesinfused ballad Broken Soul, which Jericho says took on a life of its own. “The lyrics I wrote for that were much heavier and darker originally. Then Rich came back with this beautiful melody for it, where it was like, ‘Wow, that’s a great song, it sounds awesome but I think I’m going to have to change the tone of these lyrics a bit.’ That’s when I came up with more of a broken heart, broken soul type vibe. We never said, ‘Hey, we have to do a ballad on this record.’ We just ended up having that and it really did work out great. That’s one of the reasons Chasing The Grail has been taken to so well by the fans and the critics like us, because there is a 13-minute song, but there’s also a really beautiful ballad, [with a] ‘70s Southern rock type vibe. So there’s a lot of different styles and themes, but it’s still Fozzy through and through.”

“So we had to go the route of just basically doing everything on our own. That’s really worked for us. We haven’t had the WWE’s help on hardly anything; we don’t really have much help from anybody other than the band. We just did a successful European tour, which was very financially profitable and we had no tour support from any record company, we had no support from anybody. It was all self-sufficient. What I do in the WWE is completely different from what I do in Fozzy; they’re not related in any way, shape or form. That’s why I think that Fozzy has really taken off, because I’m not relying on the WWE to do anything for it and I don’t want them, because this band is going to make it or break it on our own, just like every other band in the history of music.”

As it turns out, Fozzy also managed to please one rather tough critic via the 13-minute prog-metal epic, Wormwood, on their latest disc. “That is the one thing that was definitely calculated, in that I knew as soon as we started talking about doing the next record I wanted to have a long song on it. This was because I’ve always been a fan of songs of that length – [Iron Maiden’s] Rime Of The Ancient Mariner, the Helloween songs, Dream Theater and Rush. I also knew I had the right players in the band to make it work and the right subject matter in the Book of Revelations. I knew that just from the lyrics I was writing that this one was perfect to be a longer song, because when I was done I think I had seven pages of lyrics. Then Mike [Martin, ex-guitarist] did a really great job of fitting the mood and the tone

• 40 • THE DRUM MEDIA 30 NOVEMBER 2010

for the lyrics I had written and also including the instrumental parts, which we were really looking for. My overall goal was to do a song I could give to [former Dream Theater drummer] Mike Portnoy and have him go, ‘Wow, that’s pretty badass,’ and that’s exactly what happened. Mission accomplished on that one.” Where else does the vocalist derive his lyrical inspiration from then? “Well, I always write songs based on song titles. Pray For Blood I thought would be a great idea for a song about 16th Century Vikings who used to pillage, murder their enemies, eat their hearts and wonderful stuff like that. Then I saw the word ‘Paraskavedekatriaphobia’ [a fear of the date Friday the 13th] in a magazine ad and I just thought it would be a great song title, kind of a real cool Steve Harris, Maiden-esque title about superstition. Martyr No More, I just thought that was a cool-sounding thing, so how do I construct a song written around that? So I really do base it on song titles first, then kind of write my way out of the corner afterwards,” he adds with a chuckle. Following the success of the latest album, Australia remains one of the band’s strongest per capita markets in the world. It’s something that hasn’t escaped Jericho’s attention, but he’s not sure of why. “I think the cool thing about when you play in Aussie, or in England, is that people are so much more interested. They just like what they like; the scene is different in Australia, like it is in England. I’ve really noticed that. In the States, it’s much more of a snobby type of a thing, where there are people that listen to what’s popular on the radio or what’s popular in the clubs and who’s the hit band to listen to, whereas in England and in Australia and the UK, it’s a little more of people like what they like and stand by those bands. You can really see that in the festivals; very diverse lineups in the festivals that come through. So for whatever reason, Australia really took to us the first time we came through.” The frontman also suggests the current incarnation’s live show will blow their 2005 Australian visit out of the water. “The band was on fire on this last tour, the setlist is perfect; I think that we always feel we go out of our way to make sure everybody has a great time. The band is tight, the songs are great and I don’t think you’ll find too many people that come to one of our shows that didn’t have an awesome time. Obviously sometimes people come because they’re Jericho fans, which is fine. If you’re a fan, you’re welcome to come hang out. But everybody leaves as a Fozzy fan and that’s the most important thing. I’m sure there’s still a few people coming in out of curiosity, but I think most people know exactly what they’re going to get, exactly what they’re going to see and we’re really happy to be giving it to them.” WHO Fozzy WHAT Chasing The Grail (Riot) WHEN & WHERE Friday, Factory Theatre

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THE OTHER MAN Despite a 20-year career, Fozzy lead guitarist, key songwriter and producer Rich Ward arguably remains one of heavy music’s most under-appreciated craftsmen. In past interviews, Chris Jericho has stated that one of his goals with Fozzy is to have Ward’s skills more widely recognised. “Rich is a great, very under-rated songwriter, very under-rated live performer and an under-rated musician as well.” That said, here are some of the key touchstones of Ward’s recorded career outside of Fozzy. Stuck Mojo – Pigwalk (1996) The pioneering US rap/metal act was once pegged as “Pantera meets Public Enemy” and that’s apt. Their second album, Pigwalk, wasn’t a commercially-minded, watered-down fusion a la Hed PE or Crazy Town. It’s raw, incensed and full of brazen rhymes, crushing grooves and infectious riffs, lent a mechanical and clinical, almost futuristic feel by Devin Townsend’s production. The title track, (Here Comes) The Monster and Mental Meltdown are highlights, with the band also throwing a jab at the shallow imitators already rearing their heads at the time on The Sermon. Sick Speed – The Way I Am (2004) This relatively short-lived outfit could be viewed as something of a bridge between Stuck Mojo and Fozzy. The former’s influences are detectable, but on the whole this is more in the classic hard rock/ heavy metal vein. Not without filler, but producer Andy Sneap again allows Ward’s distinctive guitar tone to be noticed, as well as enabling the axeman to take centre stage vocally on several occasions. Selected songs would be re-jigged for Fozzy’s 2005 album, All That Remains. The Duke – My Kung Fu Is Good (2005) Ward’s solo record and unashamed love letter to the American rock music he grew up worshipping, as opener, I Give To You, clearly illustrates. Steeped heavily in AOR, primarily upbeat and mellow in its outlook, the material is in stark contrast to Stuck Mojo’s venomous political vitriol. Stuck Mojo – The Great Revival (2008) A misnomer of a title, this is a somewhat confusing record and their second following the departure of long-time vocalist Bonz and subsequent arrival of new frontman Lord Nelson. Large slabs of The Great Revival often feel more like a Ward solo effort, the up-tempo melodic rock sometimes at odds with the more typical rap/metal fare, baffling a number of reviewers and irking some fans. Wellintentioned, but patchy.


CLEARING THE CLUTTER

THE FALL’S RETURN TO THESE SHORES COINCIDES WITH THE CURRENT LINEUP NOW BEING UP TO IT, MAINSTAY MARK E. SMITH TELLS TONY MCMAHON.

V

enerable is one way – possibly the only way – to describe Mark E. Smith and The Fall. Emerging from the mid-‘70s Manchester punk scene like a magnificent weed in an abandoned parking lot, this most lauded and long-lasting of musical experiments has gone on to record nearly 30 studio albums and tour the world incessantly. The driving force behind The Fall has always been Smith, the only original member remaining and, as the man himself puts it, ‘If it’s me and your gran on bongos, it’s The Fall’. The group’s most recent outing, Your Future Our Clutter, is as urgent and interesting as anything Smith has done in the last decade. With a reputation as a prickly interview subject, often of, err, questionable sobriety, Drum approaches this chat with the utmost caution, but Smith is matey, polite, sober-sounding and engaged. What’s more, he’s quite impressed that Drum has purchased his new record on vinyl, something he can directly relate to.

I’m a bit of a Fall fan, if you know what I mean. I just listen to them like it’s another group.”

“Yeah, it’s come out well, I think. And you can get it on vinyl – that’s fucking good ain’t it? You’re doing well to have got it, though; I only got it a couple of weeks ago myself. A box turned up about two weeks ago, but before that, I had to go out and buy it. Bit rough, that.” Given he’s been doing it for so long now, how does Smith go about approaching a new record? Does he feel like a time comes when he has enough material? Or does he just get itchy feet and decide it’s time to record again? It seems like it’s none of these things and that The Fall’s gargantuan output has more to do with Smith’s incredible work ethic. “The last LP, to me it took a long time, getting it to a certain standard, I suppose. And I wanted to strike while the group was in form. I mean, if I had my way now, I’d start recording another album right away. And I don’t really look at it like this is my twenty-fifth LP or anything like that. It’s more like it’s something I should do while I can do it. I always think the last one is the best one. I might be deluded sometimes, but I do think that.” Which would indicate that Smith doesn’t have a favourite. “It’s always the last one, you know? I don’t listen to them a lot to be honest. I’m a bit of a Fall fan, if you know what I mean. I just listen to them like it’s another group. I like [1991’s] Shift-Work – that always surprises me. I think that’s better than I thought it was at the time.”

WITH SPECIAL GUESTS

Given that The Fall are a group conspicuously from Manchester, as well as the fact that Smith has lived there all his life, when asked if he feels like the city has influenced his writing he makes a surprising admission. “Well, I’m more Salford than Manchester. Every fucking group in the world seems to come from Manchester these days. But I suppose so, yeah. But I think it has to be said, even though I live in Manchester, I’m not the greatest fan of it. I really don’t like it very much, you know, but it must have done.” In Smith’s 2008 autobiography, Renegade, he wrote that he disliked Australia when The Fall visited in 1982. But Smith says that this has nothing to do with why he hasn’t been here for 20 years. Rather, it’s about his new lineup being up to the task. “No I don’t think so, I don’t think so at all actually. The last group before this one, I don’t think they’d have been up to it, to be honest. I mean, I go into it in the book, don’t I? It starts off in the fucking desert in Texas and they’re all falling to bits. A lot of groups are like kids in an ice cream shop when they go on tour. I remember last time we were in Australia; I just stayed in a bed and breakfast and organised the shows. I’d had enough of the lot of them. But this group can handle it, know what I mean? I think you can hear that on the album, too.”

2 WEEKS TO GO! THE DOMAIN

SATURDAY DECEMBER 11

When he does get here, Smith says that choosing tracks to play from his vast back catalogue is not going to be too much of an issue. There is, however, some new technology involved that he finds more than a little confounding. “It’s funny because we’re doing one or two songs that are from 1979 and 1980 when the group were on form and it’s working well. I don’t usually go in for that much myself, only about a quarter of the set is older than the last couple of years. We do Psykick Dancehall live now. That’s 1979, you know? Nowadays, they’ve got these contraptions, the rest of the group, they’re called a Shazzam or something, you just name a song and they can play it. They’ve got more access to Fall stuff than I have. They’ve got things I can’t find in the house. I said, ‘Well I bet it hasn’t got like Luke Perking from 1955 doing a rockabilly song’ and it fucking did have it.” The Fall are also playing The Meredith Musical festival on this trip: country Victoria, pissing down with rain and hippies everywhere, not normally the kind of gig associated with this band. Smith has been forewarned, however and seems somewhat resigned. “That’s what the wife – sorry my wife – that’s what my wife said. She said it looked a bit Glastonbury-like. It’ll be all right, I suppose, but I’m still a club man at heart.” So, what about the future for The Fall? Does Smith have another ten albums in him? “I can’t really see a problem going on. I’ve always got the stuff so, yeah, why not?” WHO The Fall WHAT Your Future Our Clutter (Domino/EMI) WHEN & WHERE Tuesday 7 December, Metro Theatre

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136 100 or ticketmaster.com.au Jack Johnson will donate 100% of his 2010 tour profits to charity. Learn more at AllAtOnce.org Presented by Michael Coppel, Nik Tischler & MAX I jackjohnsonmusic.com I jackjohnson.com.au I Brushfirerecords.com I coppel.com.au

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THE DRUM MEDIA 30 NOVEMBER 2010 • 41 •


MAKING PLANS

ARCHITECTS FRONTMAN SAM CARTER TELLS DANIELLE O’DONOHUE HE HAS HIS SUNSCREEN FACTOR 50 PACKED FOR HIS BAND’S AUSTRALIAN TOUR.

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here’s the hard way to tour Australia for the first time when you’re an international band; fighting for every audience member you get and hoping they like you enough to come back and see you next time you’re here and hopefully bringing 15 of their friends in the process. Or there’s the Architects way. Making buddies out of Australian heavy music kings and now ARIA winners Parkway Drive on a tour of Europe, Architects, a metalcore band from Brighton in the UK, arrived in Australia for the very first time to play in front of thousands of people on Parkway Drive’s DVD National Tour. Then a return visit on this year’s impressive Soundwave lineup bolstered their already strong fanbase so now just over a year after their first tour of Australia, Architects are coming back to headline their very own tour. Architects lead singer Sam Carter is aware that not every band gets such an easy pass when they first head our way. “It’s a bit cheeky, isn’t it? Can you tell we like Australia? We love it,” Carter says with a laugh. “The first time we went over we went over with Parkway Drive and that was obviously amazing. It was cool to go over with an Australian band. We got to meet a load of their friends and meet a load of bands and meet a whole new group of people that we’re really good friends with now. “Then we went back on Soundwave and obviously got to hang out with those people again and make like a big group of friends. And the shows were twice as good because people paid attention to us at the Parkway Drive shows. This time we thought let’s come back and headline. This time hopefully it will be even better. It is a bit cheeky, but fuck it, we don’t really care.” This time around the band will be playing with Comeback Kid, Rolo Tomassi and This Is Hell – all bands that got to hang out at this year’s Soundwave, so expect a party atmosphere and a lot of hijinks. Well, onstage at least. For Carter, the most important thing for a good show is a good night’s sleep. Forgot the traditional image of a hard-partying rock star. “Now it’s like play, go to sleep in the van and wake up and do it all over again. As long as you get a good night’s sleep. Sometimes I stay up and help with the drive or whatever. That’s obviously when you feel it in the morning.” But if you’re running around on stage for an hour a night, it’s either a good night’s sleep or going to the gym and Carter laughs at the suggestion of exercise. “I used to play drums. I always overdid the drumming to get attention for myself because I was always at the back of the room. I’d always be like standing on my drums or pushing my drums over at the end. So then when the guys asked me if I wanted to try out for Architects, I thought yeah I probably should be a frontman because I want too much attention. “At first I did too much. At first I’d like go mental for half an hour and run around and just do everything I could and climb up stuff and jump off stuff and that’s so physically demanding that I honestly couldn’t do six weeks on tour of forty-five minutes a night. It was like massive cardio to try and sing songs at the same time. I had to find a nice medium ground that wasn’t going to kill me. And now I’m a frontman I’m like, for fuck’s sake I just want to go and play drums again. I think it took me a while to get my head around it.” But don’t worry. Carter’s not about to give up his day job just yet. After their Australian tour in December the band will head home for Christmas and then in January release their fourth album, The Here And Now, the follow-up to last year’s Hollow Crown. Carter says the band have been playing a couple of new songs on their most recent tour of the UK. “The album’s finished. I can’t fucking wait for it to come out. We’ve had it finished for so fucking long. I just can’t wait. We managed to play two [new songs] on the headline tour we just did at home. Obviously Day In Day Out because it’s the first single and it’s already out. And we played another song and they’ve done really well. “It’s always fun to play new songs… Well, it’s not fun to play new songs actually – it’s terrifying to play new songs. I don’t know why people ever say it’s fun to play new songs. But it’s nice to see them go down well. I just want to get the album out and see what people think of it because it’s been a fucking long time.” Like their mates in Parkway, who hail from the seaside hippie hamlet of Byron Bay, Architects come from a beachside town not really known for its love of metal. Instead Brighton in the UK is much better known for a certain DJ, one Mr Fatboy Slim. “Fatboy Slim’s massive. He did a show on Brighton Beach. I didn’t go, but a lot of people I know went and the whole beach was just filled with people. He’s flying the flag for Brighton. “At some point back in the day though there was a really good scene. There was a lot of heavier bands knockin’ around. There’s still some good bands coming through Brighton; bands like The Ghost Of A Thousand. Nowadays it’s very indie. But you can go out to a show every night if you wanted to, but fuck that. I’m just lazy. I’d rather sit at home.” Instead, Architects seem to enjoy spending more time outside of Brighton than they do at home but with recent tours with the likes of A Day To Remember, Norma Jean and Parkway Drive behind them and yet another visit to a country they love on the horizon it must be a nice feeling to know your band is finally getting there. “Being in a band is like a rollercoaster,” Carter says wryly. “In fact, being in our band it seems to have a thousand bloody dips and a long way up to the top. I swear we go through more shit than other bands go through, but I guess right now we’re at the point that I genuinely feel like for the first time something is starting to happen. I feel like there’s some kind of excitement around our band. At the moment it feels like I could make a career out of it.” WHO Architects WHEN & WHERE Saturday, Metro Theatre

• 42 • THE DRUM MEDIA 30 NOVEMBER 2010

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PUSHING HARDER

MATT JOHNSON, ONE HALF OF THE INCREDIBLY UPBEAT MATT & KIM, TELLS KATIE BENSON THAT SOMETIMES, KIM ISN’T ALWAYS RIGHT.

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hen Kim Schifino cornered Matt Johnson at college for his number, he was reluctant. She was older, hot and had tattoos. Luckily, another one of her features was persistence and not long after, a partnership began that blossomed into the happy punk dance duo, Matt & Kim. Beginning with visual arts and film, the pair branched their creativity out into music and after releasing a strong self-titled debut in 2006, the couple from Brooklyn have been making the world dance ever since. Their second album, Grand, recorded entirely in their bedroom and released in 2009, became a cult smash, with the single, Daylight, being picked up for several commercials and TV shows and selling over half a million copies in the States alone. With this success came the financial ability to get out of the bedroom and into the studio for their next project, the result being their third album, Sidewalks.

Wherever people want to have fun, that’s where Matt & Kim seem to make sense.”

Though some of the process had changed between the two albums, Johnson insists Sidewalks began with the same aim. “We had a very similar goal in mind for Sidewalks as we did for Grand – we just wanted to make music that we would want to hear in this world. But with Grand, we recorded it in a bedroom and just figured it out as we went along. We had a lot of success with it and we’re very proud of it, but going into Sidewalks, we had more financial backing so we could work with people who knew what the hell they were doing and Kim and I could concentrate on the music more.” Part of their graduation into the studio included employing a producer, the pair finally settling on Ben Allen. Originally a studio assistant for Puff Daddy at Bad Boy Records, Allen’s diverse work as a producer (Animal Collective, Gnarls Barkley) is what attracted Matt & Kim. Though they both respected his work and skills as a producer, Johnson reveals handing over control was not an easy task for the DIY duo. “Kim and I are so used to working together, on different stuff, for years and years, so to have another mind come in, we just weren’t used to it. In the end we were really happy with what we came out with; it was nice to have some challenges and also someone there to break ties. If Kim and I disagree on something, what do you do? I mean it’s a case of one versus one. You need a tiebreaker in there. But definitely in the beginning it was very difficult to work with a creative mind.” Before Allen entered as “tiebreaker”, creative disagreements between the two sometimes compared to a war of attrition for Johnson. For their 2009 film clip, Lessons Learned, Matt & Kim strip down naked in Times Square and incur the attention of passing police officers. After the pair told the police they were shooting a mayonnaise commercial, they were given permission to continue filming. The end result went on to garner the band an MTV Award for Best Breakthrough Video and introduced their music and cheeky style to a much wider audience. According to Johnson, however, the awardwinning video only came into being through to his persistence. “I came up with the idea of getting naked for Lessons Learned, but I had to convince Kim to do it for months before she agreed. It came out well and we won that breakthrough video thing. Now I tell Kim that we have to do whatever stupid idea I come up with, even though we have a saying, ‘Kim’s always right’. You can tell who made that saying up.” With their success and newfound notoriety, they have had to abandon playing the Brooklyn warehouses and house parties that established them back in 2004. Though Johnson says the pair still attends these types of gigs when they can, the past few years have mostly seen the duo living out of bags and hotel rooms, which is exactly how Johnson likes it. “People say that touring’s hard, but it’s a total vacation. We just finished doing a two-month tour here [in the US] and it was just really kind of simple. We came back home recently when we had two days free and I felt like I had no real reason to go back to my own place. But given that Kim and I tour together – and we are together – it’s not like we’re leaving anyone behind. And so our best friends sort of become whoever we’re on tour with.” Touring heavily for the past three years straight, Johnson and Schifino have had the opportunity to befriend many different acts along the way. Last year the pair opened for Melbourne dance group Cut Copy on their tour around North America and in several reviews the Brooklyn pair stole the Aussie’s thunder. Johnson puts their positive live reviews down to their happy brand of cross-genre beats. “Kim and I are lucky in the way that we don’t fall into any one genre; we’ve opened up for punk rock stuff and DJs and hip hop artists. Wherever people want to have fun, that’s where Matt & Kim seem to make sense.” For their next visit to Australia, Matt & Kim will be playing at the Big Day Out, as well as part of the biggest Sydney Festival lineup to date. With artists such as John Malkovich, Paul Kelly and Sufjan Stevens coming to town, the latter’s annual celebration of the arts may just be the birthplace of the next Matt & Kim album. “It’s not just music we’re inspired by,” Johnson explains. “We found that when people do cool shit, that makes us want to do cool shit. Whether it’s art or music or photography or film, it’s a weird competitive art school nature. Like, ‘Oh man, you’re doing cool stuff? Now I’m gonna do cool stuff too.’ So you work harder and push yourself harder.” WHO Matt & Kim WHAT Sidewalks (Liberator) WHEN & WHERE Friday 21 January, Beck’s Festival Bar; Wednesday 26 and Thursday 27, Big Day Out

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THE DRUM MEDIA 30 NOVEMBER 2010 • 43 •


HERE’S TO THE NIGHT

WITH THEIR FIRST ALBUM THEIR “SMARTEST” WORK TO DATE, STRAIGHT ARROWS’ OWEN PENGLIS EXPLAINS TO SCOTT FITZSIMONS HOW THE PROJECT HAS COME TO LIGHT.

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here’s nothing glamorous about Sydney garage rock collective Straight Arrows. “When you called me I was actually going through the garbage can,” says the band’s founder and songwriter Owen Penglis. “We were doing some art. We’re pressing our LP and I was sending off the artwork for it and we were making ‘60s-style centre labels. My housemate decided to clean up and chucked it out, so it’s… yeah, I’ve been looking through a garbage can, that’s what I’ve been doing.” The band have developed from Penglis’ bedroom essentially as a project of friends and having released a series of split releases and EPs, they’ve now got a debut album, It’s Happening. It’s a rough and hazed affair; the tracks are melodic but awkward and with that charming essence of being rushed – much like their live show. “I’ll always be wanting to change stuff, but now I can’t so it’s good. I can’t stop messing with anything until it’s out of my hands; I’m constantly fucking with it and changing mixes and annoying the shit out of everyone.” The band was formed like it sounds. A group of friends assembled to play his tracks and it’s highly likely that the whole thing may never have made it out of the garage – or the lounge room, as the warmth from the album’s limited production would attest. “Oh no,” he laughs, “I don’t pick anyone as musicians. Half of the dudes couldn’t play [laughs]. The only one that could really play was Alex [Grigg, guitar] – everyone else hadn’t played that instrument before. “I guess it’s cool because we all learnt together. Maybe we play a bit better together because we play like each other or something, I don’t know.” They are a cohesive unit these days and their dynamic is better for it. “People are going to be more interested in what they’re playing if they’ve got their own input; it feels like they’ve a creative aspect to it or something.” Like Circle Pit before them, whose Angela Bermuda plays bass in this outfit, Straight Arrows are an example of the burgeoning Sydney underground scene, one that’s been lagging behind the likes of Melbourne – and in some cases even Brisbane and Perth – for some time. The nature in which this band has developed – and the carelessness and disregard for ambition that it’s centred around – is natural and that’s why they’re one of the country’s best at the moment. Essentially, they’re cared about because they don’t. Even in the recording itself, the ‘rustic’ sound isn’t a conceited effort. “It was more the other guys hassling me to make it cleaner. We’ve always recorded shitty. All the early stuff we did was recorded on cassette. This one we used a proper tape machine and everyone was down on me about not recording everything in too loud and making all the instruments audible. I guess it was kind of ‘polished’, but this is as polished as it’s going to get for us I think.” No Coldplay ambitions then? “Fuuuck thaaat.” The record was recorded by a friend (everything’s friend based, as even their Rice Is Nice record deal was born of friendship) Tim Done at his Hanging Tree studio. “He lives in a terrace and uses the two front rooms: the lounge room’s the recording and the front room is the control room with all the equipment and stuff. So we’d kind of rock up in the morning and wake him up and record it. He’s kind of obsessed with Sun Records and American ‘50s recordings [evident in the studio’s logo], so he and some friends got together and bought all of this outdated ‘50s stuff that sounds really nice. “I guess I’m proud. I’ve never made an album before and I’m happy with how it came out. I fucked with it a lot. I mean, it’s kind of aimed to be ‘my best thing ever’,” he says in a sarcastic accent, “but I don’t think they’re there to try and sell to people… Maybe it’s a little bit smarter.” Penglis now finds himself at the centre of a project larger than his bedroom, but he’s not going to change his approach, or at least hasn’t felt the need to yet, in the spotlight of attention, especially in and around Sydney where their name is carrying more weight every time it appears on a bill. “It’s cool, we’ve been playing a long time to friends and friends of friends and we loved it. I did my first nonfanzine interview ever a couple of days ago. “We’ve never really had a game plan at all. This is the first time we’ve had anyone putting something out for us, so it’s weird to have them have a plan for when stuff is coming out and dates and getting stuff ready a couple of weeks before you do something with it. We’ve always been: ‘The songs. I think they’re done. Let’s send it to the record plant and we’ll put it out when it comes back.’ We’re not ambitious or anything, fuck that.” Part of the band’s appeal is in “fuck that”. In a generation of planning and procedure, the fact that they’re creating better music that others who are blindly throwing resources at, and subsequently choking the pursuit, Straight Arrows are a good escape. “That song Bad Temper I wrote while I was taking a piss, drunk,” he says of the album’s opener. As for himself, even the concept of the band as an escape is a little too flamboyant to be true. “I don’t really have much to escape from in life, apart from the fact that I can get a little bit bored. I do a job that I like, life is good,” he laughs (he works for himself making badges). “It’s not really too much of an escape, it’s more of an extension of what I do during the day time.” It’s bands like Straight Arrows that are bringing the nightlife alive. WHO Straight Arrows WHAT It’s Happening (Rice Is Nice) WHEN & WHERE Wednesday 8 December, Croatian Club Newcastle; Thursday 9, GoodGod Small Club

• 44 • THE DRUM MEDIA 30 NOVEMBER 2010

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THE GRASS IS GREENER

JAMES CARGILL OF BRITISH ELECTRONIC MUSIC DUO BROADCAST EXPECTS BIG THINGS FROM AUSTRALIAN CROWDS WHEN HE AND CREATIVE COHORT TRISH KEENAN MAKE THEIR WAY DOWN UNDER FOR THE VERY FIRST TIME… BUT THAT’S ABOUT ALL HE EXPECTS. MITCH KNOX CATCHES UP WITH CARGILL ON THE EVE OF THEIR TOUR AND FINDS OUT THINGS COULD BE BETTER FOR THE PAIR AT HOME.

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or an Englishman about to undertake his maiden voyage to the fabled land down under, James Cargill, one half of British electro-duo Broadcast (the other half being co-founding member Trish Keenan) is surprisingly deadpan about it all. Truth be told, he’s not even really feeling all that much pressure despite the myriad unknowns that lie ahead. “Yeah, a little bit, y’know. I don’t actually know what to expect,” Cargill muses. “I’ve never been to Australia; neither has Trish. It’s probably more just the not knowing what to expect really is the ultimate impression. I’m just looking forward to seeing it really and just getting an idea for what it’s like in Australia.” He’s not entirely unprepared though; while he mightn’t have a pre-emptive impression of the country at large, he’s at least aware of a few of our less appealing natural attractions, such as spiders and the mythical drop bear. “Oh, yeah. I think I remember hearing about that. There was something said about koalas being vicious; I don’t know if they were referring to that or not… the only thing just personally [about coming to Australia] is that I’m not keen on spiders.”

You can never really please everybody, so you have to make decisions based on how you feel.”

THE FRONTIER TOURING CO., VIDEO HITS, MAX & THE BRAG PRESENT

Earlier this year Broadcast played at the Matt Groening-curated All Tomorrow’s Parties event in Minehead, a show that held special weight as it came just after the band’s ten-year anniversary of first appearing at an ATP celebration, way back in 1999. “It was good, yeah. I’ve heard it be called an ‘indie concentration camp’,” Cargill laughs, “but I think it’s good. I think we played the very first one Belle & Sebastian curated it. It was odd to play – I mean, that was in Camber Sands and this one that we played was on the west coast in Minehead, the Matt Groening one. It was funny to go back there almost ten years later. It was good.” But as good as All Tomorrow’s Parties was, Cargill is holding out hope that Broadcast’s Australian tour will be just that bit better. But again, that’s where the expectation stops; no use in getting all excited about things that mightn’t be how you imagined, after all. “Well, hopefully it will be better, y’know? I mean, I don’t think the crowds here are anything special,” Cargill laughs heartily. “I don’t really know what to expect from the Australian audiences; everyone’s an individual.”

WITH SPECIAL GUESTS

So, while the band’s expectations may be sketchy at best, at least their audience will have a decent expectation of what should come from a Broadcast show – albeit probably in a slightly more minimalist capacity than they might have thought. “Well, nowadays it’s a duo, so it’s quite a stripped band sound at the moment, you know. We’ve been playing a lot to the films that we bring with us, so there’s elements of sort of improvised, ritualistic sounds to it that tie in with the …Witch Cults… album we just released (2009’s Broadcast And The Focus Group Investigate Witch Cults Of The Radio Age) and then we play a lot of more strippeddown stuff. So, y’know, it’s sort of more minimal sounding than what we used to do, obviously, because of the lack of members.” Despite the long-haul journey and inaugural status of the tour, Cargill remains unconvinced about the merits of delving into the band’s expansive back catalogue to present a retrospective set for us, saying their set choices largely come down to how they’re feeling at the time and what vibe they’re ascertaining from their environment. “I’m still considering whether to do that [play a retrospective set]. I don’t know whether it’s a good idea or not. I guess we will play a lot of the older songs. You can never really please everybody, so you have to make decisions based on how you feel; if you were standing in the audience, what you’d want to hear.” Sadly, what Cargill himself wants to hear isn’t really being played all that much at home. “It’s funny in Britain now; it’s odd, because now it feels like there’s not a lot going on. It’s weird; the scene’s mostly shifted to America, almost. I mean, there’s still a lot of interest in artists who work in purely electronic… I quite like the Ghost Box label and that thing called Hauntology that happened in this country with certain electronic artists. I don’t know – there’s not… It feels sort of not quite as creatively exciting as it once was and yet I feel like it probably is much more so in the US. “Hauntology is kind of, it was a term that was coined by Simon Reynolds, the journalist. He was trying to tie in bands like – like, the Ghost Box label and bands that sort of draw from British culture, post-war culture, trying to put that in our music – but a lot of it’s to do with things that are sort of half-remembered ideas of music. There’s quite a few bands that sort of feed into that idea – like Boards Of Canada – and there’s a few modern sort of groups that do it as well. “There’s been quite a lot in the press here about it, particularly in The Wire magazine. I think it’s quite specific to this country, which is probably why a lot of the time it doesn’t spread. There’s sort of a US equivalent that they’re calling hypnagogic pop, which is sort of the American version of sort of half-remembered stuff, which is much more ‘80s in the memory; sort of, MTV and bad VHS cassettes. A bit like Ariel Pink would be their version of the kind of album I was trying to talk about.” WHO Broadcast WHEN & WHERE Wednesday 8 December, The Forum

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NEW ALBUM ‘THE SOUND OF SUNSHINE’ OUT NOW

MICHAELFRANTI.COM

THE DRUM MEDIA 30 NOVEMBER 2010 • 45 •


LIVING LA VIDA LOCAL

LOCAL NATIVES DRUMMER MATT FRAZIER IS LOOKING FORWARD TO SLEEPING IN HIS OWN BED. HE TELLS DANIELLE O’DONOHUE JUST HOW CRAZY LIFE’S GETTING.

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here’s really only one place the intricate four-part harmonies and indie rock played by American five-piece Local Natives could have sprung from. The band’s sound was clearly formed by years basking in the California sun. “Ryan [Hahn, guitar/vocals], Taylor [Rice, guitar/vocals] and Kelcey [Ayer, vocals/guitar] were all from Orange County,” drummer Matt Frazier explains. “Andy [Hamm]’s from Colorado, Andy’s our bass player and I’m from Southern California as well, but I am from a little bit north east of Orange County in an area called the Inland Empire. Then I moved into Orange County with the other guys. Eventually we all moved to Orange County together.” To make the most of being in their newly-formed band, the five young musicians moved into a house together and wrote their debut album, Gorilla Manor, with the title a nod to their Orange County share house. “That was probably like three years ago almost and I look back on moving in together now and I’m really glad that we did it. I feel like it definitely improved the touring situation for us. At that point three years ago we weren’t really touring much at all. We were doing maybe a couple of weeks out of the year, just little stints here and there. But it kind of really helped us learn each other as people and as musicians. It was kind of like almost a tour in training in a way. We were in close quarters. We weren’t in a very big place. We knew which buttons to push and which buttons not to push on each member. I think it was a good start for us into this crazy world of years of touring. I definitely don’t regret it by any means.” Though they weren’t touring much when they first moved in together, it didn’t take long for people outside the group to cotton on that this band had something special. A couple of highly regarded SXSW performances early last year set the ball rolling and now Frazier says he can hardly remember being home much at all in the last two years. “Occasionally it’s been like, maybe a week, two weeks at most at a time. But yeah, the past two years have been pretty extensive touring. It’s been a kind of a whirlwind. But it was definitely always step by step. We want to take things step by step and not expect things too soon and so it was always like, ‘This tour’s coming up and we’ll just take this tour right now and see how it goes and see what happens next.’ For me personally I never wanted to expect too much too soon. Because I used to do that when I was younger and you just get let down way too easily, y’know? “You kind of just take it step by step and see how it goes and it’s worked out, luckily enough for us, pretty well. We had no idea that it would snowball as much as it did. And we’d be going to as many countries as we did and whatnot and I think that’s what helped us. We could focus on the task at hand.” With the compass pointed toward Australia in time for Laneway Festival, the band is looking forward to some downtime over Christmas, a chance to get reacquainted with friends and family members and to sleep in their own beds (though they now all live in separate places in LA’s musically rich area of Silver Lake). Two months off also gives the band a chance to write, a prospect that clearly delights Frazier. “We’re not sick of playing live or playing our songs by any means because we love the live experience, we love the touring experience; we all kind of thrive for that. But we’re starting work on little nuggets of new material. We’ve been touring this album for over three years now. Even before the album came out we were touring the album. So we’re definitely ready to start writing new things and finishing new things and starting to change up the concert that we have been playing for quite a while. It’s time for the next step. “This last US tour we just did, we had a couple of little soundchecks here and there to kind of work on new material. I get really excited about it. We have December and January off pretty much completely and we’re hoping to really hunker down and start working on new stuff. So hopefully by [Australia] we’ll have maybe at least one or two new songs worked out to debut for you guys.”

6 DECEMBER tH

OXFORD ART FACTORY

*RSVP does not guarantee entry, so arrive early to secure your spot. Must be over 18+ to attend.

Though it’s still early days in the formation of a new album, Frazier says there is the possibility that next time around things are going to be a little different. “Currently in the live set, I don’t sing but I can sing. We’ve actually been working on a lot of new ideas; new concepts are in the works. And one of the new concepts for me is singing because on the last record I didn’t really sing at all. I’m hoping that on the new record all five of us will be involved with the vocals. It’ll progress into a new thing. “We’re still trying to figure out the next album and figure out what’s going to work best, because when we wrote the first album we were all living together and we were all writing together every day. So who knows – maybe next album we’ll find a random little place and we will all move in together again. We don’t really know what’s going to happen. It’s definitely a possibility.” Looking back over the last two years, Frazier says there’s one moment that stands out as one of those, ‘Wow, my life really isn’t the same as before I was in the band’ moments. “Spain was pretty crazy. We’ve been there twice. And we did Barcelona. The nightlife there is like nothing I’ve ever experienced. Everything starts super late. In the US people start going out at 10pm-11pm. People there start going out in Barcelona at like 1am-2am. That’s like standard normal times. “We went out and we ended up playing in this club. And we didn’t end up going onstage until like 3.30am. And there was all these people wearing masks and it happened to be their week they call Carnival where everyone dresses up and it’s kind of like this all-out festival – kind of like Halloween in the States. But it was like our show and we played super late and people weren’t going to bed until like 8am. Our world was completely tipped upside down. So that was a little weird.” WHO Local Natives WHEN & WHERE Sunday 6 February, Laneway Festival; Thursday 10, Metro Theatre

• 46 • THE DRUM MEDIA 30 NOVEMBER 2010

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TANGO FOUNDATION

GOTAN PROJECT HAVE NOW BEEN DELIVERING THEIR REVISIONIST ELECTRO-TANGO TO THE MASSES FOR A DECADE. MATT O’NEILL CAUGHT UP WITH FOUNDING MEMBER CHRISTOPH MÜLLER TO DISCUSS ‘BRINGING THE MOOD’ AND SURPRISING THEMSELVES.

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t is no exaggeration to describe France’s Gotan Project as a paradigm-altering ensemble. In the decade since their formation, they’ve effectively redefined the entire world music lexicon within popular culture. While the term will always be misleading to some degree, Gotan Project have nevertheless been instrumental in expanding popular perceptions of the genre from Indo- and Afrocentric to incorporate a more globally-oriented array of influences. “I’ve always found that term kind of strange,” founding member Christoph Müller reflects. “I’ve never really liked the term ‘world music’ because, simultaneously, it includes ethnic traditional music from a specific region – like, I don’t know, music from the north of Finland – and some kind of soupy fusion music I just don’t like on a personal level. It’s been a term a lot of musicians have simply had to live with but, I think, as the industry becomes more global, it’s been a lot harder to maintain.” Prior to the release of the classic debut album, La Revancha Del Tango (i.e. ‘The Revenge Of The Tango’), in 2001, world music was predominantly understood by audiences as a loose conflation of exotic drum patterns, dub production techniques, Balearic rhythms, inoffensive jazz influences and indistinct foreign linguistics. La Revancha del Tango introduced a surfeit of new, challenging and exotic influences to the genre’s limited palette. The album was released on respected indie imprint XL Recordings (home to, among others, Radiohead, M.I.A. and Devendra Banhart) and earned instant acclaim for its unique blend of electronic production techniques, live instrumentation and vibrant, tango-inspired songs. Where previous iterations of world music were languid and romantic, Gotan Project’s output was vivid, impassioned and angular. “To my mind, world music should only really encompass specific traditional musical styles. I have no idea where we really fit in – maybe we don’t fit in anywhere,” Müller laughs. “Sometimes we’re labelled an electronic music act, sometimes some kind of new tango act, sometimes jazz, sometimes world music. What we are doing is definitely a new form of tango, in a way, but I mainly consider what we do a form of pop music.” The group was formed by three dance music producers in early 2000 with the specific intention of exploring a different mood within electronic music. Uninterested in the party-heavy aesthetics and staid minimalism of late-‘90s dance music, Müller, Philippe Cohen Solal and Eduardo Makaroff delved into the tones and textures of nuevo tango pioneer Astor Piazzolla. Since then, the trio’s work has grown to encompass elements of jazz, blues, breakbeat and contemporary chamber music. “I remember, back when we first formed, what we would say in interviews was that we wanted to bring a different mood. When we started with Gotan Project, a lot of dance music was very minimalistic and hard-hitting. The mood in the music was all ‘we’re all beautiful and let’s be happy’, you know? The message in house music, anyway, was very much about that kind of thinking and, with Gotan Project, we wanted to bring in a different mood. We wanted to bring in a more melancholic mood. A bit like what Massive Attack had done ten years before, really – bringing a more melancholic mood into the hip hop of the time. The tango allowed us to really bring this more melancholic, more melodic mood into the dance music of the time. It’s a lot like trip-hop in a way because it brings in a melancholic mood while still bringing in a really strong energy.” In the decade since their debut album, the scope of the band’s work has expanded far beyond the exotic novelty of their parent genre. Subsequent albums, most notably 2006’s Lunatico, have actually seen them move away from the electronic innovations and into more visceral and livelier territories. “The thing is we have this defined territory – which is Argentinean tango and folklore – and, outside of that, we try to push things as much as we can. There are no limits in that sense. The only limits we have are what we can or cannot do ourselves – and that’s a difficult balance to negotiate. It’s actually good to have that tango foundation though, because it gives us something to hold onto in our work. It gives us focus. We try not to focus too much on the pressure or expectation surrounding our work. I mean, that’s the thing – when we made the first record, we never thought this would be successful. We just did it to explore the music we liked ourselves and we’re always trying to continue in that vein. We’re trying to avoid the concept of pleasing some imaginary audience. It’s how we did it for the first one and we believe it’s how we need to function as a band.” The outfit’s most recent album, this year’s Tango 3.0, has well and truly navigated the ensemble away from the indistinct climes of ‘soupy fusion music’. Gotan Project’s third album is as impassioned and organic as it is intelligent and modern – placing the outfit in a category of one.

What we are doing is definitely a new form of tango, in a way, but I mainly consider what we do a form of pop music.”

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“From the beginning, we used live instrumentation and, each time, we try to use a bit more. The electronic side of the band is obviously still very important, but it may not be as easy to hear within the music because it’s become so intrinsic to what we do. The real challenge is for us, as producers, to actually play more instruments live ourselves. We’re always trying to push ourselves in that regard. We want to surprise ourselves as well as our audience.” WHO Gotan Project WHAT Tango 3.0 (XL/Remote Control)

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WHEN & WHERE Sunday, Concert Hall Sydney Opera House

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THE DRUM MEDIA 30 NOVEMBER 2010 • 47 •


FROM THE SEA

REEL BIG FISH

FINS, FLIPPERS, WINGS AND GUITARS ARE SURE TO FLY WHEN REEL BIG FISH AND THE AQUABATS ARE IN THE SAME ROOM. THAT’S ABOUT TO HAPPEN AGAIN AND SCOTT FITZSIMONS HAS THE BATS’ JIMMY THE ROBOT IN ONE CORNER AND REEL BIG FISH’S AARON BARRETT IN THE OTHER.

THE AQUABATS

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wo bands that share a genre, comedic thread and, usually, fans are being pitted against each other this summer. Huntington Beach, California’s Reel Big Fish and Huntington Beach, California’s The Aquabats are touring alongside one another to win the hearts and minds of Australian ska-punk fans. Both have been around since the mid-‘90s, but Reel Big Fish definitely feel like the veterans out of the two. It’s partly due to access, as The Aquabats only made their first appearance here earlier in the year at the Soundwave festival – which Reel Big Fish played as well – and won over fans near effortlessly, with their comic book-inspired costumes if nothing else. As Sydney’s event got hotter and hotter they were a welcome splash, so to speak. “We started playing with them in ’95 I guess,” says The Aquabats’ Jimmy The Robot, aka James Briggs, “and we’ve played a lot of shows with Reel Big Fish. It made a lot of sense, obviously coming from almost the same area and our fans overlap quite a bit. A lot of the kids like to come and see both of us play and we hadn’t done it in a while and we said, ‘Hey let’s get this thing going again, let’s go on the road.’ So here we are.” “We’ve been friends with those guys for 15 years,” echoes Reel Big Fish’s frontman and songwriter Aaron Barrett, “So we’ve very happy to tour with those guys again.” It’s been a long time between drinks though, as The Aquabats have been nowhere near as prolific as Reel Big Fish during their career. “They didn’t tour that much. I think the last time we toured with them before Soundwave was in 1997 or something,” Barrett estimates. But that’s not to say they haven’t been busy. If you’re not familiar with The ‘Bats, there’s a lot to learn. No mere ska band, they’ve a complete superhero back story that ties into and provides the meaning of their stage costumes. Basically, after their native island Aquabania – its inhabits being bat-human hybrids – was attacked by the space monster M, they swam/floated to California where they were revived and given superpowers by a professor. It’s not surprising then that the band’s frontman The MC Bat Commander, aka Christian Jacobs, is a co-creator of the psychedelic children’s television show Yo Gabba Gabba, which he writes and directs. As members come and go through the band, they get written into the storyline – even Blink-182’s drummer Travis Barker has a role as The Baron von Tito thanks to his stint in the band in ‘97-’98. “It definitely helps break the ice, especially at a festival,” says Briggs, obviously out of character for Drum, “when you can be the band wearing the costume when everybody else may look pretty similar. The Bat Commander is fantastic at what he does and he has a tremendous ability to draw people in and hopefully our music backing him up makes a nice little package of our music for people to enjoy.” The fans earlier this year certainly did and that, along with Reel Big Fish’s prominence, seems to be ushering in a revival for not only these two, but the genre as a whole. For the first time since 2005, The Aquabats have new music, with new album, Hi-Five Soup!, due January next year. “Any time the wheels really start turning and we’ve got new places to play and we’ve got new music now, it is a revival,” says Briggs. “You try to leave them [fans] wanting just a little bit more and you go one way or the other way. We’ve got as good a head of steam that we’ve had at any time in the band and that’s great. We definitely feel like there’s a reason and a purpose to be out there every day doing what we do, so it makes it really fun and rewarding. I’m excited; there’s a lot of things on the horizon that are looking really good and I can’t wait for our new record to come out.”

But what everyone wants to know in this touring rock circus is how they’re going to be going head-to-head. “Well those guys surf a lot, so they’re all muscly,” Barrett says of The Aquabats. “But we just sit around and play guitars so we’re all scrawny, so in a straight-out fight they’d probably win. But in a musical fight we’d probably win.” So you’re confident then? “No, they’d probably win that as well. And they’re funnier than us... Every night we try and pick up our game to beat them.” Indeed, it seems likely that the battle may take place in the fields of punchlines and puns. “Each band has got some pretty big guys,” laughs Briggs, “but I couldn’t see how we would actually ever fight because both bands are pretty carefree and trying to have a good time. So it’s kind of built up like that – there’s always a bit of friendly competition when you get to play in front of each other’s audience, you want to try and win everybody over, but that’s really about it. We push each other to reach a little higher and it’s good, it’s fun. Mostly, that or pure comedy [laughs]. See who can be funnier or have the best gags that night.” They do have costumes on their side as well. “Yeah I guess, but that’s kind of cheating, that’s easy. Anybody can put on a costume.” Either way, they walk into this tour as underdogs, given that Reel Big Fish have been on “the list” for a while. Unlike The Aquabats, they’ve focused more on relentless touring than side projects and have ingrained themselves within the ska hall of fame as a result. “I didn’t think we ever would be [this big],” says Barrett, “we don’t think of ourselves as anything special... We’re on that list, the ska list, that when a kid gets into ska he has to go listen to, so that’s pretty cool to be in that position.” WHO Reel Big Fish vs The Aquabats WHEN & WHERE Friday, UNSW Roundhouse • 48 • THE DRUM MEDIA 30 NOVEMBER 2010

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STILL LEARNIN’

ON THE EVE OF THEIR FIRST VISIT TO AUSTRALIA SINCE THE RELEASE OF THEIR AMAZING I LEARNED THE HARD WAY ALBUM, THE LEADING LADY OF SHARON JONES & THE DAP-KINGS CHATS WITH DAN CONDON ABOUT THE CHANGES WE’LL NOTICE WITHIN THE BAND ON THIS LATEST VISIT.

been incredibly supportive of the band and it remains one of their favourite places to visit. “Everyone seems so appreciative of what we’re doing. They really love what we’re doing and we can feel that,” Jones gushes sincerely. “It happens in the States, but it’s just a little bit different when you have to travel so far, people really come out to see you because you’re not there all the time.” The Dap-Kings touring experience has changed quite a bit over the years as their popularity has increased. “When we started out it was a bit tougher and we couldn’t afford certain things; now we can get a few more things, but we have a bigger band. We have extra singers and now we have a sound guy, because it’s important for us to have our sound. I know a couple of times when I was in Australia I kept complaining about getting the sound right, so it’s important to have our sound man there so that things are right for us and it all works perfect.”

I

t’s late on Sunday night US time when Drum puts a call through to Sharon Jones, who is resting up in her Brooklyn home before a long flight that will land her in our country for a long-awaited return visit with her band The Dap-Kings. Jones has been watching the news, where she has just learnt of New Zealand’s Pike River Coal Mine disaster. “I just heard about the miners, 29 miners...” she considers solemnly. “It makes you thankful for the type of job you’re doing. You know, someone has to do that stuff.” For the greater part of the last decade, Jones’ job has been that of one of soul music’s most prominent entertainers. She’s quick to point out that there’s a lot more to it than may appear on the surface. “I just do what I do, come out there and hope everyone enjoys it and take pictures with people and sign autographs – this is what I look forward to doing. This is my job, people don’t realise that. Some people get up and do their nineto-five, but I’m looking ahead to the next year, the next album, when am I going to go back to Australia? That’s my job. In April I was thinking about going to Australia in December, so you want to make sure that your health is going to be good, you’re planning it already; your job is always planned months ahead.” But Jones says she enjoys it now more than she ever has. With experience comes a greater knowledge of her limits as a performer which, in turn, helps her deliver the best performances she can. “Yes I do, believe it or not. When we first started out we were doing eight or nine gigs in a row, but that’s crazy. You very quickly find out that that just doesn’t make any sense; you’re gonna kill yourself. As I get older and my body gets older things change – it

takes a toll on me. I can feel it some nights when I don’t get that proper sleep or get proper rest.” It makes sense. The 54-year-old singer is dynamite on stage, dancing up a storm while belting out songs with gusto. “I’m not out there whispering, you know – I’m singing!” she exclaims. “I’m not using my Janet Jackson voice. Man if I could sing like Janet then I could sing for days; I’ll do like twenty gigs a day. But you think I’m about to sing like that? Forget about it!” Earlier this year the band released I Learned The Hard Way, not only their finest record but the best their genre has seen in many, many years. So to hear Jones say the songs sound better when coupled with their scintillating live show is thrilling. “Believe it or not – I listen to the songs on the record and they’re great – but the live shows are much different and much better. It’s sounding so good because we have these background singers.” These aren’t just any old guns-for-hire backing

singers we’re talking about here either, as Jones went back to her past and rediscovered some old collaborators who she knew would be perfect for the job. “The background singers Sandra and Starr. They used to sing with me in a wedding band in the ‘80s. We sang together for a good eight or nine years but then we haven’t seen each other for ten or fifteen years and we haven’t sung together since ’93 or something like that. But here we are, back together singing again and they’re coming on the road with me. “The girls and me, we blend. I have no problem blending with them and they’re really professional. As far as picking out harmonies Sandra’s got the ear man, her and Starr both... We just open our mouths and the harmonies are just right there – boom boom boom. You’ll see.” Jones can’t wait for us to see, as Australia has always

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One unfortunate revelation Jones has to make to Australian fans is that the band’s leader, bass player and producer will be unable to make the trip down under this time around. “Gabe [Roth] is not going to be with us when we go on this trip to Australia. His wife just had a baby the other day, just after we did the Conan show. He’s missing Australia but he’ll be back soon, he’s gotta get back out there. Even though he’s the president of the Daptone label all the money is still in touring, so he’s gotta get out there and tour too.” The prospect of a new album excites Jones and while she concedes that there’s no new material per se, there’s no shortage of songs we haven’t heard. “We still have some stuff that we wrote from the last album. We came up with twenty-something songs and we only put twelve on the album, so there are still songs out there that we didn’t put on the album. And I want to do a gospel album and maybe try and do a holiday album or a Christmas album next year.” WHO Sharon Jones & The Dap-Kings WHEN & WHERE Friday, Enmore Theatre; Friday 10 Dec, Festival Of The Sun

THE DRUM MEDIA 30 NOVEMBER 2010 • 53 •


PIPE UP DA BASS

NEVERENDING STORY

MIKE SILVERMAN IS THAT 1 GUY, A BASS PLAYER AND COMPOSER WHO TOOK ON THE CHALLENGE OF PLAYING WITH JUST ONE STRING AND CREATED THE INSTRUMENT THAT CONFUSES CUSTOMS OFFICIALS THE WORLD OVER – THE MAGIC PIPE. HE TALKS TO MICHAEL SMITH.

MARK HEBBLEWHITE SOUGHT OUT ATREYU GUITARIST DAN JACOBS TO RUMINATE ON CLASSIC FANTASY FILMS FROM THE ‘80S AND THE ‘FESTIVAL EXPERIENCE’. HERE ARE THE RESULTS.

M

“I

went in there with a few ideas but really no songs at all,” Silverman, on the line from his now home in Las Vegas, is explaining the genesis of his latest album, Packs A Wallop! “The last two albums have very much been going in there and tracking what I’d been playing at gigs and I wanted to get more spontaneous in the studio and really wanted to capture the moment more creatively; become a little more inspired I guess. “I felt with the recording process, going in there with everything already figured out was not a very inspired way to make music and that’s the way I’ve always done it, so I just wanted to try a different way. That’s why I like the DVD [2007’s Live In The Land Of Oz, filmed at the Woodford Folk Festival] so much, because it was capturing the moment. I mean it’s much more honest. I think that’s what music is supposed to be.” For those just coming into the story, the way Silverman tells it he was playing this club with his band and getting paid peanuts so he confronts the owner who says he pays the same whether it’s a solo or a band. Silverman then returns the following week as a soloist, but since he knows the guy’s cheating him and everyone else who plays there, he turns up, as That 1 Guy, with only one string on his double bass. The real story is a bit more complicated and has a lot to do with the San Franciscan’s passion for Frank Zappa and Dr. Seuss, his jazz musician father and his compositional studies at the local Conservatory of Music. But the upshot was that Silverman’s innate curiosity regarding sounds inevitably led to the creation of his original one-stringed “Magic Pipe”, a 2.1 metre tall collection of steel pipes and joints and all manner of electronic triggers and mics. That curiosity and passion for percussive sounds then prompted the evolution of the “Magic Boot” and the “Magic Saw”, both similarly electronically enhanced.

• 54 • THE DRUM MEDIA 30 NOVEMBER 2010

Equally perverse in the creation of the new album was Silverman’s choice of co-producer, sound engineer Billy Hume, whose CV otherwise sports names like Nelly, Nas and Ludacris among many. “I’d recorded the first one [2004’s Songs In The Key Of Beotch] myself and I did the best job I could. The second [2007’s The Moon Is Disgusting] I used Karl Derfler, a really incredible engineer. This guy [Hume] isn’t really a rock’n’roll guy – he does more hip hop and R&B, even though he’s actually a country mandolin player – but he seemed like someone I’d like to try, so I went down to see him and did one song. We actually did Packs A Wallop and it came out really good so I decided this was the guy. And because he understands low frequencies, working with hip hop acts, I wanted to work with somebody who could capture the low-end thing that I do. I understand how to make the sounds, but in terms of recording it seems to involve a lot of voodoo and he understands that stuff.” Silverman also went into this recording with a new, improved Magic Pipe. “Yeah, version three, very similar to the first one in terms of design and functionality, but is much more refined. I had the components and bits on it were custom-made by a machinist friend of mine, this NASA guy who worked on the Phoenix Mars Lander.” WHO That 1 Guy WHAT Packs A Wallop! (Pop Ten/MGM) WHEN & WHERE Sunday, Cambridge Tavern; Wednesday 8 December, Hotel Gearin; Friday 10, Factory Theatre; Saturday 11, Festival Of The Sun

etalcore warriors Atreyu are one of the many acts lined up for the No Sleep Til festival, so it’s lucky they love doing festivals. “They tend to bring together a diverse array of bands as well as a diverse range of fans that you find together at any other time.” Jacobs reasons. “It’s always great for us to be able to play to people who haven’t had the chance to hear our music. And of course getting the chance to play with bands like Slayer, Judas Priest and the mighty Black Sabbath are career highlights for us. “Over the years we’ve had some crazy festival experiences. The one that really stands out in my mind is the Hove Festival in Norway. It’s held during the summer time on an island and the backstage area was actually the beach. They offered free massages and haircuts and the catering was like staying at a five-star hotel – it was an amazing experience for all of us.” Formed in 1998 Atreyu nicked their distinctive moniker from a character featured in the 1984 cult classic, The Neverending Story. While those of us of a certain age remember watching the film as children, Atreyu’s young fanbase has no connection to the film at all. “There are two definite factions when it comes to this question,” Jacobs confides. “There’s one group of fans that just think ‘cool name’ and don’t bother to think about it any further. Then there are those fans that checked out the origin of the name as soon as they started to listen to the band. Many of them then go back and watch the movie, which is pretty cool.” One of the most distinctive components of the Atreyu equation is the dual vocal approach that utilises the soft/hard dynamic. Vocalist Alex Varkatzas unleashes a patented roar while drummer Brandon Saller offers a much more melodic counterpart. “Basically the dual vocalist arrangement we use reflects the musical influences of the band. On the one hand we all liked really aggressive, extreme heavy metal because of its energy and passion. But on the other hand we also really liked more traditional metal that utilised melody. So we combined the two sounds to create something that was our own.”

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It’s actually turned out to be a really good approach because it means that Atreyu can’t get pigeonholed as just “a certain” type of band. But surely Atreyu, more than most bands, has been on the receiving end of the ‘metalcore’ tag, especially in the wake of that style’s explosion in popularity over the past five years. “That is true,” Jacobs admits, “but we’ve always taken those kind of labels with a grain of salt. It’s always better to be lumped in with whatever ‘scene’ journalists want to create in their heads than be completely ignored. So really people can write whatever they want, but we figure if they’re talking about us then we’re doing our job properly. It’s when they stop talking about you that you’ve got a problem on your hands.” So apart from appearing at the No Sleep Til festival, what else can we expect from the band in the coming months? “At the moment we’re coming to the end of our touring cycle, which has been going on for a while now. So we’re going to have a bit of a break and recharge the batteries. We’ve written bits and pieces for a new record but we’ll have to sit down and really focus on songwriting.” And will the new record be a continuation of 2009’s Congregation Of The Damned, or represent a radical leftfield shift? “Our albums always reflect the state of mind we have and the circumstances we find ourselves in when we are writing and recording, so that’s a very hard question to answer. But I think the next record will be something our fans will embrace and enjoy; it will contain all the elements that make Atreyu the band we are.” WHO Atreyu WHEN & WHERE Saturday 18 December, No Sleep Til


THE DRUM MEDIA 30 NOVEMBER 2010 • 55 •


AIMING HIGH

MARRIED TO ROCK

DETERMINED TO PAINT THEIR STORY ON A WIDESCREEN CANVAS, SYDNEY ROCKERS STONE PARADE ENSURED THEIR SECOND ALBUM, STRATOSPHERE, SOUNDED BIG REGARDLESS OF ITS INDIE BUDGET. SINGER GREG BYRNE CHATS TO MICHAEL SMITH.

SONGWRITERS WILL OFTEN SAY THEIR SONGS SORT OF COME OUT OF THE ETHER. FOR NIC DALTON, THE BIGGER SURPRISE IS THAT SOMETIMES THEY COME TRUE, AS HE EXPLAINS TO MICHAEL SMITH ON THE RELEASE OF THE NEW NIC DALTON & HIS GLOOMCHASERS ALBUM.

“I

think with this album we found a new creative love of music,” Stone Parade frontman Greg Byrne suggests, talking about how the band has grown since releasing their debut album, 2008’s Chase The Setting Sun. “Everyone’s listening experiences have broadened, so when you kind of meld it all together it makes what we sound like on this record. I think we’ve progressively diversified since the first album, taken some of the elements from our live show that have really worked and thought about how we can incorporate them into this new collection of songs. “Our aim for this record was to have some stuff that was a bit more uptempo for a start and second, stuff that has more instrumental sections and things like that; not having everything so structured but picking good melodies and good musical bits and putting them all together – just chopping and changing and picking the best elements really. There’s one song for instance where there’s a whole musical section for about a minute and a half with the band jamming out doing their riffy thing with some powerful drums and live I just walk off stage and let them do their thing and it always gets the biggest response every gig hands down, so we achieved what we set out to achieve with that one for sure.” Once again, Stratosphere was recorded in the band’s own studio in Brookvale, though they called in mixing engineer Mark Needham, whose credits include working with The Killers, to sprinkle some of that technical dust here and there to enhance their panoramic sonic canvas where their own capabilities fell short. “For me, when I listen to the album as a whole now, it takes me on my own little journey and while I can’t speak for the other guys, it’s that whole concept of breaking out of convention, breaking out of feeling isolated I suppose and wanting to go on a new adventure, discover new things, open up new horizons. If there was one word to describe the whole it would be adventure or exploration and I suppose being content in new and exciting surroundings.

“W

“This album certainly came together a lot quicker than the last and I think that was because stylistically we were all on the same page as to how we were going to write the songs musically and also lyrically, how we were going to sell these songs to an audience and have them understand what we’re crapping on about, pretty much. It just seemed to come together so easily because we were working to our individual strengths. The lyrics are written primarily by the bass player [Mark Fouche] and myself and we work quite well together now, after having many a conflict on the first album. Now we know what we do well together and how we bounce off each other.” Obviously a very determined and ambitious little outfit, Stone Parade took themselves off to Los Angeles for three months back in 2006 and, with a bit of hard graft, managed to sell out a night at the infamous Viper Room before heading home. “We learnt a lot and had a great time there, but at the same you’ve got to be careful who you work with over there because you can get very burnt very easily. Having said that we’re hopefully going to Canada, LA and New York in March next year because we’ve been chosen to appear at Canadian Music Week, showcasing and playing one of the big stages there – we’ve just got to create a lot of opportunities around it and it’ll all be worthwhile. You need that because it costs so much to go overseas.” WHO Stone Parade

here with the last record [2005’s Home Of The Big Regret] a lot of the songs me and girlfriend Lucy [Lehmann] wrote after we broke up, this time round we wrote four songs together and I wrote some by myself and we actually wrote them before I met my wife,” explains Dalton of the genesis of his new album, Play All Night. “We’d actually decided we’d make an album about the ‘rocker’ settling down and getting married and watching everyone else around him settling down. I’d had the title of this album and ten of the songs all organised in ’06, ’07 – in fact in ’05 when we’d started touring that first album, I started playing a lot of these songs and I hadn’t met my wife. It’s funny how life can imitate art. Over the years I have had songs that have come true.” In fact, by the middle of 2006, the ‘rocker’ had got married and soon had a daughter and had even signed up for his first ‘proper job’, though of course he still run his boutique indie label Half A Cow Records and, now there’s a new album to promote, is hitting the road once more. The gap between albums is down to real life getting in the way of the rock’n’roll lifestyle, but that’s not something about which Dalton is unhappy. In fact, Play All Night is quite an optimistic album in its way. “I suppose so,” he suggests. “The song, And Baby Makes Two, is about a single dad and you’re not sure whether the mother of the child has died or just get out of bed ‘cause she’s crazy, so that’s not such an up song, but there’s an up vibe to it. Then again there’s something positive about the soldier in Afghanistan being comforted by his old indie rock from back home [in Drew’s Comfort].” Play All Night also includes a couple of covers – a version of Skyhooks’ All My Friends Are Getting Married and a song called The Circus Clown, written by Ben Lee. “They were the first band I saw when I was a kid so I’m a huge Skyhooks fan and Greg Macainsh is

WHAT Stratosphere (Independent) WHEN & WHERE Friday, The Annandale; Saturday, The Maram

one of my favourite songwriters. So when I formed the Gloomchasers in Melbourne we started doing that song straightaway. By the time we got round to recording it I’d got married myself, so I’m the other guy in the song now – I’m the one that Shirley [Strachan, late Skyhooks singer] runs into whereas when we first started doing it, I was definitely the Shirley character, still in love with music and not settling down. “The reason The Circus Clown is on there is that Ben actually wrote it for me when he was a teenager yet it’s as if he’d written it specifically for this album. I’ve known him since he was thirteen – he did work experience at Half A Cow – and he used to ring me up and ask me how to use a four-track. So he’s been a longtime friend and one day he saw I was going through bad times in a way, coming back in 1995 from a tour with The Lemonheads and gave me this song and he’d captured in a weird way what I was going through. So I’d sort of been saving that song up for this album or this band since then.” WHO Nic Dalton & His Gloomchasers WHAT Play All Night (Half A Cow) WHEN & WHERE Thursday, Petersham Bowling Club

THE REAL UNDERBELLY ALL COMING TOGETHER

ALL SWAGGER AND CELTIC PUNK, THE RUMJACKS HAVE STEPPED UP ANOTHER NOTCH WITH A MUCH MORE AUSTRALIAN SOUND, AS MICHAEL SMITH DISCOVERS FROM FRANKIE MCLAUGHLIN.

FIVE ALBUMS IN AND THINGS ARE REALLY FIRING FOR SOLA ROSA, FOUNDING MEMBER ANDREW SPRAGGON TELLS BENJAMIN MCINERNEY.

B

“A

s is usually the case, they’re all rooted in fact.” The Rumjacks singer, bodhran and tin whistle exponent Frankie McLaughlin is explaining where the stories that fill the 14 songs that make up the debut album, Gangs Of New Holland, are coming from – his Glasgow accent still strong down the phone line. “There’s a little bit of everyone in there and everything really, but there are a couple of tales which sort of downloaded straight into my brain almost as if they were prepackaged and I don’t know where they come from!” They draw from rockabilly at one end to hardcore punk at the other, recalling the likes of The Pogues and The Men They Couldn’t Hang to Dropkick Murphys if you will, but The Rumjacks are very much your raggletaggle blue collar Australians, describing themselves as “folkloric rotgut’n’roll”. This seems as good a definition as any for their full tilt approach to a style that seems tailor-made for your working-person’s pub. And as mentioned, this time around, they’ve upped the Australian content. “There’s obviously more of an Australian and specifically Sydney-based flavour, being very conscious of the fact that we’ve got a hell of a lot of supporters and friends overseas that’d be listening to it. That was a bit of a conscious decision, to showcase a little bit of what we’ve got here and I’m sure it’s just as fascinating as when we listen to what’s coming from other parts of the world and hearing their stories.” So alongside the more obvious Irish or Celtic references and songs about going to sea, to war and to the pub, Sydney is namechecked here and there, whether it’s Pinchgut or Canada Bay, Surry Hills or Millers Point. “There are a few ‘postcards’ in there. I had to be very careful not to let it get out of hand or it really would have been a tourist souvenir kind of an item. It’s very easy if you’re writing stuff like this to mentions the things that you’ve heard a thousand times before, the places or the slang terms for things. You don’t want to fall into clichés – create a few of your own if you can. • 56 • THE DRUM MEDIA 30 NOVEMBER 2010

“But I’m surprised really how many lifelong Sydneysiders for example had no idea what things like Pinchgut were, or stories like the Razor Gangs, which had taken place around where they actually live. So unintentionally there are a few people who would have got a bit of a history lesson and that’s the one I’m trying not to do when I’m writing – it’s still got to be entertaining – but the upshot is that’s exactly what we’ve done. There are some unbelievable, bizarre and really fascinating stories, as with any city – it’s a global thing – but some of the things that I’ve uncovered in my years here have been just fantastic and you want to share them. They’re worth sharing, so this is one way to do it I suppose.” Not that The Rumjacks lose anything of their dark sense of humour with Gangs Of New Holland, no more so than in the hilarious broadside of that other contemporary cliché in An Irish Pub Song. “It was an idea that I had a few years back and I just Googled ‘What the fuck is up with Irish pubs’ or something like that, just for a laugh, because I was looking for inspiration for the last couple of lines and I tapped into this motherlode of forums and chats that go all over the world and I realised it’s a global epidemic. The argument is ‘there’s a fantastic place up the corner from us’ or ‘they’ve come in a destroyed what was a really gorgeous pub.’” WHO The Rumjacks WHAT Gangs Of New Holland (Laughing Outlaw) WHEN & WHERE Thursday, Harp Hotel; Friday, Sandringham Hotel; Friday 10 December, Notes

orn in Auckland, Andrew Spraggon’s brainchild began as a very different band than it is today. Initially relying on samples and purely electronic elements, the modern incarnation of Sola Rosa sees six musicians performing a funky blend of jazz, hip hop, Latin, reggae and dub that meld together in a perfect blur of dance-inducing fury. But as Spraggon explains, there are a lot of different musical tastes spread amongst the six performers, which can sometimes cause chaos. “We all listen to so much different stuff, but there is always a clear appreciation for soul, reggae and funk. I come up with most of the production and the initial ideas for tracks – and my favourite genres are hip hop and funk which does come through on our songs – but Spikey [Tee] our main singer is a real drum’n’bass head and there are just a lot of different tastes combining from all of us.” Over the last decade the band have become stalwarts in their homeland, with a busy touring schedule hustling them into the hearts of many New Zealand music fans. Beginning as a one-man DJ act - Spraggon and a set of turntables - he quickly decided that as a solo DJ he wasn’t much of a festival attraction. “When I ended up DJing in front of seven thousand people, I quickly realised that one guy standing on stage with a couple of decks wasn’t much to look at. I decided then that I wanted this to be more than that and the last record certainly has been.” Indeed, the transformation of Sola Rosa has culminated in their most recent and most successful album, Get It Together. Named as a metaphor for Spraggon and his band’s development as a cohesive group, the album sees his vision for the group finally achieved. “To be honest,” Spraggon admits, “this has probably been the biggest album for us. It went gold earlier this year in New Zealand and it has been the most successful of any of our releases. We have been touring a lot and lately it’s just getting more and more. We are festival favourites over here in New Zealand so the vibe at most of the shows is really special.” No strangers to our shores, the six-piece is heading across the ditch once again, this time playing their first Australian headline dates. “We are all really excited to get over there again. We were there twice last year, but it’s definitely more exciting to be doing our own headline shows and also the

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Shine On and Subsonic festivals.” Although the band seems endlessly busy with the live environment, they have still maintained time to record some breakthrough material along the way, but as Spraggon explains, recording people and acoustic instruments is obviously a lot different to his original project of synthesisers and drum machines. “With recording you need to be in tune not only musically, but you need to be in tune with people’s emotions and moods. If your drummer has been playing flat-out for a few hours, he is probably tired and you just have to pick your moments. It’s certainly a very different process.” Not content to die wondering, the journey for Sola Rosa shows no signs of slowing up, with interest spreading over on the European continent as industry and fans alike seem to be realising the potential and creative energy of the New Zealand natives. “We are in negotiations at the moment with Melting Pot in Germany, which is one of my favourite labels. The plan is to release with them in April and head over there a couple of times next year to tour Europe. Although we have released a few albums, this last record has really been amazing for us. The title represents us finding ourselves as a band and I think we really have finally got our shit together.” WHO Sola Rosa WHAT Get It Together (Fuse) WHEN & WHERE Friday, The Gaelic; Saturday, Subsonic


THE DRUM MEDIA 30 NOVEMBER 2010 • 57 •


WITH ROSS CLELLAND

BRIDEZILLA Hey Girl Inertia Bridezilla, through dint of instrumentation and influences, lineup and youth thereof, have always had the chance to be something more intriguing than their perceived novelty allowed them to deliver. This could hopefully be the start of that seachange. Not that there’s ever been anything wrong with Holiday Sidewinder’s pinings most often ricocheting off Daisy Tulley’s violin, but the breathing keyboard that anchors this seems to have a depth they’ve grown into. They don’t need a leap forward, steps like this will more than do.

METALLICA Six Feet Down Under Part II Vertigo/Universal Those Entertainment Centres full of black T-shirts who know all the words are proof that Metallica haven’t embarrassed their legacy. Part of the trick is they also keep the faithful in the loop, the Part One of this being made up of fan-provided bootlegs, while part the second is the most favourite big yell-a-longs of their visit of a couple of months ago. You already know if you want this or not. The politely demanding post-it note attached to this suggests the editor of this august journal will be among those who deem this imperative.

CAMERAS Cameras EP Independent Three-piece Sydney indie. Girl with fringe. Boys in suits and/or specs and/or unruly hair. As above, already made your mind up, haven’t you? Well, maybe not quite. Across half-a-dozen tracks, Cameras have a touch of almost-Melbourne dark about them. Piano often rolls underneath, cradling the vocal questioning of love and other such confusing feelings. But that’s not all of it. The male vocals have a little more urgency but are also quality. A fearsomely assured debut which marks them as potentially very fine.

AXXONN

BROKEN RECORDS

COMEBACK KID

Useless Art/Inertia

4AD/Remote Control

Victory/Riot!

Let Me Come Home

Let’s Get It Straight Axxonn’s debut album, Let’s Get It Straight, definitely has to be one of the most interesting Australian records of 2010. A Tom Hall side project, he believed it would stay within the experimental fields of Brisbane, but the moniker has created such awareness both nationally and overseas, that it’s quickly becoming his primary focus. Let’s Get It Straight is not your average record. Void of lyrics, it is a cacophony of sounds and a mash-up of genres in a world well away from mainstream pop. Each track has the ability to lull the listener with a harmonious, almost innocent, melody played on the keys, before adding the mix of pop, doom metal, industrial synths, distorted guitars, dance themes and piercing drums – it’s an ambience, but an intense one. While it reads busy on paper, in reality Hall’s done a splendid job in creating the blend of sounds and Let’s Get It Straight is a great balance of flavours. Everything is unrelenting, with an album’s worth of building peaks, force-of-nature electronic carnage and smooth transfers. One of the heavier tracks, Perfect For Acid – which it may well be – is the only to use vocals, even though they’re wordless. Its final minute is a discord of white noise over a fading hand-clap percussion, the vocals almost like agonised souls leaving their bodies of a past life – and one of the finest atmospheres of the record. Without doubt this is something you’ll want to completely let engulf you, where Let’s Get It Starlight’s intensity, dash of buoyancy and sprinkle of joy – an evolution in Australia’s experimental psyche – will be realised.

At the same time that frontman Jamie Sutherland found himself obsessed with films like Rumblefish, Badlands and East Of Eden and albums by Nick Cave and Springsteen, Edinburgh’s Broken Records sat down in the singer’s kitchen and started working on some lo-fi acoustic efforts. Eventually fleshed out into a full band sound, the six-piece’s new album remains, however, much more sparse than the rich and sweeping orchestration presented on their debut. That’s not to say this is a lo-fi record. Not at all. There are still strings and huge choruses aplenty, but there is certainly a more organic, less cluttered feel to Let Me Come Home. That said, they certainly still throw plenty at their songs, which has inevitably led to the somewhat lazy comparisons to Arcade Fire. Admittedly, the songs do march and rumble along, and Let Me Come Home also has a touch of The Killers about it. This isn’t as bad as it might sound as at least when Broken Records do occasionally sound like a Scottish Killers, it is their Springtseen era rather than their annoyingly pinkjacketed, I’ve-got-soul-but-I’m-not-a-soldier period. This is not an album in which the obvious singles jump out at you, nor is it perfect for the impending Australian summer. However, while it is bleak and earnest, Let Me Come Home is also rousing with moments of tenderness. It takes the dour and the day-to-day heartbreak of life and wraps them in strings and soulful vocals until there is romance and beauty dripping from them. And it’s all done in a typically unpretentious Scottish way of course.

Symptoms + Cures

Symptoms + Cures is relentless, which is either a plus or a negative, depending on why you’re listening to the album. Are you happy to put something on that will, for 40 minutes, blast its way out of your speakers and make you clench your fists with anger and/or intense purpose? Great. Are you looking for a collection of songs that’ll change gears many times throughout, maybe see the band try something new, stir up a range of moods and maybe a little curiosity about what music is capable of? Then don’t bother. The initial feedback to S + C has been positive, praising its heaviness, intensity and consistent urgency, and there’s no denying any of this. Jason Neufield’s impossibly raspy vocals could be used as a substitute for pumice if you could just get him to use your feet for a microphone. His band is energetic, tight, able to build a song’s momentum and take it away for a little while, only to slap your face off just as you’re getting your breath back (as they do in the excellent Balance). There are a few guest vocal spots to keep the kids happy, with appearances by Sam Carter (Architects), Nono Pereira (A Wilhelm Scream) and Liam Cormier (Cancer Bats). But it all ends up sounding a bit samey. The impossibly monotone nature of this album won’t trouble every listener, but it’s there regardless. There’s a wondrously muscular brutality and bucketfuls of emotion here, but you will find precious little in the way of variation. S + C is for fans of melodic hardcore with lots of hair on its balls but an unwillingness to do anything even moderately left-of-centre.

Christine Caruana

Rob Townsend

Brent Balinski

CROCODILES

HELLOWEEN

JAMES BLUNT

Pod/Inertia

Sony

Atlantic/Warner

THE NATIONAL Terrible Love 4AD/Remote Control For me – and that’s my name up the top, so it’s all about being utterly subjective – High Violet is not just the best album this year, but probably of about the last four or five. Normally, the ‘deluxe editions’ bonus repackages are just baits to shift a few more units. Among other things, Version 2.0 gives you a proper new single. The buzzy guitar of the original version of this somewhat subsumed and supplemented with a syncopated drum and choral climax of a beautiful sad desperation. And when you thought you couldn’t love them more.

WOLVES AT THE DOOR Wolves At The Door Independent Two-piece Perth indie. Girl with fringe. Boys in suits and/or specs and/or unruly hair. So, same and a little different. Ash Hendriks is one of those female voices, which tend to get the default pigeonhole of ‘ethereal’. Sadly, this usually means they (and/or the reviewer) has listened to Mazzy Starr. Not that there’s anything wrong with that but WATD deserves better than that dismissal. When they allow themselves to take tangents – such as in the closing All Into Place – the crosscurrenting rhythms can be involving.

THE DECEMBERISTS Down By The Water Capitol/EMI Oh, you want to be The Band too? Fair enough, there are many worse things to aspire to. There are some other reference points obvious as well. Not the least by having R.E.M.’s Peter Buck adding his trademarked plucked Rickenbacker to a song seemingly designed for harmonica, organ and piano-accordion interjections. Colin Meloy also gets to trade vocals with the much-respected Gillian Welch, giving further impetus for the casually interested. Expect new year album to raise their profile significantly. • 58 • THE DRUM MEDIA 30 NOVEMBER 2010

Sleep Forever

7 Sinners

San Diego’s Crocodiles have aggressive dreamy aural assault covered. Sleep Forever showcases their penchant for doom magnificently and tips a hat to past influences without embodying them entirely. The swirling guitar noise introduction to Sleep Forever, courtesy first track Mirrors, is eerily reminiscent of The Horrors’ Primary Colours, the irony of which is later validated with a Horrors remix of said song included as a bonus exclusive track. As a synth harpsichord builds up in the background, percussion kicks in along with lyrics of, “When you meet yourself in mirrors you will know that you’ve done nothing of your own,” delivered with silky precision by Brandon Welchz, who sounds incredibly similar to Ian McCulloch. Of course the music takes notes from Echo & The Bunnymen and The Jesus & Mary Chain; frankly it’s an inevitability when following in the footsteps of shoegaze masters. Yet tracks like Stoned To Death manage to combine the downbeat lyricism and vocals with sharp synths more at home on a Suicide record. It’s woozy pop perfection and, in the case of the aforementioned track, the title says it all. Hollow Hollow Eyes is a swaying, swinging affair with grinding guitars and a wonderfully Goth pop vibe. Welchz and musical partner Charles Rowell lift the record off its hinges with screeching guitar solos and echoing vocals, all in under three minutes.

Their second studio album released within a year – following the orchestral and choir-driven acoustic collection Unarmed – shows the 26-year-strong Helloween refusing to slow down or change the formula that has endeared them to power metal fans the world over. Where The Sinners Go shows decent amounts of light and shade, with lighter, eerie verses and anthemic, booming choruses. Seemingly built for a live intro, it does a great job of building tension and suggesting that, yes, things are about to get hairy – which they soon do with the album’s single, Are You Metal?. Like 2007’s Gambling With The Devil, Are You Metal and the rest of 7 Sinners shows the large role keyboards now play in Helloween’s sound. And like Gambling…, about half these songs are written by Andi Deris, whose vocal range has improved considerably since he joined the band in 1994. The album also shows the band’s willingness to get a bit silly at times (and why shouldn’t they? They play Euro power metal, for Christ’s sake). A good example of this is the left-field flute solo in Raise The Noise, which is as refreshing as it is hilarious. Yes, Helloween are happy to have a laugh, but things never get as ridiculous as they did on 1991’s lamentable Pink Bubbles Go Ape.

While the album feels complete without bonus tracks, no harm is done with the Plastic Bertrand meets Cramps rendition of Elton Motello’s Jet Boy Jet Girl. As for the Groove Is In The Heart/California Girls mash, let’s be grateful they went for Beach Boys on the latter.

On the downside, this album has very few surprises in terms of its sound, and with a shortage of memorable hooks and a running time of over an hour, 7 Sinners drags a bit. Still, if you don’t mind dated music with a massive cheese content from a band that doesn’t shrink from ridiculousness, then this is a pretty good record.

Sevana Ohandjanian

Brent Balinski

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Some Kind Of Trouble Blunt has gone all California and drops some of his emotionally tortured themes on his third and generally upbeat album. This time around he is using more studio effects and making sure all the choruses are memorable. There is a set pattern to his songwriting and it is generally quite predictable without any melodic or rhythmic diversions. At the end of the day his voice, with its high tremolo, is recognisable and unmistakable. For radio that is probably a good thing. The most memorable track is Dangerous and it is incredibly derivative – a perfect fit for radio. These Are The Words is also one of the better tracks that has darkness and depth and lifts the album. There are a few ballads here to keep the female fans happy; the title track, Best Laid Plans, is actually a strong and weighted number. Still, there are no hands-down hits (like the monstrous breakout You’re Beautiful from his debut, Back To Bedlam) to make new fans run out and buy this album. After the second album, All The Lost Souls, that saw Blunt still sell a bucket-load of records without that ‘singles appeal’, Some Kind Of Trouble is definitely a shift up in gear. I’ll Be Your Man is pure pop and like so many recent singles uses retro-styled hand-clapping to make it sound relaxed and accessible. Blunt still has the cheese factor at work when he needs to pull at the heartstrings but at least he tries to pretend to be happy this time around.

Sebastian Skeet


James d’Apice

FACT FILE Length: 13 tracks, 69 minutes Moods: Confident, scathing and indulgent.

OTHER PRAISE

JAMIROQUAI

KELLEY STOLTZ

Mercury/Universal

Sub Pop/Inertia

Rock Dust Light Star

It’s not often that such strong language and praise is heaped on an album, but we’re not the only ones to have reacted in such a way to Kanye’s latest. Check out these quotes from international tastemakers:

To Dreamers

Jamiroquai aren’t the most genre-defying band around but they’ve been doing their jazz/funk fusion thing pretty well for a number of years now. And let’s face it, they can be a lot of fun. From the didgeridoo-infused give-peace-a-chance jazz of debut album, Emergency On Planet Earth, to the retro pop of their (arguably) best record, 1997’s Travelling Without Moving, the UK group’s back catalogue boasts a number of inspired moments. Besides, anyone who can afford a 500-yearold mansion and an impressive collection of cars like frontman Jay Kay has to be doing something right. Unfortunately Rock Dust Light Star, the band’s seventh studio album, is one of their weakest. Kay’s voice is as silky and pleasing as ever, and the current lineup of musicians are adept at creating a funky atmosphere, but this record is Jamiroquai doing background music. There are lots of pleasant mood pieces and absolutely no big hit singles or stunners. Opening and title track, Rock Dust Light Star is paint-by-numbers Jamiroquai, complete with vaguely new age synth noises, funky bass and cosmic lyrical references. White Knuckle Ride is probably the album’s best track, thanks to an infectious groove and excellent techno-inspired synth flourishes. Smoke And Mirrors, which is laced with saxophone, is another stylish highlight. Most of the other tracks on this record have a laid-back vibe that wouldn’t be out of place in a trendy café, which wouldn’t be so bad if they were interesting to listen to outside of a trendy café. Jamiroquai are popular because they stick to what they know and continue to do it well, but this record definitely falls into the category of “for the fans”.

Critics have likened Kelley Stoltz to the likes of Brian Wilson, Nick Drake and Leonard Cohen – big comparisons bound to flatter any singer/songwriter, and yet the man is no household name despite a career stretching over the last decade. To Dreamers, his seventh full-length release, lacks any real innovation and yes, a lot of it is similar, but there are some veritable pop gems that shouldn’t be overlooked all the same.

Daniel Wynne

Giselle Nguyen

Opening track, Rock And Roll With Me is fairly by-thenumbers, containing cringe-worthy lines like “do you want to rock and roll with me/do you want to lose control with me” – not dissimilar to Ryan Adams’ entire Rock n Roll record, really, which saw a clean division of fans as he moved further towards more straight and typical rock. Tracks like this and I Like I Like, lyrically and musically quite stock standard, are none too inspiring, but thankfully Stoltz hasn’t placed all his eggs in the one basket. Pinecone is a sweet number with lilting guitar tones, rustling percussion and exhibits a delectable freshness to his smooth vocals, an instant transportation to the nearest beachfront (and one that makes the Wilson comparisons ring true). True enough, Stoltz’s affinity for bright ‘60s tunes is wholly evident in his faithful rendition of Pete Miller’s 1965 cut, Baby I Got News For You, and tracks like I Remember, You Were Wild show that like the best of his heroes, he’s also got the ability to compact recollections of pastel-coloured radiant afternoons or chasing down the sunniest of girls, into the perfect pop song. Though it’s not a groundbreaker, the best moments on this record are beautifully golden.

KANYE WEST

“This stuff really is Picasso-like, fulfilling the Cubist mandate of rearranging form, texture, color and space to suggest new ways of viewing things.” Ann Powers, Los Angeles Times (4/5)

My Beautiful Dark Twisted Fantasy

“A blast of surreal pop excess thatfew artists are capable of creating, or even willing to attempt.” Ryan Dombal, Pitchfork (10/10)

This is a work of high fantasy. It’s rap music, but not. Four bars from Rick Ross? Check. RZA yelling the hook as the track fades out? Yep. Chris Rock discussing his girlfriend’s “re-upholstered” vagina? Of course. On arguably the best album ever, Kanye is a ring master. And as this otherworldly experience draws to a close, we are greeted with a sample of the polite applause we would have offered anyway. MBDTF is perfect. Wildly talented himself, Kanye’s great success is that he manages to extract bravura performances from those around him. Nicki Minaj hits a PB on Monster. Jay Z’s money raps on So Appalled are great. But they both pale in comparison to Pusha T’s introspective, arrogant star turn on Runaway. By “I’m just young, rich and tasteless”, you’ll love, pity and be disgusted by your favourite coke dealer. A sad reflection on Ye’s emotional constipation (“I sent this bitch a picture of my dick/I don’t know what it is with females but I’m not too good at that shit”) Runaway is also this album’s best song. It’s been said My Beautiful Dark Twisted Fantasy is an instant greatest hits. That’s not far from the truth (though a little judicious pruning may see Gorgeous and Devil In A New Dress make way for, like, Stronger). This is how pop music should sound: honed, euphoric, immersive, expansive; incredible, impossible. It’s time for music nerds to have a listen to Sgt. Peppers, Thriller, Kid A and whatever else to see where this fits in the canon. Best ever? It just might be.

“If 808s & Heartbreak was the wilderness period, then by extension My Beautiful Dark Twisted Fantasy is Kanye’s entry into Jerusalem, on a jet-propelled donkey with chrome-plated hooves.” Alex Denney, NME (9/10)

Roc-A-Fella/Universal

“Nobody else is making music this daring and weird.” Rob Sheffield, Rolling Stone (5/5) “A deeply fascinating accomplishment.” Andy Kellman, AllMusic (4/5)

C O M M U N I C AT I O N D E S I G N : PRINT WEB INTERACTIVE ENVIRONMENT BRAND

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THE DRUM MEDIA 30 NOVEMBER 2010 • 59 •


NEW SINGLES/EPS ROUND UP WITH ROSS CLELLAND The cover version. For better or worse, an ongoing staple of the music business, from Susan Boyle and Rod Stewart on down. Often respectful, often disastrous, occasionally finding something new from an original. And of extremely variable worth. You can even try some career resurrection by covering yourself, kind of. Witness INXS, taking it one step further with an album of re-imaginings. Though, they’ve previewed that with an eye on the international market – going with Rob Thomas’ take on Original Sin (Petrol) rather than Dan Sultan’s sinuous and genuinely funky version of Just Keep Walking. Ah well, maybe next time. Then there are names you may never have thought of together: recently returned from time in America, former Superjesus singer Sarah McLeod offers an almost trip-hop take on Springsteen’s Dancing In The Dark (Beatport) of all things. Or maybe you should just build a pun on a betterknown tune, Brisbane’s The Good Ship going typically sea-shanty folkie on These Are Few Of My Favourite Flings (Autumn Recordings). Meantime, former Pussycat Doll and current Formula One driver WAG, Nicole Scherzinger, goes with a well-used title in Poison (Interscope). It ain’t Alice Cooper’s, thankfully. If uncomfortable about taking someone’s else song, how about their whole style? Perfecting their long coat and moody stares Joy Division look to the point even Peter Hook laughs about it, White Lies claim it’s Bigger Than Us (Fiction), which on listening perhaps means there’s some Depeche Mode and Echo & The Bunnymen in there as well. OK, how about just sounding like yourself, as no one can do that better. Feeling the need to improve upon themselves, Operator Please get Brad Walsh to remix their Volcanic (EMI), giving it more synths and beats. Let the kids dance. With some overlap in their audiences, Tegan & Sara are again talking about their feelings on Northshore (Sire/Warner) and equally couldn’t be anyone else but themselves. Elsewhere, there are other true originals who know the traditions of the form. Charles Jenkins & The Zhivagos make glorious classic pop music. Walk This Ocean (Dust Devil/EMI) is the title track of the album and distillation of 50 years of guitars. It’s to be cherished. The Boat People similarly seek an Antidote (Mucho Bravado/MGM), at the intersection of music and ‘that girl’. Insistent and rather good, even in various remix modes. Keeping it even more parochial, Evil Eddie absents himself Butterfingers to become a one-man band and rhythmically ‘celebrate’ Queensland (Bewilderbeats) in the rap/punk style. Botanics take on Australian hip hop doesn’t yell at you as much as some. Influence (A&R Department) is their second offering this year. The Money Smokers provided a brown-paper bottle bag with their self-titled EP (Topdeck Music). Disappointingly, it was empty. They do a nice line in hip-grinding bluesy noise with a bit of country to it. The Widow Birds aren’t a million miles from that style either, though Simon Meli’s Rod Stewart rasp will keep ‘70s Faces as a reference point on their EP (Independent), even when getting the support spot to Paul Weller, as they did. There apparently is such a thing as ‘cerebral dance music’ for this is what local trio Cosmonaut claim to be offering. Their EP (Young Mine/Other Tongues) has squelchy old-time synths, but knows to leave some spaces. From the same stable, and also making the best of not being overwhelmed by the technology, Tales In Space use loops, samples and found sounds with some subtlety on their Ghost In The Room (Other Tongues). This is rare. Perth’s The Bullet Holes have a touch of punk attitood about them. Destroy The Fables (Green) has some anger and politics in it, but doesn’t forget it needs a catchy chorus. What Doesn’t Kill You Makes You Prettier (King Oath Records) is a philosophy to be admired. Platinum Brunette have that punk smirk in their music as well. Intentions are somewhat more po-faced about it. They rightly namecheck Fugazi among others in relation to their Unto Dust (Tenzenman). ‘Angular’ should mean ‘sharp’. Chinook happily rhyme ‘city’ with ‘shitty’ while still sounding calm. Black & White (Independent) has a touch of The Panics self-doubt and swing about it. Stornoway are coming for next year’s Laneway Festivals. This will please many. Watching Birds (4AD/ Remote Control) is a good example of their rootsy harmonies that somehow mix well with occasional outbreaks of technology. The technology of Canada’s Holy Fuck often seems ready to shake itself apart. That’s part of the fun. Red Lights (XL Recordings) sprawls on your couch and seems to be having some sort of seizure. Two Hours Traffic are also from above the Great Lakes, but find a sound with an almost Californian shine. Wicked Side (ABC Music) is sun-flecked pop. When The Rooftops’ brass kicks in, it gives them a relaxed old-style ska groove to lope along in. Something So Familiar (Independent) is an apt title, but in a good way. • 60 • THE DRUM MEDIA 30 NOVEMBER 2010

LIL WAYNE

MY CHEMICAL ROMANCE

Danger Days: The True Lives Of The Fabulous Killjoys

I Am Not A Human Being Cash Money/Universal Motown

To criticise Lil Wayne for being disposable is a waste of time. Would you criticise the NSW Labor party for being an embarrassment? No. You’d accept the facts. I Am Not A Human Being is in one ear and out the other, but there is some fun to be had along the way. We On is a lesson in pop music. With a few verses that sound like they took Weezy and Drake about ten minutes to put together, and a meandering hook at once monotonous and melodic, this track is – incredibly, improbably – a gem. And if you don’t like it, I guarantee your little sister will. With You and I’m Single are sex jams par excellence (“and I don’t really know how to handle this shit/but tonight’s about moonlight and candles and shit”). What’s Wrong With Them sees Niki Minaj adopt whatever persona it is who sings and murders a Rihanna-like hook. And the quotables! Our hero has a sign on his penis that says “bad bitches only”. He occasionally enjoys “a tall glass of something you can’t pronounciate”.

Reprise/Warner

This is emo flagbearers My Chemical Romance’s second attempt at following up their 2006 genre-defining album The Black Parade. Attempt number one, recorded with Brendan O’Brien late last year, got shelved when the band realised they’d put too many limitations on what the album should be. So they returned to the studio with Black Parade producer Rob Cavallo and started again. This time around The Black Parade’s ever-present death theme has been replaced with something a little more upbeat: dance music. Not techno, but danceable rock. Party Poison is one of the best examples of MCR’s newfound joie de vivre – a song with plenty of macho muscle yet just about hookier than any song they’ve written before. And the perfect anthem to a crowd that just wants to pogo.

OF MONTREAL False Priest Polyvinyl/Shock

Athens, Georgia psychedelic indie pop outfit Of Montreal are not a normal band. They do not make normal music and what they do make isn’t for normal people. If you are a normal person, odds are that you probably won’t like their tenth full-length album, False Priest, all that much. But that’s okay; normal people ruin everything. Indeed, the songs on False Priest revel in their strangeness with a carefree abandon that begs you to kick up your heels, join in the mirth and get your weird, weird groove on. Hell, sing along even – if you can, that is. Frontman Kevin Barnes is a total freak and he wastes no time in showing it in the cheery space jangle of opener, I Feel Ya Strutter.

Even so, Danger Days… is still a cohesive and fluent listen and a much better launching point for the rest of their career than the sombre death march of Black Parade.

There’s a definite funk – soul, even – feel present throughout the album, which is super evident in tracks like the sultry steps of Coquet Coquette, the synthlaced strut of Godly Intersex and the disco revivalist flavours of Like A Tourist. The vocal work on these tracks, not to mention the rest of the album, is one of the most consistently entertaining aspects of the record. Harmonies you weren’t sure existed find their way to your ears with booming depth, shrill height and all the creamy middles in between. Barnes moves with finesse between smooth, mid-range delivery, epic falsetto and even casual talk-singing (Our Riotous Defects, Around The Way), aptly driving the album’s coherently disjointed instrumentalism and fragmented soundscapes. Despite promises of deeply-buried method in the madness, if all this sounds like clash city to you, False Priest might just be an album best left to those that dug it the last nine times.

James d’Apice

Danielle O’Donohue

Mitch Knox

PENNY IKINGER

RADIANT CITY

STRAIGHT ARROWS

Citadel

Wireless/MGM

Rice Is Nice/Other Tongues

There is not much here that is likely to stay with you for long. Popular is horrible. Nonsensical lines about Wayne (and in one case, Drake) being ‘in the building’ are everywhere. Young Money, we’re told, are “in the building”; others are “in apartments”. But trying to explain that apartments are always in buildings is taking things too serious. Remember: no effort has been spent on this album, by anyone. Just listen and smile. Don’t think. Weezy certainly didn’t.

It almost has to be this way though. MCR have only really come into their own since they started appropriating other musical styles into their own emo-punk-hardcore upbringing and like Julia Roberts making the most of Richard Gere’s credit cards in Pretty Woman, the band is still trying on styles. It’s why there are plenty of spot the reference moments packed into these songs.

No Errors

Penelope

One of the true great guitar heroes of recent times, Penny Ikinger’s new album, Penelope, is the long awaited follow on from her 2007 effort, Elektra. That record did have the ability on occasions to clear a room of people less enamored of her admittedly sometimes penetrating sound. Penelope is a much more userfriendly outing, songs all pretty much neatly around radio-friendly lengths, wailingly dirty guitars somewhat under control, more melodious than maddening, something, well something of a pop record, but a pop record with a decidedly unique attitude. There is telling evidence of Ikinger’s ability to constantly delight and surprise with her music here. Opener, Into The Slipstream and track three, Fragile are worth the price of admission alone for their paradoxical strength and vulnerability, their experimentation and conformity, their out and out untouchable coolness. The good news, of course, is there are still ten more tracks to go. Ikinger has assembled an impressive cast of supporting musicians on Penelope: Deniz Tek, Ron Peno, Dave Graney, Clare Moore, Mark Ferrie and Charlie Owen. One wonders if she simply has a terrific address book or superlative cred that demands such legends work with her; probably the latter. Given her penchant for naming records after women from classical literature, we might be able to reasonably conclude that album number three from Ikinger will be called something like Clytemnestra, but we’ll have to wait and see, I suppose. Whatever she decides to call it, and however long it takes her to release it, listeners can rest assured it will be urgent, interesting rock, demanding our attention, just like Penelope. Tony McMahon

But the band doesn’t always get it right. Planetary (GO!) sounds a little too much like MCR are unsure of what to do with the kids once they’re on the dancefloor, so they’ve tried to channel a more appropriate band.

Put yourself in the not-too-distant future where, naturally, robot humanoids rule the earth. Now invite yourself to an underground house party where a nihilistic two-piece garage band are playing. That band is Radiant City. Unlike a lot of other principally instrumental bands, Radiant City do not use a conventionally big or polished sound to get their point across; they are less refined, rawer and all the better for it. Recorded and mixed in lounge and dining rooms around suburban Melbourne you can hear the hands-on sound of the band. In Safe And Secure the lazy, drawling tone of Andrew McLaughlin’s Telecaster is unmistakable; it feels as though you can hear the rust on the strings as his plectrum scrapes along them, like nails on a chalk board, beginning the song. The band really erupts in the latter half of the album; there is a sonic bombardment where they loosen the reins of every aspect of their sound, the abhorrent textural guitar, the simple, powerful drumming and the distant, and at times even melodic, electronics. For their first foray into the full-length album, Radiant City display real ingenuity as songwriters for a largely instrumental band, especially considering they are working within the confines of a duo. The sounds vary but work cohesively. Amongst the raw guitar, the sheer volume of the band and the alienating soundscape of feedback and electronics, there is a real warmth. More than the warmth afforded by a home recording, it shows the strength of the songs; they take you to the edge before reeling you back in with undeniably powerful and understated riffs. Dave Drayton

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It’s Happening

There’s a trend towards reverb-drenched garage rock in indie music at present, which means there are going to be a number of bands jumping on board who simply don’t get it. You can buy as many records and denim jackets as you like, try and sound as fucked up as you can, but if you ain’t got it – you ain’t got it. Local outfit Straight Arrows have it; they always have, and their first full-length record, It’s Happening, ought to serve as a stark reminder to the pretenders that there’s a certain finesse that comes with making this kind of music that can’t be taught or bought but will separate the wheat from the chaff every time. Admittedly the band do the stompers a little better than the creepers – the frenetic It Begins and Bad Temper are immediately more alluring than the spooky (albeit still more than proficient) Magic Sceptre or Haunted Out – but the listenability of the record – particularly in the realm of trashy garage pop – relies on a semblance of seemingly non-contrived diversity to keep interest. The vintage, not-quite-lo-fi sound of the record is distinct, but the test lies in whether these songs would stand up if taken out of this sonic setting. You could imagine these songs with the slickest of high tech production or bashed out with the help of a room mic on a scratchy Dictaphone and they would still sound stellar. It’s Happening is a golden slice of garage rock that ought to be remembered as one of the best from the current wave.

Dan Condon


THE DRUM MEDIA 30 NOVEMBER 2010 • 61 •


METAL AND HARD ROCK WITH CHRIS MARIC

AXL ROSE

AXL’S NEXT FIGHT On the eve of his appearance in Sydney as part of the V8 Supercars’ live entertainment on their Olympic Park round, news has emerged that frontman Axl Rose – the sole remaining member of Guns N’ Roses – has sued video game publisher Activision with claims that they’ve violated an agreement over the use of Gunners track, Welcome To The Jungle, in Guitar Hero III. It seems to be another twist in the Axl vs Slash (their original guitarist who’s been feuding with the singer for years – and retains far more credibility) saga after court documents were posted online at radaronline. com. Axl contends Activision “began spinning a web of lies and deception to conceal its true intentions to not only feature Slash and Velvet Revolver [Slash’s post-GN’R band] prominently in Guitar Hero III but also promote the game by emphasising and reinforcing an association between Slash and Guns N’ Roses and the band’s song, Welcome To The Jungle.” After Rose discovered that Slash would appear in the game, Rose tried to block the song being used but was allegedly told that Slash’s image was being used for marketing purposes only. We would have loved to have seen his face when he got a copy of the game and saw Slash on the cover. “Enraged” apparently.

BEHIND THE TEARS A documentary depicting the story of the renowned Cry Baby guitar effect pedal, Cry Baby: The Pedal That Rocks The World, is set to feature Eddie Van Halen, Jerry Cantrell, Kirk Hammett, Zakk Wylde and Buddy Guy among others. There’s an interesting story behind the pedal – defining sounds, copyrights and all that – and the film’s due in February next year. YouTube clips can be found now though.

TEMPTING TALE Within Temptation have announced their latest and fifth album, which they’re currently working on in the studio. Titled The Unforgiving, it’s the band’s first concept album and is slated for release March next year through Roadrunner.

• 62 • THE DRUM MEDIA 30 NOVEMBER 2010

years since they were last here and the night will be special with one Ron ‘Bumblefoot’ Thal from Guns N’ Roses taking the stage to jam on a few tracks. Surely a shred-fest.

Melbourne’s Twelve Foot Ninja are about to deliver their second offering, an EP titled Smoke Bomb, which has apparently ‘gone off’ on the pre-order section of their website and is scoring some impressive reviews about the place. The fact these guys have got some serious management (old major label mates of mine) and have achieved so much on the back of their first EP, leads me to wonder where they will go from here with release number two. The genre-hopping four-piece are a mix of rock, funk, metal, dub, world and experimental, which sounds just as hyperactive as you think it would. They even nabbed the one and only Steve MacKay to produce it for ‘em and scored some very special guests, including Cat Empire’s Ollie McGill on keys and the legendary Bär McKinnon from Mr. Bungle on the saxophone. Longtime friend of the band Hadyn Buxton (Trial Kennedy, Dukes of Windsor) was called in to mix it and to top it off, Howie Fucking Weinberg (Nirvana, Deftones, Jeff Buckley, Faith No More) came on board to master the five-track release in New York. Like I said – second EP! So if all that sounds pretty good then you can get along and experience the whole shebang in a live setting on Wednesday at The Grand Hotel, Thursday at the Hamilton Station, which is boasting free entry, or the St James Hotel’s SFX on Saturday – for the official EP launch. Tim, Andy and the other tyrants can’t stay away from the stage for long can they? After a mammoth year that’s seen the album, Set In Stone, do well, three brilliant videos get made and all receive a tonne of airplay on Rage and MTV’s Headbangers Ball (Tuesday night if you don’t know it’s on), an EP and a Japanese tour with Doro, Lord will be heading out to the town that John Cootes made famous on TV when I was a kid. This Friday the Hyland Road Youth Centre in Merrylands is hosting an all ages gig for the guys who are bringing along special guests Burnt At The Stake, Wings Of Icarus and Infernal Reign. Starts at 6pm and the door bitch will ask you for a fiver. Not out west this Friday? Then catch an awesome lineup at the Lansdowne instead. Back in my uni days in the mid-‘90s I used to have my own radio show on Macarthur Community Radio called Earache – ah, I still remember my call… Anyway, on that show I used to get Dark Order in all the time and it’s great to see them back on the circuit (do we have a circuit?). I’ve yet to hear their new one but apparently it’s a blinder. Joining them on the night are Havoc, who seem to be the

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Guns N’ Roses are here for the big V8 Supercars event at Olympic Park’s street circuit, but I’m sure everyone who is going already knows that. It’s on Saturday night at the Stadium but given Axl lives on AST (Axl Standard Time) it may very well go ahead Sunday morning! Meanwhile back at the Agincourt Hotel, the newest club in Sydney, Venom on Saturday, hosts the official Korn after-party, and they’re confirmed as attending after they blow up the Hordern earlier in the evening. Word is Jonathan Davis is confirmed to do a DJ set, so that should be pretty cool! Upstairs they’re also launching the latest compilation by The Amity Affliction and hot new record for My Chemical Romance. The Basement level will have copies of the new Cradle Of Filth album to giveaway, which recently debuted at #79 on the ARIA chart, which was a full 20 places higher than in the US! Venom is free before 9pm or ten bucks afterwards.

LORD hardest working band at the moment, and also Vendetta Of The Fallen, Empirical and Deathmaask, all no slouches themselves. ‘Tis free entry and starts at 9pm. If the city or the west isn’t for you this Friday but the north is, Newcastle will be hosting the last show of 2010 for the one and only Anno Domini. The guys cap off a year that saw them finally release their debut album, Atrocities, high profile shows with the likes of Mayhem, the Metal For The Masses Fest, a new logo, new look and a stack more – busy, busy eh? The Hamilton Station Hotel is a solid hotbed of metal for Novocastrians, especially this week with Twelve Foot Ninja there on Thursday, and AD are happy to end the year as part of the venue’s special Xmas show. Also on the bill are Newie locals The Seer, The Paradox Unseen and Cerebral Contortion. It’s also free, which I’m sure is your second favourite four letter ‘f’ word. Chris Jericho and his Stuck Mojo cohorts collectively known as Fozzy (and this week’s cover boys!) will be serving up a set at The Factory Friday. It’s been five

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Attention Pagans and Vikings – keep Saturday 26 March next year free. The awesome Finntroll will be here along with all their accordion roadies and will be turning the Manning Bar into a smorgasbord of beer, wenches and singalongs (What? No elk burgers! - Ed)

LOCAL GIG GUIDE

WEDNESDAY

Buzzkiller, Robosexual, Spaceticket – Batcave, Club 77

FRIDAY

Combichrist, Novakill – Basement, Belconnen Celebrity Morgue, Aworldlesscruel, Blatherskite, Eyemaze, Gutterstomp, Ill Content – The Wall

SATURDAY

Combichrist, Novakill, Shiv-r – The Metro Korn, Shihad, Sydonia – Hordern Pavilion Daysend, As Chaos Unfolds, Blackened They Rise, Jaded Empire, My Hollowed Fantasy, Never Trust A Bunny, Pulseffect, Seconds Til The End, Shadowmill, Simulacra, The Cursing Stone, Winter Gaunt – Lucky Australian Tavern heavyshit@drummedia.com.au


PUNK AND HARDCORE WITH SARAH PETCHELL

SIMPLE PLAN

SIGNALS STILL SHOWING The rumours going around when The Misery Signals were last in Australia (supporting The Amity Affliction) of their imminent implosion seemed to have been founded as two of the members guitarist Stu Ross and bassist Kyle Johnson announced they would be leaving the band (Ross because he wanted to focus on a pop punk band and Johnson for other reasons). However the remaining three members have decided to continue and will be operating under the same name. Guitarist Ryan Morgan told Noisecreep recently that, “The core of the band is still very much in place. Stu and Kyle made awesome contributions, but the trajectory of the band remains the same in their absence. If the time came that our sound took a drastically different course, then it wouldn’t be Misery Signals anymore, and we wouldn’t pretend that it was... When you are a band at our modest level, your whole existence is ‘soldiering on’. That’s a lot of the reason you see lineup changes all over the place. The business is a struggle, and it demands huge sacrifices on the part of the artists to get their work off the ground.” The band, who’ve changed their vocalist in the past also said that whatever they do next will be “something with massive scope. Something next level.”

PLAN OF ACTION Some will argue against their inclusion in a punk column, but there are still those that will be interested to hear that Simple Plan have finished recording their new record, according to a post on their website: “The guys have officially left the studio. Now the record has to be mixed, and the final details are coming together nicely. The next steps will be working on artwork and working on getting this record out to you guys. It took a bit longer than they thought but the guys have said that this is their best record yet and are extremely excited for everyone to hear it for the first time. Stay tuned for more updates and release dates.”

eat, hang out, shop and hold koalas, so we thought we should get the best label possible to put out our record there. That’s why we went with Roadrunner.” They join Bleeding Through and fellow Canadians, Cancer Bats, on Roadrunner Australia’s hardcore roster.

Architects commence their Australia-wide tour with Comeback Kid, Rolo Tomassi and This Is Hell this week. Given the blistering performances of all four bands on recent tours (Architects opening for Parkway Drive’s last year for one…), this is sure to be one of the most memorable gigs of the year. Architects premiered a second track from their forthcoming album, The Here And Now, on BBC 1 a couple of weeks ago. Dubbed Live To Learn it sees these Brighton boys continuing the much more melodic theme in their new material. I’m curious to see if it and Day In Day Out will be featured in their setlists.

On the back of this year’s album, Invented, which saw them return to the side of producer Mark Trombino (about to start work with locals Tonight Alive), Jimmy Eat World have announced Australian dates as part of their international tour. Last here earlier this year for the Soundwave festival – they replaced My Chemical Romance after they pulled out – they’ll be hitting the Enmore Theatre Friday 8 April. The show’s all ages.

In Soundwave related news, a whole heap of new Sidewaves were announced this week. On Monday 28 February The Gaslight Anthem and Polar Bear Club will be doing their thing at The Metro Theatre. Then on the same night at the UNSW Roundhouse, Millencolin and Pennywise will be doing it for the punks! This adds to the already announced Social Distortion/The Bronx Sidewave. All the horror punk fans out there will be disappointed to find out that the Misfits tour scheduled for February next year has been cancelled. The promoters, New Noise Agency, have issued a statement claiming that, “Due to timing and our current situation, we are unable to run this tour. We sincerely apologise to those who have bought tickets, and all the fans of Misfits for this news.” Refunds are available from point of purchase. Tickets are selling fast for Blood, Sweat & Beers 4, and considering that this is the best lineup yet, that’s really no surprise. To coincide with their appearance on the event, No Trigger and Such Gold have announced a string of dates across the country including Brisbane, Byron Bay, Newcastle, Canberra, Wollongong, Melbourne and Adelaide. This will be No Trigger’s first tour since reforming with their original lineup earlier this year. Catch them at the Cambridge Hotel Friday 28 January, Blood Sweat & Beers at the Annandale Hotel Saturday 29, the Annandale Hotel again Sunday 30 (all ages show), Bar 32 Wednesday 2 February and Stay Frosty at the Grand Hotel Thursday 3. The Reel Big Fish vs The Aquabats tour has been looming for a few months now and this Friday the tour finally arrives at the UNSW Roundhouse. Tickets are still available and for Sydney fans, you have the added bonus of the excellent Los Capitanes supporting. It will be a

GIG OF THE WEEK Even though Architects is this week, Takedown 2010 is happening at the Cambridge Hotel this Friday. It’s going to be worth making the effort to see the mighty Mindsnare play with some of Australian hardcore’s heavyweights like Against, Relentless, Phantoms and of course to see Newcastle’s own Dropsaw play their final show.

PHANTOMS night of ska goodness so make sure you don’t miss out. In release news, Common Bond Records announced this week that early January will see the release of a split seven-inch between Sydney’s Phantoms and Canberra’s I Exist. Due 14 January, the Bad Romance 7” is a release dedicated to the magical place known as Wet ‘n’ Wild. Recorded in one afternoon with Lachlan Mitchell between visits to Sizzler and a Soulfly concert, it features two songs from each act with all songs named after a Wet ‘n’ Wild ride. It will also be the first output from both bands after releasing individually excellent debut full-lengths earlier this year. Pre-orders available from Monday. Roadrunner Records Australia announced last week that their newest signing is Canadian rockers Silverstein. Roadrunner will release the band’s next album and beyond. With a full album to be released in mid-2011, fans can get a taste of the new tunes to come with a five-track digital EP scheduled for January 2011. Vocalist, Shane Told, said in a statement on the signing, “Australia is our absolute favourite place to travel, tour,

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LOCAL GIG GUIDE

TUESDAY

Stick To Your Guns, First Blood, Third Strike, Venom Eyes, Wish For Wings – Axis Youth Centre

WEDNESDAY Skyway, Word Up!, Atlantis Awaits, Venom Eyes, Shorelines – Bar 32

FRIDAY

The Rumjacks – Sandringham Hotel Reel Big Fish, The Aquabats – UNSW Roundhouse Dropsaw, Mindsnare, Against, Relentless, Phantoms – Cambridge Hotel Intentions, Hira Hira, Mere Women – The Sandringham Hotel

SATURDAY Comeback Kid, Architects, Rolo Tomassi, This Is Hell – The Metro Theatre Thy Art Is Murder, Sienna Skies, I Escape – Teen Wolves, UTS Glasshouse wakethedead@drummedia.com.au

THE DRUM MEDIA 30 NOVEMBER 2010 • 63 •


HIP HOP WITH VIKTOR KRUM

LOOKING TO STUDY MUSIC?

Ok. Nerdfork gave My Beautiful Dark Twisted Fantasy 10.0. Let’s all nerd out about it, shall we? Nerd!!! Ok, we done? Good. It’s a great album, sure, but I’m not sure there’s ever been a worse album title in pop music (wait… didn’t Red Hot Chili Peppers do a self-titled album? Zing!). Plus: the ridiculous Nicki Minaj intro? How yawnsters is it? And a two-minute Chris Rock skit? Culminating in a re-upholstered vagina? That’s how you give a website a nerdgasm, it seems. Harrumph. I’m nitpicking of course. Kanye, seems like the most annoying guy in the world to spend time with but, by gee, is he talented. How did he get Pusha to emote? How did he get Rick Ross to say clever things like, “so many cars the DMV thought it was mail fraud”? How did All Of The Lights happen? It’s the (non) answers to those questions that defines why we all blew our minds for My Poorly Titled Indulgent New Album Fantasy. Hopefully you liked the album as much as Nerdfork. If not, learn to have fun, and go listen to Runaway on repeat.

THUNDAMENTALS

Did you catch Tuka’s verse for rappertag? Wow. There were sing-song bits, great rhyme schemes and shoutouts to his mates. Definitive cypher shit. You can catch the rappertag action at the very convenient site rappertag. com.

celebration at Name This Bar on Tuesday 7 December. Who are The Asthmatix? Well, they’re great party hosts, they can’t wait to celebrate with you and they’ve got music up for free download at theasthmatix.com. Enjoy the latkes!

Do you know what crew Tuka represents? Why, the mighty Thundamentals of course. Who else, but? The Thundakats have got some good looking shows coming up on the horizon. If you’re in the mood for a bit of Obese Records/Blue Mountains-flavoured hip hop, then you’re in luck Sydney (and other places). On Friday our heroes are playing a free show at the Beach Road Hotel. A week later on Friday 10 December you can catch Tuk, Jeswon and friends in Newcastle at Level One of the Newcastle Leagues Club. Then, on Saturday 11, the boys are heading to Fisho’s in Manly. Then they finish the year at Peats Ridge. Somebody stop them! It’s the takeover! Seriously, though, that’s hard work. That’s what “setting a good example” looks like.

Ozhiphop.com is an interesting place. It bears all the hallmarks of a site doomed to failure: a small, opinionated niche with no money and a short attention span. Evidently not; it’s thriving. It’s a fascinating forum. Many members are tremendously well informed. Some members are Actual Artists Who Make Music for A SemiLiving. Learn from them, or be thrilled by engaging directly with them. The arguments are passionate and dynamic. Weave through the thick jungle of in-jokes and .gifs and you’ll find gold. Promise. The cynical among us may say being “the best site for Australian rap” is a pretty easy field to dominate, but the facts are that the site is surviving, people like it and – trolls aside – there’s some interesting stuff going on (other cynics say the site only has five members, each of whom has registered about a billion aliases). Anyway, the ozhiphop.com end of year awards are around the corner. They’re hotly contested and tend to favour your staunch, male, street rap over your catchy hooks and triple j baiting, but still: join the site! Argue! Tell people that they’re idiots! Ozhiphop.com type shit.

How do you celebrate Hanukkah? Oh, what’s that? Australian rap music caters to a (mostly) white, postWASP monoculture? No. You’re kidding! Surely you had plans for the Festival Of Lights? What is it? Well, yes, it is like Christmas. There are - Sorry? What? No, there’s no Santa Claus. Anyway, you get latkes, which are pretty great. But if Hanukkah is not a festival you’ve celebrated before, The Asthmatix are putting on a Hanukkah

ALL AGES WITH SCOTT FITZSIMONS

One question most music fans ask themselves at the end of high school is ‘Can I actually study music for my iertiary education?’ A good question too, as the industry’s a fickle, evolving beast and even for those in it, there are no guarantees. Young & Restless recently attended the end of year concert for private music college JMC Academy, located in Surry Hills, held at the Enmore Theatre. A first-year acoustic duo Jess & Jen appeared on stage a number of times – as part of other students’ bands – and were one of the most impressive acts on the night, so Y&R sat down with Jess Dunbar and Jenny McCullagh to discuss studying music performance.

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Both 19, McCullagh took a gap year after high school while Dunbar jumped right in with the help of a scholarship – she put together a music magazine with herself as the featured artist for the application. They’re both adamant that music was all they wanted to do. “I was brought up in a musical family so it’s all I wanted to do ever,” says McCullagh. “I did Music Two and Extension and that’s all I really cared about to be honest and what I put most work towards.” But it’s a big jump from the high school model to what they experienced in their first year. “At school people do music because it’s the bludgy subject, but here everyone’s here for the same reason and has the same passion for it.” “Here it’s just so practical and industry-relevant,” says Dunbar, “whereas at school it’s nothing to do with the industry, it’s basically the theory of how to play your instrument. Coming out of school you just don’t know about the industry. Even copyright and publishing, licenses, we can’t get screwed over because we actually know [how they work]. A guy from Brazil asked me if I could lend him a song for a film and two years ago I would have gone, ‘Yeah, sure great!’ But now I’m like, ‘Hey, you need a licensing fee for that.’ It’s funny, and without JMC we wouldn’t have known to say that.” Students are split up into bands in the first semester – which can be changed later in the year – and surrounded by musicians have the opportunity to call upon others should they need, for example, a rhythm section for something. Jess & Jen met at JMC, so by definition neither would be doing what they’re doing without the college. The course essentially leads to

POP CULTURE THERAPY WITH ADAM CURLEY While the rap and rap-sympathising worlds have been busy debating which multimillionaire egomaniac has ‘let his guard down’ more – Kanye on his new album, My Beautiful Dark Twisted Fantasy, or Jay-Z in his new book, Decoded – in a bid to figure out which grown man-celebrity to congratulate more for, you know, being a human being, in Australia almost every part of musictalk has been overtaken by the oncoming onslaught of tours. Of course, the good value of the dollar hasn’t translated to promoters passing on their savings to the consumer, which means that all that talk is essentially, for people interested in live music, about which acts are worth paying for and which can be missed. It’ll be interesting to see who comes out victorious and who everyone decides isn’t really worth the price of yet another gig ticket. Belinda Carlisle is clearly keeping her odds good by almost exclusively playing RSLs, which must make Joan Jett feel like ‘a winner’ after she sold out the Annandale in Sydney in two minutes last week – especially after Carlisle tried to steal the ‘first female rock group’ title in interviews in the wake of that abhorrent film about The Runaways. Before we get into a detailed consideration about which lady could have cleaned a table with her nose faster back in the day, let’s get onto some of the exciting releases of the past few weeks. Brisbane’s dirgy psych group Blank Realm released a new LP through the Bedroom Suck label, with the ‘chuckle-bunny’ title Deja What?. The Velvet Underground references are kind of obvious but relevant in the best way; their slowly pulsating, clangy rhythms circling under mean rock’n’roll melodies. They’ve certainly got the loveable rawness thing down, with real songs that dig their hooks in and result in return visits to the record. After returning from the US, where they played the kind of ‘blog parties’ that then get turned into insta-historical ‘happenings’ via being incessantly blogged about, Melbourne’s pop princes Crayon Fields turned out a remix of their All The Pleasures track by city-mates Opulent Sounds. All that partying must have made them hungry for the dancefloor because the track takes the bopping bass and sweeping chorus and turn them into a brilliant robot-arm-at-midnight soundtrack. Stream in on – where else? – the BigSound blog. Melbourne brothers A Dead Forest Index finally have another release following their studio time in Auckland last year. The Antique EP (Independent) is three tracks •64 • THE DRUM MEDIA 30 NOVEMBER 2010

PIKACHUNES: I CHOOSE YOU, SUMMER! from those sessions plus one live track; a modestly dark though texturally balanced traverse through beautiful, chanted vocals, slightly jarring guitar and dramatic drum patterns. Adam Sherry’s voice is a trembling wonder, but, as with Blank Realm, if they didn’t have the songs to back it up it wouldn’t work. They do. Speaking of New Zealand, Christchurch’s Pikachunes is the project of one dude, a drum machine and a laptop. Having signed to Lil’ Chief Records (home to The Ruby Suns, Lawrence Arabia and Shaft), Miles McDougall has just released an eight-track release of cold electro disco beats and bedroom-y vocals (in a good way) that can be streamed free from the label website and the Pikachunes Bandcamp, but also purchased very cheaply (like $5). Perfect for summer. If you haven’t been sent it yet (which by now seems unlikely), look up the cover of Justin Bieber’s One Time by Sydney/Adelaide duo and Two Bright Lakes signings Collarbones. Not a ‘fucked up’, ironic take on a pop song by a ‘commercial’ act, it actually takes the song and rebuilds it with warm beats, chiming effects and soulful vocal harmonies to make it even catchier than the original. Apparently it’s off an upcoming album of remixes and covers by the pair and can be downloaded free from their Tumblr. Also recommended this month that I probably don’t need to bang on about: the new World Without Men single from Jessica Says (and I disclaim that I was part of the clip but it’s still an amazing track); and the first track from the upcoming Death Set album, a ridiculously short song featuring Diplo, Yo David Chase! POV You Shot Me The Head. breakdown@drummedia.com.au

JESS & JEN teaching – there’s no ‘job’ as such at the end of the road – but the goal is that music careers can use the knowledge as a springboard – be they performance, managing or engineering. If you’re currently studying music at high school, the girls advise that you make the most of the time currently available. “It’s easy to get stuck in your own little world of your own club and playing there,” says Dunbar. “You actually have to go out. I know it’s hard to play when they’re under 18, but community events, your local festival and playing as much as you can. Taking advantage of [the time] and not taking it for granted.”

OUT AND ABOUT The fifth Something Really Epic band competition happens Friday at Leichhardt Town Hall from 7pm. Judged by audience ballot, Edge Of The Earth, Without Reason, Kill Appeal, Cake Or Death, Aluminize, The Disadvantaged and Hyperealism are the contestants. Music For Trees, a concert to raise money to plant trees around the world aiding disadvantaged communities, happens Sunday at Sydney’s Wharf Theatre. Waiting For Guinness, Ray Mann, Dog Trumpet, The Slowdowns, The Anon Anon and Ngaratya perform. Entry’s free. Daysend headline a metal Christmas at the Lucky Australian Tavern Saturday with Illcontent, Pulseeffect, My Hollowed Fantasy, Never Trust a Bunny, Blackened They Rise, Cursing Stone, Winter Gaunt, Syko Sapian, As Chaos Unfolds, Foundry Road, Shadowmill and Jaded Empire. allages@drummedia.com.au

TALES FROM THE MOTHERLAND WITH JAMES MACGALLIARD In these days of the so-called ‘firework career’, it’s rewarding when good acts manage to survive, even when fame remains elusive and circumstances difficult. During November I saw album launches from two of the three acts I marked for greatness in my end of year writers poll for 2006 (regrettably Model Morning never got that far). Back then I had a bet with Evi Vine that when her album came, it should be shortlisted for the Mercury Music Prize that year. But her band fragmented, years passed and when she joined supergroup The Eden House I feared chances of this ever happening were remote. Meanwhile I Like Trains signed to Beggars Banquet and released a debut album, then found themselves label-less in the merger of Beggars and 4AD. Four years later in some kind of synchronicity both Evi Vine and I Like Trains have self-funded the recording and release of albums. It seems somewhat ironic the London launch of He Who Saw The Deep, the second album from I Like Trains, is taking place during a strike by Tube drivers. The recording was financed via fan pledges and this sort of dedication ensures the gig is well attended in spite of travel woes. When they take to the narrow stage of The 100 Club it’s immediately clear that something isn’t quite right – their drummer is missing! It transpires Simon, who I’d seen earlier on the merch stand, has a broken leg, so Scott Hislop from Kyte is filling in. I Like Trains have always been much more than the sum of their parts – a clear example of the chemistry between players creating something special. Even though Scott does a fine job, the show was noticeably affected by the change of those elements. So while the guitars chime clearly (augmented by Ian Jarrold of the late Redjetson), the bottom end never sounds quite right. If tonight isn’t quite their night, Hope Is Not Enough and lost b-side Victress still shine, and it seems you may well be able to see this consistently great act for yourself soon as Japanese and Australian dates are pencilled in for 2011. Rising rents mean The 100 Club is yet another live venue threatened with closure. Only this week the owners of The Luminaire, without doubt the best live venue in London, announced it’s closing in a month due to financial pressures. I last ran into Evi Vine when I Like Trains played The Luminaire last year (and actually first met her in a queue to see them back in 2006). Eighteen months later her long-promised album is finished, but

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I LIKE TRAINS The Social seems a strange choice for her album launch as it’s more a club space than a live venue. Daunting would be the best description of having to begin a show just after This Mortal Coil’s cover of Song To The Siren has been played, yet Evi turns it into an opportunity by singing along with Liz Fraser’s landmark vocal as a microphone check. When the song ends and the band begin, the background chatter virtually disappears and I’m quickly reminded of why this voice and these songs floored me four years ago. Her debut album, and so the morning comes, is a very different beast to the one she might have recorded back in 2007, but some of the songs remain, albeit radically reworked. Original drummer Steven Hill is now on guitars and effects and it’s wonderful to see all but one of that earlier lineup here in the audience to support her. The live renditions are better than the album, the seeming simplicity and restraint of the stripped-back arrangements making the voice and song all, and sometimes I forget other musicians are on the stage until they chime in. She maps the human heart, sometimes living in the dark places while hoping for the light, at others seeming to finally find a happy place, if only for a fleeting moment. Evi herself is a mixture of fragility and strength; I’m reminded of a Prince Rupert’s Drop – glass which can take a hammer blow, but can also shatter explosively. The hauntingly beautiful love song The Colours Of The Night becomes a persistent earworm for days afterwards, the harp here replaced by a picked guitar, which actually feels purer. They finish with Time Flies, and the pent-up energy pours out in a dazzling climax – something very special indeed.


DIPLOMA & DEGREE COURSES IN: Games Design 3D Animation Graphic Design Games Programming Web Design & Development QANTM EXHIBITION & OPEN DAY

DECEMBER 4TH, 10AM TO 2PM

74–78 Wentworth Ave, Surry Hills, 2010

infosydney@qantm.com.au THE DRUM MEDIA 30 NOVEMBER 2010 • 65 •


ALL HANDS IN Led by the renowned brothers Clayton and Lachlan Doley on keyboards, The Hands are set to return to The Basement Wednesday 15 December. And while the brothers are obviously talented and probably the focal point – they’ve played with the likes of Powderfinger, The Divinyls, Ian Moss and Harry Manx, though they spent the year past touring internationally individually – the rest of the band are worth a mention as well. The Hands include James Haselwood on bass, Dave Hibbard behind the kit, Declan Kelly in charge of congas, James Greening wielding a trombone, Matt Keegan on the saxophone, Nick Bowd on baritone and Nick Garbett with trumpet as well as vocalists JulieAnn Henry and Paula Baxter. The gig’s going to be a rare opportunity to catch the soul outfit, as 2011’s touring commitments will have members overseas once again.

MOMENTS OF BLOOM He’s coming out to headline the Blue Mountains Music Festival – as well as play his own dates – so we figured you should catch up on a bit of Luka Bloom history. Born Barry Moore in County Kildare, Ireland, in 1955, the younger brother of Christy Moore he fled that shadow in 1987 when he relocated to America. His first notable record was 1990’s Riverside, which was rooted in his Celtic themes despite having a American wash over the top. Other albums worth checking out are 2000’s Keeper Of The Flame, which housed covers of Bob Dylan, U2, Radiohead, Bob Marley, ABBA and more, and 2006’s Innocence, which is usually regarded as a return to his best form. His latest, released this year, Dreams In America, is one of his more reflective efforts.

BLUES AND ROOTS WITH DAN CONDON Twenty years of worldwide success and acclaim ought to be enough to convince you that Irish singer-songwriter Luka Bloom is a very special artist, but if it’s not then we highly recommend going to see him perform live. His records have been much loved by audiences all over the globe, but one cannot truly understand his genius completely without witnessing his transcendent live shows, shows that have had Australian audiences in awe each and every time he has visited. He’s just released his latest album, Dreams In America, and to celebrate he has booked himself a couple of months in Australia – he has been quoted as saying that he spends two months of every 24 in Australia and 22 waiting to return. He plays Blue Mountains Music Festival in Katoomba Friday 18 March, Tilley’s, Canberra Tuesday 22 – Thursday 24, the Enmore Theatre Saturday 26, Heritage Hotel, Bulli Sunday 27, Lizotte’s, Newcastle Tuesday 29 and Lizotte’s, Central Coast Wednesday 30. Tickets are on sale now. The massive program for next year’s Blue Mountains Music Festival has been unleashed and it’s going to keep revellers awfully busy over the three days it takes place, in Katoomba next March. As mentioned previously Luka Bloom is headlining, but that’s not even scratching the surface. The Backsliders, Chain, Captain Matchbox Whoopee Band, Justin Townes Earle, Katie Noonan & The Captains, Mama Kin, Martin Simpson, Tim O’Brien Trio, Crooked Still, Tony McManus, Leah Flanagan & Band, Andy Irvine & Rens van der Zalm, TinPan Orange, The Little Stevies, Ajak Kwai & Her Band, Graveyard Train,

1 April – tickets available from Ticketmaster from $119 to $138 – and the Newcastle Entertainment Centre Saturday 2 April, tickets for that one can be sought from Ticketek from $89 up to $138.

LUKA BLOOM Frank Yamma, Sal Kimber & The Rollin’ Wheel, Ange Takats, Les Chauffers A Pieds, David Bridie, Phil Manning, Nick Charles Trio, Busby Marou, Joseph & James Tawadros, Slava and Leonard Grigoryan and Gregory Page are just some of the artists on the bill. It happens from Friday 18 to Sunday 20 March. Get yourself a ticket before the end of the year and you can see the whole festival for just $155! Hit their website at bmff.org.au for full ticketing details. Cyndi Lauper has always been one to push the envelope musically and her latest musical venture is a blues album titled Memphis Blues. The record sees Lauper putting her unique vocal style to some classic killer blues tunes and features guest appearances from B.B. King, Charlie Musselwhite and Allen Toussaint. Lauper is finally coming back to Australia on her Memphis Blues tour, so we’ll have our chance to see whether or not she can hold her own as a blues diva when she plays Sydney’s State Theatre Thursday 31 March and Friday

The Fumes have just announced another tour of the country with another quality Canadian support act in Carmen Townsend. Anyone who went along to their recent shows will recall that the band stripped their sound back a fair bit and aired a few songs that fans wouldn’t have heard live in ages. Word is they’ll delve into the back catalogue again to unearth some more almost lost gems, but with a far more decidedly rock’n’roll touch this time around. Catch them at The Vault 146 Thursday 2 December, Coogee Diggers Friday 3, Manly Fisho’s Saturday 4, Heritage Hotel, Bulli Sunday 5 and The Brass Monkey, Cronulla Monday 6. Melbourne’s Suzannah Espie and Sydney’s Jeremy Edwards & The Dust Radio Band have teamed up to take their respective brands of soulful alt-country to audiences around our area this weekend in what sounds like a very exciting double bill. Both of these singersongwriters are anything but typical in the way they approach their music, both priding themselves on their distinctive way of both writing and performing their songs. You can catch these two celebrated performers when they front up at The Heritage Hotel, Bulli Friday 3 December, The Grand Junction Hotel, Maitland Saturday 4 and Petersham Bowling Club Sunday 5. rootsdown@drummedia.com.au

LIVE-FINAL JAZZ/WORLD WITH MICHAEL SMITH

Tonight (Tuesday) at The Basement, the Sydney Songsalive! Singer-Songwriter’s Competition Grand Final will determine a winner, with Braydon Denmeada, Lisalive, David Sattout, Amy-Lee Wilson, Stanmore Phoenix, Kay Proudlove, Eddie Boyd and Jasmine, Kaija and Damien the finalists. Drum spoke to the latter’s Jasmine Crittenden about the event and her own songwriting.

Alto saxophonist Marty Wieczorek leads his quartet through a set for the first half of the Jazzgroove evening at 505, with the trumpet-led Warwick Alder Quintet taking up the second half of the bill.

Have you found this particular competition a useful way to develop your songwriting skills?

Fergus Brown will be joining the James Valentine Quartet tonight down at the Golden Sheaf.

One of the positive aspects of a competition like this is that it draws public attention to new, original music. It also provides opportunities for some musicians – winning some recording time, or a gig in a new venue, can provide a songwriter with the chance to further their craft. However, it’s pretty difficult to consider songwriting – or any of the creative arts – as a competitive activity. Both the writing process, and the reception process, are so subjective, and so varied. On that note, I like that, in this contest, every finalist, at both the regional and Sydney-wide levels, wins a prize.

Tell us about your own trio and the musical direction you explore with it. I was writing poetry before I was writing songs, so maybe that influences my work. I love the great singer-songwriters – Bob Dylan, Leonard Cohen, Tom Waits, etcetera, but I also listen to a lot of jazz and classical. Kaija [cello/vocals] has a terrific ear and harmonic sense, as well as a gorgeous voice, grew up playing Latvian and classical music so she draws ideas from a pretty wide repertoire, while Damian [electric guitar] is a very melodic improviser.

take over Parramatta Park, 10am till 4pm for the African Summer Festival.

TUESDAY

A full week for singer Paul Sun, kicking off tonight at Jazushi, then the morning shifts Saturday and Sunday at Leichhardt and Frenchs Forest Organic Markets respectively, followed Sunday evening by Carols By Candlelight in Hunters Hill.

WEDNESDAY

Singer Virna Sanzone makes her 505 debut tonight. The Alcohotlicks bring jazz to the Sandringham. The John Redmond Trio plays the Manhattan Lounge.

THURSDAY

Tonight 505 hosts an evening of funk-flavoured Latin courtesy Merenia & The Way. Eddie Bronson takes his trio and their mix of Klezmer, jazz standards, tango and Latin into the Sound Lounge. The catholics head into the Blue Mountains for Live at the Village, a gig at Springwood’s Presbyterian Hall.

FRIDAY

The Chris Alexander Trio head down to Rydges Hotel

The Melodies descend on the Town & Country in St. Peters from 3pm.

SLAVA & LEONARD GRIGORYAN in Campbelltown for a 5.30pm start. The ten-piece Selah Ensemble play the Sound Lounge. Saxophonist Rick Robertson brings his six-piece Baecastuff down to 505. The 18-piece ShawNuff Swing Band featuring John Redmond on vocals take over Newtown Jets Rugby Club. At the Berkelouw Wine Bar in Leichhardt, tonight’s soundtrack comes courtesy Quimbombo. The Steve Clisby Trio takes to the Harbour Kitchen & Bar in the Park Hyatt at The Rocks. The six-piece Armandito & Trovason will have Eastside Arts positively jumping.

SATURDAY

Zimbabwean Chris Gudu, Ethiopian Dereb Desalegn and DJ Prince 2000 as well as various community acts

BIRD ON TOP WIRE The nominees for the 39th annual CMAA Country Music Awards have been announced and, as expected, Kasey Chambers has topped the list. Thanks to her album, Little Bird, Chambers has been nominated for seven Golden Guitar awards, including the four ‘main’ categories, Singer Of The Year, Album Of The Year, Female Of The Year and APRA Song Of The Year (for the title track, Little Bird). She’s also up for Vocal Collaboration Of The Year for Love Like A Hurricane with Kevin Bennett, Heritage Song Of The Year for Nullarbor and Video Clip Of The year for Little Bird. Also appearing a few time is Lee Kernaghan, who scored six nominations on the back of his Planet Country album (Album, Male, Heritage, Single, APRA and Video Clip). The McClymonts received four nods (Album, Single, Group Or Duo, Video) for their album, Wrapped Up Good, as well as one for their Vocal Collaboration with Adam Harvey. The other nominations for Album Of The Year are Dianna Corcoran with Keep Breathing and Graeme Connors with Still Walking, Male: Luke Austen, Adam Brand, Graeme Connors and Markus Meier and Female: Catherine Britt, Diana Corcoran, Tracy Killeen and Melinda Schneider. The awards, which will be hosted by Ray Hadley and Beccy Cole, will take place Saturday 22 January at the Tamworth Regional Entertainment And Conference Centre, as part of the Tamworth Country Music Festival which runs from Friday 14 to Sunday 23. • 66 • THE DRUM MEDIA 30 NOVEMBER 2010

The final session of the free Cockatoo Calling performances at Cockatoo Island sees the Sydneyspawned, German-based experimental music project Hinterland and the trombone-led My Goodness McGuiness, the music kicking off 5pm. The last SIMA gig at the Sound Lounge for the year and it’s the Christmas Party, featuring the Mike Nock Trio with special guest saxophonist Karl Laskowski. 505 hosts a tandem album launch night celebrating new releases from Wyatt Moss-Wellington and Wartime Sweethearts. The sax/keyboard Jason Bruer/Greg Duo return to the Berkelouw Wine Bar. Guitarist Joseph Calderazzo plays the Harbour Kitchen. Brothers Slava & Leonard Grigoryan team up with Austrian guitarist Wolfgang Muthspiel for an evening at the Independent Theatre in North Sydney.

SUNDAY

The five-piece Swinging Blades, featuring singer Jane Irving, hit the Marrickville Golf Club stage 3.30pm. blow@drummedia.com.au

ROCKABILLY/PSYCHOBILLY/ALT.COUNTRY WITH PEDRO MANOY Club in Bateau Bay. Suzannah Espie and Jeremy Edwards & The Dust Radio Band move to the Grand Junction Hotel. Notes is the venue for an evening with the amazing American songstress Mary Gauthier.

TUESDAY

Guitarist Adam Pringle & Friends have a regular blues jam at the Sandringham Hotel from 8pm.

WEDNESDAY

SUNDAY

Philip Ricketson of The Hoo Haas plays a special solo set in the street level bar of the Sandringham Hotel to help kick off their month-long celebration of 30 years of indie music at the Sando. The Muso’s Club Jam Night hosted by Jim Finn and Al Britton holds court at The Wall.

THURSDAY

Isaiah B. Brunt has his regular spot at Carlita’s Cafe Restaurant while the Steve Edmonds Band play the Empire Hotel. The Muso’s Club Jam Night travels to the Carousel Inn. Old-timey outfit Graveyard Train make the trip from Melbourne to play the Cat & Fiddle Hotel with their twisted folk, blues and bluegrass sounds.

FRIDAY

Country, soul and rock’n’roll takes to the road with Suzannah Espie and Jeremy Edwards & The Dust Radio Band with a big show at the Heritage Hotel. Back To The Bowery #4 celebrates the heyday of punk rock at the Jets Sports Club with Megastar Overdrive, Simon Chainsaw with his band 25th Floor, Young Docteurs and New Vintage. Flamin’ Beauties play the Crown Hotel in the Sydney CBD and the John Leigh Calder Trio have their regular night at the Hotel Clarendon Surry Hills. The Valve Bar is home to the

MARY GAUTHIER Les Blues Circus Tempe featuring Isaiah B. Brunt, Mississippi Shakedown, Steve Flack Trio, Gypsy Duo, Jim Conway and many more. Stormcellar play the Stockton RSL and Alison Penney is solo at the Harmonie German Club. The Loungephonics swing the Berowra Village Tavern and Terry Batu plays the Bulldogs Club.

SATURDAY

The Melodies have a huge Christmas Party planned for the Town & Country Hotel from 3pm followed by Dave Tice & Mark Evans at the Sandringham Hotel from 4pm. Black Cherry have another of their huge nights at the Factory Theatre, a special Christmas party with The Meanies, Torch Le Monde, Graveyard Train and Gay Paris plus burlesque and more. Blue Venom rock the Albion Park Hotel and Terry Batu plays the Bay Sports

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Three Chords And The Truth is a songwriting workshop with Mary Gauthier from 11am at the JMC Academy. The Slowdowns, Reg & Pete’s Dog Trumpet, Charlie McMahon, Ray Mann and Waiting For Guinness are just a few of the performers playing at the Wharf Theatre from 10am to 5pm to raise money for the Music For Trees program. The Wheeze & Suck Band have a big Christmas bash scheduled for the Cat & Fiddle Hotel while Blue Venom let loose at the Time & Tide Hotel in Dee Why, both shows from 2pm. Also from 2pm you’ll find Muma Jane at the Central Coast Hotel hosting a popular Sunday Blues Jam. No Brakes hit the accelerator at the Marrickville Bowlo from the mid-afternoon and the Dirt Track Demons go crazy at the Sandringham from 4pm. The Little Blues Festival featuring the Rollercoaster Blues Band takes over the Toukley Golf Club and the Tonedogs return to the Macquarie Arms in Windsor. Suzannah Espie and Jeremy Edwards & The Dust Radio Band play the Petersham Bowling Club and Squeebox Boogaloo unleash some great zydeco and Cajun sounds at the Nelson Hotel, both gigs from the early evening. Don Hopkins plays the Flame Lounge in the Dee Why RSL from 6pm. swampshack@drummedia.com.au


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THE DRUM MEDIA 30 NOVEMBER 2010 • 67 •


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THIS WEEK IN

ARTS

GAME

REVIEW

NBA 2K11 PS3 / Xbox 360 / Wii What sets NBA 2K11 apart from every other basketball video game that’s come before it is you can finally play as Michael Jordan. As Jordan,

TUESDAY 30

SUNDAY 5

Looking Through A Glass Onion – musical theatre piece from John Waters, drawing on the music of John Lennon (31 tracks in total from The Beatles to Imagine), his musings, poetry, and media interviews. Preview night, 7:45pm. Playhouse, Sydney Opera House until Sunday 5.

The Man Who Planted Trees – marks the Australian debut of Scotland troupe Puppet State Theatre Company, performing an adaptation of Jean Giono’s environmental tale of a thoughtful shepherd who plants a forest acorn by acorn, transforming a barren wasteland. As the years pass, their fledging forest must endure two World Wars and unscrupulous developers to flourish. Closing day, 11am and 1:30pm. The Studio, Sydney Opera House.

WEDNESDAY 1 The History Boys – Alan Bennett play set in a high school, dealing with adolescence and the relationship between students and teachers. Opening night of its transferred, extended season. Parade Theatres until Saturday 4.

FRIDAY 3 On Sisyphean Certainty – exhibition of charcoal drawings by Kim Buck, drawing on the Greek myth of Sisyphus. Opening day. Michael Reid, Elizabeth Bay until 23 December.

SATURDAY 4 My Stories Your Emails – a highlight of this year’s Melbourne International Comedy Festival, Ursula Martinez’s My Stories Your Emails combines humorous and often touching and shocking tales from her life and hilarious emails from admirers around the world due to her infamous satirical striptease from her La Clique days. Closing night, 9pm. The Studio, Sydney Opera House.

MONDAY 6 The Virgin Spring – Ingmar Bergman’s 1959 tale of rape and revenge, which was the basis of Wes Craven’s notorious film, The Last House On The Left, is set in the 14th century and tackles the conflict of paganism and Christianity. Chauvel Cinema, 6:30pm.

ONGOING Annie Leibovitz: A Photographer’s Life 1990-2005 – presented in Australia as part of the biennial Reportage photography festival, this exhibition, the largest collection of photography by Annie Leibovitz to ever be shown in Australia, is organised by the Brooklyn Museum and comes to Australia after touring the US and Europe. The exhibition features Leibovitz’s portraits for Vanity Fair and Vogue amongst other publications, as well as fieldwork and

intimate shots. MCA until 27 March 2001. 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. Griffin Theatre’s SBW Stable Theatre until 18 December.

Memories Not Included – latest Sydney exhibition of works from Brisbane-by-way-of-Brooklyn street/ post-graffiti artist Anthony Lister. Chalk Horse until 18 December.

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 all in the cast. Based on the Chekov classic but updated by Andrew Upton. Sydney Theatre until 1 January 2011.

“AND THE OSCAR GOES TO...WHAT’SHISNAME”: ACADEMY AWARD-WINNING PERFORMANCES BY CHARACTER ACTORS IN LEADING ROLES BY JOHN EAGLE

7 UP

• 68 • THE DRUM MEDIA 30 NOVEMBER 2010

F MURRAY ABRAHAM IN AMADEUS

1. Wallace Beery, The Champ (1931) 2. Charles Laughton, The Private Life Of Henry V111 (1932) 3. Broderick Crawford, All The King’s Men (1949) 4. Geraldine Page, The Trip To Bountiful (1985) 5. F. Murray Abraham, Amadeus (1984) 6. Jose Ferrer, Cyrano de Bergerac (1950) 7. Robert Duvall, Tender Mercies (1983)

day in NBA making the Quick Game option much more appealing.

– and Melbourne Comedy Festival favourite – Nina Conti; Irish lads Tommy Tiernan and Jason Byrne; the eternally charming Stephen K Amos; and baby-faced master of sound effects and parodies, Gabriel Iglesias. The 2011 Sydney Comedy Festival will run Monday 11 April to Sunday 8 May. The full programme will be revealed in March, but you can start buying tickets to shows (including Cracker Night) from today.

year – a new prime minister, the ongoing financial uncertainties, a mighty pissed off volcano – there’s plenty of material to draw on. That Was The Year That Was performs at Concert Hall, Sydney Opera House Wednesday 29 December and Thursday 30. Tickets from the venue.

CASULA EXHIBITION BOASTS HIRST, BARNEY, HENSON

Dobell Prize For Drawing 2010 – exhibition showcasing the finalists, and winner, for the 2010 Dobell Prize, Australia’s more respected award for drawing. AGNSW until 30 January 2011.

True West – written by Sam Shepard, directed by Philip Seymour Hoffman, and starring Wayne Blair and Brendan Cowell, this is theatre dripping with sweat and testosterone, involving two brothers who have just reconnected and come head to head with a clash of ideas. Wharf 1, Sydney Theatre until 18 December.

you can unlock 50 different types of shoes, play classic Chicago Bulls championship games against past legends like Magic and Bird, conquer the Jordan skill challenges, and, a personal favourite, play the signature Air Jordan team, which includes D-Wade and Carmelo Anthony. It’s tough and unforgiving at first; even when you play on rookie level you’ll go through a significant learning curve before feeling remotely comfortable running basic plays and draining threes. The game also allows you to manage a team, trade players, and design your own custom team and uniforms. The presentation – graphics, sounds, etc. – is so realistic someone walking past could mistake it for actual basketball (although this has kind of been the case for the past decade). If you’re connected to the internet it will lock in actual games played that

FIRST NAMES ANNOUNCED FOR 2011 SYDNEY COMEDY FESTIVAL Organisers of the 2011 Sydney Comedy Festival have made public the first nine comedians who’ll be gracing our stages in April and May next year. Those announced so far include Danny Bhoy, returning after a year-long break armed with a new show; Greg Proops, perhaps best know for his role as part of the Whose Line Is It Anyway? team; Father Ted star Ardal O’Hanlon (AKA Father Dougal McGuire); 20-yearold YouTube find Bo Burnham, who trainspotter might’ve also noticed popping up in Yo Teach! (the fictional TV series within the Funny People world); ventriloquist

COMEDY

If you like your contemporary art, then you’re about to have your mind blown by the names featured at Casula Powerhouse Arts Centre’s loveART exhibition, which opens Friday 3 December and runs until 20 February 2011. From the collection of Amanda Love, the exhibition will feature works by over 70 critically acclaimed artists including Matthew Barney, Isaac Julien, Louise Bourgeois, Julie Rrap, Bill Henson, Daniel Boyd, Tracey Moffatt, Tracey Emin, Damien Hirst, Jim Lambie, Ricky Swallow, and Patricia Piccinini. Yes. All of them. Head to casulapowerhouse.com for a sneak peak.

OPERA HOUSE CELEBRATES THE YEAR THAT WAS For the third year in a row the Sydney Opera House rounds off the year with a gala comedy event that looks back on the year. That Was The Year That Was 2010 will feature the comedic talents of household names Mikey Robbins, Peter Berner, Jeff Green, Hannah Gadsby, Rod Quantock, Paul McCarthy, and Clayton Doley’s Organ Donors, with James O’Loghlin MCing. Considering the events that’ve shaped this

The commentary features detailed basketball lingo with the voices of actual ESPN journalists giving you the play-by-play comparisons, but after a few games utilising the same teams or players you will get tired of hearing the same comments on repeat. The menu system features a fresh soundtrack such as Aussie outfit Art vs Science, and – we reviewed the title on Nintendo Wii – makes decent use of Wii remote motion to control and navigate the start-up menu, but the motion control becomes frustrating when the game actually begins. Use a classic controller. For all you basketball nuts out there who are looking for a serious NBA simulator, NBA 2K is the closest thing you will find on the market. NICK LA ROSA

SECRET WARS RETURNS IN THE NEW YEAR Australia’s premiere live art battle (we can say that with authority now that it’s taking over Melbourne, too), Secret Wars, has announced it’ll be returning to Sydney in 2011, with round two kicking off in February, exactly a year after its debut. For those new to the concept, Secret Wars’ live art battles feature two artists going head to head live with nothing more than a black marker or black acrylic paint, a blank wall, and 90 minutes to win the crowd’s and judges’ vote. The organisers are looking for artists keen to participate in the battles, so head to secretwars. com.au for info and to apply.

DON’S PARTY CONTINUES, IN SYDNEY Forty years after the most famous party in Australian history – Don’s Party – held on the night of the 1969 federal election, our host Don is throwing another one, this time on 21 August, our most recent federal election. Don Parties On once again holds the mirror up to contemporary Australia and in the process reveals what Don and his mates have been up to these past four decades. Written by David Williamson, Robyn Nevin directs, whilst Garry McDonald stars as the titular Don. The party comes to Sydney Theatre Thursday 17 February and runs until Tuesday 8 March. Tickets through the venue.

REVIEW

MY STORIES YOUR EMAILS The Studio, Sydney Opera House If you’re a fan of performance ensemble La Clique, you might’ve heard of British performer Ursula Martinez. You might’ve even seen her – a lot of her, in fact – as her satirical striptease became a viral hit when it found its way onto YouTube. This is how My Stories Your Emails was borne. Split into two separate sections, Martinez begins the show with stories that are hers, largely

comprising of childhood memories, her Spanish blood, other references to blood… and cooking (not for the squeamish, that one), and family. These lead into the second half of the show, in which Martinez recites a selection of the emails men have sent her in response to watching the above mentioned video of her striptease on the internet (in which Martinez, nude, makes a handkerchief reappear in spectacular fashion). These emails, which are accompanied by photographs of the subjects, range from embarrassingly earnest – desires of becoming

friends, or even marriage – to embarrassing forward – admissions of multiple masturbations, a before-and-after photograph (you can imagine of what), and whilst oftentimes you’ll find yourself cringing, it’s some of the funniest material ever recited on stage. It’s an intimate show that borders on awkward often (particularly in the first half), but that’s what makes My Stories Your Emails such a compelling show. It’s risky, honest, and absolutely hilarious. Until 4 December DCR


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AUSTRALIA’S FAVOURITE ADOPTED SON, STAND-UP SENSATION ARJ BARKER, IS BACK ON OUR SHORES. HE SPOKE TO ALEKSIA BARRON ABOUT SHAPESHIFTING REPTILES, UFOS AND THE ART OF BULLSHITTING.

LOOK WHO’S

TALKING

Arj Barker calls from the road, and he sounds happy. He’s just finished the first leg of his latest Australian tour with his new show, Let Me Do The Talking, and he’s feeling relieved that audiences have seemed happy to let him do just that. “I’m always a little bit apprehensive when I start a tour because when I’m not working, I start thinking that maybe I’ve just been lucky, that maybe people won’t come this time,” he explains. It’s a trait shared by many of his performer colleagues: “These are very normal fears, I think, for a comedian to have.” Fortunately, his first few shows in New South Wales have happily

put his mind at ease. “Almost immediately I was comforted by the shows. They’ve been well-attended with great crowds, and I feel very confident now.” It’s understandable that he might feel a little nervous. After all, for all his popularity in Australia, Barker is a native of San Francisco, California. He’d already built a solid reputation as a stand-up comedian in the USA when he started touring Australia. As it turned out, we couldn’t get enough of him. “I kept coming out and I kept getting my face on a few TV shows,” he says, referencing his popular appearances on the likes of Thank God You’re Here, Rove and The

Glass House. “I even did Hey Hey back when it was on Saturdays.” (At the time of interview the show hadn’t moved back to its titular day.) Barker’s on-screen popularity began to translate into packed theatres, with his tours routinely selling out. “It started to really have an impact on ticket sales, so I started coming even more because I saw that it was a really nice opportunity.” Then, of course, his scene-stealing turn as Dave on the cult hit Flight Of The Conchords cemented his popularity in Australia and New Zealand. “I’m as surprised as anyone, but I’m delighted,” he says of his intercontinental success.

YOU’VE GOT MAIL

His continued success has seen Barker working hard to consistently come up with engaging new material for his stand-up shows. In the case of Let Me Do The Talking, he seems to have plumbed some intriguing new depths. “The new show? Well, basically, I’m going to reveal the plot of the Illuminati and the New World Order.” Come again? “Like, the shapeshifting reptilian Annunaki and their plan to enslave mankind.” He’s referencing the writings of David Icke, who some might call a genius (but others might call a crackpot). Still, Barker is anything but one-note and is adamant that there is more to

C U LT U R A L

his show than just explaining “the truth about what is around us”. “That’s just one of the sections. I also talk about towels… and snakes.” It’s certainly an intriguing cross-section of topics. According to Barker, the writing process was very organic. “I just kept bullshitting and bullshitting and then I had this great show,” he admits laconically. As much as Barker has found success on the international touring circuit, even appearing at the Edinburgh Festival earlier this year, he’s looking to take it down a notch. Fans, take note – Arj Barker wants a break from his relentless schedule. “I see myself going on the road a little bit less in the coming years. It’s a little bit exhausting. It’s fun, but I’d like to limit my touring a bit more and try to enjoy life and the simpler things, like being in one place and enjoying my friendships and – I mean, this may sound crazy – but even something like gardening.” Despite spending so much time on the road, he’s keen to travel in the future – but purely for leisure. “I’ve seen these countries to some extent, but it’s always just rushing around between shows.” As things stand, 2011 may be the last chance for fans to see Barker live on stage for the intermediate future. “I think next year may be my last major touring year for a while.” How, then, does Barker plan to occupy his time? “I’m very interested in doing some more acting.” It’s a logical step, given his much-lauded performance on Conchords. “I may well try and launch my own television series in the future. I have an idea but it’s very early to start talking about it publicly.” When pressed to give just a clue, however, he caves: “I’ll be one of

the stars of it, and it’ll almost certainly be comedy.” Juicy stuff! Given free rein, though, it appears Barker would pursue a different small-screen project. “If I didn’t do a comedy show, I’d do a show about UFOs, because I like that subject a lot,” he says enthusiastically. Is this another comedy pitch? Apparently not. “I want to educate people about prominent UFO cases and just get the public more interested. I’m trying to dispel the myth that everyone who believes in UFOs is crazy. It would be a very well thought out approach to introducing the public to UFOs. The witnesses would be credible – experienced pilots, military officials, government scientists. You’re not a nutcase if you have an interest in UFOs.” It’s something Barker would really love the chance to do. “It’d be a good show,” he says confidently. For the time being, however, Barker’s chief priority is making the most of the remainder of the Let Me Do The Talking tour. With several dates already sold out, more and more being added, and rave reviews, it’s little wonder that he’s happy. “You get everything you could want out of a show in this one,” he says, clearly enjoying himself. “You’re gonna laugh, you’re gonna cry, you’re gonna ask questions about yourself.” Indeed, who could ask for anything more? WHAT: Arj Barker: Let Me Do The Talking WHERE & WHEN: State Theatre Tuesday 7 December to Thursday 9, Saturday 11

CRINGE

LIZ GIUFFRE SPEAKS TO URSULA MARTINEZ, CURRENTLY PERFORMING ONE OF THE MOST UNIQUE SHOWS TO HIT AUSTRALIA THIS YEAR: MY STORIES, YOUR EMAILS. The relationship between the performer and their fans has always been a tenuous one. Each relies on the other to survive, yet there is a necessary divide (because if not, why would one pay and the other be paid; one sit and drink, while the other stand and strain)? Performer Ursula Martinez has attempted to cross this divide with her show My Stories Your Emails, the ultimate in audience/performer participation, although here the correspondence isn’t always private and Martinez actually, um, shows her privates. As you do. “If you come and see the show, I think you get a sense of knowing me, because I also talk a lot about my life,” she says. “But it’s weird; doing a strip for five minutes and pulling a hankerchief out of your vagina, that does tend to make people think they know you [as well].” She’s not quite joking, but her art is not quite strip, burlesque or straight stand-up either, but rather a mixture of the strange, hilarious and cabaret, with an overaching narrative taken from emails fans have sent. Strange, un-inhibited and sometimes just a bit loopy, she happily receives and regurgitates the lot. Martinez shared some of the stories with the Melbourne International Comedy

Festival earlier this year, but since then there’s not been an end to the source of the material.

think you’re a very talented artist.’ I have done that, not too much, but on a couple of occasion.”

“It has surprised me, pleasantly surprised me, that even after seeing the show, I might get an email from someone who’s seen the show, and there seems to be a genuine naiveity, that they send something without it seeming to ever occur to them that it might end up in the show - and I find that refreshingly naïve, but also, a little odd,” Martinez admits. “But why I like it as well is that does indicate to me that the show’s not, um, confronting and taking the piss in a kind of overt and cruel way, otherwise no one would dare to send me an email after having seen it, or I might get hate mail.” Martinez’s approach is not necessarily to take the piss, with some of her pen pals expressing themselves quite beautifully. It kind of makes room for fan letters everywhere to be celebrated, even those Martinez has sent herself.

In addition to performing solo, Martinez has also done the rounds with the infamous burlesque-plus troupe La Clique, also stripping and storytelling. Recently she performed with them in Scandinavia, a thrilling but strange experience.

“I have, you know, seen a piece of work and really liked it, so I’ve sent a thank you to say, ‘Thanks for that piece of work that I really enjoyed, I

WHAT: My Stories Your Emails

“In Stockholm the show absolutely rocked and the people were crazy, and everyone was saying that’s really unusual because they don’t go crazy, but people say that’s not what normally happens,” she begins. However, she was a little concerned by one somewhat unusual reaction to her disrobing. “Well, they all do this weird thing of clapping in unison. And that’s a very positive gesture from an audience point of view, but as a performer it’s a bit weird.” Well, at least you can see where their hands are.

WHERE & WHEN: The Studio, Sydney Opera House until Saturday 4 December

WITH JAMELLE WELLS Full marks to the organisers of this week’s TAFE Design Centre Enmore exhibition of the work of 400 students. This huge project brings together graduates from nine disciplines with set designs, costumes, the latest 3D animation, cutting-edge jewellery, product and interior design. It’s a celebration of the centre’s 16 years at the forefront of design education and a chance to showcase the work of graduating students to industry and the general public. The centre has also put together the largest student jewellery exhibition in Australia with 500 pieces for sale at Waterloo’s Depot Gallery and a Jewellery Trade Exhibition on December 10 at Design Centre Enmore. Maria Takolander has won this year’s Australian Book Review Short Story Competition for A Rankin Philosophy of Poetry. In awarding her the $2,000 cash prize judges Chris Flynn and Peter Rose say they

were impressed and amused by her artful take on academic intrigue and absurdism. The story was picked from almost 1,000 entries. Takolander is a senior lecturer in literary studies and creative writing at Deakin University in Geelong. Sydney’s obsession with outdoor productions of Shakespeare continues over summer with Shakespeare In The Rose Garden, the main event of the Hills Shire Council’s Sensoria arts festival. Playing for 13 nights in December at Bella Vista Farm, it’s the first of three seasons of plays performed in repertory by Damien Ryan’s Sport For Jove Theatre. Following Romeo And Juliet alternating with As You Like It at Bella Vista, the company is staging the same two plays, plus A Midsummer Night’s Dream in January at Leura’s Everglades Gardens and Faulconbridge’s Norman Lindsay Gallery. In March, they bring As You Like It and The Dream to the Botanical Gardens in the CBD. Ryan is the veteran of over 36 Shakespearian

productions, and a touring actor and director with the Bell Shakespeare Company. Glen St Theatre’s 2011 season will include a play about staging a play, A Commercial Farce, along with Nancy Hayes and Reg Livermore in the world premiere of Turns, which has been written for them. There’s also Dad and Dave: Live at the Glen, a collection of original scripts from the radio serial and a journey back to the ’60s with Catholic School Girls. There are rumours Granada Media Australia won’t be producing next year’s season of Australia’s Next Top Model for Foxtel after that live stuff-up by host Sarah Murdoch in September. Murdoch announced the wrong winner of the show during the finale, blaming a ‘communication breakdown’. Foxtel is partially owned by the Murdoch family. Production company Shine, which is responsible for Junior MasterChef and owned by Murdoch’s sister-in-law, Elizabeth, is tipped to take over Top Model. THE DRUM MEDIA 30 NOVEMBER 2010 • 69 •


frontrow@drummedia.com.au “There’s all this strife between Darwin and his wife because of this ‘inconvenient truth’ he’s writing – she thinks he’s writing the devil’s manuscript. But they finally reach a place where they realise they’ve been talking about the same idea all along. He’s been using the language of science, she the language of spirituality, but there’s this third unifying language, the language of emotion.”

CHARLIE’S

ANGEL

FILM

REVIEWS

Collee adapted Creation from the book, Annie’s Box, by Randal Keynes, a descendant of Darwin’s. He says Keynes was a wonderful resource, guiding the screenwriter through the family history and advising him on his approach to family matters.

SCOTTISH SCREENWRITER JOHN COLLEE TALKS TO BAZ MCALISTER ABOUT WRITING A FILM THAT’S ALL ABOUT WRITING A BOOK - CREATION - WHICH DEALS WITH CHARLES DARWIN’S SOUL-SEARCHING WHILE WRITING ON THE ORIGIN OF SPECIES, THE BOOK THAT WOULD “DESTROY” GOD. When screenwriter John Collee came to write Creation, he knew he needed to focus on a different side of Charles Darwin. He says at the time, there were a few ideas for Darwin films floating around but they were all about the voyages of the Beagle, when Darwin went adventuring as a young man. “That seemed a natural place to go for the drama of Darwin’s life. But I’d already done Master And Commander, so I didn’t want to go there,” says Collee with an easy laugh. Collee – who also penned Happy Feet – had indeed written the Peter

MADE YOU

Weir film adaptation which saw Russell Crowe and Paul Bettany take on the roles of Aubrey and Maturin from Patrick O’Brian’s nautical novels. Oddly, in writing that film, he used the young Charles Darwin as a touchstone for ship’s doctor Stephen Maturin, played by Paul Bettany. “When Creation came around, Paul Bettany was a no-brainer for Darwin,” Collee admits. “It’s like he’s now playing Maturin in later life! I had him in mind from the beginning. It’s almost always a mistake writing something with an actor in mind for a character but in this case, with Paul’s history as the Master

And Commander character, it made sense. But he also had a physical resemblance to Darwin – tall, angular, bony, high forehead, red hair.” So instead of the young adventurer, Creation looks at Darwin in his late 40s, just before he finishes work on his groundbreaking book, On The Origin Of Species. He is recovering from an illness and still grieving for his daughter Annie, who died of scarlet fever, robbing him of what religious faith he had. He’s also locking horns in debate with his religious wife Emma (Jennifer Connelly, Bettany’s real-life wife). Darwin’s work is dividing the couple.

“When you read Randal’s biography you discover this psychological, philosophical crucible that was Darwin’s life. It followed this very rambling period of twenty years of Darwin’s life, but he did this thing that you always want in a film – he nailed a theme. The trick in film writing is to take big ideas and nail them to a person. He said, ‘Look, I want to prove that Darwin’s life as a scientist wasn’t separate from his family, it was absolutely defined by his family.’ If you understand the family you understand the man and you understand what he was writing about. We think of scientists in ivory towers pulling wacky ideas out of their heads but we realise in Creation that Darwin’s ideas all came from that incredibly small group of him, his wife, and his dead daughter.” WHAT: Creation (Icon Home Entertainment)

LOOK

WITH BETHANY SMALL Once upon a time my friend Amelia and I ended up, after long discussion of a science.com article about a giant rat that apparently had no fear of humans, deciding to Google “really fucking big animals”. This, we discovered, is not a search term that is conducive to the preservation of one’s thoughtless innocence. Australia St, Newtown, resounded to our screams and we were ever after to be unmoved by The Discovery Channel. I’d thought that was behind me, but lo and behold I just recently ended up with a similarly terrifying query that I had to go into with eyes and search filters open, thanks to Interpol. Background: it has been kind of a slow art week. There is soi-disant “sympathetic masochist” Nate Hill performance-arting around New York in a panda suit asking people to hit him to relieve their frustrations, and there’s a mystery collector driving up the price of Chinese snuffboxes at Sotheby’s, and this other guy Wafaa Bilal, who teaches at Tisch and has had a tiny video camera implanted in the back of his head because of, I don’t know, Foucauldian internalisation of surveillance or having watched too many Cronenberg films or something? So, pretty standard. I remembered I was curious about stolen art after reading another writeup of this database of works that the Nazis appropriated in WWII, with about 20,000 pieces that have been recovered and are listed there in searchable form and a facility to register works as having been taken in order to facilitate quicker and better identification of the owners of things, which is pretty neat. But political overtones are tiring and make me feel like I’m going to start • 70 • THE DRUM MEDIA 30 NOVEMBER 2010

MONSTERS Monsters is a remarkable film in many ways, but not least of which is it was shot in a van driving through Mexico by seven people, including a cast of two and the director, young Brit Gareth Edwards. It’s ostensibly a sci-fi film but really it’s more of a road movie and love story exploring the human connection. We follow the adorablymonikered Scoot McNairy as a beleaguered journo who’s pressganged into escorting his editor’s daughter (Whitney Able, McNairy’s real-life wife) from Mexico to the US through an ‘infected zone’. Aliens descended on Mexico six years ago, we’re told, and huge electrified fences keep them confined. So far, so predictable, you might think – but you’d be wrong. Monsters doesn’t go where you expect it to and it’s a better film for all that.

Edwards took a novel approach to directing – he had no script, just a start point and an end point to a scene. He had no extras – everyone in the film besides McNairy and Able is a member of the public who’s been slipped a few bucks. A lot of it’s improvised and on-the-fly but doing things this way gives audiences a real feeling of the seat-of-the-pants quest our two ‘everyman’ heroes are on. Edwards also did the special effects himself on his home computer – and they look a million dollars, probably more. There are no hordes of creatures descending on our heroes but that’s not the tack Monsters takes. Don’t expect a balls-out sci-fi actioner and you’ll get a lot out of this – the bittersweet ending packs an emotional punch and says it all about what the film tries to accomplish. WHERE & WHEN: Screening in cinemas now BAZ MCALISTER

SIMON HANTAÏ - ÉTUDE (1969)

THE LAST EXORCISM

writing a high school history essay about the Elgin Marbles any second, so let’s press on. Interpol. They are involved in tracking down stolen art because that often happens internationally, what with the sexy black market of people all smoking cigars on their yachts and storing things in their safes and cutting pictures out of their frames with scalpels and so on. There is a specific division of Interpol that looks after these things,

and one can only imagine that it is quite exciting. Until you look at their website, that is. Nothing superfamous is missing at the moment (not even The Scream, and that is always getting stolen, like three times now!) and the website itself is awkward and uses ugly fonts. And it turns out that Interpol do not even follow proper citation conventions when they list works of art, with the entries being pretty much only saying whether something is a

painting or a sculpture or whatever, and giving you a surname and maybe a title if you’re lucky. Thus, the first 20 works that’ve been stolen in the last two months were by a guy I’d never heard of and that hurt me in my snobbishness, I ended up having to Google the name. Which is Hantaï. Which, no Google, I have not misspelled. Please don’t show those pictures on the computer I am using at university. Oh God, there are tentacles in that one.

First off, the bad news: The Last Exorcism is one of those faux-foundfootage scarefests (a la The Blair Witch Project/Paranormal Activity), the kind that are gonna keep getting made until their collective profits dwindle. The good news is that it’s good stuff, wisely assuming the form of a straight-up mockumentary rather than attempting to create the illusion of watching home movies made by self-obsessed arseholes. Additonally, the mock-doco format – a collection of gimmicky tics masquerading as gospel – turns out to be apt for its central subject. Wonderfully named Cotton Marcus (a stellar performance from Patrick Fabian) is an evangelical minister, but no longer of the faith and only continuing in the profession to raise health insurance funds for his deaf son. Now he’s on a mission – armed with a documentary crew, he sets

out for the film’s titular job, in an effort to expose exorcisms for the dirty sham that they are. But it’s a dilapidated backwoods Deep South home that Marcus arrives at – so, no such luck. From there on, the spooky occurrences increase, the Southern Gothic atmosphere thickens and viewers scarred by The Exorcist at an early age should feel pangs of queasy nostalgia. It’s only in the third act that the eternal question of ‘why on Earth is someone still filming this’ arises, especially when the cameraman has already expressed doubts about continuing. And the less said about certain decisions made by key characters during the climax, the better. Still, with its efficient slow-burning development, The Last Exorcism builds enough audience goodwill that such missteps can be forgiven. For a moment, the future of arse-ugly, shakycam horror flicks looks a little bright. WHERE & WHEN: Screening in cinemas now


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BRITISH WRITER-DIRECTOR GARETH EDWARDS TALKS TO BAZ MCALISTER ABOUT THE WHIRLWIND SEVEN-PERSON GUERRILLA SHOOT FOR MONSTERS, AND PIONEERING THE ‘AL-QAEDA’ FILMMAKING METHOD.

A MONSTROUS

REGIMENT

Ever sat all the way to the end of the credits? Most films require a dead-set army of people to make them. From the lead actor to the best boy, there are hundreds of names scrolling sombrely up your screen. That’s one of the reasons Gareth Edwards’ Monsters is such a remarkable achievement. The road-movie sci-fi love-story was shot in three weeks with just seven people, in a van, in Mexico – Edwards, his two leads, a sound man, producer, driver, and fixer. If it takes an army to make a movie, this was more like a special forces operation. “I think we felt more like al-Qaeda,” Edwards laughs at this suggestion. “Most times when we were doing

it we didn’t think we were coming back alive, career-wise. We were on a career-suicide mission!” Monsters was shot with a tiny budget and small crew because of Edwards, who had parlayed his visual effects background into a TV editing job, was frustrated with marshalling armies.

“The last thing I did was a one-hour ‘docu-drama’. We had 50 crew members and if you see the light doing something beautiful on the mountains, or the actor has a good idea, you’d want to adapt. And everyone would say ‘Yeah, of course we can – but it’s going to take about half an hour to move everything.’ I got

so frustrated with that, the idea that because there are so many people here to help me, I can’t actually do the things I want to do. ‘If we had a lot less people, we could do it’ – surely, there’s your answer, at least for this level of budget. On Monsters we sacrificed costume, make-up, continuity – but you don’t need any of those things on a shoot like this. It’s run-and-gun.” So Edwards gathered his A-Team and sped off to the Mexican wilderness, doubling as the scene of a space probe crash which has brought alien life to planet Earth in the form of huge octopoid monsters. Through this chaos travel the likeable stars Scoot

McNairy and Whitney Able, as a journo and his boss’s daughter just trying to get home. “We wrote ‘world’s most realistic monster movie’ as what we were aiming for – I do not in any part of me think we made that, but it was the holy grail of what we were after,” Edwards explains. “We wanted it to be unplanned and totally real, and use a lot of non-actors.” To that end, everyone in the film besides the leads is a Mexican civilian slipped a few bucks for their trouble, or a hired guard provided for the film crew by the Mexican government to protect against kidnappers. Edwards says some of his supporting cast did need some encouragement. “It wasn’t that people didn’t want to do it, it was more like ‘Well, I can, but I’ll be rubbish, I can’t act,’ and we’d say, ‘Fantastic, no one is acting in our film. We don’t want anyone to act.’ It might be a sacrilegious thing to say but acting works on different frequencies, but as long as everyone’s on the same frequency it works. Like a cheesy soap opera – as long as everyone’s being overdramatic it doesn’t bother you.” The result, as you may expect, has divided critics – but Edwards wouldn’t have it any other way. “We didn’t want to make an ‘okay’ film – if you aim for a three-star film, you’re gonna get it. It’s safe. If you aim for a five-star film you might end up with a one-star. I’d prefer to be one than three. That shows you’ve pissed some people off.” WHAT: Monsters WHERE & WHEN: Screening in cinemas now

GAME

REVIEW

BLAZE BLUE: CONTINUUM SHIFT PS3 Taking place in 2199 AD, Blaze Blue is the story of six heroes fighting to stop evil; evil which has infected our planet for far too many years. This ‘vs’ fighting game is along the same lines as the Marvel vs Capcom series. However there is much more skill needed and less number crunching. The intro to the game makes you feel like walking down to Chinatown for a bowl of soup, which is really the only way to get a strong dose of Asian culture in my neighbourhood.

None the less, the highpitched pop sensation that is ‘the intro’ thankfully stays as ‘the intro’. The rest of the music throughout the game is very cinematic and emotive and when it comes to fight time they crank the shred metal the way it should be. It doesn’t take very much time to figure out the Blaze Blue control and attack options, which allows a novice player to fight at a medium skill level quicker. The graphics are dynamic, but the most interesting feature thankfully is not the background, it’s the individual characters themselves, the ‘cast’ of this game if you will. If Tim Burton and John Woo made a ‘vs’ fighting game the result would look like Blaze Blue. The main menu has 14 different options, which is a bit much for a fighting game, but the option of arcade, challenge, story or network are what you’ll be using most. The other ten options seem to be the same thing, just different ways of explaining the games buttons and controls. Perhaps someone a bit younger would love this game like I loved Street Fighter II when it was first released. On the plus side, it has all the elements needed for an allnighter at your mate’s house. LOGAN PRICE

THE DRUM MEDIA 30 NOVEMBER 2010 • 71 •


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REALLY BAD

SANTA FINNISH DIRECTOR JALMARI HELANDER WANTED TO REMIND THE WORLD THAT WE DON’T HAVE TO SUBSCRIBE TO THE IDEA OF SANTA CLAUS AS A JOLLY FAT MAN – HIS RARE EXPORTS EXPLORES A MORE SINISTER SIDE TO SAINT NICK, AS HE TELLS BAZ MCALISTER. About seven years ago, a short film hit the nternet starring three reindeer hunters in the Korvatunturi mountains stalking a most elusive and dangerous prey – a fat, hairy, white-bearded nude man. When they finally tranquilise him they drag him off to the showers, clean him up and ship him off in a crate to department stores around the world. This is the rarest of Rare Exports – bona fide elves, delivered to your door, standins for Santa, all dressed up in the red and white foisted on Santa Claus by the Coca-Cola Company’s ad campaigns of the 1930s.

TV

The budget of the remarkable short film was a mere 3,000 euros and it was shot in a day and a half. A sequel followed two years later. Now, thankfully, Finnish writer-director Jalmari Helander was given a good deal more to shoot the featurelength prequel, Rare Exports: A Christmas Tale. “My original idea was to make a third short film,” says a sniffly Helander, “but people kept saying to me that maybe we should make a feature film about it because I have lots of ideas about this thing. I thought it

more emotional to focus on the little boy.”

The resulting feature stars child actor Onni Tommila (Helander’s nephew) as little Pietari, a kid who still believes in Santa Claus – but is very, very afraid of him, and for good reason. He’s a rather more demonic creature than we’re used to.

“It was always my intention to reveal the secret behind the myth about the original Santa Claus. What the hell happened, and why we have a Santa Claus now that’s the opposite of the original one. There are lots of dark stories in Finnish folklore about Santa Claus and I wanted to remind people of that, that we don’t have to borrow from the Coca-Cola company. I tried to make a film about a kid who still believes in Santa Claus and he has to convince everyone, which is a hard job. I had a version of the script where the father is the main character but I realised it would be

Novelist Jonathan Ames, the creator of the series, named the central character after himself, a bold move considering that Bored To Death’s Jonathan comes across as a low-level neurotic who fluctuates between insecurity, neediness and, well, horniness. Dumped by his girlfriend, who objected to his appreciation of white wine and marijuana, Jonathan finds himself plagued by writer’s block and so decides to embark on a new career as a private detective. “I was like, ‘What can I do with my life? I need some adventure. I want to be tough. I want to have some excitement! I want to be a private detective!’” said the real-life Ames in

an interview with The AV Club. “But I knew in this modern era, it’s probably having to do with computers and just researching people, and I stunk at that. I did have this fantasy of putting an ad up on Craigslist and posing as a private detective. I didn’t do it, but I had a character in a story do it, and then the story became this TV show.” Funnily enough, Rushmore star Jason Schwartzman, a die-hard Ames fan who plays Jonathan in the series, had similar dreams of the private-eye life prior to starring in Bored To Death. While he wasn’t about to offer his services as a gumshoe to anyone, he was actively looking for a screen role that would let him play detective for a while. Jonathan’s best friend in the series is Ray, a cartoonist frustrated sexually and confused emotionally by his ongoing relationship with his girlfriend. He’s played by Zach Galifianakis, whose presence in Bored To Death might initially seem jarring and not in keeping with the show’s understated approach. But while Galifianakis is in the process of being rebranded as ‘Jack Black for 2010 and beyond’ thanks to his presence in movies like The Hangover and Due Date, his natural style – bemused, curious and pleasingly offbeat – is actually an ideal fit for the subdued but heightened shenanigans in which this show specialises. Neither Jonathan nor Ray are your typical sitcom protagonists – they’re generally passive with the odd sidestep into passive-aggressive behaviour. They’re daydreamers with delusions of something that’s not quite grandeur but that’s certainly a few steps above mere adequacy. And even George Christopher, the magazine

magnate who is Jonathan’s mentor and Ray’s enthusiastic smoking buddy, is hardly a man’s man, even though he’s played by TV veteran Ted Danson, who has more than ably essayed such characters in the past. Danson is the most pleasant surprise of Bored To Death. While playing Sam Malone on the classic sitcom Cheers for 73 years or so brought him fame and fortune, it also resulted in a persona that it was hard for the actor to break away from, despite his best efforts. It’s only in recent years that Danson has been able to re-establish himself as a wily, silver-haired character actor, with his turns as the dangerous but pathetic tycoon on the underrated legal thriller Damages and as George on Bored To Death offering a terrific reminder to viewers of just how talented he is. He has a few decades on both Jonathan and Ray but the exceedingly wealthy and well-connected George is every bit their equal when it comes to immaturity. That said, the way Danson plays it, it’s more like an adorable and infectious child-like enthusiasm, and the contrast between the character’s patrician demeanour (Ames said he based him on George Plimpton and Christopher Hitchens, hence the name) and indulgence of his many appetites is a blast. One of George’s most positive attributes is his desire for new experiences: when Ray announces he’s being pressured by his girlfriend into getting a colon-cleansing enema, George pipes up with “I want a colonic.” You can perhaps gather that Bored To Death really only pays lip service to its detective-story hook. Jonathan will occasionally take a case, invariably end up over his head but never seem to face any lasting repercussions.

was a bad idea to try to stretch the short film idea to a feature film but I thought it might work if I could make an idea that stands on its own, rather than just a third part. I realised I had a huge amount of back story and we realised it would be simple to make the movie about that back story.”

And Helander found a truly remarkable elf in Estonian actor Peeter Jakobi. “The moment I saw him I was really happy. This was just the kind of guy we needed to play a Santa in the film. He is a really skinny, really weird-looking guy. He has actually been in some kind of car accident and his bones look weird because of some kind of operation. All the other Santas were a Norwegian men’s choir – in fact there was a strange

moment during the filming when we were shooting that scene where they were washing all the Santas in the shower room, and all the men’s choir guys just started singing Christmas carols... it was the weirdest moment in shooting.” It seems we can expect some very strange DVD deleted scenes from this shoot... WHAT: Rare Exports: A Christmas Tale WHEN & WHERE: Screening in cinemas from 2 December

REVIEW

BORED TO DEATH Calling something ‘witty’ or even, God forbid, ‘droll’ would almost seem to be the kiss of death in a time when many comedies on both the big and small screen appear intent on performing a bit of grievous bodily harm on your funny bone. But the HBO series Bored To Death has earned that title. What’s more, it wears it with distinction. At first glance, a half-hour comedy perhaps best described as a mash-up of Woody Allen and Raymond Chandler would seem unbearable verging on ungodly by a fair few • 72 • THE DRUM MEDIA 30 NOVEMBER 2010

people. But as is the case with many sitcoms (and Bored To Death certainly meets the criteria for ‘situation comedy’, although it seems strange that this show and, say, The Big Bang Theory could fit into the same category), the concept is simply there to get the ball rolling. It’s the characters and their relationships that keep you tuned in. And Bored To Death has a marvellous central trio – three men who would appear to have next to nothing in common but who gradually discover patches of common ground, resulting in a bond that’s unlikely but also downright charming and occasionally touching.

And his caseload does allow for the introduction of great guest stars like Parker Posey and Saturday Night Live’s Kristen Wiig. But really the show’s more about three guys looking for romantic and creative fulfilment in the big city, their biggest obstacle often proving to be their inability to get out of their own way. “They’re a bunch of Don Quixotes,” says Ames. “They’re all slightly delusional, but I think it stems from my own desire to be a hero. I wouldn’t like someone’s house to burn down, but if it had to burn down, I would like to be there on the spot, so I could race in and carry people out. I like danger and thrills. In that sense, the characters are like that as well. They’re also very sensitive and vulnerable, maybe what people might characterise as a more feminine trait.” The first season of Bored To Death is out on DVD this week, and given that it only has eight half-hour episodes that should give you plenty of time to check it out before the show’s second season premieres on pay-TV station Showcase on Tuesday 7 December. And yes, that gentleman making a completely nude cameo in the first episode of the new season is the actual Jonathan Ames. You’ve got to admire the man’s dedication to the project – something tells me you’re not about to see Bret Easton Ellis running down a city street, naked except for a pair of socks and a yarmulke. WHAT: Bored To Death WHERE & WHEN: Season One on DVD (Warner Home Video) / Season Two on Showtime Tuesdays, 8:30pm from 7 December GUY DAVIS


OSC AR HILLERSTROM

“MACABRE HUMOUR AT ITS MOST INVENTIVE. TIM BURTON EAT YOUR HEART OUT.” TOM SEYMOUR, LIT TLE WHITE LIES

facebook.com/RareExportsAustralia @rare_exports www.iconmovies.com.au THE DRUM MEDIA 30 NOVEMBER 2010 • 73 •


MAKE IT HAPPEN... DIPLOMA & DEGREE COURSES IN AUDIO ENGINEERING & FILM MAKING

OPEN DAY

SAE SYDNEY – DECEMBER 4TH, 11AM - 3PM 55-57 WENTWORTH AVE SYDNEY 2000

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SYDNEY – MELBOURNE – BYRON BAY – BRISBANE – ADELAIDE – PERTH CRICOS: 00312F (NSW) 02047B (VIC) 02431E (WA) Please contact relevant campuses for further information regarding open days, tours, course programs and FEE HELP options.

• 74 • THE DRUM MEDIA 23 NOVEMBER 2010


live@drummedia.com.au GEMMA RAY @ RAVAL. PIC: LUKE EATON

NATIONAL

GEMMA RAY THE RESCUE SHIPS

Raval 23/11/10

Couples usually celebrate anniversaries with dinner at a fancy restaurant over a couple of bottles of wine. Maybe he buys her some flowers or jewellery. Well-known Sydney musicians Brian Campeau and Elana Stone spent their three-year anniversary doing the same thing they do a lot of other nights in the year – they were on stage, performing together as The Rescue Ships. While Campeau showed off his impressive guitar skills – and even used the instrument to provide percussion on some songs – Stone filled in their sincere folk music with the measured strains of her piano accordion. Stone and Campeau harmonised beautifully and gave the songs plenty of space to breathe. The pace was slow and deliberate, with the cover of the Hank Williams country classic, Lovesick Blues, a delightful closer. English musician Gemma Ray stepped out onstage looking like an extra from The Avengers (the original ‘60s series starring Diana Rigg, rather than the awful movie starring Uma Thurman) and though her guitar may have matched her outfit, Ray proved herself to be much more than just a retro-looking singer. Ray spent a lot of her set experimenting with effects pedals and loops, moving between two different mics to alter the effects on her vocals and even pulled out a rather large-ish kitchen knife a couple of times to run across her guitar strings like a violin bow. In Australia to record an album, Ray benefitted from the intimate feel of the venue. At times it felt as though she was still in a studio headspace, which may not have worked so well in a larger room. In Raval, however, it felt as though you were getting small glimpses behind the curtain. Depending on why you were there, highlights could have come from a number of moments; Ray covering The Alex Harvey Band, playing the jilted lover to sing Etta James’ I’d Rather Go Blind or delving into the American songbook for a heart-melting rendition of the Gershwins’ I’ve Got A Crush On You. But it was one of her own songs, show closer If You Want To Rock’n’Roll, which marked the moment when Ray really pulled out all the stops. And brandishing a kitchen knife while singing into the effects mic, it was pretty clear that there’s a lot more to Ray than her impeccable fashion sense. Danielle O’Donohue

THE JOHN STEEL SINGERS: Nov 30 Brass Monkey, Dec 1 Beach Road Hotel, Dec 2 Grand Hotel, Dec 3 ANU Bar, Dec 4 Oxford Art Factory ADAM BRAND: Dec 1 Rooty Hill RSL, Dec 4 Katoomba RSL, Dec 19 Wests Leagues Newcastle TWELVE FOOT NINJA: Dec 1 Grand Hotel, Dec 2 Hamilton Station Hotel, Dec 4 St James Hotel CUSTOM KINGS: Dec 1 Harp Hotel, Dec 2 The Clarendon, Dec 3 Old Manly Boatshed PARIS WELLS: Dec 2 The Vanguard ADAM COUSENS: Dec 2 Lansdowne Hotel DEAD LETTER CHORUS, DAN PARSONS, SEAGULL: Dec 3 Oxford Art Factory, Dec 5 Brass Monkey MARCIA HINES: Dec 4 State Theatre BAG RAIDERS: Dec 4 The Forum SIERRA FIN: Dec 4 Raval DRAPHT: Dec 4 The Gaelic JONATHAN BOULET: Dec 4 Beach Road Hotel THE CHURCH*: Dec 4 Tilley’s, Dec 5 Notes, Dec 8 Lizotte’s Kincumber, Dec 9 & 10 Lizotte’s Newcastle, Apr 10 Sydney Opera House Concert Hall JEFF MARTIN & TEREPAI RICHMOND: Dec 4 Heritage Hotel, Dec 5 Hotel Gearin, Dec 7 Lizotte’s Kincumber, Dec 8 Lizotte’s Dee Why MATT CORBY: Dec 7 Brass Monkey, Dec 8 OTIS Bar, Dec 9 Independent Theatre, Dec 10 View Factory STRAIGHT ARROWS: Dec 8 Newcastle Croatian Club, Dec 9 Goodgod CLOUD CONTROL: Dec 8 Beach Road Hotel, Dec 16 Transit Bar, Dec 18 The Factory JEBEDIAH: Dec 9 Annandale Hotel KOOLISM: Dec 9 Melt Bar MOTHER & SON: Dec 9 Oxford Art Factory, Dec 19 Phoenix Bar Canberra LAURA JEAN: Dec 10 Red Rattler BELLES WILL RING: Dec 10 Hotel Gearin SKIPPING GIRL VINEGAR: Dec 10 The Factory, Dec 11 Street Theatre THE BEAUTIFUL GIRLS: Dec 10 Mona Vale Hotel, Jan 6 Waves, Jan 7 Entrance Leagues MR PERCIVAL: Dec 13 & 14 Brass Monkey GOSSLING: Dec 15 The Vanguard PHILADELPHIA GRAND JURY: Dec 16 Caringbah Bizzo’s, Dec 17 Mona Vale Hotel, Dec 18 Grand Hotel HUMAN NATURE: Dec 17 & 18 State Theatre DARREN HANLON: Dec 18 St Stephen’s Anglican Church Newtown BETTY AIRS: Dec 18

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FEATURE TOUR

KORN

SATURDAY, HORDERN PAVILION Oddly enough, Korn are in Australia to support Guns N’ Roses is their equally as odd regional shows, but since Axl Rose and party are playing at the V8’s Sydney date this week – it’s giving the Californian band a chance to take to their own headline show. They do so on the back of their latest album, Korn III: Remember Who You Are, a return to their formative sounds. On top of it all they’ve got Shihad and emerging act Sydonia as their supports – two bands who should be able to win over Korn’s notoriously dedicated fans.

Roxbury Hotel SIZZLING feat. BLUEJUICE, PHILADELPHIA GRAND JURY*: Dec 28 Marlin Hotel, Dec 30 Shoalhaven Entertainment Centre, Jan 13 Woodport Inn, Jan 14 Panthers GRINSPOON: Dec 30 Entrance Leagues, Dec 31 Shellharbour Workers, Jan 7 Selina’s, Jan 8 Mounties GYPSY & THE CAT: Jan 13 Oxford Art Factory PAUL KELLY: Jan 20 – 23 City Recital Hall INXS: Jan 26 Centennial Vineyards, Jan 29 Bimbadgen Estate GOTYE: Jan 27 City Recital Hall SIA*: Feb 2 Enmore Theatre ABBIE CARDWELL: Feb 5 The Vanguard THE GETAWAY PLAN: Feb 11 (arvo and evening) The Metro

INTERNATIONAL STICK TO YOUR GUNS: Nov 30 Axis Youth Centre 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 LINKIN PARK: Dec 4 Newcastle Entertainment Centre, Dec 11 & 15 Acer Arena, Dec 16 AIS Arena GOTAN PROJECT: Dec 5 Sydney Opera House THAT 1 GUY: Dec 5 Cambridge Hotel, Dec 8 Hotel Gearin, Dec 10 The Factory 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 BIFFY CLYRO: Dec 11 The Factory 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 LITTLE DRAGON*: Dec 15 Goodgod RAP CITY feat. BLACKALICIOUS, MURS & 9TH WONDER and more: Dec 16 The Forum GORILLAZ: Dec 16 Sydney Entertainment Centre BOB GELDOF*: Dec 16 Lyric Theatre 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 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 PUBLIC ENEMY: Jan 4 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 JASON COLLETT & ZEUS: Jan 6 Brass Monkey, Jan 7 Oxford Art Factory THE 2 LIVE CREW: Jan 6 The Forum COLD WAR KIDS: Jan 6 Enmore Theatre HOT HOT HEAT: Jan 6 The Factory THE RAPTURE*: Jan 6 The Metro 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 HANGGAI: Jan 7 Joan Sutherland Performing Arts Centre, Jan 9 Famous Spiegeltent JUNIP: Jan 8 The Metro SLEIGH BELLS: Jan 8 The Forum EARTHLESS*: Jan 8 The Metro MOS DEF: Jan 9 Enmore Theatre THE DYNAMITES: Jan 9 Beck’s Bar KITTY, DAISY & LEWIS: Jan 9, 11, 12 Famous Spiegeltent EMMYLOU HARRIS: Jan 9 & 10 State Theatre ARRESTED DEVELOPMENT: Jan 10 Beck’s Bar JUDY COLLINS: Jan 12 Wests Leagues Club Newcastle, Jan 17, 18, 19 The Basement Circular Quay THE JON SPENCER BLUES EXPLOSION: Jan 12 Beck’s Bar

THE DRUM MEDIA 30 NOVEMBER 2010 • 75 •


live@drummedia.com.au

BELLES WILL RING

GUINEAFOWL MAGNETIC HEADS

EMMURE: Jan 13 Bald Faced Stag HENRIK SCHWARZ: Jan 13 Beck’s Bar MOUNTAIN MAN: Jan 13 & 14 Famous Spiegeltent GOLD PANDA: Jan 14 Beck’s Bar LOS LOBOS: Jan 14 State Theatre CHARLIE PARR*: Jan 14 Grand Hotel, Jan 15 The Vanguard, Jan 16 The Clarendon DJ HARVEY & DJ GARTH: Jan 15 Beck’s Bar G LOVE & PLUTONIC*: Jan 15 Oxford Art Factory HOLLY GO LIGHTLY & THE BROKEOFFS: Jan 15 & 16 Famous Spiegeltent HOLLY MIRANDA: Jan 15, 16, 18 Famous Spiegeltent OWEN PALLETT: Jan 19 – 21 Famous Spiegeltent HEALTH, WIRE: Jan 20 Beck’s Bar DJ MARKY & STAMINA MC: Jan 21 Manning Bar MATT & KIM: Jan 21 Beck’s Bar SKILLET: Jan 21 The Metro COBBLESTONE JAZZ: Jan 22 Beck’s Bar OLOF ARNALDS: Jan 22 & 23 Famous Spiegeltent COLM MAC CON IRONMAIRE: Jan 22 Sutherland Entertainment Centre, Jan 23 Riverside Theatre, Jan 25 – 27 Famous Spiegeltent LUPE FIASCO: Jan 24 Enmore Theatre PLAN B: Jan 24 The Metro CSS: Jan 24 Oxford Art Factory CRYSTAL CASTLES: Jan 25 Enmore Theatre COCOROSIE: Jan 25 Sydney Opera House Concert Hall ANDREW WK: Jan 25 Oxford Art Factory THE JIM JONES REVUE: Jan 25 The Metro AMANDA PALMER: Jan 26 Sydney Opera House Concert Hall BEACH HOUSE: Jan 26 Beck’s Bar, Jan 27 City Recital Hall HOLY FUCK: Jan 27 Beck’s Bar THE GREENHORNES*: Jan 27 Annandale Hotel SUFJAN STEVENS: Jan 27 & 28 Sydney Opera House Concert Hall MIA: Jan 28 The Metro TOMASZ STANKO QUARTET: Jan 28 City Recital Hall EDWARD SHARPE & THE MAGNETIC ZEROS: Jan 28 The Forum DEFTONES: Jan 28 UNSW Roundhouse GRINDERMAN: Jan 28 Enmore Theatre TRAIN: Jan 28 State Theatre RATATAT: Jan 28 Manning Bar ALOE BLACC & THE GRAND SCHEME: Jan 28 Beck’s Bar THE UNTHANKS: Jan 28 – 30 Famous Spiegeltent PRIMAL SCREAM: Jan

The Gaelic 26/11/10

Magnetic Heads opened the evening with some wonderfully constructed songs. The influence of Talking Heads hovers over the group at times, not just in aspects of their sound but also in the tone of Des Miller’s voice when he hits the higher notes. When he stays low he has a kindred spirit in Jack Ladder and Bryan Ferry. They’ve developed a tasty sound that avoids the current indie trends and allows some nice space and a relaxed dynamic to their song structures.

ANDREW WK

DRUM PRESENTS

THE LEMONHEADS: Dec 1 The Metro FOZZY: Dec 3 The Factory KORN: Dec 4 Hordern Pavilion DALEBAKE: Dec 4 Annandale Hotel THE FALL: Dec 7 The Metro GIRLS: Dec 8 Manning Bar FESTIVAL OF THE SUN: Dec 10 & 11 Sundowner Breakwall Tourist Park TONE DEFEAT XXXMAS SPECIAL: Dec 24 Annandale Hotel ROXING DAY: Dec 26 Annandale Hotel BUILT TO SPILL: Dec 29 The Metro PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley MARINA & THE DIAMONDS: Dec 30 The Factory SAME OLD LANG SYNE: Dec 31 Annandale Hotel 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 ANDREW WK: Jan 25 Oxford Art Factory 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 DOVES: Feb 17 Enmore Theatre SWERVEDRIVER: Feb 18 The Metro I AM KLOOT: Feb 18 The Gaelic TUNNG: Feb 19 Oxford Arts Factory THE HOLD STEADY: Mar 8 The Metro THE CLEAN: Mar 9 The Factory Theatre WAVVES: Mar 9 Manning Bar BLUESFEST: Apr 21 – 25 Tyagarah DISTURBED: Apr 25 Acer Arena, Apr 28 Newcastle Entertainment Centre KYUSS LIVES: May 7 Big Top Luna Park 29 The Metro BOOKA SHADE: Jan 29 The Forum (HED)p.e*: Jan 29 Manning Bar OCTAVE ONE: Jan 29 Beck’s Bar THE BLACK KEYS: Jan 29 Enmore Theatre BLONDE REDHEAD: Jan 29 Sydney Opera House Concert Hall BROOKE FRASER: Jan 29 & 30 City Recital Hall THE VERLAINES: Jan 30 Annandale Hotel STING: Jan 31 & Feb 1 Sydney Opera House Concert Hall, Feb 3 & 4 Sydney Opera House Forecourt, Feb 5 Hope Estate VILLAGERS: Feb 4 & 5 Famous Spiegeltent 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 BELINDA CARLISLE: Feb 8 West Leagues Club Newcastle, Feb 10 Selina’s, Feb 11 Waves, Feb 12 The Cube, Feb 13 Vikings Club, Feb 20 Rooty Hill RSL 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

• 76 • THE DRUM MEDIA 30 NOVEMBER 2010

!!!: Feb 9 The Metro JOE COCKER: Feb 10 Sydney Entertainment Centre, Feb 12 Bimbadgen Estate, Feb 13 Centennial Vineyards LES SAVY FAV: Feb 10 Manning Bar LOCAL NATIVES: Feb 10 The Metro BEAR IN HEAVEN, THE ANTLERS: Feb 10 Annandale Hotel MICHAEL BUBLE: Feb 14, 15 & 17 Acer Arena, Feb 19 Sydney Entertainment Centre DON MCLEAN: Feb 15 Enmore Theatre, Feb 18 Royal Theatre Canberra RETURN TO FOREVER: Feb 15 Sydney Opera House CARIBOU, FOURTET: Feb 17 The Metro DOVES: Feb 17 Enmore Theatre I AM KLOOT: Feb 18 The Gaelic KOOL & THE GANG: Feb 18 Enmore Theatre SWERVEDRIVER: Feb 18 The Metro

FESTIVALS 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

hypnotic and mysterious and steered well clear of falling into predictable strum territory. Their melodies are starting to sound more unique with each new release and live you can really hear the development of the band. Now all they need to do is release that album that beckons so their audience can really get their heads inside the songs. Chris Familton

Guineafowl on the other hand are a much more urgent and polished beast. They generated an impressively big sound on the Gaelic stage and delivered a fine batch of stirring indie anthems. British Sea Power came to mind with the surging aspect of their sound, as did Talking Heads (again) when they broke the music into more intricate batches, dialling up the quirk factor. Live, Guineafowl are way more rocking and guitar-based than their recordings to date. If they can bridge that gap between the charm of home recordings and a live band they’ll carve out a nice space for themselves. Belles Will Ring were celebrating the release of their new single, Come North With Me Baby, Wow, and they were unfortunately handicapped by a malfunctioning trumpet when it came time to play the song, though they recovered well with vocal imitations replacing the horn. Elsewhere they wove some magical moments out of their wistful pop/rock songs. The ‘60s bass grooves and the chiming twin guitars of Aidan Roberts and Liam Judson are the central musical figures in Belles Will Ring and they showed why they are getting deserved attention with their subtle blend of Americana, pop and the lighter side of psych rock. It was when they got a little darker on songs like Come To The Village that they were at their most appealing though. The music was all the more

CUTE IS WHAT WE AIM FOR

Domain ILLAWARRA FOLK FESTIVAL: Jan 13 – 16, Sticky Flat Bulli Showground JAZZGROOVE SUMMER FESTIVAL: Jan 14 – 16, 505, Macquarie Hotel/ Raval, Excelsior Hotel Surry Hills, Redfern Town Hall 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 BLUE MOUNTAINS MUSIC FESTIVAL*: Mar 18 – 20 Katoomba FUTURE MUSIC: Mar 12 Randwick Racecourse BLUESFEST: Apr 21 – 25 Tyagarah GROOVIN’ THE MOO: May 7 Maitland Showground, May 8 University Of Canberra * indicates new or amended listing this week Check with agencies for booking fees.

STEALING O’NEAL LADIES & GENTLEMEN THE SUNNY SIDE UP

Factory Theatre 26/11/10

A seemingly endless and perpetually restless queue of 16-year-old girls coupled with a very slow ID checking process meant that much of openers The Sunny Side Up’s set was missed. There was, however, enough time to catch a couple of tracks of teeth-rotting pop/punk from the five-piece. New single, In Time In Perfect Rhyme, lifts the melody from the children’s song Rain Rain Go Away and gives it a little indie sheen. Movember is a strange time to have a pop/punk show and when Ladies & Gentleman’s frontman, sporting a Tom Selleck moustache, asked the audience if they had brought pocket money to buy merch it summed the band up perfectly; a tad creepy and hell-bent on targeting the same audience that love the bands they’re ripping off, like Panic At The Disco. With an atmospheric and extended intro into recent single Hometown, Stealing O’neal opened confidently, though sadly the rest of the set didn’t reach the same mark. Less than a month after completing their national album launch tour, the stage presence was there – their frontman Chris Scott worked the crowd like a seasoned pro and drummer Ryan D’Sylva, with limbs all akimbo, was entertaining – but the sound was lacklustre and sloppy. With an album full of potential hits – Circle/ Square, Small Steps, Little Bear – it was a shame tonight’s renditions didn’t do the songs justice. Shaant Hacikyan, the frontman of recently reformed Cute Is What We Aim For, was charismatic and convincing; we were “the best city”, “the best crowd”, “the sexiest fans” – if only for tonight –and we ate it up. Considering the band have not released an album since 2008 and have never toured Australia before, the crowd reaction was phenomenal. What they lacked (only slightly) in numbers was more than made up for with energy, singing word for word through The Fourth Drink Instinct, Practice Makes Perfect and the stripped-back encore Lyrical Lies. The band’s brief hiatus and successful return has already proven that their collection of teen movie, college pop/rock has at least some longevity. Tonight they looked like the next Third Eye Blind or Smash Mouth and everyone who was there will still be losing their shit to these exact same songs “ironically” in five years time with a big goofy grin on their face. Dave Drayton

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BELLES WILL RING @ THE GAELIC PIC: LINDA HELLER-SALVADOR

THE CHEMIST

SLOW DOWN HONEY THE DEER REPUBLIC Melt 26/11/10 Based on the first two bands, patrons at Melt surely would have been a bit surprised to hear The Chemist’s haunting, carnivalesque-style rock. The Deer Republic and Slow Down Honey played music that was far more fitting for the dancefloor than the headline act, who spent their set crafting elegant and evocative soundscapes. The Deer Republic used keyboards and bouncy indie beats to get people moving. Though the band looked the part, the vocals were mixed too closely into the music to really set the band apart from the countless indie electro rock acts that have sprung up in the wake of bands such as Cut Copy, Van She and the like. It was hard to know whether their cover of The Buzzcocks’ Ever Fallen In Love… was delivered with any element of hipster irony. Slow Down Honey’s dance-friendly rock was a lot more fluid and unaffected. With lashings of jangly guitar funk, plenty of cowbell and just a hint of soul, Slow Down Honey could almost have been a 2010 update on The Bee Gees. Single, One I Know, was the catchiest thing in their set, thanks to its relentless bounce. Bounce wasn’t really a word to apply to The Chemist’s set however. Like so many great Perth bands before them, The Chemist had a wonderfully dusty, intangible sound to them. This was the kind of music that plays in horror films when the broken-down fairground suddenly comes to life. It’s not often an indie rock band employs the use of a piano accordion – in this case it was keyboardist James Ireland who was tasked with squeezing the wheezing instrument. The sentiment behind songs like Heaven’s Got A Dress Code and the evocative Lullaby #1 (Mercy) were at odds with the earlier display of music, but it just made The Chemist’s set stand out even more and bodes well for the direction the band is heading in. Though the band is still a little way away from their debut album, they’ve certainly shown enough potential on their last few visits to New South Wales to warrant appearances on ‘Ones To Watch 2011’ lists. Danielle O’Donohue


THE DRUM MEDIA 30 NOVEMBER 2010 • 77 •


METRONOMY

WORLDâ&#x20AC;&#x2122;S END PRESS

Oxford Art Factory 23/11/10

Itâ&#x20AC;&#x2122;s not often a DJ set comes close to surpassing the headline act, but Olugbenga â&#x20AC;&#x201C; aka Metronomy bassist and vocalist Gbenga Adelekan â&#x20AC;&#x201C; definitely hit the mark with mixes that defied imagination and possibility. Where else would you hear Christina Aguileraâ&#x20AC;&#x2122;s Genie In A Bottle over the riff from The Strokesâ&#x20AC;&#x2122; Hard To Explain and the clapping beat of Bloc Partyâ&#x20AC;&#x2122;s The Prayer? A generous smattering of No Doubt, Michael Jackson and a sly mention of Dizzee Rascal and it was practically obscene not to be on the dancefloor. If the crowd wasnâ&#x20AC;&#x2122;t in the party mood by the end of Olugbengaâ&#x20AC;&#x2122;s set, maybe they shouldâ&#x20AC;&#x2122;ve just gone home.

three, two new) arrived in the dark, dome lights strapped to their chests, which sporadically burst out with light during the set. The band teased the dance-ready audience with lesser known material first, but quickly hit their stride with My Heart Rate Rapid causing a ruckus and A Thing For Me sparking a mini-rave complete with staccato lighting. Frontman Joseph Mount appeared shy at first but warmed to his fans, inserting polite banter between songs and the obligatory â&#x20AC;&#x2DC;How you feeling Sydney, Australia.â&#x20AC;&#x2122; Heartbreaker saw the crowd clap along in time and sing over the band with sprightly energy, creating a messy, sweaty vibe that would carry on through the night.

Worldâ&#x20AC;&#x2122;s End Press were, for want of a better word, funky. Plenty of bass, asymmetrical floppy haircuts and matching bowtie outfits meant they knew their way around a stage and the audience lapped up their disco-infused tunes. They were a great fit for the nightâ&#x20AC;&#x2122;s lineup, but by the time they ended, everyone was waiting for one band only.

The songs transformed live, sounding more open and spacious than on record where tight beats seem to be the call. Though improvisation was minimal, a carefree attitude emanated from the band onstage and invigorated the audience, as Holidayâ&#x20AC;&#x2122;s grinding opening guitar riff invited shouts before pumped fists raised themselves above the crowd during the chorus of â&#x20AC;&#x153;So you want me to yourself/ Well you must know that wonâ&#x20AC;&#x2122;t happenâ&#x20AC;?. After a brief set the band left the stage to calls for Radio Ladio and upon returning obliged with a short and sweet rendition of it that had everyone spelling out the nonsensical words with more effort than should be mustered on a weeknight.

The new and improved Metronomy (four members instead of

Sevana Ohandjanian

METRONOMY @ OXFORD ART FACTORY. PIC: LINDA HELLER-SALVADOR

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KORNâ&#x20AC;&#x2122;S RAY LUZIER

On the bandâ&#x20AC;&#x2122;s recent critical lull. â&#x20AC;&#x153;I guess the last couple of records, a lot of diehard fans were not pleased with the direction the band was going and thought we werenâ&#x20AC;&#x2122;t really staying true to our roots. You know, when it first started it was just five guys from Bakersfield. I wasnâ&#x20AC;&#x2122;t in Korn at the time, obviously, but I also grew up on a big farm and paid my dues. I can understand where people were coming from and what they came to expect of Korn.

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â&#x20AC;&#x153;That kind of mainstream backlash weâ&#x20AC;&#x2122;ve had over the past couple of years, though â&#x20AC;&#x201C; I think that goes with everything. I mean, look at Metallica. Theyâ&#x20AC;&#x2122;ve been dealing with some kind of backlash for years. I learned when I was playing with David Lee Roth that, when it comes to legends, a lot of people live their lives around their work and expect a lot and, if you change something about that work, people often have difficulty dealing with it.â&#x20AC;? Regarding their new album. â&#x20AC;&#x153;We really wanted to get back to what the band was in its purest essence. To be honest, there are too many albums out there that are too fixed. These days, you can put anyone in a studio and have them sound like a rock star â&#x20AC;&#x201C; quantise the drum parts, pitch-correct the vocals. It really bums me out. The great thing about Korn on this record is that thereâ&#x20AC;&#x2122;s no bullshit. â&#x20AC;&#x153;You know, Ross [Robinson, producer] doesnâ&#x20AC;&#x2122;t care about your instrument. He cares about whatâ&#x20AC;&#x2122;s inside you while youâ&#x20AC;&#x2122;re playing and, if he doesnâ&#x20AC;&#x2122;t get goosebumps when youâ&#x20AC;&#x2122;re playing, he just wonâ&#x20AC;&#x2122;t use the take [laughs]. Itâ&#x20AC;&#x2122;s been really good to hear peopleâ&#x20AC;&#x2122;s reactions to the record â&#x20AC;&#x201C; both live and in reviews and that sort of thing. People seem to have really embraced the fact that we brought back Ross and went back into the aggression of the bandâ&#x20AC;&#x2122;s early work, you know.â&#x20AC;? Interview by Matt Oâ&#x20AC;&#x2122;Neill Korn play The Hordern Pavilion Saturday

â&#x20AC;˘ 78 â&#x20AC;˘THE DRUM MEDIA 30 NOVEMBER 2010

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MY MUM GOES EVERYWHERE

A staple of Kings Cross’, and indeed Sydney’s, Friday night live entertainment, MUM’s stepping out of the World Bar this Friday for their Go Here, Go There event, which will encompass the native World Bar, Melt Bar and Iguana Bar. With 20 live bands and artists and 20 DJs performing across the three venues, we caught up with a few of the acts for their tips on getting through the night and what a ‘mum’ means to them.

CHICKS WHO LOVE GUNS

How are you going to be standing out amongst the array of other acts? The Checks: “I don’t think we’ll be trying to stand out amongst the other bands with any bells or whistles. We’ll just be up there slamming our songs and jamming out some new stuff. I reckon it’ll be worth seeing.” Chicks Who Love Guns, Cass Navarro: “By being far more loud and obnoxious than you could possibly imagine.”

FELICITY GROOM

THE CHECKS

Bleeding Knees Club, Jordan Malane: “Hopefully up straight. We are playing at like 1 or something, I think this will be the latest we’ve played ever. I think we will need No Doz.” Fearless Vampire Killers: “We have a large inflatable dildo in the middle of the stage. Just so people know that we’re serious.” Felicity Groom: “Well I am five foot three, will be wearing a pretty frock and a big smile.” Dirty Secrets: “We have some of the best Movember action going around.” What’s your advice for spreading oneself between the three venues? TC: “Follow your nose. It’s much more fun if you discover a band by accident than if ten people tell you what to listen to. Also don’t get all hung up trying to watch everything for five minutes only, if you are loving something watch it all.” CWLG: “1. Make sure you see us 2. Suss out which venue has the cheapest beer 3. Don’t not see us play.” BKC: “No idea just see what you want. I’m psyched to see Dark Bells at Iguana Bar!” FVK: “Don’t ask for directions off any of the Fearless Vampire Killers. They’re more than often under the influence and come from a city that works on a grid system.” FG: “Send the legs to one venue, send the torso to the other and then send the head to me. Easy.” DS: “Walk fast, drink fast, come and watch us play, cheers!” What do you look for in a motherly figure? TC: “Someone who can figure out what you need after you have lost the ability to speak.” BKC: “Umm, they have to be female, a good cook, a good hugger and love Oprah.” FVK: “Child-bearing hips.” FG: “A warm hug and sound advice about remembering to look after myself when I forget.” DS: “She needs to have the complete package, and like a drink.” 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 will all perform across World Bar, Melt Bar and Iguana Bar this Friday.

ESSENTIAL VIEWING Ok Go – Last Leaf The latest in a series of ridiculously innovative video-clips from Ok Go, the Last Leaf clip is possibly the best thing since sliced bread. A laid-back acoustic number, the track plays over animations drawn on 2,340 individual pieces of toast. Directed by OK Go, Nadeem Mazen and Ali Mohammad. vimeo.com/16843818

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just VISITING A WORLD OF SONG

CARMEN TOWNSEND Why are you coming to visit our fair country? To tour and promote my debut album, Waitin’ and Seein’.

Is this your first visit? I was lucky enough to visit and tour Australia in June 2010. That was my first time travelling overseas and I immediately fell in love with Oz.

How long are you here for? My band and I arrive 1 December and we are staying until 10 January.

What do you know about Australia, in ten words or less?

OVER THE PAST DECADE, SYDNEYBORN SINGER/SONGWRITER MIRIAM LIEBERMAN HAS BECOME SOMETHING OF A ONE-WOMAN UNITED NATIONS OF MUSIC. HER NEW ALBUM, THIS IS THE STORY, IS A CASE IN POINT AS MICHAEL SMITH DISCOVERS.

“I

was at WOMADelaide in 2008,” Lieberman explains the genesis of the album. “I’d already been playing [21-string African harp] kora in Guinea [West Africa] and I saw [Malian kora player] Toumani Diabate play and I was just really, really moved – as were the rest of the audience. I bought a CD and lined up to meet him and said, ‘Inike,’ which is the greeting in Melenge and he was so surprised to hear his own tribal language in Adelaide, so I told him about my time living in Guinea and how I’d begun learning kora and he invited me to come and play some kora for him the next day at his hotel and he’d give me a lesson.” From that chance meeting came an invitation to go to Bamako, the capital of Mali, to study further with Diabate. Thanks to a formal invitation and a John

Butler Seed Grant, Lieberman was able to travel to Mali towards the end of that year and spent time there not only learning more about the kora, but also writing and recording the basic tracks of This Is My Story with various members of Toumani’s Symmetric Orchestra. “There were a few half-written songs I was able to complete quite quickly when I was there and certainly the opening track, Bamako, was inspired by being there just before New Year’s Eve and there’s so much tell about the experience.” Not that the album is completely African – there’s a song, As-salaam, that obviously draws on another trip, this time to India, while others are based in more straightforward Western contemporary folk. Once her time in Mali had finished, Lieberman brought the recordings back to Sydney where Blair Greenberg added some more percussion and became the album’s producer, while several Sydney musicians added their magic, among them her former Naked Without My Cello colleague cellist Kate Adams, double bassist Jonathan Zwartz and djembe player Sibo Bangoura. Another song also had its origins in South America. “Rhythm And Sound I’d begun back in 2002 when

I living in Salvador in [Brazilian state] Bahia when I was studying North Brazilian music – samba and bossa nova.” WHO Miriam Lieberman WHAT This Is The Story (Independent) WHEN & WHERE Thursday, The Basement

It’s always tomorrow there.

Any extra-curricular activities you hope to participate in? My days off will definitely be spent at a beach. I grew up with the Atlantic Ocean in my backyard so I am a major beach bum… I fell in love with Newtown on my last trip as well, so I hope to explore more of that area and maybe score some sweet vinyl and vintage clothes.

What will you be taking home as a souvenir? Lots and lots of Tim Tams!

Where can we come say hi, and buy you an Aussie beer? Thursday – The Vault 146 Friday – Coogee Diggers Saturday – Manly Fisho’s Sunday – Heritage Hotel Monday – The Brass Monkey Wednesday 15 December – The Great Northern Thursday 30 – Peats Ridge Festival

For more info see: myspace.com/carmecita

bawamba lian vember, 1997, Chum nbert Nobacon was arrested by Ita No 30 on at th … Da ist rd oa yb ke DID YOU KNOW singer and e cells overnight. s detained in polic wa d an irt sk a g police for wearin

POCKET ROCKET POP

LAST OAF SHOWCASE

Next in the line of UK songstresses to take the world by storm is Eliza Doolittle, a 22-year-old pocket rocket of pop. She’s heading down under to promote her new self-titled album, and plays Oxford Art Factory tonight with Lanie Lane.

Oxford Art Factory are hosting their final showcase for the year on Thursday night, all for the low, low price of $5! Papa Vs Pretty will be causing damage with new single, Wrecking Ball, Traps will be playing dark and dirty indie, Dark Bells are bringing their broody psychedelia and Tin Sparrows round the night out with some folk pop.

NAVY’S NEW TUNES New Navy have promised a new four-track EP before year’s end, and while it’s still shrouded in secrecy there’s a good chance they will be playing some brand spanking new tunes at Oxford Art Factory on Thursday night. I Know Leopard and Baba O’Riley support.

carmentownsend.ca

RABBITS MIGHT FLY Nothing says quality indie music like references to forest animals, and so it is with the Run Rabbit Fly tour, the triple-headliner featuring Dead Letter Chorus, Seagulls and Dan Parsons hopping into Oxford Art Factory on Friday night.

JOHN STEEL TOURERS Following the release of new album, Tangalooma, The John Steel Singers are chomping at the bit to play it live. They play the Brass Monkey tonight, Beach Road Hotel on Wednesday, Grand Hotel on Thursday, ANU on Friday and Oxford Art Factory on Saturday.

STABBED IN THE HEART

MAHALIA BARNES

Dark pop band The Knife Waltz are launching new EP, Vintage Romance, on Monday night at Oxford Art’s Gallery Bar with support from The Wonderful Lives.

S.O.S The Australian Songwriters Official National Group (ASONG) are holding a Salute Our Songwriters gig to raise awareness Thursday at Shush at Newtown RSL. GANGjajang, Snez, Serenik and Mahalia Barnes will all perform.

• 80 • THE DRUM MEDIA 30 NOVEMBER 2010

CLEANING UP Self-proclaimed leaders of the rock’n’roll revolution that’s heading our way this new generation, The Dirty Little Immigrants will be letting loose at the Lewisham Hotel this Saturday. They’ll be joined by Siara Stone, for whom it will be their debut show.

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epFOCUS TWELVE FOOT NINJA What’s the title of your new EP and where did it come from? Smoke Bomb. The idea came from our merch guy/ roadie who thought it an apt name for a musical offering which covers us until we release our album. A diversion so to speak…

How long did it take to write/record? We recorded Smoke Bomb in 13 days in my home studio and Hadyn Buxton probably did close to that mixing it. It was old-school smashing time, no relaxing in the studio!

Was anything in particular inspiring you during the making? Not really. We knew what we wanted so we just did it. Hadyn did play me a lot of disturbing Internet videos though, a favourite being the Wendy’s training videos from the ‘80s. Hot Drinks is a memorable track – I wish I’d written it.

What’s your favourite song on it? Probably the last track, Manufacture Of Consent, featuring Bar McKinnon from Mr. Bungle and Ollie McGill from the Cat Empire. I also just like the way it turned out from how it began as simply a series of animal calls.

Will you be launching it? Saturday – SFX, St James Hotel

For more info see: twelvefootninja.com


THE DRUM MEDIA 30 NOVEMBER 2010 • 81 •


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DECADE OF CERTAINTY

taste TEST

For what will be the tenth year in a row, Mick Thomas & The Sure Thing bring their show to town for two intimate Christmas gigs. With special guest Van Walker, Mick and band play the Vanguard on Friday and Saturday night.

LUKE DUBS FROM HERMITUDE The best record I stole from my folks’ collection was…

GOLD FOR GUATEMALA

Quincy Jones – You’ve Got It Bad, Girl. The first record I bought with my own money was… Michael Jackson – Thriller. The record I put on when I’m really miserable is… Jose Gonzalez – Veneer. The record I put on when I bring someone home is… Parez Prado – Voodoo Suite The most surprising record in my collection is… Poison – Open Up and Say.... Ahh!

(not so) LOST SONGS

The last thing I bought/downloaded was… Dimlite – The Way Blood Travels Friday– Subsonic Festival

SMALLER SOUNDS

Friday 11 December – TONE Nightclub Website/contacts: facebook.com/hermitude

SYNDICATE SHOUT OUT Syndey rock’n’roll band Syndicate have been in the US working on their debut album with top names of the business. The first taste of the album is single, Shout, which they launch on Wednesday at The Annandale with The Lazys.

Blending reggae sounds with dub beats and huge bass, Kiwi band Kora have a live show that inevitably gets a crowd moving. The band are playing the Annandale on Thursday night with Heavy Metal Ninjas and more.

GETTING SKY HIGH

Members of Purplene have gone onto play in Charge Group, Tucker B’s, The Instant and Palace of Fire.

HOLIDAY PERIOD Jarran Zen & The Blind Children’s Orchestra headline Psycho Holiday at the Sandringham Hotel this Sunday with Subnuronik and Grievyre.

Upcoming shows:

KIWI KINGS OF REGGAE

A thoughtful and intelligent rock band from Newcastle, Purplene garnered extensive critical praise without ever really cracking the mainstream. Characterised by Matt Blackman’s poetic lyricism, crisply enunciated Australian voice and the band’s nuanced arrangements, the band’s masterpiece was 2004’s Purplene. The Steve Albini-produced self-titled effort contained the gently heartbreaking, delicately danceable six and a half minute epic, Second Shift. Blackwell sings “Recess, bring out your best/A paper cut hurts more than a chainsaw,” telling a story of new beginnings mixed with nostalgia.

On Wednesday night Notes will host the Manu Chau Tribute, a fundraiser with performances by Oscar Jimenez (Watussi), Janni Casanova (Rastawookie), Ras Ronni (The Strides), Carlos Adura (Deep Sea Arcade) and more. The show aims to raise funds to build an education centre in Guatemala so support local music and a good cause.

Northern Beaches rockers Stone Parade return with new album, Stratosphere, and they are launching it in style. They play the Annandale on Friday with an enormous lineup that also features Indigo Rising, The Perfect Revolution, The Salvagers and Exit Row.

FLORAL FUSION Armed with a sound that fuses electro, pop, rock, dance and even blues, five-piece Giggly Rose make their Vanguard debut on Wednesday night. Ernst Carter Jnr and Designer Pilot are supports.

WELLS ON FIRE With her second album, Various Small Fires, Paris Wells proved she truly is a fiery and catchy songstress. Flirt with flames when Paris plays the Vanguard this Thursday night.

Two-step, jungle-punk, tango-thrash.

Which acts inspired you to produce your own music and why? Everything by Nick Cave, Beastie Boys, The Doors, Pixies, Lightning Bolt, Bad Brains, Snowman, Bird Blobs, Die! Die! Die!, My Disco and Die Antwoord. Get their records and you’ll see why.

What’s your wildest ambition for your music?

When The Whitlams announced a tour to farewell 2010 their Metro Theatre show sold out quick smart. They have now added some intimate shows at Notes, playing Thursday with Big Smokey and Friday with Juan Alban (Epicure).

To write the theme song for Back To The Future 4 or be the ensemble behind the upcoming royal wedding, we’d call it Getting Boned By A Prince!.

SANTA GETS HIS HANDS DIRTY

Because we’re currently on our National Shedding Skins single launch tour and last weekend a festival MC said after our live performance… “That was Clavians! Two men sounding like an army of 1000 Trojan warriors. Fuck yes!”

The Black List will be bringing the undersided festive cheer to Notes this Saturday, with Virginia Killstyxx – complete with new singer – performing along with Neon Heart and Sunset Riot. The night kicks off at 8pm.

HEATING ROOMS With Spectrum still under renovations, Hot Damn takes place across Phoenix, QBar and 34B again this Thursday. As Silence Breaks, Ghosts On Broadway, The Rose Line and Falling For The Beloved are on the bill this week with, as usual, a host of punk and party DJs for the rest of the night.

BIG GAY OUT Rasing money for AIDS research and awareness, The Big Gay Gig happens at the Lewisham Hotel this Saturday. The Lavers Brothers, The Quardy Collective, Strange Brew, Neighbour Hood Noise, Bec Hill & Friendly Bunch, Julien Forest and Lydia Monzo perform on the night, with all profits going to Rubber Soul and World’s Aid Day.

Why should we come and see you?

How do you find the local live scene? A plethora of absolute inspiration that encourages us to keep playing, writing, experimenting and partying harder with everyone we get the chance to play with and meet.

What’s your greatest rock’n’roll moment? Meeting Nick Cave, witnessing Bad Brains shred the last ever CBGBs night in NYC! Playing our sold-out debut EP launch earlier this year in Melbourne with the whole floor moshing to our scuzzy show tunes.

For more tour info see: clavians.com facebook.com/clavians

Next available Show: Friday – Candy’s Apartment

ANGEL DUST It’s a night of prog and influences this Wednesday at the Sandringham Hotel, with The Angel Affair, The Alcohotlicks, Fabulous Contraption and Valar due to take the stage. Things get a little more abrasive on Thursday when Intentions launch their new EP, Unto Dust, with Mere Women and Hira Hira the other acts in that instance.

ACROSS 4 On what street is The Sandringham Hotel located? 5 Which is the nearest train station to The Sandringham Hotel? 6 The Sandringham Hotel are celebrating their anniversary of how many years this month? 7 The Rumjacks play The Sandringham Hotel this Friday, their new album is called Gangs Of New what? 8 By what name is The Sandringham Hotel usually referred to as by locals and regulars?

DOWN 1 Which band wrote the song God Drinks At The Sando? 2 Which band are launching their EP, Unto Dust, Thursday at The Sandringham Hotel? 3 What is the name of the regular blues duo that plays in the street level bar on Saturday afternoons?

• 82 • THE DRUM MEDIA 30 NOVEMBER 2010

CLAVIANS Your music is…?

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GRAVEYARD TRAIN Your music is…? Horror country music. Sadly, we invented our own genre.

Which acts inspired you to produce your own music and why? The Wu Tang Clan, particularly their earlier work. A whole bunch of guys jumping around on stage bringing the mutherfucking ruckus seemed like the right thing to do.

What’s your wildest ambition for your music? It’d be great if it could somehow drag us out of poverty, but that’s probably too wild an ambition. I guess we’d really like Elvis to cover one of our songs for once. That’s more likely.

Why should we come and see you? We’ve definitely got the best damn hammer and chain player in town.

What’s your greatest rock’n’roll moment? A few months ago we played a little punk venue in Belgium called The Pits and during our last song about 150 incredibly drunk cheering Belgians all threw their beers at us, completely drenching us, our gear, the stage, half of Belgium. Apparently it’s a sign of affection. It was a lot of beer. We broke a guitar and my passport was in my pocket and got completely ruined. I was barely let back into the country.

LAST WEEK’S ANSWERS

For more info see:

1. Sumerian 2. Leilani 3. Scrubs 4. Soaked 5. Big Black 6. Artifact 7. Wellington 8. Wet Taxi 9. Lenny 10. St Kilda

Next available at:

myspace.com/graveyardtrain3051 spookyrecords.com Friday – The View Factory Saturday – Black Cherry, The Factory Theatre


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FOR MORE INFO: SOLAROSA.COM, MUSIC.SOLAROSA.COM, MYSPACE.COM/SOLAROSAMUSIC & NICHEPRODUCTIONS.COM.AU

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mc BOOTH

BRIGGS How did you choose your MC name? I didn’t, it chose me. I’m not all that creative, I just ran with my government name.

What can you remember about your first gig? Reason was there, it was at a dingy nightclub in Carlton, Melbourne. We rocked as good as we knew how.

Ever excreted any unusual fluids before rocking a show? Ingested, yes. Excreted, no.

CONNECTING LINES

ANOTHER ‘GRADUATE’ OF A CERTAIN TELEVISION TALENT QUEST, MATT CORBY HAS, LIKE LISA MITCHELL, FOLLOWED HIS OWN PATH AND IN THE PROCESS HAS CREATED SOME INTRIGUING MUSIC. HE TALKS TO MICHAEL SMITH ABOUT MUSIC AND FRIENDS.

T

o a certain extent, the real Matt Corby story begins a year or so after ‘that’ show when, in 2008, he signed with a company called Scorpio Music Management and soon after found himself whisked off to London and New York. “My manager thought – and I agreed with him – that after everything that happened, as far as Idol and stuff, it’d be a whole lot easier if I just went away for a while and played to people who had no idea where I was from or what I’d done and just take the music purely on its merits,” Corby explains. Luckily, at the very end of his second three-month long trip to London, the people behind a label called Communion, run by Ben Lovett of Mumford & Sons,

Kev Jones of Cherbourg and producer Ian Grimble, just happened to rock up to a farewell show. “They’re the worst business people in the world, but they just love making music and it’s a real honour to be a part of what they’re doing. When I came back to London, they put me down for a bunch of their music nights, in Brighton, London and Bristol. I didn’t play any shows with Mumford at that point, but that’s when I started recording this EP.” And a deeply affecting and evocative EP Transition To Colour is. It’s his second EP for Communion (and third EP overall), after My False, released in May this year. “There were three tracks I’d written when I‘d first started to move around and feeling really homesick – how stupidly cliché, everyone writes homesick songs! I’d always played them at my shows, but never been able to record them properly, but we went into the studio and Ian, the producer, just told me to strip everything back and make it as simple and raw as possible. Inspired I wrote four or five more songs – I was trying to write one piece of work around those three songs.”

WHO Matt Corby WHAT Transition To Colour (Communion) WHEN & WHERE Tuesday 7 December, Brass Monkey; Wednesday 8, Otis Bar; Thursday 9, Independent Theatre; Saturday 10, View Factory; Friday 31, Peats Ridge Festival

Your best show and why? Sold out London with Hilltop Hoods, never thought I’d have that on my resume, ever. Not many artists see the whole country let alone a whole different country, was crazy to rock a crowd in London. Can’t wait to do it again.

Jay Z or Nas? Jay-Z. Tough choice until I thought about it like this; who would I rather be? Jigga has Beyoncé, Nas had Kelis. Game over.

What’s your dream collaboration? Ice Cube. I like Fat Joe too and M.O.P.. I think all those would gel well with my brand of rap music.

Kanye calls. He’s in tears. He has a banging beat and needs a killer verse by this afternoon. What do you do? Tell him I’m happy for him and he can finish crying in a minute. But Trials has the best beats of all time.

When and where are your next gigs? Saturday – The Gaelic

single FOCUS

taste TEST

ON THE DRUM STEREO

TRAVIS REILLY FROM THIS IS HELL The best record I stole from my folks’ collection was… Probably a Beatles album. The first record I bought with my own money was… Probably a Guns N’ Roses album. The record I put on when I’m really miserable is… Dear You by Jawbreaker. The record I put on when I bring someone home is… A great sexy time record is Music To Make Love To Your Old Lady By by Lovage, it’s one of Mike Patton’s side projects.

LE BLUES CIRCUS Joining Isaiah B. Brunt at The Valve in a fundraising evening designed to help get him to next year’s Blues Challenge in Memphis are Gypsy Duo, Mississippi Shakedown and The Steve Flack Trio.

REMEMBERING RELIGION THE LITTLE STEVIES

Feel It

What’s the song about? The chorus goes, “I want to feel it in my heart/not think it in my head.” So I guess it’s about wanting to feel it in my heart, not think it in my head. The verses are about some other stuff.

Is this track from a forthcoming release? Yes! It’s from our new album, which is going to be called Attention Shoppers. Coming out in March I believe.

How long did it take to write/record? We recorded the album in LA in September. We were there for about four or five weeks. Obviously we recorded more than just one song. So to say this song took a month to record would be accurate but misleading.

Was anything in particular inspiring you during the making? In the middle of recording we had a near-death experience on an LA freeway. It makes you take stock and reassess your priorities. Music wound up pretty high on the list. Just below family and above chocolate.

Do you play it differently live? No, it’s very faithful to our live sound, no extra instruments or anything.

Will you be launching it? We’re not calling it a launch, but we have a gig at the Ravál this Thursday.

For more info see: thelittlestevies.com, in particular the video section. Hilarious!

• 84 • THE DRUM MEDIA 30 NOVEMBER 2010

The Church are taking a trip down memory lane on Sunday at Notes. The band will be performing one song from each album over the last 30 years in reverse chronological order. Tickets come with a free CD and a 28-page booklet that looks retrospectively at their releases.

BASEMENT PARTY The Sensi Reggae Party is happening this Friday at the Basement Circular Quay, and promises a night of dub, roots and dancehall. Ten-piece groove powerhouse The Strides are headlining with help from special guests Firehouse.

STRAWBERRY FIELDS FOR FREE

The most surprising record in my collection is… Hmm, that’s a tough one. I guess if you don’t know me maybe you’d be surprised that I’m a big fan of Paramore, Tegan & Sara and Oasis. The last thing I bought/downloaded was… The Big Deep by The Sleeping. This Is Hell play the Metro Theatre with Architects, Comeback Kid and Rolo Tomassi on Saturday. friends and Australian indie-powerhouse Smudge. See them on Wednesday at The Metro.

TOTALLY UN-COOL New Weird Australia are presenting their second Unpopular Music event for 2010. Held at Red Rattler on Friday, and with performances by Scattered Order, Tantrums, Scissor Lock vs Cleptoclectics, Melodie Nelson, Stitched Vision and Mere Women, the gig is raising money for FBi.

GANG MEMBERS Smitty & B. Goode, Hytest and Life Adjustment Disorder are the support acts assembled for The Rumjack’s Gangs Of New Holland album launch at the Sandringham Hotel this Friday.

SHELLS SHOWS Based in Queensland’s far north, singer songwriter Shells is heading south, with new album, More To Life, in tow. Shells plays Artichoke Gallery on Friday, and both The Shack and Gymea Tradies Club on Saturday night.

PSYCH MOVES

Four-piece psychedelic band Love Parade are on the verge of releasing their debut EP, A Strawberry Situation. The band are launching the EP with an instore performance at Fish Records on Sunday from 2pm with free strawberries!

Pysch-rock band the Agents Of Insight, The Heist, Vienna Circus and Suns Of Su keep punters moving at the Lewisham Hotel this Friday.

VERY IMPORTANT

WELL ROOTED

This Thursday The Gaelic will be holding their VIP Thursdays event, with Alphamama, DJ Tickelz and DJ Moto the acts providing the night’s soundtrack..

XXXMAS PARTY Those purveyors of all things rock, roll and burlesque, Black Cherry, are having a Christmas party. Held once again at the Factory Theatre, there will be performances from The Meanies, Gay Paris, Graveyard Train and more as well as burlesque from Suzie Q & Toby J, Anna Lumb and La Viola Vixen.

My Dark Twisted Fantasy KANYE WEST The Best Of The Country Music Channel 2010 VARIOUS What The Sea Wants, The Sea Will Have SARAH BLASKO I AM KLOOT Sky At Night An Announcement To Answer QUANTIC !!! Myth Takes The Out Of Money Experience THE OPTIMEN Spiral Shadow KYLESA Something We Should Know BONJAH Teenage Dreams KATY PERRY

As part of the open day at The Wharf for the various theatre companies involved, The Wharf Sessions Stage will host the next Music For Trees event – which hopes to raise enough money to plant 100,000 trees with the aim of improving poor and degenerated areas around the world. The Anon Anons, Charlie McMahon, Dog Trumpet, Ray Mann, Ngarayta, The Slowdowns and Waiting For Guiness will be playing live from midday to 5pm.

SHAME ABOUT SMUDGE The Lemonheads are coming down under to play their seminal album, It’s A Shame About Ray in its entirety and joining them for the trip down memory lane are old

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FBI’S FAVOURITE NEW AUSSIE SONGS FOR THE WEEK Reverse Now International Rudeboy

BETTY AIRS LOTEK

Yo, David Chase You P.O.V Shot Me In The Head THE DEATH SET

Dildo Pricecheck Take Me Over Sunset Mirage A Childish Problem Tuesday Is Rent Day My Johnny Sun Rising

HOWARD CUT COPY GHOSTWOOD THE BAKELITE AGE BIG SCARY MELODIE NELSON MERE WOMEN

ARIA TOP 10 ALBUMS P!NK 1. Greatest Hits… So Far 2. The Gift SUSAN BOYLE RONAN KEATING 3. The Duet 4. Bon Jovi Greatest Hits BON JOVI RIHANNA 5. Loud 6. My Beautiful Dark Twisted Fantasy KANYE WEST 7. Speak Now TAYLOR SWIFT JAMES BLUNT 8. Some Kind Of Trouble 9. Tewnty Ten GUY SEBASTIAN 10. Danger Days: The True Lives Of The Fabulous Killjoys MY CHEMICAL ROMANCE

ARIA TOP TEN SINGLES 1. We R Who We R 2. The Time (Dirty Bit) 3. Firework

KE$HA BLACK EYED PEAS KATY PERRY

4. Like A G6 FAR EAST MOVEMENT FT. CATARACS & DEV

5. Raise Your Glass P!NK 6. Only Girl (In The World) RIHANNA 7. Yeah x3 CHRIS BROWN 8. Somewhere In The World ALTIYAN CHILDS 9. Just A Dream NELLY 10. Heartbeat ENRIQUE IGLESIAS FT. NICOLE SCHERZINGER

ky teacher lost showing ber, 1987, a Kentuc eme Court over her sacking after m ce De 1 on at th US Supr DID YOU KNOW… her appeal in the ed that the film s. The court decid as cl r t. he to l al W e Th and sexual conten Pink Floyd’s film th its bad language wi s or in m r fo e bl was not suita


THE DRUM MEDIA 30 NOVEMBER 2010 • 85 •


single FOCUS

CONTRABAN

NICK NORTON

My Town

Your music is…?

What’s the song about? About the decline of the Sydney music scene, we hate the new trend of VIP Lounges and noise restrictions.

How many releases do you have now? Midnight Cowboy (2009), this single, My Town, and we’re finishing a forthcoming EP (2011).

Is this track from a forthcoming release? It’s a stand-alone single to tide us over until the EP comes out in 2011.

DAN KELLY

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

GIG OF THE WEEK

James Brown for bringing the funk. The Police for disguising wonderful complexity in pop. Steely Dan for slick sophistication and sublime grooves.

DALEBAKE

When Homebake was canned this year many wallowed in distress, but not the Annandale; they made lemonade with Dalebake! See Dan Kelly, Custom Kings, Fergus Brown, Keiran Ryan, Songs, Daisy M Tulley, Fergus Brown, Leena, Spooyland, Radio National, Daniel Lee Kendall, Hanna & The Barbers, Skank Da’Ville, The Drawing Class, Felicity Groom and more spread across three stages from 2pm on Saturday.

How long did it take to write/record? A moment of genius and a day of trauma…

Was anything in particular inspiring you during the making?

FREE FLOWIN’ FOLK

What’s your favourite part of the song? The guitar solos are tasty and crunchier than Cornflakes.

BRAND NEW BRAND

Do you play it differently live? A little faster, a little gnarlier.

Will you be launching it? Yes! At The Excelsior Hotel Surry Hills, Thursday with friends Vanity Riots, Neon Heart and Papa Pilko and the Bin Rats.

For more info see: contraban.com.au

What’s your wildest ambition for your music? Like most musicians, the ambition doesn’t get more extravagant than making a living writing, recording and performing one’s own music.

Why should we come and see you?

Joined by his band and armed with new album, Free Flowin’ Footsteps, Adam Cousens is about to descend upon the Lansdowne Hotel. This Thursday Cousens will play a free gig full of folk rock tunes.

Shitty bands, shitty venues, shitty laws and good beer.

Soul-funk-jazz-rock.

Country singer Adam Brand has returned from Nashville to embark on his Comin’ Home tour. With a new album, It’s Gonna Be Ok, and an extensive back catalogue this is sure to be a great tour. Adam plays Rooty Hill RSL Wednesday and Katoomba RSL Saturday.

ESCAPE EVERYDAY LIFE

HERE’S LOOKING AT YOU

A new release each from two long-haired, guitar-toting rockers this week; Kid Rock and Keith Urban. Seeking to shed a little insight into the recording process, both albums’ liner notes and artwork are littered with ‘candid’ snaps of the musicians. Keith’s stay in the Betty Ford Centre made for decidedly less tacky artwork.

Quite frankly, it’s the best damn band in the country. All heavyweight musicians in their own right. Regardless of the style you lean towards, you’ll find your foot tapping and heart beating in sync.

How do you find the local live scene? I think the best, most exciting live music is always underground. People need it. No matter the decade, it’s there. You’ve just gotta have the time and inclination to find it.

What’s your greatest rock’n’roll moment? Whether playing to 500 revellers at the Snowy Ride in Thredbo last week or seven payers in Ballarat on tour five years ago, it’s all part of the beautiful and ridiculous rock’n’roll trip.

For more info see:

Alt.country folk band Custom Kings are riding the wave of success following the release of second album, Great Escape, and single, Sunday. Escaping the monotony of everyday life they’re touring once again. They play Wednesday at the Harp, Thursday at the Clarendon Guesthouse and Friday at Old Manly Boatshed.

myspace.com/nicknortonsounds

Next available at: Wednesday 8 December – The Basement, Circular Quay

MURDER CALLS Thy Art Is Murder headline Destroy All Lines’ new night Teen Wolves at the UTS Glasshouse this Saturday – Sienna Skies and I Escape the supports in this instance.

FRESH DELIVERED As part of the Freshly Squeezed 8 event at the Sandringham Hotel this Saturday, True Vibenation, Hyjack & Thorn feat DJ Ask, Herb and more give the rock room an urban feel.

JONATHAN BOULET

You’re A Animal

What’s the song about? It means a certain something to me, but I don’t want to be the one telling people what it should mean to them.

Is this track from a forthcoming release? Yeah, it’s a brand new album we’ve started recording. The songs are pretty much written, just need to record the hell out of them.

How long did it take to write/record? It started out with us just singing the same line over and over. But eventually got a new section and some more lyrics. It took probably a couple of days to record it all.

Was anything in particular inspiring you during the making? The first version of this song has been played since last year. We started getting a little sick of slow starts to other bands’ sets so, we started opening our set with it because it was loud and fast.

What’s your favourite part of the song? Probably have to be the clarinets in one of the gaps just before the middle section. They sound like a flock of angry birds.

Will you be launching it? Friday – CBD Hotel, Newcastle Saturday – Beach Road Hotel

For more info see: jonathanboulet.com myspace.com/jonathanboulet • 86 • THE DRUM MEDIA 30 NOVEMBER 2010

FUNK THE WEEK

KID ROCK – BORN FREE

The Macquarie Hotel’s residencies continue this week, with Pugsley Buzzard on Wednesday and Calvin Welch & The Funk Freedom Fighters Thursday. Reyes De La Onda play midnight Thursday, on Friday Doug Williams in the evening, The Leisure Bandits late and on Saturday Luke Escombe.

RAPPER DOES RAPUNZEL

Everyone is well aware of Kid Rock’s white trash antics and they are glorified in the portrait photography that lie within the liner notes. We see him holding not one, but two gold-plated pistols looking pensive, sipping unlabelled wine topless in a pool while offering a cigar to the camera and of course in a tight white singlet and cowboy hat, on the bonnet of his car, pointing a gun at the lens.

Perth rapper Drapht just dropped an awesome animated videoclip for his new single, Rapunzel. Even better than that, he’s coming to town deliver the tune in person. Drapht plays Saturday at the Gaelic with Dialectrix and Briggs.

SIERRA FIN

Lost Man’s Lie

What’s the song about? You know how in movies when the protagonist goes through that huge soul-saving change and we see him/her triumphantly head off into the sunset naked on a horse while the credits roll? Well, Lost Man’s Lie is about what happens the day after that.

Is this track from a forthcoming release? Indeed! Lost Man’s Lie is part six of an 11-part song-cycle that is our debut album, Cautionary Tale Of The Beautiful Blackout. It was recorded with a full Symphony Orchestra for its entirety. Consider this a taster!

RAIDERS RETURN

How long did it take to write/record?

Bag Raiders are finally back in town after ripping up dancefloors around the nation on their album tour. The duo play The Forum on Saturday night with a little help from Sydney foursome The Holidays – who’ve just announced that Broken Bones will be their next single.

The song had been floating around our live set for about six months before we headed to the studio. The recording process added another couple of months.

Was anything in particular inspiring you during the making?

YU THE MAN

There is a clear concept and story flowing throughout the entire album; it’s based on a redemption from societal monotony.

On his drive for the Australian Conservation Foundation, singer, guitarist and mandolin Yu Si Liu plays Sin-e at the Café Lounge this Tuesday. Art Rush and Sally Hackett also play the event, which is free but donations are encouraged.

Do you play it differently live?

KEITH URBAN – GET CLOSER

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!

Taking a similar, but slightly more tasteful approach than Kid Rock, the artwork for Urban’s new album comprises of flawless portrait photography. He looks forlorn on a huge leather couch, vulnerable in the arms of wife Nicole and even squeezes in a four-shot montage of him happily rocking out on an unplugged guitar. Clean living indeed.

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We strip it back and rock it up. When we can fit them on stage we bring on some talented friends and their strings to help out.

Will you be launching it? Saturday – Ravál, with a small, pocket orchestra

For more info see: sierrafin.blogspot.com


THE DRUM MEDIA 30 NOVEMBER 2010 • 87 •


gigs@drummedia.com.au

30 NOVEMBER - 6 DECEMBER 2010

TUE 30 WED 01

AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl BROTHERS GRIM, BLUE MURDERS: The Vanguard DAVID SATTOUT, JASMINE CRITTENDEN, KAY PROUDLOVE, AMY LEE-WILSON: The Basement DJ SHIPWRECK, COSMIC EXPLORER, MADHONOUR, M.I.T: World Bar Kings X ELIZA DOOLITTLE: Oxford Art Factory, Live Art Space GRAND WIZARD MYME, DISCOROSSO, LOKOL, GEE WIZZ: Valve Bar and Venue, Tempe HIKOIKOI: Old Manly Boatshed IAN BLAKENEY: Dee Why RSL JAMES VALENTINE QUARTET: Golden Sheaf jazzgROOVE feat…, WARWICK ALDER, MARTY WIECZOREK: 505, 280 Cleveland St Surry Hills KID FINLEY, PEE WEE PETE: The Gaff, Darlinghurst PAUL SUN, MONIQUE LYSIAK, TIM BROSNAN: Jazushi Restaurant Surry Hills PETE: Coogee Bay Htl, Beach Bar PETER HEAD: Harbourview Htl PHIL SPILLER: Artichoke Café Manly RIVET SOLED JUMP UPS: Excelsior Surry Hills ROB HENRY: Observer Htl STEVE TONGE: O’Malleys Kings X STICK TO YOUR GUNS, FIRST BLOOD, WISH FOR WINGS, THIRD STRIKE, VENOM EYES: Axis Youth Centre, Queenbeyan SYNDICATE, THE LAZYS: Annandale Htl TETHER, KINDRED, HOWLER: Beach Rd Htl Bondi THE EAGLES: Sydney Entertainment Centre THEY CALL ME BRUCE: Maloney’s Hotel TIM WALKER: Off Broadway Htl YU SI LIU, ART RUSH, SALLY HACKETT: Cafe Lounge, Surry Hills

ANDY MAMMERS DUO: Maloney’s Hotel ANGEL AFFAIR, THE ALCOHOTLICKS, FABULOUS CONTRAPTIONS, VALAR: Sandringham Htl BEN FINN DUO: Mean Fiddler Htl CHILDREN COLLIDE, VIOLENT SOHO: Area Htl, Griffith CHRIS PICKERING, CATHERINE BRITT: Lennox Point Hotel DEAD LETTER CIRCUS: Hoey Moey, Coffs Harbour DIESEL, HALFWAY TO FORTH: Lizottes, Newcastle DYLAN DREW: Hawkesbury Htl GIGGLY ROSE, ERNST CARTER JNR, DESIGNER PILOT: The Vanguard GOODNIGHT DYNAMITE: O’Malleys Kings X HAPPY HIPPIES: Orient Htl JAMES CHATBURN, BEN MURPHY, HAWK BROOKLYN: The View Factory, Newcastle JON STEVENS: Brass Monkey KATRINA BURGOYNE, MICHAEL MONTGOMERY: Dee Why Hotel KILTER, WHAT HAPPENS IF, NEAR DECENT: Valve Bar and Venue, Tempe KINDREAD: Cambridge Htl Newcastle KIRK BURGESS: Crowne Plaza Terrigal KRAFTY KUTS: King St Htl Newcastle LUCY SASSOON: Dee Why RSL MAL’S OPEN MIC NIGHT: Taren Point Htl MANDI JARRY: Opera Bar MANU CHAU TRIBUTE, RASTAWOOKIE, THE STRIDES: Notes, Newtown MARIA VENUTI’S SHOW: Shoalhaven Entertainment Centre MARK HOPPER: Artichoke Café Manly MARTY STEWART: Rocksia Hotel MIKE BENNETT: Observer Htl NEGATIVE SPACE, SHORT FILMS & ARTWORK: World Bar Kings X NEW DIRECTION: NEW ALBURY HOTEL PETER HEAD: Harbourview Htl PHILIP RICKETSON: Sandringham Htl downstairs

• 88 • THE DRUM MEDIA 30 NOVEMBER 2010

PUGSLEY BUZZARD BAND: Macquarie Htl Surry Hills RECKLESS: Scruffy Murphys SAM BUCKINGHAM, BRETT WINTERFORD, LOU BRADLEY: Excelsior Surry Hills SHARON JONES & THE DAP KINGS, VICTOR VALDES, RED BANTOO DJS: Great Northern Byron Bay SHAWN MULLINS, JACKIE BRISTOW: The Basement Suzannah Espie & The Last Word, JEREMY EDWARDS & THE DUST RADIO BAND, GLENNY RAE VIRUS: Petersham Bowling Club THE JOHN STEEL SINGERS, DEEP SEA ARCADE: Beach Rd Htl Bondi THE LEMONHEADS, SMUDGE: Metro Theatre THE POD BROTHERS: Ettamogah Pub TIM WALKER: town hall Htl Newtown TIME MACHINE: CLUB RIVERS VIRNA SANZONE: 505, 280 Cleveland St Surry Hills WILDCATZ: 3 Wise Monkeys

THU 02

AAMAZING ENTERTAINMENT KARAOKE: Penrith Htl ADAM COUSENS: Lansdowne Htl ALEX: Marlborough Htl ANDY MAMMERS: Harbord Beach Htl AS SILENCE BREAKS, THE ROSE LINE, GHOSTS ON BROADWAY: Spectrum BIG BEN: Wentworthville Leagues BROADWAY MILE, THE JONES RIVAL, THE BROKE DOWN ENGINES: The Wall (The Bald Faced Stag) CAMBO: Observer Htl CHILDREN COLLIDE, VIOLENT SOHO: Roi Bar CONTRABAN, PAPA PIKO & THE BIN RATS, NEON HEART, VANITY RIOTS: Excelsior Surry Hills CUSTOM KINGS, LEENA: Clarendon Guest House DAVE WHITE DUO: Maloney’s Hotel

DAVID AGIUS: Northies Cronulla HtlSport Bar DIESEL, HALFWAY TO FORTH: Lizottes, Newcastle DJ ALEX: Beach Rd Htl Bondi DYNAMIC DUO: Richmond Club GANGGAJANG, MAHALIA BARNES, SERENIK, SNEZ: SHUSH, Newtown GREG LINES: Railz On Regent, Redfern HEATH BURDELL: Greengate Htl HIKOIKOI: Great Northern Byron Bay HIKOIKOI: The Great Northern Hotel, Newcastle HIP NOT HOP: Orient Htl INTENTIONS, MERE WOMEN, HIRA HIRA: Sandringham Htl JIMMY BEAR: Club Five Dock JOHNATHAN DEVOY: Sandringham Htl downstairs JON STEVENS: Brass Monkey KATE CEBERANO, Mark Vincent: Enmore Theatre KERRY LEIGH: CLUB BELMORE KORA, HEAVY METAL NINJAS, JUICE: Annandale Htl LIONEL ROBINSON: Dee Why RSL LUKE KOTERAS: Campbelltown Catholic Club MAD CHARLIE, MIKE MCCARTHY, SLIM JIM & THE BONEY HARDMEN: Port Macquarie Hotel MAL’S OPEN MIC NIGHT: Appin Htl MANDI JARRY: Green Park Hotel MARISSA SAROCCA, THE JAZZ FACTORY MUSICIANS, Jack Dawson: The View Factory, Newcastle MERENIA & THE WAY: 505, 280 Cleveland St Surry Hills NEW NAVY, I KNOW LEOPARD, BABA O’RILEY, PSYCHONANNY & THE BABYSHAKERS, RECKLESS VAGINA: Oxford Art Factory, Gallery PANORAMA: 3 Wise Monkeys PAPA VS PRETTY, DARK BELLS, TIN SPARROW: Oxford Art Factory, Live Art Space PARIS WELLS: The Vanguard PETER HEAD: Harbourview Htl PIANOMAN: The Loft PJ & THE ART OF

GRACE, SARAH BIRD, BRENT HILL: Melt Bar Kings X PLAY IT COOL: Dubbo RSL RECKLESS: Coogee Bay Htl, Beach Bar RICHARD VALDEZ: Artichoke Café Manly SIMON CALDWELL, JIMMI JAMES: Tone, Sydney SOUL MOTEL, DOMINIC DIAZ TRIO, KRISTEN FLETCHER: Valve Bar and Venue, Tempe STEVE EDMONDS BAND: Empire Htl SUNSET RIOT, THE LAZYS: Fitzroy Htl Windsor TAKE 2: Newport Arms Hotel THE EAGLES: Sydney Entertainment Centre THE FUMES, CARMEN, TOWNSEND: Vault 146, Windsor THE JOHN STEEL SINGERS, DEEP SEA ARCADE, Fishing: The Grand Hotel, Wollongong THE LITTLE STEVIES, SCOTT MELLIS: Raval THE POD BROTHERS: Gymea Bay Hotel THE SNOWDROPPERS, THE RUMJACKS, CAPE TRIBULATION: Harp Htl Wollongong THE SUSPECTS: Marble Bar Hilton Htl THE WHITLAMS, BIG SMOKY: Notes, Newtown TOM T TRIO: Paragon Htl, Circular Quay TONY WILLIAMS: PJ Gallaghers Parramatta URBY, JOHNNY SEGMENT, MONKEY GENIUS, BRUCE: World Bar Kings X WENDY MATTHEWS: Sharkies

FRI 03

3RD X LUCKY: Ingleburn RSL ACHTUNG BABY-U2 SHOW: Dicey Rileys ALL STAR DUO: Adams Tavern AM 2 PM: Taren Point Bowling Club AM TO PM: The Point Bowling Club ANDY MAMMERS: Ettamogah Htl ANNO DOMINI, THE SEER, THE PARADOX

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UNSEEN, CEREBRAL CONTORTION: Hamilton Station Htl, Newcastle BAECASTUFF: 505, 280 Cleveland St Surry Hills BEAU SMITH, ARGYLE ORACLE, CARL FIDLER: Greengate Htl BENJALU, KINDREAD: Port Macquarie Hotel BIG SHOTS DEULLING PIANO SHOW: Club Five Dock BLISS BOMB: Coogee Bay Htl, Beach Bar BLONGE 182: Customs House Sydney BONJAH: Beach Hotel, Byron Bay BOOTY CALL: Mounties Club Mt Pritchard CAMBO: O’Malleys Kings X CC THE CAT: Hotel Gearin, Katoomba CELEBRITY MORGUE, BLATHERSKITE, ILCONTENT, A WORLD LESS CRUEL, GUTTERSTOMP, EYE MAZE: The Wall (The Bald Faced Stag) CHRIS ALEXANDER TRIO: Rydges Htl Campbeltown CHRIS JAMES: Club Central, Hurstville CRAIG MCLAUGLAN, MULLET: Rose of Australia CRASH AVENUE: Peachtree Htl Penrith CREEDANCE AND BEYOND: Towradgi Beach Htl CUSTOM KINGS, LEENA: Old Manly Boatshed DAN LAWRENCE: Observer Htl DANIEL LISSING DUO, MARK DA COSTA AND THE BLACK LIST: Crows Nest Htl DAVID AGIUS DUO: Penrith Panthers, Fluid Bar DEAD LETTER CHORUS, SEAGULL, DAN PARSONS: Oxford Art Factory, Live Art Space DEAN MARGO DJ: Jolly Frog Htl Windsor DIESEL, HALFWAY TO FORTH: Lizottes, Newcastle DJ MATT, SCOTTY SAX: Bankstown Sports Club DROPPING HONEY, TRACES OF NUT: The Cabbage Tree Htl, Fairy Meadow EBONY & IVORY: Matraville Htl ENDLESS SUMMER BEACH PARTY: Campbelltown Catholic Club FALCONA DJ’S: Kit & kaboodle, Kings Cross FLAMIN’ BEAUTIES: Crown Htl City

FOZZY, SEGRESSION: Factory Theatre GANGGAJANG: Brass Monkey GARY JOHNS TRIO: Kirribilli Htl GET THE PARTY STARTED-THE PINK SHOW: Sharkies GRANT ROBINSON: Club Umina GRAVEYARD TRAIN, ADAM COUSINS, SOFIELLA WATT: The View Factory, Newcastle GTS: St George Leagues GYPSY DUO, MISSISSIPPI SHAKEDOWN, STEVE FLACK TRIO, ISAIHA B BRUNT, SEAN CHOOLBURRA, MC COMEDIAN, + HEAPS MORE!: Valve Bar and Venue, Tempe HAPPY HIPPIES: Chamberlain Htl HEAT WAVE: Penrith Gaels HOORAY FOR EVERYTHING: Brighton RSL HUE WILLIAMS: Avalon Beach Htl HUE WILLIAMS: Avalon RSL IDOL KARAOKE: Carousel Inn Rooty Hill INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JACKS IN BLACK: Richmond Club JIMMY BEAR: PJ Gallaghers Drummoyne JJ DUO: Western Suburbs Leagues Club JOHN WATERS, STEWART D’ARRIETTA: Playhouse, Sydney Opera House JOHNNY FAITH: Tone, Sydney JONATHAN BOULET, GRACE WOODROOFE, NOVA & THE EXPERIENCE: CBD Htl Newcastle JOSH MCIVOR: Parramatta RSL KEN & ADRIAN: Wagga RSL Club KIDS WITH KIDS: Northern Star Htl Newcastle KILL THE MOTIVE: Manly Fishos LAWRENCE BAKER: Macquarie Htl, Liverpool LINZEE DIXON: Stamford Grand Nth Ryde LIQUID SKY feat., Moonchild, KYRO & BOMBER, DIKORIOT, BASS THEIFS, + HEAPS MORE!:

Candys Apartment LJ: Panthers North Richmond LUKE DIXON: Collingwood Htl MANDI JARRY TRIO: Woolloomooloo Bay Htl MATT JONES DUO: Mean Fiddler Htl MATT LYON: Hills District Bowling Club MATT SCULLION: Tall Timbers, Central Coast MEGASTAR OVERDRIVE, SIMON CHAINSAW, 25TH FLOOR, YOUNG DOCTEURS, NEW VINTAGE: Jets Sports Club, Tempe MICHAEL PETER DUO: Parramatta Leagues MICK THOMAS: The Vanguard MISSION JONES: Hornsby RSL MR BREEZE: Hawkesbury Htl MUDDY FEET: Brewhouse Pub St Marys MURRAY FERGUSON: Kareela Golf Club NEW DIRECTION: The New Albury Hotel NICKY KURTA: Belrose Hotel NITE SHIFT: 3 Wise Monkeys NOVA TONE: Blacktown RSL OCTIVE: Engadine RSL PETE HUNT: Chatswood RSL PHILL SIMMONS: Oasis on Beamish PLAY IT COOL: Dubbo RSL PUGSLEY BUZZARD: Empire Htl PURPLE SNEAKERS feat., BRIDEZILLA DJ SET, M.I.T, BEN LUCID, KILL THE LANDLORD, BLUTH BROTHERS DJS, BANSHEE: Gladstone Htl RAPTURE: CLUB RIVERS RATTLE & HUM-U2 SHOW: Collaroy Services RED HOT NUMBERS: Camden Valley Golf Resort REEL BIG FISH, THE AQUABATS, LOS CAPITANES: Roundhouse Kensington RENAE KEARNEY, 3 WAY SPLIT: Kro Bar, East Leagues Club, Bondi Junction ROB HENRY DUO: Harbord Beach Htl ROBIN NOLAN, IAN DATE, NIGEL DATE & OTHERS: Camelot ROCK SHACK: Jewells Tavern, Jewells, Central Coast Rolling Stoned: Bombaderry Htl RORY ELLIS DUO: Hoey Moey, Coffs Harbour


THE DRUM MEDIA 30 NOVEMBER 2010 • 89 •


gigs@drummedia.com.au

30 NOVEMBER - 6 DECEMBER 2010 ROSS FAHEY: Taree Leagues Sports Club SHADE OF RED: Padstow RSL SHANE FLEW, CLARE O’MEARA, BRAD JOHNS: Dee Why RSL SHELLSBAND: Artichoke Café Manly SINGLED OUT: Stoned Crow, Crows Nest SOFTWARE (MODULAR): Beach Rd Htl Bondi SPIRIT VALLEY, THE KEEP ON DANCINS, THE SUMMERVILLES: Oxford Art Factory, Gallery STEVE TONGE: Long Jetty Htl STONE PARADE, INDIGO RISING, THE PERFECT REVOLUTION, THE SALVAGERS, EXIT ROW: Annandale Htl STORMCELLAR: Stockton RSL SUZANNAH ESPIE, JEREMY EDWARDS, DUST RADIO: Heritage Htl TALK IT UP: Marlborough Htl TERRY BATU: Bull Dogs Club, Canterbury THE CHECKS, THE DIRTY SECRETS, FELICITY GROOM, BLEEDING KNEES CLUB, THE FEARLESS VAMPIRE KILLERS, THE HONEY MONTH, + HEAPS MORE!: World Bar Kings X THE DUDES: Windang Bowling Club THE EAGLES: Sydney Entertainment Centre THE FUMES, CARMEN TOWNSEND: Coogee Diggers THE JEZABELS, TWO HOURS TRAFFIC: Great Northern Byron Bay THE KYLIE SHOW: Scruffy Murphys THE MARISTIANS: Rag & Famish Nth Syd THE METALLICA SHOW: Bull & Bush THE NIGHT B4 XMAS, CARNI MEAT, THE SURE THING, HARD AS NAILS, SCATTERFLY, MODERN ERROR: Lucky Oz Tavern, St Marys THE OCEAN THE SKY, AZLOCK, CAULFIELD, ENTHRONE: Caringbah Bizzos THE REBEL ROUSERS: Woy Woy Bowling Club THE RUMJACKS,

SMITTY & B.GOODE, HYTEST, LIFE ADJUSTMENT DISORDER: Sandringham Htl THE STRIDES, FIREHOUSE: The Basement THE WEEKENDERS: Seaview Tavern, Woolgoolga THE WHITLAMS, JUAN ALBAN: Notes, Newtown TOM & DAVE SHOW: Hillside Htl Castle Hill TONE RANGERS: Vineyard Htl TRUE RADICAL, MIRACLE, BLACK JESUS, WHORES, BURNING SERVANT: Excelsior Surry Hills UNMARKED DJ: Crown Hotel Motel, Camden VELVET HOTEL: Mosman RSL WHITE BROS: Quakers Inn WILDCATZ: Wentworthville Leagues YUM DUO: Matraville RSL ZOLTAN: PJ Gallaghers Parramatta

SAT 04

AAMAZING ENTERTAINMENT KARAOKE: Parramatta Leagues ABBALANCHE: Campbelltown RSL AFTER PARTY BAND: Penrith RSL AFTER PARTY BAND, LAURIE BENETT: Penrith RSL, Castle Lounge ALMOST FAMOUS: Rooty Hill RSL AM 2 PM: Malabar RSL ANGIE DEAN: Castle Hill RSL ARMCHAIR TRAVELLERS DUO: Belrose Hotel AUSTRALIAN PLAYED: Tracks, Epping Htl BAG RAIDERS: The Forum Ent Quarter Moore Park BEAU SMITH: Stamford Grand Nth Ryde BEN FINN: Coogee Bay Htl, Beach Bar BEN FINN DUO: Coogee Bay Htl BEN SUNDAE: The Belvedere Htl BIG WAY OUT: 3 Wise Monkeys BLISS BOMB: Paddy Maguires Haymarket Bon Jovi The Show: Towradgi Beach Htl CARLISLE, THREE WORD NAME, CHRISTINA THIERS, THE STEVES, ABOVE THE FALLEN, THE DAWN ADDICTS, + HEAPS

MORE!: Valve Bar and Venue, Tempe CHRIS ALEXANDER: Parramatta RSL CONSPIRACY, UPSIDE DOWN MISS JANE, ROBOSEXUAL, VERTICAL SMIRK: Caringbah Bizzos DALEBAKE, DAN KELLY, CUSTOM KINGS, KIERAN RYAN, SONGS, LEENA, FERGUS BROWN, + HEAPS MORE!: Annandale Htl DAN PARSONS, SEAGULL: Great Northern Byron Bay DAVID AGIUS: Sir Joseph Banks Hotel DEEP DUO: Newport Arms Hotel DES GIBSON: Lansvale Htl DJ, THE BANDITS: Mounties Club Mt Pritchard DORA D DUO: Australian Hotel & Brewery, Annangrove DYNAMIC ROCK: Matraville RSL EYE OF THE TIGER: Carousel Inn Rooty Hill FEARLESS VAMPIRE KILLERS, THE SHOOTERS PARTY: Oxford Art Factory, Gallery GANGGAJANG: Coogee Diggers GIBBO & CO: Penrith Gaels GOODNIGHT DYNAMITE: Pritchards Hotel GTS: Taren Point Bowling Club HABEBE, JAMES TAYLOR, TRENT RACKUS, ADAM BOZZETTO, PETE NOUVEAU, ROB MARSHALL, + HEAPS MORE!: World Bar Kings X HELLO CLEVELAND: Mean Fiddler Htl HOOK ELATION: The Wall (The Bald Faced Stag) HYPE DUO: Courthouse Htl JARAKA COLLECTIVE: Artichoke Café Manly JEFF MARTIN, TEREPAI RICHMOND, SPOOKYLAND: Heritage Htl JJ DUO: Cronulla Bowling Club JONATHAN BOULET, GRACE WOODROOFE: Beach Rd Htl Bondi KAFE KOOL: Fairfield RSL, Supper Club Katrina: Hills District Bowling Club KEEP THE FAITH -

BON JOVI SHOW: Mawson Club ACT KEEPING IT REAL: Macquarie Arms Htl KIRK BURGESS: Picton Htl LUKE DIXON: Woolloomooloo Bay Htl LUKE DIXON TRIO: Maloney’s Hotel MAL’S OPEN MIC NIGHT: Panania Htl MARK DA COSTA: Marlborough Htl MARTIN MULHOLLAND: Northies Cronulla HtlSport Bar MARY GAUTIER: Notes, Newtown MATT JONES: Rydges Parramatta MILLENNIUM BUG: Campbelltown Catholic Club MONSIEUR CAMEMBERT: Camelot NICKY KURTA: Bankstown Sports Club NOVA TONE: Manly Warringah Leagues Club OCTIVE: Panania RSL ONE HIT WONDERS: Sharkies OPEN FIRE: Toukley RSL ORIGINAL SIN - INXS SHOW: Nelson Bay Bowling Club Paradox Park, WIL MAISEY BAND, ALL MANKIND: Jolly Frog Htl Windsor PARTY VIBE: St George Leagues PAUL SUN, MATT LAMB, DIDI MUDIGDO: Organic Food Markets, Leichhardt PEACHY: Kro Bar, East Leagues Club, Bondi Junction PETER HEAD: Harbourview Htl RADIO BANDITS: Gosford RSL REASONS 2B CHEERFUL: Wentworthville Leagues REBECCA JOHNSON BAND: Earlwood Bardwell Park RSL ROB HENRY, MATT SEABERG: Observer Htl ROB HENRY: Waterworks Htl, Botany SARAH PATON: Greengate Htl SFX feat…, 12FT NINJA, PIRATE, LUNAR CALM, DELOREAN TIDE: St James Htl Sydney SHAKE SHAKE SHAKE feat., ZOMG! KITTENS!, DISCO VALANTE, SLIPPERYWHENWET, MOO WHO, + HEAPS MORE!: Candys Apartment SHARRON BOWMAN:

Brewhouse Pub Marayong SINGLED OUT: Orient Htl SKYCRAPER TRIO: Kirribilli Htl STEVE BALBI: Harbord Beach Htl STRANGE BREW: Lewisham Htl SUNSET RIOT, NEON HEART: Fitzroy Htl Windsor SUVI: Riverwood Inn SUZANNAH ESPIE, JEREMY EDWARDS, DUST RADIO: Grand Junction Htl Maitland TALK IT UP: Crows Nest Htl TERRY BATU: Bay Sports Club THE HAVELOCKS, SHANNA WATSON, BENNY TEE: The View Factory, Newcastle THE JOHN STEEL SINGERS, DEEP SEA ARCADE, Fishing: Oxford Art Factory, Live Art Space THE KAMIS: Kareela Golf Club THE LAST CAVALARY, CLEAN MARLIN, VIENNA CIRCUS: Excelsior Surry Hills THE MELODIES: Town & Country, St Peters THE POD BROTHERS: The Carrington Surry Hills THE SWINGING SXTIES: Blacktown RSL THEY CALL ME BRUCE: Ettamogah Htl THIRD TIME LUCKY: Richmond Club TICE & EVANS, DJ KAKI: Sandringham Htl downstairs TIM SHAW: PJ Gallaghers Parramatta TONY WILLIAMS: PJ Gallaghers Drummoyne TOUR DE FORCE: The Cube, Campbelltown TRILOGY: Overlander Htl TRUE VIBE NATION, HYJACK & THRON, DJ ASK, HERB: Sandringham Htl TWO MINDS TRIO: Mercantile Htl UNMARKED DJ: Crown Hotel Motel, Camden VICKY TURNER TRIO: Dee Why RSL VICTORIA MCGHEE: Long Jetty Htl WYATT MOSS-WELLINGTON, WARTIME

SWEETHEARTS: 505, 280 Cleveland St Surry Hills YUM DUO: Miranda RSL

SUN 05

ANDY MAMMERS DUO: Cronulla RSL BIG ROCK: Gladstone Hotel, Dulwich Hill BLACK GARDENIA: Coogee Diggers BLUES SUNDAYS: Artichoke Café Manly BRYEN WILLIAMS: Fitzroy Htl Windsor CARL FIDLER: O’Malleys Kings X CHRIS JAMES: Richmond Club CLIVE HAY, LENNI JOSEPH: Campbelltown Catholic Club DAN LAWRENCE, ROB HENRY, MIKE BENNETT: Observer Htl DAN SPILLANE: Mean Fiddler Htl DAVE WHITE DUO: Northies Cronulla Htl DAVID AGIUS: Mounties Club Mt Pritchard DEON HENRY, ALLS FOLLOW, FACE DOWN FAX MCHINE, JESS & JEN, BROKEN HANDS, + HEAPS MORE!: Valve Bar and Venue, Tempe DIRECT INFLUENCE, SUNSET RETIREMENT CLUB, ABILITY, CHRISTIAN BURNS, MIKE WHO: Beach Rd Htl Bondi DISCO PUNX: World Bar Kings X DON HOPKINS: Dee Why RSL DREW MCALISTER: Palace Htl Darlinghurst DULWICH HILL COMMUNITY FAIR: Dulwich Hill Village Centre FALLING FOR BELOVED, GHOSTS ON BROADWAY, WAKE THE GIANTS, NEVER BACK DOWN, STAND FOR THE FALLEN, BROKEN RIOT, Chasing Amy: The Wall (The Bald Faced Stag) GROOVELINE: Gosford RSL HUE WILLIAMS: Bayview Htl Woy Woy ITCHY FEET: Tall Timbers, Central Coast JAVA QUARTET, BOBBY SINGH, MC MORGANICS: Camelot JEFF MARTIN, TEREPAI RICHMOND, GABRIELLE & CAMERON (DEAD LETTER CHORUS): Hotel Gearin, Katoomba

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JESSE: Erskineville Bowling Club JIMMY BEAR: Long Jetty Htl JJ: Coogee Bay Htl, Beach Bar KIERAN GLASGOW: Waverley Bowling Club MAL’S OPEN MIC NIGHT: Iron Duke Htl Alexandria MANDI JARRY DUO: Peachtree Htl Penrith MARK DA COSTA: 3 Wise Monkeys MARTY STEWART: Hurstville RSL Club MATT JONES DUO: Harbord Beach Htl MATT PRICE: Woolwich Peir Hotel MCCAULEYS RAIDERS: Penrith RSL, Castle Lounge MISSION JONES: The Belvedere Htl NICKY KURTA TRIO: Crows Nest Htl PARTY BEARS, GIBBO & CO: Overlander Htl PAUL SUN, ALEX COMPTON, MONIQUE LYSIAK: Organic Food Mkts, Frenchs Forest PLEDGE THIS, THE ROSE LINE, WINGS OF ICARUS, VILLA RISE, SAVE THE SYMPATHY: Lucky Australian Tavern Sydney PSYCHO HOLIDAY, JARRAN ZEN AND THE BLIND CHILDRENS ORCHESTRA, SUBNURONIK, GRIEVYRE: Sandringham Htl PUGSLEY BUZZARD, CHICKS WHO LOVE GUNS, CLAVIANS: Great Northern Byron Bay REBECCA JOHNSON BAND: The Mark Hotel RUBY WILDE, SOULFOX BLUES REVUE, RENO NEVADA: Excelsior Surry Hills SHANE FLEW: Kamma Wine Bar, Neutral Bay SHARRON BOWMAN: Bull & Bush SOUL SHAKEDOWN PARTY, SONGWRITER SESSIONS: The View Factory, Newcastle SOUNDPROOFED: Jolly Frog Htl Windsor STEVE EDMONDS BAND: Premier Hotel, Broadmeadow STRELITZIA JAZZ SETS: Bankstown Sports Club SUZANNAH ESPIE,

JEREMY EDWARDS, DUST RADIO: Petersham Bowling Club TED NASH: Miranda Htl THE BANDITS: Kro Bar, East Leagues Club, Bondi Junction THE CHURCH: Notes, Newtown THE MOMOS, BOW & DAVIS, VEGAN MOSQUITOS: Botany View Htl THE RHYTHM HUNTERS: The Rhythm Hut THE TONEDOGS: Macquarie Arms Htl THE WHITE BROS, JOSH MCIVOR: Ettamogah Htl THE WHITE BROS: PJ Gallaghers Parramatta THEY CALL ME BRUCE: Woolloomooloo Bay Htl WAITING FOR GUINNESS, DOG TRUMPET, RAY MANN, THE SLOWDOWNS, CHARLIE MCMAHON, GONDWANA, THE ANON ANONS, NGARATYA: The Wharf Theatre

MON 06

ANDY MAMMERS: Novotel - Brewery Bar, Olympic Park CC THE CAT, NGAIIRE: El Rocco Kings X CRAIG SIMON COLLECTIVE: 505, 280 Cleveland St Surry Hills DAVID AGIUS DUO: Opera Bar DINKI DI ACOUSTIC, PETER MILLER ROBINSON, VICTORIA YOUNG, JULIE NELSON, THE ERSKINVILLIAN DUO, GRAHAM HEALY: The Hive Bar, Erskineville JAZZ @ THE WALL: The Wall (The Bald Faced Stag) JOHN WATERS, STEWART D’ARRIETTA: Playhouse, Sydney Opera House LIONEL ROBINSON: Dee Why RSL MANDI JARRY: Coogee Bay Htl MATT JONES: Observer Htl OUTLIER: Scruffy Murphys SONGWRITER SESSIONS: Excelsior Surry Hills THE EAGLES: Acer Arena Homebush THE FUMES, CARMEN TOWNSEND, THE SINS: Brass Monkey UNHERD OPEN MIC NIGHT: Sandringham Htl downstairs

The Benchmark in Mastering Th International standards at affordable rates for f Australia’s independent music scene Make your budget sound big! Ma For all a studio and mastering inquiries: info@benchmarkmastering.com www.benchmarkmastering.com www.level7studios.com.au (02) 9211 3017

Benchmark Mastering • 90 • THE DRUM MEDIA 30 NOVEMBER 2010

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THE DRUM MEDIA 30 NOVEMBER 2010 • 91 •


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

THREE CHORDS AND THE TRUTH Last here in March, singer/songwriter Mary Gauthier proved such a popular visitor she’s returning to not only reprise her performances based around her latest album, The Foundling, but also to present a songwriting seminar at the JMC Academy. Titled Three Chords And The Truth, Gauthier will not only explore the how of songwriting but also the why, as she explained recently from her home in Boston. “What else do you need?” she explained, obviously smiling, when asked about the title of her seminar. “Really, what writers want is for me to listen to their songs and help them to see where they can be strengthened. So what I generally try to do is work within each writer’s own work in an attempt to elevate their writing. There are things that I can teach that are teachable, you know, certain rules and just textbook things that people screw up. Obviously you can’t teach talent – you’ve got talent or you don’t – but talent that hasn’t been polished is just not going to communicate well. So what I try to do is to help people communicate better with their songs and there are almost just classic mistakes that people make which can lose the audience, so I’ll go through those.” At the crux of the seminar is that one word – why? “Exactly. Why are you doing this? Usually it’s because people think they have something to say, so if you have something to say and feel compelled to communicate it through a song, my job is to help you to get it said. People usually just meander around and don’t say it, talking around it because they think they’re supposed to be a poet or something and that’s why I go to three chords and the truth – don’t be a poet, just say it. Hank Williams said it: ‘Keep it simple’.” One of the most significant aspects of Gauthier’s own songwriting is her penchant for not finishing a song with an answer but with a question. “Yes, I think so and the question is always, how do we love better? What do we do to love better, stronger, deeper? What have I done that has caused this relationship to fall apart? Because, like, there are only two things to write about – love and lack of love – what else do songwriters sing about? So there’s no neat little answer to that; there are just layers of complexity, which makes it possible for me to have a job called songwriting! “You know, writing involves listening. I really have to sit back and listen – listen to my heart and listen to the voices that songwriters listen to when they’re at work, so lately I’ve been talking too much [Gauthier has been on the road internationally touring The Foundling for more than a year], I haven’t been listening at all and so I’ve got to slow it down, but I can’t in the middle of CD release. I need to sit down and stop the motion for a month and get centred.” Who then were Gauthier’s songwriting mentors? “I pulled from the folk singers, the singer/songwriters and then the country singer/songwriters. I’m like half Woody Guthrie, half Hank Williams, half Leonard Cohen/Bob Dylan, half Merle Haggard, Johnny Cash and Willie Nelson. I think that all those guys have so much in common and that’s what really gets my attention, people like that who are the word crafters, where the words matter the most. Those were my big teachers and I just studied their work and listened to the songs thousands of times.” Three Chords And The Truth: Songwriting Seminar With Mary Gauthier takes place 11am-5.30pm Sunday at JMC Academy, Surry Hills.

SOUND BYTES Earlier this year Philadelphia-based singer/songwriter Amos Lee was invited by Calexico members, guitarist Joey Burns and drummer John Convertino down to Wavelab Studio in Tucson, Arizona, owned and operated by engineer/producer Craig Schumacher, who coproduces Calexico, to try recording a few songs. The result is his fourth album, Mission Bell, due out in January, which was produced by Burns. With a strong working relationship having already been established – Charles Fisher (Sirius, Air Supply, Hoodoo Gurus, Savage Garden) produced the second album for Taxiride – the now solo Taxiride frontman Jason Singh called on Fisher to produce his debut solo single, I Can Dream, which was mixed by Dave Way (Pink, Foo Fighters). The world might just have missed out on the next Britney Spears album had her English-born producer Rusko, real name Christopher Mercer, not had the foresight to grab his hard-drives when a fire broke out in his Los Angeles home studio a couple of weeks ago. I can hear the sighs of relief from here. • 92 • THE DRUM MEDIA 30 NOVEMBER 2010

THE BUTLER MASTERING

Answered by: Paul Butler Tayar

to be expressive? Saying that I guess there is still a slight disparity between the two. In my experience digital gear can be better for the transparent side of things whilst having a nice analogue palette of colours is always nice.

What’s the studio set up you have there equipment-wise? The studio focus is squarely set on the monitoring environment and the signal chain. Based around equipment from Lipinski Sound, Dangerous Music, Crane Song and local legend Peach Audio, the room has been painstakingly “tuned” to achieve a world-class listening environment. As far as processing, there are products from Crane Song, API Audio, Millennia Media and Shadow Hills on the analogue side and Magix Sequoia with PSP Audio and Algorithmix plugs in DAW land. I am a real gear slut though so the processing side [away from my staples] does change quite frequently. Any tips for artists entering a studio for the first time? I see a lot of work coming through that is clipped in an attempt to make it louder. I really encourage all my clients to really watch out for this. In tracking, use 24-bit recording and stay well away from those red lights. In mixing, leave some space at the louder side of things and mix to how you want it to sound, not to make it loud. A 24-bit recording has over 40dB of headroom compared to 16-bit, so you have plenty of room to play with. If you’re throwing a compressor over the mix bus just for the sake of loudness, leave it off, turn your monitors up and let your mastering engineer make the decisions at a later stage. In saying that, if you really do like the sound of a dynamic processor over your mix, then by all means throw it on, but only if it is for the sound in a creative sense. If you’re not sure, print a mix with the processor and then without and bring both to your mastering session. Which notable artists have worked at the studio? I’ve personally worked with plenty of “big names” in the past, in many different areas of the audio industry. In the current studio as it stands, we’ve had a massive group of indie bands coming through. Lots of online work from the US, Italy and even Cuba, through to

Can bands bring in their own engineer or do they have to solely use a house engineer? We welcome other engineers to be a part of the mastering process. We will have someone overseeing the operation but this can be strictly a system support role if you so choose. DVD audio work for some of the So You Think You Can Dance crew and some of the ex Idol guys. We’ve also been working with a great little studio in Pyrmont [Suite 110] that has some amazing artists coming through. They are well worth checking out. Who do you have on staff and what’s their background in the industry? The studio is mostly me, but we have a couple assistants that come in through the week. I’ve always been involved in mastering but to pay the bills in the earlier years I worked training audio and designing systems for Jands [and still do on a consulting basis], listening to and testing the Event Opals for Rode and for Austereo as a broadcast engineer for a couple years up in Brisvegas. They’ve all given me great experience in other spaces of audio that ultimately relate to mastering and all have some wonderful [and very talented] people working for them. Analogue vs digital – discuss. There is a plethora of equally bad analogue and digital equipment out there, and concurrently there is also some great equipment in each domain. It’s not so much of an issue today as to how the product is achieving the process; everything should be judged on the final result... the sound of course, but also the ergonomics of use. Having a device that has great controls can make a big difference in your personal results; who wants to worry about sub-par controls [or menus] when you need

We’re an impoverished indie band – do you offer any deals for acts in our situation? Definitely! We always have time for indie bands. I’ve worked hard to keep a fixed pricing structure for the indie crew so everyone knows where they stand. We also offer a free listening session so you can bring in your music, listen to it on our systems and discuss what could be done to improve the project. What’s the access to the studio like with regards to parking, flat load, etc? There’s ample parking in the adjacent side streets, we also have a visitor parking pass to keep those parking cops off your back. Working in the studio can be arduous and we’ll need a break – what are the amenities in the local area? There are a few too many distractions far too close to the studio, some pretty cool pubs, bars and cafes. We also have a nice courtyard to chill out in away from it all, with a barbecue and pool table on order - it’ll be a nice place to spend some time. What are your contact details? Best contact is through our website, the-butler.com, or you can call me directly on 0403 435 686 if you want to have a chat about your next project.

HEROES FOR HIRE talk to SCOTT FITZSIMONS

P

on our last album, which is all cool, but then we decided that we hate to play slow songs live so we didn’t want to play half of it because they were real slow and midpaced. This album’s got the old pop/punk sound, it’s got aspects of old Blink and old New Found Glory and old Fall Out Boy and things like that.”

op/punk is making a comeback and Sydney’s Heroes For Hire have been doing what they can to channel the spirit of Blink-182 past over the last year or two. Regulars on the Sydney scene, only recently have they started to get their act together and graduate from drunken, in-joke-ridden live shows that almost saw them fade out into obscurity. But with some diligent networking and support slots on the back of their long overdue debut longplayer, Life Of The Party, they’re on the charge and currently in Baltimore with producer Paul Leavitt, who has worked with All Time Low and Circa Survive, at Valencia Studio working on the swift follow-up.

They’re to spend about a month in America and though they’re still getting along, there’s still plenty of time to get on each other’s nerves. “I think we’re the band that hates themselves the most in the whole world, but nah, everyone’s getting along and having a good time. Even though we are living with each other 24 hours a day, no one’s really annoyed anyone yet.” Leavitt, as well, has settled into familiarity. “At the start he was like, ‘Oh, you should play this like this,’ whereas now he’ll just go to us, ‘Look, that’s shit, play it like this.’ He’s one of our mates now telling us what to do instead of tip-toeing around things.”

“I’ve been sleeping all day, because we got super drunk last night, so I decided to sleep all day,” frontman Brad Smith says down the line. “We’re staying in the studio. There’s beds and stuff here so we just stay here. We pretty much don’t leave unless we’re going out… Last night was huge, we all got really, really drunk. Beer’s excessively cheap in America, which is a good thing for our band because we’re not very rich but then we can still drink lots and lots. People freak when we tell them a Corona in Australia would cost us $9, whereas here it’s $2.50. It’s pretty retarded.” When Drum talks to Smith, the band have settled into a routine: Leavitt rocks up at about midday and they record until 10pm. The rhythm section’s into its final stages of tracking with the lead lines and vocals about to start intermittently to keep vocals strong throughout. “We had the songs all demoed and written before we came and Paul actually knows a lot and made them sound heaps, heaps, better. Just little things that we wouldn’t pick up, like saying when to cut a song better and do different beats here because it’s starting to sound the same. It just opened the songs up heaps more… He’s a really, really nice guy. At first his jokes were a bit weird, but I think that’s just the Australian/American difference.” Staying in the studio’s in-house accommodation, the band have opted to use the house gear as well. “Dwayne

[Hazel, guitarist and songwriter] is using [Marshall] JCM 900s and Mesa Dual Recs, Lee [McGarrity, drums] used some custom drum kit,” says Smith in true vocalist character, highly likely to nerd-out about gear like a guitarist would. “Mat [Hawthorne, bass] used an Ampeg head like the one he has at home. They’re using all different guitars than they usually use as well, Matt used a Gibson Grabber on bass, rather than his usual Stingray and it sounds fuckin’ sick. Dwayne’s in there now using a Rickenbacker, so they’re all stretching out of the box a little bit.” As a whole the band have opted to go for an upbeat sound on the as-yet-untitled record, something that will translate into the live show well. “We had a lot of ballads

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Enthused that even the raw recordings are sounding far better than Life Of The Party, the band are making good time and are looking to record acoustic/extra tracks in free time they’re looking like having at the end of the process. Smith’s not going to watch Baltimore-based drug crime super-drama The Wire until he gets home – although his producer is sure they’re in the “safe” part of the city – and the heavy drinking’s going on hold after a night with Michigan pop/punk band Fireworks, until the vocals are done. “That and the fact that we’re all slowly running out of money.” And the last piece, songs are being whittled down on their individual merit, rather than say a tracklisting preference. “On the plane we ditched one because we all hated it and we were like, ‘Why are we going to try this song? We all hate it,’” Smith laughs. “With each song if we like it, it stays. If we don’t, who knows what will become of it?” Heroes For Hire’s second album is due out autumn next year.


THE DRUM MEDIA 30 NOVEMBER 2010 • 93 •


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FS: Guitar amp and FX unit. Crate G80XL 80 watt clean celestion combo and awesome sounding “Black Box Reloaded” M-Audio multi-FX unit (also works with ProTools to record). $400ono the lot. Great gigging setup, loud & reliable. Brent 0406501192

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double slappin bass player needed for rockabilly band based in sutherland all experienced players great/singerguitarist-own rehearsal studio-we have the legendery john manfredas on lead/any ages if your the buisness give pete a ring 0419637381 or email pgsmash@iprimus .com.au iFlogID: 9633

CALL CENTRE/CUST. SERVICE Telemarketer required with music industry experience by Sydney based established music production company. Possible work from home, if more suitable. Hourly rate plus commission neg. Please email your details for an appointment. leon@ oriium.com.au iFlogID: 9367

ENTERTAINMENT

GUITAR AMP. PEAVEY BANDIT 11. 80 watt 12”combo. features reverb/ saturation. 2 channel footswitchable. very loud. great fat sound. perfect condition. $350. Ph. 0428744963 cooroy. iFlogID: 9155

HUGHES & KETTNER TRIAMP MK2 Amazing sounding amp! Used on Top 40 Aria recordings and National Arena Tours. Priced to Sell $2800 PHONE LUKE: 0400077901

Audio, Lighting & Vision technitions wanted for large AV company established for 25 years. Start off on casual basis, with full time opportunity for the right people. Looking for all experiance levels, to help grow Sydney branch. Big opportunity. iFlogID: 9033

KARAOKE & TRIVIA HOSTS REQUIRE Want to get paid to be a little silly for a few hours with a microphone in front of your face? Maybe you have some audio experience and love playing with speakers and mixers. You’re a performer looking for a way to get in front of a crowd? Everything Entertainment is a decade old company with a youthful outlook that sticks microphones into the hands of hundreds of warblers and melts the brains of just as many quizites in pubs each week. We are in the process of expanding and are looking for life of the party types to help the room have a good time. Must Have: A car An ABN A love of music Be computer literate Be super reliable Would be nice to have: Experience talking on a microphone Experience with audio equipment Be able to sing Be open to humiliating yourself in public What we need from you: To host shows by yourself and be self-reliant Be able to commit to at least two shows a week (preferably at least one on a Fri/Sat night) What you’ll get from us: Full training Equipment to use A boss who is contactible 24/7 (though use small words if you wake me at 7am) Competitive pay rates Gigs to fit in which your existing commitments We’re holding group interviews during the first week of December, please contact the Operations Manager via jason@ev-ent.com with a blurb about yourself and why you were born to do this. STOP PRESS: We have a gig right now that needs a host to take good care of it, is that you?

Trace Elliot Speed Twin all valve 100w head/guitar amp - boutique top of the line, triple channel, pentode/triode switchable, high gain, footswitchable, effects loop, speaker dampening - the British mesa boogie! Super versatile. Excellent cond. Paid $2000, sell $950! iFlogID: 9560

COMPLETE BASS KIT - Soltek quadbox, Fender head, Onyx bass guitar. c/w strap, stand, leads, a Metallica and a Sepultura bass tab book. Great starter kit, gives awesome sound. Bass is very light and maneuverable. $300. Contact Brad at fyreinthehead@optusnet.com.au iFlogID: 9550

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Brand New Fender standard Stratocaster.(Mexico) Updated model including new tinted neck. Different colour options available. Package includes Guitar, gig bag and stand. RRP $1100 Logans Price $756 Heaps of other Fender bargains instore. Logans Music (02) 9744 2400 www. loganspianos.com.au AUTHORISED FENDER DEALER iFlogID: 6618

GIBSON SG STANDARD LEFTY

Brand New Gibson SG Standard Lefthanded guitar. Heritage chrery finish including Gibson hard case. Logans Price $1999 WOW! (righthanded also available!) Logans Music Burwood (02)97442400 www. loganspianos.com.au AUTHORISED GIBSON DEALER iFlogID: 6614

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DRUMS 4-PIECE GRETSCH JAZZ KIT

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Jack Savage’s Gretsch Classic jazz / bop kit 4 piece.Pristine condition. Bass drum 20” x 16” Snare 6 ½” x 14” Snare is wood, North American maple Small tom 12 “ x 9” Floor tom 14” x 16” Serial numbers on each drum are very close. Pearl Hardware and Ragone hard shell cases included. Phone: 0424 821 764

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DIRTY LAUNDRY PRODUCTIONS IS CURRENTLY RUNNING NEW EVENTS @ LADY LUX ON FRIDAYS AND WE ARE LOOKING FOR SOME NEW PROMOTERS WHO ARE KEEN TO JUMP ON BOARD WITH THE TEAM. PLEASE CONTACT MICHAEL ON 0403820043

Drums 4 sale Pearl forum,good condtn $500 call 0439649331

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AmpliTube iRig. Plug your guitar into your iPhone/iPod touch/iPad and jam anywhere with world class guitar and bass tone right in the palm of your hand - from the leader in studio-class guitar and bass software. Simply plug the iRig interface into your mobile device, plug your instrument into the appropriate input jack, plug in your headphones, amp or powered speakers, download AmpliTube for iPhone Free and start rocking! You’ll have at your fingertips the sound and control of 3 recombinable simultaneous stompbox effects + amplifier + cabinet + microphone just like a traditional guitar or bass stage rig! Add amps and effects as you need them — you can expand your rig with up to 11 stomps, 5 amps, 5 cabinets and 2 microphones in the AmpliTube iRig app custom shop. ONLY $59.99 UNBEATABLE Logans Music (02)9744 2400 www.loganspianos.com.au iFlogID: 6545

Lowden acoustic guitar. Made in Ireland 2003. Model 032C cutaway. Rosewood back and sides, sitka spruce top. Abalone inlays. Hiscox case. Mint unused condition suit new buyer $3500. Ph Brendon on mobile 0417644600. iFlogID: 9423

FOR SALE AMPS

MIXERS

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Fender twin reverb combo amplifier, later 70’s. reverb and tremolo. 100+ watts. silver face with foot switch, on casters. All original including the valves no tears anywhere. excellent condition. $2100. Contact brendon at email mccarrison@aapt.net.au iFlogID: 9421

Avedis Zildjian 20” Ride / Genuine Turkish. Bought in the late 50’s in New York. They have a very light touch, sustain and have a sweet, clean sound. $400.00. Avedis Zildjian 22” Ride $300.00. Paiste Sound Creation 18” Crash Ride $400.00. Paiste Flat Ride 20” Hammered 2002 series $300.00. Phone: 0424 821 764

Need a PA /Sound system for small functions/events ? For as low as $100, you get a professional PA system with a sound mixer, complete with operator. Suitable for weddings, pub/club band gigs, private parties,etc. Contact Chris 0419 272 196 iFlogID: 9256

BURLESQUE & DRAG EYELASHES Petticoats & Gallantry has launched a new range of exclusive, boutique handmade & decorated false eyelashes perfect for going out. With a mix of over-the-top dramatic lashes suitable for Performances, Burlesque, Drag and even just for a special night out, you’re sure to find some one-ofa-kind false eyelashes to wear. Each pair is customised and decorated by hand in a variety of themes, and commission orders are very welcome. www.petticoatsandgallantry.com.au Look for us on facebook for exclusive promotions.

Recording guitars? Get THE SOUND! Rivera k-tre guitar amplifier for rent. Get the best sounding guitar amp on the planet for your recording, far better than MESA, Marshall or Fender. $50/day better rates for extended sessions. blakekirby@hotmail.com or 0413376148 iFlogID: 9176

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Sell Control Surface Digidesign Control 24 (Focusrite) in excellent condition, $5000. Selling because moving overseas. Please don’t hesitate to contact me if you have any questions and in order to discuss the price. iFlogID: 9736

P.A `S FOR HIRE P.A.hire with experienced operator for all situations. Excellent equipment, smooth & friendly service. Always great sound, attention to detail. iFlogID: 9647

P.A hire, staging, lighting for corporate, pubs, clubs and festivals. Using top quality outboard gear; Lexicon, Allen & Heath, Sure 4.800, DBX driveracks, 160SL compression, 4-way front-of-house, 3-way active foldback. 30years+ experience in the music industry. Custom rigs to your requirements. iFlogID: 9641

PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. Contact Chris 0419 272 196. iFlogID: 7415

PHOTOGRAPHY SETLIST PHOTOGRAPHY

I’m seling my Digidesign MBOX2 including Pro Tools LE 8 for $450. It has been kept in a box and used only a couple of times since i bought one year ago. Mobile: 0421250023 Joe Meek Twin Q recording strip. Mic pre/compressor/limiter/equaliser stereo/twin channel recording strip, barely used, perfect condition. Adds awesome vintage mojo to recordings. Sounds fantastic. I’m selling all my recording gear. I paid $1450, sell $750!

Vintage 1960’s “Optro” 305 compressor limiter. Vintage & classic 2RU broadcast transformer balanced opto compressor/limiter, in great working condition. Great vintage mojo. As used by Festival, ABC and Metropolis studios. Bargain! Sell for $675! iFlogID: 9564

PA EQUIPMENT BSSound PA & Lights SALE Grays Online Auction: 2 to 8 December. Inspection day Tuesday 7 December. 150 Lots of brand-name microphones, speakers, effects, amps, mixers, road-cases and lights. www. bssound.com.au/sale.htm www. graysonline.com/sale/67713 Mark Barry on 0419 993 966 CARVER U.S.A Twin 900 watt split mono power amp with Bose controller/pre amp. rack mount style.in covered case.will run 4 speakers each side.total 1800 watts.LOUD! VGC $750 lot.Ph.0428744963 cooroy

BAND MERCHANDISE NOT AVAILABLE FOR FREE ADS. CL - PRO QUALITY BACKING TRACKS! - MIDI or MP3 - Any song you want - Send me the song today, Get the MIDI file the next day! - $25 for MIDI / $35 for mp3 - EMAIL: vangelis2133@ yahoo.com PHONE: 0449672435

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BOOKING AGENTS Gig Launch has heaps of opportunities for artists in Australia and around the world. We’re always on the hunt for new artists, so head over to www. giglaunch.com.au and get submitting! Go Aussie, Go Gig Launch iFlogID: 9386

Looking for bands to play Apollo Bay! Gig Launch, Australia’s first online booking agency, are accepting submissions to play Apollo Bay 2011. Great festival, great promotion. Head over to www.giglaunch.com.au to submit your band. Go Aussie, Go Gig Launch! iFlogID: 9184

SnakeEyeProductions offers EPK’s also know as electronic press kits, they work as a bio/show reel, to promote your band to bookers/ promoters/labels and venues. PH0416120639 iFlogID: 9588

EP RELEASE So ya love rock? You ain’t never heard it like this! Download ENVY - IMAGES FOR THE LONELY out now on Itunes. Experience the new face of Melbourne rock!

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REPAIRS MIKES GUITAR GARAGE GUITAR REPAIRS & SETUPS www.mikesguitargarage.com (02)95862486. We are passionate about Guitar Repairs. From simple restrings, complete setups, repairing broken headstocks or installing pickups, we can do ANYTHING! We can get your favourite axe sounding and playing better! iFlogID: 9578

ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADESREPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 tara@rockinrepairs.com www.rockinrepairs.com TOYROOM guitar effects pedal modification. Modding Boss Vox Digitech Dunlop MXR EHX and more. E-mail greenguitargear@hotmail.com or visit www.toyroomguitareffects.com

Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge & personal industry experience into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email Detax@optusnet.com.au iFlogID: 8597

MANAGEMENT MINSTREL MANAGEMENT Need help with your music career? We provide the best in Recording, Mastering, Tours, Promotion, Publicity, Solicitation, Merchandise, Music Video’s, Photography, International Licensing, Direct to fan Marketing campaigns. WANT TO TAKE YOUR ACT TO THE NEXT LEVEL? www.minstrelmanagement.com iFlogID: 9681

TUITION Sydney’s Live Music Photography specialist. Artists include Scissor Sisters, Groove Armada and festivals such as Soundwave, Good Vibrations plus many more. Cheap and affordable for local artists. Go to setlistphotography.com or email info@ setlistphotography.com for a quote. iFlogID: 9448

RECORDING STUDIOS

OTHER

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SUPPORT LOCAL ACTOR IN L.A FEATURE FILM AUDITION VOTE FOR BENN ALLSOP Need Your Support Your Time & Effort is Greatly Appreciated So Please take the 5 minutes and go to www.idancemachine.com/ blog/2690 and vote! contact me @ www.riverlanemusic.com iFlogID: 9242

PA / AUDIO / ENGINEERING CHEAP RATES, GOOD GEAR, 20 YEARS EXPERIENCE. 2x15” AND 2x12” FOH, 2X FOLDBACK AND SIDEFILL. SHURE MICS, STANDS,LEADS. FOUR PAR56 CANS. SUITABLE FOR ANY BAND. INNER SYDNEY BASED. PHONE DANNY 0413694830 OR EMAIL dannypavlovic@yahoo.com.au iFlogID: 9768

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Easy way to learn saxophone for students of different ages (from kids to adults) and different levels (from beginners to advanced). $35/hour Lorenzo 0410041979 iFlogID: 9138

Guitar and Bass tuition, Electric & Acoustic.Private one on one lessons, all age groups catered. Beginner to intermediate. Theory, Rock, Blues, Slide, Finger picking and Improvisation techniques. Phone Terry 0402 993 268. Sutherland Shire. iFlogID: 9274

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 0405-044513 learn and start playing GUITAR Instantly InteGuitar.com iFlogID: 9572

ACOUSTIC GUITAR LESSONS with experienced and qualified tutor. Who has 20 years of studio and live performance. Most styles. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 or email oa@olesart.com

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Heavy Metal Community

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DRUM LESSONS on the Central Coast with Chris McCaig. Professional air conditioned studios. Basic, Intermediate & Advanced Drum Kit Studies syllabus + AMEB available. 1st lesson free! www.beatindustry.com

GUITAR LESSONS IN SYDNEY

Cameron Jones Guitar and Bass Tuition. I’m an experienced Teacher based in the Canada Bay area. I cater to all styles and levels, covering both practical and theoretical knowledge. Group or individual lessons are available. All ages. Phone 0418113731

free iphone and nokia apps Radio Bondi

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Drum Lessons - Petersham NSW. Or I can come and teach you in your home on your own kit, in the Inner West. All styles covered - learn how to play what you want in a friendly, relaxed atmosphere. www.steeledawson. com

Guitar coaching available for intermediate to advanced players. Rock, pop, blues and jazz. Rhythm techniques, lead pleaying, improvisation, advanced theory and harmony. Specially tailored for you and your music, take your playing to the next level. Located in the northern beaches, but will travel for dedicated students. 0405 125 845 youtube.com/elnico50 iFlogID: 9691

GUITAR LESSONS with experienced and qualified tutor. Who has 20 years of studio and live performance. Rock, pop, jazz, theory, etc.etc. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 email oa@olesart.com iFlogID: 9322

GUITAR LESSONS 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 iFlogID: 9029

GUITAR TUITION BY MAL EASTICK

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Professional Drum Tracks supplied for your music for use at Rehearsals and Live Performance. I also do Professional Band and Drum charts. www.steeledawson.com

SINGING LESSONS THAT >>ROCK<<

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Commercial Radio Airplay, get your songs on Radio! Interested? contact andy@zfmcountrywide.com

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RECORDING SERVICES

MASTERING

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Drum Tuition in Stanmore with a Billy Hyde trained teacher. Dip Ed, Dip Drums with10 years teaching experience. All styles and levels taught. Beginners Welcome! Call Lee - 0403307796

Have you got a song in your head? Get it recorded with a multi-instrumentalist producer in a relaxed, friendly studio. Experienced in arrangement, composition, performance and production. Affordable rates Call Greg 0425 210 742

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FREE LISTENING SESSION... The Butler Mastering is offering a free listening session to all unsigned artists. Hear your music within a world-class listening environment and discuss what can be achieved to take your music to the next level. info@thebutler.com. www.the-butler.com

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

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The Sino Australian Music Exchange (S.A.M.E.) can help you organise your band’s tour of China. Download the prospectus document now for more information - www.tenzenmen.com

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MUSIC SERVICES

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

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Tobacco Burst 1974 USA Gibson SG Looks it’s age if your into that relic rock’n’roll been around the traps look. Sounds amazing. A real character & a reluctant sale. Recently had professional setup & comes with it’s original hard case.

JACK SAVAGE’S CYMBALS

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GUITAR AMPLITUBE IRIG

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.

Avalon 737SP micpre/compressor/ equaliser Amazing Class A professional quality recording strip, used by studios everywhere. Hardly used! Very regretful sale. Perfect cond. RRP $3400, selling $1800!

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SCRATCHED DISC REPAIR SERVICE

HIRE SERVICES

METALLICA - 1 x Magnetic Zone GA Standing Ticket 4 sale -Acer Arena 13th Nov. Payment & collection arrangements to be confirmed on sale. Email $$$ offer & contact number to melchrisso@optusnet. com.au

Warwick Streamer II 5 String Bass Guitar. As made famous by Dirk Lance of Incubus. As new condition.

CD / DVD

OTHER

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Looking for a job backstage? Then join the thousands of other members who have found jobs at backstagejobs.com.au its free to subscribe with Jobs,News,Classifieds and now you can download our Iphone App for free

297 capacity, stylish & well equipped martin place bar/nightclub available for one off parties/events or regular weekly nightclub nights. If you are interested then give Danielle a call on 0414 89 89 36 between 11-12am or 3-4pm Monday-Thursday.

1982 USA original DAN SMITH fender stratocaster. Rare moccha brown. Immaculate condition, excellent sound. vintage collectors guitar. valued at $5500.00 by guitar specialist with authenticity documents. For sale $5500 ono. Anyone who see’s this guitar will be impressed..it is in mint condition.

Crate combo, 220 watt amp with 15” speaker. Loud and good condition. Input for extra speaker. Made in USA. Excellent unit. $450 97590970

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PROMOTER

1982 DAN SMITH USA FENDER STRAT

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BASS

AUDIO, LIGHTING & VISION TECHS

GUITARS

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.

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

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 iFlogID: 9375

GUITAR, BANJO AND VOICE

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CREATIVE GUITAR TUITION

iFlogID: 9141

SONGWRITER’S RECORDING STUDIO Understanding the needs & budget of a songwriter, International producer Nathan Eshman can create complete production on your hit songs, from concept to mix & master. Clients include: Marcia Hines, Candice Alley & ex-Toto front man Fergie Frederikson // www.nathaneshman.com iFlogID: 9335

SYDNEY RECORDING ARTISTS Professional recording studios with state of art equipment & Producers at a affordable price. Turn your music into gold with our BEST RATE package. We also Market, Manage & Distribute. www.sydneyrecordingartists.com Call 0415 807 137 iFlogID: 9743

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

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

iFlogID: 9117

iFlogID: 9675

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

iFlogID: 8799


PIANO: BLUES, ROOTS & POPULAR

VOICE LESSONS

FREELANCE GUITARIST AVAILABLE

BASS PLAYER WANTED FOR REGGAE TRIO - Male/Female bass player with backing vocals required, must be experienced, reliable and have own gear and transport. Management supplied, gigs waiting. Min $200 per gig. Call Raj 0432 089 495 iFlogID: 9394

Spaces available now. Specialized tuition from Don Hopkins (Big Wheel, Captain Matchbox). Teaching piano since 1985. Individual sessions. Improvisation, piano technique, theory. Songwriting skills. Beginners to advanced. Get to where you want to be. donhopkins@me.com 0425201870 iFlogID: 9712

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 iFlogID: 9161

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 iFlogID: 9795

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 Jeannie 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 iFlogID: 9159

VIDEO / PRODUCTION MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with over 20 artists and strives to offer quality creative Music Videos at an affordable price. Visit www.immersionimagery.com or email info@immersionimagery.com iFlogID: 9354

SnakeEyeProductions specializes in live gig film clips for your website or myspace. Filming in HD with broadcast quality equipment, we edit clips and provide DVD transfers/authoring and uploads. Great way to make your music stand out from the rest. ph-0416120639 iFlogID: 9584

SINGING LESSONS

MUSICIANS AVAILABLE BASS PLAYER Double bass player. Mature age, excellent gear and heaps of experience in most types of music. Working bands would preferred. 97590970 iFlogID: 9517

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

DRUMMER I am looking to join a funk/R&B/ soul cover or originals band. I’m 33, played for 20 years, and have own equipment. Tony 0437 725 521 iFlogID: 9643

Im a 17 year old drummer Based in Sydney im hard working and don’t stop till I get it right I can play most genres of music please give me a call on: 0421814437 iFlogID: 9689

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: 9219

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: 8241

SINGING LESSONS Singing lessons in a positive environment with a highly experienced and professional singer/songwriter. Lessons tailored to suit individual needs. Free introductory lesson. www.realvoice.net.au for more details. Inner West, Rosanna 0431 157 622. iFlogID: 9758

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 iFlogID: 9225

Professional mature age drummer (vocals/reads) with own equipment available for casual work. phone (02) 9807-3137. iFlogID: 9604

Professional mature-age Drummer + Vocals/Reads available for casual work. ph. Bill on (02) 9807-3137 or eMail nadipa1@yahoo.com.au iFlogID: 9635

GUITARIST 17 yr/o guitarist been playing 5yrs keen to join a hard rock/ metal band, no scremo, death core bullshit, real metal, influences megadeth,maiden,priest,guns n roses etc... interested? call 0435510600 iFlogID: 9645

Experienced Guitarist looking for good Sydney Cover Band. At 23 I have been playing for over 10 years, have 4 years professional touring experience, Pro Gear (Fender, Gibson, endorsed by Mesa/Boogie). Email anthony at anthony320chmiel@hotmail.com No Time wasters please. iFlogID: 9720

Experienced guitarist searching for musicians into hard rock blues - Aerosmith/Cheap Trick/KISS/The Faces/ Thin Lizzy/Rose Tattoo/Pride & Glory/ Whitesnake - to join or start band. I have contacts,pro gear,transport and original music. Contact me on 0433 904 419 or www.reverbnation.com/ shaunchristensen iFlogID: 9718

Freelance Guitarist with vocal ability available for orignal/covers fill ins or recording sessions. Has own Transport. Top pro gear, Fender/Gibson guitars, Ulbrick/Mesa-Boogie amps with a range of Boutique pedals for any situation. Guitar rig and Line 6 gear (inc Variax guitar) for direct sessions. If your band requires a last minute fill in don’t hesitate to call. If Im not available, I can find someone who is. Keep my number in your phone for future reference. Brad Kypo, “That Guitar Guy” 0404 065 976. iFlogID: 9552

INTERNATIONAL SESSION GUITARIST Credits: Marcia Hines, Candice Alley, (ex-Toto) Fergie Frederikson and toured the world with Darlene Zschech, Nathan Eshman is available for remote guitar sessions. All services available over the internet / ALL STYLES & NO STUDIO FEES / www. nathaneshman.com iFlogID: 9337

Musician Wanted - guitarist. Guitar student (middle aged) wants practice partner at similar level, age, with music taste towards blues located near Eastwood. Email Ian in first instance iadns@hotmail.com iFlogID: 9432

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

Bassist wanted to play in solo project. Influences Radiohead, John Frusciante, Mars Volta, Mesell Ndegeocello. Rehearsals start Dec 2010. There’ll be live work beginning in 2011 with occasional short interstate touring. Please call Pete on 0438 637 942 for info/demos. iFlogID: 9325

Double Bass to play swing, blues, rock n roll. Vocal ability a plus. Regular work. Vini & The Moonlighters vatm.com.au iFlogID: 9542

Guitarist looking for drummer, bassist and singer to form a rock/metal/pop/ any other influences you may have band. If interested contact Adam on 0405 793 028 iFlogID: 9528

L.A Style Hard rock band seeks bassist! Must be willing to do originals. Ability to sing a plus but not essential. Influences include - XYZ, Extreme, Skid Row, Motley Crue and more. Contact- insinuate@live.com for demos or more info. iFlogID: 9554

MUSICIANS WANTED FOR PAID GIGS - INNER WEST SYDNEY Brand new Unplugged night. Thursday nights Details call Stu 0409 306 801 begin_ of_the_skype_highlighting 0409 306 801 end_of_the_skype_highlighting or email demo to stuford2@bigpond. com iFlogID: 9687

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

iFlogID: 9134

SINGER Confident female singer avail.Wanting to front a band.Influences Amy Winehouse,Aretha Franklin,Gwen(No Doubt days).Can belt out or croon. Plenty of experience and stage presence.Wanting to gig asap.Call Brooke 0424156388 iFlogID: 9627

Singer looking for band in the Newcastle/Central Coast area (may be willing to travel to Sydney) Able to sing in different styles: Rock Metal Grunge Punk Can sing cleanly and scream when needed See online add for more details iFlogID: 9486

MUSICIANS WANTED BASS PLAYER *SECOND NATION SEEK BASS PLAYER* Bass wanted for Inner West Aussie Beer Punk band. Powerful, driving bass player with vocals/yelling preferred. Your ideas are important. EP released and on iTunes etc, album written due early 2011.Checkout www.myspace.com/secondnation Contact 2ndnation@gmail.com iFlogID: 9365

~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 iFlogID: 9739

A heavy, sludgey rock/metal band require a bass player. We are looking for a bassplayer who loves heavy, riffy music to develop our original sound & write heavy songs with. Right attitude & commitment a must. Contact Jason on 0431-836-604. iFlogID: 9482

Bass guitarist and drummer wanted for ‘Veteran Soul’ CD released through ABC Shops and iTunes worldwide. Suit mature players. Next gig confirmed on Telstra ‘Bluey stage’ Tamworth Music Festival, January 2011. Contact Francis on 0458 993 268 or email: franced@bigpond.net.au iFlogID: 9685

Bass guitarist wanted for central coast blues based band,a bit of texas to louisianna swamp funk, ph: 0413576064 iFlogID: 9462

NOT AVAILABLE FOR FREE ADS. CL BASS PLAYER WANTED, to form rock band. jamming weekly in sydney. infl, ac/dc,iron maiden,D.P.,def leppard .etc... if interested txt dave on 0420 463 161 iFlogID: 9526

NOT AVAILABLE FOR FREE ADS. CL need bass playa!

iFlogID: 9178

NOT AVAILABLE FOR FREE ADS. CL New Dynamic 60’s concept show looking for a Drummer & Bass player. Must be a fan of the music & times rehersals in Eastern suburbs 1-2 times a week must be reliable with own transport,Vocal abilities a must. Call 0416056711 for an audition iFlogID: 9622

PRO FUNK BASS PLAYER WANTED Pro Funk Bass Player wanted by Pro Funk Drummer looking to start a band. Must have a love for Funk music. Backing vocal ability will be an advantage. I want a solid rhythm section for my band, once i’ve sorted the bass I will be looking for a guitaist and vocals. Give Luke a call far a chat on: 0405 471 667 iFlogID: 9381

Slappin’ double bass player needed to complete rockabilly trio. Ph: 0403 302 884 iFlogID: 9199

Wanted - Committed and experienced Bass Player 30-50 yrs able to sing backup/harmonies, to join newly formed band in the lower blue mountains playing 60s to 90s rock. Band is fronted by a female singer. iFlogID: 9600

we play originals and like the replacements, the fauves, the fall, the church, pixies, depeche mode...if you like any of those bands, and like to play with a pick, call B on 0423 420 029 iFlogID: 9464

DRUMMER 8 piece soul, reggae and funk style band in Marrickville, Sydney looking for a drummer who can be ready to gig in 8 weeks! Rehearsals 11-3pm every Sunday in St Peters, please contact us if you are interested, jon@ low-gear.com iFlogID: 9631

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: 9793

Aussie Pub Rock Tribute Show looking for drummer. Age, gender, and look are irrelevant; ability to play is all that counts. bobkennedy62@ hotmail.com iFlogID: 9789

Drummer (38) seeking bass, guitar and keyboard players for funk, blues, jazz band playing cool, improvised styled music. Influences: John Mayer Trio, Stanton Moore Trio. Phone 0410 647 210 iFlogID: 9484

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 by gig ready Western Sydney pro level rock originals band. We have our own jam room, pro gear & contacts. We just need you! Great grooves and dynamics WILL keep you interested. Ph Scotty 0408 289 384 iFlogID: 9472

Drummer required for Inner West Indy band. Influences: Sonic Youth, Soft Pack, The Fall, Die Die Die, Joy Division, Wavves and The Horrors. For MP3’s message herfaktory@hotmail. com or Rhys 0402 654 514 iFlogID: 9649

Drummer wanted for central coast blues based band,a bit of texas to louisianna swamp funk, ph: 0413576064 iFlogID: 9470

Drummer wanted for established touring rock band from Sydney. Hard hitter, solid, tight. Committed, reliable and driven by ambition, prepared to play interstates shows. Big opportunity for the right person. Please contact for more details. iFlogID: 9453

Drummer wanted for established, touring rock band from Sydney. Hard hitter, solid, tight, professional and passionate. 20 to 30 in appearance and have a good image. Committed, reliable and driven by ambition, prepared to play interstates shows. Call 0424647569 iFlogID: 9468

Drummer wanted for original music project, currently an acoustic solo act but I want to develop it into new sound with a new band; www.jamesdonnelly.com or call James 0400 342 852 (South Sydney Area) iFlogID: 9480

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: 9732

Drummer wanted to play in solo project. Similar to Radiohead, John Frusciante, Mars Volta, Mesell Ndegeocello. Rehearsals start Dec 2010. Live work beginning in 2011 with occasional short interstate touring. Please call Pete on 0438 637 942 for info/demos. iFlogID: 9329

Drummer wanted to work with guitarist to form a new Doom/Stoner/Sludge metal band. call 0431-836-604 iFlogID: 9702

Drummer Wanted! hey were a couple of guys who are keen to get a serious metal band up and running in kiama area ,so far just guitar and bass influenced by megadeth,maiden,slayer so if interested call at 0435510600 iFlogID: 9499

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

FEMALE DRUMMER WANTED - PAID Immediate Start! Skilled female Drummer 19-25yrs with own gear & transport. Management backed band with booking agent. Regular Paid gigs. 0410 621 791 iFlogID: 9663

French signed band 6NOIR now based in Sydney is looking for very good live drummer and bass player w good gig exp. Influence Qotsa/Black sabbath/ Brmc/...EP released, 2nd EP to be released January.Gigs coming soon. Contact Louis contact@6noir.com www.6noir.com Myspace.com/6noir

central coast band seeks rock guitarist with creativity, enthusiasm, own equipment and partial to a drink! we are influenced by a wide variety of rock music, particularly guns n roses. soloing ability is a must! no emos. 18-26 preferred. please email matt on matthewjlcoleman@gmail.com

Guitarist looking for drummer, bassist and singer to form a rock/metal/pop/ any other influences you may have band. If interested contact Adam on 0405 793 028

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

iFlogID: 9413

iFlogID: 9530

Guitarist with experience looking for drummer & bass player with own gear write music & start band. Open mind to music mainly Metal & Hardcore influences but most types of music. Based at Manly, but willing to travel. Message if interested. Jake 0402539280 iFlogID: 9067

Jazz/swing drummer wanted for jump blues combo. 25-45 yo to play gigs at swing dances in the inner west. Email Nic at stencilg@bigpond.net.au. iFlogID: 9770

iFlogID: 9333

iFlogID: 9157

Guitarist wanted to collaborate with singer songwriter. Open mind in writing,Blues and rock influences but also will fuse many styles. Looking to form band with more than basics to bring new elements and sounds to the music. Fabian 0405847710. iFlogID: 9392

GUITARIST WANTED TO TEACH

Looking for Drummer to join Hardcore/Punk band think Madball, Raised Fist Etc. Contact us via www. myspace.com/withaclenchedfist

iFlogID: 9616

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

NOT AVAILABLE FOR FREE ADS. CL Experienced drummer required for Blues Rock band Blue Tongue Louie.A good sense of old blues essential. Album out in Dec.Gigs waiting.Must be able to travel,must be able to work a lot.Call Grant on 0400 264 754. iFlogID: 9756

NOT AVAILABLE FOR FREE ADS. CL New Dynamic 60’s concept show looking for a Drummer & Bass player. Must be a fan of the music & times rehersals in Eastern suburbs 1-2 times a week must be reliable with own transport,Vocal abilities a must. Call 0420511187 for an audition iFlogID: 9624

Seeking drummer/percussionist to collaborate on electro acoustic project. I’m a singer multi-instrumentalist and use a sampler to create experimental pop songs. I need someone prepared to experiment with sounds acoustic/ electronic & willing to work with drum pads. email for demos/info ljw.91@ live.com.au iFlogID: 9570

Sydney contemporary rock band is looking for a young vibrant 22-30-yr drummer to join now!!! Songs ready to go, gigs waiting for us and we are ready to record our first album early 2011. iFlogID: 9661

GUITARIST Campbelltown based band looking for committed and dedicated guitarist for hard rock/grunge trio. Wanting to gig and record. Influences include rage against the machine, foo fighters and nirvana. Email Mark at kenny2309@ hotmail.com iFlogID: 9657

Central Coast band Cat-Head looking for lead/rhythm guitarist to play contemporary country, pop and originals. Must have own gear and transport. Backing vocals essential. Over 30’s and women also welcome. Call Rachel 0414 949 607. iFlogID: 9696

central coast band seeks rock guitarist with creativity, enthusiasm, own equipment and partial to a drink! we are influenced by a wide variety of rock music, particularly GNR. soloing ability is a must! 18-26 preferred. please contact matt on matthewjlcoleman@gmail.com iFlogID: 9598

iFlogID: 9665

FEMALE KEYBOARDISTS WANTED: An up and coming Rock/Pop Cover band based in Parramatta seeking Female keyboardists (backround in guitars an ideal but not essential).If this sounds like you please call Ray on 0412 186 874 iFlogID: 9524

Keyboard player wanted for original folk, acoustic, gypsy band. Must be committed to at least 1 rehearsal a week plus gigs and festivals.We are looking for a like minded individual to add another colour to our songs.Contact Susie on susiehurley@live.com iFlogID: 9410

Keyboard player wanted for tex mex, blues band , to join guitar bass and drums . 3 easy going guys , ready to gig .Age is not a consideration just your ability . Call Dan 0411778606 iFlogID: 9750

Keyboard player wanted Tex mex blues band , current 3 piece , bass, guitar and drums competent players years of live experience ready to gig need that added element (keyboardist)to complete band easy going guys has to be fun Dan o411778606

iFlogID: 9725

Mature dynamic metal band based in Hills/Blacktown,Sydney. Infl: Rock, Grunge, Black, Death, Hardcore, Groove, Doom...etc Looking for like-minded drummer, own gear & car. Practice weekly. Gig monthly. myspace.com/cursedwithsanity. PLEASE NO TIME WASTERS!

FEMALE KEYBOARDIST WITH BACKING VOCALS WANTED! PAID WORK. Must be 18-25yrs with own gear and transport. Regular paid shows with Management backed band with booking agent. Ph: 0410 621 791

iFlogID: 9434

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

Lead/slide guitarist wanted for central coast blues based band,a bit of texas to louisianna swamp funk, ph: 0413576064 iFlogID: 9460

Looking for second guitarist to join Hardcore/Punk Band think Madball, Raised Fist Etc. Contact us via www. myspace.com/withaclenchedfist iFlogID: 9727

looking to start up a new acoustic band from scratch and am keen to get it started. looking for over age of 18 and needs to be able to contribute as a two piece band. Shane

Keyboardist wanted to play in solo project. Similar to Radiohead, John Frusciante, Mars Volta, Mesell Ndegeocello. Rehearsals start Dec 2010. There’ll be live work beginning in 2011 with short interstate touring. Please call Pete on 0438 637 942 for info/demos. iFlogID: 9327

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

Quality Keyboard/Synth player (male or female) required for Original Melodic Rock Band. Influences such as TOOL, Bowie, Depeche Mode, The Killers, Faith No More, Duran Duran. In 2010-11 we will be continuing work with a top new Australian producer. icarus.wings.13@gmail.com iFlogID: 9610

iFlogID: 9371

NOT AVAILABLE FOR FREE ADS. CL GUITARIST WANTED FOR WORKING COVERS BAND. Must have experience playing rock/pop/dance covers to join 4piece working band. Bright personality and committed and professional attitude wanted. Guy or girl,any age. Call Shannon on 0406 346 239 iFlogID: 9312

Second guitarist wanted to work with a guitarist to form a new Doom/ Stoner/Sludge metal band. call 0431836-604 iFlogID: 9704

second metal guitarist Must have good gear Able to commit to band practice once a week Good experience with guitar Ages from 18-25 Our musical influences range from all sorts of metal&death metal Kieran 0414583970 David 0404170266 Shawn 0422483386 iFlogID: 9506

OTHER Experienced musicians with own gear and transport wanted for hard rock originals/covers band. Have agency/ management backing. Check out reverbnation.com/shaunchristensen - and leave details,or contact 0433 904 419 iFlogID: 9508

Festival4Stars International Songwriting Contest - now accepting submissions. Prize of an all expenses paid trip to London, and all song submissions receive written feedback from the judges. Heat 3 winners receive $300. To submit your song, head to www.giglaunch.com.au iFlogID: 9388

Members wanted for new band in Lower Blue Mountains. Prefer mature age. All styles Must be able to practice Friday 5pm Telephone David 0411 618 536 iFlogID: 9730

WANTED Easy going & reliable Guitarist with some vocals 55+ to join 60+ Bassist and drum machine for booked paid gigs in Retirement Homes on North Shore - Swing, Country, 60’s Pop. Ring Monty 0412067590

Musicians wanted to form hard rock blues band in style of Aerosmith/ Cheap Trick/The Faces/Zeppelin/ Rose Tattoo/T.Rex/Ted Nugent/Thin Lizzy/Whitesnake/The Who/KISS Own gear and transport. Contact 0433 904 419 and leave a msg.

KEYBOARD

MUSICIANS WANTED

iFlogID: 9318

iFlogID: 9716

ATTRACTIVE FEMALE KEYBOARDIST + Backing vocals with real talent. Regualar paid shows. Possible opportunity to sing some lead.You need to be 18-26yrs, size 8-12, own equipment & transport, driven for a music career. Band has top management & agent. (02) 9590 7601 iFlogID: 9667

Boogie woogie style piano player who can also sing lead vocals wanted for jump blues combo. 25-45 yo to play gigs at swing dances in the inner west. Email Nic at stencilg@bigpond. net.au iFlogID: 9772

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

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


PLAY JAZZ Musicians wanted:especially WIND PLAYERS Style: JAZZ STANDARDS Locale: WEST RYDE Director: DAVID MILLMAN Contact by Phone: 9807 8866 iFlogID: 9655

Producer/musician wanted by female singer/songwriter seeking to colaborate with view to record electronic dance track demo. Contact Michelle if interested: michelle.bella@hotmail. com iFlogID: 9402

Sydney gigs available - Empire Hotel. Launching Empire Unplugged November 25th as a showcase for Sydney artists. To submit to play, go to the Gig Launch website at www. giglaunch.com.au iFlogID: 9398

Sydney gigs available - Low302. Darlinghurst. Looking for bands to play, show usually starts around 9pm. To submit to play, go to the Gig Launch website at www.giglaunch.com.au iFlogID: 9400

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

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

CLASSIC ROCK COVERS SINGER Stone Dogs Covers Band needs a new front man ideally with some rhythm guitar talent. Gigs ready. Rehearsing DY/Brookvale. See www.stonedogs. com.au for song list and band info. Serious but fun, happy to play your favourites too. Contact band@stonedogs.com.au iFlogID: 9606

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

Female singer wanted for Sydney band with gigs. Playing hits from the 70’s to today. Rehearsing in Liverpool. For more info call Maurice on 0414 752 352 after 4 PM. iFlogID: 9320

Front-man wanted for established rock band from Sydney. Big voice, melodic and must posses showman qualities. Must be 20 to 30 in appearance and have a good image. Committed, reliable and driven by ambition, prepared to play interstates shows. Call 0424647569 iFlogID: 9466

Guitarist looking for drummer, bassist and singer to form a rock/metal/pop/ any other influences you may have band. If interested contact Adam on 0405 793 028

L.A style hard rock band seeking dynamic front man! Must be able to write lyrics and melodies, and be ready to do originals! Influences include - XYZ, Extreme, Skid Row, Motley Crue and more Contact insinuate@live.com for demos/info iFlogID: 9556

Looking for a vocalist for Hardcore/ Punk band. Contact us via www. myspace.com/withaclenchedfist iFlogID: 9723

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: 9478

Looking for singers/songwriters for electronica/indie/dance project. More info mail to reigovilbiks@gmail.com Location Perth. Reigo iFlogID: 9442

Require a strong professional female singer with cover band experience for high end Corporate and private Functions Party Covers Band and agency backed! Send CV/bio to info@ techwebdevelopers.com on receipt I will send applicable band website, setlists, songs etc iFlogID: 9287

Singer wanted for established rock band from Sydney. Big voice, melodic and must posses showman qualities. Must have a good image and prepare to suit the image of the band. Committed, reliable and driven by ambition to play interstates shows. iFlogID: 9455

singer wanted for metal bandin kiama shelharbour area, no scremo gay shit, true metal, looking for someone who writes songs with meaning and purpose not just about deamons and death so if interested call at 0435510600 iFlogID: 9501

Singer wanted ok

iFlogID: 9113

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

SERVICES

iFlogID: 9438

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

We are looking for a vocalist with a strong, dynamic voice for our melodic heavy rock band. The band is based in the Sydney metro area. www. myspace.com/ourprog to hear our sound. Contact Adz for more info on 0415351287 or adz671@hotmail. com iFlogID: 9519

Young,talented and committed male and female lead vocalists required for soul/pop project in Newcastle. Ph 0449 201149 iFlogID: 9544

iFlogID: 9602

GRAPHIC DESIGN MUSICIAN & BAND WEBSITES

CHEAP P.A. AND OPERATOR FROM $280.00 CALL ANDY ON 0406531114

iFlogID: 9476

Do you have an Iphone? If yes, please download my free app, radio bondi, cheers iFlogID: 9653

EARPLUGS FOR MUSICIANS 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

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.

iFlogID: 6665

iFlogID: 6481

Looking for a New Job? Maybe my Website can help. www.theworkguru. com.au

Man & Van Available for small loads and small removals etc. Affordable rates, ring Ken for quote. 97590970 0403357019 iFlogID: 9521

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: 9130

iFlogID: 9532

iFlogID: 9504

TUITION S I N G I N G - L E S S O N S - T H AT>>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 using this relaxed technique. Microphonerecording-songwriting-techniques Beginners to advanced Newtown 0405-044-513 iFlogID: 9574

iFlogID: 9266

SHARE ACCOMMODATION

NOT AVAILABLE FOR FREE ADS. CL LEARN TO SING!!IMPROVE TECHNIQUE VOCAL LESSONS FOR BEGIN.TO INTERMEDIATE.PRIVATE TUITION$25HALFHOUR $40 HOUR. PHONE SHANNON 0406 346 239. 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!

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

Want to capture a live performance? Professional live recording 24 tracks, mixed and mastered my experienced audio engineer. Can also record and band mix tracks themselves.Done on budget.0406456364

iFlogID: 9419

iFlogID: 9291

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!

Is your life a cluttered mess? Take it Shake it Life Coaching visit www.tisi. me Xmas gift vouchers available.

iFlogID: 9458

OTHER

iFlogID: 9197

Sydney Band looking for creative singer to write some original music with. 18 - 25 years old, music genre ranging from soft modern rock (Temper Trap) to alternative (tool/ porcupine tree). Give us a call. 0431 485 328 (Toby).

Offering a range of design services www.melissahowarddesign.com

iFlogID: 9258

STUDIO AND PRODUCTION SERVICES Experienced and talented producer available for your project now. Comfortable and isolated studio 30 mins from city. I can supply all musical services including mobile recording setup. Great team of musicians for any music writing project also available. I have many writing / recording credits including music and television in various style and genre. Please contact for a quote to suit you. Studio : 02 97731149 Mobile : 0412 621330 Email : tonx@optusnet.com.au www. myspace.com/simontonx

AVAILABLE Room for Females in St Helens Pk $130 p/week or $140 with internet Clean Share house with professional male in 20’s, Air Con + Close to Amenities call matt 0425820547 iFlogID: 9425

WANTED OTHER missing .. man from sydney central yha.. with red hair and leather cuffs.. this is maxine kezerle..chick with roxy pants...would you like to go out for dinner sometime?? 0432470048 iFlogID: 9356

to matt damon.. and the 7foot something guy from the yha.. does anyone know you?? i keep trying to ring the places where i think you’d be to no avail..i know its been years.. please call..

iFlogID: 9369

Online andprint classifieds iFlog.com.au

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

iFlogID: 9741


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Start Here AUSTRALIAN INSTITUTE OF MUSIC Leading school for today’s music industry

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Drum Media Sydney Issue #1037  

Drum Media is a Sydney icon. The people behind Drum virtually invented what has come to be known as street press. For over 15 years, Drum ha...