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THE DRUM MEDIA 12 APRIL 2011 • 9 •


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Contents Issue No. 1055 Tuesday 12 April 2011 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.

BRITISH INDIA

BUFFY SAINTE-MARIE

THE OCEANIC BRITISH INDIA Melbourne’s British India not only has a new radio single, March Into The Ocean, to share but is also heading off to New Zealand for a week before crossing the Pacific to Hollywood, California, to perform two showcases on the Sunset Strip. It’s all part of their plan for world domination and for us it starts Saturday at the Annandale with guests Boy In A Box and City Riots. We have three double passes to the show to give away, so email us with British India giveaway in the subject line by 5pm Thursday.

CHICKS WHO HAVE SINGLE Local heroes Chicks Who Love Guns have a new single, God, Love And Satan, they’re launching Friday at The Gaelic. A digital release, the guys know that fans like to walk away with something substantial at the end of the night so they’ve come up with a very nifty God, Love And Satan T-shirt, and they’ve given us a double pass to the show to give away that includes a T-shirt you can collect from the merch desk on the night. Email us with Chicks Who Love Guns giveaway in the subject line by 5pm Thursday.

BREAKING SILENCE Taking over The Gaelic Sunday, As Silence Breaks is chuffed to be showcasing their self-titled debut album once more, with Dawn Heist, Recoil, Ilcontent and Centered Self keeping them company. We have a double pass to the show to give away, the winners collecting a copy of the CD when they get to the gig, so email us with As Silence Breaks giveaway in the subject line by 5pm Thursday.

MAKE MINE MARTHA Contemporary English folk artist Martha Tilston is back in Australia and is putting in a Sydney show at Paddington Uniting Church Sunday, showcasing her latest album, Lucy And The Wolves, and we have three double passes to the show to give away. Email us with Martha Tilston giveaway in the subject line by 5pm Thursday.

SEEKAE AND YOU WILL FIND Saturday night, Manning Bar becomes the launching pad for the brand new album, +Dome, from Sydney electronic trio Seekae, who are starting to get quite a bit of attention over in the UK from what we hear. We have two double passes to the show to give away, so email us with Seekae giveaway in the subject line by 5pm Thursday.

IRMA IS SOUL One of Louisiana’s finest and a wonderful Grammy Award-winning singer from the birthplace of jazz, Irma Thomas, the Soul Queen of New Orleans, is coming to Australia for Bluesfest and is putting in a Sydney side show Thursday 21 April at the Factory Theatre with her eight-piece band. A huge inspiration to everyone from Otis Redding to the Rolling Stones, if you really want to know what soul is all about, Irma Thomas is the woman to show you. We have two double passes to the show to give away so email us with Irma Thomas giveaway in the subject line by 5pm Friday.

BUFFY THE FOLK ACTIVIST You can read a lot more about Buffy Sainte-Marie later in this issue but suffice to say she’s the foremost Native American performer of our time, an iconic songwriter and performer who made her mark in the folk scene of the early 1960s and has been a civil rights activist and educator since. Here for Bluesfest, Saturday 23 April she plays the State Theatre and we have two double passes to the show to give away. Email us with Buffy Sainte-Marie giveaway in the subject line by 5pm Tuesday 19 April.

TOOTS STILL TOOTSING Jamaica’s living icons, Toots & The Maytals are credited with coining the term ‘reggae’ when they released hit single, Do The Reggay, back in 1968, and the hits haven’t slowed down any, at least within reggae circles. Here for Bluesfest, Toots & The Maytals are playing the Enmore Theatre Saturday 23 April, where they’ll be joined by contemporary reggae masters Luciano & The Jah Messenger Band. We have two double passes to the show to give away. Email us with Toots giveaway in the subject line by 5pm Tuesday 19 April. • 20 • THE DRUM MEDIA 12 APRIL 2011

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DRUM MEDIA Giveaways – Look to your left for free stuff, silly! 20 The Front Line hits hard with industry fact and conjecture, plus Music Industry Piracy Investigations responds to claims that illegal downloading figures are incorrect. 22 Mailbag – your say on what floats your boat or makes the red mist descend, plus Backlash and Frontlash. 24 The News – just like it says, with tours, releases and more. 26 Expect things to be a little looser and a lot more mucking around than on TV when RocKwiz takes to the stage live. 32 Do you sit in an office every day in front of a computer? Let The Felice Brothers and their raunchy folk music take you out of that whole world. 34 Frank Turner is a sucker for a singalong. 36 Tony Joe White has The Shine, not The Shining. 37 Michelle Shocked gets back in touch with her twenty-five years ago self. 38 Audrey Auld finds her music understood by Americans. 39 Ladi6 jumped in the deep end and went swimming. 39 Martha Tilston wants to explore the power of one person on stage. 40 Listening to electric blues provides a revelation on how to play guitar for Susan Tedeschi. 40 Toots & The Maytals will take you higher, higher, higher. 42 Tin Can Radio try and find the line between pop and experimental. 42 A new influence brings about a new musical style and concept album for Within Temptation. 43 While a great guitarist, Warren Haynes actually started his musical life as a vocalist influenced heavily by soul. 43 On The Record reviews new release albums and singles from Thursday, Jebediah, TV On The Radio and more. 44 We take an in depth look at Record Store Day with our guide. 47 Chris Maric gets local with hard rock and metal in The Heavy Shit. 54 Sarah Petchell brings us local and international punk news in Wake The Dead. 55 Adam Curley muses on Record Store Day in The Breakdown. 56 Viktor Krum asks you to Get It Together with the latest in hip hop. 56 Dave Drayton gets Young & Restless with all ages goings on. 56 We get the latest updates from our local industry and beyond from the good folks at MusicNSW. 56 Dan Condon features the world of blues and roots with Roots Down. 57 Michael Smith delivers some Blow with jazz and world music news. 57 Go south as you enter Pedro Manoy’s Swamp Shack. 57

FRONT ROW Chris Radburn discusses the inaugural Sydney Comedy Festival Kids Comedy Showcase; This Week In Arts gives you a handy guide to the Comedy Festival. 58 Russian filmmaker Aleksei Popogrebsky tackles isolation, friendship and secrets with his film How I Ended This Summer; Cultural Cringe wraps up the latest arts news and gossip; Zack Snyder’s Sucker Punch is reviewed. 59 Emily Browning and Abbie Cornish talk about their new film Sucker Punch, a steam-punk action fantasy from the director of Watchmen; Simon Pegg and Nick Frost’s new film, Paul, is reviewed. 60 Cult British “workingmen’s” comedian Roy Chubby Brown gears up for Sydney Comedy Festival. 61 Performance Space’s latest work Briwyant takes its inspiration from crosshatched paintings; Snapshot takes a sneak peak at Miranda July’s film The Future; Made You Look runs through this year’s Archibald finalists. 62

LIVE It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit and more, plus Mark Wilkinson puts his album tracklisting to an internet vote and think Buried Horses, think a powerful and majestic animal being underground and coming out. 63 Backstage and BTL – your guide to studios, recording, gear, courses and more. 82 The Classies – need a singer/bassist/ drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au. 85


THE DRUM MEDIA 12 APRIL 2011 • 21 •


front

LINE

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

NEWS FROM THE INDUSTRY WITH SCOTT FITZSIMONS

DRONES FRONTMAN’S PRIZE-WINNING HEAD A portrait of Gareth Liddiard has been announced as a finalist for this year’s Archibald Prize. Artist Jason Benjamin’s striking image of The Drones’ frontman and now solo troubadour is one of the more immediate paintings among the finalists. A painting of Dallas Frasca by Melbourne artist Steve May was also submitted but not chosen by the judges. Musicians have often featured in winning paintings of the $50,000 main prize. In 2009 Guy Maestri won with a painting of Geoffrey Gurrumul Yunupingu and last year it was Sam Leach’s version of Tim Minchin that received top honours.

STAKEHOLDERS ‘STUNNED’ AS ARMY PULLS PIN ON DIGGER PROJECT Warner has suspended the production of its The Diggers album and project after the Australian Army pulled its support. Based on the UK version titled The Soldiers, the album was to be recorded by three serving soldiers, with part of the proceeds going to Legacy – an organisation that offers support to the families of deceased veterans. However the Australian Army questioned the use of the name ‘The Diggers’ and Warner has felt the best option is to suspend the project. Gordon Maddock, Warner’s Vice President of Commercial Marketing said, “Having served in the Army myself previously, this project has been one I personally had a great passion for from conception and I am absolutely devastated we have had to make this decision. ‘The Diggers’ is a name that all Australians are brought up to admire and respect and to change it risks losing the project’s unique local flavour. In our view, to use the ‘Soldiers’ brand would be un-Australian. I will do everything possible to get this project back on track.” Jeff Chegwin from the UK production company Chegwin Patrick Productions said, “Our belief was that the project had the potential to exceed the UK release, given the incredible passion and support the Australian public has and always has had for their diggers, demonstrated so emotionally around ANZAC Day. I am stunned by the Australian Army’s lack of support, given the incredibly positive reaction from the British Army.” A Defence spokesperson told The Front Line, “[The] Army regards the term ‘digger’ as commonly associated with the spirit and ethos of past and present serving members of the Australian Army, as well as a common use phrase or term. Any action which restricts the use of the term ‘digger’ by any other persons or organisations is of concern.” They said they’d “engaged in productive discussions with the organisation over the past month. Army’s intent was to negotiate contractual terms to ensure the protection of Army’s reputation and the wellbeing of its personnel. Army regrets that Warner Music Australia were not able to accept Army’s proposed amendments.” The Diggers had been offered a performance spot at the NRL’s ANZAC day game.

MANI TO ROSES REUNION: “FUCK OFF” Rumours of a Stone Roses reformation have hit a wall after the iconic Manchester band’s bassist Mani came out firing in the British press denying the fact. The latest report came from British tabloid The Sun, with the newspaper’s source saying that three members of the band, excluding drummer Reni (Alan Wren), had met up at the funeral of Mani’s mother, buried the hatchet and begun to plan a comeback. “It was an emotional reunion,” read The Sun’s quote. “There were no harsh words. It was a heartwarming breaking of bread. They had a lot to catch up on and have been in regular contact since.” In response though, Mani (Gary Mounfield) spoke to music press NME and berated the reports. “I’m disgusted that my personal grief has been invaded and hijacked by these nonsensical stories,” he said, referring to the fact that talk of a reunion had started at the funeral. “Two old friends meeting up after 15 years to pay their respects to my mother does not constitute the reformation of The Stone Roses. Please fuck off and leave it alone. It isn’t true and isn’t happening.” There have always been doubts about Stone Roses reunions considering Mani’s opposition to revisiting old material. He attacked Peter Hook, of Joy Division and New Order, in September last year for touring Joy Division material. On Twitter he wrote, “3 things visible from space, great wall of china, peter hooks wallet stuffed with ian Curtis blood money, man citys empty trophy cabinet!” and “used to adore the man, now he’s a self centred sellout reduced to hawking his mates corpse around. (sic)” • 22• THE DRUM MEDIA 12 APRIL 2011

DRAPHT

FANS APPRECIATE DRAPHT’S LIFE

Western Australian rapper Drapht has debuted atop the ARIA album charts this week with his new album The Life Of Riley. The record has been released through his own label Ayems Records (distributed through Sony) after he split with Obese. Speaking to The Front Line, Drapht – real name Paul Ridge – said, “The reality of having The Life Of Riley on top of the ARIA chart is still pretty incomprehensible. Considering three years ago I was in the middle of a roof carpentry apprenticeship and could never even fathom thought of being able to live off my music, let alone have a number one record, it’s all still a little surreal and mind blowing to me. In the age of illegal downloads I can not express how grateful and appreciative I am for all the people that have supported me and made this dream possible, cannot thank you all enough.” It beat out kd lang & The Siss Boom Bang, whose record Sing It Loud debuted at number two. Another strong showing from Remote Control/XL Records’ Adele as her record 21 jumped Britney Spears and Glee to hold the number three spot. West Australian emerging duo Tim & Jean landed just outside the top 10 with their debut set Like What entering at 12. The single chart continues to be dominated by club and R&B tunes with Snoop Dogg’s Sweat (David Guetta remix) jumping Jennifer Lopez and Pitbull’s On The Floor for top spot. The first guitar-focused or rock track is arguably Avril Lavigne’s What The Hell in 21, with Panic! At The Disco’s The Ballad Of Mona Lisa at 26. There are only three local acts in the top 50, with Jessica Mauboy (featuring Brit Jay Sean) the highest of the Aussies at 36 with What Happened To Us.

THE BELLS TOLLS The nominations across the various categories of this year’s Australian Jazz Bells Awards, also known as The Bells and named after Graeme Bell, have been announced. The rich awards have a prize purse of $40,000, and the Song Of The Year category will be fought out by Andre Keller’s Place, Johannes Leubbers Dectet’s Ashes To Ashes and Eugene Ball’s Song From The Highest Tower. The new category of Jazz Blend Album features The Subterraneans’ The Subterraneans, Mark Isaacs Resurgence Band’s Aurora and Baz’s Lady From Toulouse. For the full list, head to bellawards.org. Also announced were the Art Music Awards, presented by APRA and the Australian Music Centre. Finalists for the inaugural “art music”, jazz and experimental awards’ Performers Of The Year included Clocked Out and Speak Percussion with Refractions, Halcyon with From The Hungry Waiting Country, Jane Sheldon and Ensemble Offspring with The Origin Cycle and The Song Company and William Barton with Kalkadunga Man. Head to apra-amcos. com.au for the full information.

WHAT’S A SONG WORTH? The debate surrounding the value of a downloaded song has reignited in America, with a Boston student, Joel Tenenbaum, appealing against the value of a fine. The 27-year-old student has previously admitted to illegally downloading 30 songs and after an American court ruled in the favour of the Record Industry Association of America, Tenenbaum was initially fined $675,000 before it was reduced to $67,500, after a judge ruled it “unconstitutionally excessive”. Speaking to the Boston Herald Tenenbaum said, “These damages are still absurd. When you consider that you can buy these songs for 99 cents each on iTunes, anything along those lines would seem a lot more in touch with reality. If the court wants to award damages for a punitive effect, how about 30 songs times $3?” The appeal, which is not expected to be resolved for months, is based on whether the anticopyright laws passed by Congress were indeed intended to punish the consumer to this extent.

FROM LANES TO FIELDS The Laneway Festival will have its own curated stage at London’s Field Day festival this August. The boutique Australasian festival had one of its own stages programmed by UK promoter Eat Your Own Ears and

US agency The Windish Agency this year and the three teamed up at SXSW to present the day party Austin Or Bust. Laneway’s stage at Field Day will boast James Blake, Mount Kimbie, The Horrors, Twin Shadow and more. The move is viewed as a further attempt by Laneway to market itself as an international brand.

GRAMMYS CUT THE FAT Following on from the widespread debate and criticism of this year’s proceedings, the Grammy Awards will be culling 31 categories from the awards for the next year as part of an overhaul of the event. Down from 109 to 78, some of the categories – particularly the separate male and female vocalists in pop, rock R&B and country genres – have been merged while the fringe categories of best rock or rap gospel album and best Hawaiian music album have been cut altogether. “All categories will remain, they’ll just be found in different genres,” said Grammy President and Chief Executive Neil Portnow, according to the LA Times. “The message isn’t about cutting, it’s about changing the way we present the awards.” There’s also been changes to the rules for awards, with each category now expected to attract 40 entries, rather than the previous 25. If there are between 25 and 39 entries now, there will be only three nominations in the category and if there are less than 25 it will be pulled. This reorganisation will kick in for next year’s 54th Grammy Awards and may inspire widespread changes in the ARIA Awards, whose attempts to reinvent itself this year were not as successful as hoped.

MOVES AND SHAKES Lindsey Martin has filled the role left vacant by Billy Ho as publicist of Obese Records.

VALE Former One Inch Punch and Mid Youth Crisis guitarist Heath McNally died last week at the age of 37.

BE ONE OF THE FOLK If you’re interested in taking part in the Woodford Folk Festival this year, either as an artist or a presenter, “expressions of interest” are now being taken by the organisers. The Woodfordia grounds were recently purchased by the Moreton Bay Regional Council to ensure the longevity of events held on the grounds, particularly the Folk Festival. Held Tuesday 27 December

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– Sunday 1 January, head to woodfordfolkfestival.com before 5pm, Friday 20 May to apply.

WORLD EVENTS Fête de la Musique Brisbane has confirmed the first acts to be playing the annual event, with The Umm-Ahhs, Lauren Moore and Tim Nelson & The Cub Scouts the first ones mentioned. Taking place in an estimated 450 cities worldwide, the Brisbane date happens Tuesday 21 June and applications are open until Thursday 21 April. Head to fetedelamusiquebrisbane.com.au for more information. Also accepting applications at the moment is the Australian World Music Expo, which is looking for local and international artists to fill the event’s showcase performance slots on the global stage. The event happens in Melbourne from Thursday 17 – Sunday 20 November and last year’s event featured over 300 musicians. For applications head to awme.com.au.

FRESHLY INKED Perth tropical indie four-piece Scenic has signed to label Future Classic, which itself signed a worldwide publishing deal with Kobolt Music Australia. The hope is that the deal will open up opportunities and film and advertising mediums for Future Classic artists. Gold Coast duo Husky Hicks, comprising Julz Parker and Leesa Gentz, has donated its folk/blues track Happy to the Cerebral Palsy League for use in the non-profit organisation’s 2011 television and radio campaign.

IN THE DRAPHT The upcoming Come Together festival will be recruiting an emerging hip hop artist to its bill to open up the event through triple j’s Unearthed platform. To be involved head to the Unearthed website and sign yourself up, if you haven’t already. Headliners include Drapht, Urthboy, Illy, My-Phazes, The Tongue and Muph & Plutonic.

HIGH SCHOOL’S FINEST Duval High’s Pennyblack has won this year’s YouthRock band competition. The rock four-piece, which takes its influence from bands like AC/DC, Cold Chisel and Jet, took out the top honour at the Sutherland Entertainment Centre last Sunday.


A PROBLEM OF EPIDEMIC PROPORTIONS front RESPONDING TO AN ARTICLE IN LAST WEEK’S THE FRONT LINE, MIPI’S SABIENE HEINDL REFUTES THE CLAIMS THAT THE MUSIC INDUSTRY IS BEING DISHONEST. INSTEAD, SHE SAYS THAT FILE SHARING AND PIRACY HAS BECOME AN EPIDEMIC. BY SCOTT FITZSIMONS.

L

ast week’s The Front Line ran an article based on new reports from both the UK and US which claimed that the international music industry was over-exaggerating the harmful effects of download piracy and ignoring the positive effects that the easy access of the internet had brought. Essentially, they were saying they’re lying. The local industry has responded to that report though, by way of a response from Music Industry Piracy Investigations’ [MIPI] General Manager Sabiene Heindl.

“It’s also nonsense to argue that music piracy is due to market failure. How long would Skater HQ stay afloat if somebody sat outside and offered exactly the same scooters and skateboards for free? Some try to argue that downloading music illegally is not exactly the same – it’s apparently only copying the music, not taking the music away from the artist. But the reality is that illegal file-sharing clearly undermines the artist’s ability to sell their music. This is not about market failure, it’s about the need to create a level playing field where artists get fairly rewarded for all their hard work so that they can continue to make the music we all enjoy.”

“In recent times, there has been much media speculation that music piracy is not having the dire effect on artists and the music industry that current reports have highlighted,” she wrote. “However much of this speculation is based on recycled and refuted allegations and overlooks fundamental points about how the music industry actually works to find and nurture new talent.” One of the previous studies, by University of Minnesota economist Joel Waldfogel and titled Bye, Bye Miss American Pye?, argued that instead of hampering the music creation process, the new avenues of distribution had shifted the power away from the major labels and to grassroots creators. “We find no evidence that changes since Napster have affected the quantity of new recorded music or artists coming to market,” the report read. “We reconcile stable quantities in the face of decreased demand with reduced costs of bringing works to market and a growing role of independent labels.” Heindl doesn’t deny that the internet has opened up new pathways for artists – and doesn’t comment on whether they are possibly positive or negative – but still views the practice in itself as a negative one. “The internet has provided artists and labels with exciting ways to connect with fans and spread the word about their music,” she wrote. “Many artists provide plenty of opportunities for fans to sample their music online and some are happy to give it away for free. But ultimately it should be the artist’s choice. The reality is that the majority of artists aren’t big stars like Radiohead and they simply can’t afford to give away all their music for

LINE

SABIENE HEINDL free,” citing Radiohead’s release of In Rainbows, where they allowed fans to designate how much they paid for the record. “Illegal file-sharing affects indies and majors alike. Piracy undermines the ability of the Australian music industry to invest in new Australian music, which is bad news not only for emerging artists but for Australian music fans who may never get the chance to hear the next Angus & Julia Stone.” In the other report, Bart Cammaerts and Bingchun Meng of the London School of Economics argued in their paper, Creative Destruction and Copyright Protection, that file sharing is wholly responsible. They wrote, “In recent years, the music industry has started to embrace the online sale of recorded music, witnessed by the steep rise in revenues from digital online sales. Some artists and music labels are making full use of filesharing and the participatory culture it sustains rather than rejecting it.”

They also make the claim that the loss of income figures have been exaggerated, arguing that people who did download music illegally may not have consumed the music if it wasn’t available free and readily like that among other factors. That’s something Heindl feels is one of those “recycled and refuted allegations”. “While the music industry has never attributed declining music sales solely to illegal file-sharing, there are a number of credible studies which confirm that illegal file-sharing is a major cause in the 30 percent contraction in the recorded music market worldwide over the last six years,” citing a University of Uppsala report. “In fact, Oberholzer, in his latest paper [File-sharing & Copyright] confirms that ‘The majority of studies finds that file sharing reduces sales, with estimated displacement rates ranging 3.5 percent for movies (Rob and Waldfogel, 2007) to rates as high as 30 percent for music (Zentner, 2006). A typical estimate is a displacement rate of about 20 percent.’

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And on the downturn, she says that the consequences are definitely evident. The international music industry has shrunk 30 percent over the past six years with Australia’s own market steady with that figure at 27 percent. Recent research from the Australian Industry Group claims that, “Australia’s content industries lost $900 million and 8,000 jobs in 2010 as a result of internet piracy,” which Heindl says was “using a very conservative estimation that for every 10 illegal downloads of music, only one was a lost sale.” The consequences of such downturn caused by piracy can be seen in Spain, it is written. With their high piracy percentage rate of 45 percent, their Spanish singles chart didn’t feature one new local act in the past year and sales of local artists have dropped to 50 percent of the whole market. Comparatively, Australia’s single chart features six percent, or three out of 50 local acts at the moment. Out of those, Drapht, Jessica Mauboy and Justice Crew have all charted before this year, although the year ahead may provide more new artists breaking in. Perhaps the most forceful part of the response, though, is the language Heindl uses in this paragraph. “It’s true that music has been copied from the days of sheet music through to taping favourites song off the radio to cassette, however with the advent of the internet the scale of this problem has escalated dramatically so that 95 percent of music downloads are now illegal. It’s now at a level of epidemic proportions.”

THE DRUM MEDIA 12 APRIL 2011 • 23 •


YOUR SAY

LETTERS@DRUMMEDIA.COM.AU

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

ONE PLUS TWO = SAVIOUR

GET OUT

Dear Drum,

Dear Drum,

Firstly we would like to thank you all for the many emails and calls of support we have received since we have put the hotel up for sale. We are extremely hopeful that we can find an investor we need to take the hotel to the next level which will ensure live music remains at the Annandale!

I was incredibly upset to hear of the sale of the Annandale Hotel. There’s a great possibility that I misinterpreted what was written, but as soon as I hear the word ‘sale’ and ‘live music venue’ in the same sentence (figuratively and literally), I freak out.

So many people have asked how they can help in any way. Really the answer is simply to come down and have a beer and feed. If the 10,000 people who join Facebook pages to save live music venues pop in for a feed and two beers once a month that would equate to $200,000 extra in turnover a month. Also join our mailing list and Facebook pages so we can show potential investors just how strong and important the music is to the Annandale. Again thank you for your support and see you at a show soon. Dan and Matt Rule Owners, The Annandale Hotel P.S. Anzac Day will be a cracker so pop in for a feed and some two-up. See folks? When it’s put in simple terms like that, surely a feed and a couple of beers once a month isn’t too much to ask to ensure the continuance of a live venue as we know it. We here at Drum wish you the best in keeping on to fight the good fight for live music – Ed

I am seeing Emery at the Annandale on 21 April and while the sale is not supposed to happen for three months, it has given me a HUGE motivation to sell as many tickets as I can (two of the support bands are good friends of mine). I have been to about ten shows at the Annandale in the last year or so and it’s a personal favourite. People complain about the local scene dying, but that’s because they refuse to pay more than $10 to see a band, yet pay $15 to $25 cover charge to hit the city for a night. Venues like the Annandale and The Wall (which have incredible sound) are getting harder and harder to come by. This is my appeal to PLEASE don’t just read the ads for shows in this magazine, but get out there and see someone! I know there are some crappy sounding band names and bands who have no idea what they’re doing, but I guarantee that you will find absolute gems if you know where to look. Live music is part of my life and I personally won’t go down without a fight. Don’t change Annandale! Anyone want to help me buy it? SaveOurScene Leumeah Fine sentiments indeed. As you’ve probably already noticed with the other letter, looks like we can get an exact formula for how going out and actually seeing someone can help. – Ed

FRONTLASH

THE INTERNET? NO IDEA

While the act of cutting a cable that cut off access to the internet to most of Armenia and Georgia should probably be in the next column, it’s nice to know that in this all pervading technological world that 75-year-old Hayastan Shakarian who committed the act had never actually heard of the internet.

SPLENDOUR RUMOURS We’ll know for sure this time next week, but if even only half the acts supposedly coming out here for Splendour are true, it’s going to be a corker of a line-up.

MANI SPEAKS It’s pretty much a commonly known fact that a Stone Roses reunion won’t happen. So we applaud Mani for absolutely unleashing upon The Sun in the UK when they suggested three members present at his mother’s funeral meant a reunion was on the cards.

BACKLASH

FACE TIME

Seriously, is your status update that important that you need to be constantly on Facebook during a gig, practically ignoring the music? Even though such an act is not a new thing, for some reason this past week Drum spied an increased amount of such activity at gigs. We’re pretty sure the world can wait until after the gig to let them know you were “Rocking out to [insert band name here]”.

SHE’S A FEMME FATALE Poor Britney can’t take a trick. She’s being lambasted for not having any songwriting credits on her latest album Femme Fatale. The thing is, look closely at the liner notes for most albums by similar poppettes and you’ll see the vast majority of them don’t actually contribute anything to the songs they sing, so why single out Britney?

SPORTING PERFORMANCES How did your team/sportsperson go over the weekend? 20 to 30 point drubbings, wayward tee shots and more – let’s just forget about it and move on to next week, we think.

PUBLISHER Street Press Australia Pty Ltd

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• 24 • THE DRUM MEDIA 12 APRIL 2011

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NEWS@DRUMMEDIA.COM.AU As well as joining the Groovin’ The Moo series of festivals across the nation, Aaron Clevenger aka AC Slater will be spinning his magic in a couple of side shows, with Chinese Laundry Saturday 7 May, after his Maitland set, and Onefiveone in Wollongong Thursday 19. Did you know that the Gum Ball Festival, which takes over Dashville in Belford, just two hours north of Sydney Friday 29 and Saturday 30 April, happens in a boutique 1500-capacity venue? That means you’re getting a pretty up close and personal experience of artists like NZ’s Kora, C.W. Stoneking & His Primitive Horn Orchestra, The Vasco Era, Space Invadas and Resin Dogs among others, just for starters.

GENTLE BEN & HIS SENSITIVE SIDE

GENTLE MELODIES

That wicked UK purveyor of hypnotic looped disco meets house, Mark E, who releases his debut album, Stone Breaker, mid-May, heads into Adult Disco Saturday 23 April.

Brisbanites Gentle Ben & His Sensitive Side have been a fave around the country for a few years now, their first two albums attracting airplay from some of Australia’s finest radio stations and have also seen their music make its way onto the telly on Love My Way and in Tropfest-winning film, The Apprentice. They’re back with a third album, Magnetic Island, and are heading down our way to launch it. With The Holy Soul and Nici Blue Eyes in tow, the band plays The Vanguard on Saturday.

Along with the Purple Sneakers DJs, Fishing, a We Say Bamboulee side project, has been invited along to open for Brighton, UK’s pop juggernaut The Go! Team on their forthcoming Metro Theatre show Wednesday 4 May.

GET UP AND DANCE

THE HAVKNOTS Aussie mash-up kids The Havknots have been invited along to help those irrepressible Irish Americans House Of Pain “break the law” when they come to the Manning Bar Friday 6 May. Manchester’s WU LYF, which stands for World Unite/ Lucifer Youth Foundation, will be bringing their “heavy pop” to The Studio in the Sydney Opera House Sunday 29, Monday 30 and Tuesday 31 May as part of Vivid 2011, and will follow those appearances with the release of their debut album, Go Tell Fire To The Mountain, Friday 17 June. Skrillex’s recently announced Creamfields sideshow at Oxford Art Factory on Friday 29 April has sold out. Coming over for the National Folk Festival in Canberra over the Easter long weekend, Greek-born UK singer/ songwriter George Papavgeris & His Los Marbles are kicking off their Australian visit at the Loaded Dog in Annandale Saturday and concluding it Sunday 1 May at Humph Hall in Allambie Heights. Two-time Grammy Award winners, the Soweto Gospel Choir return to Australia with a new show, African Grace, playing ANU Canberra’s Llewellyn Hall Thursday 19 May, Newcastle City Hall Friday 20 and the State Theatre Saturday 21.

ON THE BANDWAGON The international season for SIMA has been announced, so if you’re unable to pop down to Melbourne to check it all out in the one spot there, there’s jazzy hope for you yet. From the USA, Jason Moran & The Bandwagon will play one Sydney show only on Monday 13 June at The Basement Circular Quay. Moran has been headily praised by many a jazz lover, so this will be a must for those who consider themselves one of the same.

Kansas City’s The Get Up Kids recently released a new album, There Are Rules, their first full-length since 2004 that has launched them back into the international spotlight after a few quiet years following their 2005 split. The band appeared at last year’s Soundwave festival and is now back again, bringing their beloved tunes – both old and new – to their devoted Australian fans. They play The Metro on Saturday 6 August. Tickets will go on sale on Friday at 9am.

THREE’S A CROWD

BACK FROM THE DEAD

The Three’s Company Tour brings the Eastern states together, with Sydney’s The Rescue Ships, Brisbane’s Scott Spark and Melbourne’s Tash Parker teaming up and making their way through each of their respective home cities. Each act will headline in their own city, playing support on the other nights. All three acts have been busy of late, whether it’s with touring, writing new music or, in the case of Spark, penning an “anti-musical”. The Sydney leg of the tour happens Saturday 7 May at Spectrum, with tickets available now through Moshtix.

The news that New York metal band Emmure had postponed their Australian tour in January was, to say the least, a big disappointment for fans of the group’s heavy stylings. But the band is now set to head down our way mid-year for its first ever headline tour on the back of new album, Speaker Of The Dead. Emmure, formed in 2003, has released four albums. They are joined on this tour by Sydney’s own Shinto Katana. Tickets go on sale Monday for the shows at the Bald Faced Stag on Sunday 12 June, Oasis Youth Centre on Tuesday 14 and Tuggeranong Youth Centre on Wednesday 15.

FRONT END LOADER

Grammy Award-winning Dutch DJ Afrojack aka Nick van de Wall is bring it all down to Home Nightclub Friday 3 June, where he’ll be joined by Apster and a number of special guests. The Optionals will be joining Frenzal Rhomb when they hit Bar On The Hill Thursday 28, the new date for that show, with Local Resident Failure, Wollongong Unibar Saturday 30 with Totally Unicorn, and the Annandale Sunday 1 May. Having just released their second album, Found The Sound, mid-north coast New South Welshmen Beats Working are hitting the road with Sydney three-piece hip hop combo Loose Change, but for now, the closest they get to the Big Smoke is the Cambridge in Newcastle Friday 29 April. Promoting the third single, I Want You Back, from her eponymous album, Catherine Britt opens for Shane Nicholson, promoting his own latest album, Bad Machines, Friday at Notes. Sydney five-piece Strangers has been invited to open for Grinspoon when they pass through NSW on their East Coast tour, playing Rooty Hill RSL Thursday 21 April, Hornsby RSL Friday 22, the Roxy in Parramatta Saturday 23, Waves in Wollongong Sunday 24 and Newcastle Panthers Monday 25. Before singer/songwriter Krishna Jones and the bands he and his brother Armanath played in – Juice and Juggernaut – there was their father Phil Jones and his ‘60s band The Unknown Blues, a band that faded out when Jones jumped ship, went to the UK and joined a band called Quintessence. Reuniting for Bluesfest, Phil Jones & The Unknown Blues play Notes Thursday 28 April, The Vault Friday 29 and Coogee Diggers Saturday 30. With their new album, Never Dead, out Friday 22 April, Wollongong’s metal kids Segression have announced that joining them on their national tour are Dreadnaught and Contrive, playing the Annandale Friday 6 May where they’re joined by Our Last Enemy and The Maram in Canberra Saturday 7 with Immorium. • 26• THE DRUM MEDIA 12 APRIL 2011

LOCKED AND LOADED

THE BAMBOOS

SKIPPING GIRL VINEGAR

PLAY THAT FUNKY MUSIC

MONKEY MAGIC

Home grown funk and soul is The Bamboos’ speciality, and they’ve been doing it now for ten years. In that decade, they’ve released four studio albums, as well as a live album and 14 singles. They’re veterans of the Australian touring circuit, having conquered big name festivals like Falls, Bluesfest, Parklife and Golden Plains, and have also ventured across the seas to play in Europe multiple times. The eight-piece will play songs ranging throughout their time together to celebrate their tenth birthday, with friends The Psyde Projects and Paper Plane Project coming along for the party on Friday 20 May at Manning Bar.

Melbourne indie popsters Skipping Girl Vinegar are gearing up for the release of their second album, Keep Calm, Carry The Monkey, which is due to drop next month. The album features a guest performance from Canadian singer/songwriter Ron Sexsmith and has already spawned a radio favourite in single, Here She Comes. The band will follow the release of the album with a launch tour around the country – aside from their appearance at the Snowy Mountains of Music Festival on Saturday 11 and Sunday 12 June, they will also play the Clarendon Guesthouse on Thursday 30, Notes on Friday 1 July, Lizotte’s Newcastle on Saturday 2, Lizotte’s Kincumber on Sunday 3, Shoalhaven Entertainment Centre on Thursday 7 (all ages) and Canberra’s Street Theatre on Friday 8 (also all ages).

HAVE A GOOD TRIP Sydney trio The Trip is back from an American adventure, where the members – completely self-funded, by the by – recorded and produced their debut album, alongside some of the best-known producers in the USA. They honed their craft further in the land of dreams, playing to foreign crowds and no doubt winning them over, and now they are home with many more notches on their belt and experiences in their heads. Not content with chillaxing after the adventure though, they teamed up with producer Mike Sinclair to make EP Volume 1, a new instalment of tunes and have recently released the EP’s first video clip, for On The First Time. They play Mounties Lounge on Friday, Park Hotel in Bathurst on Saturday, Old Manly Boatshed on Friday 6 May, Transit Bar on Saturday 14, Fitzroy Hotel on Friday 20 and Park Hotel again Saturday 21.

Sydney rockers Front End Loader have a new album on the way. Titled Ritardando, it sees release on Friday 6 May, but contrary to the meaning of the Italian musical term, the band is far from slowing down. They’ve been together for nearly 20 years and in that time, they’ve developed their sound to what it is now, throwing some crazy stage antics into the mix too. A national tour is, naturally, on the cards, coming to The Patch Friday 13 May with Hytest and The Momos, Caringbah Bizzo’s Saturday 14 with Overreactor, Mona Vale Hotel Thursday 26 with Arcane and Drunken Sailors, Annandale Hotel Friday 27 with Hytest and Small Town Incident, The Junkyard Saturday 28 and Great Northern Newcastle Sunday 29 with The Momos. Tickets are available now.

BONJOUR HARMONICS French band Harmonic Generator brings its selfproclaimed nasty rhythms down to our parts next month on what they’ve dubbed Le Downside Up Tour. The band visited Australia last year, claiming that their hometown of Marseille was not exactly opportunistic for budding rock acts, and befriended a bunch of Aussies, loving it so much that they’re back again, having also signed with Blue Tongue Management and recorded their first single, Dead On The Ground, here in Sydney. They’ve already got plans to come back here in 2012 to complete their upcoming debut album. They play the Sando on Wednesday 11 May with Bonney Read and Inner City Crepes.

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TEAM UNICORN

ROLL ON The growing popularity of the Sydney Roller Derby League has seen it take on bigger venues, with its Saturday 7 May bout now taking on Sydney Olympic Park Sports Centre. This is the third bout of the 2011 season, seeing 2010 champions Screaming Assault Sirens going head to head with 2009 champions The D’viants. There’s also a mini-bout happening on the day, with newbies Team Unicorn (pictured) and Western Sydney Rollers battling it out ahead of the main bout.


THE DRUM MEDIA 12 APRIL 2011 • 27 •


NEWS@DRUMMEDIA.COM.AU

BEATS WORKING

MOOVIN’ ON UP FUNERAL PARTY

HEY, IT’S YOUR FUNERAL From Los Angeles, five-piece Funeral Party will make its way to our lovely land for the first time in August. The band was named as one of NME’s Best New Bands last year, also being featured in plenty of other acclaimed music media outlets all over the world. Their first album, Golden Age Of Knowhere, was produced by Lars Stalfors, the same dude who took care of Matt & Kim and The Mars Volta, and mixed by Dave Sardy, who’s also twiddled knobs for LCD Soundsystem and Band Of Horses. The band also made its first TV performance recently on Letterman. Sydney gets a go on Friday 5 August at The Metro, and tickets are available from next Wednesday 20 April.

SWEET TALK Singer/songwriter Daniel Lee Kendall, who’s been racking up some impressive shows around the country of late, has his second EP, Talk The Night Away, coming out this Friday. In the last year, he’s played at some of the country’s great festivals, like Playground Weekender and Peats Ridge, as well as becoming BFFs with Passenger and joining him on multiple tours. He’s also found a friend in community radio, the stations of which have given him plenty of on-air love. He joins the allAustralian lineup of Hungry Kids Of Hungary and Andy Bull & The Chemist at ANU Bar on Friday 20 May and The Metro on Saturday 21.

CASS MCCOMBS

Groovin’ The Moo welcomes up and comers to the lineups in Maitland on Saturday 7 May and Canberra on Sunday 8. triple j Unearthed winners Long Island Sound and The Ellis Collective will join the respective lineups in their home cities, with Maitland welcoming Beats Working (pictured), Playtapes and Blades to open and Canberra extending the same hand to Crash The Curb, Fun Machine and Raw City Rukus. The Maitland date is sold out, but tickets are still available for Canberra.

TIMOR BENEFIT On Tuesday 26 April – Easter Tuesday, for those not so snappy with a calendar – Leichhardt Town Hall will play host to a Timor benefit concert, the third such annual event in memory of Denis Kevans (also known as Poet Lorikeet). The concert is a fundraiser for Leichhardt Council’s “Friends of Maliana” project and will feature performances from jazz quartet RAPT, along with other artists including Pat Drummond, Sonia Bennett, Snez, Dennis Aubrey, who is launching his Xmas 1914 CD, Margaret Walters, Dan Marjason and more. There is also a surprise celebrity promised to appear on the evening. Tickets are available at the door, and the night kicks off 6pm.

AT THE END Californian singer/songwriter Cass McCombs releases his new album, Wit’s End, on Friday through Domino. Flick to the album reviews section to have a read of what Drum thinks and if it piques your interest, you’re in luck – the entire album is streaming this week on themusic.com.au, so you can have a sneaky peek at the eight tunes and see if you dig ‘em. It’s the result of two years’ recording around several US states and was self-produced by McCombs with the help of buddy Ariel Rechtshaid. They’re saying it’s his darkest album yet, but there’s only one way to find out – open your browser, click the address bar and bash in themusic.com.au.

MORNING SONGSTRESS Melbourne singer/songwriter Cilla Jane will release her second album, Until Morning Comes, in May. She has already released a single, Into The Woods, with strings and piano splashed over her vocals. A video clip is currently in the making. Cilla Jane received the John Butler Seed Fund grant in 2006 and has steadily worked since, sharing the stage with many well-loved Australian artists. Tickets are on sale now for her shows at The Vanguard Wednesday 6 July and The Front Saturday 9, and will also be sold on the door if they’re still available.

FUNDRAISING FUN

YOUNG TONES Irish balladeer Derek Warfield, now out front of Derek Warfield & The Young Wolfe Tones, has been making music for the better part of 50 years. His band The Wolfe Tones broke up in 2001, but Warfield has trucked on, piecing together a new band that he’s named after the old one and playing tunes from past and present. The title of his latest album, Far Away In Australia, is proof enough that he loves our country. Aside from his performances at the National Folk Festival over the Easter long weekend, he brings the band to the Clarendon Guesthouse on Tuesday 3 May, Coogee Diggers Club on Saturday 7 and Notes on Sunday 8. • 28 • THE DRUM MEDIA 12 APRIL 2011

Notorious pop/punkers Short Stack have announced that they will embark on their fifth headline tour, the first for this year. The This Is Bat Country tour – named after their second album, which they undoubtedly patched together after reading a bunch of Hunter S. – hits the road in July, following the band’s recent support slot for Good Charlotte. The new single from This Is Bat Country, titled Heartbreak Make Me A Killer, has just recently hit the airwaves. Joining Short Stack on this tour are Hills boys Heroes For Hire and young guns Because They Can. Tickets are on sale now for the shows at the Enmore Theatre on Friday 1 July and Newcastle Panthers on Saturday 30 through the respective venue websites.

Hot on the heels of latest album, The Deep Field, songstress Joan Wasser, or Joan As Police Woman as she’s known, comes back to Australia to charm her way through the country mid-year. Wasser’s influences while making the album ranged from Curtis Mayfield to David Bowie and Stevie Wonder, writing a record where a third of the tracks break the six-minute mark – she’s been working hard here and it will most certainly show in a live setting, having already received heaped praise in its recorded form. She plays Canberra’s Street Theatre Thursday 2 June, Lizotte’s Newcastle Friday 3 and the Enmore Theatre Thursday 9.

GOONS OF DOOM

Perth’s Rocket To Memphis has recently released its third album, Jungle Juice, which was recorded in New York and captures a raw jungle rhythm sound, with ‘60s garage and rockabilly influences. They are heading around to the Eastern states in a couple of weeks, playing one show only here in Sydney – an instore at Mojo Music on Thursday 28 April.

BIG BIRTHDAY BASH

STACK IS BACK

UNDER ARREST

LIFT OFF

PUT ON YOUR HELMET Having released their seventh album, Seeing Eye Dog, last year, Los Angeles post-hardcore rockers Helmet will bring the tunes and more back to our shores after a three-year absence. The band has been bashing out the heavy stuff since 1989, though six of those years, from 1998 to 2004, were spent on hiatus. Countless lineup changes later (frontman Page Hamilton is basically the only constant member), here they are, bigger and better than ever. They play Thursday 30 June at ANU Bar, Friday 1 July at Wollongong Unibar and Saturday 2 at Newcastle Leagues Club.

SOSUEME is celebrating its fourth birthday by holding a good old bash. Expect to be greeted by a hug and a party hat when you get there and, as fourth birthday parties go, a lolly bag will be waiting for you too. Popcorns, piñatas, kissing booths and Nintendo competitions are just a few of the things that will happen at this wild shindig. And of course, the bands – playing on the night will be a host of artists from near and far, some of the best up and coming names in the biz including Parades, Guineafowl, Stonefield, Redcoats, Pluto Jonze, Joyride & The Accidents, Mrs Bishop, Bon Chat Bon Rat, The Growl and Furnace & The Fundamentals. The DJ announcement is yet to come, but it’s sure to be a killer. This is all happening Saturday 28 May at Oxford Art Factory.

JOAN AS POLICEWOMAN

Raising funds for the Red Cross, the Easter long weekend has a little party happening at the Annandale Hotel on Saturday 23 April. Entry is by donation so you can choose to give however much you can, from $5 upwards. Playing on the night will be Goons Of Doom (pictured), Royal Chant, The Bungalows, The Go Roll Your Bones, Mylee Grace, Lemon Cordiale, The Crying Skies, Dusty Duets and Dead Gang. There will also be an art exhibition, with special and rare artworks donated by a few talented local artists, which will be sold to raise more funds.

HELMET

OUT OF THE DARK

LISSIE

HELLO TIGER US singer/songwriter Lissie heads down under for her first solo tour next month. Her debut album, Catching A Tiger, saw her warmly received by audiences the world over, all connecting with her honest words. She has been working hard over the last few years to establish herself as an artist, beginning with small residencies and working up to time in professional studios and support slots with acclaimed artists like City & Colour and Ray LaMontagne. She plays Tuesday 17 May at Oxford Art Factory. Tickets on sale Thursday.

WHERE AM I? Next month sees the release of Unfamiliar Places, the new album from veterans The Bhagavad Guitars, who have been bashing out tunes since the late ‘80s with plenty of well-regarded producers, including those who have worked with the likes of Nick Cave and Silverchair. This is the band’s first release in 14 years, after the members reconnected at the funeral of a good friend and decided to put a record together to honour that friend’s life. They will launch the album at Notes on Friday 6 May.

Local rockers The Dark Shadows are polishing off some new tracks that will appear on their new 7-inch vinyl, Blame/Written In The Snow…, which is slated for release next month. It will be released on fancy 45RPM collectible vinyl, also coming with a digital download code for those of you who like your tunes in both old school and modern formats. The band has also been announced as the support for HorrorPops on Sunday 24 April at the Factory Theatre and will join The Stranglers’ former fro9ntman Hugh Cornwell when he comes to the Cambridge Hotel Wednesday 4 May and Manning Bar Thursday 5.

SOUNDS WEIRD FBi’s New Weird Australia hosts a gig at FBi Social, Kings Cross Hotel, Thursday 21 April featuring some of the best up and coming electronic acts. Headlining will be Sydney’s Underlapper, launching their third and most recent album, Softly Harboured, the followup to 2007’s well-received Red Spring. Cleptoclectics goes up against Collarbones’ Sydney half Scissor Lock, and solo artist Edwin Montgomery opens the night with his psychedelic tunes. DJs Stupid Canon and Kimb Galercan will also be spinning tracks. Tickets will be available on the door, which swings open promptly at 8pm.

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ART VS SCIENCE

LAUNCHING OFF THE LILY PAD Last weekend, one of Sydney’s newest live music venues, Rock Lily, opened its doors to the public for the first time. Located on the first level of Star City, it’s smack bang in the heart of Sydney and, with its 200-person capacity, is cosy and intimate, promising memorable concerts in the future. The official launch party happens Wednesday 20 April, headlined by two of the country’s biggest acts right now, Washington and Art Vs Science (pictured). There will be plenty of weekly performances following, from up and coming Australian names like Animal Shapes and Only The Sea Slugs. The venue also boasts the biggest tequila selection in the country, so there’s a draw card for those of you who love the drink. It is open Wednesdays to Sundays from 5pm.


THE DRUM MEDIA 12 APRIL 2011 • 29 •


THE TIDE IS LOW

GRUFF DOWN UNDER

Lowtide is celebrating the release of its debut two-track 7”, Underneath Tonight, by taking the tunes on the road throughout the East Coast. The band, which formed in 2009 under the name Three Month Sunset, has constantly reinvented its sounds, and also travelled, going to New Zealand recently for the Campus A Low Hum festival. This brief tour will be an opportunity to check the live show out before the band holes itself away in the latter half of this year to work on the debut album. Lowtide plays Petersham Bowling Club on Friday 29 April and Black Wire Records on Saturday 30.

Super Furry Animals frontman Gruff Rhys, also now peddling out tunes on his own, has recently released a new album called Hotel Shampoo, his third solo effort. In recent times he’s also contributed to albums by artists like Gorillaz, Simian Mobile Disco and Danger Mouse & Sparklehorse, plus fronted Neon Neon. He’s coming down to visit his pals here in Australia for the first time since 2003, when Super Furry Animals last made an appearance in our parts. The Welshman plays one Sydney show only, at the Excelsior Surry Hills on Tuesday 3 May.

DIG DEEPER Acid jazz band Directions In Groove (DIG) has reunited for a string of shows, some of which have already happened and some of which are still to come. These are some of the band’s first shows for eight years, and this year just so happens to be the band’s 20th, so these shows are something very special indeed. The gigs showcase the original five-piece DIG lineup, along with new guest singer Laura Stitt. The band is also working on a new album. Aside from their Brass Monkey show on Saturday, they’ll also play at The Basement Circular Quay – their old stomping ground – on Friday 20 May to celebrate their 20th anniversary.

HAPPY 21ST JAZZ FESTIVAL The Darling Harbour Jazz and Blues Festival turns 21 this year and celebrates its birthday by teeing up a lineup of over 50 local and international jazz artists to party in style from Friday 10 to Monday 13 June. Performers include Dereb The Ambassador, Ron Carter, Topsy Chapman, Kurt Rosenwinkel and Tuba Skinny, as well as our own much-beloved artists such as James Morrison, Katie Noonan, Vince Jones, Monica Trapaga, Jeff Duff, James Valentine, Frank Bennet, Geoff Bull, Tina Harrod, Buddy Knox and more. The festival kicks off on the Friday at 4:30pm with a performance from Sirens Big Band, fireworks explode at 7.30pm and then the weekend is up and away, free of charge and open to jazz fans of all ages.

Keep an eye on The Daily SPA for updates, but right now we can tell you that the Channel [V] Guerrilla Gigs are back and Thursday you can expect to see a big Australian act front the surprise free gig at a venue you’ll have to otherwise check into Channel [V]’s website or Facebook to discover. The physical version won’t be out until Friday 6 May, but if you’ve managed to catch Canadian recent long-stay visitors The Trews at any of their residencies, you might want to log in and score the digital version of their new album, Hope And Ruin, out through iTunes the day this issue hits the streets. Also out is a new album, Dark Days Ahead, by Perth musician Louis Inglis, which includes the song Steady On, that features on the soundtrack of recent Australian feature film, The Toll. The new album, Ellipse, from Grammy Award-winning multiinstrumentalist singer songwriter Londoner Imogen Heap, comes out Friday. The New Pornographers’ Dan Bejar also fronts a band called Destroyer, and it’s under that name that he releases his latest album, Kaputt, Friday. Showing there’s life after the Gunners for more than just Slash, Duff McKagan’s Loaded releases The Taking Friday. After 19 years off the scene, US post-punk icons The Feelies are back with a new album, Here Before, Friday. San Francisco’s dance-pop krautrockers Still Flyin’ release their second album, Neu Ideas, Friday. Friday also sees the new album, In Love With Oblivion, from psychpopsters Crystal Stilts. DJ Soup has a new EP, Ubersoup, he’s delivering Friday. Fully remastered, US rockers Sebadoh are re-releasing their 1994 indie classic, Bakesale, in a deluxe two-CD set Friday, with the bonus disc featuring all the singles, EPs and rarities from the Bakesale period. For those of you who remember ‘90s homegrown pop duo Bachelor Girl, Friday sees the release of Loved And Lost: The Best Of Bachelor Girl, which includes four previously “lost” tracks from 2002-3. My Friend The Chocolate Cake recently visited previewing tracks from their new album, Fiasco, which is finally out Friday 22 April. Former Perth band now London-based, Snowman, releases its third album, Absence, Friday 22 April. Ohio three-piece noise pop revivalists Times New Viking release their new album, Dancer Equired, Friday 22 April. Also releasing Friday 22 April is the new album, Belong, from New York City’s The Pains Of Being Pure At Heart. Three years on, Fleet Foxes finally release the follow-up to their hugely successful self-titled 2008 debut, Helplessness Blues, Friday 29 April. Another rocker has succumbed to the demon ukulele! Eddie Vedder is releasing a new album Friday 27 May called, you guessed it, Ukulele Songs.

• 30 • THE DRUM MEDIA 12 APRIL 2011

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THE DRUM MEDIA 12 APRIL 2011 • 31 •


ROCKWIZ IS DISMANTLING THE DRUMKIT, UNPLUGGING THE FENDERS, BUMPING OUT OF THE ESPY AND PACKING UP THE TARAGO TO BRING SOME LIVE LOVE BACK TO SYDNEY. THIS TIME THEY’RE HEADING UP THE HUME FOR THE FESTIVAL OF HA HA, AKA THE SYDNEY COMEDY FESTIVAL. LIZ GIUFFRE CHATS TO HOSTS JULIA ZEMIRO AND BRIAN NANKERVIS. COVER AND FEATURE PICS BY PENNY LANE. JULIA ZEMIRO’S HAIR & MAKE-UP BY MARIE PRINCI.

licence to

MUCK AROUND R

ocKwiz is a TV quiz show about music, but really, it’s a lot more than that. It is about celebrating rock music, albeit by showing your knowledge and skill, but also performing it and celebrating it as a live thing. Hence the beauty of taking it out of the “studio” and bringing it to the people. Following a visit to Sydney as part of a national tour last year, the RocKwiz crew are now Lucy in the Sydney Comedy Festival sky (with diamonds), allowing those of us who normally just play at home, screaming at the TV, to get out and play, as well as laugh with (and sometimes at) the power and passion of the contestants. “A lot of the comedy on the show comes from those fabulous contestants we have that come from the audience [who are selected by winning a pre-show quiz]. We always get gold from them, which makes my job of improvising with them very, very easy,” explains Julia Zemiro, RocKwiz host. “We’re delighted that the Sydney Comedy Festival asked us to do it and are bringing it up to do it. And I don’t think that any of us are going to feel any pressure to be funnier or up the ante or anything like that; it’s an entertaining show as it is. And we’re all delighted to be able to play the Enmore Theatre too, it’s such a wonderful room. It’s perfect for comedy and music, so we’re rapt.” Much of RocKwiz’s charm lies in Zemiro’s delivery, something that is based on her skill at getting audience members, performers and some of the hairiest of rock questions, to play nicely together. She’s like a gifted host at a dinner party, warm enough to make everyone else feel comfortable, but also ready to jump in whatever direction the conversation takes. “When we’re filming the show we run it a bit like a play; we very rarely stop. The only time anything can really go wrong is if something happens with the music, like if someone breaks a string or something like that. But other than that we’re on and I just get to play with the wonderful contestants we get,” Zemiro continues. “I think a lot of it is I waitressed a lot in my twenties and thirties and my dad had restaurants and I think waiting tables is a very noble profession. Your job there is to be welcoming and make people feel good and comfortable and set the tone for them to have a good time. So I like to think that was excellent training for this as well.” Originally a Sydney girl, Zemiro spent a long time on the local Theatresports circuit (particularly during its time at home at the Belvoir) and has continued to develop her improv skills through live international touring shows like the very funny (and what looks to be incredibly difficult) Spontaneous Broadway. Despite this pedigree she’s hesitant when this writer suggests she’s a

did onstage in the ‘80s … that’s a bloody masterclass in terms of comedy. And Lily Tomlin too, I had a few recordings of hers and I saw her last time she toured and I just took notes the whole time in the dark. I was just observing her mastery – ‘Ooh yeah, I see what she’s doing there,’ how she’d segue from one thing to another. It was great.” In contrast, Zemiro’s RocKwiz co-host, Brian Nankervis, started out in comedy and has a fine reputation is the laugh arts. Starting in Melbourne in the ‘80s and ‘90s at the legendary Last Laugh, the rest of us got to know him through his stints as stinking poet Raymond J. Bartholomeuz on Hey Hey It’s Saturday (when it was great – and trust us, it was), as well as Let The Blood Run Free with Peter Rowsthorn (aka ‘Brettie’ from Kath And Kim) and the late, great Lynda Gibson. Does he ever find it a little strange that some people are only now discovering him and particularly thinking of him as a comedian rather than just the guy who knows lots about music? “Well, I was just listening to the ABC and listening to Wil Anderson talk about the Melbourne Comedy Festival and I thought, ‘Yes, it’s been a while,’” he says, trailing slightly, but with good grace. As talk continues a bit more about his past, this writer having mentioned recognising Nankervis’ photo as part of current Melbourne Comedy Festival anniversary festivities. He was “Mr. 1991” at the launch (where a comedian from each year was invited to represent that year’s fest), but also part of an exhibition at the Melbourne Arts Centre. Immediately, Nankervis says, “Oh, what am I doing [in the photo]? Is it something weird?” While not elaborating too much, it sounds like comedy provided Nankervis with many a rock’n’roll story of its own. These days Nankervis is more rock than funny man, but his skill with the funny business is what makes RocKwiz work. Not only behind the scenes (in addition to producing the show, he’s also a fundamental part of getting the audience RocKwiz-ed early – and his good humour ensures a smooth show), but in a more subtle way it’s his ease and ability to know what to take seriously (the music) and what not to (the people in it) that makes the show the success it is. “We did RocKwiz at The Forum for the Melbourne Comedy Festival a few years ago and now we’re doing Sydney Comedy Festival, but I think the show does have a good vein of humour running through it and also that humour comes on the spot via the contestants that we get out of the audience. Essentially what we’re doing in Sydney, it’s going to be a brand new show and it’s like the TV show but a little looser. It’s not being filmed so we’ve got license to muck around a bit more, but the humour happens.

What we’re doing in Sydney, it’s going to be a brand new show and it’s like the TV show but a little looser.”

‘comedian’. “I always get nervous [with that label] because people think I’ve done standup and I haven’t. I just think standup is one of the hardest jobs in the world so I would never take that kudos. I’ve got lots of female friends who are comics and I think it’s really hard, but then they think improvising’s hard and I don’t. With Theatresports, the Enmore was my second home for so long because we’d do big shows and the final there. Then doing other improv like Spontaneous Broadway and Thank God You’re Here, so I’d say I started in improv and then went to acting school and VCA [Victorian College of the Arts] and got into it like that.” Despite her modesty, she does qualify in terms of what she delivers and comedy remains something she’s keenly interested in. When talk moves from the standard RocKwiz question ‘What was your first album?’ (it was ABBA, by the way) to ‘What was your first comedy album?’ she has no hesitation. “My first comedy record was Joan Rivers’ What Becomes A Semi-Legend Most? and she’s on the cover in fur and pearls and diamonds. I just thought she was a legend; hilarious. And obviously I also had Whoopi Goldberg’s VHS of the five characters she

SOUNDS FUNNY

There have been some legendary combinations of comedy and music over the histories of both art forms and crossing much territory. Here are some of the best of the best. MONTY PYTHON: While so much of the Pythons is amazing, what would they be without their ditties? Always Look On The Bright Side Of Life from The Life Of Brian (one of the most requested funeral songs ever, seriously), the simple but effective The Lumberjack Song • 32 • THE DRUM MEDIA 12 APRIL 2011

(“I’m a lumberjack and I’m okay…”), or the timeless love song dedication that was Sit On My Face And Tell Me That You Love Me. So close were the Pythons’ tie to music that one of their patrons was Beatle George Harrison, who gave them both kudos and cash. They returned the favour by playing at his memorial, Concert For George, shortly after his death, performing Lumberjack and Sit On My Face... and then mooning the Royal Albert Hall as they left. MEL BROOKS: Not only an incredible comedian, but also a gifted musician, one of Brooks’ most famous films, The Producers (1968), went on to make him a

It happens in the first half where I get twenty-odd contestants onstage and we select the best four.” Will RocKwiz for the comedy festival feature any particular comedy homage? A novelty song? A Spinal Tap moment? “We thought about that [a comedian or some novelty music] but I think that’s really the domain of Spicks And Specks. I think there’s always been a clear delineation between the two shows,” Nankervis answers straightforwardly, but with a warm tone. “When we did the Comedy Festival show in Melbourne we invited a couple of comedians who were interested in music to be part of the contestants pre-selection, so we might do that in Sydney too. But they have to earn their way through. It’s definitely Rock-wiz, so our artists need to have a pretty solid background in rock’n’roll.”

Broadway hit when it was readapted in 2001. As such, the show about a show that was so bad it couldn’t get made as a show, actually did get made and made it big. Twelve Tonys later, a new film version starring Nathan Lane and Matthew Broderick, various international runs and lots of money in the bank, it wasn’t just Springtime For Hitler, but also serious kudos for an amazing allround artist. (THIS IS) SPINAL TAP: Comedy and music gold that is so good it hurts. If there was ever a finer line between ‘real’ rock and fake rock we’re yet to come across it, and as the press proclaimed at the time, this mocumen-

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WHAT RocKwiz Live WHEN & WHERE Friday 29 & Saturday 30 April, Enmore Theatre

tary “Does for rock and roll what The Sound Of Music did for hills”. Rock had it coming and what was even better was that the parodies were as good, if not better, than some of the real stuff on the market. The joke went down so well that the Tap released a soundtrack that did quite well not only in sales, but live. Even though the band (and their doco) have been around since the early 1980s, the love for them has remained, with the band playing at Glastonbury in 2009 and having been referenced most recently in Guitar Hero (the ultimate acknowledgment).


THE DRUM MEDIA 12 APRIL 2011 • 33 •


THEY AIN’T HEAVY

SELF-PROFESSED PURVEYORS OF “RAUNCHY FOLK MUSIC”, THE FELICE BOTHERS ARE ON THE VERGE OF THEIR INAUGURAL TRIP TO AUSTRALIA. FRONTMAN IAN FELICE TALKS TO STEVE BELL ABOUT AUTHENTICITY AND LIVE PROPULSION.

S

ometimes great music isn’t enough and a band needs a compelling back story to garner recognition as they go about forging themselves a career in the cutthroat entertainment industry. Fortunately for ramshackle folk-country exponents The Felice Brothers, they have both of these attributes in spades, peddling a backwoods moonshine mythology that provides a perfect backdrop for their stomping, rural-tinged brand of Americana. This is music that you can’t help visualise in sepia tones rather than colour, with the band’s revivalist tendencies thrilling rather than off-putting and totally authentic rather than contrived. Initially comprised of three brothers and two close friends – now transformed to two brothers and three close friends – The Felice Brothers were raised in the Catskill Mountains in the backblocks of upstate New York, not far from the venerated soil of Woodstock. They taught themselves to play and honed their chops during back porch jam sessions, recorded themselves in an old chicken coop before decamping to the Big Smoke, busking in the subways of New York City as they continued learning their craft and striving to get their music heard by the world at large. Things began to gather steam at a momentous pace and now, barely five years after their inauspicious beginnings, they’ve organically built their brand up to the point where they’re one of the most revered acts on the bustling American roots scene, veterans of nearly every festival imaginable and about to drop their fourth ‘studio’ album (although they’ve yet to grace an actual studio), Celebration, Florida.

“It’s really different,” band leader Ian Felice, responsible for guitar, vocals and much of the band’s songwriting, offers hesitantly on the new record. “It’s hard to articulate how you feel about your own music, but it seems more expansive. We used a lot of different instrumentation and it’s more experimental and kind of expansive in its range of sounds. We just kind of challenged ourselves and used a whole bunch of different instrumentation and we approached our songwriting in a different way. The result to us seems really different; it’s definitely a departure from our earlier work.”

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The band has toured extensively throughout America and Europe and is now on the verge of their inaugural trip to Australia to share their compelling, thigh-slapping music with local audiences. The Felice Brothers’ live show is incredibly rousing and it’s become renowned as an important part of their overall arsenal.

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“Oh yeah, definitely. It’s not easy to convey how you’re feeling and to get a song across when you’re actually face to face with someone in a little room, in a little space. We work really hard trying to make the live show interesting and engaging – I think it’s an important part of the band’s armoury. Especially with the current state of music these days, because people don’t sell that many records because of the Internet and all that, so the majority of money that bands make is from playing on the road. That’s why we always have to be out on the road on tour playing shows and connecting to the audience and the people who respect our music.” The engagement that the band has with their audience – and the way that they push each other to get the most from their individual performances whilst onstage – harks back to their busking days in NYC. It’s that sort of authenticity that can’t be bought or learned, only gained by hard experience. “Oh definitely, that comes directly from that,” Felice agrees. “We learned that early on. We started on the street because that’s where the fuck we were and that was the only place we could be at that point, so when we were trying to busk the most surefire way to make money is to get people’s attention. If you do like an act – not to say that it’s put on or something – but if you try to be more entertaining, you do okay. Especially back in those days, we would be shameless and make a great spectacle and it would catch people’s eye and they’d be gathering around and we’d be murdering them. If you’re just standing there looking at your shoes, people are just going to walk by, even if you’re playing Bach preludes or something; people just don’t give a shit. So a lot of people would be just looking, responding to your energy and the way that you move and sing and stuff. So we’d be trying to make money in that respect, trying to get money thrown and whatever the fuck with the hat and everything and it was imperative that we tried to put on a good performance. I think that followed through to our live shows when we started playing clubs and bars. It’s evolved and it’s changed into something different, but it still has that kind of same propulsion and quality of trying to be entertaining.” And with the Americana movement gaining momentum every day due to the stellar music being produced by such acts as The Avett Brothers, Justin Townes Earle and Old Crow Medicine Show, it seems a perfect time for The Felice Brothers to be taking their music to the world. “Definitely, people are really responsive to kind of rootsy music at the moment. I certainly wasn’t until I started playing it however long ago. But we travel around the country and in every city there’s a lot of people who come to see our music – and it’s totally weird music! It doesn’t sound like stuff that’s on the radio, but people are into it. “There’s a lot of successful folk acts at the moment. I can’t really say because I’m not that old whether it’s a trend, but I’m sure that there’s always been successful folk bands. I think it’s a reaction to a lot of different things in the world and how people react to the current environment. If I had to sit in an office every day in front of a computer I’d want to listen to some raunchy folk music just to take me out of that whole world. But people use it in whatever way that they can, so I’m sure that it’s helpful to people in different situations. It’s just the age-old music, it’s the same as it ever was – it’s just a chord progression and an instrument and some words. It’s pretty much the same as all the other music; it’s just come at from a different angle.”

Check out the website for full info on this years event.

www.thegumball.com.au • 34 • THE DRUM MEDIA 12 APRIL 2011

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WHO The Felice Brothers WHAT Celebration, Florida (Spunk/EMI) out Friday WHEN & WHERE Wednesday 20 April, Annandale Hotel


THE DRUM MEDIA 12 APRIL 2011 • 35 •


PAINTING A TURNER

SINCE HIS LAST AUSTRALIAN VISIT, UK SINGER/SONGWRITER FRANK TURNER HAS RACKED UP ANOTHER COUPLE OF HUNDRED SHOWS. DANIELLE O’DONOHUE ASKS WHAT THE COUNT IS UP TO NOW.

J

ust four days after English singer/songwriter Frank Turner plays his last show on his current tour of Australia, he’ll play a pretty special one at London nightclub the Hearn Street Car Park. Playing a show in London isn’t particularly remarkable, even though it will mark a pretty impressive milestone – his 1000th show. Even more remarkable is the fact that Turner has counted – and not just counted but has a list of – every solo show he’s played since the break-up of his punk band Million Dead. He also has a list of every Million Dead show he played. “I’m slightly OCD about the whole thing,” Turner admits. “I’m absolutely, deeply mortified to say I didn’t keep lists before Million Dead which really annoys the crap out of me right now because I toured with a few bands before then and it would be wonderful if I had the complete list of those as well but I don’t.” In the 1000 shows and five years that Turner has been playing since the demise of Million Dead, there’s been every kind of show imaginable all around the world. “I’ve played bedrooms, I’ve played rooftops, I’ve played squats, I’ve played hallways in many different places.” But Turner has also toured through the US as a support act to The Offspring, supported Green Day, appeared at the Reading Festival – where he’ll return to take to the main stage this summer in the UK – and late last year played to several thousand people at Brixton Academy. It’s been a steady rise for Turner. The punk vein running through his passionate singer/songwriter fare makes it perfect for singalongs and a passionate response from his audience. His last album, Poetry Of The Deed, was picked up by Epitaph in the US and Turner became hot property. Now, as he arrives in Australia for a quick solo tour, his new album, England Keep My Bones, is scheduled for release early June, just in time for those UK festival crowds to learn all the words for more singing along. “I guess I have to confess that I’m a sucker for a singalong and there are moments in my songs that are written with that in mind. I don’t know that that’s something to necessarily hide or be ashamed of in any way, but quite early on I started becoming one of those ‘singalong artists’. Now it’s sort of become this thing that people make a conscious effort to make sure they know the words to certain songs so they can come to shows and yell along with everybody else. I’m not entirely sure why it’s evolved into this thing that people do at my shows, but I’m not complaining about it.” But, Turner says, writing songs with a big singalong moment doesn’t always work. An artist can never pick a crowd’s reaction to a particular song. “It’s not just about the singing along thing. I think every song you write is supposed to evoke certain emotions and go certain places and sometimes they’re successful and sometimes they’re not. I think everyone has songs that they think in the studio or in their bedroom or wherever, ‘This is the shit, right here,’ and then you get it out in front of a crowd and no one gives a damn. And it gets quietly retired from the setlist. There’s even songs that you start off liking but you get very bored of after a while, but if people want to hear them… At the end of the day I don’t have massive time for the whole Nirvana not playing Smells Like Teen Spirit thing simply because you should be grateful for the fact that everybody likes one of your songs. There are an awful lot of bands where no one likes any of their songs. We’re entertainers and we should be grateful for people liking some of what we do.” Though this time Turner’s tour down under is solo, he assures Drum next time we’ll get to see him in band mode. Though the lineup is permanent and Turner rarely plays solo any more, especially at home in the UK, the moniker The Sleeping Souls has been a long time coming. “On a practical level it’s actually something that we’ve wanted to do for quite some time. We just had insane… well, not arguments, it’s just no one could agree on a name. I had some brilliant names for them but they turned them all down. Actually my favourite one, I wanted to call them the 1970s – Frank Turner & The 1970s. I thought that was pretty cool. Not least because they were all born in the ‘70s and I was born in the ‘80s, so I thought that would be cool, but no, that was rejected out of hand by the board.”

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Turner, though, can see the irony of naming the band now. Though Poetry Of The Deed was very much a band album, England Keep My Bones is much more of a solo album. But Turner believes it’s only his strengthening relationship with the band that has allowed the change. “It’s paradoxical. I think it’s because we’re better consolidated as a unit that has allowed this record to sound how it does. I think the thing with Poetry Of The Deed, for me, looking back on it, I was quite excited about having a band come into the studio. It was like my new toy. But as a result the arrangements on that record are very much gleaned as a full band and everyone plays on every song. It’s fine but looking back on it I kind of feel like the dynamic range of the arrangements on the record is not as wide as it could’ve been. Now because we’re a better consolidated unit and we’re more comfortable with each other, I feel confident in turning around to Nigel [Powell, drums] and saying, ‘You’re not playing on this song’ or whatever it may be. I think the fact that we’re more settled is reflected in that.” But before he has to worry about England Keep My Bones and his 1000th show, Turner has another important milestone. “I’m not just saying this to garner favour with an interviewer, but I adore coming to Australia. It’s like my favourite place… to tour… ever. The first time I came over with Chuck Ragan – who’s an old friend – and Chuck had been telling me for years that Australia was the promised land of touring, so he eventually invited me to come to Australia with him in order to prove a point. Which he did very successfully.” WHO Frank Turner WHEN & WHERE Friday, Annandale Hotel

• 36 • THE DRUM MEDIA 12 APRIL 2011

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SWAMPY OLD FEEL

SWAMP ROCK LEGEND TONY JOE WHITE IS HEADING BACK TO AUSTRALIA WITH HIS SWAG FULL OF DEEP SOUTHERN BLUES. HE TALKS TO DAN CONDON ABOUT WHAT HE THINKS MAKES HIM APPEAL TO A WIDER AUDIENCE AND HIS ONE-EYED RETIREMENT PLANS.

H

e’s the king of swamp rock, the Swamp Fox, the man who has written songs for the world’s most prominent recording artists and had quite a few hits of his own over a stunning career spanning well over 40 years. Tony Joe White is touring once more, spreading his effortlessly cool brand of authentic Southern boogie blues rock. In fact, everything about Tony Joe White seems effortlessly cool. His Southern drawl carried by a restrained baritone is the kind of voice that doesn’t exactly demand attention, but it gets it nonetheless. White is sitting in the backyard of his recording studio in Franklin, Tennessee on the eve of another Australian jaunt – pretty much a bi-yearly pilgrimage for the artist these days. “I love the country a lot, it’s so beautiful. But I really love the people; they are kinda like Louisiana people or Texas people, [which is] where I grew up. If they dig the music they let you know, they get up on stage with you and they holler and they go at it. It’s amazing man, it’s just like goin’ home.”

These songs are handed down to me from a higher place and when they come to you... then you gotta stay with it.”

White will make his sixth appearance at Byron Bay’s Bluesfest while he’s in the country, a festival he feels suits him to a tee. “I’ve always loved Byron Bay, playin’ there, because of the atmosphere of that many people camping out for days and days and waitin’ to hear music and they let you know if they like it. It’s just a real swampy old feel, man. It’s swampy.” But it is purely the American South that pumps through Tony Joe White’s music. Over the years his songs have spoken of everything from sweet Southern girls to disharmony between races to alligators, trolls and pumping juke joints – and you can almost feel the cool Southern breeze whenever you hear one. While he no longer lives in Louisiana, where he grew up on a cotton farm, he feels that state will always have a huge influence on his music. “I still go down there a lot. I got a lot of kinfolks who live down there. I go down there five or six times a year and hang out. I fish and see my folks and usually when I come away from there I’ll have a good guitar lick or something in my mind. Because that’s where I was brought up, I was raised down there so it will always be a part of my music.” While his music will always retain that distinctly Southern flavour, White has earned himself a huge following all over the world. He puts this down to his honesty as a songwriter and as a musician. “I think it could possibly be the realness of the songs and not tryin’ to write ‘em commercial or play ‘em commercial or anything. Just cut ‘em the way they feel when you write ‘em, just put ‘em on a tape and let it roll.” And not much has changed about White’s songwriting process over the past 40-odd years. “Usually my guitar starts the song out and then a couple of weeks later I might sit down with it and work on it. I’ll sit down with it, work with it, build a little fire down by the river, get a few beers and see what happens.” The past 20 or so years, though, has seen White collaborate with his wife Leann. “We write about three songs a year, three or four, and she’ll come up to me with a line or something and I’ll grab the guitar and say, ‘Hey, how does this fit?’ and then all of a sudden here we go. [This has been happening] all the way back to Undercover Agent For The Blues with Tina Turner.” White’s stark new album, The Shine, is a loose, bare bones affair and closely reflects the intimate nature of White’s live performances. It seems the main goal was to let the music flow naturally, something that feels pretty good from White’s perspective. “I love The Shine because it’s real and it’s like being caught at the right moment when you’re doing what you should be doing. That’s what the shine is. Even the picture on the front of the album, that’s the shine right there – I’m doing what I want to be doing, my harmonica and guitar hanging over and digging into the microphone. I mean, the shine is a gift that’s given to you so I wanted to capture it.” While you’ll no doubt hear plenty of his new material when he’s here, White says he’ll always play his classics. “Of course we’ll be reaching back into the swamp and getting some of the old swamp tunes out, because you gotta do them; the crowds are gonna start hollering for this and that. Polk [1969 hit Polk Salad Annie] and this and that.” Thankfully White, who turns 68 this year, has no intention of slowing his touring schedule down, but as soon as he stops writing songs you won’t see him again. “When I write and record something then of course I want someone to hear it so I go and play live. I love to play live on stage. It’s not the type of thing where I have much choice, you know? These songs are handed down to me from a higher place and when they come to you and come to your guitar and come to your voice or whatever then you gotta stay with it. There would be no way to just say, ‘Okay, on October 25th I’m gonna shut this off.’ I’m in it as long as I’m still writing.” WHO Tony Joe White WHEN & WHERE Monday 25 and Tuesday 26 April, Bluesfest; Thursday 28, Hurlstone Park RSL; Friday 29, The Basement Circular Quay; Saturday 30, Lizotte’s Dee Why; Sunday 1 May, Lizotte’s Newcastle; Wednesday 4, Clarendon Guesthouse; Thursday 5, Coogee Diggers; Friday 6, Waves

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THE DRUM MEDIA 12 APRIL 2011 • 37 •


TALKING THE TALK

SHE MIGHT HAVE TAKEN CONTROL OF HER MUSICAL CAREER 20 YEARS AGO BUT FOR MICHELLE SHOCKED, THE BATTLE IS FAR FROM OVER, AS SHE TELLS MICHAEL SMITH.

situation.” All of which gives you some idea of the feisty political animal lurking behind that acoustic guitar and downhome voice. Shocked might not have always written the most overtly political songs but she’s always stayed true to what she’s believed and done the research to back it up, which is why, when the major label to which she was signed refused to release the album she’d recorded to follow up her 1992 album, Arkansas Traveler, she took legal action against the label and won, not only breaking her contract but more importantly succeeding in retaining ownership of her music.

“I

’m actually on a five-year tour project called Roadworks,” Michelle Shocked states, appropriately on the road on her mobile phone calling Drum as she’s halfway through a run of dates through the US North West. “I’m doing it to help launch a new project that I have not yet recorded. So I’m roadtesting some of the songs from a new project called Indelible Women, but in each of these years of the fiveyear tour project, I’ve chosen a different theme and this year’s theme, which I’ll be presenting to audiences when I come to Australia as well, is the 25th anniversary of the Texas Campfire Tapes.” Originally recorded on a Sony Walkman at an impromptu performance at a folk festival in Texas in 1986 by producer Pete Lawrence, the album was the American folk-pop artist’s first, as a sort of official bootleg and an omen of things to come in some ways. Shocked got hold of a copy of the original tape and has since reissued the Texas Campfire Tapes in an expanded two CD set with an additional 23 tracks and the full collection now presented at the correct speed, as on the original recording the batteries on the Walkman were dying, hence the music sped up when played back. “So I’ll be highlighting a lot of the songs from that album, which, frankly, I had dropped out of my repertoire. I don’t know – I felt maybe I had outgrown the songs, so I’d sort of let them fall by the wayside and it’s been really fun to go back and revisit the material because it’s putting me back in touch with my 25 years ago self. Now that I’m doin’ ‘em I’m thinkin’, ‘Hey, I was soundin’ pretty good back then!’” At which observation she naturally laughs. The last time Shocked was down our way was in 2005, touring not one but three very different albums – Don’t Ask, Don’t Tell, Mexican Standoff and Got No Strings – which she released all on the same day. Since then,

• 38 • THE DRUM MEDIA 12 APRIL 2011

she has released a live gospel album and, in 2009, another studio album, Soul Of My Soul, which combined her passion for soul music with her disgust with the administration of President George W. Bush. Sadly, whatever initial optimism she might have held about the Obama administration has long since died. “You know what a contrarian I am,” she proudly laughs. “You know that we would like the story to end that way, but let’s be realistic. Obama is a Centrist and Obama is marching to the orders of the corporate interests that have bought and sold the US government out from under its citizens. He was very frank and upright about that when he gave his inaugural address. He said, ‘I will do the right thing, but you’ll have to make me do it.’ “There was a campaign promise, for example, that he made in ’08 that if collective bargaining rights were being threatened to be taken away from workers he would stand with them. In Madison, Wisconsin, three weeks ago, President Obama was nowhere to be seen as the Republican legislature signed away collective

bargaining rights in the guise of a budget crisis. So while a lot of journalists feel that Soul Of My Soul is dated because of Obama winning the election, I never felt that way. I felt like it’s the same complaint that I had against the Bush administration, which just made us look like a big asshole to the rest of the world. I appreciate that Obama is employing a more multi-lateral approach with Libya, but domestically I’ve got plenty to complain about still. “Last year’s theme, because this is the second year of my Roadworks tour, was American Idle, I-d-l-e. We had this ‘jobless recovery’ [from the Global Financial Crisis], so I was going around celebrating that and gathered up songs from my fellow songwriters to see what does the voice of this new recession, this new depression look like? And I put those up on my website but I don’t think I’ll record those songs, but I’ll be pressing to keep up the momentum for the reality that we’re facing, which is that workers’ rights are being challenged as global capital is looking for more and more power in the

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“For me now it’s come full circle. My debut album was a bootleg and now I’m having to fight the exact same challenges, but instead of it coming from an independent label that released the bootleg or fighting a major label, I’m having to fight against music audiences. I’m being told I am inhibiting freedom of expression somehow, so I’m finding myself having to educate people on copyright. To tell you truth, music is very available right now but that is because Internet technology companies – I’m talking about the big guys like Google, Yahoo and Amazon – they’re still busy consolidating their power. Once they have all that power consolidated and under control, wham! It’s all gonna come down like a big black boot and all of this free access is gonna go away. They’re busy driving major labels out of business and then acquiring their catalogues and once they’ve acquired all the intellectual property, then they will politely inform all of their users… I don’t know why on earth people think that it represents some kind of freedom of expression to steal copyright material when the providers of that Internet access still have all the control that they need. They’re just allowing people to go out there and pirate or bootleg because it devalues it so they can buy it at a really fire-sale price. Once they got control of all that intellectual property, trust me, it won’t be free no more.” WHO Michelle Shocked WHEN & WHERE Monday, The Basement; Tuesday 19 April, Lizotte’s Dee Why; Wednesday 20, Lizotte’s Newcastle; Thursday 21 & Friday 22, Clarendon Guesthouse; Monday 25 & Tuesday 26, Bluesfest


HOME AGAIN

FREE TO BE

NOW BASED IN THE US, AUDREY AULD BRIEFLY RETURNS TO AUSTRALIA FOR HER DAD’S 80TH BIRTHDAY WITH A NEW ALBUM IN TOW, WRITES SAMUEL J FELL.

YOU KNOW THE OLD SAYING, ABSENCE MAKES THE HEART GROW FONDER? WELL, FOR NEW ZEALAND’S LADI6, DISTANCE MAKES THE HEART FREER, AS MICHAEL SMITH DISCOVERS.

I

n 2003, country chanteuse Audrey Auld upped stumps and headed to the motherland – to the home of the Stetson, the Land of the Free. From her native Tasmania to California and now Nashville, Auld has spent the past eight years giving it a red hot go in the place where country music was born. She had a solid career here, recording with the likes of Bill and Kasey Chambers and now, as she comes back for her first musical visit since 2006, has clocked up eight records and has graced stages with the likes of Fred Eaglesmith, Kieran Kane and Dale Watson. The move has paid off.

It’s been personal reasons why she hasn’t been home in so long though and it’s personal reasons that tie in with why she’s back now – her father turns 80 and there’s a new record, Come Find Me, ready to go, something Auld is more than excited about showcasing in her home country, a place that quite obviously is still close to her heart. “I miss my musical friends. I guess you take it for granted when you live amongst it,” she muses, her accent still as broad as it would have been when she left, eight years ago, when I ask if she misses playing music here in Australia, “There are some great musicians in Australia and I miss playing with them. I miss playing with Bill Chambers a lot. But America is really cool. It’s great playing over here, there are a lot of acoustic venues and folk clubs and house concerts where you can play a listening show, where you can really connect with your audience and really put on a concert. It’s essentially American music that I play – here they call it Americana, in Australia they call it roots – so there is a lot that is understood when you play to audiences here, because they grow up with this kind of music.” And so this is what Auld has been doing – taking this American music back to America and over the course of the past eight years she’s done it fervently and she’s done it well. This is what has informed Come Find Me, a record that charts her progress over the past three or four years, showcasing songs from that period, songs that show where she is at right now, as a country musician plying her trade in the land from where the music emanated. “I’ve put out a lot of records – I’ve got eight

F records out – so I just wanted to take a break,” Auld says on the longer-than-usual gestation period of this record, her last full-length album being 2007’s Lost Men And Angry Girls. “So I wanted to take a break and write and play a lot and just get a really good bunch of songs together and so [now] just felt like the right time to make a record.” Come Find Me is helmed by producer Mark Hallman, famed for his work with the likes of Hot Club Of Cowtown, Eric Taylor and Will Sexton, who pulled it all together. He’s quoted as saying he loved Auld’s acoustic demos and that he knew they’d be great with a band – did Auld feel the same way, or was she nervous about bringing these long-worked-on-songs into a band/studio setting? “No, God no, not at all,” Auld laughs, her accent even more pronounced. “I know from playing these songs live that they work… If I’ve got any doubts, then I just wouldn’t present it. Mark said he was very happy with the strength of the songs to begin with and it was great going in with that compliment. It’s certainly great to get the thumbs up.” WHO Audrey Auld WHAT Come Find Me (WJO Distribution) WHEN & WHERE Wednesday, Notes; Thursday, Lizotte’s Kincumber; Saturday, Clarendon Guesthouse

or about six months last year, New Zealand hip hop singer/songwriter Karoline Tamati, who travels under the moniker Ladi6, plus her partner and producer DJ Parks, lived, worked and recorded her second album The Liberation Of… in Germany. “To me it felt like we were just travelling the world playing music, sort of like my exact dream,” she admits, laughing, something she does easily and often throughout Drum’s chat, “and paying ourselves a minimum wage, but a wage, you know? I felt like I was living the dream – I still do, except I’m home now so it’s a lot more boring. I just felt really inspired by everything that we were doing and it was the first time we’d ever done that, gone out on our own, jumped in the deep end of the pool and were totally swimming, doing it all. “That’s why it’s so much more upbeat, comparatively, to [first album] Time Is Not Much, I think, because we were actually doing shows. We did just under sixty shows in that six months – which is a hell of a lot of shows – and they were all over the place, so we did a lot of travelling in Europe and we were trying to make them party, not make them cry [laughs]. When we had to leave, because our visas were up, we didn’t want to go – we really wanted to stay. But then it got quite cold so then we decided we did want to go [laughs].” Her management had initially set up a six-week tour of Europe but since, as she explains, “we had to pick up our entire home and put it into storage, once we got there we thought, ‘Why don’t we just stay here for as long as we can?’ So six weeks turned into six months and in the last two months we decided that we needed to go home with a record.” Recorded essentially in the lounge room of the place they were renting in Berlin, some of the production duties ended up being shared with German beat auteur Sepalot. “We were supporting this American rapper and so was Sepalot and after the Melbourne show he asked me to do a collaboration and I told him I don’t actually live in Australia, I live in New Zealand. He happened to be coming over here on holiday before he hit Thailand, so he parked his campervan up my driveway – him and

his missus – and they both stayed for a day or two and we went into the studio to knock out Go Get It, which was a track that was on his album Red Handed that came out the year before last. “So from there, when we went over to Germany, of course I rung him up. I wanted him to mix the record, but I could only make so many instrumentals and produce so many songs within the eight-week timeframe that we’d given ourselves, so he did [the instrumentals for] the other three [Like Water, Burn With Me and Let It Go], and that was it.” A lot of artists find they’re often inspired to write by homesickness, but not Ladi6. “To be honest, I had everything I needed over there and it was actually quite nice to be that far away from family and stuff; just no responsibility. You get all that time in the world to really focus on your music and just being the ‘interesting artist’ you’ve always wanted to be, but you’ve always had family sort of pulling you back down to earth saying, ‘No, take out the rubbish’ [laughs].” WHO Ladi6 WHAT The Liberation Of… (Question Music) WHEN & WHERE Saturday, The Gaelic

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NEW ALBUM ‘LUCY & THE WOLVES’ OUT NOW

##### “Luminous... The kind of wistful melancholy that stamped the catalogue of late, great British folkies such as Sandy Denny and Nick Drake... This seductive album thrusts Tilston to the forefront of the new folk movement” – THE AUSTRALIAN

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THE DRUM MEDIA 12 APRIL 2011 • 39 •


FROM THE HEART

MARTHA TILSTON IS GOING THROUGH A NEW STAGE OF EXPERIMENTING, SHE TELLS CYCLONE, WHICH IS MAKING HER OPTIMISTIC.

B

rit nu-folkster Martha Tilston discovered that she was pregnant on her 2008 Australian tour. “I did a pregnancy test in a radio station, which was really silly,” she confesses. It was at the ABC in Sydney and, Tilston laughs, mercifully it was post-interview. Last year, Tilston re-emerged from a modest maternity break with Lucy And The Wolves, her best and most expansive album, with the singer/songwriter gliding from pastoral soul into jazz and magic realist pop. Laura Marling and Mumford & Sons may be hailed as leaders of Britain’s folk renaissance, but Tilston has been active since the early noughties. She first attracted mainstream attention with 2007’s Of Milkmaids & Architects. Lucy..., Tilston says, “was quite hormonally led”, as she started it during her pregnancy. She focused more on the lyrics, whether writing about love and relationships or tackling socio-political issues such as the environment. The mum-to-be realised she had a greater stake in the future. “It suddenly all felt more real.” And Tilston was feeling bolder. “I needed to say what I really felt from the heart and try to not worry about what reviewers are gonna say or anything else. So, even though it’s not a particularly upbeat album, it’s very truthful.” The ‘Lucy’ of the title is the kind of free-spirited woman who is vulnerable to the envy – and censure – of others.

StreetPress Australia, New World Artists and the musicconnection present

TRIAL KENNEDY

LIVING UNDESIGNED TOUR Fri

13 May 2011

DING DONG LOUNGE, Melbourne

VIC

Sat 14 May 2011

PELLY BAR, Frankston

VIC

Thu 19 May 2011

CITY DIGGERS, Wollongong

NSW

Fri

THE CAMBRIDGE HOTEL, Newcastle

NSW

Sat 21 May 2011

THE ANNANDALE HOTEL, Sydney

NSW

Fri

THE ZOO, Brisbane

QLD

Sat 28 May 2011

MIAMI TAVERN, Gold Coast

QLD

Thu 2 June 2011

PRINCE OF WALES, Bunbury

WA

Fri

3 June 2011

AMPLIFIER, Perth

WA

Sat

4 June 2011

JIVE BAR, Adelaide

SA

Sun 12 June 2011

FERNTREE GULLY HOTEL, Ferntree Gully

VIC

Fri 17 June 2011

GRANADA TAVERN, Hobart

TAS

Sat 18 June 2011

HOTEL NEW YORK, Launceston

TAS

20 May 2011

27 May 2011

NSW & QLD Support: Numbers Radio. WA Support: Wolves Tix on sale now from venues and online: www.oztix.com.au www.moshtix.com.au NEW ALBUM OUT MAY 13

Tilston has already begun her next project in the Cornwall refuge she shares with her producer husband and daughter. Now out of “the baby bubble”, she’s eager to venture beyond. “I feel like I’m going through a bit of a new stage now. The writing I’m doing at the moment feels a bit more optimistic somehow. I’ve even got an electric guitar, actually. I just felt I wanted to have a go [with it]. I don’t know if it’ll work or not, but I’m just gonna enjoy experimenting... We’ll see where we go with it.” Tilston is an all-rounder, something attributable to her very bohemian – and modern – upbringing. She was introduced to music by her singer dad Steve Tilston, who, after separating from her artist mother, married Celtic folkie Maggie Boyle. Tilston, who paints, does her own artwork. What’s more, she herself originally planned to act, attending drama school, only to experience disillusionment afterwards. The

Tilston’s alt.folk is feeding into a nostalgia for ‘slow living’ and a desire for authenticity in music over irony and pastiche. She’s gratified that folk is back in favour, although her progressive definition of folk as “the people’s music” extends to hip hop. “It’s really exciting. It’s just lovely to think that people want to hear real instruments and real lyrics and real stories and real tunes.” Early in her career, Tilston’s male manager would pick her up in a gold Rolls Royce to head to a London studio – he meant to mould her into a star. “He used to get me to sing everything in an American accent and it was awful,” she groans. Tilston had to muster up the courage to assert herself and follow her own (steadfastly indie) path. Returning to Australia this month, Tilston decided against bringing her band The Woods, buoyed by a triumphant solo tour late last year. She will play acoustic guitar, with “a bit of unaccompanied folk” and promises to share those new songs. “There’s something about the power of one person on stage that I just want to explore – and just be able to be totally honest and truthful in my music.” WHO Martha Tilston WHEN & WHERE Thursday, Cat & Fiddle; Friday, Clarendon Guest House; Saturday, Paddington Uniting Church; Wednesday 20 April, Brass Monkey; Saturday 23 and Sunday 24, National Folk Festival

SHE’S GOT RHYTHM

IT SEEMED THE MOST OBVIOUS THING IN THE WORLD: TWO EXTRAORDINARY MUSICIANS – WHO ALSO HAPPEN TO BE MAN AND WIFE – TO TEAM UP AND TOUR IN THE ONE BAND. SUSAN TEDESCHI ADMITS TO BEING VERY HAPPY ABOUT THE DEREK TRUCKS & SUSAN TEDESCHI BAND, AS MICHAEL SMITH LEARNS.

D

erek Trucks is the incendiary young guitarist who has been an essential part of the Eric Clapton entourage over the past few tours, plus who is also part of his dad’s band. His dad, incidentally, is drummer Butch Trucks, who plays in The Allman Brothers. Susan Tedeschi, meanwhile, has built an enviable career as a Grammy-nominated blues guitarist, singer and songwriter in her own right. Watch her in action and it’s obvious she has an easy, fluid technique, but surprisingly, Tedeschi, who began her career as a singer, actually came to guitar playing comparatively late. “I mean I played a little bit as a teenager, growing up and then around 22 I started to look at the guitar in a whole new way,” she recalls. “It went from a couple of very simple first-position folk chords to all of a sudden understanding the whole neck. I could say I had a sort of epiphany and basically saw the guitar in a more geometric way and just started to play along to a lot of blues records – people like Freddie King and Magic Sam – and that’s how… It all of a sudden hit me. “I grew up listening to a lot of Bob Dylan, Lightnin’ Hopkins, Sun House and Mississippi John Hurt – a lot of the country blues artists, ‘cause my dad listened to them. So it wasn’t really until after college that I really got turned onto some of those blues artists, a lot more of the electric guys like Buddy Guy and Otis Rush, these more explosive style players that were singing and playing together so well and I really got inspired to play guitar.” Discovering that “electric” connection allowed Tedeschi to embrace the instrument in a way that has seen her become one of the world’s finest female guitarists, but it also opened up a whole new way of approaching the craft of songwriting. “I’d always written in the way of the storyteller, writing more in folky chords and all of a sudden I’m learning guitar in a whole new way and

• 40 • THE DRUM MEDIA 12 APRIL 2011

struggling thespian was ill at ease auditioning for ads and musicals. “I’m not a great dancer,” she admits. Still, Tilston hopes to act again and compose music for theatre. “I was an actress and then the music just started to happen. I never really meant to leave acting.”

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I realised that there are just so many more ways to do things. I guess I’d never really imagined how to riff and how to do all these things until I started listening to the way that they had been playing. So really, it not only inspired me to want to learn the guitar but also all of a sudden figuring out how to play and how to interact with a band and play with people I’d never met and how to just get up and play with them. I just wanted to play rhythm; I didn’t even want to play lead.” Luckily, in husband Trucks, she has herself a lead guitarist par excellence and revels in being able to just kick back during the solos. “I’m his rhythm player now,” she laughs. “Once in a while he’ll call over and say, ‘Come on, you solo now,’ and I’ll say, ‘No, that’s not fair.’ He can play anything you can imagine. The great thing is, you know, when he plays guitar his melodies are strong and beautiful and his rhythm playing too – everything about him is so musical. So for me to get to play in a band with him is just off the chart; it’s just so much fun. “We’d never really had a chance to make a record together because we’ve been on separate major labels, so they wouldn’t allow us to. So I finally got out of my major label deal and here I am.” WHO Derek Trucks & Susan Tedeschi Band WHEN & WHERE Thursday 21 April, Enmore Theatre; Saturday 23 & Sunday 24, Bluesfest


G AY N O R C R A W F O R D P R E S E N T S

BOBBY LONG “He breathes a labyrinth of imagery that is so fragile and heartrending – it’s impossible to let go.” Jambase

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THE DRUM MEDIA 12 APRIL 2011 • 41 •


GOING THEIR OWN WAY HIGHER, HIGHER, HIGHER!

WHAT HAPPENS WHEN YOU’VE GOT TOO MANY IDEAS AND YOU GET REALLY EXCITED? TOM WEARNE OF BRISBANE’S TIN CAN RADIO TELLS MICHAEL SMITH ABOUT THEIR DEBUT ALBUM.

TOOTS & THE MAYTALS RETURN TO AUSTRALIA THIS MONTH TO TREAT AUDIENCES TO THEIR LEGENDARY BRAND OF ROOTS REGGAE. FRONTMAN TOOTS HIBBERT TELLS DAN CONDON THAT IT’S GONNA BE BAD.

“W

e started off, funnily enough, as a threepiece folk outfit,” Tin Can Radio singer Tom Wearne explains with a palpable grin. “We wrote songs about love lost and so on. I actually listened to some of that stuff last night – I found it on this old hard drive I had – and it’s really funny listening back. But then we realised the pleasures of making people dance, so we started going in a more rocky way. We’re all into electronica and especially abstract electronica and dance music, so it’s kind of just evolved into trying to emulate the things that we liked. And it’s weird ‘cause we like everything, so we kind of chuck it all in, I suppose!” Whatever the now five-piece is doing now, it’s certainly not “love lost folk”. But then, on the evidence of their debut album, Chase The Sun, Hold The Night, it’s more than electronica, despite some pretty solid ‘80s synth sounds, especially as you get deeper into the album and instrumentals like the contemplative Breathe Out and the limpid near ten-minute prog-ambient epic closer, Ode To The Shire. “We’re often labelled as ‘genre-mashers’ and I guess we are in a sense, but that makes it sound like we’re cutting and pasting genres for the sake of it, where really it’s kind of just what comes out. We really set out to create a cohesive kind of feel and cohesive theme and vibe as well as sound to the record. It does span across lots of different styles and there’s a shitload of ideas but that’s definitely something we set out to achieve. “We try and find this line between pop and experimental I suppose. It’s funny ‘cause it’s not something that we consciously do, but at the same time we do have an eye on the pop sensibilities of a track just so it’s listenable. We like to push the boundaries I suppose. And a song doesn’t always necessarily need lyrics. We usually like to find something for everyone to do when we’re doing it live so no one’s just standing there looking pretty! But we’re all multi-instrumentalists so it doesn’t necessarily need singing on every track.” While musically Tin Can Radio may have moved a long way from that initial folk trio thing, lyrically, Wearne has

• 42 • THE DRUM MEDIA 12 APRIL 2011

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remained close to the things that have always inspired him to write. “I draw inspiration from anything that makes you feel something. I guess the sadder times are definitely lyrical fodder. I’m certainly very, very driven and inspired by love lost, heartbreak and stuff like that. But that’s not saying I’m an emo. Finding just little things you wouldn’t see every day, something you’ll see as very small. I was at the traffic lights on the weekend and saw two homeless people holding hands walking down the street and I don’t know, just that image was beautiful, so I guess just the small day to day things that jump out at you and make you feel that you’re alive, that remind you that there’s something special in life.” Included on the album are remastered and retouched versions of their first two singles, Hot Trash and Days To Dust, which both copped a fair bit of triple j love last year. “With any release, essentially it’s just a snapshot in time of who you were at that very moment when the record button was hit and as soon as that’s finished, you’re a different person and a different artist. So we revisited those songs to make them who we are at the moment, which meant tweaking little things. Essentially we kept it all pretty similar but we re-tracked stuff that we weren’t happy with.” WHO Tin Can Radio WHAT Chase The Sun, Hold The Night (Independent) WHEN & WHERE Friday, World Bar; Saturday, Transit Bar; Wednesday 27 April, Cambridge Hotel Newcastle

he word legend is utterly overused in the music world, but it barely goes far enough to describe Frederick ‘Toots’ Hibbert. The legacy of this artist is already enormous; he is the man who is credited with bringing the word reggae into the music lexicon through his band The Maytals’ 1968 single, Do The Reggay. At the time, the reggay was a dance fad sweeping through Jamaica – now it’s a ubiquitous term for the soulful, often laid-back style of music heavily influenced by the music and lifestyle of Jamaica. This aside, Hibbert’s musical legacy is enormous, particularly when examining the music released with The Maytals through the 1960s and ‘70s. They were one of the first acts to bring Jamaican music to a wider audience; after a swag of hits in their homeland, the band scored their first UK hit with the Monkey Man single of 1969. Pressure Drop, released in 1970, has since become the band’s signature song and is considered by pundits the world over as a genuine classic. “It was easy,” Hibbert says of his band’s shift to entertaining audiences outside their home country. “The songs tell the stories and everyone wants to hear the stories and people keep on buying the music. The music was always outstanding and we give outstanding performances.” The band quickly became renowned for being one of the more soulful groups playing Jamaican music. While much of this was to do with Hibbert’s smooth vocal style, the incorporation of deep harmonies was another massive contributing factor to this sound. This harmonic singing is said to be influenced by Hibbert’s earliest interactions with music, singing as a part of a gospel choir. He says that young Jamaicans will not experience this same method of teaching these days, though. “You can’t do that in this time because we’re living in a different world at this time. Everything has changed.” When it comes to modern-day Jamaican music, Hibbert seems somewhat unimpressed by what young artists are currently presenting, but he sees plenty of potential. “I

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don’t think it’s very strong but more and more people are learning, they’re learning from us. So sooner or later they are going to take it higher. They are going to take reggae music much higher and I’m going to take it higher, higher, higher!” At the age of 65, this reggae legend is still working hard. This doesn’t surprise him in the slightest. “I don’t think of myself as an old person,” he admits. “Every day everybody get one day older, but I don’t think I’m an old person. I’m sure I’m older than you and I’m older than a lot of friends of mine, but I don’t say I’m old. When I’m old then I won’t perform no more.” Last year’s Flip And Twist record saw the band explore a huge variety of different styles outside the reggae spectrum. “I just wanted to show people that I can do R&B, jazz, blues, classic gospel and reggae, you know? What I’m gonna do now is I’m gonna release a new album and it’s going to have mostly reggae. It’s going to be wicked, wicked, wicked.” The band were an impressive live force on their last visit back in 2004 and Hibbert promises another high energy show this time around. “You can expect a bad, bad show,” he grins. “Wicked. Very nice. People are going to be enjoying. They will be dancing and they will sweat and there will be lots of energy and soul in our roots rock reggae. People will never forget my performance; they will always remember Toots And The Maytals.” WHO Toots & The Maytals WHEN & WHERE Thursday 21 and Friday 22 April, Bluesfest; Saturday 23, Enmore Theatre


GUITAR ALL ROUNDER NEW INSPIRATION

BEING NAMED THE 23RD BEST GUITARIST OF ALL TIME BY ROLLING STONE IS PRETTY IMPRESSIVE BUT FOR AMERICAN GUITARIST WARREN HAYNES, IT’S MUSIC THAT MATTERS. MICHAEL SMITH INVESTIGATES.

WITHIN TEMPTATION’S LARGEST PROJECT TO DATE, THE UNFORGIVING TAKES THE BAND DOWN A NEW PATH, AS SHARON DEN ADEL EXPLAINS TO CHRISTINE CARUANA.

L

C

ontemporary blues fans know guitarist Warren Haynes best for his work with the band he formed in 1994, Gov’t Mule, but the story goes back to his teens in Asheville, North Carolina, where, after a few years of gigging around the local bars with a variety of bands, he was spotted by country singer/songwriter David Allan Coe, who invited him to join his band. “I’d just turned 20 when I joined Coe’s band and it was a new experience for me,” Haynes, on the line from his home in New York City, admits. “I had never played that music but it was a learning experience. I think what I focused on most during that period was songwriters and developing the singer/songwriter part of myself even more, because I’ve always been enamoured with that. That’s always been a big part of the picture with me. And it was through that relationship that I met Gregg Allman and Dickey Betts, which led to me joining the Allman Brothers.” That “learning experience” saw Haynes cut nine albums with Coe before, as he explained, Coe and the band opened for the Allman Brothers and Haynes was invited by guitarist Betts to collaborate on his 1988 solo album, Pattern Disruptive. That led to an invitation to join the Allman Brothers, but also established Haynes’ relationship with Allman bass player Allen Woody and Betts’ drummer Matt Abts, with whom he formed the original lineup of Gov’t Mule. Haynes was actually in the middle of the Allman Brothers’ Beacon Theatre run in New York City where he now lives, which the band does in March every year, when he fielded Drum’s call. “Gov’t Mule is taking a well-deserved break,” Haynes explains. “Gov’t Mule has been on the road hard and heavy since 1994 and I can’t think of too many bands that have toured to the extent we have for that period of time without taking at least year off here and there. But Gov’t Mule remains my priority; that’s my laboratory, that’s something I would like to see continue and the current band is on fire right now.” Obviously never one to let the grass grow under his

feet, Haynes promptly took the opportunity to head into the studio to cut a new solo album, Man In Motion. It’s due for release mid-May and on it he’s joined by singers Ruthie Foster and Ivan Neville, who also plays keyboards, for what might seem something different for him – a soul workout. “I guess for the past four or five years I’ve been contemplating making this record and compiling songs I’d written in the past and currently writing that may not fit into Gov’t Mule or the Allman Brothers. In some ways it’s very different, but in other ways it still ties together with all the other stuff that I do, but soul music was my first influence. I started singing before I ever picked up guitars, so all my early influences were soul singers like Wilson Pickett, Otis Redding and James Brown, so I was educated on that music. Then when I heard blues and rock music, that inspired me to play guitar as well. “So this album has the B.B. King/Albert King/Freddie King influence as far as the blues side and it has the soul music side from the vocal standpoint, but it’s also filtered through whatever comes naturally for me. I’m not trying to recreate something that’s already been done; I’m just taking influences and applying my own musical personality to them. Musically and melodically the songs are coming from a lot of different directions. Combine that with the blues guitar and it comes out to be something fresh.” WHO Warren Haynes & His All Star Band WHEN & WHERE Saturday 23 April, Factory Theatre; Monday 25 & Tuesday 26, Bluesfest

ooking for a good story to tell, a worldwide movie release was Within Temptation’s first idea to get a story to link in with their new album The Unforgiving. When speaking to production companies however, vocalist Sharon den Adel explains that it was too difficult to give a definite release date. “That’s very important for us, because we want to have a simultaneous release, otherwise it doesn’t support each other. If one thing comes out one year and the next year the other, there isn’t the direct relationship. Especially when you want to base your lyrics on it, the story and meaning won’t come across,” she says. When their initial idea of tying the album with a movie didn’t work out, all hope was not lost. Still wanting to create their first concept album, they decided it would be best to develop their own story. Wanting to keep the movie idea alive, they will be releasing three short movies that tie in with the album and a comic book series as well. Looking back to when they were growing up, comics were a passion for all of them. Feeling a bit nostalgic, they thought it the best way to tell their story. “We wanted to bring back a little bit of the old magic that we felt when we were buying comics as kids. Also a lot of concept albums when we were growing up had a lot of visual aspects around it. The cover was used to tell a bit more of the story, or using a movie like Pink Floyd did.” Knowing renowned comic artist Romano Molenaar helped get the comic in motion, leading to the introduction to script writer Steven O’Connell. “We called Steven and asked if he had any cool stories. The things he had lying around showed us he was very talented, but nothing really appealed to us. So we felt maybe we could do something totally new and develop it together.” A few days after explaining to O’Connell what type of movies, stories and comics they liked, he came back with the figure Mother Maiden, who is introduced in the first short movie. “As a medium Mother Maiden recruits a squad of those who have made bad decisions giving them a second chance in the afterlife,” den Adel outlines. “It is a little bit contradictory, because they get a second chance, but

have to kill those without a conscience to cleanse their soul. The story is called The Unforgiving and the idea behind it is the squad are unforgiving towards killers, but also themselves, so it’s about forgiving yourself – can you forgive yourself for your past sins? Because, well that’s maybe the main thing you have to do.” With the base story written, it was now up to Within Temptation to write the album. “Writing the album was a little bit easier and it was nice to do it in a different way from getting things from your private life; it was something completely new. We were involved with the base story and having that helped push the album in certain directions. Of course Steve was the main writer, but we could all put in our own input.” Everything about this new record is different. With the new writing style, the addition of a comic and short films, it seemed almost necessary that Within Temptation veer slightly from their traditional symphonic metal sound. “Normally when we start writing a new album, we start from the point of the things we didn’t like from the previous album. Only problem was, we still liked the previous album very much! What we did know was we wanted a musical change. We were getting a bit bored with what we were doing, not that we didn’t like it anymore. We needed a new influence, new inspiration for us to continue. We let all our usual musical boundaries go and embraced anything we thought was cool. What was really surprising is that we were sounding very eighties and normally in the past anything that sounded eighties we would have kicked it out, because that’s not Within Temptation. We embraced it this time; it was a necessary step for us.” WHO Within Temptation WHAT The Unforgiving (Roadrunner)

BASED ON T H E CL A S S I C N OV E L BY GR AHA M GREENE

“A masterpiece”

+ + + + “Thrilling”

THE GUARDIAN

THE TIMES

SAM RILEY ANDREA RISEBOROUGH

WITH

AND

K E E

W T X

HELEN MIRREN

NE

JOHN HURT

FROM THE PRODUCER OF ‘ATONEMENT’ AND ‘EASTERN PROMISES’ BRIGHTONROCKTHEMOVIE.COM.AU

Check the Classification

IN CINEMAS APRIL 14

PALACE VERONA & NORTON ST, DENDY OPERA QUAYS, CREMORNE, HOYTS BROADWAY, CINEMA PARIS, EVENT MACQUARIE, AVALON CINEMAS & AVOCA BEACH CINEMAS

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THE DRUM MEDIA 12 APRIL 2011 • 43 •


WITH ROSS CLELLAND

ALEX TURNER Submarine Domino Tousled-haired boy grows up, and perhaps away, from the ideas of his adolescence by providing the incidental songs to one of those typically English movies about tousled-haired boy growing up, and perhaps away, from the ideas of his adolescence. Armed mostly with just acoustic guitar and random noises, the erstwhile Arctic Monkey offers quiet background music that sounds a bit like Blur demos circa Think Tank. That is, lots of words you can’t really hear. For enthusiasts, or the 37 people who’ll love the film.

KNIEVEL They Listen Out Independent I’m all for a band taking an occasional hiatus, hibernation even. But these five year breaks of Knievel’s are stretching the patience a little. Particularly when the first you hear since is a friend sms-ing they were playing her office roof that afternoon. And then they get really annoying by quietly sneaking out a couple of tunes which have all the relaxed craft that made them so good in the first place. That place being 1996. May this be the first of a major resurgence of activity. Which probably means another EP in 2015.

THE BLOODPOETS Wings Paperplane Taking a somewhat odd trajectory from Germany to Brisbane, the music of The Bloodpoets tends to puzzle as much as their itinerary. Sweet boy/girl pop harmonies sometimes get overrun with sandpapery noise, or give way to bright brass crosscurrenting while the words become an argument or plea for hope. It’s smart, depending on whether you have the patience to follow their hop-scotching course around harmony and melody. Your time and tolerance may be rewarded. See how you go.

CASS MCCOMBS

COLLARBONES

ELBOW

Domino/EMI

Two Bright Lakes/Remote Control

Fiction/Universal

Wit’s End

Iconography

Build A Rocket Boys!

The crooning 30-something year old Californian has built something of a cult following over the last decade with his minimalist approach, sharing the stage with artists such as Deerhoof and Beach House, and along the way has collaborated with the likes of Andrew Bird and Karen Black to name but a few. Anyone who had the pleasure of immersing themselves in the critically lauded, quietly applauded 2009 album, Catacombs, can rest assured it’s another quality offering but be warned, where that album was the falling-in-love album, all eight songs on Wit’s End form the break-up album. The opening lines of County Line are completely devoid of affection, and you hope he’s not singing about a real person. The shit here is bleak but somehow an evolution of McCombs’ songwriting ability and a sequel to the story he told on Catacombs. The happy times continue with Buried Alive, a seventeenth century arrangement suited to a lonely minstrel who’s beyond weeping, a similar approach also adopted on A Knock Upon The Door. By Memory’s Stain and even Hermit’s Cave (showing his hand with the titles alone eh?), I’m not sure people would want to see these songs live without a box of tissues close by. Listeners will go through this album searching for a happy ending and while I won’t spoil it for you completely, I can say the guy definitely does not get the girl. Yet despite his incessant moping, surprisingly it really is an album that stays with you. Yes, it’s down-tempo, but somehow quite potent and classy all at the same time. The man may be sad but hell, he delivers his misery with such aplomb it’s hard not to love.

Oh, Internet. While this reviewer’s mother warned her endlessly against cyber stranger danger and the slasher crime scene that would inevitably follow, without the fanciful act of befriending randoms online, Collarbones would never have come into existence – and Australian music would be poorer for it. E-pals turned musical besties Marcus Whale (Sydney) and Travis Cook (Adelaide) have made a gripping debut from across state borders, mixing the best parts of electronica, R&B and pop.

This is pretty close to perfect and we’re only on album number one, so there must be a world of even greater ideas waiting to burst forth. Bring on the future!

The heart of the album surely lies in Lippy Kids, which contains the lyric that gives the album its title. The instrumentation is beautiful, particularly the persistent piano coupled with the nimble, muted bass. A charming ode to the beauty and wastage of youth, it’s evocative and heartfelt.

Adam Wilding

Giselle Nguyen

Aleksia Barron

FLOATING ME

ELI “PAPERBOY” REED

JEBEDIAH

Capitol/EMI

Dew Process

Pulling hints from groups like Seekae, what makes this pair different is that they’re unafraid of splashing convention across their sounds. The glitchy synthesised and sampled sounds are lathered with Whale’s stunning melodic vocals, nowhere better than Beaman Park, meshing differing styles together with ease (and a hell of a breakbeat). It’s the songs where Whale sings that are the biggest treat, always used innovatively. On Kill Off The Vowels, the vocals fall down to a disparate register and are blended further into the instrumentals in an industrial haze. They’re used sparingly on Id, where the synthesised sounds act more as the main melody carrier, voices as accompaniment, while they’re chopped and changed as much as the music on The Ghostship. Berlioz consists of one repeated synth line but sustains intoxicating addictiveness despite wordlessness, and even the 51-second Transylvania borrows heavily from hip hop to create a snatch of careful electronic-infused soul.

Following up a Mercury Prize-winning album is surely a tough ask for any band, even one as beloved as Elbow. Having taken out the coveted award with The Seldom Seen Kid, the expectations for the band’s fifth album have been running high. Fortunately, Build A Rocket Boys! is a worthy addition to their catalogue. From the outset, it’s clear that Elbow has returned at their intricate, harmonious best. Opener, For The Birds, is sweetly anthemic, a beautifully layered composition which proves irresistible, holding the listener’s ear for six straight minutes without seeming overdone. In terms of mood, Elbow has backed away a little from the punchy rock elements that characterised many of the most memorable tracks from The Seldom Seen Kid and its predecessor, Leaders Of The Free World. The restraint shown in the down-tempo tracks of Build A Rocket Boys! slightly echoes their first album, Asleep In The Back. The result is an album that’s not as immediately engaging as some of their recent efforts, but gives their lyrical poetry a chance to shine through. Dear Friends is a gloriously mellow song that allows Guy Garvey to croon, “You are the stars that I navigate home by” – the sort of lovely sentiment that causes even a jaded heart to skip.

MOUNTAIN STATIC Warning Song Inertia We’ll pronounce Tic Toc Tokyo done – and maybe less lamented than they should have been. Simon Gibbs now sets up as a one-man band with some guests, here making electronic noise built on an urgent percussive base. It’s a strange mix of slightly outof-date technology and that currently fashionable slightly-tribal undertow, but correctly all serving the voice. If the album has the focus of this sample of it, Mr. Gibbs might see that main chance some thought his previous band guise was going to be.

CHICKS WHO LOVE GUNS God, Love & Satan Independent Well, they obviously get ‘title of the week’ for starters. It comes at you in a rough rush, which some – maybe even them – will call punkish. But it’s of that cocked eyebrow, deliberately silly model which Frenzal once made their own – though maybe this is just a touch angrier about inner-west rental prices. Intellectual toilet humour? Now there’s something to aspire to. They have a sheer enjoyment of making a racket akin to a small child realising farting can annoy people enough to get their attention.

ABBE MAY Design Desire Independent Her quality is obvious, but for whatever reason Abbe (now sans Rockin’ Pneumonia) can’t quite seem to build on her success and reputation on this continent’s left side. A change of approach – and possibly music – may have been called for. Thus, while there’s still blues in her wanton howl, here it comes away slightly from her traditional style to a smoothly jagged noise, which they want to namecheck to the likes of PJ Harvey and such, but those comparisons are just as limiting as sticking to twelve-bar. • 44 • THE DRUM MEDIA 12 APRIL 2011

Floating Me

Come And Get It

Labelling them a prog/hard rock “supergroup” sells them considerably short, but Floating Me follows in the wake of a considerable pedigree. Merging Cog sticksman Lucius Borich, Karnivool bassist Jon Stockman and three members of Sydney’s Scarymother under one banner means some expectations will be built up to extraordinary levels. Irrespective, their debut contains an engaging fusion of ambience, chops and hooks, underlined by tangible chemistry. Some folks will tell you a bassist is like a good sporting official, performing best if you don’t often notice they’re there. Instead, Forrester Savell’s mix cleverly places large emphasis on Stockman’s driving bass lines and Borich’s inventive, wide-reaching style, which gel effortlessly. The guitars and keyboards lurk in the background, adding necessary cinematic texture. Single, Sugar, was a healthy appetiser, being the most immediate track, but the record draws from far more sources of inspiration. The majestic Spirals is among the heavier efforts; speakers may struggle under its sheer sonic weight. The exploration of dynamics in Short Cuts To Feeling and nine-minute closer, Across The Gulf, veer towards post-metal territory. Andrew Gillespie’s brooding, dramatic vocals pack conviction, but showcase another soulful dimension on the acoustic-based The Beautiful Fall. The pulsating rhythms and swirling keys of Narke and Bezhumous’ electronica intensity are the final pieces in a hypnotic and eclectic musical puzzle. Punters curious as to which of the associated projects FLOATING ME is most similar to should be aware they haven’t taken the easy way out and recorded what fans of any of them would logically expect. It’s the record said folks may not yet know they want – but is ultimately the one they definitely need.

The major label debut from soul pop youngster Eli “Paperboy” Reed sees the man-boy with the puffy cheeks, the licks and pipes, pump up the production and pile everything on an express train with a one-way ticket to love street. Anyone familiar with his swing and big-band style or that managed to get a glimpse of him and his 50-piece band impress at Falls Festival a few years ago will be happy to know that Come And Get It is a whole lot of fun, full of big brass numbers soaked in a bag full o’ ‘60s dye, oh ohs, “baby yeahs” and Ace Ventura hair. The old time and easy listenin’ Young Girl kicks things off in true Paperboy fashion with that horn section laying the foundations for some foot tapping. Following on is Name Calling, a presumptuous bash full of energy and questionable lyrics that nonetheless works well in dancefloor situations. The first single and title track, Come And Get It, shows off Reed’s unbelievable voice which he backs up with some super-fast strummin’. I Found You Out is another stand-out track which will appease those that enjoy the positive side of life, and another little sleeper that needs mentioning is Pick Your Battles, a nice string-led slower number that’s well beyond the age of the man singing. Where the album will let some down is the repetitive nature of the tracks, and more so the same themes and “c’mon babys” bordering on tedious, especially for those after a bit more substance. It helps if you’ve seen Paperboy live, because he’s such a likeable guy, even if this isn’t your cup of coffee, but album three doesn’t quite have the longevity for repeat listens. Still, if you want music that ain’t too complicated and is something you don’t have to think too hard about, this may well be right up your shiny brass alley.

The Jebs are back! Bob’s put down the acoustic and strapped on the electric guitar again. Now it is important to note that the band have ‘matured’ since their debut, Slightly Oddway, so gone are the youthful pepped-up tracks and in comes a selection of tracks that wouldn’t be immediately recognisable as Jebediah songs. The band’s first single, She’s Like A Comet, is a happy romp through pop bliss, with a chorus that really shows off Kevin Mitchell’s confident vocal range. Lost My Nerve is an example of the band’s newfound raunchiness and demonstrates a cohesive songwriting blueprint, with the focus on key changes and an effort being made to really concentrate on making the song interesting.

Brendan Crabb

Adam Wilding

James Dawson

Cross Section/Inertia

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Kosciuszko

For some reason whilst listening to this album, The Flaming Lips was at the forefront of this reviewer’s mind. It might have something to do with the overall tone of Kosciuszko, which plays like a four year old drunk on lime cordial and fairy bread. For a band that came out of the mid-‘90s grunge days, The Jebs have always defied genre tagging and with ’60s-inspired To Your Door it just became a little harder. Under Your Bed sees the band tread familiar territory with a punk-ish inspired frolic. The Lash experiments with different rhythms and manages to surprise itself as it changes time signatures. With the release of Kosciuszko, Jebediah, through their music, challenge you to question what you previously thought you knew of the band and to re-evaluate what their future might be, as this record is playful, unencumbered and, more importantly, trend free.


Thursday has never been the scene’s breakout band; they’ve left that to their little cousins like Taking Back Sunday, My Chemical Romance and The Gaslight Anthem, but when the dust settles and No Devolución clocks up its ten-year anniversary, its place as a post-hardcore benchmark is going to be just as deeply cemented as Full Collapse. Danielle O’Donohue

FACT FILE

LETLIVE.

THE MOUNTAIN GOATS

Epitaph/Shock

Merge/Remote Control

Fake History

Length: 12 tracks, 53 minutes. Moods: Dense, dark and powerful.

All Eternals Deck

With fistfuls of intensity, plenty of melody, jerking rhythms and screams that bore their way through your eardrum like a wayward Q-tip, letlive. is one of the better Epitaph signings in a while. Hoarse chanting and tribal drumming frenzies in the opener, Le Prologue, might get you thinking of Cedric and Omar. And then there’s the caustic jerkiness of Blood Brothers (e.g. Hollywood, And She Did), points where singer Jason Butler’s scream sounds like it’s come from a Refused album (The Sick, Sick, Sick 6.8 Billion) and a few Coheed and Cambria-like harmonies (H Ledger), but letlive. doesn’t make you think they’ve gone out and tried to plagiarise anything from anybody. They’re a beast of the post-hardcore genus, true, but they’re able to rip elements out of a number of genres, re-synthesise them into their own vocabulary and make it all make sense, and it doesn’t come across like they’re trying to be eclectic for the sake of it. Take one of the three bonus tracks (Fake History was originally released last year but has been re-released on Epitaph with three new songs), This Mime. It combines shifting, deceptive rhythms, clean/shrill/clean vocals, polyrythmic guitars and drums in its pre-chorus and an out-of-nowhere ambient middle-eight. But it all sounds like an easily digestible melodic rock song.

DID YOU KNOW?

John Darnielle, the singer/songwriter responsible for The Mountain Goats, doesn’t find inspiration or material from the places most vocalists find them. Not for him songs about cars or girls or getting his groove on on a Friday night. The much-lauded lyricist moved houses last year, discovered an unusual reverb situation in his new living room, got thinking about “cowboy gothic horror” and pursued the idea all summer. All Eternals Deck is the result. Taking its name from a variety of Tarot cards, the album and its songs are related in the liner notes through brief quotes to these cards. Why choose to do this? I don’t know. Darnielle is known for his obscurantism and esoteric references as well as his talents with words and storytelling. Damn These Vampires is a fitting opener for AED. It’s gorgeous indie folk, with gentle piano, sparse bass lines and Darnielle’s voice nasal and articulate. It’s maybe the sunniest moment on what is a fairly dark album, taking in tales of dead actresses, a grave for prehistoric men, and bad childhood memories, with Darnielle living up to his self-described brief: “doom, disaster and a sunny disposition is what I do.”

The main criticism of History is it’s a bit of a donut, with a pronounced hole in the middle. It starts strongly, and the three bonus tracks at the end are fantastic, but it lags a little between. Still, letlive. is a joy, with gobs of melody and some tricky playing but an avoidance of anything too pompous.

The “cowboy gothic” of High Hawk Season is a high point, and the North Mountain Singers’ a cappella-styled accompaniment adds another dimension to what is a truly haunting composition. This release has a little in common with The Weakerthans’ Left And Leaving, in terms of vocals that are perfectly fine but a tad whiny for some, lyrics that are literate but sometimes a little hard to fathom, and an overall feeling of bitter-sweetness. A fantastic release.

Brent Balinski

Brent Balinski

THURSDAY

• No Devolución was written entirely on the spot; upon entering Tarbox Road Studios in Fredonia, New York, the band had no demos to speak of for the album and proceeded to write it in one week.

Epitaph/Shock

• Translated from Spanish, the album’s title reads as No Returns.

This week is the tenth anniversary of Thursday’s seminal release, Full Collapse. A post-hardcore benchmark, the album is still a scorching, vital record of a band comprehensively capturing their genre. Ten years later, Thursday has evolved their brand of post-hardcore until it is almost unrecognisable. But it is certainly no less thrilling.

• For the album release in the USA the band made a limited deluxe packaging edition of the CD available. Individually signed by the artist responsible for the cover art, Mia Pearlman, and limited to 500 copies, it is an eight-panel laser-cut wallet on 18pt. SBS stock.

No Devolución

The catalyst for change has been the band’s relationship with David Fridmann (The Flaming Lips), a pairing that began with the polarising A City By The Light Divided. No Devolución is the third Thursday album Fridmann has helmed and while on the last album, Common Existence, the pairing hinted at an even darker and weightier mood to the band, No Devolución drops the listener right in the middle of a dense landscape, oppressive and relentless but also breathtakingly beautiful.

• Album closer, Stay True, originated from a warm-up riff that the band would play each morning in the studio, gradually building on it and exploring, recording each experimentation. The eight-minute live take is the one the band was most happy with at the end, and singer Geoff Rickly simply added vocals later to the otherwise untouched recording.

Never before has Thursday used all six of its members to such dramatic effect. No one element stands out more than the others. Even lead singer Geoff Rickly’s vocals are packed tightly into the middle of the mix. If you want to connect to Rickly’s lyrics you’re going to have to work hard to unlock them. In fact, right from the very first note, this album makes you work hard to connect to any of it. Thursday prides its live show on the very emphatic dialogue between the band and the audience and similarly No Devolución makes the listener become an active part of this album.

bob

the

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SAT 16TH APRIL $10 doors at 8pm cds and shirts available at the snow

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THE DRUM MEDIA 12 APRIL 2011 • 45 •


ALBUM ROUNDUP BY MICHAEL SMITH Just by chance I got to see Rockhampton, Queenslanders Thomas Busby and Jeremy Marou aka Busby Marou, whose eponymous debut (MGM) happened to top the CD pile this time around, at this year’s Blue Mountains Music Festival and the recorded version is as timelessly charming as the live one. There’s an inevitable hint of the Simon & Garfunkles, certainly in the gently caressing and melodic approach to their songwriting and Busby’s vocal tone. Similarly imbued with a strong ‘60s pop sensibility, Melbourne singer songwriter D. Rogers presents his ditties about the simple things in life with verve, bounce and a clear, bright production on Natural Disasters (Popboomerang). Former Bondi resident, multi-instrumentalist Hamish Gordon takes a tougher, fuller six-piece approach with Parte The First (Independent), produced by hard rock specialist Steve James. A very diverse collection, Gordon obviously loves big, stacked harmonies as much as Steely Dan, prog, Beach Boys, funk, QOTSA and Elizabethan prints. A remarkably polished debut. Similarly, Bryan Estepa has really nailed the pop end of the spectrum on his third album, Vessels (Laughing Outlaw/Inertia). Another songwriter who loves bright harmonies, there’s plenty of Beatles and Squeeze alongside his acknowledged Wilco leanings. Melbourne’s The Little Stevies have really grown up to be a neat indie pop package, blessed with the pitch-perfect sibling harmony backbone of Sibylla (lead vox) and Bethany Stephen, showcased perfectly on their heady LA-recorded and produced second album, Attention Shoppers (MGM). The Paradise Motel recorded what would have been their third album, I Still Hear Your Voice At Night, in 2008, only for their drummer at the time, Damien Hill, to sadly pass away, prompting their putting it aside and recording what became their third album, Australian Ghost Story, as therapy. That earlier album has now been released by Left Over Life To Kill/Inertia, and it’s as moody and atmospheric, spare and lush by turns and, let’s face it, haunted, as you’d expect from this Melbourne collective. There’s a lot of primordial Church in the gene pool that makes up Melbourne’s Bright Knights, filtered through early Cure, all downstrokes, with a dash of Go-Betweens, at least on the evidence of their debut album, The Ocean And The Night (Independent). Singer/songwriter Clare Maguire is another of the fresh young women coming out of the UK at the moment being touted as “the Voice of the Year”, and on the evidence of her debut album, Light After Dark (Polydor/Universal), she certainly has the tonsils, though they recall those of Annie Lennox, which makes her the voice of 1983, with the songs to match. Former Tasmanian Audrey Auld, now happily ensconced in Nashville, keeps it pretty tight and traditional with her latest collection, Come Find Me (Reckless), not remotely as country as you might imagine – more a mix of folk and singer songwriter and, for all the Nashville sidemen, still very Australian, with the attendant subversive humour that implies. Gunnedah-born APRA Professional Development Award winner Katrina Burgoyne is working the contemporary country seam much more faithfully on her debut album, White Flag (WJO), and a gently likeable collection of songs it is. The latest from the funk-infused Melbourne-based Aurora Jane, Deep End (MGM), is a huge leap forward in sophistication from the previously much looser, more earthy singer songwriter. There’s some seriously heavy, world-class funk goin’ down here, yet there’s still that underlying political consciousness at play. There are surprising elements of, on the one hand prog, snuck in here and there under the radar so as not to frighten, and serious guitar heroics courtesy Mark Roxburgh, on the new album, 13 Songs For The Rodeo Girls (I-94 Bar), from a resurrected Decline Of The Reptiles, originally spawned by early ‘80s Sydney’s inner-city post-punk pub rock scene and a strong return. Another bunch of survivors, this time of the decadence of mid-‘70s New York City, The New York Dolls, or the two members still standing accompanied by a few ringins, are sadly a mere shadow of the glitzy original version. Not that they’ve cut a sub-standard album in Dancing Backward In High Heels (429 Records) – far from it. It’s really more like where singer David Johansen would have ended up without the reformation anyway. Everything old is new and all that’s new becomes the formula for a myriad clones and no amount of labelling as “alternative” can hide the fact that, for all the angsty energy they expend on their debut album, Habits (Universal), US four-piece Neon Trees are a impeccably inoffensive, polished major label clone of… take your pick, anything from Nickelback to No Doubt to Green Day, with a dash of ‘80s UK New Wave. Local singer/songwriter Pave Leclair took the other road, from investment banker to indie musician. His debut album, Hello Silver Moon (Independent), was produced by the brains (and heart) behind the MusicOz initiative, Pat Maloney, and overall, the result is a pleasant collection of singer/ songwriter tunes imbued with a low-key integrity. • 46 • THE DRUM MEDIA 12 APRIL 2011

PONYTAIL

ROBBIE ROBERTSON

TV ON THE RADIO

Popfrenzy

429/Universal

UMA

Do Whatever You Want All The Time Ponytail’s third album is euphoric; it’s as though Rush only played nightclubs in between marathon Gameboy sessions. There’s a careless buoyancy draped over the whole album and as was the case with Arctic Monkey’s incredibly impressive debut a few years ago, the band possess that rare, effortless, ‘fuck you’ cool that is impossible to emulate and entirely intoxicating. That being said, the band sound nothing like the English fourpiece; more so a cross between Sigur Rós, Good Luck, Kyü and The Grates – but even then these are mere signposts. Not reliant on saturating songs with derivative vocal patterns and melodies to cover for lacklustre songwriting, Ponytail allow plenty of time for the music to speak for itself – even as it drops to minimalism in Beyondersville//Flight Of Fancy. And while Molly Siegel’s voice can be grating at first – an almost bratty and often infantile sound – it rapidly grows on you, exciting and intoxicating with its energy and uniqueness. The music it sits over is intricate, punctuated with staccato attacks and an alien tropical vibe that is evident both in the subtle calypso influence and the dizzying array of effects, electronics and samples that manage somehow to never feel overused or tacked on.

How to Become Clairvoyant Robertson is part of American music folklore and it’s hard not to hark back to his work with The Band and The Last Waltz when discussing his influential history. Not only does his fame stem from the era of great bands, it’s his work with Martin Scorsese on so many soundtracks that has kept him relevant. This is the first solo album release for 13 years and as you would expect it has its roots in folk, blues and country. As Robertson has been a studio based musician for so long, Clairvoyant reflects his ability to enhance his music with technology, so even though the opening track is a simple number, the production sets it up as an exciting introduction to the album. You can hear the influences of Daniel Lanois in this textured recording, with Roberston’s scratchy voice and laid-back rhythm section; When The Night Was Young wouldn’t be out of place on a Lanois album with its languid drones.

Nine Types Of Light

The first time you listen to new TV On The Radio album, Nine Types Of Light, it sounds like these normally abrasive, chaotic experimentalists have chilled the fuck out. But fear not, dear friends. It’s not all sunshine and rainbows in the state of Brooklyn. The squalls of cutting guitar, the jerky rhythms, the songs that sound like someone’s forgotten to turn off the in-studio radio before hitting the record button, and those maniacal horns are all still there. Apart from lead singer Tunde Adebimpe’s immediately identifiable voice, the thing that sets this band apart from just about everyone else out there are those sharp and dastardly horns. So before you start moaning that TVOTR has gone soft, really listen, because it is all there. It’s just hidden a little deeper, nestled under the veneer of love songs and slightly more accessible pop. The whole album makes for a thrilling but sinister musical experience. Though New Cannonball Blues is the closest to old TVOTR, songs such as Repetition and No Future Shock are just as successful at building that all-too familiar unsettling atmosphere.

Do Whatever You Want All The Time sits as one of the most exciting and original releases of 2011. While it’s still relatively early days, this stands out as a definite contender for album of the year. If you are going to start an ‘innovative’ or ‘groundbreaking’ or ‘shockingly original’ indie band, do everyone a favour and don’t even bother picking up your auxiliary hand percussion until you have heard this album.

There are moments when you can feel the rawness of his work with Bob Dylan come to life again. The Right Mistake has a street quality and magic that Robertson conjures up in his cinematic vision. Guests include the immaculate Eric Clapton and the classy Steve Winwood, both of whom bring a depth and vision to the project. There are also some odd choices of contributors to the album which somehow work in the framework of the album. Trent Reznor adds some textures and the powerful Tom Morello from Rage Against The Machine adds his usual odd approach to guitar work. Clairvoyant has so much depth that you could listen to this album for years and still find more in the tracks. What it might lack in songs, it makes up for in cutting edge sound production and musicianship.

Dave Drayton

Sebastian Skeet

Danielle O’Donohue

THE FEELIES

THE FELICE BROTHERS

TIM & JEAN

Popfrenzy

Spunk/EMI

Mercury/Universal

Celebration, Florida

Here Before

All the connotations associated with the words ‘college rock’ can be found in the music of The Feelies. A band that formed in 1976, disbanded in 1992 and reunited in 2008, they stood out from the overproduction of the new wave bands of their time and though never huge successes, they are cited as the quintessential band to influence other musicians, REM the chief among them. Where their songs were once placid and jangly, they are now somewhere between the slacker gear of early Pavement and breezy indie rock. Here Before has an overwhelmingly relaxed attitude emanating from the songs, especially on opener, Nobody Knows, with lines like “is it too late to do it again/or should we wait another ten?” Of course it doesn’t necessary relate to the band’s hiatus or indecisiveness to reunite, but it hits the nail on the head. Much like their previous efforts, Here Before doesn’t leap forth with its sounds straightaway but rather gently awakens the senses with lulling guitar riffs and the evasively warm vocals of Glenn Mercer. Should Be Gone is sweet and subtle, Change Your Mind delves a little deeper with a sinister key change in the midst of its mid-tempo pop riffing and Time Is Right teeters on the precipice of punk rock before pulling itself back into guitar rock.

The Felice Brothers – a close-knit band of two brothers and three long-term friends – recorded most of the songs that made up their first three albums in a converted chicken coop in upstate New York. Their sound has always been distinctly earthy American country-folk, so it comes as something of a surprise that their new long-player is quite as expansive as it is. Alongside the more familiar sounds of piano and guitar, Celebration, Florida bursts with horns, ambient synths, big drum beats, bigger bass lines, piano, violin and accordion. Not only that, but you’ll even find rave beats and acid jazz here. That’s right, acid jazz. Indeed, you know this album is going to be an experimental outing when a cacophony of raucous schoolyard chanting infiltrates the chorus of opener Fire At The Pageant. While the urge to push the envelope and develop their sound is commendable, the strongest moments on the record still come when The Felice Brothers are at their most delicate, when Ian Felice’s fragile voice sounds as though it could crack at any time. Through the sorrowful reminiscence of Oliver Stone, for instance, Felice’s vocal is so beautiful over soft ivory tinkling that all other sounds – the horns and the added ambience – even though they are pared back, somehow still seem intrusive.

Rather than leaving their old sound behind, TVOTR is just getting better at melding it into whatever new sound they want to explore – and on Nine Types Of Light that means exploring the form of the love song. Keep Your Heart is more tender and gentle than we’re used to from this band but it sits well amongst the entire collection of songs. And that is the mark of this band’s talent. Whether shocking you or caressing their way through a love song, TVOTR has recorded ten tracks that more than stack up against their already compelling catalogue.

Like What

Young WA-based duo Tim Ayres and Jean-Christophe Capotorto burst onto the soundscape in 2009 with their little slice of electro-pop, Come Around. Fair enough too – it’s light, breezy summer pop that won’t challenge the listener to anything other than perhaps a dance-off with friends. Now, not even two years later, the bedroom producers have released a debut LP that keeps very much in line with that first single. Overall it’s an assured effort; however it unfortunately lacks any real grunt. To be fair though, tracks like the aforementioned Come Around, plus their other singles Veronika and I Can Show You aren’t written to make you think; they’re designed for good times – and, to that extent, Like What is an unqualified success. The first thing you notice while listening to the album is that, despite their relatively young age, Tim & Jean are very accomplished songwriters; they’ve got catchy synthpop hooks down pat, to the point where the album feels almost too clean. They barely put a foot wrong through ten tracks of shimmery dance-pop, yet therein lies the album’s weakness; it’s all rainbows and lollipops for the first half before the shiney synth stabs start to feel very samey, and by number eight, Afrika, it all gets too much.

There’s a lot of talk of the past and the future and reminiscing without intentional nostalgia, especially the fear of moving forward versus resting on laurels, which makes Here Before a rather fitting return record for The Feelies.

However, for all the bells and whistles of Celebration, Florida, The Felice Brothers’ sound remains atmospheric and the sense of genuine Americana is strong. Crucially, their fine storytelling is still present and, whether they are embellishing their songs with added dimensions or not, no one tells a good oldfashioned yarn like The Felice Brothers.

Perhaps this has all been too harsh – there’s definitely a ton of fun to be had on Like What, in particular the ‘80s teen movie soundtrack-homage Don’t Stop. It all just makes it even more obvious that this young duo are immensely talented and, once they find their footing, there’s no doubting great things will come from their bedroom to the big stage.

Sevana Ohandjanian

Rob Townsend

Troy Mutton

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Y A D E R O T S D R O C E R L A N IO INTERNAT

Since then the independent record stores. tion of the country’s 700+ bra to a torrent and l cele a viny of was ch Day tou re the Sto 7, the first Record the places that prefer es; stor rd reco nt nde epe Founded in America in 200 ind a worldwide celebration of of the week. event has rapidly grown into r an iTunes download any day ove disc t ld over to band together pac would take a com a day for audiophiles the wor It’s ts. spli rare still and s ase rele d yards to make sure they are the test pressings, the limited little guys that put in the har cial spe the t the por Record Store Day celebrates on sup n and dow ts low duc the pro tangible musical k inside as we give you pee a e tak so ple, peo and celebrate their love of h suc l addictions. prise that we at Drum are are helping to fuel our musica available. It comes as no sur t to some of the people that cha a e hav and s ase rele events, new

UTOPIA RECORDS

TONY MCMAHON TALKS TO AN ORGANISER, PARTICIPANT AND INTERESTED PARTY OF RECORD STORE DAY, WHICH CELEBRATES THE UNIQUE CULTURE OF INDEPENDENT SHOPS THAT SELL YOU MUSIC.

W

ith so much talk of the decline of the music industry, it’s interesting to note that 80 percent of album sales and 65 percent of all music sales still take place in brick and mortar shops. With this in mind, the third annual Record Store Day Australia is set to celebrate the role that these shops play in our larger cultural life. Providing both a physical meeting place for like-minded individuals, as well as experiential and communal elements that cannot be found elsewhere, the record shop nationwide will be feted this coming Saturday with in-store performances, specials, giveaways and promotions. Gavin Ward, from organisers AMRA – the Australian Music Retailers Association – gives us an overview of what will be happening around the country. “This year there’s a bit of a concentration on things at the grass roots level, which is kind of where it all started off in America – a sort of celebration of the joy of hunting in a little record store. It’s a celebration about these little spaces being the heart and soul of the music industry and something that grew the music industry into what it is today.” Talking about music today, we move from what’s happening nationally to what’s happening locally. Drum spoke to Garry Stapleton, owner of Utopia Records in Sydney, and he filled us in on the specifics of the fantastic events that will be going on in his shop on the day. “For Record Store Day at Utopia we’ve got 20 of the Record Store Day only Foo Fighters LP release Medium Rare to give away to customers who pre-ordered/bought the Foo’s new Wasting Light CD. We’re also giving away two double passes to the Metal Health gig with Quiet Riot, Warrant and LA Guns. We’ll be giving away gift vouchers randomly throughout the day and also have other giveaways and spot specials at various times. We’ll have at least 30 Record Store Day exclusive releases that we’ve imported from around the world, but it could be as many as 90 titles if we get everything we’ve ordered. These are only available on

the day in-store. No pre-orders, holds or e-commerce orders, so get to the store early.” What’s Stapleton’s opinion on whether or not vinyl will be the saviour of record stores? While he’s obviously a fan, he sees it as only part of the solution. “While we’ve seen robust growth in vinyl over the past two years, I don’t think vinyl on its own can be called the saviour of record shops. Knowledge and exceptional customer service combined with a differentiated product range and a memorable in-store experience is what will be the saviour of record stores.” And who better to ask about the importance of the record store in the wider music industry than Stapleton? Significantly, his answer emphasises the nature of the experiential. “Without record stores, music is just another commodity. Go into a record store, a real record store – not a department store, electronics store or the like – and you’ll find people who are passionate about what they’re doing and who are more than willing to pass on their knowledge and experience to customers. Music is creative and artistic and as such should be experienced as the artist intended. This usually means holistically. It’s not just the actual music, but the whole tactile experience of the covers, liner notes, inserts, lyric sheets, etc. There is a real tangible and emotional aspect to this that you just aren’t going to experience in a digital environment. To paraphrase Oscar Wilde, the rumours of the death of record stores are somewhat exaggerated.” For yet another perspective on Record Store Day, we tracked down someone who could be described as being at the coalface of the industry. Chris Moss owns Zenith Records, a vinyl record pressing plant in Melbourne, as well as two plants overseas. Moss digs his vinyl – to put it mildly – and he begins by outlining the Zenith philosophy. “We make records. That is what we do. We manufacture vinyl records on demand for a broad spectrum of music genres. Unlike the general perception

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GAVIN WARD out there that vinyl is dead, it’s quite the contrary. It never died. Proof is the popularity of the medium. It persists today with an ever-increasing following. People have been desensitised by the plethora of CDs. They are a throw away item. Not often do you see vinyl records in dustbins.”

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TACTILE EXPERIENCE

And Moss has a perceptive angle on part of the reason there’s been so many record shop closures over the years. “It’s my view that record stores did themselves a disservice when they stopped stocking vinyl. The ones that always carried the medium are still there. Sure, the owners may not have retired to the south of France, but they still serve the same customers from many years ago and still pay the rent.” Most interestingly of all perhaps, as far as the future of the music business is concerned, Moss disputes Nielsen sales figures for vinyl, saying they are not just slightly off the mark, but missing the bigger picture by millions of units. “Nielsen data is fine as it’s taken online from chains or retailers who have an online stock control system. These figures are accurate, no doubt about that, but they need qualification. Sales by individual small labels are not gathered at all, neither are sales of records by bands at gigs flogging their merch. We do pressings for bands which never find their way to stores where Nielson data is gathered. I would have thought that this figure is understated by a factor of at least 20. Since we’re in touch with most pressing plants worldwide, we have a fairly good idea of the numbers pressed. Numbers pressed are around the 45 million records last year and at an 80 percent sales ratio it’s over 34 million sales. “Fact is a Czechoslovakian plant pressed 5.5 million records alone last year and ourselves around 1.2 million. That alone blows the Nielsen figures out of the water. What can I say? The numbers indicate a very healthy current state of affairs as well as a very bright future for vinyl records. Record Store Day will be with us for a long time to come.”

THE DRUM MEDIA 12 APRIL 2011 • 47 •


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“Record stores have always been a magical place to me. So many expressions of love, pain and every other human emotion imaginable all in the one place. To think I picked up Dark Side Of The Moon just a metre away from where I picked up Ice Ice Baby blows my mind… and disturbs me.” – Rob Maric, Dead Letter Circus “Record stores have records. Records of events; of the moments in which a huge chunk of a musician’s life is released from the nest to be forever immortalised in whatever form it took on that day, month or year. When I hold an album in my hand I imagine what Bob Dylan, Regina Spektor, John Lennon or Freddie Mercury might have felt when they first held it in theirs. Standing in a record store is like standing between the pages of a thousand diaries and I don’t even feel guilty for reading them.” – Ryan Meeking

DEAD LETTER CIRCUS

HUM WITH THE JEZABELS Fresh off the back of SXSW, indie pop stars The Jezabels will be at Hum on King at 11am signing copies of their three EPs which have been released on vinyl.

MORE MOJO BABY Mojo Music in the heart of Sydney has an afternoon of live music with 77 Sunset Strippers, Fencing Wrens, Ned Alphabet and Dead Rabids on stage from noon onwards with even more bands to be confirmed. There will also be an exhibition of rare picture sleeves from UK punk 45s from 1977-1987 on display and a slew of Record Store Day releases for sale.

LANDSPEED LEND A HAND Landspeed Records in Canberra is hosting a massive second hand sale, with over 2000 used LPs including rock, pop, indie, blues, soul, funk, hip hop, metal, punk and ska. There is also a sausage sizzle to raise money for Anglicare.

EYEING OFF A DEAL Red Eye Records is celebrating with vinyl giveaways alongside a selection of the overseas Record Store Day limited releases, collectibles, new and used recorded music on vinyl and CD for sale.

• 48 • THE DRUM MEDIA 12 APRIL 2011

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“Walking into a record store brings feelings of nostalgia and excitement. It’s a format we all grew up with and not only can certain treasures from our past be rediscovered, but artists are coming to the consensus that just because technology permits many things, it doesn’t replace the beauty of the process of playing, listening to and appreciating vinyl. Music shopping will always be hands on in a record store, and they are important because of this. Without the fingers flipping through endless rows, eager eyes over shoulders of people next to you who just lost their shit over rare limited releases, making eyes at the attendant because they smile at your choice in purchase, the search for a communal musical experience would be much different; like it has been. Buy a record, you’ll enjoy it. And if you don’t, what the fuck are you doing feigning interest in music if you don’t want to feel it?” – Remy HUNGRY KIDS Boccalatte, Hungry OF HUNGARY Kids Of Hungary


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RESIST RECORDS

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Wh ’ the h name off the h person answering these What’s questions and your role at the store? Graham Nixon, owner/manager. How long has your store been in business? Resist opened in 1996. What does your store specialise in? Anything associated with punk and hardcore music; CDs, vinyl, merchandise, DVD’s, books and zines.

REPRESSED RECORDS What’s the name of the person answering these questions and your role at the store? Chris. I’m the owner. How long has your store been in business? Nine years. What does your store specialise in? New and second hand vinyl and import T-shirts. Mainly the left of centre stuff. Lots of awesome locals. How is your store celebrating Record Store Day? We’re having all t-shirts for $25. A huge record and CD sale. Spend over $50 and get a free Kate Moss approved Repressed Records carry bag. A limited edition tape of Lou Barlow live at Missing Link in Melbourne. The UV Race LP with a limited to 300 LP artwork on pee yellow vinyl.

How is your store celebrating Record Store Day? This year we have various vinyl titles, pressed (or repressed) exclusively for Record Store Day. What are the three most interesting things for sale in your shop at the moment? The Graf Orlock 10”, Bad Religion LP Box Set and Youth Of Today self-titled 7”. And the three best sellers this year? I Exist/Phantoms 7”, Defeater Empty Days & Sleepless Nights CD, Extortion/Completed Exposition 7”.

Pete Curnovic – Owner / Director / Manager How long has your store been in business? 15 and a half years!

There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age? Encouraging people to buy a physical format whether it be vinyl or compact disc.

What does your store specialise in? New and used vinyl.

What are your contact details and hours? Basement 294 King St, Newtown. 9557 8771 Open seven days from 10:30am.

What are the three most interesting things for sale in your shop at the moment? Bob Dylan – Mono Recordings Vinyl Boxset; Michael Crafter – Double Doomin’ Tape (ltd to 100); The Clean – Debut 7” (from 1981).

How is your store celebrating Record Store Day? 10% storewide sale, customer BBQ and Record Store Day releases.

And the three best sellers this year? City & Colour – Bring Me Your Love LP; PJ Harvey – Let England Shake CD & LP; Jamie Hutchings – Avalon Cassettes CD.

What are the three most interesting things for sale in your shop at the moment? Dirtbombs Party Store triple LP. An Eddy Current Suppression Ring 7” that doubles as an issue of Distort Zine. P.I.L T-shirts.

There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age? Staying relevant by kicking it old school – bringing in a wider selection of new and pre-owned vinyl and offering the consumer a completely different experience to what Waffles and iTunes give them (also some fresh air).

And the three best sellers this year? Damo Suzuki and Holy Soul Dead Man Has No 2nd Chance CD; Circle Pit 7”; Joy Division T-shirts. There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age? We have a chalkboard A-frame.

What are your contact details and hours? beatdisc.com.au facebook.com/Beatdisc info@beatdisc.com.au 9891 9330

What are your contact details and hours? repressedrecords.com 9557 6237

• 50 • THE DRUM MEDIA 12 APRIL 2011

BEATDISC RECORDS

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APRIL 16

MUSIC FARMERS What’s Wh ’ the h name off the h person answering these questions and your role at the store? Jeb Taylor, co-owner.

EGG RECORDS Wh t’’ the What’s tth name off th the p person answering these questions and your role at the store? Baz, owner/manager. How long has your store been in business? Going on 11 years. What does your store specialise in? All types of music – we cover classic rock, punk, indie, soul, dance, jazz, blues, spoken word. You name it, we will try to stock it. How is your store celebrating Record Store Day? We will be celebrating the joy of music on vinyl – it will be a vinyl only day. What are the three most interesting things for sale in your shop at the moment? Classic Oz surf soundtrack, Sea Of Joy by Tully; Rare Zappa Oz copy of We’re Only In It For The Money; The Smiths’ The Queen Is Dead picture disc. And the three best sellers this year? Frowning Clouds Listen Closelier; Mini Mansions self-titled; anything Beatles…as always. There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age? Things have been up and down CD sales wise… Vinyl for us has always been what we do, bringing LPs in from all over the world, so we offer a wide range of things for people to find in store. Most people like a physical item and there is nothing like the joy of finding that item you have been after for years!

How long has your store been in business? We were open from December 2004 until December 2008, then closed from January 2009 until January 2011 (but kept the space, which was just run as office space and artist studios). The shop then re-opened again in February 2011. after a break for a couple of years, we re-opened the shop again in February 2008. What does your store specialise in? Music Farmers specialises in vinyl records. We do also sell some CD, DVDs and books, but vinyl is the main focus. How is your store celebrating Record Store Day? We are having acoustic artists playing throughot the day including Blackie (The Hard Ons) and Michele Maddon (Tourettes), alongside local artists The Pennys, Jack Reilly and Nothing Rhymes With David. We’ll also be having a free BBQ, giveaways, poster art exhibition in the attached art gallery and stocking some Record Store Day exclusives. All this happens between midday and 6pm. What are the three most interesting things for sale in your shop at the moment? Most interesting would have to be the GG Allin doll, every home needs one of them! The Encyclopedia of Dead Rock Stars book has been giving me some strange stories to read about. We just sold the last copy we had but there was this pretty hilarious little book called Henry and Glenn Forever. And the three best sellers this year? 1. Off! – first four EP’s 4x 7” box 2. Mother & Son - S/T LP 3. Mogwai - Hardcore Will Never Die, But You Will LP There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age? In a way I think the interest in vinyl is people rebelling against digital music so specialising in vinyl is keeping us relevant by offering a more interesting alternative. As far as the digital age in general goes, it has been a huge benefit to us as a marketing and selling beyond our local

What’s Wh ’ the h name off the h person answering these questions and your role at the store? Garry – owner. How long has your store been in business? 33 years. What does your store specialise in? “The Home Of Heavy Metal” says it all – metal, rock, punk… anything heavy. We stock vinyl, CDs, DVDs, T-shirts, memorabillia and band merch. How is your store celebrating Record Store Day? Giving away double passes to the Metal Health Tour with Quiet Riot, Warrant and LA Guns; giving away the Foo Fighters Record Store Day only release of their Medium Rare covers LP to 20 lucky punters who buy their new album from us. We’ll have a number of Record Store Day only exclusive releases imported from around the world which will be for sale only in the store on the day. What are the three most interesting things for sale in your shop at the moment? Pantera’s Cowboys From Hell Ultimate Box Set; a magazine article signed by The Doors including Jim Morrison; The Beatles’ “butcher baby cover” LP. And the three best sellers this year? Metallica, AC/DC, Iron Maiden… No surprises there. There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age? It’s a bloody big challenge so we are increasing our online presence and sourcing collectibles and unique items as well as looking at promo opportunities like the upcoming Quiet Riot, Warrant and LA Guns instore on May 1st. But our biggest strength is our staff, their product knowledge and the personalised customer service that you just can’t get online. What are your contact details and hours? Lower Ground Floor, 511 Kent St Sydney 9571 6662 contact@utopia.com.au Sun 12pm-4pm; Mon-Wed 10am-6pm; Thurs 10am-8pm; Fri-Sat 10am7pm

What are your contact details and hours? info@eggrecords.com 95506056 Sun 11am-5pm; Mon-Sat 10am-6:30pm; Thurs 10am-7pm

• 52 • THE DRUM MEDIA 12 APRIL 2011

UTOPIA RECORDS

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THE DRUM MEDIA 12 APRIL 2011 • 51 •


APRIL 16

MUSIC FARMERS What’s Wh ’ the h name off the h person answering these questions and your role at the store? Jeb Taylor, co-owner. How long has your store been in business? We were open from December 2004 until December 2008. The shop then re-opened again in February 2011.

EGG RECORDS Wh t’’ the What’s tth name off th the p person answering these questions and your role at the store? Baz, owner/manager. How long has your store been in business? Going on 11 years. What does your store specialise in? All types of music – we cover classic rock, punk, indie, soul, dance, jazz, blues, spoken word. You name it, we will try to stock it. How is your store celebrating Record Store Day? We will be celebrating the joy of music on vinyl and we will also be doing 20 percent off all vinyl. What are the three most interesting things for sale in your shop at the moment? Classic Oz surf soundtrack, Sea Of Joy by Tully; Rare Zappa Oz copy of We’re Only In It For The Money; The Smiths’ The Queen Is Dead picture disc. And the three best sellers this year? Frowning Clouds Listen Closelier; Mini Mansions self-titled; anything Beatles… as always. There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age? Things have been up and down CD sales wise… Vinyl for us has always been what we do, bringing LPs in from all over the world, so we offer a wide range of things for people to find in store. Most people like a physical item and there is nothing like the joy of finding that item you have been after for years!

What does your store specialise in? Music Farmers specialises in vinyl records. We do also sell some CD, DVDs and books, but vinyl is the main focus. How is your store celebrating Record Store Day? We are having acoustic artists playing throughot the day including Blackie (The Hard Ons) and Michele Maddon (Tourettes), alongside local artists The Pennys, Jack Reilly and Nothing Rhymes With David. We’ll also be having a free BBQ, giveaways, poster art exhibition in the attached art gallery and stocking some Record Store Day exclusives. What are the three most interesting things for sale in your shop at the moment? Most interesting would have to be the GG Allin doll, every home needs one of them! The Encyclopedia of Dead Rock Stars book has been giving me some strange stories to read about. We just sold the last copy, but there was this hilarious little book called Henry And Glenn Forever. And the three best sellers this year? Off! – first four EP’s 4x 7” box, Mother & Son - S/T LP, Mogwai Hardcore Will Never Die, But You Will LP. There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age? In a way I think the interest in vinyl is people rebelling against digital music so specialising in vinyl is keeping us relevant by offering a more interesting alternative. As far as the digital age in general goes, it has been a huge benefit to us as a marketing and selling beyond our area. What are your contact details and hours? 5 Crown Lane, Wollongong; musicfarmers.com; (02) 4228 0459; MonThu 10am-5pm; Fri 10am-6pm; Sat 10am-4pm

What’s Wh ’ the h name off the h person answering these questions and your role at the store? Garry – owner. How long has your store been in business? 33 years. What does your store specialise in? “The Home Of Heavy Metal” says it all – metal, rock, punk… anything heavy. We stock vinyl, CDs, DVDs, T-shirts, memorabillia and band merch. How is your store celebrating Record Store Day? Giving away double passes to the Metal Health Tour with Quiet Riot, Warrant and LA Guns; giving away the Foo Fighters Record Store Day only release of their Medium Rare covers LP to 20 lucky punters who buy their new album from us. We’ll have a number of Record Store Day only exclusive releases imported from around the world which will be for sale only in the store on the day. What are the three most interesting things for sale in your shop at the moment? Pantera’s Cowboys From Hell Ultimate Box Set; a magazine article signed by The Doors including Jim Morrison; The Beatles’ “butcher baby cover” LP. And the three best sellers this year? Metallica, AC/DC, Iron Maiden… No surprises there. There have been huge changes to the way people consume music – what is your store doing to stay relevant in the digital age? It’s a bloody big challenge so we are increasing our online presence and sourcing collectibles and unique items as well as looking at promo opportunities like the upcoming Quiet Riot, Warrant and LA Guns instore on May 1st. But our biggest strength is our staff, their product knowledge and the personalised customer service that you just can’t get online. What are your contact details and hours? Lower Ground Floor, 511 Kent St Sydney 9571 6662 contact@utopia.com.au Sun 12pm-4pm; Mon-Wed 10am-6pm; Thurs 10am-8pm; Fri-Sat 10am7pm

What are your contact details and hours? info@eggrecords.com 9550 6056 Sun 11am-5pm; Mon-Sat 10am-6:30pm; Thurs 10am-7pm

• 52 • THE DRUM MEDIA 12 APRIL 2011

UTOPIA RECORDS

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THE DRUM MEDIA 12 APRIL 2011 • 53 •


METAL AND HARD ROCK WITH CHRIS MARIC

DISTURBED

AMERICAN MAYHEM For the metalheads amongst you with cash to burn (you’ll need a lot, what with flights and accommodation, though it is worth it!), tickets go on sale this weekend for the fourth annual Rockstar Energy Drink Mayhem Festival. With 26 dates across the States through July, the tour boasts an absolutely massive heavy lineup with recent Drum cover stars Disturbed, Godsmack and Megadeth on board as headliners. Filling out the lineup are Trivium, In Flames, Machine Head, Suicide Silence, Unearth, All Shall Perish, Straight Line Stitch, Kingdom Of Sorrow and Red Fang. We’ve been fortunate enough to have quite a few of these big names tour in recent times, but having them all on one bill really would be a dream come true. And of course absolute mayhem. Now, to somehow secure a free plane ride…

ONE MAN DOWN FOR CHIMAIRA Ohio metal dudes Chimaira are down a member with keyboardist/programmer Chris Spicuzza packing it in. He told ThePRP.com: “The choice was extremely tough and stewed around in my mind for quite a while… Many things led to this decision. The situation in Chimaira had ultimately become a negative environment that I had to get out of. Secondly, the music industry is completely fucked and honestly, I became concerned for my future. The amount of work and stress I took on got the best of me. I guess if you’re not happy or having fun, what’s the point?” Spicuzza, who had been a member of the band since 2000, did not contribute to the upcoming Chimaira album which, purported to be mixed by Chris “Zeuss” Harris (Hatebreed, Shadows Fall, Murderdolls) and produced by Ben Schigel (Drowning Pool, Walls Of Jericho), will drop August. This is the second time in less than a year that the band has lost a member, with bassist Jim LaMarca calling it quits last year in order to focus on family.

What the hell is going on here? We lost another metal brother last week. Scott Columbus, Manowar’s long time skin basher, passed away at the age of 54. Does Odin want his warriors to retain their youth when he brings them into Valhalla? Whatever his reasons, I thought I already said, it’s quite full in there for the time being right? Leave us alone for a bit! The mysterious event that is Soundwave Revolution has not officially announced a venue or a date yet, although the clues are there if you look. They have however announced a stack of bands that my little piece of Drum here and my hardcore sister, Sarah, who takes up just as much room either on this same page or the one opposite, will be able to fill you in on. So, our favourite nutball Devin Townsend will be leading the charge with the mighty Hellyeah returning too. Scott Ian’s all-star act The Damned Things, Whitechapel and Skindred are also confirmed. In This Moment fills the female-fronted melodic/goth spot and a band you may not have heard of yet but will soon enough, Black Veil Brides, who have fused the Murderdolls, Chrome Division and a bit of Dead Or Alive stylings and mixed it with a Motley, kinda sound to produce something pretty storming indeed. Sum 41 sort of belongs on Sarah’s side but, having worked with them in the past, I can confirm their metalhead status big time! Apparently Sir Alice Cooper is rumoured to be coming on board soon too, as is that bloke Jared Leto and his brother in 30 Seconds To Mars, who might not be credible to the true metal purists out there but they’re masters of the big-arse vocal chorus that would make Devin and Jon Bon Jovi proud. Now, the 15-year-old in me is very excited about this! To commemorate two decades of doom and gloom from My Dying Bride, the band embarked on a special project to re-work familiar melodies and themes from their extensive catalogue into long, flowing symphonic compositions, incorporating new vocals and passages from Aaron Stainthorpe. Sharing vocals is professional opera singer Lucie Roche, a talented soprano from France. These arrangements have been brought to life in co-operation with keyboard maestro Johnny Maudling (of Bal Sagoth fame) as well as a clutch of talented classical musicians and will be released end of May as Evinta, a 2CD set, inspired by My Dying Bride’s illustrious recordings. It’s described as “A project almost 15 years in the making. An idea that has sat smoldering and never really had a reason to burn alive until now. Nine albums’ worth of darkness recreated anew to mark

www.utopia.com.au

Jono has resurrected some of his previous bands for an all-night jam at the Lansdowne. His super fun party time surprise will feature a few songs each from TUBbH, Domestic Clone Unit, Hell City Glamours and of course Degeneracy! It’s free, so shout the man a beer and give him a birthday punch from me. Deep in the southern ‘burbs at Penshurst RSL you can catch a trio of rock. Say It Forever, Beware Of The Dog (featuring one time PainDivision singer Jordan Howe) and Damage Inc, a pretty killer ‘tallica cover band. It all starts 7.30pm and will cost you a tenner too.

SATURDAY Our Last Enemy continues their trek south and will hit The Basement in Canberra tonight along with Aeon Of Horus and Viral Millennium.

SCOTT COLUMBUS 20 years of MDB. Music arranged to the soundscapes of sorrows past. Finally the 20th anniversary allows us to release this music in a form it has been desperately, woefully waiting for. Enjoy the Darkness.” Once again, we have a busy week of localised metal coming your way!

THURSDAY Down Mexico way, you can catch Alice Through The Windshield Glass, Elysian and I Am Atlas as they destroy O’Malley’s Pub in Albury (Do we get to Albury?).

FRIDAY The South, it seems, will sing again – Albury last night and tonight in my old stomping ground of Campbelltown, you can catch Havoc, Under The 8 Ball and Flaming Wreckage as they, um, wreck CC’s Hotel. For ten bucks you can participate too! Further south at the Cabbage Tree Hotel (do cabbages grow on trees?) in Wollongong, Our Last Enemy will be showcasing tracks from Fallen Empires which, as of this week, is available on iTunes. Meanwhile my dear old friend, old being the appropriate word, Jono Barwick from Hell City Glamours will be celebrating his 35th birthday, which also happens to be the 20th anniversary of him getting a bass and also starting his first band (which must’ve sounded amazing with only one day of bass playing!). Along with his mates in Lo!, Lawyers, Guns & Money and The Optionals,

In town at Venom, Alice Through The Windshield Glass will be most probably destroying the basement level of the Agincourt Hotel with help of The Ocean The Sky, Against The Tide and newcomers Boneyard Aesthetic. Meanwhile on the main floor, the club will be hosting the official tour party for the upcoming triple bill of Disturbed, Trivium and As I Lay Dying that’s coming through next week. They will also be launching the pretty kick-arse newie from The Haunted.

SUNDAY The Gaelic is serving up a monster of an evening. Starting 6pm, those promising proponents of prog, Centred Self, open the night before giving the stage over to Ilcontent and Recoil VOR. Next up Dawn Heist, fresh from their first overseas tour, will be showing off their now international chops and as if that wasn’t enough, As Silence Breaks round out the night to take whatever hearing ability you have left. And Brisbane Whiplash Festival has promised the 100th over-18 fan through the door will receive a $25 drinks card! There’s a stack more live action coming up for the rest of April as we head into the combined Easter/Anzac holiday and then into winter proper, which looks to be pretty busy with both local and international tours continuing to be announced. So come back next week for more of the same; you love it, you know you do! heavy@drummedia.com.au

APRIL 16

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PUNK AND HARDCORE WITH SARAH PETCHELL So another big week this week. A couple of announcements, a few reminders of tour that are happening this week and just some cool general news. Germany’s kings of psychobilly, Mad Sin, are touring Australia this November in support of their thirteenth album, Burn And Rise. Yes, you read that correctly, thirteenth. These guys have been around since 1987 and are psychobilly staples. Joining them on this tour with be our very own Casino Rumblers, who are set to release their eagerly awaited second album. It is a while away but mark it in your diaries now! This psychobilly double-header hits the Annandale Hotel on Friday 5 November. All ticketing information is available when you sign up to the Ruff N Ready Records mailing list at ruffnreadyrecords.com.au. Having postponed their highly anticipated January tour, one of New York’s most notorious bands, Emmure, has finally announced their return to the land down under this June for their first headline tour. The tour is in support of the band’s fourth studio album, Speaker Of The Dead, which was released back in February. They will be joined by Sydney locals Shinto Katana for the duration of the tour. Stay tuned for more information regarding supports and the like, but for now here are the dates. The double-header hits the Bald Faced Stag in Sydney on Sunday 12 June for a licenced/all ages show, then on Tuesday 14 they play an all ages show at Oasis Youth Centre in Wyong and then on Wednesay 15, the tour hits Canberra for an all ages show at Tuggeranong Youth Centre. Tickets go on sale Monday through Moshtix.

I AM VILLIAN

POP PUNK VILLAINS Brisbane’s I Am Villain stop in at The Gaelic on Saturday 23 April and The Harp Wollongong on Tuesday 26 with Oh Sleeper and The Chariot. Drum spoke to the rising pop/punks.

EMMURE through the Annandale website and OzTix, and doors are at 8pm. Sydney tough hardcore dudes Relentless will be headlining an all ages show at Oasis Youth Centre on Saturday. The lineup is awesome, as Phantoms (surely you’re sick of me talking about these guys by now) are making the trek up from Sydney and with a bunch of other local talent supporting (KO Kick, Make No Mistake, Last Chance and Revived), it’s sure to be a fun night! Tickets are $15 and doors open at 6pm. So if you’re a Wyong local, head on down and if you’re in Sydney with nothing else to do that night, head on up!

As for shows happening this week, there are a few happening this weekend so make sure you’re all out there checking out shows. First up, get down to the Town Hall Hotel (aka ‘The Townie’) in Newtown on Thursday night, for there will be a gig there to blow minds and splatter brains on the wall. I’m talking about the 4Dead and Robotosaurus show, with support by the excellent Totally Unicorn and locals Fixtures. I can’t find information as to when it starts, but the last Thursday night show I went to at the Townie started around 10pm so probably head down around nine, grab a feed and check out the bands.

Saturday is also International Record Store Day. I strongly urge you to head on down to your local independent record store that day and buy something, even if there aren’t any special events going on for the day. I want to make special mention to Beatdisc Records in Parramatta at this point. I’ve been going to Beatdisc since I was about 14 years old (I’m 26 now, so that’s a really long time!). It’s evolved in that time from a second-hand CD store into an amazing independent record store. With an emphasis on vinyl, the guys down there will endeavour to track down even your most obscure request, and aim to keep their prices lower than those of most major chains. They’re also the last independent record store in Western Sydney, so if you’re from those parts please head on down, check them out and preferably buy something.

On Friday 15 June, Frank Turner and Jen Buxton will take over the Annandale for a night of folk punk that will be entertaining, enigmatic and just fun! Tickets for the show were still available at the time of writing

Onto the weekly Soundwave Revolution lineup update. It just seems like it keeps getting bigger and better, so with anticipation at an all-time high it’s leaving everyone wondering when the official announcement is going

to take place so we can all find out what exactly it is! You can now add to the list of bands on the bill The Word Alive, We Are The In Crowd, The Dangerous Summer, Hellogoodbye, Set Your Goals and Sum 41. Also, if you were listening to Short.Fast.Loud last night, you would have heard the singer of a certain band drop a hint saying that they would be out here in September. You can draw whatever conclusion from that you want, but head over to the triple j website, give last week’s show a listen and find out who I’m talking about. A few cool videos dropped this week, including the new one for Parkway Drive’s track Karma, from Deep Blue. I’m a big fan of this video as it’s basically the band performing on a Byron Bay beach before stripping off to their wetsuits and hitting the waves. It’s cool to see the band stripped back, showing exactly who they are. Also, Social Distortion released the trailer for the short film that will be the video for their track, Machine Gun Blues, taken from Hard Times And Nursery Rhymes. From the looks of the trailer, I cannot wait to see the whole thing. Both of these videos should be available via YouTube. Last thing for this week, the new issue of No Heroes is finally online! It has been a REALLY long time coming, but I’m really happy with the way it has come out. On the cover are those zany Canadians in Cancer Bats, Baroness, The Ghost Inside, The Gaslight Anthem, Trash Talk, Your Demise, Terror & H2O, The Bouncing Souls, Polar Bear Club, Antagonist A.D. and Phantoms. There’s so much content in there it’s ridiculous! You can check it out at noheroesmag.com.

Why do you think pop/punk is making a comeback in Australia? Generally Australia tends to follow America pretty closely in terms of trends, and music is no exception. The rebirth of pop/punk in the US thanks to bands like Four Year Strong, Set Your Goals and A Day To Remember has certainly inspired a revival over here… Not to mention that we are simply producing some excellent pop/punk bands in Australia as well. As a band we really want to help put Australia on the map for this kind of music along with bands like Tonight Alive, Skyway and Heroes For Hire, who are already making big waves in our genre.

How was the recording process for One Night, One Victim? In a word, it was an ‘experience’. It was our first go at recording and it was very much a learning curve. We picked up a lot of tricks and tips to remember for next time. But we also ran into problems that we hope to avoid at all costs in the future. We probably could have been better prepared but I think sometimes you have to get in and do it rather than putting things off.

Could you tell us a bit more about the debut EP? Our aim was not to focus too heavily on a particular style or song structure but still keep within our genre and not just chuck six “that’ll do” tracks on a CD. It was about us finding our sound and using people’s response to the songs to give us an idea of what our strengths and weaknesses were for the future. For example there was an overwhelming response to our single, Frankly My Dear…, and I think that helped us gauge the style of song our fans liked. That said, we still write very much to create our own blend of pop/ punk and I can say that our next release will be more defined, something that when people hear it they’ll know that it’s I Am Villain.

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THE DRUM MEDIA 12 APRIL 2011 • 55 •


HIP HOP WITH VIKTOR KRUM When things are exciting, it’s exciting. We’re all blowing our minds for OFWGKTA right now. We’re bored of Yonkers (which, to be fair, never claimed to be a perfect song) but we’re bumping Frank Ocean’s impossible free download nostalgia, ULTRA. Some are excited for the odd, slightly anachronistic looking OFWGKTA appearance at the Opera House in the coming months. In short, the Wolf Gang has got the zeitgeist by the balls (ghost balls?) and we’re excited by everything they do. Go Odd Future. Keep it up. Et cetera. As if to prove how much we’ve all got Tyler-and-the-rest-mania, it’s now time to flip out because Tyler The Creator’s next album, Goblin, is going to have… Two Different Album Covers. Wait, though, please hold your yawns until the end. The reason it is going to have Two Different Album Covers is because, as Tyler says, “I Do Two Covers For Every Release Of Mine So, Thats The 2nd One For The Deluxe Edition. The Other One Is Standard.” Fascinating. What a majestic, magnificent world we live in. And – whisper it – what happens if Goblin is boring? What then? Hm. R.A. the Rugged Man is coming out. Murs & 9th Wonder are coming out. They are playing at the same show. They are playing on the same night. That night is Thursday 5 May. The venue is The Gaelic. This is really happening. In real life. It looks like R.A. is the headliner, too. Hm. Enough to make you weed-addled rap nerds update your Facebook status. New Beastie Boys soon. No bullshit. It’s called Hot Sauce Committee Pt. 2. It’s due out Tuesday 3 May on Capitol. It could be OK, you guys. Never mind that cancer, pop culture, and nearly a decade and a half of irrelevance are weighing heavily on the Beasties’ shoulders, just remember how you felt the first time you heard Sure Shot and you thought, “this – this song right here – is perfect.” It could happen again on 3 May? The track Make Some Noise is online now for you to (ch-ch-ch) check out. DELS is pretty cool. But he’s also an English rapper with a PR machine behind him. So – you know – get ready for some booo-ring comparisons to Dizzee Rascal (what up, The Guardian? Other English rappers exist, yo). You should also prepare yourself for stuff like this: “applying the kind of attention to detail, micromanagement and macro-vision which Jay-Z used to build a business empire, DELS lays out the sheer,

ALL AGES WITH DAVE DRAYTON Seattle alt rock band The Classic Crime hits NSW this week as part of their national tour in support of last year’s Vagabonds album. The guys have toured with everyone from Relient K to MxPx so are sure to put on a good show. They will be joined by Sydney locals Chemical Transport and they play Tuggeranong Alliance Church on Sunday, followed by Bel Air Baptist in Adamstown on the Monday and The Grove, Newcastle on Tuesday 19 April. The Lucky Australia Tavern has another Sunday jam packed with bands for next to no cost. $10 will get you in and Pointless Suffering, Illusions, To The Grave, As Chaos Unfolds, Oreana and Against the Tide, all the way from Western Australia, play from 1pm.

MISTA SAVONA revolutionary extent of his ambition in a suite of tracks…” Blurgh. Yuck. I know that we live in a time where the stupid, indulgent myth that Being Famous Is Hard is fairly well established but you have to feel sorry for old DELS whose label pays people to write dross like that about him. Anyway, Shapeshift is a heater so go and check it. DELS’ debut GOB is also fascinating. It’s sort of like Dizzee-Rascal-meets-Jay-Z-via-Frank-Zappa-onvalium-and-the-valium-is-kinda-into-Kool-Herc-andThe-Kinks but DELS is also, like, totally his own artist. You know?

For those of you who missed it, a last minute all ages show was added to the Miles Away/Defeater/Fires Of Waco tour at Black Wire Records on Monday of last week. With the addition of openers Reality, the night was, from all accounts, absolutely massive. The point of this is not to make those of you who missed it jealous, but to point out yet again what a great job Black Wire Records is doing of providing an all ages venue in Sydney for regular shows. Coming up this week they have Kiwi art punks Mr Sterile Assembly launching their new album with Ya Aha, Yes, I’m Leaving! and Black Loop on Friday and Mother Mars, Battle Pope, Defektro and Machinoir playing from 3pm on Sunday.

D’Opus & Roshambo have got their newie Past Time out now. If you like your Canberran rap straight up, then they’re the crew for you. One of our boys’ biggest appeals is their attention to detail. Listen to a release and – even if it’s not for you – the craftsmanship is undeniable. Love and care is poured into it and you can’t say fairer than that. Check the singles Come Find Out and Bring Happiness if you’re so inclined. The album’s out on Mercury Switch Lab through Inertia. Guests include Muph, Dialectrix and Mdusu.

After the tour was postponed in January of this year, New York deathcore band Emmure has finally announced some new Australian tour dates including three all ages shows through Drum territory in June. They play the Bald Faced Stag on Sunday 12, Oasis Youth Centre on Tuesday 14 and Tuggeranong Youth Centre on Wednesday 15. Locals Shinto Katana join them on all dates and tickets go on sale Monday.

We’ve discussed this before, but it’s worth repeating that Melburnian Mista Savona will be in town this week, Friday at Tone. If you like exciting music with stellar production values, you’re there. If you like dancing, you’re there. If you’re ever concerned that (y)our scene is a little bit monotone, then you should head down and have your eyes opened a little bit. getittogether@drummedia.com.au

If you are looking at starting a band and just need that little push to finally pick up the guitar, or keyboard, or whatever else it is you plan on rocking stages with, then wait no longer. Applications are close to closing for the Bondi Wave Youth Band initiative with auditions being held on Wednesday 27 April at Bondi Pavilion. The three month program helps you to establish a band and hone your skills in a professional environment working on performance and songwriting in the lead up to a showcase at the end of the course. Head to waverley.nsw.

POP CULTURE THERAPY WITH ADAM CURLEY This coming Saturday is international Record Store Day. Or is it Record Store Day Australia? If you pay any attention to the annual scrappy hair-pulling that occurs between independent music shop and retail chain operators over who has the right to be involved in the event, you’d likely have an opinion on that question. And it’s hard not to pay attention – as they’ve shown, Charlie Sheen ain’t got nothin’ on the bitching abilities of our retail operators. Of course, the closure or severe diminishment of some of the larger retail chains selling music, as well as the fact that music departments barely exist in the remaining chains, has almost ended the debate, which has largely been divided into two camps: those who believe Record Store Day should celebrate independent music retailers, and those who believe that the state of music sales is so poor that the physical music market should be banding together and working for the ‘greater good’. However, regardless of whether the independents (or what’s left of them) are winning by default (or by virtue of getting by on the smell of record cleaning solution, as they certainly aren’t ‘winning’ in an economic sense), the debate here misses a significant point: Record Store Day isn’t about records at all. Record Store Day began in the United States in 2007, founded, according to the copy featured on the official website, “as a celebration of the unique culture” of independently owned music stores around the country. In the US model, record stores that are permitted to be involved in the event are strictly defined as retailers “whose main primary business focuses on a physical store location, whose product line consists of at least 50% music retail, whose company is not publicly traded and whose ownership is at least 70% located in the state of operation”. That is, JB Hi-Fi wouldn’t have a hope of sweet-talking its way into the conversation over there. That definition – the exclusion of those stores that do not fall into the category of, essentially, ‘physical independent music stores’ – is important in establishing that, in the US, Record Store Day centres on a certain real-life ‘community’ of businesses that may be different in many ways but all have the unique quality of being owned locally and started because (and it’s • 56 • THE DRUM MEDIA 12 APRIL 2011

an assumption that doesn’t seem unreasonable) their owners are passionate about music. As naff as it is to spell it out without the convincing aid of Tyra Banks’ giant expressive forehead, passion is key. But so is the physicality of the aforementioned “unique culture”. Those who founded Record Store Day had an intention of celebrating the act of going down to your local music shop, browsing through the racks of releases, chatting to the person behind the counter, picking up a zine or some flyers, maybe even brushing the hand of someone also reaching for some rare Huggy Bear 7” and starting a conversation. A real-life one. (As an aside, in my relatively short time as a street press editor, more than a few writers were talked into contributing their words following conversations in record stores. And yes, I’ll admit it, I have been on dates instigated over the New Release section, though none were as good as the albums I bought.) Record Store Day should not be a celebration of or a boost to commerce, regardless of its form. Record Store Day is about community. It’s about taking an active part in the culture happening around us, be it through hanging out in record stores, through going to gigs, meeting and making friends there, organising gigs, starting a band, having an argument, writing something down and showing it to people, starting a film night in a lounge room, requesting a song from a DJ. Hell, it’s about saying something in solidarity to the woman buying the bulk pack of nappies down the shops. It’s about taking some part in and responsibility for the way our towns and cities are run, the way our culture moves forward and the way we interact as human beings. Because online communities aren’t enough and they never will be. So go to your local record store this Saturday. You can decide whether it’s a chain or an independent. You can decide if you buy anything. You can decide if you speak to anyone and what you speak about. Just remember: every decision counts. breakdown@drummedia.com.au

MILES AWAY gov.au/things_to_do/places_of_interest/bondi_pavilion/ music_programs/bondi_wave_youth_bands for all the details. In other news, this Saturday is Record Store Day. In past years places like Beatdisc Records in Parramatta (who also have a fair crack at catering to the all ages crowd) have put on a good spread and some live music. Check out your local record stores, see what they’ve got planned, support the little guys and if need be, have a stern word to them about organising some all age instores next time your favourite band rolls into town. And finally, while Youth Week may have officially ended, the Smart Arts Festival that was being run as part of the event still has some great stuff running this week. On Wednesday they are running a series of workshops, everything from fashion to book binding and mobile film. The real stand outs, though, are the stencil and urban art workshops. They are all free, but bookings are essential so head to cityofsydney.nsw.gov.au/pinestreet/ YouthProgram/smartArts.html and get involved. Their closing night celebrations are on Friday night from 6-10pm at The Red Rattler in Marrickville. International freestyler MC UN-1 is headlining the night and there’s also performances from Defender Sound System DJs, psychedelic folk pop queen Alice Spacedoll, poppy post punkers The Looks Good and Divine Knights, who will be dishing up their signature electro sounds. There is also free food for the night, a fashion show and film and light projections from Punk Monk Propaganda. allages@drummedia.com.au

WORDS FROM THE PEAK BODY OF CONTEMPORARY MUSIC IN NSW Since we last met a whole new state government has been elected, and change is as good as any holiday, right? Well, slight change: in light of this new state government there still hasn’t been any arts policy announced. Little to report on this front but keep your eyes on musicnsw.com and once there is news it’ll be there. While you are at the website be sure to check out the recently released Legal Pack. Developed by the Australian Music Industry Network (AMIN), the national version of us here at MusicNSW, and in consultation with entertainment law firm Simpsons, the legal pack is completely free and gives Australian artists a helping hand to navigate the legal complexities of the music industry. It’s only available for download from MusicNSW’s website at the moment, but eventually it will be a paper resource you can come and pick up! The collection of fact sheets and checklists is aimed at equipping local artists and industry with some of the basic legal knowledge they need to deal with in an increasingly complex industry, featuring band agreements, distribution and recording contracts, management contracts, publishing and song syncs, plus information on booking agents and venue contracts. Our kindly Executive Officer Eliza Sarlos says the project recognises the critical need for artists to understand any contracts or agreements put before them. “These information sheets are by no means a substitute for professional legal advice,” Ms Sarlos explains. Essentially the legal pack is designed to break down all the legal jargon involved in any contract or agreement, sort of like a phrasebook for the legal world. You should still seek legal advice, but this pack should alleviate some confusion. At least minimise those hair-pulling moments of complete frustration and disbelief. AMIN has also developed a tax pack in consultation with financial services company Moneypenny. The detailed checklist covers everything from advice on how to set up an ABN and a business, registering for GST and what artists can claim on tax returns. Life in the fast lane does have its responsibilities! The music board from federal funding body Australia Council has recently announced its latest round of funding: a massive $807,000 has been distributed across

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PVT AND CLOUD CONTROL: RECIPIENTS OF AUSTRALIA COUNCIL FUNDING 66 projects and a number of categories to support the creative and economic expansion of the contemporary music industry. Highlights include some international tours for PVT and Cloud Control, reflecting a focus on export development. Emerging local artist Karoshi, who just released his debut album, was successful in funding through Soundclash a grant that supported emerging artists making innovative and interesting experimental music. Finally, financial support and contributions to Sandtracks, a remote Indigenous touring project, and The Cad Factory for a series of concerts in regional NSW were also featured in the round. Australia Council has a number of grants closing in the next two months including funding for the development of new material (closing Sunday 15 June), so be sure to get in touch with the project officers at OzCo and if you need any more help, we’re happy for you to call us at MusicNSW.


MALO’S MAIDEN VOYAGE BLUES AND ROOTS WITH DAN CONDON Joe Louis Walker returns to Australia for this year’s Bluesfest as well as some dates in support of Gov’t Mule guitarist Warren Haynes very soon. I caught up with Walker to talk about the influence his home city of San Francisco and the blues of yesteryear has had on his own style of playing diverse blues music. “I grew up in a different place and a different time, my formative years was had in San Francisco in the mid‘60s so I was affected more by that than by a lot of other stuff,” Walker says when asked about the inspiration behind his approach to playing blues. “I played with a lot of blues guys before hippies came to where I lived in San Francisco, I was into blues, but I grew up on more of a variety [of music] than I think I would had if I were born in Chicago or Mississippi. “You can see, me being 61 years young, guys 61 years old in Chicago or Mississippi right now are more connected to that area, music wise, whereas I grew up a little bit differently – I got to see all the psychedelic stuff along with the real blues stuff and the real jazz stuff all in the same show.” A lot is said these days about the San Franciscan music scene of the 1960s and Walker attests to it being an amazing place to be. “It was definitely cross pollinated with all kinds of stuff,” he says. “Even Ali Akbar Khan, the great Khan, had a school there in Berklee teaching Sarod. There were a whole bunch of different things like that. I can’t think of

the same fountain as Keith Richards and Jimmy Page and Buddy Guy and Taj Mahal, we all went to the same fountain which was, like, Muddy Waters, B.B. King, Howlin’ Wolf, John Lee Hooker – if you got to know them guys who inspire you, if you stay true to it, you will grow into it and you’ll become that. I think it’s a testament to those guys, all of them, that the guys who were inspired by them, a lot of them went on to make something of themselves and that’s testament to the power of what they did.” When he’s in Australia, Walker will once again be proving the diversity of his sound.

JOE LOUIS WALKER any place I’ve been, and I’ve been to a lot of places, that is remotely like it.” Mick Jagger, B.B. King, The Edge and Herbie Hancock are just a few big names who consider themselves to be fans of Walker’s playing. When it comes to his own influence, Walker says that his influences are similar to so many others, and that’s what makes them so special. “I was fortunate, I got to play with a lot of guys that were my heroes,” he begins. “People like Lightning Hopkins, Magic Sam, Howlin’ Wolf... to be on stage opening up for them when I was 18 years old was cool. “A lot of people went to the same fountain for the knowledge and the inspiration for the music. I went to

“I have a friend of mine that I’ve known for 25 years, he’s African, named Amar Sunday; I met him when he was playing with Albert King in France,” Walker tells. “I have another friend of mine playing with me, Murali Coryell – his father is one of the greatest jazz players, his name is Larry Coryell – but Murali is a great singer as well as a great guitar player. We have this sort of mixture Amar has been doing with the blues that we call Safari Blues and it’s got more of an African groove to it like Ali Farka Touré and stuff like that, and Murali brings more of a soul thing and a rockin’ thing to it. So we sort of mix it up.” Joe Louis Walker plays The Basement Circular Quay on Saturday 23 April and Bluesfest Monday 25 and Tuesday 26 April. rootsdown@drummedia.com.au

On his first Australian tour for the Byron Bay Blues and Roots Festival, Latin folk musician Raul Malo has also lined up sideshows on Sunday at The Basement Circular Quay, and Monday 18 April at Lizotte’s Dee Why. Drum caught up with him.

This will be your first tour to Australia, what are you most excited about? Just being there is the most exciting part. I’ve never been to Australia so looking forward to that. And I’ve always heard good things about the music fans.

While you are a solo musician, you will be touring with a full band. How did you piece together the ensemble for this tour? With the full band, I’m always trying to create the biggest sound possible. So for example I have a new guy, Kullen Fuchs, who plays vibes, keyboards and trumpet, and not necessarily all at the same time... And almost all of the band sings as well as plays their respective instruments. I challenge my guys because we don’t just do one thing. My latest record has a range of music, so there is that to play live, and then we reach back for material from three or four of my solo records and even the Mavericks material before that, so they definitely have to know what they are doing. And Michael Guerra is just a monster accordion player. He will definitely impress the audience.

Will you be playing anything from The Mavericks or Los Super Seven back catalogue while on tour? Yes, probably a bit of both. It all fits in nicely together with the newer stuff.

AN OSCAR MOMENT JAZZ/WORLD WITH MICHAEL SMITH TUESDAY

Saturday sees community station Eastside Radio 89.7FM take over Robertson Park in Watsons Bay for its second annual Global Rhythms concert, Sydney’s only free global music event and broadcast live to boot. Featured artists this year are Mucho Mambo, Dereb The Ambassador and Tango Saloon and it all kicks off at high noon, running through till 5pm. Accompanied by our own bass player Brett Hirst and drummer Nic Cecire, along with a few local special guests, French jazz pianist, composer and arranger Dominique Fillon, who has toured with Angelique Kidjo and Dave Weckl among others as well as featured on several Sanseverino albums, is playing The Basement Circular Quay Thursday night showcasing his latest album, Americas, and more. Saturday sees Fillon play the Alliance Française Jazz Club in Canberra. British guitarist Mike Cooper reunites with his Australian jazz counterpart, pianist and composer Chris Abrahams, Saturday night in the Sound Lounge in the Seymour Centre to revisit their recent collaborative album, Oceanic Feeling-Like, and other explorations. It’s a big Café Carnivale weekend with Global Sounds taking over the Zenith Theatre in Chatswood Saturday with jazz pianist and composer Mark Isaacs accompanying Bandura player Larissa Burak, The Volatinsky Trio opening the evening. Sunday, the party heads out to the Riverside Theatres in Parramatta for Tango! You can even learn this most passionate of dances, with classes at 1pm before enjoying the

20th Century Dog + Reubin Lewis Quintet (ACT) – 505 James Valentine Quartet + Avigail Herman – Golden Sheaf Paul Sun Trio – Jazushi

WEDNESDAY CHRAS ABRAHAMS

The End – 505

performances from 3.30pm with music courtesy of the four-piece Tango Bar.

John Hardaker Direction with Rebecca Barrett – Kudu Lounge

THURSDAY

Also happening at the Riverside Theatres but on Friday night is a performance of La Musique de Jacque Brel by Belgian chanteuse Micheline Van Hautem, accompanied by guitarist Erwin van Ligten.

Guy Strazz World Jazz Quartet – Colbourne Ave, Glebe

Sunday sees the creative development project on Cockatoo Island that goes by the name Cockatoo Calling hosting an informal open day from 11.30am through 3pm with performances throughout the day by sound artist Hinterland and world music artist Llew Kiek.

SNAP – The Sound Lounge

Sunday from 1pm, the Hayden Orpheum in Cremorne hosts a celebration of the life and music of legendary jazz pianist Oscar Peterson featuring the piano-led Matt Baker Trio with vocalist Briana Cowlishaw, a special screening of Some Like It Hot following the performance.

Jason Bruer Duo – MosCafé

FRIDAY Directions In Groove – The Brass Monkey The Strides – 505 Gadjo Guitars – Vivo Café

SATURDAY Marialy Pacheco + Lisa Parrott Quartet – 505 Susan Gai Dowling – Jazushi blow@drummedia.com.au

ROCKABILLY/PSYCHOBILLY/ALT.COUNTRY WITH PEDRO MANOY I last had the pleasure of catching Peter Rowan at The Basement Circular Quay some years ago and still remember the show not only for Peter’s fine musicianship but for his wicked sense of humour and highly entertaining commentary on the genre he loves so much. That genre is bluegrass and Rowan is one of its foremost exponents with a history dating back to 1964 and his role as lead singer and guitarist with the legendary Bill Monroe’s Bluegrass Boys. Since then, he has recorded with an amazing list of artists including Jerry Garcia, Jerry Douglas, Tony Rice, and Steve Earle. Rowan’s current band features Jody Stecher on mandolin, Keith Little on banjo and Paul Knight on bass. And of course, everybody sings and harmonises in the true bluegrass tradition. Peter Rowan Bluegrass Band, along with special guests Anne Kirkpatrick Trio, plays Notes this coming Saturday. The Petersham Bowling Club is one of the oldest in Australia and in 2006 it began a new era as a community based club and is now an award winning pokie free venue that provides locals with a multipurpose facility. Best of all, for music fans it’s become home to a wide range of local and touring bands playing alt country, rockabilly and roots music styles. This coming Sunday you can catch Bordertown, Susanna Carmen from the UK on Wednesday 20 and Terry Serio & The Ministry Of Truth on Thursday 21. Audrey Auld has been based in the US since 2003, carving a real niche for herself in the contemporary country scene. It’s her dad’s 80th birthday this year and

show that should not be missed. If unadulterated, shameless, high and lonesome honky tonk is your bag then the return of Dale Watson & His Lone Stars is a premium booking in your gigs blackbook. He plays the Bald Faced Stag on Friday 22 April as well as the Byron Bluesfest.

WEDNESDAY Good to see the Rose Hotel in Chippendale hosting regular live music again with the Continental Blues Party doing the honours this week.

PETER ROWAN the great news is that she’s coming home, not only to help blow out the candles on the cake, but also to play a series of shows beginning with Notes this Wednesday, Lizotte’s Kincumber on Thursday, The Pub in Tamworth on Friday and the Clarendon Guesthouse on Saturday. Audrey will be premiering a whole bunch of tracks from her brand new album Come Find Me. Founded in Florida in the late ‘80s, The Mavericks were a Grammy Award winning neo country combo that achieved a cult-like following with hits such as Dance The Night Away, Here Comes My Baby and All You Ever Do Is Bring Me Down. The band was defined by the remarkable voice of lead singer Raul Malo, who has now embarked on a brilliant solo career and brings his all star band to The Basement Circular Quay this Sunday as part of the Bluesfest sideshows. Raul, whose vocals have been compared to that of Roy Orbison, is regarded as one of the greatest voices in music today and this is a

THURSDAY Pete Cornelius & The DeVilles have travelled all the way from Tasmania to play Vault 146 Restaurant & Wine Bar at Windsor from 8pm.

FRIDAY Jump, Jive & Wail at the Hotel Chambers in the Sydney CBD is the monthly jamboree for all jivecats with DJs Limpin’ Jimmy & The Swinging Kitten unleashing a swag of rockin’ dancefloor platters.

SATURDAY Lemon Squeezin’ Daddies combine with Pearl Noire at the Belmont 16ft Sailing Club.

SUNDAY Hunter & Suzy Owens invite you to join them for a lazy Sunday afternoon at the iconic Marrickville Bowlo. swampshack@drummedia.com.au

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Matt Baker Trio is putting on a show Sunday at the Hayden Orpheum called An Oscar Moment, celebrating the life and music of jazz piano legend Oscar Peterson. Baker outlines Peterson’s influence: “There is no Jazz pianist today who has not been influenced to some degree by the great Oscar Peterson. Known as the most swinging pianist ever in the Jazz world, even contemporary Jazz pianist Brad Mehldau in a recent European interview noted Peterson in his top list of influences. What is it that makes Peterson’s music, touch, and style attract so many people and influence so many pianists? Interestingly I had this conversation earlier this year with Swedish guitarist Ulf Wakenius, who was a member of Oscar Peterson’s quartet the last ten years of Oscar’s life. We were both invited by Oscar’s wife Kelly and daughter Celine to join them for dinner at their home in Canada, and standing together in OP’s living room, we were both trying to work out what it was about Oscar’s music that was so accessible to the world. We couldn’t put our finger on one sole thing, but Ulf said, ‘He plays the people’s music’. This is the sort of music that people can understand: lyrical melody, a rhythm and articulation in his lines that makes you want to dance, if only tap your feet, and a touch of the piano like no other pianist in the world – classical or jazz. Peterson’s touch came by no accident – he studied as a child from Paul de Marky, whose teacher was a direct pupil of Franz Lizst. Throughout my life I have tapped into many a gem that OP composed, and this concert will be doing just that – introducing the public to a lot of Peterson’s lesser known but beautiful works, as well as some of his classic hits.”

BORN TO BE COUNTRY Lady Gaga’s country re-working of her #1 single Born This Way has rapidly found its way onto computers worldwide. Originaly released as a gift just to her Twitter followers – 9,000,000 potential listeners is no measly audience – the song rapidly became an internet sensation, chalking up one million hits on YouTube in the first few days. Given its runaway popularity Lady Gaga has now released the unexpected hit officially. An unlisted portion of proceeds from the songs official release will be given to American charity, GLSEN (Gay, Lesbian and Straight Education Network).

URBAN HITS Australia’s own multi-platinum selling country star Keith Urban is for the first time, strangely, starting his world tour here in Australia. His Get Closer World Tour has just kicked off in Adelaide and this week continues on through the major cities, with a stop in Tamworth. The Get Closer Tour is said to have an all-new stage production that focuses on Urban’s spontaneous and enthralling stage presence – the country heavyweight has been known to sign and give away guitars from a spot in the stands and exit through the crowd, too. With over half a million albums sold in Australia alone, two Grammys and three ARIA Awards spilling out of his pockets, Urban has practically put up a permanent billboard in the international spectrum, showing what Australian country music can be. Joining him on this tour will be Nashville’s multiple Grammy winning group Lady Antebellum, also with gold sales here in Australia for their huge single, Need You Now. Keith Urban and Lady Antebellum play the Sydney Entertainment Centre this Thursday. THE DRUM MEDIA 12 APRIL 2011 • 57 •


frontrow@drummedia.com.au

THIS WEEK IN

ARTS

ACTT’S EVOLVELUTION OPENS TONIGHT

SMOKE & MIRRORS

It’s the opening night tonight of the Actors College of Theatre & Television Professional Actor Programme’s production of Evolvelution (a portmanteau of ‘evolution’ and ‘revolution’), which asks the questions: “Could current events in the Middle East be linked to a

global song and dance conspiracy? Who’s pulling the strings? Can online gamers and their revolutionary avatars change the course of history? How are the Illuminati involved? A young poetess struggles to make sense of a world gone mad.” Cleveland St Theatre, 7:30pm. Season runs to Saturday 16 April. See actt.edu.au for more details.

GIVEAWAYS

DEAD CAT BOUNCE

TUESDAY 12 Sydney Comedy Festival - shows today: Festival International Showcase at Hayden Orpheum (7:30pm); Daniel Sloss: My Generation at Yalumba Wine Bar, Enmore Theatre (7:30pm, until Thursday 14, Saturday 16 and 6:30pm Sunday 17); Tommy Dean: Occasionally Popular at Factory Theatre (7:30pm, until Friday 15); Gina Yashere: I’m Gonna Keep Shouting ‘Til You Notice Me at Factory Theatre (7:45pm, until Sunday 17); Dave Eastgate: I Wish I Had A Band at The Lair at Metro Theatre (8pm, until Saturday 16); Chris Wainhouse: Saint Wainhouse at Yalumba Wine Bar at Enmore Theatre (9:15pm, until Thursday 14, Saturday 16 and 8:15pm Sunday 17); Tommy Tiernan: Designer Wino at Enmore Theatre (9:30pm, until Wednesday 13). See sydneycomedyfest.com.au for more information.

WEDNESDAY 13 Sydney Comedy Festival - shows today: Festival International Showcase at Riverside Theatre, Parramatta (7:30pm); Craig Hill: Why Don’t You Come Down The Front? at Factory Theatre (7:30pm, until Saturday 16); PiP Comic Illusionist’s Hypnolarious at Parade Studio at Parade Theatres (9pm, until Saturday 16); Peter Berner: Chicken Shop Loyalty at Factory Theatre (9pm, until Saturday 16). See sydneycomedyfest. com.au for more information.

THURSDAY 14 Sydney Comedy Festival - shows today: Festival International Showcase at Sutherland Entertainment Centre (7:30pm); Furiously Fertile at Parade Theatre (8pm, until Saturday 16) from the producers of Menopause The Musical; Reggie Watts: Why Shit So Crazy? at Metro Theatre (8pm, until Saturday 16); Comedy Store Showcases at the Comedy Store (8:30pm every Thursday, Friday and Saturday throughout the festival); Tahir, Anthony Salame, & Hung

GREG PROOPS • 58 • THE DRUM MEDIA 12 APRIL 2011

Le: OMG! Comedy Tour at Factory Theatre (9pm, until Saturday 16). See sydneycomedyfest.com.au for more information.

FRIDAY 15 Sydney Comedy Festival - shows today: Festival International Showcase at IPAC, Wollongong (7:30pm); Carpe Idiotus: LOL (Laugh Out Loud) at Parade Studio, Parade Theatres (7:30pm, until Saturday 16); Jimeoin: Something Smells Funny at State Theatre (8pm); The Great Comedy Debate: Taboo Or Not Taboo? at Metro Theatre (9:30pm); I Heart Impromance at Factory Theatre (10:30pm, until Saturday 16, then Saturday 23 and Sunday 24). See sydneycomedyfest.com.au for more information.

SATURDAY 16 Sydney Comedy Festival - shows today: Festival International Showcase at Casula Powerhouse (8pm); Greg Proops at Enmore Theatre (7pm); Thank God It’s On Stage: The Wheel Of Death Edition at York Theatre, Seymour Centre (8pm); Ardal O’Hanlon at Enmore Theatre (9:30pm); 60 In 60: A Laugh A Minute at Metro Theatre (9:30pm). Finishing tonight: Dave Eastgate, Craig Hill, Hypnolarious, Peter Berner, Reggie Watts and OMG! Comedy Tour. See sydneycomedyfest.com.au for more information.

SUNDAY 17 Sydney Comedy Festival - shows today: Scared Weird Little Guys: Farewell Tour at Enmore Theatre (6:30pm). Finishing tonight: Daniel Sloss, Gina Yashere and Chris Wainhouse. See sydneycomedyfest. com.au for more information.

MONDAY 18 Sydney Comedy Festival - shows today: Nina Conti: Talk To The Hand at Sydney Opera House (7pm tonight, various times at other shows, until Sunday 1 May — no shows Friday 22 April and Tuesday 26). See sydneycomedyfest.com.au for more information.

SMOKE & MIRRORS ENGULFS SYDNEY ONCE MORE One of the most acclaimed shows of the past two Sydney Festivals, the Adelaide Cabaret Festival and Edinburgh Fringe, iOTA’s Smoke & Mirrors makes a triumphant return to Sydney for an encore 2011 season. Since the Spiegeltent is in Victoria currently hosting comedians for the Melbourne International Comedy Festival, this time Smoke & Mirrors will

be performed at the Seymour Centre. Returning will be the full cast, which includes Wayne Scott Kermond as the tap-dancing Vaudevillian, Queenie van de Zandt as the Bearded Lady, Timothy Woon as the Magician, the gravity-defying Kali Retallack and the muscles-of-steel troupe ThisSideUp acrobatics of James Brown, Casey Douglas and Christian SchooneveldtReid. Smoke & Mirrors runs Wednesday 4 May to Sunday 8. Head to seymourcentre.com or Ticketmaster for tickets.

The Scream film series is one of our fondest memories of 1990s culture, alongside Mazzy Star, Nirvana, Parker Lewis Can’t Lose and Romeo + Juliet. It rejuvenated a horror genre that had fallen into a boring rut and now, after the torture porn explosion of the 2000s, the series relaunches to do exactly the same thing — bring life back to horror in a post-Saw world. SCRE4M returns to Woodsboro with

WON’T SOMEBODY THINK OF THE CHILDREN?! THE SYDNEY COMEDY FESTIVAL ISN’T JUST FOR ADULTS, WITH A KIDS COMEDY SHOWCASE CATERING FOR THE YOUNG’UNS AND YOUNG AT HEART. GUEST MC CHRIS RADBURN REVEALS MORE. As well as performing in his own show Stand Up Dad — it’s “about being a new dad” — comedian Chris Radburn is MCing the Kids Comedy Showcase, a first for the Sydney Comedy Festival. “Because why should the parents have all the laughs?” Radburn asks. “And just like the fast food restaurants, we want to get kids loving comedy early and hook them for life. This show is like the happy meal of comedy.” Featuring a selection of stand-up comedians, comic musicians and magicians — which, for the moment, remain top secret — Radburn says the lineup is “each professionally trained to have you

and your child in stitches long after the car ride home. “A journalist recently asked, ‘What type of material do you do for a kids show?’ Anyone who has spent time in a car with a couple of eight-yearolds in the backseat will understand when I say the material will vary from fart jokes to knock knocks and everything in-between. [It’s] suitable for all children — especially four- to ten year olds!” WHAT: Kids Comedy Showcase WHERE & WHEN: Parade Studio, Parade Theatres midday daily until Saturday 16 April, Monday 18 to Thursday 21

Sidney Prescott (Neve Campbell), now a self-help author, in town for a book tour. Her return is followed by that of a familiar masked killer and soon enough the body bags begin to mount and a new game of whodunnit begins with new rules to follow. We’ve three in-season double passes to give away — for your chance to win one email giveaways@drummedia.com.au with ‘SCREAM’ in the subject line.


frontrow@drummedia.com.au

ALONE WITH A

C U LT U R A L

THOUGHT

WITH JAMELLE WELLS

RUSSIAN FILMMAKER ALEXEI POPOGREBSKY TALKS TO IANN BARR ABOUT HIS LOOK AT ISOLATION AND SECRETS IN THE ACCLAIMED FILM, HOW I ENDED THIS SUMMER.

“The inspiration [for the film] is deeply rooted in my childhood, but not in a Freudian way. Growing up a city kid in Moscow, I came across a few books about polar exploration and I was fascinated by the experience of people coping with the extremities of nature beyond the polar circle. I was always wondering, ever since I was a kid, if I was in those sort of circumstances, would I be able to stand up to it or would I just break?” That’s the question that stayed with writer/director Alexei Popogrebsky from his youth and now lies at the heart of his How I Ended This Summer, a psychological drama/thriller that won acting (shared between its two leads) and cinematography honours at last year’s Berlin film festival. The film tells of a psychological duel between two men working and living in isolation at a meteorology station in the Russian arctic. Rather than the traditional method of writing a script and then

FILM

casting it, Popogrebsky contrived a scenario for his location once the actors came on board. “Once I have the actors, I tend to provide a script imagining them as human beings in that situation,” he explains. The dynamic between both men is central to the film, with Sergei Puskepalis as the elder, experienced Sergei, and Grigory Dobrygin as his young – and less responsible – protégé, Pavel. The film’s conflict is predicated on the compounding effects of Pavel withholding a key piece of information for Sergei from back home. Pavel’s motivations behind his inaction are left deliberately ambiguous, a storytelling facet that Popogrebsky attributes to his background in psychology. “Although for nine years I was an academic psychologist, I don’t like to play smart or create what I call a ‘movie psychology’, which is usually

a dramatisation of the wealth and richness of human nature.” Similarly, though the central conflict presents the opportunity for the film to be read as an Old/New Russia allegory, Popogrebsky ensures that character and story always come first. “As a writer and director, if I had the intention to create a metaphor or an allegory, I think I would have failed. If the characters, if the story is vital, if it gives some charge of emotion to the audience, the other layers inevitably spring up, if the story is universal enough.” This universality was important to him and he believes that the implications of the film’s story are not specific to the film’s unique setting. “This story could work in any circumstance where there is a limited means of communication… Maybe in the submarine, stuck way down in the ocean, or somebody stuck in the

mountains, or an orbital station. With the modern technology, there are not that many situations where you have limited means of communication; you have your cell phones, your internet or whatever. “But then, in the polar regions, even if you have modern radios, the problem is the magnetic disturbances, the Aurora Borealis, and there are disruptions to radio transmissions, always. One year ago a computer executive was lost in Arizona and he was not found for a couple of months – think about that; there is a chance, a tragic chance, on this planet, even on a very developed country, to get completely and utterly lost [and separated] from any kind of communication.”

SUCKER PUNCH

her sister and there meets a host of nicknamed girls (Sweet Pea, Rocket, Blondie) who band together to plan an escape. In the meantime, the asylum doubles as a bordello of some sort and it’s during her sexy dance routines that Baby Doll reverts to a fantastical reverie state. This outlandish plot makes the film more interesting than most Hollywood blockbusters, but Sucker Punch is, alas, more fun to read about than to watch – an arse-ugly, narratively inept mishmash. Then there’s the matter of its alleged ‘female empowerment’: well, I guess Snyder does posit that women have every right to fantasise about killing dragons and trolls and Nazi zombies as men do. But there’s no mistaking this fetishfest as anything other than a male fantasy, borne of its creator’s arrested development.

WHAT: How I Ended This Summer WHERE & WHEN: Screening in cinemas now

REVIEWS

As if to (over)compensate for the ‘visionary director’ tag that has been undeservedly bestowed upon him for his career of mechanically made, embalmed graphic novel adaptations (300, Watchmen) and one remake (Dawn Of The Dead; ironically his most striking and distinctive film to date), Zack Snyder has finally made a creation entirely of his own. Say what you will about Sucker Punch, there’s no doubt that it comes directly ‘from the mind of Zack Snyder’, to borrow another promotional cliché. The title might refer to the bait-andswitch Snyder plays on his target audience: those coming for fantasy/ action kicks and scantily-clad nubile hotties get what is ostensibly a women’s picture, with the flights of CGI fancy taking place in the imagination of our main character, Baby Doll (Emily Browning). She’s been recently committed to an insane asylum for the accidental murder of

CRINGE

WHERE & WHEN: Screening in cinemas now IAN BARR

With rehearsals underway for Darlinghurst Theatre’s upcoming I Only Came To Use The Phone, the production team is busy sourcing saxophones and unicycles. The psychological thriller, set in the twilight years of Franco’s Spain, follows the journey of Maria, whose car breaks down on the way to Barcelona. She hitches a ride on a ramshackle bus full of women and arrives at a nightmare destination. Nobel Prize-winning author of One Hundred Years Of Solitude, Colombian-born Gabriel García Márquez published the short story, I Only Came To Use The Phone, in the collection Strange Pilgrims in 1992. The producers of Aussie drama, Dirtyland, at the New Theatre got plenty of publicity last week for their novel approach to funding. It’s what they call “crowd funding”, where a set amount of money needs to be raised within a time frame. People who make pledges pay up only if the overall target is met. The play’s producer, Belinda Kelly, expects to see more producers try to raise money this way in Australia because it’s already worked for companies in the UK and US. Former STC artistic director Robyn Nevin will join a committee of three to programme the Melbourne Theatre Company’s 2012 season. Nevin, who had the top job with the STC for nine years after a similar gig at the Queensland Theatre Company, will join actor Pamela Rabe and the MTC’s associate director Aidan Fennessy on the committee. Actor Cate Blanchett has launched The Oasis: Homeless Short Film Competition for three-minute short films about homelessness. She noted that film, theatre and the visual arts have a unique capacity to spread important social issues and help bring about change. The winners, announced in November, will get $25,000 for their school. The competition is part of the five-year initiative that began in 2008 when the award-winning documentary The Oasis screened on the ABC and The National Youth Commission Report On Youth Homelessness was released. Aussie actor Liam Hemsworth has been given the lead role of Gale Hawthorn in the film adaptation of The Hunger Games, the first part in a trilogy of science-fiction novels for teens written by American author Suzanne Collins. The 21-year-old, who has appeared in Neighbours and Home And Away, will star alongside Jennifer Lawrence (Winter’s Bone) and Josh Hutcherson (The Kids Are All Right). The story is set in a postapocalyptic future in which what’s left of North America is called Panem. Hemsworth’s brothers Chris and Luke are also actors, Chris starring as the titular character in the upcoming Thor, the big-screen adaptation of the Marvel comic, while Luke is a familiar face in many local productions. Australia’s premier event for celebrating the vocal instrument, the Festival Of Voices, is after performers for the July event in Tasmania. New festival director Kris Stewart (ex-Sydney Fringe) hopes to see thousands of performers and audience members head south. He’s after people to perform and to do workshops. For the first time, the festival is launching a Musical Theatre Workshop, with stars of

musical theatre Peter Cousens and Kellie Dickerson. Head to festivalofvoices.com for more information. Screen Australia has agreed to back a feature film about Pauline Hanson during the One Nation era. Writer/director Anna Broinowski says Please Explain will cover Hanson’s life from the 1996 Federal Election to her appearance on Dancing With The Stars. Surprisingly, Hanson is still in contention in her bid for the Upper House at the NWS state election and told one newspaper she returned to Australia after a year in England because the UK is “overrun with immigrants and refugees”. The State Theatre in Market Street is about to be renovated. The upper levels of the heritage-listed theatre, which opened in 1929, are being turned into a boutique hotel. But it’s not yet clear what will happen to the venue’s famous heritage-listed Wurlitzer organ, which has been sitting in pieces in the basement for nearly 20 years. It’s been damaged by a leak in the auditorium and needs extensive work that includes replacement of leather work, pumps and wooden casing. The New York Film Academy is setting up two bases in Queensland to groom Australian actors for the US. The Australian president of the academy’s Abu Dhabi campus, Simon Hunter, tells us they’re offering filmmaking programmes in Brisbane and the Gold Coast. He says the Gold Coast will focus on giving actors a direct path to Hollywood, while the Brisbane base will focus on production jobs. The Academy already has bases at Universal Studios, Harvard and in major capital cities around the world. Following his recent Oscar success, Australian illustrator and author Shaun Tan has now won the Astrid Lindgren Memorial Award in Sweden — the largest children’s literature award. Tan has illustrated more than 20 books, including Tales From Outer Suburbia. In February he won Oscar for Best Animated Short Film for The Lost Thing. A Brisbane man kicked off Channel Ten’s The Biggest Loser after being charged with possessing child pornography has been jailed for up to two years. Deryck Ward had to be edited out of last year’s season of the reality show after he was charged in January 2010. The 28-year-old pleaded guilty to five charges after the material was found in his home. The $US15 million production of Aussie musical, Priscilla, Queen Of The Desert has opened on Broadway to mixed reviews and a first-night crowd that included Joan Rivers and Christie Brinkley. The New York Times described it as “monotonous, mechanical and lacking the narrative complexity of La Cage [Aux Folles]”. But the Hollywood Reporter was more positive, saying the production is “big, brassy, unapologetically profane and over the top”. Meanwhile, the Chicago Tribune said it “has a pulsing theatrical heart and soul”. Worst news of the week is that a fifth season of Mad Men, the US series set in the 1960s New York advertising world, won’t be broadcast before March 2012. There are rumours the delay is due to problems with writer/producer Matt Weiner not wanting to cut each episode back to fit more advertising in. THE DRUM MEDIA 12 APRIL 2011 • 59 •


frontrow@drummedia.com.au Nonetheless, Browning realises how crucial a degree of realism was, for balance. â&#x20AC;&#x153;It was important for me at least to base my character very much in reality. I think a lot of the times with these kinds of film you donâ&#x20AC;&#x2122;t have that emotional element.â&#x20AC;? Cornish continues on from Browning, â&#x20AC;&#x153;â&#x20AC;Śotherwise youâ&#x20AC;&#x2122;d get lost in it. Thatâ&#x20AC;&#x2122;s whatâ&#x20AC;&#x2122;s so great about it, is that how real moments are, even in the grandeur of the film.â&#x20AC;?

WATCHMEN DIRECTOR ZACK SNYDERâ&#x20AC;&#x2122;S LATEST FILM IS AN ALL-FEMALE STEAM-PUNK ACTION FANTASY CALLED SUCKER PUNCH. IAN BARR TALKS TO TWO OF ITS STARS (BOTH AUSTRALIAN), EMILY BROWNING AND ABBIE CORNISH.

PACKING WITH

PUNCH EMILY BROWNING AS BABY DOLL Aussie actresses Abbie Cornish and Emily Browning were part of the giant Aussie voice-cast of director Zack Snyderâ&#x20AC;&#x2122;s Legend of the Guardians: The Owls of Gaâ&#x20AC;&#x2122;Hoole. That was Snyderâ&#x20AC;&#x2122;s fourth film (after a remake of Dawn Of The Dead and graphic novel adaptations 300 and Watchmen) and the fourth to be based on pre-existing source material. Sucker Punch â&#x20AC;&#x201C; also starring Cornish and Browning â&#x20AC;&#x201C; is a first for Snyder, and a rarity for a big-budget action blockbuster: an original screenplay, based on original characters, and starring an all-girl ensemble cast in arse-kicking roles. The draw it has for young actresses in Hollywood is, thus, understandable. â&#x20AC;&#x153;I

feel like so many things are remakes of TV shows from the â&#x20AC;&#x2122;80s, or remakes of somethingâ&#x20AC;Ś which is fine, and itâ&#x20AC;&#x2122;s fun, but to see something original, that is this interesting, and on such a large scale is really amazing,â&#x20AC;? explains Browning, the filmâ&#x20AC;&#x2122;s leading lady. Cornish agrees: â&#x20AC;&#x153;The idea of working with a group of girls was really exciting, because that doesnâ&#x20AC;&#x2122;t happen often, and such a huge group of female leads is kind of amazing.â&#x20AC;? Above all, though, their director was the drawcard, as Cornish effuses. â&#x20AC;&#x153;I was kinda in awe of his skill as a filmmaker and how much he knew about the cameraâ&#x20AC;Ś and his relationships with his entire crew and

cast. Everyoneâ&#x20AC;&#x2122;s equal. Thereâ&#x20AC;&#x2122;s such a good vibe on set.â&#x20AC;? In the film, Browning plays Baby Doll, a young woman recently sent to a mental institution for young women where she meets Cornishâ&#x20AC;&#x2122;s Sweet Pea and several others like herself, before plotting an escape together. Browning mentions how exciting it was to play a Sailor Moon type of character â&#x20AC;&#x201C; a favourite of her youth â&#x20AC;&#x201C; and also tells of Snyder screening the Japanese Anime Appleseed for the cast. Itâ&#x20AC;&#x2122;s a pastiche-y kind of film, with much of the overt homages taking place in the fantasy sequences dreamed up by Baby Doll in the film as a means of escapism.

SHORT MUSIC COURSES FOR ADULTS AT THE CON

Browning also baulks at criticisms of the filmâ&#x20AC;&#x2122;s alleged exploitation and overt sexualisation of young women: â&#x20AC;&#x153;I see Zack as loving strong women; thatâ&#x20AC;&#x2122;s so clear â&#x20AC;&#x201C; I mean, his producing partner is his wife. Weâ&#x20AC;&#x2122;ve had discussions about this: peopleâ&#x20AC;&#x2122;s idea that heâ&#x20AC;&#x2122;s being exploitative towards women. If you knew Zack, this is so the opposite of what this is trying to be. It didnâ&#x20AC;&#x2122;t need to be a conscious decision for him, it wasnâ&#x20AC;&#x2122;t like, â&#x20AC;&#x2DC;Oh, I better do a film with girls.â&#x20AC;&#x2122; It was like â&#x20AC;&#x2DC;Well, Iâ&#x20AC;&#x2122;ve done 300, and now Iâ&#x20AC;&#x2122;m gonna do a similar sort of thing, but with girls.â&#x20AC;&#x2122; It seemed like it was pretty natural for him to do it.â&#x20AC;? Browning has high hopes for it to hit big with female audiences. â&#x20AC;&#x153;I think itâ&#x20AC;&#x2122;s really cool to see this world where these girls are fighting together and theyâ&#x20AC;&#x2122;re kind of action starsâ&#x20AC;Ś We went to Comic-Con last year and I think itâ&#x20AC;&#x2122;s gonna be awesome this year because now girls can have five different characters that they can dress up asâ&#x20AC;Ś it wonâ&#x20AC;&#x2122;t just be all Princess Leias.â&#x20AC;? WHAT: Sucker Punch WHERE & WHEN: Screening in cinemas now

FILM

REVIEW

PAUL Simon Pegg and Nick Frostâ&#x20AC;&#x2122;s first co-writing, co-starring foray into feature films was never going to be anything other than a triumph. The pair have been best buddies for years and it shows through in every line of Paulâ&#x20AC;&#x2122;s sharp, witty script. Pegg is struggling sci-fi artist Graeme and Frost is struggling sci-fi writer Clive, a pair of eminently amiable geeks on a dream trip to ComicCon with the kicker of a road trip to Americaâ&#x20AC;&#x2122;s UFO hotspots. Near Area 51 these two fish out of water in their Winnebago pick up Paul (voiced by Seth Rogen), a little grey alien escapee with a love of Earthâ&#x20AC;&#x2122;s pop culture and hedonistic delights. Heâ&#x20AC;&#x2122;s five times as cool as either of them and it turns out heâ&#x20AC;&#x2122;s been used as a well for sci-fi luminaries since he crashed 60 years ago (Paul was brought in to give Spielberg a few tips, for instance). However his

usefulness was at an end, he was scheduled for dissection and itâ&#x20AC;&#x2122;s not long until the Men In Black are on his trail. Paul is just amazing fun from start to moving finish. Youâ&#x20AC;&#x2122;re drawn in to the point where you feel like youâ&#x20AC;&#x2122;re on this epic road trip with a couple of really good friends. With a brilliant supporting cast (Kirsten Wiig is particularly good), clever lines, a huge amount of homages to other genre films, black humour and musings on the nature of friendship, it covers pretty much all bases. Itâ&#x20AC;&#x2122;s maybe a bit more mainstream than Shaun Of The Dead and Hot Fuzz but retains a quirky, lovable appeal. Oh, and the computer-generated Paul is quite an achievement. Well worth a close encounter. WHERE & WHEN: Screening in cinemas from 14 April BAZ MCALISTER

SUBMISSIONS ARE OPEN

Classes starting in May include: t t t t t t t t

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BLUE KING

BROWN PIONEERING BRITISH COMEDIAN ROY “CHUBBY” BROWN IS STILL GOING STRONG, 43 YEARS AFTER PREMIERING HIS ‘BLUE’ COMEDY IN WORKING MEN’S CLUBS. HE TALKS TO BAZ MCALISTER ABOUT HIS PHILOSOPHY OF FUNNY.

Roy “Chubby” Brown is utterly fearless — he’ll talk about anything and everything in his act, as he has done for 43 years. However, chat to Chubby offstage and you’re really chatting to the much more mildmannered Royston Vasey, his birth name, immortalised by The League Of Gentlemen when they named “that” village after him. The patchwork suit and flying helmet are very much a persona, and there are some things that do still put the willies up the performer. “Last time we were in Brisbane, we went to a golf course for a game of golf, and there were these signs up saying, ‘Please do not retrieve your ball because of snakes,’ and ‘beware of crocodiles’. What kind of a golf course is this? And later, we went to this beautiful restaurant and this cockroach crawled across the floor; it was like a fuckin’ tortoise. Frightened the shit out of me. They’ve asked me to go on I’m A Celebrity Get Me Out Of Here a few times, you know — but I’m not going in no jungle,” Chubby says in his wonderfully rich Yorkshire accent. Chubby is a consummate performer who says a comedian on stage is only ever one minute away from disaster. But in his fifth decade of stand-up he’s got crowd-pleasing down to a fine art. “I can be onstage 20 seconds and tell you what the audience is going to be like by the reception you get. I look round the audience and if I see the blue rinses I know not to go over the top. If it’s full of young’uns I can say what I like.” He has gotten into a certain amount of trouble for saying what he likes over the years, and in the act he’s bringing to Australia he covers everything from TV to sex, drugs, rock’n’roll, marriage,

aeroplanes, tsunamis, the floods... “I’m an utter professional in one respect — I write something every day,” he explains. “If you can think of one funny thing a day, then at the end of the week you have seven funny things to say.” Chubby says that the comedy landscape now is much different to when he started out playing in working men’s clubs in northern England in the 1960s. “If you said bugger, bloody, nipple, arse, tit or fart you were off the stage and escorted from the club, because they would have no suggestiveness whatsoever.” In the ’70s, however, attitudes loosened up. Chubby got away with more and more and was described as the first comic to bring the building site onto the stage. Eventually, he and acts who followed him changed the shape of stand-up audiences forever. “You know when you’re on a building site you’d go, ‘Pass the fuckin’ hammer’, every other word was ‘fuck’ — that was like my act. I was a men’s entertainer, in working men’s clubs. There was no women allowed. But these men would go home and tell their wives about me and they said, ‘Well, why can’t we go and see him too? We have babies, we suck dick, we eff and blind, we run the home.’ I eventually started doing hen nights when it was just women, and I’ve never heard anything like it! Soon as you step on stage it was, ‘Get your cock out you fat bastard!’. Even I had an eye-opener.” WHAT: Roy “Chubby” Brown WHERE & WHEN: Parade Theatre Friday 6 May

THE DRUM MEDIA 12 APRIL 2011 • 61 •


frontrow@drumperth.com.au

ON THE NATURE OF

EXPRESSION BETHANY SMALL TALKS TO VIVKI VA HOUT ABOUT HER NEW WORK BRIWYANT, A PERFORMANCE PIECE INSPIRED BY YOLNGU TRADITIONAL PAINTING, OPENING AT CARRIAGEWORKS THIS WEEK.

“Hey, how’re you going? Sorry I took so long, you think it’s going to be 30 seconds in here but you end up being gone half an hour. Oh wow, my feet’re so dirty. Where’d you wanna do this? Do you want to get a coffee?” Vicki Van Hout makes a bit of a maelstrom of an entrance and

pretty much doesn’t stop talking – to me and to nearly everyone who goes past us in the CarriageWorks complex – for the next hour. She talks about experimenting with angles, about coffee in New York, about her mum, about the show and the space, and introduces me to parts of

the set. “This is the whirlpool,” she announces, circling on said dirty (but seemingly weightless) feet, “and this bit I’ve called ‘Monet’s Haystack’, see, look at that?” She positions me at the right angle and suddenly the image resolves from a set of playing cards glued into foam mats into

landforms in a river. “We were going to do the whole space,” she explains, “but I think the thing is to go give this feeling of flow, without giving to you like fully and just leave the last bit of chalk so it’s like play-space. Quite a lot of my work is reference to the Lachlan River, too, and Wiradjuri stories, because my grandmothers were Wiradjuri.” Van Hout has taken over one of the big bays at CarriageWorks and together with her performing and creative team has created a set that’s at once intricate and makeshift, still taking form in the lead-up to the opening. The foam mats with playing cards and the leftover plyboard (spray paint tagged during the recent Platform Hip Hop Festival) is a shanty and a river, very abstract but very precise. The performers will travel over and along the river in each show, moving geographically and through time in the course of the narrative, and the set will need to be rebuilt after each show. “Each card needs to be a particular way. That’s how the painting comes into it.” Yes, painting, as though dance and spoken word and recorded companion voiceovers and a commissioned score are not enough for one show. But exploring “the interdisciplinary nature of Indigenous cultural expression,” is one of the things Van Hout emphasises in her overview of the show, and painting turns out to be the starting point for this idea. “I audited a course up at Sydney Uni, and the guy who was running it, at one point, he said that he could see the dances in the paintings, that the angles, the lines, what they’re called, well one of them, the way the lines intersect, it means

MADE YOU

the elbow, and another one’s the knee… the whole rhythm is in the lines.” The lines she talks about are the raark, or cross-hatching, which cover the surface of some styles of indigenous painting, and which are used as shimmer in Yolngu painting to indicate movement of ancestral forces. “If I know where to find the best cuts of meat,” she recites, “I can trace the closest watering hole pub’s architecture from memory, am able to hunt down a ring at a pawn shop on off-week using only my wiles… Does that mean that I have knowledge of country?” It’s funny, sure, but it’s also a real question, an exploration of what relevance spiritual heritage holds in post-traditional lifestyles, and how those living them can access the, for lack of a less clichéd term, ‘spiritual plane.’ “I talk about magic, in that thing about the show,” Van Hout says of the intro she’s written to Briwyant, “and I talk to people, like, I had this taxi driver who was asking ‘So what kind of magic do you do?’ But it’s, you know, when I talk about ancestral magic it’s not a thing where I go ‘Ta Daaaa, look what I spring forth from myself.’ It’s kind of like the headspace, the kind of daze, the feeling you get…” The spirituality is critical and practical, as well. “Welcome to Country dances,” Van Hout speculates, “they used to be… well, now they’re something that we do a different kind of ceremonially. Like with hunting dances, my people used to learn hunting dances to learn how to hunt, to get food, and now they

learn to get paid too, sometimes, and to take the money down the shops and buy something, well, it’s sort of the same. It’s different but the same ends? But don’t take me as the final word on this, I mean, I’m an artist, a dancer, people ask me about this and take it as the final word and I don’t… This is what I’m trying to figure out.” What Vicki Van Hout is talking about here is the idea of the dreaming in a contemporary context, of the timeless or ‘everywhen’ quality of ritual and imagery and the polysemic means by which it plays out, and how that is manifest in here-and-now communities and how she can use her knowledge as woman and as dancer to explore this nexus. There’s a very embodied sense of the spiritual to Van Hout’s ideas, and this physicality extends beyond the body to the space it occupies and the interplay of the senses within it “Dance can be this kind of portal, you can tap in… There’s this thing, I can’t remember, it starts with a d or maybe a b, when these women are tapping the ground with these sticks it makes the ancestors wake up to bear witness, so it’s the stomping and dancing that brings them alive, the sound and the action together... It’s the act of communal doing and the repetition, it’s the length of time as well.” WHAT: Briwyant WHERE & WHEN: Performance Space at CarriageWorks Wednesday 13 April to Saturday 16

LOOK Recognisable Adam Cullen-ness; Del Kathryn Barton’s Mother (a portrait of Cate) is beautiful and a bit alien but with a fundamental underpinning of dramas and forces of an apparently serene occupation of nature, but Cate Blanchett is beautiful and a bit alien and hey isn’t this way of representing someone in an Archibald piece a bit familiar? Like when she won for the one of herself and her kids in 2008? You are what is most beautiful about me, a self-portrait with Kell and Arella? Yeah thought so.

DEL KATHRYN BARTON - YOU ARE WHAT IS MOST BEAUTIFUL ABOUT ME, A SELF PORTRAIT WITH KELL AND ARELLA

WITH BETHANY SMALL

SHOT SNAP-

• 62 • THE DRUM MEDIA 12 APRIL 2011

STILL FROM THE FUTURE Hamish Linklater and Miranda July star in The Future, directed by July and screening In Competition at Sydney Film Festival. See sff.org.au for dates and tickets.

Hey guess what you guys, the Archibald shortlist is out. And it’s got lots of famous people on it, on both ends, like well-known subjects because they have to be according to the prize rules, and lots of boldface artists, many of whom are heaps iconic and/or beloved and some of whom are actually very good and some of the pictures are, even! But a lot of them are artists just doing their style really hard in a portrait form, which, fair enough, who doesn’t want $50,000 and a whole heap of exposure, and sure there’ve gotta be

a couple of shows every year that remind people to go to a museum or gallery and have a look around even if it is nuts the way it gets packed out in the first and last weekends. And the surveys on what people like best could be really interesting for other exhibitions, but I guess it costs money to do that and not everyone enjoys filling out surveys as much as I do? Anyway, Adam Cullen’s Charlie has a gorgeous background colour field and is totally assured in its contours and dribbles and conveys facial mobility and has a genuine sense of presence, but kinda screams it’s

Self portraits are funny in the Archibald. The challenge of the painter representing him or herself in their medium and expressing something about their painterly and otherwise selves, and yada yada, but also, to take yourself as someone who’s “a man or woman ‘distinguished’ ‘in the arts, letters, science, or politics’” is a bit of big talking even when they obviously totally are. But self-portraits have done pretty well and been big deals throughout the history of the prize, like well-represented amongst the winners and have been some of the most innovative ones to win. Like Brett Whitely with Self Portrait in the Studio in 1976 and Art, Life and the other thing in 1978, and Euan MacLeod’s Self-portrait/head like a hole. So who’re we looking at looking at themselves this year? Kate Beynon on a shirt and Zhong Chen on a horse and Ling Song with luggage and Rodney Pople with his family, Shen Jiawei in art history and Xenia Stefanescu’s face twice, and Pam Tippett, and five others that’re either of the artist or of unnamed people of whose appearance and/ or significance I’m ignorant, oh and there’s a yellow Ken Done that he did last month that I totally love, which I did not expect.


live@drummedia.com.au THE JEZABELS @ METRO THEARE> PIC: JOSH GROOM

NATIONAL

THE JEZABELS

ERNEST ELLIS WE SAY BAMBOULEE

Metro Theatre 08/04/11

This was a night to celebrate Sydney’s thriving music scene. All three bands are Sydney locals and relatively new to the scene, but have obviously gathered a decent following as the sold-out Metro was packed from early in the night. We Say Bamboulee opened the evening with some playful pop that was a pleasant mix of sunny three-part harmonies, energetic beats and layers of synth-created grooves. Doug Wright’s lead vocals were velvety smooth with a Pet Shop Boys-style timbre that meshed nicely with the others’ falsetto harmonies. Whilst played with joyful energy and enthusiasm, their catchy pop tunes fell a little thin in a live setting and perhaps translate better in their recorded format. Ernest Ellis brought a rockier edge to the to the stage next. There were a couple of additions to their regular line-up (the Sydney debut of their new keyboard player and a second guitarist) and whether it was these new members, the buzzing audience or just natural musical maturation, the band excelled. Ellis’ vocals were strong and raw, with an emotional depth and warm timbre similar to that of Kings Of Leon frontman Caleb Followill. His poetic lyrics, engaging melodies and throaty growl grabbed the ear and commanded attention. Bassist Ben Morgan’s falsetto harmonies were a nice finishing touch to their hypnotic and thoughtful indie rock. Closer Loveless was particularly good. An ambient intro heralded the arrival of headliners The Jezabels and an almighty roar from the crowd greeted lead singer Hayley Mary to the stage. Her voice was stunning, pitch perfect with an amazing range, strength, clarity and expression that you would not believe from someone so fragile-looking. Whilst her sound was spot on, her stage presence was amiss. Pacing the stage like an agitated tiger, she barely acknowledged the audience screaming for her attention and most distractingly, got ready for the next song before the previous was finished. The band’s attempts to compensate for this barely covered the silences. Their music was dramatic, compelling and dark with a cinematic edge and enough rocky oomph to get every head nodding in time. The sound was excellent. A Little Piece and Mace Spray from their most recent EP Dark Storm were performed to near studio quality. By the encore of She’s So Hard, Mary had loosened up a little, channelling the rock star she is in the fast lane to becoming. This was met with joyous adoration and a giant singalong from the audience. Alex Hardy

KIMBRA: Apr 13 Oxford Art Factory AUDREY AULD: Apr 13 Notes, Apr 14 Lizotte’s Kincumber, Apr 16 Clarendon Guesthouse KEITH URBAN: Apr 14 Sydney Entertainment Centre ADALITA: Apr 14 Transit Bar, Apr 15 Great Northern Newcastle, Apr 16 Sandringham Hotel, Apr 17 Clarendon Guesthouse THE TRIP*: Apr 15 Mounties Lounge, Apr 16 Park Hotel, May 6 Old Manly Boatshed, May 14 Transit Bar, May 20 Fitzroy Hotel, May 21 Park Hotel HOLLY THROSBY: Apr 15 ANU Bar, May 6 Brass Monkey, May 7 Annandale Hotel OPEN PIÑATA: Apr 15 The Basement Canberra, Apr 30 The Sly Fox NEIL MURRAY: Apr 15 Coogee Diggers Club TIN CAN RADIO: Apr 15 World Bar, Apr 16 Transit Bar Canberra, Apr 27 Cambridge Hotel REDCOATS: Apr 15 The Gaelic, Apr 16 CBD Hotel YOUNG REVELRY: Apr 15 World Bar THE BEARDS: Apr 15 The Vanguard, Apr 16 Hotel Gearin, Apr 17 Grand Junction Hotel BRITISH INDIA: Apr 16 Annandale Hotel, Apr 21 Entrance Leagues Club, May 12 Fitzroy Hotel, May 13 Cambridge Hotel, May 14 Hornsby RSL, Apr 2 ANU Bar SEEKAE: Apr 16 Manning Bar THE HOLIDAYS: Apr 20 Beach Road Hotel, Apr 21 Mona Vale Hotel, Apr 23 Transit Bar GRINSPOON: Apr 21 Rooty Hill RSL, Apr 22 Hornsby RSL, Apr 23 Roxy Theatre, Apr 24 Waves, Apr 25 Newcastle Panthers CHILDREN COLLIDE: Apr 21 The Metro MIND OVER MATTER: Apr 21 Oxford Art Factory BALL PARK MUSIC, GUINEAFOWL: Apr 23 & 24 Kings Cross Hotel, Apr 25 Brass Monkey STRANGE TALK: Apr 27 Harp Hotel, Apr 28 GoodGod, Apr 29 CBD Hotel Newcastle, Apr 30 Beachcomber Hotel MY ESCAPADE: Apr 28 The Wall, May 27 The Basement Canberra FLOATINGME: Apr 28 Level One, Apr 29 Annandale Hotel, Apr 30 Wollongong City Diggers FRENZAL RHOMB: Apr 28 Bar On The Hill, Apr 30 Wollongong Uni, May 1 Annandale Hotel THE MCCLYMONTS: Apr 28 Mingara Recreation Club, Apr 29 Civic Theatre Newcastle, May 20 Hornsby RSL, May 22 North Sydney Leagues THE AMENTA: Apr 29 Club LED, Apr 30 The Gaelic

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ADALITA

FEATURE TOUR

ADALITA

Magic Dirt leader and general bad-arse songstress Adalita, one of Australia’s most intoxicating frontwomen, has been in the biz for a helluva long time, but has only recently released her first solo album. It’s named after her, simply titled Adalita, and it’s a pretty damn good one, ranging from low shyness to a powerful bang, all underscored by her deep, beautiful voice. She rocks it throughout the week, playing tonight at the Great Northern Newcastle, tomorrow night at the Sandringham Hotel and Thursday at the Clarendon Guesthouse Katoomba.

LOWTIDE*: Apr 29 Petersham Bowling Club, Apr 30 Black Wire Records THE BELLIGERENTS: Apr 30 Great Northern Newcastle BLEEDING KNEES CLUB: Apr 30 Kings Cross Hotel TIM & JEAN: Apr 30 Oxford Art Factory THE NEVER EVER: May 1 Annandale Hotel, May 14 Woden Youth Centre THE LITTLE STEVIES: May 5 ANU Bar, May 6 Great Northern Hotel, May 7 The Vanguard, May 8 Brass Monkey DRAPHT: May 5 Carrington Hotel, May 6 Wollongong Uni WASHINGTON: May 5 & 6 The Metro SEGRESSION: May 6 Annandale Hotel, May 7 The Maram THREE’S COMPANY feat. SCOTT SPARK, TASH PARKER, THE RESCUE SHIPS*: May 7 Spectrum PIKELET: May 7 Kings Cross Hotel OVER-REACTOR: May 12 Harp Hotel, May 14 Caringbah Bizzo’s, May 19 Bar On The Hill, May 20 Northern Star SIERRA FIN: May 12 Notes EMMA DEAN: May 12 Clarendon Guesthouse, May 14 The Basement Circular Quay GAY PARIS: May 12 The Patch, May 19 Phoenix Canberra, May 20 Great Northern Newcastle, May 21 The Vanguard THE CAT EMPIRE: May 12 Annandale Hotel, May 13 The Metro, May 14 Enmore Theatre, May 15 The Basement Circular Quay CUT COPY: May 12 Enmore Theatre, May 29 Sydney Opera House Concert Hall BIG BRITISH SOUND feat. BALL PARK MUSIC, STRANGE TALK, BOY IN A BOX: May 12 The Gaelic BLUE KING BROWN: May 12 ANU Bar, May 13 Waves, May 14 Newcastle Panthers, Jun 4 The Metro BOTANICS: May 12 The Vanguard, May 27 Grand Junction Hotel, Jun 2 Beach Road Hotel, Jun 3 Old Manly Boatshed FRONT END LOADER*:

May 13 The Patch, May 14 Caringbah Bizzo’s, May 26 Mona Vale Hotel, May 27 Annandale Hotel, May 28 The Junkyard, May 29 Great Northern Newcastle KASEY CHAMBERS & SHANE NICHOLSON: May 14 Katoomba RSL MIKE NOGA: May 18 Notes, May 19 Clarendon Guesthouse DAVE GRANEY & THE LURID YELLOW MIST: May 19 Notes, May 20 Vault 146, May 21 Coogee Diggers, May 22 The Clarendon, May 26 Lizotte’s Dee Why, May 27 Lizotte’s Kincumber, May 28 Lizotte’s Newcastle GYPSY & THE CAT: May 19 Wollongong Uni, May 20 The Metro, May 21 Cambridge Hotel TRIAL KENNEDY: May 19 Wollongong City Diggers, May 20 Cambridge Hotel, May 21 Annandale Hotel HUNGRY KIDS OF HUNGARY: May 20 ANU Bar, May 21 The Metro THE BAMBOOS*: May 20 Manning Bar DIRECTIONS IN GROOVE*: May 20 The Basement Circular Quay PARKWAY DRIVE: May 20 Hordern Pavilion, May 21 Newcastle Panthers, May 22 WIN Entertainment Centre ALEX LLOYD & THE PIGRAM BROTHERS: May 20 & 21 Notes THE GOOD SHIP: May 20 Great Northern Newcastle, May 21 The Vanguard

INTERNATIONAL BB KING: Apr 12 & 13 State Theatre ERIC BIBB: Apr 12 & 13 Tilley’s Devine Café, Apr 15 Enmore Theatre, Apr 16 Sutherland Entertainment Centre, Apr 28 Lizotte’s Dee Why, Apr 29 Blackheath Community Hall, May 3 Lizotte’s Kincumber, May 4 Lizotte’s Newcastle BRUNO MARS: Apr 14 Big Top Luna Park MARTHA TILSTON:

Apr 14 Cat & Fiddle, Apr 15 Clarendon Guesthouse, Apr 16 Paddington Uniting Church, Apr 20 Brass Monkey MR STERILE ASSEMBLY: Apr 15 Black Wire Records, Apr 16 Jake’s Hais, Apr 17 Punx Outside Marrickville FRANK TURNER: Apr 15 Annandale Hotel ARMIN VAN BUUREN: Apr 16 Acer Arena LADI 6: Apr 16 The Gaelic THE CLASSIC CRIME: Apr 16 Spectrum EAT SKULL: Apr 17 Sandringham Hotel RAUL MALO: Apr 17 The Basement Circular, Apr 18 Lizotte’s Dee Why TROMBONE SHORTY: Apr 18 The Metro MICHELLE SHOCKED: Apr 18 The Basement Circular Quay, Apr 19 Lizotte’s Dee Why, Apr 20 Lizotte’s Newcastle FERNANDA TAKAI: Apr 19 Playhouse Theatre Canberra, Apr 20 The Basement Circular Quay ELVIS COSTELLO & THE IMPOSTERS: Apr 19 State Theatre GRACE JONES: Apr 19 Enmore Theatre ZZ TOP: Apr 20 Newcastle Entertainment Centre, Apr 25 Wollongong Entertainment Centre, Apr 27 & 28 Enmore Theatre RODRIGO Y GABRIELA: Apr 20 Enmore Theatre THE FELICE BROTHERS: Apr 20 Annandale Hotel THE FUNKY METERS: Apr 20 The Metro THE SECRET SISTERS: Apr 20 The Vanguard ANTHONY B, CE’CILE: Apr 21 Manning Bar LITTLE BUSHMAN: Apr 21 The Gaelic SWITCHFOOT: Apr 21 Big Top Luna Park IMOGEN HEAP: Apr 21 State Theatre IRMA THOMAS: Apr 21 The Factory DEREK TRUCKS & SUSAN TEDESCHI BAND: Apr 21 Enmore Theatre BONE THUGS-NHARMONY: Apr 21 Waves, Apr 23 Blacktown Olympic Park, Apr 24 Oxford Art Factory BOBBY LONG: Apr 21 Lizotte’s Kincumber, Apr 27 The Vanguard LEON RUSSELL: Apr 22 State Theatre THE DRUM MEDIA 12 APRIL 2011 • 63 •


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GOOD CHARLOTTE

SHORT STACK NEW EMPIRE

OH SLEEPER, THE CHARIOT: Apr 23 The Gaelic, Apr 26 Harp Hotel BUFFY SAINTE-MARIE: Apr 23 State Theatre WARREN HAYNES: Apr 23 The Factory TOOTS & THE MAYTALS: Apr 23 Enmore Theatre BOB DYLAN: Apr 23 WIN Entertainment Centre, Apr 27 & 28 Sydney Entertainment Centre MICHAEL FRANTI & SPEARHEAD: Apr 24 Enmore Theatre SHIT ROBOT: Apr 24 Greenwood Hotel GEORGE CLINTON & PARLIAMENT FUNKADELIC: Apr 24 The Metro HORRORPOPS: Apr 24 The Factory JOHN LEGEND: Apr 24 & 25 State Theatre MARK FARINA: Apr 25 Ivy THE BLIND BOYS OF ALABAMA, AARON NEVILLE, MAVIS STAPLES: Apr 25 & 26 Sydney Opera House Concert Hall DISTURBED: Apr 25 Acer Arena, Apr 28 Newcastle Entertainment Centre THE AGGROLITES: Apr 25 The Gaelic JETHRO TULL: Apr 26 & 27 State Theatre CHRIS BROWN: Apr 26 Acer Arena YELLOWFEVER: Apr 27 Croatian Club, Apr 28 Red Rattler, Apr 29 Otis Bar INDIGO GIRLS: Apr 27 Canberra Theatre, Apr 28 State Theatre CAITLIN ROSE: Apr 27 Raval TIM ROBBINS & THE ROGUES GALLERY BAND: Apr 28 The Basement Circular Quay JUSTIN BIEBER: Apr 28 & 29 Acer Arena TONY JOE WHITE: Apr 28 Hurlstone Park RSL, Apr 29 The Basement Circular Quay, Apr 30 Lizotte’s Dee Why, May 1 Lizotte’s Newcastle, May 4 Clarendon Guesthouse, May 5 Coogee Diggers, May 6 Waves HUGH CORNWELL: Apr 28 ANU Bar, May 4 Cambridge Hotel, May 5 Manning Bar ELI PAPERBOY REED: Apr 28 Oxford Art Factory SKRILLEX*: Apr 29 Oxford Art Factory JOSEPH ARTHUR: Apr 29 The Vanguard NATURALLY 7: Apr 29 State Theatre TRINITY ROOTS: Apr 29 The Metro ESCAPE THE FATE: Apr 30 UNSW Roundhouse QUIET RIOT: Apr 30 ANU Bar, May 8 The Metro HERBIE HANCOCK: May 1 & 2 Sydney Opera House DEREK WARFIELD & THE YOUNG WOLFE TONES*: May 3

Sydney Entertainment Centre 09/04/11

KYUSS LIVES

DRUM PRESENTS

THE BREAK FESTIVAL: Apr 17 Sydenham Green RAUL MALO: Apr 17 The Basement Circular Quay MICHELLE SHOCKED: Apr 18 The Basement Circular Quay, Apr 19 Lizotte’s Dee Why TROMBONE SHORTY & ORLEANS AVENUE: Apr 19 The Metro ZZ TOP: Apr 20 Newcastle Entertainment Centre, Apr 25 Wollongong Entertainment Centre, Apr 27 & 28 Enmore Theatre THE FUNKY METERS: Apr 20 The Metro THE HOLIDAYS: Apr 20 Beach Road Hotel, Apr 21 Mona Vale Hotel, Apr 23 Transit Bar BLUESFEST: Apr 21 – 25 Tyagarah CHILDREN COLLIDE: Apr 21 The Metro IRMA THOMAS: Apr 21 The Factory DEREK TRUCKS & SUSAN TEDESCHI BAND: Apr 21 Enmore Theatre LEON RUSSELL: Apr 22 State Theatre OH SLEEPER, THE CHARIOT: Apr 23 The Gaelic, Apr 26 Harp Hotel TOOTS & THE MAYTALS: Apr 23 Enmore Theatre WARREN HAYNES: Apr 23 The Factory BUFFY SAINTE-MARIE: Apr 23 State Theatre INNER WEST FESTIVAL: Apr 24 & 25 Sandringham Hotel GEORGE CLINTON & PARLIAMENT FUNKADELIC: Apr 24 The Metro DISTURBED: Apr 25 Acer Arena, Apr 28 Newcastle Entertainment Centre THE AGGROLITES: Apr 25 The Gaelic HUGH CORNWELL: Apr 28 ANU Bar, May 4 Cambridge Hotel, May 5 Manning Bar TIM ROBBINS & THE ROGUES GALLERY BAND: Apr 28 The Basement Circular Quay ELI PAPERBOY REED: Apr 28 Oxford Art Factory TRINITY ROOTS: Apr 29 The Metro DATAROCK: May 5 Oxford Art Factory HOUSE OF PAIN: May 6 Manning Bar AA: May 6 Red Rattler KYUSS LIVES: May 7 Big Top Luna Park GROOVIN’ THE MOO: May 7 Maitland Showground, May 8 University Of Canberra PASSENGER: May 7 Oxford Art Factory THE WOMBATS: May 9 Enmore Theatre DARWIN DEEZ: May 10 The Metro BLUE KING BROWN: May 12 ANU Bar, May 13 Waves, May 14 Newcastle Panthers, Jun 4 The Metro TRIAL KENNEDY: May 19 Wollongong City Diggers, May 20 Cambridge Hotel, May 21 Annandale Hotel PEGZ: May 25 ANU Bar, May 26 Harp Hotel, May 27 Cambridge Hotel, May 28 Annandale Hotel BLISS N ESO: May 27 & 28 Hordern Pavilion BOY & BEAR: May 31 Newcastle Uni, Jun 1 Wollongong Uni, Jun 2 & 3 The Metro THE MIDDLE EAST: Jun 17 The Metro, Jun 19 Cambridge Hotel ART VS SCIENCE: Jul 8 Enmore Theatre MIAMI HORROR: Jul 16 The Metro

Clarendon Guesthouse, May 7 Coogee Diggers, May 8 Notes GRUFF RHYS*: May 3 Excelsior Surry Hills THE GO! TEAM: May 4 The Metro KATY PERRY: May 4 Sydney Entertainment Centre, May 13 Newcastle Entertainment Centre, May 14 Sydney Entertainment Centre DEREB THE AMBASSADOR: May 4 Raval DATAROCK: May 5 Oxford Art Factory MURS & 9TH WONDER: May 5 The Gaelic MAROON 5: May 6 Acer Arena SAMPOLOGY: May 6 Oxford Art Factory AGAINST ME!: May 6 ANU Bar, May 7 The Metro, May 8 Cambridge Hotel HOUSE OF PAIN: May 6 Manning Bar AA: May 6 Red Rattler LULO REINHARDT: May 6 Grand Hotel, May 7 Clarendon Guesthouse, May 8 Kantara House, May 11 Lizotte’s Dee Why,

• 64 • THE DRUM MEDIA 12 APRIL 2011

May 12 The Basement Circular Quay JEFF MARTIN 777: May 7 The Gaelic PASSENGER: May 7 Oxford Art Factory KYUSS LIVES: May 7 Big Top Luna Park MARK OLSON: May 7 Great Northern Newcastle, May 8 Annandale Hotel, May 10 Brass Monkey, May 11 Clarendon Guesthouse THE DRUMS: May 9 The Metro UNKLE: May 9 Sydney Opera House Concert Hall THE WOMBATS: May 9 Enmore Theatre DARWIN DEEZ: May 10 The Metro HARMONIC GENERATOR*: May 11 Sandringham Hotel BEN FOLDS: May 11 Royal Theatre, May 13 & 14 State Theatre GARY NUMAN: May 13 Enmore Theatre A DAY TO REMEMBER: May 13 & 14 Big Top Luna Park

FESTIVALS BLUESFEST: Apr 21 – 26 Tyagarah NATIONAL FOLK: Apr 21 – 25 Exhibition Park Canberra GUM BALL: Apr 29 & 30 Belford CREAMFIELDS: Apr 30 Showring & Hordern Pavilion GROOVIN’ THE MOO: May 7 Maitland Showground, May 8 University Of Canberra DARLING HARBOUR JAZZ AND BLUES*: Jun 10 – 13 Darling Harbour PERISHER SNOWY MOUNTAINS OF MUSIC: Jun 10 – 13 Perisher Valley COME TOGETHER: Jun 11 Big Top Luna Park WOLLOMBI MUSIC: Sep 17 Hunter Valley SYDNEY BLUES & ROOTS: Oct 28 – 30 Windsor * indicates new or amended listing this week Check with agencies for booking fees.

What’s great about all ages crowds is the willingness to give enthused support to all bands playing. Sydney’s New Empire was the beneficiary, whipping punters into a hand-clapping frenzy from the first song and leading singalongs of songs the audience was probably unfamiliar with. They played glitzy synth-addled pop rock, oozing confidence. Commandeering frontman Jeremy Fowler was much more likeable than Short Stack’s Shaun Diviney, Australia’s most obnoxious he-diva. Since when did you have an American accent when speaking, buddy? Sure is weird being an adult at a pop/punk concert – the kids adored it, but everything reeked of insincerity, from the touring guitarist doing all the hard yards while Diviney the show pony strummed a few lacklustre chords, to the cliché demand for phones to come out to “turn the Entertainment Centre into the night sky”. Not to mention his awfully off-key voice, especially when screaming during opener, We Dance To A Different Disco, Honey – I guess we do, Shaun, I guess we do. Short Stack could learn a few lessons from Good Charlotte, one of the lasting original pop/punk bands of the early noughties that remains sincere and hell-bent on having fun. Though they released a new album, Cardiology, in 2010, the bulk of the set was surprisingly lifted from 2002’s The Young And The Hopeless, making it a much-welcomed trip down memory lane. Twins Benji and Joel Madden were in fine form, bantering with ease, though sometimes guitarist Benji’s spoken segues were cringeworthy and the set ranged from boisterousness (an extended Riot Girl, Sex On The Radio, Little Things) to stripped-down honesty (the acoustic Motivation Proclamation, Hold On, Benji’s acoustic solo, Emotionless). The crowd eagerly yelled along, providing the high “oooh-oooh” on Keep Your Hands Off My Girl and attempting to scale those heights on I Just Wanna Live. The band announced that one of their idols, Silverchair’s Ben Gillies, was backstage

THE CHURCH

Sydney Opera House Concert Hall 10/04/11 Even when they were performing at the Tin Sheds – about 5km, 30 years and a million miles from the Opera House – the church had a space (and a claustrophobia) suited to collision with an orchestra. But the aircraftcarrier turning circle of 70-odd players can often constrict those used to stretching and improvising. Or it just washes over everything and your rock band becomes muzak in a really big elevator. Luckily, in conductor George Ellis’ fandom and arranging skills, the church’s gifts and idiosyncrasies still have some sway. It started quietly, with Metropolis as an overture as everyone settled into the occasion. As it unfolded, Marty Willson-Piper’s and Peter Koppes’ guitars rang or filigreed as necessary. Tim Powles drumming and directing. Then there’s frontman Steve Kilbey, his default smart-arsery subdued, though a couple of dad jokes slipped through. The songs, most familiar with a smattering recent work, remained identifiable, if tweaked. Even the red-headed stepchild, The Unguarded Moment, underscored with martial drumbeat. And there are moments you could genuinely feel the air displace as the orchestra swept in. There was a physical power to it. There was the theatrical interval to “go have a drink or a wee-wee”. We came back to find the mostly youthful orchestra had been out the back, raiding the costume boxes marked ‘Woodstock’, easing us into Act II with the quietly tribal Happy Hunting Ground – the core performers standing just off-stage, watching bemused as old footage of their younger doppelgangers was projected onto the backdrops.

– unfortunately he didn’t appear onstage, dashing hopes that they’d rip out their old Cemetery cover. Nostalgia peaked when the band threw in a cheeky cover of Blink 182’s Dammit mid-Story Of My Old Man before seamlessly finishing the song, ending with Lifestyles Of The Rich And Famous. It was an energetic and sentimental evening that saw smiles and more than a few tears. Lord knows it was good to feel 13 again. Giselle Nguyen

GOOD CHARLOTTE @ SYDNEY ENTERTAINMENT CENTRE. PIC: LINDA HELLER-SALVADOR

TIM BARRY

CHRIS WOLLARD & ADDISON BURNS ISAAC GRAHAM

Sandringham Hotel 09/04/11

Following the success of last year’s Revival tour, ex-Avail frontman Tim Barry grabbed the acoustic and returned to Australian shores as honest as ever. Singer/songwriter Isaac Graham, a Sydney local, started to cause a buzz when one of his tracks was selected by American folk punk hero Frank Turner to be used as a b-side for a single – and the hype is justified judging by this set. Commencing with little fanfare and a near empty room, Graham launched into acoustic bluesinfluenced folk punk. While his voice seemed to sway between boldly Australian and an oddly British accent, he told strong stories over flawless guitar work. Despite a few cringeworthy sentiments, lyrically Graham was engaging and surely won new fans with the set. The crowd continued to swell as Chris Wollard & Addison Burns (a member of Wollard’s backing band The Ship Thieves) took the stage opening with Reason In My Rhyme. A relatively short set saw the two performing with an intimacy that was sadly lost on a crowd that seemed more eager to talk than listen. Wollard and Burns carried on regardless, with passionately grimaced vocals and harmonies capturing those that cared to listen. While not much was played from their self-titled album, it did mean we were treated to a cover of Paul Kelly’s Big Fine Girl as a closer.

Then ‘Australia’s most popular song of the last three million years’, Under The Milky Way, with its minor key grace underpinned by a sob of strings. It still is a beautiful thing. That duty done, everyone loosened up. Space Saviour had T. Rex waves of glam; Invisible was allowed to breathe. A final jagged Tantalised and thanks, bows, hugs and slightly awed glances around the room.

A man as earnest, raw and unabashedly passionate as Tim Barry rarely comes along. A natural storyteller, Barry frequently engaged in extensive monologues before songs and, while a lesser performer attempting such genuine interaction would most likely appear contrived or pretentious, Barry talks with such fervour about disillusionment with ‘the system’, war, racism and heartbreak that you cannot doubt his convictions or remain uninspired. Just three songs in and Barry – glaring intensely, even as he smiled at a humbling reception – was off stage and in the crowd, walking around with his tired and tinny acoustic guitar, singing with and for everyone, not just at them. He spent the rest of the show alternating between the floor and the stage, inviting the crowd up to stand around him for the entire set. Standouts like Dog Bumped, Idle Idylist, Prosser’s Gabriel and South Hill were delivered and Barry had forged an awe-inspiring sense of community in the room.

Ross Clelland

Dave Drayton

It relaxed when they got to the letter ‘R’. Ripple echoed its name and a staccato Reptile allowed Kilbey some old-school splay-legged rock moves. Although when relieved of his bass duties, particularly in the theatrical Disillusionist, he resembled an old Shakespearean ham actor – all grey eminence and big gestures.

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CITY & COLOUR

HEY ROSETTA!

Enmore Theatre 05/04/11

A beautifully textured set from Canadian sextet Hey Rosetta! opened the night. Their set-up is essentially a traditional four-piece band embellished by cello and violin, so the sounds created were spacious and luxurious, especially when lathered with exquisite three-part vocal harmonies. Bandages saw the band members swapping instruments, adding banjo to the mix and offering a chorus rich in haunting choral arrangements. Frontman Tim Baker’s voice sometimes resembled Conor Oberst’s – raw and honest, but still controlled.

version of The Girl was played (a shame the raucous second half was omitted) and some old tracks, like Save Your Scissors and Day Old Hate, were warmly received. The voices of bassist Scott Remila and Green together made for a heart-melting Hello, I’m In Delaware, especially during the a cappella ending, and the full band encore, comprising Comin’ Home and Sometimes (I Wish), was a perfectly understated close. Green constantly expressed how humbled he was to be in our presence. The feeling was absolutely mutual. Giselle Nguyen

Though Canadian Dallas Green had toured previously for 2008’s Soundwave, the air was heavy with excitement for tonight, the first show of City & Colour’s inaugural headlining Australian tour. Things got off to a shaky start, with the probably jetlagged singer/songwriter struggling slightly with his acoustic guitar throughout opening number, Forgive Me, but it all quickly fell into place, becoming a most special evening of beautiful songs delivered by an achingly beautiful voice. Though on record City & Colour is a solo acoustic venture, tonight Green was joined by a three-piece band, for which the rearrangements were staggeringly good – Sam Malone was a definite highlight, pushed to enormity by the new electricity and aided further by an excellent lighting scheme that saw a lightning-like strike each time the band played its chunky chorus riff. Sleeping Sickness was similarly suited to a bigger arrangement, and the crowd eagerly complied when asked to sing along during Constant Knot.

Kings Cross Hotel 08/04/11

The newly renovated Kings Cross Hotel has literally had the guts ripped out of it and with barely enough time to let the freshly painted walls dry, tonight saw the launch of FBi Radio’s new live music hot spot. With several levels and rooms, it was easy to get lost in the many winding staircases that led to a bunch of DJs and many well-known local live acts, not to mention some quality sound. It felt like a night in Newtown or Surry Hills, void of the Cross’ normal sleaze. Making things nice and loud was the well-oiled machine of The Laurels, who seemed to have resigned themselves to support slots and smaller venues these days – when they’re going to drop their magnum opus on us remains a mystery, but the feedback four-piece was at its usual rockin’ best, completely oblivious to the packed crowd nodding in time to their psych-out sounds. Belles Will Ring’s lineup shuffle seemed to be working well with frontman Liam Judson giving the pipes a workout. His songwriting has matured into a renewed buzz different to that which surrounded their first album and their best-known song, Park Benches. While the track was played rather well on the night, a few new numbers from the upcoming second album got equal applause from a nice little crowd. Andy Bull opened with his reinvention of The Shins’ New Slang, accompanied only by keyboard and guitar. It was something of a surprise, especially for anyone that had not caught him live and was sceptical of his now disappeared mullet. A talented guy with an impressive vocal range, it was an enjoyable, stripped-back affair of pop and art which meant, despite his many live shows over the past couple of years, he still remains an undiscovered talent who isn’t completely commercial (but easily could be) and isn’t completely indie either (but easily could be).

HALFWAY SILENT FEATURE ERA JACKIE MARSHALL

Notes 08/04/11

Jackie Marshall set the night off with an acoustic set to a pocketful of fans. Playing more covers than originals, her performance resembled the vibe of an open mic night. Ladies’ Luck and Still Fucking Up brought out her incredible, husky alto register, along with her gutsy personality. Conversational with her lyrics, she decorated them with multiple vocal ornaments; perhaps a little too many. However, she had the vocal capability to execute every single one of them live. After a short and sweet 25-minute set, she was off.

banter, it was obvious that it was not a good night for the four-piece. The sound technicalities continued as their voices were drowned out by the instruments. One could not even hear female vocalist Tracy Ellis’ harmonies or contributions. Sound issues aside, numbers like Chance Meeting reflected their raw, authentic classic rock sound, which was simple and pleasant. A little more variety across their set would have paved the way to some greater musical moments. Celline Narinli

Silent Feature Era erupted with a double-drum, tribal extravaganza. Melodies slowly fell into the rhythm of the drums, which made for a very impressive start. What stood out most from this five-piece band was the strength of the percussion section. Drummer Bec Flatt completely stole the show and was the backbone of the performance. Her energy and enthusiasm outshone that of frontman Greg Cathcart’s, who struggled to connect with the audience. The quality of music produced was superior, although the rawness of Cathcart’s voice didn’t quite suit their dramatic folk rock nature. A little disorganised on stage at first, things started to improve mid-set for Brisbane seven-piece, Halfway. The band lacked charisma and enthusiasm, as each song lulled heavily into the next. This dullness was enhanced by the boredom displayed on stage. Lead singer John Busby struggled to project his voice through to the crowd; however a change in lead vocalist spun things around. Chris Dale’s voice was much more suited to their country essence. Towards the end of their set, energy was found and the amplified sounds gave way to some great frolicking country numbers.

The evening was split into sections – those that included the band and those where Green stood alone, bantering genuinely and hilariously while playing his simple but stunning tunes with just an acoustic guitar – and it was the latter that felt the most personal. He asked that all phones and cameras be put away during the harmonica-adorned Body In A Box, making for quite a powerful and rare concert moment. Several new songs from the upcoming third album were shown off, an abridged

FBI SOCIAL LAUNCH

KNIEVEL

CITY & COLOUR @ ENMORE THEATRE PIC: ROD HUNT

BEN OTTEWELL

Sound issues staggered co-headliner Knievel’s set, which began and ended with a lo-fi buzz. As their numerous sound-related requests replaced mid-song

JIMMY EAT WORLD

JACKSON MCLAREN

THE JEWEL & THE FALCON

HALFWAY @ NOTES. PIC: CHAZ WEBB

PARADES

LITTLE SCOUT

The Basement Circular Quay 07/04/11

Enmore Theatre 08/04/11

The Gaelic 08/04/11

Young Victorian singer/songwriter Jackson McLaren performed support duties tonight, competing with the usual delivery of plates down the front and chatter of still-arriving patrons during his set. He did so with good grace, although his sweet and quite mellow set got a little lost in the atmosphere. Looking like an extra from the Lennon biopic Nowhere Boy, he instead reminded of a Paul Dempsey solo set, characteristic and grounded.

It’s ten years since Jimmy Eat World released their breakthrough album, Bleed American, and though the band has been to Australia every couple of years since then, very little has really changed – the lineup has remained fixed, they go about their business with very little hype or fanfare and they are still one of the tightest melodic indie bands around. The only thing that ever really changes is the set list. A few new songs get added; a few drop off the list. To anyone but a Jimmy Eat World fan, that could sound too predictable, too routine, but to the fans that went along to the Enmore, this gig was another special Jimmy experience.

There were some strong connections between the two bands gracing the stage. Little Scout has been produced by Parades’ drummer (and solo artist in his own right) Jonathan Boulet, while Little Scout’s Kirsty Tickle has played with Parades in the past. There is doubtless a bunch of mutual respect at work when the two head out on the road together.

Shortly after, Ben Ottewell took the stage, welcoming us to the second night of his “Sydney Dinner Club Tour”. Here to promote his solo album, Shapes And Shadows, he kicked off with the title track followed by another lovely newbie, Lightbulbs. Both were impressive and sounded comfortable, but he did promise to play some more ‘familiar’ stuff as well, a promise he delivered by launching into a version of Nick Drake’s Black Eyed Dog that morphed, to huge applause, into Gomez’s Free To Run. More newbies and old faithfuls followed, with Blackbird (as pretty as The Beatles’, but markedly different) and Chicago particularly hitting their mark, while there was an absolute spark in the room as Ottewell delivered the normally dense Gomez tracks 78 Stone Wobble and Get Miles with just one voice and one instrument. Messing with timing and texture, he somehow made these songs sound brand new – a real skill and worth staying up late for in themselves. Thanking us for being “very polite for a Sydney crowd” (something that inspired heckling, ironically), Ottewell moved through the rest of the set reasonably quickly.

Here the night unfortunately ended for some people trying to get back upstairs for Dappled Cities’ set, with protests falling on deaf ears, including from at least one reviewer. To security’s credit, there were some obvious crowd issues, judging by the huge line of people also waiting outside to get in. FBi’s stake in such a soon to be popular live venue is set to be both a blessing and a curse early on, but it is a much needed thing in Sydney’s live scene and overall, it was a pretty good night.

There was a little preview of the next move for Gomez, playing the catchy but lovely newbie, Whatever’s On Your Mind, with a promise of more to come on record in June – and live in July – and another older Gomez track, this time Hamoa Beach, which Ottewell reminded us was actually his bandmate Ian Ball’s, but he promised to take good care of it. Finally, when the already initiated were glee-d out and the new were well on the way to conversion, Ottewell left us with an amazingly airy version How We Operate (complete with a elongated ending), returning for an encore with a little more, if slightly more predicable version, of one of his band’s greatest lullabies, Tijuana Lady. Gorgeous set, bring on July.

Adam Wilding

Liz Giuffre

First up a new-ish local outfit, The Jewel & The Falcon, impressed. The teaming up of Sarah Kelly from redsunband and Patrick Matthews from Youth Group has resulted in hazy, dreamy power pop. The pair both played guitars awash in feedback and shared vocal duties. It was a mellow, ‘90s indie throwback and it will be interesting to watch the band develop. They certainly have a fine pedigree. Right from the start, with a one-two punch of Bleed American and A Praise Chorus, Jimmy Eat World showed they wouldn’t be afraid to play songs from across their catalogue. Though their first two albums weren’t given a look in, the band’s set list jumped all over the next 12 years of their history. Songs from third album Clarity (Goodbye Sky Harbor, Lucky Denver Mint, Blister and the stunning version of For Me This Is Heaven) received a less enthusiastic audience response than the commercial radio fodder of Bleed American, but longtime fans certainly would have been grateful for the inclusions.

Brisbane’s Little Scout is a typical modern indie band with streaks of pop running through their restrained and often delicate songs. With two frontwomen they came across as a well-balanced band both in gender division and their nicely weighted mix of twee sensibilities and more muscular engagement from the rhythm section when required. There were echoes of Grizzly Bear as well as the current group of songstresses like Blasko, Throsby, Seltmann and Bowditch. When the Tickle sisters opened up and let their harmonies flow freely, they showed they possess some undeniably catchy and well-constructed songs. Parades have developed a reputation for live shows built on intensity, intricacy and no lack of emotional outpouring. That reputation was enhanced by a set that covered a wide spectrum of mood and a healthy enthusiasm. There were electronic-heavy pieces that segued into relentless surges of tightly-reined rushes of frenetic post punk. It was those contrasts that defined the best moments of Parades. They never let a musical moment outstay its welcome and by the same token, they don’t overact and reduce their songs to a fastchanging overflow of ideas.

As always the band ripped through the songs with a minimum of fuss. An efficient, lean act, very little energy was wasted on anything besides delivering these songs with gusto. The band even closed the encore with another Bleed American one-two punch of The Middle and Sweetness. This Enmore show is the biggest Australian show Jimmy Eat World has played here so far and when the entire crowd was responding to frontman Jim Adkins’ plea to “sing it back” with a loud and hearty “whoa-oh-oh-oh-oh” in set closer Sweetness, it seemed like it wouldn’t be too long before Jimmy Eat World will be back to do it all again.

Jonathan Boulet’s work behind the kit was impressive whether he was working alongside sequenced beats or delivering frantic krautrock drumming. In many ways his drumming defined the way the cause and effect guitars and the watertight bass all locked in together. They ended their set with the brilliant single from last year, Loserspeak In New Tongue. Its overlapping vocals and sparkling guitars sounded like Dirty Projectors and Wild Beasts battling it out in adjacent practice rooms while the song they were celebrating the release of, Water Stories, again highlighted Boulet’s drumming and showcased how clever their writing has become, thankfully without a whiff of smarty pants showboating. Parades killed it and the crowd was swept along and responded with unabashed smiles and copious applause.

Danielle O’Donohue

Chris Familton

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THE DRUM MEDIA 12 APRIL 2011 • 65 •


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DEAD KENNEDYS

RUST

Manning Bar 09/04/11 Just how chuffed local lads Rust were to have landed this gig was easy to see, with the shout-outs to the headliners being the first clue. They brought the noise and hammered out a show that mixed thunder with buzzsaw to the delight of enthusiastic punters pogoing merrily down the front. What they don’t offer in terms of great variety in song structure and musical progression, they do in the sheer breadth of themes covered in the lyrics. Dedications to Anita Cobby, Lemmy, getting monstered by the cops, suburban racism, the ANZAC legend and women who done them wrong all got an airing alongside a cover of Concrete Jungle. On stage or off, it was a collection of the old and bold or rugged and buggered that turned out for the first Dead Kennedys Sydney show since 1983. Was there progress? Well, yes and no. Yes, with You’re Such A Fake, their first new material in donkey’s years getting an airing in the second encore, plus the old tunes were reworked to give a different vibe to that of yore. This could also be an accommodation of new/replacement frontman Ron “Skip” Greer’s vocal style. And no, since progress was probably not what the punters were looking for anyway, even in the absence of iconic frontman Jello Biafra. Guitarist East Bay Ray, drummer D.H. Peligro and bassist Klaus Flouride hammered out a career-spanning set with energy and focus lacking in bands with a fraction of their runs on the board. Think big chantalongs, a frenzied pit and the occasional sledge along the lines of “Bring back Jello youse cunts”. “You people are as sick and twisted as any I’ve met anywhere,” noted Greer. “Are you laughing in the face of tragedy?” he asked before one of his many ventures to the pit. Much fun was had by all, from the many crowd surfers to stage invaders, the lone stage diver and especially the woman who managed to knock Greer on his arse with an ardent tackle. Definitely didn’t see that one coming.

WITH A BHANG

just VISITING

Short on cash but still want to get out this weekend and party to live tunes? No worries – Oxford Art Factory on Saturday plays host to BhangLassi, I Know Leopards and Hailer, doors flying open at 8pm and no entry fee.

OUI MERCI Visiting from France, Dominique Fillon brings his jazz piano tunes, with his ensemble, to The Basement Circular Quay on Thursday.

ERIC BIBB

STREET CHANT Why are you coming to visit our fair country? To work on our faux-Australian accents and also to rock…live! Plus we are also going to have some free time in Melbourne, so we will probably work on some new songs in preparation for the second album.

How long are you here for? A couple weeks this time around, kind of stopping by on our way home from SXSW and the USA.

What do you like about Australia, in ten words or less? One word: “SIIIIIIIIIIIIIIIICK”.

Any extra-curricular activities you hope to participate in? Go to any shows School Of Radiant Living, Deep Heat or Useless Children are playing and catch up with friends we haven’t seen since last time.

What will you be taking as a souvenir? Australian dollars and hopefully three Teen Archer LPs.

ERIC AND RUTHIE Eric Bibb and special guest Ruthie Foster will be breezing into the Enmore Theatre this Friday for a special night of music. The show will begin at 8pm.

BELLUSRIA

THEN THERE WERE NINE

SURRY HILLS WEEK

Ninth Pillar takes on Caringbah Bizzo’s on Saturday.

This week there’s plenty on at the Excelsior Surry Hills, kicking off Wednesday with Holland, Hello Vera and Tobias Cummings, $10 from 8pm. Thursday’s show features Hotcakes, Blonde On Blonde, Where’s Jerome and Thieves, same cost, same time. A bit pricier at $12 is Friday’s show, starting 8pm and featuring Self Is A Seed, Bellusira and The Wire. Saturday night welcomes The Dead Love, Jack Nasty Face, Ugly Bitch and Rack N Ruin to the venue from 8pm, $12, and Sunday’s line up, from 4pm, includes The Duchesses, Palaces, Xenograft, Godswounds, Akh-Naut and Squawk for $10.

JAMMING OUT super FLORENCE jam plays Beach Road Hotel on Saturday from 10pm.

DROP IN Drop into Drop this Thursday at the Beach Road Hotel, where The Strides, Firehouse, Anti DJ Crew and Mike Who will be delivering the finest of roots, reggae and dub riddim for your listening pleasure. It starts at 8pm and there’s no entry fee.

Where can we come say hi and buy you an Aussie beer? Saturday – Kings Cross Hotel

For more info see: facebook.com/streetchant

Fiona Cameron

• 66 • THE DRUM MEDIA 12 APRIL 2011

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old Dolly 59, a then 13-year- gle in the US, Puppy Love. The 19 ril Ap 20 on at Th r first sin DID YOU KNOW… Parton released he mond. Os y e a hit for Donn song later becam


THE DRUM MEDIA 12 APRIL 2011 • 67 •


live@drummedia.com.au FBI’S FAVOURITE NEW AUSSIE TRACKS The River BELLES WILL RING Hiccups JINJA SAFARI Disclosure SEALION Cucaracha THE GOOCH PALMS Hopelessman TIM FITZ Illuminate CONICS Cannibal Cod DESFONTANE No FASHION LAUNCHES ROCKET LAUNCHES Cacophonous Vibes HARMONY THE CADRES Young Ones

ARIA TOP 10 AUSTRALIAN SINGLES What Happened To Us JESSICA MAUBOY FEAT. JAY SEAN

Rapunzel DRAPHT Friday To Sunday JUSTICE CREW Who’s That Girl GUY SEBASTIAN FEAT. EVE From The Music THE POTBELLEEZ She’s Like A Comet JEBEDIAH Plans BIRDS OF TOKYO Wild At Heart BIRDS OF TOKYO Contact High ARCHITECTURE IN HELSINKI Big Jet Plane ANGUS & JULIA STONE

ARIA TOP 10 AUSTRALIAN ALBUMS The Life Of Riley DRAPHT Like What TIM & JEAN The Great Impression SPARKADIA THE WAIFS Temptation Down The Way ANGUS & JULIA STONE The Experiment ART VS SCIENCE Birds Of Tokyo BIRDS OF TOKYO Twenty Ten GUY SEBASTIAN Songs From The South Volume 1 & 2 PAUL KELLY InnerSpeaker TAME IMPALA

POWERFUL AND MAJESTIC MARK BERRY OF BURIED HORSES TALKS TO SAMSON MCDOUGALL ABOUT LITERARY INFLUENCES, PROGRESSING MUSICIANSHIP AND SHOWING THEIR RAW SIDE.

M

elbourne’s Buried Horses actually began life as The Swindlers. Why, at the peril of disconnecting with an existing support base, would you go through with a name change? “In our minds our sound matured as we became better with our instruments and the sound just changed,” hirsute vocalist Mark Berry explains. “The name didn’t suit any more so we tried to come up with something that described what our sound was about. The influence of country gets thrown around with regards to our music quite a bit, but even though I listen to it the boys don’t actually listen to that much country at all. When you think horses, you think country but this is more about a powerful and majestic animal being underground and coming out. That’s the imagery we were looking for.”

up being about death and can be a bit morbid, but it’s just the nature of it. We’re all influenced by writers like Cormac McCarthy, so in a lot of ways we’re writing soundtracks for books and such. Subconsciously we definitely follow a few themes, though we never really discuss it that much.” These common motifs—barren landscapes, the disconnection of life and relationships—allow narrative to run through their work in such a way that one wonders whether a concept album could be on the horizon. However, it turns out their songwriting is far more conventional. “It’s just our musicianship progressing. The guitar part always comes first, usually already very developed, then drums and bass over the top. They record a rough demo and give me a feel for the song, and then I write the lyrics.”

Their songs have this playfulness about them even though the thematic content is dense and stormy. “I’m influenced by a lot of different things,” continues Berry, “especially painting and books. A lot of the songs end

Berry explains that the recording experience was at times gruelling, with local producer Loki Lockwood pushing them hard. “It was a challenge for a lot of us, a real experience,” he recalls. “Loki was really passionate about the album; he had a fair idea of where he wanted to go with it also. We didn’t want too many overdubs, we didn’t want too many layers – we wanted it raw. Essentially we are a live band; we wanted that to come through.”

STORMY

Stephenson, Dave Jensen and Andy Ford in the brass section, the show starts at 7pm.

FUTURE SOUNDS

The Stormcellar boys are charging into the Pendle Inn this Saturday, complete with mandolins, bongos, acoustics and electrics. If you dig the blues and roots, head down at 11pm.

BLUEGRASS AT NOTES Grammy Award winning country and bluegrass singer Peter Rowan is heading down under with the Peter Rowan Bluegrass Band. They’ll be playing Notes this Saturday with Anne Kirkpatrick Trio at 7pm.

Club Future Beat is just that – a night dedicated to the newest and most cutting edge in the beat scene. This Friday will see Cleptoclectics playing a DJ set, Roleo, Tobio and Jozz Scott playing a joint live set, and DJ sets from 48/4, Monk Fly and Max Gosford. Get down at 8pm to the Kings Cross Hotel.

THEN GET OVER IT

WANT A DIAPER?

It’s four new Sydney bands building FBi’s The Bridge this Thursday, with Eush, Guerre, The Walking Who and the somewhat uncomfortably named Reckless Vagina hitting up the Kings Cross Hotel. The night jets off at 8pm.

No one said you had to have the utmost control of your bladder to be a badass! Bed Wettin’ Bad Boys know this already, as they play the Kings Cross Hotel with Street Chant and Straight Arrows this Saturday at 8pm. Tickets can be bought from Oztix for $10.

SQUEEZE IT OUT Lemon Squeezin’ Daddies and Pearl Noire play Belmont 16ft Sailing Club on Saturday with free entry.

INSULATED AT NOTES Hope you’re not ticklish because Kenny Feather is launching his debut album, A Different Kind Of Insular, this Thursday at Notes. With Sydney-based The Beatels playing with Kenny for the show, along with David

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

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WHO Buried Horses WHAT Tempest (Spooky) WHEN & WHERE Sunday, The Vanguard


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INTERNET SAVVY HOW BEST TO GAUGE WHICH SONGS TO PUT ON YOUR DEBUT ALBUM? YOUTUBING A SONG A WEEK FOR A YEAR WAS HOW SYDNEY SINGER/SONGWRITER MARK WILKINSON DID IT. MICHAEL SMITH INVESTIGATES. TROMBONE SHORTY

FUNK OFF It’s gonna be a night of fun, funk and ska at The Metro next Tuesday with New Orleans’ Trombone Shorty (a.k.a. Troy Andrews) and L.A.’s Fishbone clocking in for their Bluesfest sideshow. With too many awards to count between the two, it’s sure to be an energetic and action-filled live show. Tickets are available from Ticketek.

“I

t wasn’t a plan,” Wilkinson admits with a chuckle, “but it ended up helping out in the end. It sounds a bit more impressive than it was; I did have quite a few tracks already written. It was a way of getting a bit more stuff out there and I did write quite a lot of songs in the process but there was a backlog of songs I hadn’t had the chance to record and don’t often play at live shows as well, so it was good way to get a few more of those songs out there as well. “I just did it having no expectations and it was nice to see that some people were tuning in and listening to them each week. There were even some people from Europe, the UK and the States tuning in and that’s always pretty exciting.”

The album’s opening track and first single, All I Ever Wanted, was chosen by a non-profit organisation called The 21 Icons Global Project as the theme song for their global launch, which saw Wilkinson filming the clip for it in Cape Town, South Africa. “The head photographer behind the project, Adrian Stern, is a good friend of mine for a long time and had been living in Cape Town for a few years. We caught up and mentioned he was looking for some music for it so I gave him some of my stuff and the sentiment behind All I Ever Wanted really fits the project and he really liked it.” The bulk of the album was produced by former Thirsty Merc guitarist Sean Carey, apart from one track recorded with keyboards player James Englund, who has accompanied Wilkinson on the launch tour. Among the dozen tracks that make up Wilkinson’s debut album, Truth Came Running, are a song each from his two EPs, 2006’s Cellophane Life and 2008’s Counting Down The Hours. “I had quite a few people mention that they [Keep Fighting and Baptism By Fire respectively] were their favourite songs from the EPs and I quite wanted to revisit them as well and see what we could do with them.”

XPRESS TO TUDOR HALL

CELIBATE RIFLES

CELIBACY CLUB FOR GUNS Sydney five-piece The Celibate Rifles is helping Manly Fisho’s go out in style, by playing on the venue’s last day of trade this Saturday. Supporting them will be Hong Kong and MP5 (ex-Mushroom Planet).

WHAT Truth Came Running (MGM) WHEN & WHERE Wednesday, Lizotte’s Newcastle; Thursday, The Vanguard

ian Johnson o had ril 1980, singer Br acing Bon Scott, wh joined AC/DC, repl inking binge. died following a dr

That on 19 Ap DID YOU KNOW…

Ross Ward and Wards Xpress will be steaming into the Tudor Hall Hotel this Sunday. It’s an afternoon show so it starts at 4pm and ends at 7pm.

HELLO HOLLY

WHO Mark Wilkinson

on Wednesday and the Carousel Hotel on Thursday. The night starts at 8pm and is, of course, free.

THE POWER OF FOUR

FLAME ON The Flamin’ Beauties are heating up two venues this week, starting with the Mortdale Hotel on Friday at 8pm (free show) and the Royal Hotel on Saturday at 9:15pm.

Steve Edmonds Band is playing a number of gigs this week, kicking off the run at the Empire Hotel at 7.30pm on Thursday, the Pyrmont Bridge Hotel at 8.30pm on Friday, the George Tavern at 8.30pm on Saturday and finally the Heathcote Hotel at 2pm on Sunday.

JAM AND TOAST

KISS KISS

SUGARCOATED

The Musos Club Jam Night will be held by Jim Finn on two nights this week, so dust off your improvisation caps and instruments and get down to the Bald Faced Stag

KISSTERIA: The Australian KISS Show comes to Revesby Heights Ex-Servicemen’s Club on Friday, with I-JUNK coming along for the ride from 8:30pm.

Sydney rock group SugarSun is playing the Annandale Hotel this Wednesday with a couple of other bands in tow. The show starts at 7.30pm.

Holly Throsby and her band The Hello Tigers are celebrating the release of her fourth record, Team, this Saturday at the Milton Theatre. With drums, accordion, cello, bass and mandolin providing lush instrumentation, she’ll be supported by Melbournebased Laura Jean.

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THE DRUM MEDIA 12 APRIL 2011 • 69 •


CHICKS WHO LOVE GUNS

GUNNING FOR IT

BUSBY MAROU

BANG BANG Folk-inspired pop duo Busby Marou (a combination of the last names of the two) is hitting up The Brass Monkey this Wednesday with Bang Bang Boss Kelly. The show starts at 7pm.

KENNY FEATHER Your music is…? Adult music, rocky, funken.

Which acts inspired you to produce your own music and why? As a ballet dancer, I had the pleasure of hearing/ working with amazing composers performed live and recorded, some old, some new and too many to mention. They have always stayed with me. In the literal singer/songwriter sense, I would have to say Tim Buckley would be one of my first inspirations (I think it was his eyebrows) followed by the KLF (mainly cause that’s my initials). Of late I love listening to 1950s/‘60s RnB.

What’s your wildest ambition for your music? To write and perform Stalker The Musical: a story of a man hiding in a bush (administration).

Why should we come and see you? Because the dinner menu and music has been specially written for seated people. We have got some amazing players working behind, like the guys from The Beatels and Stan from Aussie Doors’ Show, also John Hibbard and Stuart West on horns, and from Spirit Of The Land and The Web Scott Wilson on didgeridoo.

How do you find the local live scene? I saw the ACO recently, that rocked! All the little gigs i’ve played at have been pretty dam cool too. But overlording all, to me I think the local scene is being consumed by the Big Day Outs, the ‘Walmarts’ of music.

What’s your greatest Rock’nRoll moment? That, my friend, would be in my bathroom, midSpring in 1999.

For more info see kennyfeather.com A Different Kind of Insular – debut album

TWO FOR MARK Mark Wilkinson is playing a couple of gigs this week, starting with Lizotte’s Newcastle on Wednesday with support from Hunter & King, Duncan Woods and Meags Hill. He then heads to The Vanguard this Thursday from 6.30pm for a $15 entry fee.

BURY ME Melbourne’s Buried Horses are launching their newest album this Sunday at The Vanguard, with special guests The Walk On By and Trent Marden of The Holy Soul. Doors are at 8pm and it’s $12 entry.

Consider wearing your bullet-proof vest to Purple Sneakers at The Gaelic this Friday, ‘cause Chicks Who Love Guns will be there. Launching their single, God, Love and Satan, prepare to be blown away. They’re joined by four-piece Redcoats, The Rubens and a bunch of DJs. Redcoats also plays the CBD Hotel on Saturday.

PAL SHELDON

GLEBE GREATNESS The Excelsior Glebe this week plays host to a number of musicians, starting Thursday with Pal Sheldon, Brett Every and Shane Flew. Friday’s guests are Stewart Says and Maxine Kauter, and on Saturday it’s Old Man Crow and White Knuckle Fever.

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INDIE/ALT SHOW This week’s indie/alt show at Valve Bar finds Buried Spheres, Z Blunt, Whipped Cream Chargers and Awkward Postures playing the first Humbletone Festival. Get down on Thursday night.

MELLOW OUT Rock’n’rollers supposedly mellow out this Thursday at The Brass Monkey, with Blackie of The Hard Ons going solo and acoustic this week. Along with him, we have Leadfinger and Cronulla-based A*rock Newman on the bill. The show starts at 7pm.

CRANK IT Friday from 7pm at Valve Bar, Amodus, Sodomiser, Jaded Empire and Boundless kick out the good stuff.

DIG THIS Dig (also known as Directions In Groove) is busting out the groove at The Brass Monkey this Saturday with their take on acid jazz/funk/groovetastic jams, joined by Kadey Garnet. The show starts at 7pm.

MAC ATTACK The Macquarie Hotel’s regular free shows continue this week, with Arabesk playing Wednesday, Merenia & The Way from 8:30pm Thursday followed by Samba Mundi from midnight, Amali Ward in the early slot Friday followed by Gang Of Brothers at 12am, and Andrea Marr & Pete Cornelius on Saturday.

CLAUDE HAY

GET ME SOME Claude Hay is taking a break from his day job as a pizza tester (which inspired last year’s Deep Fried Satisfied, which is obviously the most important part) to support The Beards along with Gay Paris at The Vanguard this Friday. The show starts at 8:30pm. The Beards are also playing Hotel Gearin the next day, and the Grand Junction Hotel on Sunday.

Next available at:

T

here’s not much on earth like a healthy dose of nostalgia and with everyone’s favourite children’s entertainer Peter Combe currently touring his Wash Your Face In Orange Juice show, Drum caught up with him to find out if the juicy juicy green grass is always greener on the other side. If you ran out of orange juice, what would you wash your face in?

Thursday – Notes

A nice, runny, icky sticky toffee apple. Belly flopping on a pizza is “ewww” – where is it acceptable? 1) At the Big Day Out. 2) During question time in the House of Representatives. 3) In church while listening to a boring sermon. Five best occasions for which to wear a newspaper hat? 1. When having a bath. 2. In parliament.

HELL CITY GLAMOURS

HAPPY BIRTHDAY JONO The elusive Jono Barwick from many a Sydney band is turning 35 this month and having a bit of a bash to celebrate, bringing some old bands out of the dust and inviting a couple of mates along to play too. It happens Friday at the Lansdowne, and the line up includes Lo!, Lawyers, Guns & Money, The Optionals and the ultimate birthday surprise, featuring some tunes from TUBbH, Domestic Clone Unit, Hell City Glamours and Degeneracy. Come help Jono celebrate his birthday for free. • 70 • THE DRUM MEDIA 12 APRIL 2011

3. When sitting on the top of Mt Everest. 4. When paragliding from the top of the Sydney Opera House.

ESSENTIAL VIEWING

5. At the next Peter Combe concert.

OWL EYES – FACES Melbourne singer/songwriter Brooke Addamo, known under her alias Owl Eyes, delivers a gorgeous slice of electro-tinged indie pop with this tune and lovely little accompanying video. She’s standing in some kind of tame wilderness with her band, candles surrounding, singing with unbridled passion as glitter sparkles from her eyes. There are also cameos from Miami Horror and our own contributing editor and The Breakdown columnist, Adam Curley, so keep your eyes open for them!

Have you kept up your dietary regime of eating spaghetti bolognaise every day throughout your career? Yes except for 27 June, 1992 when I wasn’t well and on doctor’s orders, consumed three large buckets of juicy juicy green grass.

Directed by Antuong Nguyen

Next available at:

http://bit.ly/fxd2uj

Friday – Oxford Art Factory

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ep FOCUS

SEEKAE

MISTA SAVONA SOUNDSYSTEM

KIRA PURU & THE BRUISE

DUST TONES

FIND YOUR WAY

THE LIAR

Seekae will be performing at the Manning Bar this Saturday to celebrate the release of +Dome and its Album of the Week win at a number of community radio stations. Ghoul and Bardeya will be supporting the boys and tickets are available online.

Kira Puru & The Bruise are launching their second offering, The Liar, at Oxford Art Factory on Thursday with The New Brutalists, Friday with Doug Williams, Saturday at Hotel Gearin with The Beards and Sunday at The Brass Monkey with Mother & Son.

You’ll be partying in the dust this Friday at Tone, with a huge bill of roots, reggae and dancehall artists to satisfy your cravings. Mista Savona Soundsystem & Vida Sunshyne, Nick Toth, Firehouse, Foreigndub, Mike Who, DJ Ability and Bentley are set to get your night going from 9pm onwards.

e 104. ad Leonard – the 19 April 2003, Conr usician in Great Britain – died at ag m oldest working Porter. la Clark and Cole tu Pe th wi ed rk wo He had

That on DID YOU KNOW…

How long did it take to write/record? Over the first six months of the band. We recorded seven songs as demos with Jack Farley (Beaches, Love Of Diagrams) before we had played a show but they turned out better than expected so we released them on 7” vinyl with two bonus download tracks.

Live and loud rock records recorded with a minimum of fuss. We wanted to capture the rawness of a live performance with no overdubs except for vocals. We only did three takes of each song.

29 IN LEAP YEARS

The Illawarra Folk Club will host Dark Horses with Keith Donnelley and Flossie Malavielle at City Diggers this Saturday, along with support from Victoria’s Nick Charles. The show will begin at 7.30pm and costs $20 for non members.

28 Days is playing a show at Manly Fisho’s this Friday, with the help of The Dead Electric, Driving The Rhino and One Take…Earthquake! Tickets are $25 on the door.

YourSpace at the Town Hall Hotel this Wednesday features a whopping three bands and seven solo and duo artists – Sarah McLeod & KJ, Unendable, Dark Rainbow, The Clue, Kye & Eevee, The Belle Havens, Shalani Dennis, Corridor Of Uncertainty, Dave Sattout and Snez. The night starts at 7pm and there’s no entry fee.

We have two creatively titled 7” records we’re launching called the Red and Green records! The name came from the colour of the record pressing.

Was anything in particular inspiring you during the making?

FOLKIN’ AROUND

YOURSPACE

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

What’s your favourite song on it? The B-side on the Green 7”. Our live favourite to play and the first song we wrote.

Will you do anything differently next time?

ANGEL OF DEATH Indie folkster Ernst Carter Jnr is launching his video clip for debut track She The Evil Angel this Wednesday at The Vanguard.

EMOTIONAL Gentle Ben & His Sensitive Side hit The Vanguard this Saturday at 6.30pm. Tickets are $15 but you can grab dinner along with the show for a $44 package.

ADALITA

DOING HER ROUNDS Adalita hits up a number of venues this week, starting with Transit Bar on Thursday, the Great Northern on Friday, the Sando on Saturday and finally Clarendon Guesthouse on Sunday.

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We’re heading into a bigger studio to record our debut album in May to get a bigger drum sound but plan to record live in the same manner as before.

Will you be launching it? Saturday – The Lansdowne

For more info see: iowa.bandcamp.com

THE DRUM MEDIA 12 APRIL 2011 • 71 •


live@drummedia.com.au ITUNES AUSTRALIA TOP 10 ROCK ALBUMS

VERUSIVE

Wasting Light FOO FIGHTERS Wasting Light (Deluxe Version) FOO FIGHTERS Foo Fighters: Greatest Hits FOO FIGHTERS Reckless And Relentless ASKING ALEXANDRIA Endgame RISE AGAINST QUEEN Queen: Greatest Hits (2011 Remaster) Rumours FLEETWOOD MAC Tracy Chapman TRACY CHAPMAN GUNS N’ ROSES Guns N’ Roses: Greatest Hits Hits JIMMY BARNES

AUDREY AULD

DO YOU BOX WELL? Queensland five-piece Verusive is playing at Caringbah Bizzo’s this Friday at 8pm. Supporting them will be Boxwell.

COME FIND HER Notes this Wednesday is playing host to Tassie singer/songwriter Audrey Auld, who finds her voice through poignant country, folk and Americana tunes. This week she’s celebrating the release of her new offering, Come Find Me. Starting at 7pm, supporting her will be Camille & Stuie of the Feral Swing Katz. Auld also plays a show the next day at Lizotte’s Kincumber and another at the Clarendon Guesthouse on Saturday.

Finish the weekend with a screech on Sunday at Valve Bar, with Terrorential, Invictus, Thoughts Under Fire and more playing from 3pm.

GAELIC GETS BRUTAL It’s hardcore night at The Gaelic this Sunday, with a brutal five band bill to draw an end to the week. As Silence Breaks is headlining, with special guests Dawn Heist, Recoil, Ilcontent and Centered Self helping them out. The show starts at 4pm and is 18+ only.

MY ISLAND HOME Iconic singer/songwriter Neil Murray is playing a one-off, intimate Sydney show at Coogee Diggers this Friday, on his way to his Bluesfest appearance. The show is $23 on the door.

CUPID AGAINST VENUS Femme Fatale Rolling Papers 21 F.A.M.E. Songs For Japan The King Of Limbs I Remember Me Doggumentary Hello Fear Something Big

JUST SHOOT ME Cupid Against Venus is joined by Engage The Fall and Mark Tsang, Wednesday at Valve Bar from 7pm.

SUPER SATURDAY

SCREAMING SUNDAY

NEIL MURRAY

BILLBOARD 200 TOP 10

CAMEO LOVER Songstress Kimbra is headlining a show to welcome in her second single, Cameo Lover, this week. She plays along with Yeo and North East Party House this Wednesday at Oxford Art Factory. Tickets are available from Moshtix for $21.30.

Two shows are happening Saturday at Valve Bar; first, from 1pm, Ohne, Jackie & The Rippers, Piece Of Mind and Tear Open The Skies take the stage. The evening show, from 7pm, is a fundraiser for the Christchurch disaster, boasting a metalcore line up including Tenpenny Towers, Absolution, City Of Ghosts, To The Grave and Gutter Tactic.

BRITNEY SPEARS WIZ KHALIFA ADELE CHRIS BROWN VARIOUS RADIOHEAD JENNIFER HUDSON SNOOP DOGG KIRK FRANKLIN MARY MARY

ITUNES AUSTRALIA TOP 10 SONGS Party Rock Anthem LMFAO FEAT. LAUREN BENNET & GOONROCK

Sweat (Snoop Dogg vs. David Guetta) [remix] SNOOP DOGG & DAVID GUETTA On The Floor JENNIFER LOPEZ FEAT. PITBULL

TUNE IN Brisbane’s art-rock fivesome Tin Can Radio is performing at Mum at World Bar on Friday along with Young Revelry, as well as Transit Bar on Saturday.

Give Me Everything PITBULL FEAT. NE-YO, AFROJACK & NAYER

Price Tag JESSIE J FEAT. B.O.B Beautiful People HRIS BROWN Just Can’t Get Enough THE BLACK EYED PEAS

LOUDER NOW Four-piece Crescendo Blue plays the Roxbury, Glebe on Saturday from 8:30pm. The band has been busy writing and rehearsing, so come and see the fruits of their labour.

Coming Home DIDDY FEAT. DIRTY MONEY & SKYLAR GREY

Born This Way S&M

LADY GAGA RIHANNA

WASTE MANAGEMENT & NEW WORLD ARTISTS PRESENT

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MARCH INTO THE OCEAN TOUR 2011 ALL TICKETS AVAILABLE FROM www.britishindia.com.au

• 72 • THE DRUM MEDIA 12 APRIL 2011

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ep FOCUS

THE BOB GORDONS THE GLIMMER

OOOH, SHINY

SHANE NICHOLSON

SHANE AND CATHERINE Aussie singer/songwriter Shane Nicholson is releasing album number four, Bad Machines, and is playing his only inner-city show at Notes this Friday. Also known as husband and musical collaborator of Kasey Chambers, he’ll be playing with Catherine Britt on this night.

The Glimmer headlines The Wall on Friday, with R.S.M., Growling Hounds, The Murder Of Crow and The Dash playing from 7pm. $10 and you’re in.

RAY BEADLE

JUST BEAD IT Pete Cornelius & The DeVilles play Vault 146 on Thursday, before heading to The Brass Monkey to jam with Ray Beadle Friday.

What’s the title of your new EP and where did it come from? It’s called 12 Months Wasted, it’s a bit of a play on the fact that it took us a year to record and the idea that we spent most of last year drunk.

How long did it take to write/record? The actual recording was done over a whole bunch of late night recording sessions throughout 2010 at our own studio.

What’s your favourite song on it? Personally I’m a big fan of Tonic, the content is good and it’s just a fun song. But I like all the songs. Otherwise we wouldn’t have recorded them.

Will you do anything differently next time?

WE WANT YOU

LET’S DANCE

Any Americans reading this? If you just nodded, listen up – Saturday night at the Forbes Hotel, you get to get into the Audio Blackmail show, put on by BBM Magazine and We Love Indie, for free and also get a free beer just for being your lovely American self. Non-Americans are also welcome, of course, but on the condition that you dress in red, white and blue or something else distinctly American… Free entry for those folk too, and a complimentary beer if you email we_love@live.com. au post haste. 8pm’s the time, Forbes is the place.

Tour De Dance #15 comes to Oxford Art Factory on Saturday, with music kicking off from 9pm. Representing music from all over the world, the evening will include performances from such artists as Polynesian Aruna Po Ching, tango/hip hopper Will Centurion, as well as a host of dance teachers from the world over, with styles as diverse as Samba, dancehall and belly dance.’

charts – Paul lo singles on the UK e People, so d ha s le at Be wer To Th 71, all four That on 17 April 19 ey’s Another Day, John Lennon’s Po . DID YOU KNOW… McCartn Sw n’s My eet Lord and George Harriso sy Ea e m Co t n’ Ringo Starr’s It Do

Try to be more organised and methodical about how we record. We’ll always record our own stuff though. It’s just the freedom of time and the great environment that makes recording ourselves so appealing.

Will you be launching it?

MICHAEL WHEATLEY

THREE’S COMPANY Michael Wheatley Trio plays at the Rose of Australia from 9pm on Friday.

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Saturday – Manhattans Bar. We asked our favourite Perth bands to support us and surprise, surprise they all said yes. Project Mayhem, Scalphunter, Surprise Sex Attack and New Husseins. Everyone will have to make sure they come down early because there is no shitty opener on this lineup. Just great punk rock from start to finish!

For more info see: thebobgordons.com facebook.com/thebobgordons

THE DRUM MEDIA 12 APRIL 2011 • 73 •


live@drummedia.com.au

sinlge FOCUS

KIMBRA

Cameo Lover What’s the song about? It’s about a man who has become disconnected and broken by relationships, the song is a call to come back and embrace love and life and learn to trust again.

BOY IN A BOX

ESSENTIAL VIEWING KATY PERRY FEAT. KANYE WEST – E.T.

The song is off my forthcoming debut album Vows.

Katy Perry’s clips have entered into the ranks of the greatest videos made ever. EVER. We don’t think we need to remind you of her fireworks and whipped cream escapades, but they were pretty astounding. This one’s got Mrs Russell Brand as an alien goddess, floating around space in a multicoloured haze with some weird shots of what we can only assume are supposed to be snapshots of life on other planets. Then there’s Yeezy, of course, not aliened up at all – just chillin’ with his usual swag. In space. Yeah! This is pretty futuristic looking stuff, and whoever was in charge of doing the make up deserves a pash – it’s awesome.

How long did it take to write/record?

Directed by Floria Sigismondi

I originally wrote the core idea while I was writing in LA back in 2009 but the song only reached completion around the end of last year.

http://bit.ly/dLxULK

Is this track from a forthcoming/existing release?

What’s your favourite part of the song? There’s a really triumphant bridge for the song which is a cathartic moment for me, the choir of voices sing “the sun won’t shine if you’re not looking” as if to explain that we must seek out the joys of life in order to find them and have an open heart to receive love and light.

Do you play it differently live? Most of our live interpretations are quite different, more aggressive and heavier grooves since we have a full live band to translate.

Will you be launching it? Wednesday – Oxford Art Factory

For more info see: myspace.com/kimbramusic facebook.com/kimbramusic

• 74 • THE DRUM MEDIA 12 APRIL 2011

NY/LA STATE OF MIND The Townie’s Counterfeit tribute nights continue this month with the NY vs LA installation happening this Friday. Paying tribute to artists from New York and Los Angeles, such as Talking Heads, Blondie, Poison, Iggy Pop, Simon & Garfunkel and more, performers on the evening include Jade Starr & Mechanical Black, Rock Wankers, The Blarney Stoners, Sodomiser, The Pullaparts, UCLAWECNY, The Urban Orphans, Deyvesson, Brooke, Lynn & Chelsea, KC & Meaghan, Sally Hackett, Nancy C. Mylott and Dave Sattout. Free entry as is customary with Counterfeit nights, and kick off from 8pm.

LIFE ON MARS The Orphanage Sessions returns for 2011, headlined by alt-country/bluegrass band Dear Orphans with support from the New York-bred, Byron Bay-based

COLONISATION British India is playing one show this week, ahead of a number of dates in the coming month. They’ll be at the Annandale this Saturday and will be joined by Boy In A Box and City Riots. The show starts at 8pm.

singer/songwriter Susanna Carman. It’s happening on Saturday at Parramatta’s Mars Hill Café, kicking off 8:30pm.

BLUES CLUES Texan singer and guitarist Frank Macias, who now proudly calls Australia home, hosts the Underground City Blues Jam for all those who love the genre. It’s a fortnightly event, and happens on Sunday at the Manhattan Lounge, 6pm until late.

THE FINAL COUNTDOWN The Inner West Fest Band Comp final is here at long last, happening Wednesday at the Sando. Get on down to see who emerges victorious out of Dubious Company, Leanne Russo, Thieves, Thom Crawford and Ravenous Rabbits to join the Inner West Fest line up. Doors at 8pm.

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THE IDEA OF NORTH

FURTHER UP One of Australi’s most beloved vocal jazz groups, The Idea Of North, come to The Basement Circular Quay on Wednesday.


s g u r d e s u Do you e out ? r ’ u o y n e h w

Researchers from the National Drug and Alcohol Research Centre would like to speak to people who use drugs when they party. Face to face interviews will be conducted between March and May. The interview takes around one hour and is held at a convenient location for you. Interviews are anonymous and confidential. You will be reimbursed $40 for your time. Contact Laura on (02) 9385 0407, email nswedrs@unsw.edu.au or sms details to 0404 786 677 (you do not have to use your real name). THE DRUM MEDIA 12 APRIL 2011 • 75 •


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sinlge FOCUS BEARDED BESTS

W

ith The Beards playing at The Vanguard on Friday night, Drum caught up with hirsute bassist and vocalist Nathaniel Beard to discuss, well, beards.

NATHANIEL’S TOP 5 PEOPLE WHO SHOULD GROW A BEARD 1. Julia Gillard

BRITISH INDIA

March Into The Ocean What’s the song about? Can you imagine the feeling you’d get if you finally decided to kill yourself? A weight off the shoulders sort of feeling, that’s what we wanted the song to sound like.

Is this track from a forthcoming/existing release? No, we’re going to make a record before the end of the year but we’re not sure if March will be on it. We’re treating it as a stand alone single at the moment.

How long did it take to write/record? We were initially unsure of it but once we tracked the bare bones we knew we had something and I did some lyrics quite quickly. We tried changing the key a few times because it was really high to sing but we ended up settling back on G because it keeps a real feeling of desperation which we discovered on the Dramarama song Anything.

Last month, Prime Minister Julia Gillard publicly condemned Rob Oakeshott’s beard and beards in general, saying that beards are “not a good look”. Let me be clear, the beardless have no right to tell the bearded whether they can or can’t wear a beard. To make matters worse, Rob Oakeshott caved to the pressure and shaved off his beard. What a complete coward. The only way the PM can make things right with the bearded people of this land is to either apologise publicly to Mr Oakeshott or, even better, grow a beard herself. 2. Rob Oakeshott Mr Oakeshott should stop being such a little pansy and grow his beard back in an act of defiance, sending a clear message to the powers that be: The bearded will be pushed around no more. 3. George Clooney For too long the world’s sexiest man has been sitting on the proverbial “beard fence” with an indecisive display of stubble. Not good enough Clooney. Let’s see you a make a full commitment and really raise the profile of beards in general.

4. The Australian Army I hate to say it, but I’m ashamed of our own army. Why? Because they look like a bunch of metrosexuals, that’s why. Let’s abolish the archaic policy that stops our diggers from looking like a bunch of clean skin chumps. The Navy has the right idea. 5. Kings Of Leon It wasn’t until Kings Of Leon shaved off their beards that they became really huge. This is a sad reflection on the music industry’s and indeed the public’s attitude towards beards. But now that they’ve established themselves as a rock act worthy of the world stage, they should redeem themselves as real men and regrow their mighty beards. They should also start exclusively writing songs about the virtues of having a beard.

anti-beard people will avoid you, and you won’t have to waste your time talking to people who are, let’s be honest, closed-minded, unoriginal and ignorant. 3. You’ll feel happier.

NATHANIEL’S TOP 5 REASONS TO GROW A BEARD

Most human beings feel a void in their life – a background sense of sadness and isolation. But not the bearded. That commonly felt void is just your body yearning for the beard you’ve been denying it. The bearded don’t feel this void. Instead, they just feel completely awesome.

1. It’s the natural state of the man.

4. You’ll save time and money.

When we eat raw, unprocessed foods, we feel physically and mentally healthier. Why? Because our bodies are set up to utilise these kinds of foods. For similar reasons, it is advisable not to shave the beard. Men are naturally prone to healthy growth over the face, and when we shave that growth away, the result is that we feel unmanly, dishonest and ashamed.

The average male will spend 2965 hours of his life shaving and Gillette alone has a net profit of over $268 million per year. By abstaining from this barbaric tradition, you will not only look and feel better, you’ll also have the time and money to take up a new hobby (guitar, dirt bike riding and piracy on the high seas are popular choices.)

2. It’s a great personality filter. I think we can all agree that people who dislike beards are invariably sub-standard. If you have a beard, these

5. Chuck Norris has a beard. It couldn’t hurt you to be a little more like Chuck Norris.

Was anything in particular inspiring you during the making? The above song was pretty influential in the way it’s sung, but I think we were going for an LA pop/ punk sound. All those great records by Blink 182, The Offspring and Pennywise basically rest on the premise of great melodies and really really fucking fast drumming, which is what March is all about.

What’s your favourite part of the song? I really like the intro riff Nic plays. It’s like an ‘alright, it’s on’ sort of riff. I’m also particularly keen on the line “Put a gun to my head and paint the walls with my brain” line, which is pinched from Fight Club.

Will you be launching it?

THE CLASSIC CRIME

Saturday – The Annandale

For more info see:

CALL THE COPS

britishindia.com.au

DON HOPKINS & ROB GROSSER

Sunset Riot is causing a scene at Spectrum this Saturday, as openers for USA’s The Classic Crime. This will be the Rioters’ Easterfest 2011 sideshow and singer Del Rio’s first show back from being at Trashfest IV in Finland. The night kicks off at 8pm.

CAMELOT ESCAPADES

KUNVUK

PUMP AND GRIND Saturday at the Lewisham Hotel sees Sore, Mother Eel, Inebrious Bastard, Kunvuk and McLovin through the doors from 8pm for a good loud night of live tunes. Mother Eel hasn’t played in Sydney in over a year, despite being locals, and this reportedly could be their only hometown show this year. The first few folk through the door will receive a free CD from Grindhead Records. Entry will set you back $10 and doors open 7:30pm.

That on DID YOU KNOW…

Plenty of giggage at Camelot Lounge this week to keep you busy, starting Wednesday with The Hot Jazz Alliance, a six-piece band featuring some of jazz’s finest musicians from around the world. Doors open at 7pm, and $20 will get you in. Thursday’s Fab Femme For Japan showcase kicks off at 8pm with a $15 entry that obviously goes towards the country in crisis, the evening featuring performances from Rosie Henshaw, Kara Grainger, Jackie Marshall and Rebekah Jensen. Friday’s Mexican night features Victor Valdez and Cesar & Steve Marin playing tunes from Latin America, 7:30pm doors and $20 admission. On Saturday, Katie

SUNDAY SESSION Head to the Pyrmont Bridge Hotel on Sunday from 5pm to catch Don Hopkins & Rob Grosser, free of charge.

Noonan & Elixir headlines, supported by Miss Little Duo from 7:30pm. Finally on Sunday, it’s Russian and gypsy night as Volatinski Trio and Magic Strings play from 7:30pm.

SUNDAY DRIVE Peter Northcote’s DRIVE plays the Bridge Hotel on Sunday, with Danny Marx Young (as in son of John Paul) stepping in for a guest vocailst spot. It kicks off 3:30pm and is $10. All ages are welcome.

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!

ny Cash played at 17 April 1970, John for President Nixon, who the White House med Sue. requested A Boy Na

JOSEPH ARTHUR

“... he trances, and the voice, the meaning, becomes bigger than him... It touches something very deep and universal.” 1I',%)0 78I4), 0% 8imes PRESENTED BY

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&33/ 23; thevanguard.com.au or 02 9550 3666 | josepharthur.com | gaynorcrawford.com • 76 • THE DRUM MEDIA 12 APRIL 2011

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THUNDAMENTALS

GIG OF THE WEEK

BREAK CAUGHT

The public has spoken and selected the winners of Marrickville Council’s Catch A Break competition, which provides unsigned bands with the chance to perform at The Break festival this Saturday at Sydenham Green alongside Thundamentals and New Navy. Ungus Ungus Ungus, together for four years, plays progressive funk rock fused with gypsy and psychedelic tendencies, aiming to create tunes both familiar and out there. They also recently played Peat’s Ridge and released their first album, Giftwrapped Landmine, in 2010. Aurox formed two years ago and has already made its mark by supporting well-loved local acts like Sienna Skies, playing throttling hard rock and working hard on penning original music. Miss Krys has loved making music from a young age, relocating to Sydney at the age of 16 and beginning to pen original songs in 2007. She has played many local festivals and is known to cover songs by her favourite artists. There will also be a wild card entry announced, so keep your ears open. The festival kicks off at 12:30pm, with music playing basically all day until the 5pm wrap up. It’s free and open to all ages.


THE DRUM MEDIA 12 APRIL 2011 • 77 •


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12 - 18 APRIL 2011

TUE 12

ADAM PRINGLE BAND: Sandringham Htl downstairs DAVID SATTOUT, LEO SPENCER, ROSS BRUZZESE, KEN MCLEAN, TAOS, + GUESTS: Coach & Horses Hotel, Randwick DROVER MAD, HAYLEY LEGG, GEORGE STAV, MISSING CHILDREN, CAROLYN WOODORTH: El Rocco Kings X ERIC BIBB, STAFFAN ASTNER, THE BLACKBIRDS: Tilleys ACT HUE WILLIAMS: Jack’s Bar HUGH EALEY, PHOEBE EVE, JP HANSON, TANYA O’GORMAN, JEFF STANLEY, THOM LITTLE, CAROLYN CRYSDALE: Dee Why RSL JAZZGROOVE feat…, 20TH CENTURY DOG, REUBIN LEWIS BAND: 505, 280 Cleveland St Surry Hills JOSH CALLOWAY: Northern Star Htl Newcastle KEITH URBAN, LADY ANTEBELLUM: TAMWORTH ENTERTAINMENT CENTRE MYME, GEE WIZZ, + HEAPS MORE!: Valve Bar and Venue, Tempe OMG!: Scruffy Murphys OPEN MIC NIGHT: The Great Northern Hotel, Newcastle PAUL SUN, STAN VALACOS, MONIQUE LYSIAK: Jazsushi Surry Hills PETER HEAD: Harbourview Htl STEPPING STONE THEORY, SCOTTY MCCLINTOCK: Beach Rd Htl Bondi THE UKASTLE UKESTRA: Croation Sports Club Wickham THEY CALL ME BRUCE: Maloney’s Hotel

WED 13

ANDY MAMMERS DUO: Maloney’s Hotel ANNA SALLEH’S BOSSA BOOTS: Cru54 Bar & Kitchen ATLAS B SALVESEN, JONNY TOOK, CHLOE TULLY: The Gaelic BEN FINN DUO: Mean Fiddler Htl BUSBYMAROU, BANG BANG BOSS KELLY: Brass Monkey CAROLYN WOODORTH, + GUESTS: Blaxland Tavern CUPID AGAINST

VENUS, ENGAGE THE FALL, MARK TSANGARIS: Valve Bar and Venue, Tempe DANIEL COATES, MISS GRAY, PETER PHELPS, REGINALD THE SAFETY DANCING GOAT, DAN USHER, TIM WEEDON, RUSSELL NEAL: Kogarah Hotel DAVA PERMANA: Jazsushi Surry Hills EMPERORS, + SPECIAL GUESTS: Cabbage Tree Hotel ERIC BIBB, STAFFAN ASTNER, THE BLACKBIRDS: Tilleys ACT ERNST CARTER, DOG TRUMPET, GAI BRYANT, JOHN PIN: The Vanguard GOODNIGHT DYNAMITE: O’Malleys Kings X GREG BRYCE, ROSS BRUZZESE, ADAM FISHER, KEN STEWART, DaNIEL HOPKINS: Taren Point Htl HAYLEY LEGG, PAUL MCGOWAN, PETE SCULLY, BILLY SUNDAY, HELMUT UHLMANN: Coach & Horses Hotel, Randwick HI-5: The Cube, Campbelltown HOLLAND, HELLO VERA, TOBAIS CUMMINGS: Excelsior Surry Hills IN PIECES: Orient Htl KIMBRA, + SPECIAL GUESTS: Oxford Art Factory, Live Art Space KINETIC METHOD: Beach Palace Htl Coogee LIVE & LOCAL: Lizottes, Dee Why LUKE SWEETING: Hippo Bar ACT MAL’S OPEN MIC NIGHT: Royal Htl Bondi MANDI JARRY: Optus Centre, Macquarie Park MARK LUCAS: Petersham Bowling Club MARK WELLS: Northern Star Htl Newcastle MECHANICAL BLACK, PLATINUM BRUNETTE: Tone, Sydney MIKE BENNETT: Observer Htl MUSOS CLUB JAM NIGHT: Bald Faced Stag NAG CHAMPA: Marble Bar Hilton Htl OPEN MIC NIGHT: Down Under Bistro, Woolloomooloo PARTY IN THE USA: Sharkies PEREGRINE: Lizottes, Kincumber PETER HEAD: Harbourview Htl REVERB & LIVE & LOCAL: Lizottes, Newcastle SARAH MCLEOD, KJ, UNENDABLE, DARK RAINBOW, THE CLUE, + HEAPS MORE!: town hall Htl Newtown SUGARSUN: Annandale Htl

THE PAPER SCISSORS: THURSDAY 14, THE ANNANDALE HOTEL THE ASTEROIDS, THE CAVALCADE, SWALLOW YOUR PRIDE, ANTICS DJS: Cambridge Htl Newcastle THE CONTINENTAL BLUES PARTY: The Rose Hotel THE END: 505, 280 Cleveland St Surry Hills THE IDEA OF NORTH: The Basement THE SLOWDOWNS, BERNIE HAYES: Sandringham Htl downstairs THIRD WATCH: Scruffy Murphys TRIVIA: Riverwood Inn TRIVIA: Vineyard Htl VENUS: Ettamogah Htl

THU 14

ADALITA, AMAYA LAUCIRICA: Transit Bar ACT ADAM RENNIE: Rag & Famish Nth Syd ANDY MAMMERS: Harbord Beach Htl ANNA SALLEH’S BOSSA BOOTS: Cru54 Bar & Kitchen AUDREY AULD: Lizottes, Kincumber BIG ERLE, GRAHAM CAIN, ANDREW COUSINS: Port Macquarie Hotel BILLY WALLACE: Windang Bowling Club BLACKIE, LEADFINGER, A ROCK NEWMAN: Brass Monkey BROKEN STRINGS: Lizottes, Newcastle BRUNO MARS, DIAFRIX: Big Top Luna Park Buried Spheres, Z BLUNT, Whipped Cream Chargers, AWKWARD POSTURES: Valve Bar and Venue, Tempe CUMBRIAMUFFIN: 505, 280 Cleveland St Surry Hills

DaNIEL HOPKINS, + GUESTS: Narrabeen Sands DOMINIQUE FILLON: The Basement DON HOPKINS: The Laugh Garage, Sydney ELEPHANT GODS, THE PREHISTORICS, NIK YORKE: Landsdowne Hotel ELEVATE: Scruffy Murphys EYE TO EYE, DAY RAVIES, DANI CARR: El Rocco Kings X G4: Marble Bar Hilton Htl GREG BRYNE: Northies Cronulla HtlSport Bar HALFWIT, MAUX FAUX, ROCK DJS HARD CANDY: Civic Htl Pitt St HEATH BURDELL: Marlborough Htl HOTCAKES, BLONDE ON BLONDE, WHERE’S JEROME, THIEVES: Excelsior Surry Hills JIMMY MANN: Campbelltown Catholic Club - Caf‚ Samba JOEL SARAKULA: Dee Why Hotel KEITH URBAN, LADY ANTEBELLUM: Sydney Entertainment Centre KENNY FEATHER TRIO, THE BEATELS: Notes, Newtown KING TIDE: Shoalhaven Entertainment Centre KIRA PURU & THE BRUISE, NEW BRUTALISTS: Oxford Art Factory, Gallery LIME CORDIALE, FAKE WARS, NIKKI THORBURN: The Wall (The Bald Faced Stag) MARK WILKINSON: The Vanguard MARTHA TILSTON (UK), Anabelle Kay: Cat & Fiddle MATT JONES: O’Malleys Kings X MATT SOUTHERN, THE JAZZ FACTORY: The Great Northern Hotel, Newcastle MICHAEL MCGLYNN: Greengate Htl

MONKS OF COOL: Fountain 77 Restaurant, Glebe MUSOS CLUB JAM NIGHT: Carousel Inn Rooty Hill NAT COLE AND THE KINGS: Bull & Bush NICK SAXON, ELISEKATE: Queens Wharf Brewery Newcastle NOLIVER FIG: Down Under Bistro, Woolloomooloo PAL SHELDON, BRETT EVERY, SHANE FLEW: Excelsior Glebe PAT CAPOCCI COMBO: Northern Star Htl Newcastle PATRICK BRADY: Pioneer Tavern PETE CORNELIUS & THE DEVILLES: The Vault 146 PETER HEAD: Harbourview Htl RIC HERBERT: Woollahra Htl SAM & JAMIE TRIO: Maloney’s Hotel SHARON LANE: Dubbo RSL STEVE EDMONDS BAND: Empire Htl STEVE TONGE: Observer Htl TAMARA STEWART, JASON LEE, STEVE CHEERS, NICKI GILLIS, BOB HOWE, HILLBILLY HEAVEN: Canterbury Hurlstone Park RSL TED’S SLY BAND: Jazsushi Surry Hills THE PAPER SCISSORS, The Rescue Ships, MICROWAVE JENNY, + HEAPS MORE!: Annandale Htl TONY WILLIAMS: Guildford Leagues UNCLE JED: Lizottes, Dee Why WHITE BROS: Orient Htl ZEAHORSE, VELOCIRAPTOR, COUNT DOYLE:

Good God Small Club

FRI 15

031 ROCK SHOW: Scruffy Murphys 2 OF HEARTS: Adams Tavern 2 SHOTS CLASSIC ROCK BAND: Avoca Beach Htl 28 DAYS: Manly Fishos A.I, FLIGHT 19, JENKINS: CBD Htl Newcastle ADALITA, AMAYA LAUCIRICA, REGGA GOT SOUL: The Great Northern Hotel, Newcastle ALL STAR DUO: Penrith RSL AMODUS, SODOMISER, JADED EMPIRE, BOUNDLESS: Valve Bar and Venue, Tempe BEN FINN BAND: Jewells Tavern, Jewells, Central Coast BLUE METTLE: Matraville Htl BOB CORBETT: Lizottes, Newcastle BROWN SUGAR: Marble Bar Hilton Htl CAMBO: Parramatta RSL CARBON COPY: Customs House Sydney CHOIRBOYS: Penrith Panthers CLIFF & DUSTY: Campbelltown RSL COUGAR DUO: Vineyard Htl COUNTERFEIT TRIBUTE NIGHT: NY VS LA, JADE STARR, ROCK WANKERS, THE BLARNEY STONERS, + HEAPS MORE!: Town Hall Htl, Newtown CREEDENCE & BEYOND: Blacktown RSL DANIEL LAWRENCE: Observer Htl DANIEL LISSING DUO, IGNITION: Crows Nest Htl DAVE WHITE DUO: Woolloomooloo Bay Htl DAVID AGIUS DUO: Heritage Htl

DIRTY DEEDS - AC/ DC SHOW: Towradgi Beach Htl DJ MATT, SCOTTY SAX: Bankstown Sports Club DJ TONE: Oatley Hotel DON HOPKINS: The Laugh Garage, Sydney DRAGON: Parramatta Leagues EMMA HAMILTON: Greengate Htl ERIC BIBB, STAFFAN ASTNER, RUTHIE FOSTER (USA): Enmore Theatre FALCONA FRIDAYS, ALISON WONDERLAND, SOFTWAR, FALCONA DJ’S: Kit & kaboodle, Kings Cross FLAMIN’ BEAUTIES: Mordale Hotel FRANK TURNER, JEN BUXTON: Annandale Htl FREEFALL: Jazsushi Surry Hills GADJO GUITARS: Vivo Café, Sydney GANG OF BROTHERS: The Basement GOODNIGHT DYNAMITE: Brewhouse Pub St Marys HAPPY HATE ME NOTS, DECLINE OF THE REPTILES, TRENCH GASHES: Sandringham Htl HAT TRICK, NATALIE CONWAY: Northies Cronulla Htl HEATH BURDELL: Macquarie Htl, Liverpool HELL CITY GLAMOURS, DEGENERACY, DOMESTIC CONE UNIT, TUBBH, THE OPTIONALS, + HEAPS MORE!: Landsdowne Hotel HEY BIG AKI, ELIZABETH ROSE: Oxford Art Factory, Gallery HOLLY THROSBY & THE HELLO TIGERS, LAURA JEAN: ANU Bar ACT HUE WILLIAMS: Gladstone Hotel, Dulwich Hill HUE WILLIAMS: Teagardens Hotel, Bondi Junction IDOL KARAOKE: Carousel Inn Rooty Hill INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JAMES THE: Melt Bar Kings X JESSE: Crown Htl Sydney JIVE BOMBERS: Cronulla RSL JIVE BOMBERS: Merrylands RSL JOE MCMANUS: Northern Star Htl Newcastle JON STEVENS: Lizottes, Dee Why JONNY ROCK: Ettamogah Htl JOSH MCIVOR: Harbord Beach Htl

JP: Novotel - Brewery Bar, Olympic Park LEON GORT: Panthers North Richmond LUKE & BEN DUO: Mean Fiddler Htl MAD SEASON ‘MATCHBOX 20 SHOW’: Heathcote Hotel MAL EASTICK: Lizottes, Kincumber MANDI JARRY: Rydges Parramatta MARK TRAVERS: Castle Hill RSL MARTHA TILSTON (UK): Clarendon Guest House MATT JONES: Collingwood Htl MATT JONES: Northies Cronulla HtlSport Bar MATT TOMS: Hawkesbury Htl MICHAEL BENNETT: Ryde Eastwood Leagues Club MICHAEL WHEATLEY TRIO: Rose of Australia MIKE MATHIESON, CHRIS ALEXANDER: Canton Beach Sports Club MILLENNIUM BUG: Canterbury Hurlstone Park RSL MISSION JONES: CLUB RIVERS MUDDY FEET: Pioneer Tavern NEIL MURRAY: Coogee Diggers NICKY KURTA: Grand Htl Rockdale NIGHT OWL: Down Under Bistro, Woolloomooloo PARTY CENTRAL: Kro Bar, East Leagues Club, Bondi Junction PAUL BURTON: Wickham Park Htl Islington PEARL JAM SHOW, RAGE AGAINST THE MACHINE SHOW: Bull & Bush PETER RILEY: Dubbo RSL PHIL SIMMONS: Guildford Leagues PURPLE SNEAKERS feat., CHICKS WHO LOVE GUNS, REDCOATS, THE RUBENS, PHDJ, M.I.T, MINOU, LESS THAN THREE, THOSE PIPE DJS: The Gaelic QUEEN - WE ARE THE CHAMPIONS: Engadine Tavern RAY BEADLE, PETE CORNELIUS & THE DEVILLES: Brass Monkey REBECCA JOHNSON BAND: Narrabeen Sands RED BEE: Hotel Gearin, Katoomba Rolling Stoned: Mona Vale Hotel SAM & JAMIE TRIO: Kirribilli Htl SARAH PATON: O’Malleys Kings X SELF IS A SEED, BELLUSIRA, The Wire: Excelsior Surry Hills SHANE NICHOLSON, CATHERINE BRITT: Notes, Newtown SKYSCRAPER: Hillside Htl Castle Hill

EARLY DEADLINE EASTER/ANZAC DAY EDITORIAL AND LISTINGS ARE DUE TUESDAY 19TH 5PM BOOKINGS AND ARTWORK ARE DUE WEDNESDAY 20TH 12PM

• 78 • THE DRUM MEDIA 12 APRIL 2011

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THE DRUM MEDIA 12 APRIL 2011 • 79 •


gigs@drummedia.com.au

12 - 18 APRIL 2011 SOUND STREAM: Mosman RSL STEVE EDMONDS BAND: Pyrmont Bridge Hotel STEWART SAYS, MAXINE KAUTER: Excelsior Glebe SUVI: Quakers Inn TALK IT UP: Marlborough Htl THE BEARDS, GAY PARIS: The Vanguard THE CONTINENTAL BLUES PARTY: Kyle Bay Club THE DOORS EXPERIENCE: Grafton District Services Club THE JARRAH THOMPSON TRIO, ASHA HENFRY: Port Macquarie Hotel THE OCEANICS: Great Northern Byron Bay THE OWLS, EVENING SUN, YOUNG PRETTIES: Cambridge Htl Newcastle THE ROAD CREW: Camden RSL THE STRIDES: 505, 280 Cleveland St Surry Hills TIM PRINGLE: Chatswood RSL TINA PETRONE: Kingswood Sports Club WASH YOUR FACE IN ORANGE JUICE, PETER COMBE: Oxford Art Factory, Live Art Space ZOLTAN: PJ Gallaghers Drummoyne

SAT 16

2 OF HEARTS: Brighton RSL AFTER PARTY BAND: Campbelltown Catholic Club ALLAY THE SEA, CAVERNS, TIRED MINDS, TO KILL A SUNRISE: Cambridge Htl Newcastle ANDREA MARR, PETE CORNELIUS & THE DEVILLES: Macquarie Htl Surry Hills ANDY MAMMERS, CRASH AVENUE: Mean Fiddler Htl, Woolshed AUDIO BLACKMAIL: Forbes Hotel AUSTRALIAN PLAYED: Macarthur Tavern Campbelltown BARNSTORMIN: Dundas Sports Club BAYOU BOOGIE BOYS: Nelson Htl, Bondi Junction BELLUSIA: Fitzroy Htl Windsor BEN FINN DUO: Ettamogah Htl BENJAMIN BENOLID: Down Under Bistro, Woolloomooloo BHANGLASSI, I KNOW LEOPARD, HAILER: Oxford Art Factory,

Gallery BIG BIZ COMEDY NIGHT, KENNY GRAHAM: Lizottes, Dee Why Big Yard Big Band: Penrith RSL, Castle Lounge BLACK LABEL: Hurstville RSL Club BLUE MOON QUARTET: Fairfield RSL BNO ROCK SHOW: Crows Nest Htl BOOGIE FEVER: Mounties Club Mt Pritchard BRITISH INDIA, BOY IN A BOX, CITY RIOTS: Annandale Htl CAMBO: PJ Gallaghers Drummoyne CARAMEL: Maloney’s Hotel CHOIRBOYS: The Cube, Campbelltown CHRIS ABRAHAMS, MIKE COOPER, DAVID MACRAE: The Sound Lounge Seymour Centre CLAUDE HAY: Jewells Tavern, Jewells, Central Coast COUGAR DUO: Engadine Tavern CRAIG THOMMO: The Belvedere Htl DANGEROUS!: Northern Star Htl Newcastle DAVE & DEAN, NORTHERN SOUL POSTER BOY: Hollywood Htl Surry Hills DAVID AGIUS DUO: Penrith Panthers DEAN RIAS - ELVIS SHOW: Penrith RSL, Showroom DES GIBSON: Lansvale Htl DIG: Brass Monkey DIRTY DEEDS - AC/DC SHOW: Padstow RSL DJ MICHAEL STEWART: Jacksons on George DJ TRAV K, OMG!: Queens Wharf Brewery Newcastle DON HOPKINS: The Laugh Garage, Sydney DORA D DUO: Northies Cronulla Htl ELEVATION-U2 SHOW: Orient Htl ERIC BIBB, STAFFAN ASTNER: Sutherland Ent Centre FIONA LEIGH-JONES: Harbord Beach Htl FLAMIN’ BEAUTIES: Royal Htl Springwood GANGA GIRI: The Rhythm Hut, Central Coast GENTLE BEN & HIS SENSITIVE SIDE: The Vanguard GEOFF RANA: Sir Joseph Banks Hotel GUINEAFOWL, LIME CORDIALE: Mona Vale Hotel HAPPY HIPPIES TRIO: Kro Bar, East Leagues Club, Bondi Junction HEATH BURDELL: Northies Cronulla HtlSport Bar

JACK NASTY FACE: SATURDAY 16, EXCELSIOR HOTEL, SURRY HILLS HOLLY THROSBY, LAURA JEAN: Milton Theatre HUE WILLIAMS: Teagardens Hotel, Bondi Junction JAMES DEVITT, ZIKO HART, JASON MATTS: Belrose Bowling Club JEDDY ROWLAND, MIKE SILVER: Cohibar JO ELMS DUO: Western Leagues, Leumeah JOEL SRAKULA TRIO: Kirribilli Htl JON STEVENS: Lizottes, Newcastle KAREN O’SHEA: The Entrance Sails Stage KATIE NOONAN, ELIXIR: Camelot KILLER QUEEN: Panthers Cardiff LEROY & THE RATS: Mingara Rec Club LGT: Roxbury Htl Glebe LJ: Crowne Plaza Terrigal MAL BARNES: Hills District Bowling Club MAL’S OPEN MIC NIGHT: Panania Htl MANDI JARRY: Woolloomooloo Bay Htl MARIALY PACHECO SOLO, LISA PARROT TRIO: 505, 280 Cleveland St Surry Hills MARTHA TILSTON (UK), Anabelle Kay: Paddington Uniting Church MATT JONES: Castle Hill RSL MENTAL AS ANYTHING, THE RADIATORS: Campbelltown Tennis Club MICHAEL WOODS: Chinese Laundry MICK BUCKLEYS PIANO SHOW: Ballina RSL MIKE MATHIESON, CHRIS ALEXANDER: Petersham RSL MOTHER EEL, SORE,

INEBRIOUS BASTARDS, KUNVUK, MCLOVIN: Lewisham Htl NICKY KURTA DUO: Bankstown Sports Club NIGH BEAT, THE VANDEMONIANS: Cat & Fiddle NINTH PILLAR: Caringbah Bizzos OHNE, JACKIE & THE RIPPERS, PIECE OF MIND, TEAR OPEN THE SKIES: Valve Bar and Venue, Tempe (Afternoon) OLD MAN CROW, WHITE KNUCKLE FEVER: Excelsior Glebe ONE HIT WONDERS: Tracks, Epping Htl PAUL SUN, MATT LAMB, MARK BATTY: Organic Food Markets, Leichhardt PEPPER: Marlborough Htl PETER HEAD: Harbourview Htl PETER ROWAN BLUEGRASS BAND, ANNE KIRKPATRICK TRIO: Notes, Newtown PLAY IT COOL: Yass Soldiers Club POLLYANNA JONES TRIO: Gosford RSL REBECCA JOHNSON BAND: Carousel Inn Rooty Hill RECKLESS DUO: Mean Fiddler Htl REDCOATS, REIN ROOM, HATS BENNET: CBD Htl Newcastle RELOAD: Bargo Hotel ROB HENRY, JOSH MCIVOR: Observer Htl SEEKAE, GHOUL, BARDEYA: Manning Bar Syd Uni SHARRON BOWMAN: Brewhouse Pub Marayong SHY BABY: Yamba Bowling Club SOUNDS LIKE SUNSET, IOWA, SKULL SQUADRON: Landsdowne Hotel STEVE EDMONDS BAND: George Tavern, East Maitland STORMCELLAR:

Pendle Inn STORYTELLER: Artichoke Café Manly TALISMAN: Kingswood Sports Club TED NASH: Picton Htl TENPENNY TOWERS, ABSOLUTION, CITY OF GHOSTS, TO THE GRAVE, GUTTER TACTIC: Valve Bar and Venue, Tempe THE BEARDS, KIRA PURU & THE BRUISE: Hotel Gearin, Katoomba THE CELIBATE RIFLES, Hong Kong, MP5: Manly Fishos THE DEAD LOVE, JACK NASTY FACE, UGLY BITCH, RACK N RUM: Excelsior Surry Hills THE DOORS EXPERIENCE: Sawtell RSL THE ELLIS COLLECTIVE, D’OPUS, ROSHAMBO, BRASS’ERE, + HEAPS MORE!: GAREMA PLACE, CANBERRA THE HOLIDAYS, GOLD FIELDS: Great Northern Byron Bay THE JACKS: Oatley Hotel THE LAIRS, GLENY RAE VIRUS: Wickham Park Htl Islington THE OCEANICS: Lennox Point Hotel THE REBEL ROUSERS: Ettalong Bowling Club THE VOLATINSKY TRIO, LARISSA BURAK & MARK ISAACS: Zenith Theatre Chatswood TIM KENDELL: Guildford Leagues TIN CAN RADIO, READABLE GRAFFITI: Transit Bar ACT TONE RANGERS: Riverwood Inn YOUNG REVELRY, JARRAH THOMPSON:

The Great Northern Hotel, Newcastle

SUN 17

ACE: Brighton RSL ALLAN CASWELL COUNTRY: Penrith RSL, Castle Lounge ANDY MAMMERS: Woolloomooloo Bay Htl AS SILENCE BREAKS, DAWN HEIST, RECOIL, ILLCONTENT, CENTERED SELF: The Gaelic BLUEPRINTS TO DUST, BOSOM, + GUESTS: Excelsior Surry Hills BLUES BOMBERS, CASS EAGER: Wickham Park Htl Islington BLUES SUNDAYS: Artichoke Café Manly BORDERTOWN: Petersham Bowling Club BURIED HORSES: The Vanguard CARL FIDLER: O’Malleys Kings X CHRIS ALEXANDER TRIO: Mt Annan Food & Wine Festival COASTAL CRAZE: Gosford RSL DAVE MCMASTER: Campbelltown Catholic Club DAVE WHITE DUO: Northies Cronulla Htl DAVID AGIUS DUO, NICKY KURTA: Ettamogah Htl DI SOLOMON: Campbelltown Catholic Club - Caf‚ Samba DOLLSHAY: Mean Fiddler Htl DR DON’S DOUBLE DOSE: Pyrmont Bridge Hotel DRAPHT, MANTRA, THE TONGUE: Great Northern Byron Bay EAT SKULL, SLUG GUTS, BED WETTIN BAD BOYS: Sandringham Htl EVAN LOHNING: Jazsushi Surry Hills HAT FITZ, CARA ROBINSON: Lizottes, Dee Why

HUNTER & SUZY OWENS: Marrickville Bowling Club JESS POLLARD TRIO: Bankstown Sports Club JO FABRO BAND: Woollahra Htl JOHN LEIGH CALDER TRIO: Clarendon Guest House JON STEVENS: Lizottes, Kincumber KENNY KITCHIN, EMMA HANNAH, GEORGE PAYNE: Picton Bowling Club KIRA PURU & THE BRUISE: Brass Monkey KIRK BURGESS: Oatley Hotel KLASSIC BLAK: Belmont 16ft Sailing Club MAL GATT LATIN JAZZ TRIO: The Entrance Sails Stage MAL’S OPEN MIC NIGHT: STING BAR, CRONULLA MARTY STEWART: The Belvedere Htl MATT JONES, ROB HENRY, MIKE BENNETT: Observer Htl MELODY POOL: Fubah on Copa, Copacabana MIDNIGHT DRIFTERS: Kro Bar, East Leagues Club, Bondi Junction NICK CHARLES: Cat & Fiddle NO IDEA: Old Canberra Inn ACT PAUL FISHER: Hurstville RSL Club PETE CORNELIUS & THE DEVILLES: Towradgi Beach Htl PETER NORTHCOTE, DANNY MARX YOUNG: Bridge Htl Rozelle PETER ROWAN BLUESGRASS BAND: Lizottes, Newcastle POINTLESS SUFFERING, ILLUSIONS, TO THE GRAVE, AGAINST THE TIDE, As Chaos Unfolds, OREANA: Lucky Oz Tavern, St Marys RAUL MALO: The Basement RAY BEADLE: Mt Kembla Htl REPLIKA: Waverley Bowling Club RUSSELL NEAL: CLUB TOTEM, BALGOWLAH SAM & JAMIE SHOW: Northies Cronulla HtlSport Bar SCREAMING SUNDAY: Annandale Htl SHANE MACKENZIE: Cohibar SHANE PACEY’S BLUES TRIO: Bombaderry Htl SOUL PATROL, BENNY VIBES, ADAM KATZ: Beach Palace Htl Coogee STEVE EDMONDS BAND: Heathcote Hotel

Stir Crazy: Riverstone Sportsman Htl SUSAN GAI DOWLING, CARL DEWHURST: Lane Cove Art Market SUSAN GAI DOWLING, CARL DEWHURST: Lane Cove Plaza SYDNEY BLUES SOCIETY: Botany View Htl TANGO BAR: Riverside Theatre Parramatta TED NASH: Collaroy Beach Hotel TERRORENTIAL, INVICTUS, THOUGHTS UNDER FIRE: Valve Bar and Venue, Tempe (Afternoon) THE BADDIES: Sandringham Htl downstairs THE BEARDS, CLAUDE HAY: Grand Junction Htl Maitland THE MAGIC STRINGS ENSEMBLE, THE VOLATINSKY TRIO: Camelot THE SANTANA SHOW: Beaches Htl Thirroul THE WHITE BROS: Club Five Dock TURNER & SIMMONS: Forest Lodge Htl, Glebe WARDS XPRESS: Tudor Hall Hotel YUKI & JOHN MACKIE, TONY BURKYS, BOB GILLESPIE, RICHARD BOOTH: Central Coast Leagues ZOLTAN: Harbord Beach Htl

MON 18

BEN & LACHLAN: Lansdowne Htl Daniel Falero, Pierre Della Putta, Phil Taig, Rinske Geerlings, Ed Rapo: El Rocco Kings X DERKAJAM: Sandringham Htl downstairs GRACE JONES: Sydney Entertainment Centre JOSH MCIVOR: Scruffy Murphys MICHELLE SHOCKED: The Basement MONDAY MUSIC CLUB: Northern Star Htl Newcastle REASTON KAY CAMERON: 505, 280 Cleveland St Surry Hills SARAH PATON: Observer Htl SNEZ, HAYLEY LEGG, CHRIS BROOKES, RUSSELL NEAL: Kellys on King Newtown SONGWRITER SESSIONS: Excelsior Surry Hills THE CONTINENTAL BLUES PARTY: Town Hall Htl, Newtown WARREN MUNCE, HELMUT UHLMANN: Orange Grove Htl

CoopersTV is a dedicated YouTube channel featuring all the great stuff Coopers are into. Things like music, food, grassroots sport and of course, beer. Check out Rock ‘n’ Roll BBQ with comedian Matthew Hardy, The Australian Music Prize (AMP), RocKwiz Road Stories with Brian Nankervis, plus much more. All exclusive to CoopersTV.

• 80 • THE DRUM MEDIA 12 APRIL 2011

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We’ve brewed a TV channel.


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more information at www.fbiradio.com THE DRUM MEDIA 12 APRIL 2011 • 81 •


BROUGHT TO YOU BY

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

BONDI PAVILION MUSIC PROJECTS The Bondi Pavilion is running some great new programs down in its music studios but needs you, the budding musician, to get involved. Dubbed The Next Wave Project, the newest program is designed for all those who think they might have missed out the first time around, so if you’re in your thirties or forties, sing or play a musical instrument and always wanted to join a band but never really got around to it and are keen, this might just be what you’ve been looking for. Participants will work with industry professionals to learn songwriting, rock music concepts and record a professional CD of their newly created work. Then there’s the Emerging Artist Project, whereby musicians soloists and bands that have never previously recorded professionally can apply for the chance to record their music. If selected to the program, you will get to work with a professional producer and sound engineer, be given 15 hours of studio time and get all the expert advice you need to take you to the next stage of your career. Of course the big pick at the Pavilion is the annual and always popular Bondi Wave music course, offering a variety of workshops and programs, for which bookings are now open. The course runs Monday 16 May through Saturday 6 August, with recording sessions through till late August. For details and to book a place check into the Waverley Council website www.waverley.nsw.gov.au or call (02) 8362 3405.

HALLIDAY FOR ENTECH 2011 ENTECH, Australia’s leading biennial trade show for the entertainment, live events and corporate installation sectors, will once again take over the Sydney Convention & Exhibition Centre in Darling Harbour Tuesday 19 through Thursday 21 packed with the latest pro audio, lighting and audio visual equipment, but will also be hosting the Society of Motion Picture & Television Engineers (SMPTE) conference and exhibition. The first international speaker to join ENTECH’s educational program will be Rob Halliday, who actually started out working as a lighting designer with Daddy Cool and has gone on to work on theatre productions as diverse as My Fair Lady and Equus. Halliday is now based in London. For details and booking, check into ENTECH’s website.

MOVIE WITHOUT PICTURES

TEXAN BAND OH SLEEPER WAS IN THE STUDIO RECORDING THEIR THIRD ALBUM WHEN MICHAEL SMITH CALLED. SINGER MICAH KINARD FILLED HIM IN ON ITS MAKING.

who needs to see the whole picture before he can fully commit to his part of the process. “I’m more of a conceptual writer so I like all the songs to be elements of a bigger picture, so that if somebody wants to take it for face value they can, but then again if they want to dive in further they can really wrap themselves in a story. When we sit down to write an album the first thing I want to dissect is what the concept’s gonna be; I wanna know what the story is. If I know what the story is I wanna know how it ends and I wanna know what it’s like in the middle. Once I know that, it’s easier to get to those points.

M

icah Kinard, singer for Fort Worth, Texas metalcore five-piece Oh Sleeper, is calling from Planet Red Studios in Richmond, Virginia, where the band has been recording its as yet unnamed third album. They’re working with producer Andreas Magnusson (Black Dahlia Murder, The Faithless, Slow Motion Apocalypse), who has produced all the band’s albums to date. “Andreas is one of our best friends and really is like the sixth member of the band I’d have to say. A lot of the final ideas that you hear on the album came through him or he had a big say in. We just really love goin’ to him. “Now we’ve been working with him for about five years and any time you create with somebody for that long, you really kind of understand each other’s language. You’re already on the same page; you don’t have to spend a lot of time trying to convey the idea. He’s really responsible for a lot of the atmosphere of our albums and he’s really good at knowing what we’re going for and tossing in with fresh ears a new idea that really kind of tones a part or listening to it all and gelling it all together. “We have a constant reference,” Kinard continues, with a short laugh. “We always explain things in totally different realms. For example, we’ll be talking about reverb and stuff and it’ll be like, ‘It’s more like you’re on top of a mountain screaming at the top of your lungs over this vast wasteland…’ ‘Okay, cool,’ and he’ll make a reverb that in your mind matches that. Or, ‘No, this one’s more like you’re standing on your back porch talking to people…’ And so it’s all about trying to create this picture in your head, kind of like writing a movie without the pictures. We definitely see things more cinematically with our albums.”

When Drum spoke to Kinard, the band had just finished the first of a projected five weeks in the studio, had tracked all the rhythm guitars and were about halfway through recording drums. Tracking instruments separately of course means that it’s harder to create the energy that comes naturally from ensemble playing in a room together. “That’s true, but we unfortunately don’t have the luxury of having a practice space where we can jam out these songs and really work out kinks with the feeling and the vibe and everything this time around because our drummer [Zac Mayfield] actually lives in Delaware where the rest of us live in Texas. We also just went through another member change – our bassist [Lucas Starr] stepped down and we’ve got a new bassist, Nathan Grady, who’s actually an extremely proficient guitarist and a really good friend – so we haven’t had much time to work these songs out in a room, all with our instruments.

“I like to wait for the music. I do 90 percent of my writing for the album in the two weeks that I have during recording before I track the vocals, because I feel like guitar tones and notes and parts and beats and everything, they all paint a picture and they all bring a tone and that tone in itself tells a story, like the rise and fall of a song. If it starts out crazy hectic and, you know, like super spastic, then like drops out to just a dry four-on-the-floor beat with a thinned-out guitar, then it builds back up and gets really crazy again and goes straight into a breakdown, that in itself kind of tells a story. So I would rather write lyrics that accompany that story instead of everyone battling for a different view, so I can really pinpoint an emotion at the right time. Then with that there’s going to be a sound to your voice that accentuates that better rather than just some sort of bold statement, so it sounds truly organic and cinematic.”

“Instead, we use different programs to kind of get our ideas on paper and share with each other to add to and take away from, so when we get together we see it all come together on the screen in front of the producer’s chair and kind of do our tweaks at this stage instead of at the preproduction stage. The tracking itself is analogue, but the ideas and the structuring of the songs has been done digitally and we don’t want to put anything on our albums that’s not able to be duplicated live.”

Kinard used a Shure SM7 for his vocal parts, while, as he says, “On stage the 58 is my go-to for sure.” Conceptually, the new album picks up the story from where the last, 2009’s Son Of The Morning, which chronicled the last battle between God and Satan, left off. “I think as a whole the record is sounding a lot darker, a lot more technical and a little heavier than the last one, which we’re really excited about. The last record held more of a balance of melody and heavy parts where this new one is leaning a little further to the heavy I’d say.

Considering how piecemeal the evolution of the songs for the album is, it seems a little contradictory to discover that, as a lyricist, Kinard is also someone

Oh Sleeper plays The Gaelic Saturday 23 April and The Harp Tuesday 26. Their album is expected to be released later this year.

PRIZE-WINNING VYPYR For the third consecutive year, music-product retailers have voted the Peavey Vypyr Series modeling guitar amplifiers the Amplifier Line of the Year in Musical Merchandise Review (MMR) magazine’s annual Dealers’ Choice Awards. In a statement, Hartley Peavey, founder and CEO of Peavey Electronics Corporation, said, “The Vypyr has become one of the best-selling guitar amplifier lines in the history of Peavey Electronics. The unique combination of patented analog and digital technologies in the Vypyr Series gives guitar players an amazing range of tones and versatility, with highly accurate models of classic amps and effects. We’re honoured to once again earn our dealers’ resounding approval for our Vypyr Series.” Peavey also won the Dealers’ Choice Award for Sound Reinforcement Line of the Year, an honour the company has received from retailers in four of the past six years for advancements in technology such as the Versarray line array loudspeaker system and more.

SOUND BYTES Seems engineer/producer Scott Litt, whose credits include Nirvana, R.E.M. and The Replacement, finally took himself out of a seven-year hiatus after hearing demos by Portland, Oregon-base singer songwriter Alela Diane and invited her and her guitarist husband down to Venice, California to record her latest album, Alela Diane & Wild Divine, in his home studio. Philadelphia experimental multi-instrumentalist fivepiece Man Man called in Mike Mogis, the Bright Eyes member responsible for the widescreen backdrops of nearly every major Saddle Creek release, to produce their fourth album, Life Fantastic, recording it in Mogis’ Presto! Recording Studio in Lincoln, Nebraska. Glasgow four-piece Sons & Daughters called in Keith McIvor aka JD Twitch of Optimo Music to produce their new album, Mirror Mirror, his first full-length album production job as it happens, the results mixed by Gareth Jones (Depeche Mode, These New Puritans). Recorded in Los Angeles, San Francisco, Seattle and Vancouver, the new album, Codes And Keys, from Death Cab For Cutie, due out towards the end of May, saw the band’s guitarist and keyboards player Chris Walla, who has not only produced but also mixed all their previous releases, relinquished the mixing role this time, handing the job over to Alan Moulder (My Bloody Valentine, Jesus & Mary Chain, Smashing Pumpkins). • 82 • THE DRUM MEDIA 12 APRIL 2011

MAKEDON BEDELOVSKI powerful computer is more than enough to handle the load I give my mixes. Cubase is a very powerful recording platform and still user-friendly. Having no outboard gear I use inboard plug-ins like compression, delay, reverb, equalisation. I love the mixdown process because if you captured the tracks with good, clean levels, the possibilities are endless in the digital medium.

What areas of engineering do you specialise in? I specialise in recording bands and solo artists. I run madmoonstudio and have a modest yet professional setup. Capturing the initial input is important; with a clean tight take, the possibilities are endless in the modern studio. I have 17 years’ industry experience, in and out of the studio. Being an accomplished singer/ songwriter, drummer and bassist, I have ground knowledge in creating a song from scratch and work well with all styles.

Do you have any advice for young or inexperienced artists who are heading into a recording studio?

What is your favourite kind of project to work on? I try not to pigeon hole myself, I like to work with diverse genres and personalities. Coming from a rock background I understand most bands and the movement they try to achieve. I would say my favourite sort of project to work with is something original, with groove and energy that takes the listener on a journey.

nothing beats a tight performance. What kind of setup are you using?

What do you like to see from an artist or band in the studio?

I run Cubase on a Phonic Helix board Firewire 24 hk2 mixer. It can record 16 tracks at once and endless overdubs. Current running 6-9 Pioneer monitors; they’re car stereo speakers boxed like monitors and sound great. I also can rewire Reason to sync to Cubase to add drum samples and keys. Reason is a great program, with drum samples, synths and an inbuilt mixer and edit window to construct your song in sync “rewire” mode with Cubase. It also has plenty of effects and editing features. For vocal recordings I use a Behringer B-1 condenser mic. It is the most value for money mic I have ever used and I have used some quality mics. I am currently in the process of buying more mics, but I also use Shure SM58 and 57 dymamic, EV PL6 dynamic and a set of drum mics (Bardi silver flute, [two condenser overheads, snare, four toms and kick]) that I’ve recorded live drums with and they sound awesome.

Being prepared, vision and a down to earth attitude. I like to see a professional unit working together and with me to get the desired sound. Patience is a virtue but

I use the Cubase/Reason and t-racks for recording, mixing and mastering. I don’t have any outboard gear except for my Phonic mixer. I’ve found that using a

Are there any pieces of gear that you couldn’t get by without? I’m a big believer in the tradesman not the tools. I’ve worked in multimillion dollar studios and have heard better recordings on my four track… In saying that I couldn’t go far without the best judge of it all – my ears! What song/album can we listen to to get the best idea of your work? To listen to the best representation of my work visit www. reverbnation.com/motionmotive. Listen to the first four tracks, as they were written, performed and recorded in madmoonstudio by myself.

twitter.com/drummedia

Your band should know your material before coming in. Don’t get to excited about being in a recording studio; a relaxed, professional attitude will help. Don’t think that party drugs will help your performance as this is a lie! Also, have a good night’s sleep, bring your lunch or lunch money, have a good rehearsal two days before and the day before try to relax and focus on a fresh performance, try to have fresh strings on guitars and basses, have a plan of what your trying to achieve. Do you have any words of wisdom for those wanting to become an audio engineer? Listen to as much music as possible and protect your ears for they’re your life in this game. Read up on the net and in mags about new technics and gear and if you have the money do a course at one of many fine audio engineering schools in the country or abroad! Where are you based? Madmoonstudio is based in north Wollongong. An hours drive south from Sydney. Contact details: www.motionmotive.com/madmoonstudio www.reverbnation.com/motionmotive makedon77@hotmail.com 0401320206


YOUR AD IN THIS SPACE CALL JAMES AT DRUM MEDIA ON 9331 7077

GET YOUR AD IN THIS SPACE!

CALL JAMES SEENEY 9331 7077 THE DRUM MEDIA12 APRIL 2011 • 83 •


YOUR AD IN THIS SPACE

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YOUR AD IN THIS SPACE

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Don Bartleys

Benchmark Mastering Rates from $110 per track Results, Experience, Equipment, and the best ears in the business INTERNATIONAL STANDARDS WITH OVER 50 YEARS EXPERIENCE. DON’T COMPROMISE YOUR MUSIC

www.benchmarkmastering.com 02 9211 3017 info@benchmarkmastering.com • 84 • THE DRUM MEDIA 12 APRIL 2011


EMPLOYMENT

CASES

ENTERTAINMENT

New hard case for acoustic guitar. 105cm x 42cm x 15cm, Lockable (with key) Ph: 0402327153 $50

Freelance Fashion Mag Columnist/ Blogger for D.H.A Magazine. Regular column featured in mag plus on blog. Email dhamagazine@gmail.com for info iFlogID: 12178

Singer Prefrence Cover hits, movies, in Ads up to 17 And over 50 movies 9 Poster ads Latest: no14 Paved Paradise (put up a Parkin lot Game of Love Top 8 England

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COMPUTERS Apple E-MAc for sale. Bondi NSW. 17”

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DRUMS JACK SAVAGE’S CYMBALS

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SALES & MARKETING I need people to send eMails to Libraries around Australia offering a new music Book for sale. Applicants need their own computer - payment is commission based via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@ yahoo.com.au

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Share Pro Recording Studio.opportunity for engineer/producer take career to whole new level in pro studio. You get access to all gear and rooms guaranteed 4 full days per/week if not more.Share Rent $270per/week. www.jumbostudios.com.au Ph:0450 144 399 iFlogID: 12091

FOR SALE AMPS CARVER 1800W PA HEAD.Rack mount.Split mono.with BOSE controller/pre-amp.8 speaker outputs.Very loud.In case.Cost over $2500.Sell $850.Ph.0428744963. Cooroy. iFlogID: 12112

Vase All Valve Guitar Amp 1960’s Trendsetter 60 series.with vibrato.very loud.great tone.with 2 2/12 matching cabs.perfect original working condition.made in australia.suit collector/ enthusiast. $1200. Ph.0428744963. cooroy Qld iFlogID: 12118

Fender Blues Deluxe 40 watt tube amp for sale $1200 (negotiable) or trade for smaller amp plus cash difference! includes footswitch (channel select and reverb on/off) and amp cover. please call arturo at 0451668661 or email turo388(at)gmail.com iFlogID: 12155

Fore Sale,, Bogner Shiva Guitar Head

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Peavey Bandit 80watt guitar combo.2 channel footswitchable.reverb/ saturation.great fat tone.USA made.VGC. Ph.0428744963.Cooroy iFlogID: 12116

BASS Fender Squier P-bass for sale $320 mint condition, include gig bag If interested call arturo 0451668661 or email turo388(at)gmail.com iFlogID: 12159

Fender Squire “Jazz” Bass Guitar. Comes with Ashton Hard case. Both in mint condition, as new. Barely used. Looking for quick sale. iFlogID: 12249

GIBSON Epiphone SG BASS Guitar. solid mahogany.plays great.loud/fat tone.not heavy like a fender.VGC.$450. Ph.0428744963.Cooroy. iFlogID: 12120

Martin BC-15E cutaway acoustic bass guitar with Fishman Prefix Pro Bass Pickup System and hard case. Solid Mahogany construction. As new in Mint Condition. Barely used. $2150 ONO. RRP is $2750. Call Dan 0421 767 679 or email pilsbot@hotmail.com iFlogID: 12552

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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 iFlogID: 12379

TAMA ROCKSTAR (MADE IN JAPAN) 6 PIECE KIT WITH ZILDJIAN CYMBALS.10”,12”,13”,16”,22”, PEARL STEEL SNARE, HARDWARE, BARGAIN, $725. PH 0419760940 We have to Clear our floors for renovations. With Over $2000 worth of Cymbals Heavily REduced, Quality Drum Kits - And LOTS MORE Guitars and All **WE CAN DELIVER OZY WIDE** Call, email, DONT MISS OUT - www.musiccavern.com.au iFlogID: 12266

YAMAHA CUSTOM SHOP DRUM KIT Yamaha Professional Custom made Maple and Gold plated drum kit, used at Channel 9 Studios twice only by legendary Australian studio Drummer Gary Haines. 2 custom Snares (1 piccolo) 4 custom Toms + Floor Tom 6 Sabian Symbals and stands 1 Pro Hi Hat 1 Pro Muno “chain drive” bass kick 1 Custom “power tube” Bass drum. 1 set repalcement heads Assorted new sticks, brushes, beaters. Pro percussion extras cowbells, cabasa etc. Immaculate cond, professional use only. Offers considered. Ph: 0417017335 or email:keithaitv@ yahoo.com iFlogID: 12486

GUITARS FENDER PINK PAISLEY STRATOCASTER. Genuine 80’s model. All original. Plays great. Beautiful tone & action. Very rare. VGC. in case. $2500 ono. Ph. 0428744963. Cooroy. iFlogID: 12114

GODIN MIDI GUITAR ACS SA Nylon string semi-solid body with piezo and 13-pin MIDI output plus the Terratec Axon AX100 Synth controller & AX101 MIDI guitar pickup. Used once. Black colour. $2,400 including delivery to any state of Australia. THE001Music@ hotmail.com iFlogID: 12222

Tenor Saxophone for sale used Temby Custom Pro Silverplated 5yo $1500 good cond. Call Mike 0420435760 Sydney. iFlogID: 12310

Rodes Classic Microphone $1250

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PA EQUIPMENT PA New. AKG Cardiod Mic, CBI 30’ XLR-XLR Mic cable,EV SXa 360 12” Active Speakers x2,Hercules b/stand,Hercules Speaker stand x2,Neutrik male XLR connector x2,Neutrik stereo jack connector x2,Soundcraft Notepad Mixer.Value $5000+ Sell $3650ono. 0449168398 iFlogID: 12056

SKB 4unit rack case for sale $100 includes custom made drawer which is removable if interested please call arturo 0451668661 or email turo388(at)gmail.com iFlogID: 12157

MUSIC SERVICES BAND MERCHANDISE Your Next Album Cover?! It’ll look drop-dead amazing with the help of the award winning Wealth & Hellbeing Creative team! We turn your local look into an international standard release. We work with bands here and worldwide-visit www.wealthandhellbeing. com Call Lix 0405809066 iFlogID: 12355

BOOKING AGENTS Artists and bands needed to play Caloundra Music Festival 2011. Applications being taken now. Head over to www.caloundramusicfestival.com. au and click Get Involved, then Artist Applications to find out more. iFlogID: 12349

EP RELEASE BANDS are you looking for an Album/ CD Release Venue in Sydney’s CBD? If so then we could be the place for you! The Manhattan Lounge in Martin Place wants to hold your next Launch- call Denise 02 9223 5585 iFlogID: 12308

Perl Gold Vintage Bass Guitar in amazing condition. It has a beautiful rich vintage tone and is a joy to play. Ph: 0402327153 $1299

Sydney Music - excellent new bands. www.swimmingpoolrecords.com

Vintage Kingston Acoustic Guitar, Sunburst, ph 0402327153, $500.

For as low as $100, you get a professional sound/pa mixer system with an operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Infovision@yayabings. com.au. Contact Chris 0419272196

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KEYBOARDS KORG TRITON Extreme88 synthesizer in new condition with sturdy keyboard stand and damper (sustain) pedal. Worth over $7,000 sell for $4,295 including delivery to any mainland state. Currently in Perth. Phone 0439 301 165 late evening Email: THE001Music@hotmail.com iFlogID: 12220

OTHER Attention Musicians, Record Collectors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com for free web-site and information on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au

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HIRE SERVICES

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PA, Lighting, Stages, Drum Risers - We deliver - We Setup - We Operate - OR DRY HIRE from as low as $99 a PA system CALL, EMAIL MATT TODAY www.musiccavern.com.au

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The ultimate party equippment used in clubs, festivals and house partys. Wireless headphones in hot pink and cool black and a transmitter allows you play two dj’s on 1 dance floor, from only $5 a headphone. www.silentdiscoking.com.au for more info. iFlogID: 12373

Songwriting Society Of Australia Non profit Org for songwriters. Provide Mnthly Open Mic Nights, Workshops, Network, Outdoor Concert,Mnthly Newsletter, Platterlog Listings, Discounting Recording. Sydney Area Lean to perform,Write,Record. Ph 9294 4236. E-mail songsoc@ozemail.com. au. Membership $45.00 p.a. iFlogID: 12214

LEGAL / ACCOUNTING DETAX GOT ME A GREAT REFUND!

Microphone, Rodes Classic 2, Top of the line studio Valve microphone, Custom spec 1” Dual Diaphagm capsule, alot pickup patterns. Vintage custom Jensen output transformer. Never used/New! in case beautiful for Vocals,acoustic instruments just $1250 half price bargin 0410500334

NOT AVAILABLE FOR FREE ADS. CL

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SELF-EMPLOYMENT

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Mandolin for sale - Washburn M3SWE F-Style Acoustic-Electric Mandolin Trans Wine Red with factory hard case. As new condition $900.00 Phone 0421851142

We are a friendly jazz band that plays music to the style of Nat King Cole. Perfect for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. For more information, contact Chris 0419 272 196 infovision@yayabings.com.au - www. yayabings.com.au/jazzband

PA / AUDIO / ENGINEERING Amazing sounding PA System + experienced engineer for hire around Sydney - $50/h. Gear: 2x Mackie SRM450V2 Speakers, 1x Yamaha MG-166CX Mixer, 2x Shure Beta 58 Microphones + leads, stands etc. More microphones can be arranged if required. 0433 946 982. iFlogID: 12098

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PASSIONATE & ETHICAL CHARITY FUNDRAISERS! Do you love animals, people, the environment? Help the worlds best charites by becoming a face to face fundraiser. We offer: Great Base, Super, Bonus & Incentives. Fun teams, no weekends, trips away & more! email: luke.szabo@waysfundraising.com

bluesfest byron bay easter time 2x return tickets with rex airlines departs sydney 22/4/11 8.10 am arrives ballina 9.50am departs ballina wednesday 27/4/11 10.10am arrives sydney 11.55 am total cost$730 phone 0405088122

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: 12246

MANAGEMENT Open Muzic Records is a new London based record label that is focused on talent, whether it’s Rock or R&B, Pop or Metal, we feel we have the ears to spot a star! Applications being taken. www.giglaunch.com.au iFlogID: 12353

MASTERING Mastering by Wayne Lotek (UK), award winning producer of Roots Manuva and Speech Debelle. From $50 per track, online service available or come into the Melbourne studio. All styles catered for, reggae, hip hop specialist. Email: wayne@lotekproductions.com Phone: 0394170760 iFlogID: 12202

OTHER An opportunity for original bands to show case their material with the chance of making some money. You will get $4 out of every $5 for every ticket you sell. Call Jeff 0418 917 400 or 4733 2003. iFlogID: 12518

Are you an artist struggling to be heard? Clk Click Publicity can help you with all your publicity needs. Check out www.clkclickpublicity.com or email info@clkclickpublicity.com/call 0420 902 446 to get in touch. iFlogID: 12298

Get your Band or Business Online Cost effectively and PROFESSIONALLY About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, and much more from $399 including Hosting! Contact info@ bizwebsites.com.au or see www. bizwebsites.com.au.

Live sound engineer available for bands and tours. Experience in all aspects of live sound. Competitive rates. e-mail: info@howlaroundproductions.com Ph: 0402 934 430 iFlogID: 12229

Mixing By Wayne Lotek. Come into the studio (Melbourne) or upload tracks and start downloading finished mixes within 48 hours. Add tape warmth with our 8 track analog stem mixing service. From $100 per track! Call now! (03)94170760 wayne@lotekproductions.com

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PA HIRE FOR DISCERNING EARS! Tired of being mixed by a Roadie who makes your band sound like the ass end of a Rhinoceros? Then why not be mixed by a professional musician/ studio producer with great quality gear, ears that work and 20 years studio & live experience? I have 2 systems available that are perfect for high end corporate entertainment, wedding receptions & private function gigs! The ‘A rig’ with 32 channel Yamaha desk, 4 fold back sends, Wharfedale speakers/wedges, QSC power amps and DBX EQ/compressors is perfect for larger venues while the ‘B rig’ with a Yamaha 12 channel 500W x 500W powered mixer is a compact yet punchy vocal system for smaller bands and gigs. Both rigs come with 2 trees of Par 56 cans, 2 x DMX controlled iColor 3000’s, hazer and dual CD player. Setup, operated, packed up, no fuss! So why not give your client or audience the sound they deserve at a GREAT price? Call Graham now on 0418 423 463 to find out how good your next gig could sound... iFlogID: 11373

SOUND/LIGHTING/EVENTS/TOURS experience at good rates www.howlaroundproductions.com 0402 934 430 iFlogID: 12617

TECHNICAL SUPPORT @ BIG MUSIC

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Mal’s Open Mic Nights are on! Royal Hotel Bondi Wednesdays, Panania Hotel Saturdays, Sting Bar Cronulla Sunday ftntly, Appin Hotel Sunday ftntly. Original and covers acts welcome, excellent sound system & lighting supplied. Mal 0413735773 go to blogs myspace.com/in4mal_entertainment iFlogID: 12506

Register Today its FREE www.ozmusiccentral.com.au be part of something bigger iFlogID: 12326

Songwriter available. I write catchy, positive, marketable and popular songs with broad appeal. APRA Full Member. To hear samples of my work go to www.custard.net.au/raoulmclay. 0434 300 959.

ARIA quality song production! Have your songs fully produced, mixed & mastered at an affordable rate with a standard above the rest! Visit www. musicentourage.com or email studio@ musicentourage.com for a free information brochure. iFlogID: 12606

Have your songs produced, mixed & mastered by industry professionals who know how to get the best from your songs at AFFORDABLE RATES! Visit www.nathaneshman.com or call 0403 498 103

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MUSIC PROGRAMMING for drums, bass, keys/synth, strings etc. Visit www.nathaneshman.com for audio examples or call 0403 498 103 AFFORDABLE RATES and QUICK TURNAROUND! iFlogID: 12547

ONLINE song production: No matter where you are in the world, we can produce anything from 1 song to a full album at rates you can afford! Email us to find out how studio@musicentourage.com www.musicentourage. com iFlogID: 12598

SONGWRITERS:Get your songs ready for the upcoming songwriting comps with ARIA quality demo packages. (Session singer also supplied) Packages start from ONLY $199! visit www.musicentourage.com or email studio@musicentourage.com for an information brochure iFlogID: 12608

Written a hit song? Record a demo with packages starting at $309 including a professional producer and session vocals Get mixing & mastering ABSOLUTELY FREE! www.nathaneshman.com 0403 498 103 iFlogID: 12549

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PHOTOGRAPHY Cardboard Box Studios www. danebeesley.com +61 402 327 153 iFlogID: 12133

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CREATIVE GUITAR TUITION Fingerstyle guitar, open tunings, slide, improvisation, blues, folk, celtic styles, music theory, ear training, singing, vocal harmonies, banjo and mandolin. All styles from Doc Watson and Mississippi John Hurt to Eric Clapton and Robert Johnson. Beginners are welcome. www.acousticfingerpicking.com www.rosestudios.com.au tel. 0431953178 iFlogID: 12333

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

PIANO: BLUES, ROOTS & POPULAR

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: 12377

SINGING LESSONS

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REPAIRS 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 iFlogID: 9350

TUITION A GREAT WAY TO LEARN GUITAR From blue to new - all styles of guitar from Chris Turner(Buffalo,Tattoo etc) Rhythm,lead, Basic skills & Songs. Recording avail www.big-rock.com. au 9552 6663 Lilyfield guitardoctor@ bigpond.com

AUDIO TRAINING @ BIG MUSIC Big Music Technical Services offers the Sydney Music community the best in Audio & Hi-Tech support, DAW design, DAW setup & integration, studio consolidation solutions, software and hardware troubleshooting. Both in house or on-site visits. Break free from technical hitches and frustration. Get your studio sorted, and get back to making music. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@bigmusic. com.au

GUITAR TUITION

Bass & Guitar Tuition in Surry Hills. Individually tailored from UNSW/ Sydney Conservatorium trained and accredited professional. Learn theory/ technique while learning the music of your choice. All styles and ages from 12 and over. Contact Christian on (02) 9280-3443 or via www.christianlaki. com

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Is your band looking to record a CD? Providing ARIA quality production for bands & artists wanting to record a single, EP or Full Album at affordable rates. Visit www.musicentourage.com or email studio@musicentourage.com to request an information brochure.

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Mal’s Open Mic Nights are on! Bondi Wednesdays, Cronulla Thursdays, Panania Saturdays and Appin/ Cronulla Sundays. Go to blogs at myspace.com/ in4mal_entertainment for all venues, dates, artist lists and photos. Contact Mal to register: openmic1@hotmail. com Mobile:0413735773

RECORDING STUDIOS

Drum lessons All Ages, levels and experience. I have a Dipolma in Drumming. This was obtained at Billy Hydes Drumcraft Drumming Academy. I have played and taught for over 17 years. Contact me on my mobile: 0402 663 469 Michael iFlogID: 12556

Drum Lessons that rock at The Drum Lounge. All levels. Record your session to CD in a sound treated room. Pro equipment including dw drums. $20 per 30 mins. 10% off March/April offer. Call Anthony on 0425250492 for more info.

SINGING-LESSONS-THAT>>ROCK<<

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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

GUITAR TUITION BY MAL EASTICK

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

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Big Music & Multimedia in Crows Nest now offer audio enthusiasts the chance experience audio training in a real studio environment. Receive software training on Protools, Cubase, Garage band and more. Sessions are customised to your needs. Don’t waste time learning the things you don’t need. Hone your skills, and enhance your productions. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@bigmusic.com.au

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

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: 11128

Your voice has the ability to sing at the Audioslave/ Muse/ Aretha/ YeahYeahYeahs level because of Design. Pick any singer you like and you can sing as good using this relaxed technique. Microphone-recording-songwritingtechniques Beginners to advanced Newtown 0405-044-513 iFlogID: 12078

Studio Skills for Singers & Rappers. Do you want to do a recording, but have no studio experience? Do you get into the studio and feel uncomfortable, can’t seem to get a good performance? 1 hour weekly sessions. cityofninegates.com/studio-skills cityofninegates@gmail.com iFlogID: 12320

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

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

iFlogID: 11667


VOICE-OVER TRAINING. Want a career in voice-overs? Learn a fun skill that could earn you extra dollars. Record radio & television scripts in a relaxed studio & try all styles with v/o artist 20yrs exp, teaching credits NIDA, AFTRS. Call VoxAmy 0409323731. iFlogID: 12522

NOT AVAILABLE FOR FREE ADS. CL Professional sax / flute player available. Can read and improvise. Jazz/ funk/rock/pop/afrobeat/reggae/dj etc. Call Mike 0420435760. iFlogID: 12312

SINGER

VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 We produce your music video from $250 (4 hour shoot,4 edit cycles). Live gig edits, multiple angles, from $150 or 1 live track from $80. All shot in full HD. d7studio@iinet.net.au ph:0404716770 iFlogID: 12170

Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We employ a range of industry professionals to insure that our products are of the highest industry standards. www.kontrolproductions.com iFlogID: 12198

Female vocalist available for band or duo/trio work around north shore or northern beaches. Chicago trained, I sing jazz/pop/rock. Looking for regular gigs, prefer over 30’s :-) Call Rosie on 0404 127 686. iFlogID: 12404

NOT AVAILABLE FOR FREE ADS. CL female singer looking for people to jam with, with possible intentions to gig. influences ups and downs, black crowes, living end, jason mraz, jack’s mannequin, silversun pickups, all time low, baby animals.western sydney. iFlogID: 12174

MUSICIANS AVAILABLE

SONG WRITER

BASS PLAYER

CAN I WRITE, RECORD AND PRODUCE A NEW SONG EACH WEEK... FOR THE NEXT 6 MONTHS? youtube.com/ helmutuhlmann - Well i’m trying to do it whilst keeping them original, unique and experimenting around with different genres! youtube.com/ helmutuhlmann

Bass player available for mature age working band. I specialize in 50s to 90s music. Huge repertoire. High standard, great equipment, also play double bass if needed. 0403357019 iFlogID: 11937

Bass player looking for Hardcore/ punk band, i have good gear + own transport. Think Madball, Sick of it all, Raised fist, Breach etc Contact Blake 0450493385 iFlogID: 12300

DJ Give your Breakdowns - intro’s and endings that extra flavor - with big bass drops - synthloops and samples Dj avaliable to join your band can sing and scream shit loads of experiance Call - 0415680575 iFlogID: 11848

DRUMMER Pro Session Drummer Custom Gear and Unique Sounds Gigs/Recording Exp for 13 yrs Call for Bookings 0425 820 547 - matt iFlogID: 12627

Professional mature-age Drummer/ Vocals/reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: nadipa1@yahoo.com.au iFlogID: 12371

iFlogID: 12102

NEED BEATS?? NEED MUSIC?? NEED PRODUCTION?? UK Mercury Prize Award Winning Producer Wayne Lotek (Roots Manuva/Speech Debelle/Ninja Tunes/Big Dada) Specialist in Hip Hop, Reggae and Urban styles. Negotiable/ affordable rates. More info and discography www.lotek.cc wayne@lotekproductions.com iFlogID: 12210

MUSICIANS WANTED BASS PLAYER 8 piece Soul/Reggae band looking for bass player. Must be able to commit to rehearsals 4 hrs a week in St Peters, friendly and ready to hit the ground running as we expect to be gigging soon. jon@low-gear.com iFlogID: 12188

Bass Player wanted! We are a new outfit from the hills area with a great sound. Good gear and transport required. EP and gigs waiting. Check us out at www.reverbnation. com/thestellaraffect Phone: Mick 0432621495 iFlogID: 12074

GUITARIST Guitarist looking for band nth beaches area blues lover. older bloke 50ish very passionate and reliable. iFlogID: 12084

Pro Session Guitarist: Email me your guide tracks and I’ll record acoustic & electric tracks on your songs with FREE editing/exporting. Fast & cheap with a great sound and quality parts! Credits: Stan Walker & Candice Alley www.nathaneshman.com 0403 498 103 iFlogID: 12545

PRO SESSION GUITARIST: email me your guide tracks and I’ll record in my own pro studio where I produce for many artists/bands. Check out the audio at www.nathaneshman.com or email info@nathaneshman.com GREAT RATES / FAST TURNAROUND / QUALITY PARTS iFlogID: 12602

U2 ! Expert guitarist in U2 songs with pro gear is looking for singer, bass player and a drummer to form U2 tribute band. Please: energy, serious approach, passion for U2’s music ! call Alex 0412 31 4711 iFlogID: 12212

OTHER Acoustic duo available! Covers and/ or originals. Harmonising Male/ female duo mixing it up between guitars + keyboard. We have a great PA: 2x Mackie SRM450V2 speakers, 2x Shure Beta 58 Microphones, 1x Yamaha MG-166CX Mixer + leads, stands etc. myspace.com/aprilskyproductions 0433 946 982. iFlogID: 12100

Harmonica player (harps - chromatic) wants to join working band. Call Jacques 0410213705 iFlogID: 12062

Bass wanted for The Melodies playing jazz,country,western swing through to Lou Reed covers.Current lineup is upright, electic and accoustic guitars,lap steel, uke, drums, vocals. Reliable, competent, enthusiastic person willing to rehearse, ready to gig. Phone 0421851142

established & Dedicated! Hard Rock bass player in sydney needed to gig and record and take old bassists place in Dirty Sweet ages prefered 18 - 25, please call 0421814437 ASAP! iFlogID: 12592

Guitar/vocalist and drummer are looking for a bass player to finish the lineup for our band. Influences: Nirvana, Red Hot Chili Peppers and STP. Call Mishka on 0404 247 555 iFlogID: 12231

Hard Edged Southern Rock “Bass Guitarist” NEEDED NOW! Skynyrd/ Blackfoot/Crowes,CCR etc. Band ready to go. Don’t be shy - “0433 904 419”. NOW! iFlogID: 12322

iFlogID: 12110

Metal bass player wanted for new band. Influences include Disturbed, Evanescence, and more. Currently writing original material. Preferred age early 20’s, at least intermediate playing level. Practice near Central Station, afternoons, once a week. Contact dragonlugia@hotmail.com for more information. iFlogID: 12070

New covers band looking for bass player to play Top40 and pub songs in and around Brisbane. Vocal ability preferable though not essential. To cover; NeonTrees, Oasis, Blink182, 3DoorsDown, FranzFerdinand, RHCP, Matchbox20 etc. Age 18-30 preferred. Call/Text 0400174747, Email akbrisband@gmail.com. iFlogID: 12104

NOT AVAILABLE FOR FREE ADS. CL Commited Drummer seeks Bass player!!!! to form/jam on a weekly basis! infl, Maiden,deep purple,etc.. age open, if interested in jamming/ forming band please, call Davo on 0420 463 161. iFlogID: 12272

NOT AVAILABLE FOR FREE ADS. CL Inner west original band seeks bass player. Why say more when you can just listen. http://www.myspace.com/ gotvillain phone Nat - 0422104553 email villainsound@gmail.com iFlogID: 12152

OZ Music Central - Join while we are setting it up. GET IN WHILE ITS NEW ! LOGON and Register its FREE www. ozmusiccentral.com.au

BASSIST WANTED for rock and roll band. st peters based. must be committed. we like ramones, pink floyd, motorhead, beatles melvins, nirvana, phil spector/brian wilson and other 60’s garage/pop just to name a few influences. call nathan 0431 317 613.

‘The Harpers’ require a bass player with vocal ability to join pop harmony trio playing covers from The Beatles, Everly’s, Mavericks, Paul Kelly and Crowded House. Professional, capable, reliable, available muso’s only. Rehearsals St George area. Call Mal 0413735773 openmic1@hotmail.com

iFlogID: 12619

Bassist/backing vocals required for OZ Rock Covers Band. Pls visit ozrockunlimited.com to view. iFlogID: 12190

DIRTY ELECTRO POP OUTFIT IN SYDNEY WITH PUBLISHING DEAL SEEKS BASS PLAYER FOR LIVE SHOWS AND WRITING/RECORDING. PLEASE CONTACT 0401 544 685 FOR DETAILS. iFlogID: 12466

Driven, Alternative style rock bass player wanted. Join full-time drummer and guitarist.Complete recording/s and perform new material. Write and arrange. Authentic gear and tones. Acoustic, electric and heavy tunes. 25-35. Call Anthony on 0425250492 for more info. iFlogID: 12239

iFlogID: 12468

Drummer needed for original Rock band ‘Alexi’. Must be reliable and professional. For more info check us out at www.myspace.com/alexitheband. To apply please email us at chantellalexi@iinet.net.au iFlogID: 12306

DRUMMER NEEDED!!!!

iFlogID: 12510

We are an indie rock band. 2 male guitarists, female drummer and female vocals. We want FEMALE BASS PLAYER. Practice in Petersham and Burwood. We have 20-30 original songs and hope to start gigs in June! Call if interested...Sarah 0450426717 iFlogID: 12536

Western Sydney band doing original material and covers seeking bass player 14-18 years old. Must have own equipment and be able to rehearse weekly in Penrith area. Gigs ready to go. Call Tanya on 0438 137 609 for more info. iFlogID: 12471

www.myspace.com/tierraoutlaws Looking for a talented, creative and dedicated bass player to complete the lineup. Please send an email with your details (e.g. name, age, experience, fav bands etc.) to: browneye_023@ yahoo.com.au First trial is Wednesday 30 March 6pm-10pm iFlogID: 12237

Well established professional drummer wanted for heavy rock band. Songs ready go. Musicians are experienced from other well-known established bands. Please no time wasters. Must be dedicated! For information, and to hear some demos, please call Sven on 0421540972. iFlogID: 12578

GUITARIST 3pce rock band urgently needs guitarist to replace existing, set recorded, ready to gig (lined up), plenty of space for self expression, you need experience, quality gear, transport, genuine good times rock n roll contact phil 0402069500 iFlogID: 12172

Creative Guitarist wanted for new and eclectic group. Looking for a songwriter of sorts with a wide and varied taste in music. From alternative prog rock, to electronica and reggae. Please email mail@intone1.com for more details.

iFlogID: 12347

Led Zeppelin Tribute require a bass player. We play only the heavy groovin’ Zep tracks! Rehearse weekly at West Gosford Haz Studios. Age 30 - 45, you must have transport, pro gear etc. Please contact scottm@y7mail.com

iFlogID: 12264

iFlogID: 12524

DIRTY ELECTRO POP OUTFIT WITH PUBLISHING DEAL REQUIRE DRUMMER FOR LIVE SHOWS AND RECORDING. PLEASE CONTACT 0401 544 685 FOR FURTHER DETAILS.

Inner-west band needs a bass player. Influences: Sonic Youth, The Cure, Children Collide, Die Die Die, The Fall, Yo La Tengo, Pavement. Must have own gear & transport. Call or text 0413943738

iFlogID: 12146

BASSIST WANTED for rock and roll band. st peters based. must be committed. we like ramones, pink floyd, motorhead, beatles, melvins, nirvana, phil spector/brian wilson and other 60’s garage/pop just to name a few influences. call nathan 0431 317 613

DRUMMER

iFlogID: 12571

Drummer needed for Rock / Pop band fronted by “ Margot Waterhouse “ gigging regularly, album recorded excellent following, major contacts in the industry

LEAD GUITARIST WANTED

iFlogID: 12194

Led Zeppelin Tribute require a drummer. We play only the heavy rockin’ tracks! Rehearse weekly at West Gosford Haz Studios. Age 30 - 45, you must have transport, pro gear etc. Please contact scottm@y7mail.com iFlogID: 12086

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! Only committed drummers, and you must have brain! iFlogID: 12573

Parramatta-based band is looking for a drummer who is steady, empathetic and groovy. We play both originals and covers, and we like the Beatles, Led Zeppelin, Steely Dan, Frank Zappa, Ween, King Crimson and more. Our Myspace page - www.myspace.com/ thefez_band iFlogID: 12335

ROCK COVER BAND SEEKS DRUMMER An experienced drummer is required for a rock cover band in the style of RHCP, Marron 5, The Strokes, Green Day, Pearl Jam, Powder Finger, The Living End... Rehearsing late evenings once a week, must have pro gear and attitude. Please provide a sample of your playing. For an audition contact Kevin 0401465318 k.w.saliba@gmail. com iFlogID: 12367

Rock`n Roll band needs drummer.Must have good equiptment, transport and be reliable. Influences are Uriah Heep, Deep Purple etc etc. Wanting to record and play live A.S.A.P. Any enquries call Colin 0435-940-917 iFlogID: 12590

Sydney trio looking for a drummer to join in practice sessions and occasional gigs. We mainly play alternative/ rock covers (Nirvana, Stone Temple Pilots, Muse) and some original material. Song input most welcome. Give us a buzz if you’re interested! iFlogID: 12604

TNOB metal/rock band looking for drummer,guitarists, must like chimaira, tool, deftones, soad,call 0401056876, www.reverbnation.com/thenetofbeing iFlogID: 12629

We are looking for a drummer to join our original/covers band. Our genre is Blues/Soul/Rock. We have paid gigs booked in. You will just need transport to get to and from weekly rehearsal and be able to provide drum kit. iFlogID: 12242

iFlogID: 12108

Gig Launch, Australia’s first online music booking agency, needs a radio ad! Applications now being taken. Prizes awarded to winning advertisement. Head over to Gig Launch - www. giglaunch.com.au - to find out more. iFlogID: 12351

NOT AVAILABLE FOR FREE ADS. CL 19 year old guitarist looking to form creative rock band, seeking singer, drummer, bassist, 2nd guitarist. Must be keen to write originals and play live asap. If interested please contact me at samheidke@hotmail.com iFlogID: 12359

PLAY JAZZ Musicians wanted: especially WIND PLAYERS Style:JAZZ STANDARDS Locale: WEST RYDE Director: DAVID MILLMAN Contact by EMAIL OR PHONE (9807 8866) iFlogID: 12381

iFlogID: 12554

Established Prog rock sydney based band needs drummer and 2nd guitarist,tunes at www.reverbnation. com/thenetofbeing influnences, tool, isis,soad, cky etc rehearse zen studios st peters, concert footage found on thenetofbeing youtube channel.call 0401056876.

Drummer and Versatile Guitarist/ Backing vocalist needed for original Sydney based Alternative Rock band. Must have a professional attitude, passion and desire to go to the next level. Age 24to30yrs pref. Influences, classic and modern British bands.Playing ability,good attitude and image of high importance.Soon to be released Album. Contact 0410972573.

Register Today its FREE www.ozmusiccentral.com.au be part of something bigger iFlogID: 12328

Lead Guitarist Wanted for Pop/ Rock Covers and Original Gigs for a Sydney Based Rhythm Guitarist/ Singer/ Songwriter. Acoustic to begin with, full band to follow. Have a look at www.chrisreadmusic.com.au for an idea of my voice/ genre style etc. Song-writing ability and backing vocals are a huge advantage. Please send your interest and bio to; enquiry@chrisreadmusic. com.au iFlogID: 12580

NOT AVAILABLE FOR FREE ADS. CL The Australian ELO Show are looking for a highly talented, motivated and professional guitarist. Perfect for someone with a love (obsession even!) of the music of ELO. Backing vocal ability would be great as well. Contact Dom: 0407705529 or theaustralianeloshow@hotmail.com iFlogID: 12520

KEYBOARD KEYBOARD GENIUS NEEDED TO JOIN FUNDED ALBUM/BAND READY TO RECORD. 0414215861

Share Pro Commercial Recording Studio.Great opportunity for sound engineer/producer take career to whole new level in pro studio.You get access to all gear and rooms guaranteed 4 full days per week if not more. Share Rent $270per/week. www.jumbostudios.com.au Ph:0450 144 399 iFlogID: 12093

Singer (ex Jerk) with previous national release seeks musicians for the creation of a prog rock band. Influences include Tool, Porcupine Tree, Karnivool and Deftones. Age 20-40 phone Michael on 0425907720. iFlogID: 12621

www.ozjam.com.au is free to join, and with over 5000 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 12584

Young unsigned bands wanted for new venue in Woolloomooloo/Kings Cross. we want to help YOU get a start in the industry. Email dave.downunderbistro@gmail.com or drop into 218 William st, speak to Dave. iFlogID: 12402

iFlogID: 12080

Keyboard player, mature age. Currently rehearsing 1 night a week, Blacktown area for planned live gigs. Mix of original and covers. See www.theedgars. com.au Call Peter 0408240899 iFlogID: 12532

Metal keyboard player wanted for new band. Influences include Disturbed, Evanescence, and more. Currently writing original material. Preferred age early 20’s, at least intermediate playing level. Practice near Central Station, afternoons, once a week. Contact dragonlugia@hotmail.com for more information. iFlogID: 12072

Well established Sydney based Pop / Rock covers band requires experienced keyboardist. Paid gigs, agent backed band. Must have own transport, and be between the ages 18-35. Please send bio to brotherbooth@ gmail.com iFlogID: 12251

Well established Sydney based Pop / Rock COVERS BAND requires experienced keyboardist. Paid gigs, agent backed band. Must have own transport, and be between the ages 18-35. Please send bio to brotherbooth@ gmail.com iFlogID: 12253

OTHER 26yo Bassplayer/singer/songwriter seeking guitarists, keyboards, drummer for restructuring of band “Structures Fall”.Male and female welcome. Lots of songs written and also looking to collaborate...gigs waiting! Based in eastern suburbs. Indie/folk/rock/ pop. Contact Roo 0401 497 917 or andrew@guardianproductions.com

SINGER Australian Katy Perry Tribute, Require a lead vocalist. Agent backed, gigs booked and waiting. Please email bio to rob4004@gmail.com iFlogID: 12408

Female backing vocalists required for flamboyant, provocative original electro-pop act. Check out sabascene. com. Call 0410 450 375. Email saba@ sabascene.com iFlogID: 12623

Gerard Way. Brendon Urie. Brandon Flowers. We need the next one. Sing high as balls, creative ideas, take over the crowd. Then the world. Age 16-24. Email auditions.syd@gmail.com with details, headshot and any web links. iFlogID: 12538

Hard Edged Southern Rock Singer NEEDED NOW! Skynyrd/Blackfoot/ Crowes etc. Band ready to go. Don’t be shy - “0433 904 419”. NOW! iFlogID: 12128

JAZZ SINGERS WORKSHOP - UNIQUE IN SYDNEY Sing with backing band instruction offered More than a jam session or open mike night Style: JAZZ STANDARDS Locale: WEST RYDE Director: DAVID MILLMAN Contact by EMAIL OR PHONE (9807 8866) iFlogID: 12383

Led Zeppelin Tribute require a singer. We play only the heavy rockin’ tracks! Rehearse weekly at West Gosford Haz Studios. Age 25 - 45, you must have transport, pro attitude etc. Please contact scottm@y7mail.com

LOOKING FOR JOE COCKER If you look, sound and can move like middle aged Joe I need to hear from you. Now. Rehearsels Central Coast. Call Roy 0418 428406 iFlogID: 12390

Male Singer/Songwriter wanted for established Hills Band. We have major label supports, Festival slots. Anticipated Ep ready to be recorded. Think Birds of tokyo, Thrice, Muse. Aged 18-28. Needs to be committed. Call Ryan 0411372744. Email sammut_88@hotmail.com iFlogID: 12294

MY OH MY! One of the hawkesburrys best rock bands is looking for thier new front man or woman, if youve got what it takes contact 0401172426 email: brookhav@zeta.org.au or check the band out on facebook, auditions later this month. iFlogID: 12562

My own philosophy for I am the Whichever Owl iFlogID: 12279

New Orleans FUNK BAND seeking FRONTMAN preferably family man with day job looking for an outlet. The band is a working instrumental group wishing to introduce vocals to the repertoire. Influences VintageTrouble, Meters, IsleyBros, WildMagnolias etc James 0412 231 544 iFlogID: 12594

pHader are a psychadelic / atmospheric / electronica / rock duo. So far we’ve been gigging and recording as 90% instrumental, but now we’re looking for a singer / lyricist / front person. Age 30+. john@swimmingpoolrecords.com 0405770079 phader. bandcamp.com iFlogID: 12286

Singer wanted - The Julees are looking for a lead vocalist. We are a power pop/rock band with original songs. Visit myspace.com/thejulees for further info. Contact Elvio on 0412 251 207 to audition. iFlogID: 12541

Western Sydney band doing original material and covers seeking singer (preferably male) 14-18 years old. Must be able to rehearse weekly in Penrith area. Gigs ready to go. Please call Tanya on 0438 137 609 for audition and more info. iFlogID: 12473

Young Sydney band looking for enthusiastic singer (other instruments=bonus) who wants to perform/create interesting artistic music that touches people. Main influences include 80s/90s British rock music (oasis/stone roses/ joy division/smiths etc). Contact on either andrewblomberg@hotmail. com/0406386566. All are welcome.

NEED A LAWYER? Entertainment industry lawyers - band agreeements, contracts, copyright and more! DOWNEYS 02 8999 1011 iFlogID: 12582

Promote your ART (Not just to ya Mum!) Learn to screenprint your art CHEAPLY onto t-shirts. The world is your art gallery. $95 for 6 hour print workshop (or 3 x 2 hours evenings) monstrosity. com.au, Sydney 0421356410 iFlogID: 12528

Singing lessons, singer/keyboard player available and arse-kicking artworks for sale or I can illustrate/create a one-off piece for you. Objects of desire are mostly made from recycled materials. Go to www.stephaniepoleson.com for details iFlogID: 12565

TUITION DJ Turntable workshops. Are u prepared for the new MP3 Laws? The DJ Bootcamps Turntable workshops will help u get a plan B together. No laptops. No software. Just skills. Register at www.djbootcamp.com.au for June workshops iFlogID: 12216

SALSA! SWING! TANGO! CHA CHA! EL PASO LATIN AMERICAN DANCE STUDIO is a premier full time studio specialising in all styles of Latin American Dance & Ballroom. Located in Annandale, EL PASO has a warm and inviting atmosphere, catering for all ages and levels from absolute beginners to performance level. With over 30 years experience as a professional dance teacher and performer, Maestro Carlos and his lovely side kick Carla would love to welcome you into their ornate and fully equipped dance studio. Casual $20. First lesson FREE with purchase of 6 week course $100. Private lessons/ Wedding Couples/ Choreography/ Performance also available by appointment. carlos@ elpaso.net.au OR carla@elpaso.net.au www.elpaso.net.au 02 9560 8540 iFlogID: 12284

SINGING-LESSONS-THAT->>ROCK<< Your voice has the ability to sing at the Audioslave/Muse/Aretha/YeahYeahYeahs level because of Design. Pick any singer you like and you can sing as good using this relaxed technique. Microphone recording-songwritingtechniques Beginners to advanced Newtown 0405-044-513 iFlogID: 12082

SHARE ACCOMMODATION

iFlogID: 12586

SERVICES GRAPHIC DESIGN Band Posters Want professional looking band posters? Contact 1200design and get great posters and/or cd covers for prices aimed at musicians. E-mail: nicole.a.reece@gmail.com

AVAILABLE Small furnished room above Bridge Road, Richmond shop available. Share flat with 1 male muso. Female preferred. $120 per week + bond + share bills. 0434 300 959 or email laysongs_inc@yahoo.com.au. iFlogID: 12512

WANTED

iFlogID: 12406

OTHER A new get-together social group for 30-50 year olds who love 60/70s music.

BUSINESSES SPONSORS and/or financiers sought for great new Baby Boomer ventures

iFlogID: 12184

iFlogID: 12182

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

OTHER If you are 30+ join “Grow Old Disgracefully” iFlogID: 12588

Wanted for accoustic guitar tuition an experienced guitarist with the feet in country music for a serious mature student for a weekly slot. Contact Paul 0408-231-200

iFlogID: 11697

Man & Van available for small loads, removals etc. For rough quote phone Ken 97590970 iFlogID: 12324

Monstrosity Gallery Sydney is offering artists FREE promotion on the online Monstrosity store, for a month. Go to amandawest.com.au/featured to be in it. iFlogID: 12530

iFlogID: 12088

iFlogID: 12341

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

iFlogID: 12180



Drum Media Sydney Issue #1055